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“. . . an optimistic mind-set finds dozens of possible solutions for every problem that the pessimist regards as incurable.” – Robert Anton Wilson, Cosmic Trigger I: Final Secret of the Illuminati
- 45 Birmingham and Midlands artists and DJs launch Dead Wax Digbeth from Thursday 28th November
- Venue will be home to a collection of 4000 records, operating an ‘all vinyl, all the time’ policy
- Music fans invited to play the venue’s records or bring own vinyl to play at city’s newest music destination
- Craft beers from Beavertown, Laine Brew Co. and local breweries on offer all year round
Dead Wax Digbeth
28 Adderley St, Digbeth, Birmingham B9 4ED
www.deadwaxdigbeth.pub | @DeadWaxDigbeth
A new Birmingham venue and ‘vinyl bar’ will open its doors to music fans this weekend with a huge four-day launch featuring 45 bands, musicians, artists and DJs from across Birmingham and the Midlands.
Dead Wax Digbeth hosts a series of specially curated free events running across its three spaces from Thursday 28 November to Sunday 1 December - including two all-dayers, late-night DJ sets, rare live performances and acoustic sets.
Some of Birmingham’s hottest live acts, including Swampmeat Family Band, Brain Food, Violet, RISCAS, The Empty Page and Wax Futures will take to the stages at the 120/230/100-capacity multi-room venue, formerly punk, rock, metal and alternative haunt The Wagon & Horses in the city’s creative quarter of Digbeth.
Fully transformed by Brighton’s Laine Pub Co, Dead Wax Digbeth features a renovated and expanded building incorporating live music spaces both upstairs (120 capacity) and outside in the ‘Duck Bath’ yard (230 capacity).
The main bar area (100 capacity) will present a craft beer offering from Beavertown and Laine Brew Co. alongside guest draft lines from local breweries including Dig Brew Co, plus a Dead Wax Pizza menu with fresh carnivore, vegetarian and vegan choices overseen by city food tastemaker Anthony Duffy.
Music fans and vinyl lovers will be encouraged to choose and play albums and singles from the bar’s large 4000 record collection as well as enjoy vinyl-only sets from a diverse line-up of DJs in a bright and vibrant setting in the heart of Digbeth designed and created by local artists.
A mural, curated by in-demand street artist Gent48 featuring influential Birmingham bands, musicians and DJs including Big Bear Records, Birmingham Promoters, Catapult Club, Chicks Dig Jerks, ColdRice, Die Das Der, Distorted Tapes, Iron Man Records, Punch Records, This Is Tmrw, and Sweat amongst others will complete the visual identity for this latest addition to the city’s live music landscape.
The launch comes as good news in light of a number of concerns around Birmingham’s music and pub mainstays with city-centre venues including The Flapper, Scruffy Murphy’s and the Eagle and Tun all under threat from closure due to redevelopment.
Leading city live music bookers Birmingham Promoters, KILLER WAVE, Sonic Gun, and DIE DAS DER have all leant their industry expertise and support to the new venture, managed by former Sunflower Lounge boss and recording artist Ben Drummond.
Speaking ahead of the opening, Drummond said, “Its an incredibly challenging time for venues and bars in the city and across the UK so we’re doubly thrilled to be bringing Dead Wax Digbeth to life this week with a team that has worked very hard to create a very special offering. We’re hugely grateful to all of the local creatives who’ve helped us put together a full and exciting launch weekend programme and we look forward to contributing to the city’s cultural fabric, live music offering and UK touring map over the coming months and years.”
20 DJs from a number of well-known city music brands will take part in the opening weekend, including Cherry Bomb, Distorted Tapes, Kaleidoscope, Night Owl, Sweat Club, and Takin’ Care of Business, whilst the live billing boasts 25 live acts drawn from Birmingham and the Midlands’ flourishing indie, psych, art-rock, acoustic, rhythm and blues, heavy, punk, soul, math and pop scenes.
All media enquiries to Iron Man Records Patron and committed supporter of the cause:
Lyle Bignon
lyle.bignon@btinternet.com
+44 (0)97925 818231
Dead Wax Digbeth launch weekend listings
Dead Wax Digbeth Opening Night Party
1700 - 0300 Thursday 28 November 2019
Free
Main venue performances (1800 onwards) from:
Swampmeat Family Band
The Good Water
Main bar vinyl DJ sets (1800 onwards) from:
Richard March (Bentley Rhythm Ace, Pop Will Eat Itself) & Daniel Finnemore - DJ set
Cheese Dip (Sweat Club)
Joel Webster (Killer Wave, PNKSLM Recordings)
Duck Bath outdoor stage DJ sets (1800 onwards) from:
Cherry Bomb (Elizabeth Ilsley & Jonny Murphy)
Carlton Wainwright (Takin' Care Of Business)
Killer Wave present Dead Wax Digbeth launch Friday
1800 - 0300 Friday 29 November 2019
Free
Main venue performances (1800 onwards) from:
Cherry Pickles
Witch Fever
Brain Food
The Devil & Saint Joseph
Elephant Peel
Main bar vinyl DJ sets (1800 onwards) from:
Selextorhood
'T-Bird' Thomas Jones (Takin’ Care Of Business)
Mazzy Maryam Snape (The Night Owl)
Duck Bath outdoor stage DJ sets (1800 onwards) from:
Dizcoh
Sonic Gun
Saturday Dead Wax Digbeth Launch Alldayer
1200 - 0300 Saturday 30 November 2019
Free
Main venue performances (1700 onwards) from
Violet
RISCAS (DJ set)
George Pannell
Alex Ohm
Faux Palms
Boat To Row
Cheap Thrills (DJ set)
Duck Bath outdoor stage DJ (1300 onwards) and live performances (1400 onwards) from
Paid in Full (DJ Wayne Lango)
Issy Holmes
Louise Woodley
Jen North
Paper Buoys (acoustic set)
Alex Lleo
Midge
Esther Turner
Vinyl-only DJ sets in main bar (1200 onwards) from:
Weird Wax
Kaleidoscope
I Dig Your Wig (Dan Finnemore)
Randy Billings (The International Submarine Club)
DIE DAS DER present a Dead Wax Digbeth launch event
1500-2200 Sunday 1 December 2019
Free
Main venue performances (1500 onwards) from:
The Empty Page
WAX FUTURES
Exotic Pets
Modern Literature
SUE
Liars at the Witch Trial
Main bar DJ sets (1500 onwards) from:
Distorted Tapes
Ollie/NC
Birmingham Promoters
Birmingham Promoters are an independent live music, events and gigs promotions company based in Digbeth, Birmingham. They have hosted a diverse array of artists including Ed Sheeran, Ben Howard, Jake Bugg, Editors, Bastille, Peace, GZA (Wu-Tang Clan), Skepta, Tinie Tempa, Royal Blood, Gabrielle Aplin, Tom Odell, The Staves, Nick Mulvey, The Fall, Metronomy, Sam Fender and much more.
KILLER WAVE
Killer Wave has been putting on gigs and parties for seven years, pushing their brand of garage rock and psychedelia on stereos and promoting local, UK and worldwide live acts such as Black Lips, Shame, Sunflower Bean, King Gizzard and the Lizard Wizard to local favourites Black Mekon, Swampmeat, Mighty Young etc, working closely with PNKSLM records pushing parties all over the world.
DIE DAS DER
DIE DAS DER is a community of like-minded musicians, artists, bloggers, photographers, film-makers and journalists. They curate and organise events and aim to highlight Birmingham's thriving underground music scene; assisting acts with exposure and encouraging mutual promotion, resource sharing and networking.
Laine Pub Co
Founded 23 years ago, with a single pub in Brighton, Laine Pub Co has grown to become one of the most innovative pub companies in the UK. With over 60 pubs in Brighton, London and Birmingham including some of the most creative experiential pub offerings in the industry, ranging from retro gaming to escape rooms, virtual reality, circus acts and immersive theatre, Laine is now at the forefront of the UK’s leisure sector. Taking its inspiration from the vibrant pub and beer scene in the city of Brighton and Hove, Laine Brew Co creates beer imbued with flavour, experimentation and good times. Its beers are unpasteurised and uncompromising, meaning more flavour and more love. With a focus on consistent, sessionable beers, 2x3 supported with market-leading design and POS, Laine creates highly individual and authentic craft beer which is accessible to all.
If you try the best you can
The best you can is good enough.
www.youtube.com/watch?v=lq_7TJ0298Q&feature=related
lezione #2: sorrisi smaglianti anche quando sei parzialmente bloccato dalle sbarre.
Releasing the cold fear of darkness and hospital visits, looking to the light as I carry optimism for two. Prayers for you, Mom. I love you.
Coney Island, Brooklyn, New York City, New York, United States
The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings.
The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city.
DESCRIPTION AND ANALYSIS
Coney Island
Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community.
Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”
By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries.
It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat dangerous reputation of the late 19th century, and replace it with a more wholesome image. The enclosed parks all banned alcohol, and required patrons to pay an admission fee. It was believed that this would help to keep out patrons perceived as undesirable. Several civic organizations began calling for the construction of a boardwalk, which would provide visitors with an important public amenity.
The Boardwalk opened in 1920, the same year subway service was extended to Coney Island. Three years later, the Coney Island Chamber of Commerce was organized, with the goal of “developing Coney Island on a larger and broader scale.” With the support and promotion of the Coney Island Chamber of Commerce, several new buildings and amusements were erected. These included the (second) Child’s Restaurant on the Boardwalk, the Cyclone Roller Coaster, the Wonder Wheel, the Stillwell Avenue subway terminal, the Half Moon Hotel, Stauch’s Baths, the RKO Tilyou Theater, and the Coney Island Theater. The Coney Island Theater Building is one of the few structures still extant from this period. Other surviving features include the Wonder Wheel, the Cyclone and the Child’s Restaurant (all designated New York City Landmarks) on the Boardwalk. By decade’s end, Coney Island had been transformed once more.
The Coney Island Theater Building
This large, intact building rising on the Coney Island skyline is a prominent neo Renaissance Revival style structure that expresses, through its size and style, the aspirations of Coney Island’s boosters in the 1920s. The Coney Island Theater Building, most recently known as the Shore Theater Building, was constructed as a fireproof structure on part of the site of the former Culver Railroad line depot (replaced by the newly extended subway). A comment by Irwin S. Chanin, president of the Chanin Construction Company who was the developer of this building indicated a concern for changing the atmosphere at Coney Island. “We realized the great need in Coney Island for an all-year amusement, and I believe we have satisfied this need. We spared no expense to provide adequate facilities that will attract the finest business and amusement ventures.”
By the booming 1920s, with the Jazz Age in full swing, the culture of Coney Island was fully formed. The construction of the Half Moon Hotel in 1927, the first major hotel to be built in Coney Island since the days of the great resorts of the late 1800s, along with the completion of the newly reconstructed and publicly accessible Boardwalk, was to be a harbinger of Coney’s direction for the future. The construction of the Coney Island Theater was part and parcel of this movement. The Brooklyn Daily Eagle reported in May, 1925 that “[the theater] will be the first of its kind at the resort and the forerunner of similar structures in the movement to make Coney Island an all-year amusement resort.” Expanding upon this theme, Irwin S. Chanin continued,
The resort has the greatest population area in the country to draw from, and nothing has prevented it from being an all-year amusement place but the present type of structures, which for the most part are built only for summer use. With the subway terminating at Surf Avenue, the boardwalk extending the full length of the ocean front and the adequate police regulations, nothing can now stand in the way of its advancement.
These bold intentions are also visible in the choice of the architectural firm for the theater building. Reilly & Hall were noted theater architects of the 1920s. Some of their most important commissions were New York’s Sheridan Theater (now demolished) and the Newton Theater in Newton, New Jersey. Upon the opening of the New Jersey theater, a local newspaper, the Sussex County Democrat remarked that,
These young men have, in a short time, impressed theatre owners with their unusual ability, as operators of exquisite theatres and supervised the Tivoli Theatre in Newark, the Sheridan Theatre in New York, the Strand Theatre in Schenectady, and are engaged at present in directing the work on the Coney Island Theatre which, when completed, will rival the best picture palaces of the country.
The firm’s choice of material also indicates the ambitious building campaign. Limestone, brick, and terra cotta were used, rather than wood, as had been the custom at Coney Island. Additionally, the building is not merely a movie theater, but a seven-story “Coney Island Theater Building,” complete with offices intended to be occupied by organizations related to the entertainment industry. With buildings such as this theater and the Half Moon Hotel, the business community of Coney Island was announcing the area’s legitimacy and its aspirations.
Indeed, a 1925 Brooklyn Eagle headline announced, “$2,000,000 Theater and Office Building Reflects Transformation of Coney Island.”
The theater was immediately leased to the prominent Loew’s movie theater chain, an organization that was expanding its holdings throughout the city and beyond.
Chanin Construction Company
The Chanin Construction Company, developers of the Coney Island Theater Building, was founded in 1919 by Irwin S. Chanin (1892–1988) and his brother Henry (1893–1973), an accountant. Irwin was graduated from the Cooper Union School of Engineering in 1915. Beginning with modest residences in Bensonhurst, the firm quickly expanded and by the late 1920s, it was responsible for some of New York’s most significant buildings, including the Century and Majestic Apartments on Central Park West, and the Chanin Building (all designated New York City Landmarks). Indeed, a 1929 profile of the company in The New Yorker notes that “What is unusual about the Chanins’ story is that their achievements are visible; a whole city of scattered buildings, a hundred and forty-one of them in New York and Brooklyn.” Henry was responsible for the day-to-day management of the firm, while Irwin was the artistic visionary. Two other brothers, Samuel and Aron, also played a role in the Chanin Construction Company.
Among their numerous projects were many theaters. One of the earliest was the Roxy Theater, known as the “Cathedral of Motion Pictures” (demolished) followed by the Biltmore Theater; the Forty-Sixth Street Theater; the Mansfield Theater; the Theater Masque; The Royale Theater; and the Majestic Theater. Irwin Chanin had distinct ideas about theater design. The theme of fantasy and escape, of taking people away from their everyday lives was always uppermost in Chanin’s mind. The comfort of the theatergoer and performer was also paramount. The Chanin Construction Company built theaters with wide aisles, wide seats, roomy entry foyers, ample dressing rooms and good acoustics.
The Loew’s Corporation
From the beginning, this theater was leased and operated by the Loew’s theater chain. Marcus Loew (1870 – 1927), the company founder, was born on Manhattan’s Lower East Side and had an early career as a furrier. While working in this field Loew met Adolph Zukor, who was also in the fur business, and Morris Kohn and the three began investing in residential real estate. When Zukor and Kohn invested in a penny arcade on 14th Street, Loew watched the business thrive and was invited to join the partnership. Soon after, Loew began a competing establishment with an arcade on 23rd Street. By 1907 Loew’s company had a nationwide chain of 3,000 nickelodeons. Loew then purchased Watson’s Cozy Corner, a so-called low vaudeville theater in downtown Brooklyn, transformed it into a genuine movie palace and renamed it the Royal Theatre, charging 10 cents for admission, which was twice the standard. Loew began to expand his business rapidly, taking control of several large theaters in Manhattan and then constructing new ones, the first being the National Theatre in the Bronx in 1910. By 1911 a newly reorganized company - Loew’s Theatrical Enterprises – had purchased or taken over the management of dozens of theaters across the country.
During the second decade of the 20th century, studios and audiences had embraced full-length feature films. Zukor’s company had created the earliest essays of this new type and by 1919, Loew was convinced that this was the future of the industry. He changed his company’s name one again to Loew’s Incorporated and acquired Metro Pictures Corporation, a small existing movie production company. Loew’s Inc. then started producing its own movies in addition to owning or managing the theaters in which they would be shown. One of their first productions, The Four Horsemen of the Apocalypse with Rudolph Valentino, which premiered in 1921, was a smash and with it Loew’s Inc. became a force in the motion-picture industry. The firm embarked upon an extensive theater-building campaign of which the apogee was the construction of the Loew’s State Theater in 1921. Designed by legendary theater architect Thomas W. Lamb, the construction of this theater was a “major event in Loew’s progress [and] fulfilled his dream of possessing a big vaudeville-picture palace in the nation’s theatrical center, Times Square.” If a location could vie with Times Square as a center of entertainment and amusement, it was Coney Island. Although Loew’s Inc. leased rather than owned the new theater, when it opened in 1925 the new building was named the Loew’s Coney Island Theater.
Reilly & Hall
Paul C. Reilly, (1890 – 1984)
Douglas Pairman Hall (1880 – 1945)
Reilly, a native of New York City, was graduated from the Columbia University School of Architecture. In addition to the design of several theaters, Reilly was closely associated with the Roman Catholic Archdiocese of New York, and served for a period as the architect of St. Patrick’s Cathedral. Among his church commissions were the Sacred Heart Cathedral in Newark and the Church of Our Saviour on Park Avenue and East 38th Street in Manhattan. Other works include St. Ephrem’s Church, Brooklyn and the Church of St. Peter Claver in Montclair, New Jersey.
Hall, a Scotsman (like Lamb), immigrated to America in 1912. He was graduated from the University of Edinburgh and received his architectural degree from the Royal Institute of Architecture in London. Hall developed a reputation as a theater architect, and was responsible for the design of more than 50 theaters in the New York area.
Early in their careers, both Reilly and Hall were employed by the firm of Thomas W. Lamb, theater architect, where Reilly held the position of chief designer. By 1920, the pair formed a partnership and the firm Reilly & Hall occupied an office at 749 Fifth Avenue. Though fruitful, the venture does not appear to have lasted long. By 1928, there is no longer a listing for Reilly & Hall, and Hall is a sole practitioner with an office on East 45th Street. Reilly opened his own office in 1930 on lower Fifth Avenue.
Neo Renaissance Revival Style and the Movies
The 1920s was an era of tremendous growth in the development of movie theater buildings. Often constructed by the studios to showcase their films, theaters were seen as crucial advertising. If the theater was elegant, if it served to enhance the escapism of the movie-going experience, if the eye could be continually delighted, the patron would return week after week. Some theaters were developed as grand “movie palaces” with fantastic interiors that added to the total experience of the invented world on the screen.
Others were dressed in historical revivalist styles, still popular in the 1920s. Of these, there were many variants, including Italianate and French. Based on European precedents of the Renaissance, Baroque, and classical, the style is characterized by rational planning, with classical elements like balustrades and prominent cornices, restrained facades, and a light palette. The neo Renaissance revival style (popular in the 20th century) was an outgrowth of the earlier Renaissance Revival style, which was in vogue beginning in the 1880s. Buildings constructed in these styles ranged from public buildings like theaters and municipal structures to private homes, such as row houses or town houses. These historical revival styles suggested sophistication, wealth, and class. For a movie theater to be outfitted in such architectural clothing communicated the serious side of the Loew’s Coney Island Theater. Its builders intended the structure to evoke high-brow entertainment and edification, as part of Coney Island’s more dignified aspirations at this time.
History of the Loew’s Theater
The Loew’s Coney Island Theater opened on June 17, 1925. Marcus Loew himself presided, and with typical show-business bravura promised an array of stage, screen, and radio stars in attendance. Those who were scheduled to attend included Johnny Hines, Barbara Lamarr, Mae Busch, Ben Lyon, John Irving Fisher, Texas Guinan, Dorothy Mackaill, Virginia Lee Corbin, and John Lowe. Builder Irwin S. Chanin declared, “Here all of the island arrive, and here we hope to make the corner a sort of Coney Island ‘Broadway and 42nd Street.’” During the first week of operation, the stage was given over to Violet and Daisy Hilton, the famed Hilton Sisters.
Built primarily as a movie theater, the Loew’s Coney Island also featured live vaudeville entertainment, as Loew’s included live performances in many of its theaters to bolster the box office.
The Loew’s Coney Island Theater remained under the control of Loew’s Incorporated until 1964. Spaces on the ground floor housed small shops or restaurants, and various offices were located in the upper floors. Some of these businesses included Nedick’s, Garcia y Vega Cigars and Admiration Cigars. The office building housed such varied tenants as Angelo Paino & Co., Inc. (building contractors); Belpark Construction Corporation; and a local draft board.
By the end of 1964, Loew’s Inc. lost control of the theater, and it became the Brandt Shore Theater. As the Shore Theater, movies were shown exclusively, although by the end of 1965, the management announced that the space would become a legitimate theater with musicals, revues, and plays. During this period, some of the offerings included “Let’s Dance,” “The Jewel Box Revue,” and “Bagels and Yox.” By April 1966, burlesque operator Leroy C. Griffith was staging shows at the Shore; thereafter, films resumed being shown along with live entertainment.
It appears that the era of live entertainment in the building was short-lived. Films returned exclusively and by the early 1970s, it had become an adult venue. In 1972 the orchestra level of the theater was converted to a bingo hall and during the 1970s, the Gay Way Bar was a tenant in the ground floor corner retail space. In the 1980s, a branch of Kansas Fried Chicken occupied the corner store. During the late 1960s and through the 1970s, tenants in the office space above included a dress manufacturer, a Medicaid office, and a Head Start nursery program. The building is currently vacant.
Description Surf Avenue Façade: The Shore Theater Building is located on the northwest corner of Stillwell and Surf Avenues. The building, including the ground floor storefronts, is vacant. Scaffolding projects at the first floor cornice line and covers the marquee which is located at the center of the seven-bay wide facade. The storefronts are non-historic and are covered by roll-down iron grilles. The westernmost opening on this facade is for vehicular access and is covered by a solid, roll-down gate. A pedestrian entrance is located in the bay just to the east of this. It has a stone surround, with a rope molding framing the doorway and a stone plaque carved with the name, “Coney Island Theatre Building” above. This opening is also covered by a solid metal gate. Another doorway under the marquee is also surrounded by dressed stone blocks, as are the end piers on both facades.
Above the base is a piano nobile faced with terra cotta molded to replicate rusticated limestone. This level has double-height, round-arched windows with one-over-one metal replacement sash. Within each arched opening the top part has non-historic metal infill, while the spandrels beneath the windows feature terra-cotta panels with foliate designs. This section of the building is capped by a narrow cornice formed by a terra-cotta dentil molding and a series of stone moldings.
Floors three through five are faced with buff-colored brick and have unadorned, rectangular window openings, set in pairs. The top of this level is marked by a dentil course of terra cotta. The sixth floor has the same window pattern as below, but the windows are framed by white terra cotta and the panels between the windows are faced with square white terra-cotta tiles set on the diagonal. The top of the sixth story has a broad, terra-cotta frieze ornamented with circles and classical foliate designs and topped by a terra-cotta cornice. All of the sash in the windows on this facade has been replaced.
The brick-faced seventh floor consists of a central pavilion, five-bays wide, with single-bay setbacks at the eastern and western ends of the facade. These setback bays are fronted by small terraces set behind terra-cotta balustrades and are topped by a brick dentil course and terracotta coping. The top of each round-arched window has been filled with a terra-cotta panel. The round-arched windows of the central pavilion have brick moldings and terra-cotta keystones, with round, flat terra-cotta panels inset into the brick in the spandrels between the arches. Two additional round-headed windows are located to the outside of this central area and these windows have terra-cotta moldings and keystones and sit above small panels of terra-cotta ornament. A broad balcony projects in front of the central five, round-arched windows of this level. Its underside is faced with terra cotta and it is supported on ornate terra-cotta brackets, and topped by a delicate, classically-inspired iron railing. All of the windows on the seventh story have replacement, one-over-one metal sash and the upper areas of the round-arched windows have been filled in. The central area of this level is capped by a projecting, overhanging terracotta cornice with modillions. A broad, bronze frieze ornamented by moresque fretwork sitting on a terra-cotta rope molding is also part of this capping element.
At the southeastern corner of the building a neon blade sign is affixed between the third and sixth floors. The sign reads “SHORE.” Stillwell Avenue façade: The east façade, along Stillwell Avenue, exhibits the narrow side of the seven-story office tower with the undecorated brick facade of the movie theater, about half its height, extending northward beyond it. The design of this facade of the office building is similar to that on Surf Avenue. The ground floor storefronts are vacant and covered by grilles. The double-height piano nobile is faced with terra cotta and pierced by three large, round-headed windows. Between the two northernmost windows are two smaller rectangular window openings, one above the other. The large, northernmost window has its original metal sash, while the other windows have replacement sash. The next four stories have rectangular window openings, with a few of the windows on the northern side of each level retaining their original two-over-two wood sash. The window pattern on these floors is 2-1-2-1-1. The moldings and decorative treatment are the same on this facade as on Surf Avenue. At the top floor level are three round-headed windows flanked by a single rectangular window on each side. The central windows have non-historic infill at the top of the windows, and all have non-historic one-overone sash. The side windows are capped by inset round, terra-cotta circles and the northernmost window has small paned, double-hung sash.
The painted side wall of the theater extends to the north behind the office building. There is a small entrance door at the ground level and a variety of small window openings at the second story level, either blocked closed or filled by non-historic sash. A covered metal emergency stairway steps down along this facade, toward the northern side of the building. A small non-historic storefront is located at this side of the facade along with a doorway near the top of the building, fronted by a metal balcony, with a ladder leading to the roof. West façade: The western façade has two sections, the office building and the other side of the movie theater. Both are not designed. The side of the office building is faced with buff brick and features three vertical columns of rectangular, one-over-one double-hung replacement windows. The top of the building features three setbacks, and coping stones are evident at the top. The movie theater is faced in painted brick with a covered emergency stairway that steps down toward the rear. North façade: The northern facade consists of two angled blank painted brick walls, projecting outward slightly and forming the end of the movie theater.
- From the 2010 NYCLPC Landmark Designation Report
Some cheeky scamp at National Express Coventry garage has selected (the now renumbered) service 900 to Birmingham on the dot-matrix display on withdrawn Mercedes-Benz Citaro O530G 6012 (BJ03 ESN). The only run to Birmingham this one will be making, I suspect, is a journey to the NXWM Miller Street [Newtown] storage site! In all probability, it will go straight for scrap from this location (service re-entry/a buyer being found aside).
Therefore, we are optimistic that Courtney Love Plastic Surgery case will be a lesson well learnt for everyone planning to have plastic surgery procedures.
NJ Pinebarrens.
Lightly-travelled road, deep in abandoned bog country. Wind whipping about, snow in my boots and fairly certain this is about when hypothermia started creeping in on me.
Best in Lightbox.
Coney Island, Brooklyn, New York City, New York, United States
The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings.
The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city.
DESCRIPTION AND ANALYSIS
Coney Island
Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community.
Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”
By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries.
It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat dangerous reputation of the late 19th century, and replace it with a more wholesome image. The enclosed parks all banned alcohol, and required patrons to pay an admission fee. It was believed that this would help to keep out patrons perceived as undesirable. Several civic organizations began calling for the construction of a boardwalk, which would provide visitors with an important public amenity.
The Boardwalk opened in 1920, the same year subway service was extended to Coney Island. Three years later, the Coney Island Chamber of Commerce was organized, with the goal of “developing Coney Island on a larger and broader scale.” With the support and promotion of the Coney Island Chamber of Commerce, several new buildings and amusements were erected. These included the (second) Child’s Restaurant on the Boardwalk, the Cyclone Roller Coaster, the Wonder Wheel, the Stillwell Avenue subway terminal, the Half Moon Hotel, Stauch’s Baths, the RKO Tilyou Theater, and the Coney Island Theater. The Coney Island Theater Building is one of the few structures still extant from this period. Other surviving features include the Wonder Wheel, the Cyclone and the Child’s Restaurant (all designated New York City Landmarks) on the Boardwalk. By decade’s end, Coney Island had been transformed once more.
The Coney Island Theater Building
This large, intact building rising on the Coney Island skyline is a prominent neo Renaissance Revival style structure that expresses, through its size and style, the aspirations of Coney Island’s boosters in the 1920s. The Coney Island Theater Building, most recently known as the Shore Theater Building, was constructed as a fireproof structure on part of the site of the former Culver Railroad line depot (replaced by the newly extended subway). A comment by Irwin S. Chanin, president of the Chanin Construction Company who was the developer of this building indicated a concern for changing the atmosphere at Coney Island. “We realized the great need in Coney Island for an all-year amusement, and I believe we have satisfied this need. We spared no expense to provide adequate facilities that will attract the finest business and amusement ventures.”
By the booming 1920s, with the Jazz Age in full swing, the culture of Coney Island was fully formed. The construction of the Half Moon Hotel in 1927, the first major hotel to be built in Coney Island since the days of the great resorts of the late 1800s, along with the completion of the newly reconstructed and publicly accessible Boardwalk, was to be a harbinger of Coney’s direction for the future. The construction of the Coney Island Theater was part and parcel of this movement. The Brooklyn Daily Eagle reported in May, 1925 that “[the theater] will be the first of its kind at the resort and the forerunner of similar structures in the movement to make Coney Island an all-year amusement resort.” Expanding upon this theme, Irwin S. Chanin continued,
The resort has the greatest population area in the country to draw from, and nothing has prevented it from being an all-year amusement place but the present type of structures, which for the most part are built only for summer use. With the subway terminating at Surf Avenue, the boardwalk extending the full length of the ocean front and the adequate police regulations, nothing can now stand in the way of its advancement.
These bold intentions are also visible in the choice of the architectural firm for the theater building. Reilly & Hall were noted theater architects of the 1920s. Some of their most important commissions were New York’s Sheridan Theater (now demolished) and the Newton Theater in Newton, New Jersey. Upon the opening of the New Jersey theater, a local newspaper, the Sussex County Democrat remarked that,
These young men have, in a short time, impressed theatre owners with their unusual ability, as operators of exquisite theatres and supervised the Tivoli Theatre in Newark, the Sheridan Theatre in New York, the Strand Theatre in Schenectady, and are engaged at present in directing the work on the Coney Island Theatre which, when completed, will rival the best picture palaces of the country.
The firm’s choice of material also indicates the ambitious building campaign. Limestone, brick, and terra cotta were used, rather than wood, as had been the custom at Coney Island. Additionally, the building is not merely a movie theater, but a seven-story “Coney Island Theater Building,” complete with offices intended to be occupied by organizations related to the entertainment industry. With buildings such as this theater and the Half Moon Hotel, the business community of Coney Island was announcing the area’s legitimacy and its aspirations.
Indeed, a 1925 Brooklyn Eagle headline announced, “$2,000,000 Theater and Office Building Reflects Transformation of Coney Island.”
The theater was immediately leased to the prominent Loew’s movie theater chain, an organization that was expanding its holdings throughout the city and beyond.
Chanin Construction Company
The Chanin Construction Company, developers of the Coney Island Theater Building, was founded in 1919 by Irwin S. Chanin (1892–1988) and his brother Henry (1893–1973), an accountant. Irwin was graduated from the Cooper Union School of Engineering in 1915. Beginning with modest residences in Bensonhurst, the firm quickly expanded and by the late 1920s, it was responsible for some of New York’s most significant buildings, including the Century and Majestic Apartments on Central Park West, and the Chanin Building (all designated New York City Landmarks). Indeed, a 1929 profile of the company in The New Yorker notes that “What is unusual about the Chanins’ story is that their achievements are visible; a whole city of scattered buildings, a hundred and forty-one of them in New York and Brooklyn.” Henry was responsible for the day-to-day management of the firm, while Irwin was the artistic visionary. Two other brothers, Samuel and Aron, also played a role in the Chanin Construction Company.
Among their numerous projects were many theaters. One of the earliest was the Roxy Theater, known as the “Cathedral of Motion Pictures” (demolished) followed by the Biltmore Theater; the Forty-Sixth Street Theater; the Mansfield Theater; the Theater Masque; The Royale Theater; and the Majestic Theater. Irwin Chanin had distinct ideas about theater design. The theme of fantasy and escape, of taking people away from their everyday lives was always uppermost in Chanin’s mind. The comfort of the theatergoer and performer was also paramount. The Chanin Construction Company built theaters with wide aisles, wide seats, roomy entry foyers, ample dressing rooms and good acoustics.
The Loew’s Corporation
From the beginning, this theater was leased and operated by the Loew’s theater chain. Marcus Loew (1870 – 1927), the company founder, was born on Manhattan’s Lower East Side and had an early career as a furrier. While working in this field Loew met Adolph Zukor, who was also in the fur business, and Morris Kohn and the three began investing in residential real estate. When Zukor and Kohn invested in a penny arcade on 14th Street, Loew watched the business thrive and was invited to join the partnership. Soon after, Loew began a competing establishment with an arcade on 23rd Street. By 1907 Loew’s company had a nationwide chain of 3,000 nickelodeons. Loew then purchased Watson’s Cozy Corner, a so-called low vaudeville theater in downtown Brooklyn, transformed it into a genuine movie palace and renamed it the Royal Theatre, charging 10 cents for admission, which was twice the standard. Loew began to expand his business rapidly, taking control of several large theaters in Manhattan and then constructing new ones, the first being the National Theatre in the Bronx in 1910. By 1911 a newly reorganized company - Loew’s Theatrical Enterprises – had purchased or taken over the management of dozens of theaters across the country.
During the second decade of the 20th century, studios and audiences had embraced full-length feature films. Zukor’s company had created the earliest essays of this new type and by 1919, Loew was convinced that this was the future of the industry. He changed his company’s name one again to Loew’s Incorporated and acquired Metro Pictures Corporation, a small existing movie production company. Loew’s Inc. then started producing its own movies in addition to owning or managing the theaters in which they would be shown. One of their first productions, The Four Horsemen of the Apocalypse with Rudolph Valentino, which premiered in 1921, was a smash and with it Loew’s Inc. became a force in the motion-picture industry. The firm embarked upon an extensive theater-building campaign of which the apogee was the construction of the Loew’s State Theater in 1921. Designed by legendary theater architect Thomas W. Lamb, the construction of this theater was a “major event in Loew’s progress [and] fulfilled his dream of possessing a big vaudeville-picture palace in the nation’s theatrical center, Times Square.” If a location could vie with Times Square as a center of entertainment and amusement, it was Coney Island. Although Loew’s Inc. leased rather than owned the new theater, when it opened in 1925 the new building was named the Loew’s Coney Island Theater.
Reilly & Hall
Paul C. Reilly, (1890 – 1984)
Douglas Pairman Hall (1880 – 1945)
Reilly, a native of New York City, was graduated from the Columbia University School of Architecture. In addition to the design of several theaters, Reilly was closely associated with the Roman Catholic Archdiocese of New York, and served for a period as the architect of St. Patrick’s Cathedral. Among his church commissions were the Sacred Heart Cathedral in Newark and the Church of Our Saviour on Park Avenue and East 38th Street in Manhattan. Other works include St. Ephrem’s Church, Brooklyn and the Church of St. Peter Claver in Montclair, New Jersey.
Hall, a Scotsman (like Lamb), immigrated to America in 1912. He was graduated from the University of Edinburgh and received his architectural degree from the Royal Institute of Architecture in London. Hall developed a reputation as a theater architect, and was responsible for the design of more than 50 theaters in the New York area.
Early in their careers, both Reilly and Hall were employed by the firm of Thomas W. Lamb, theater architect, where Reilly held the position of chief designer. By 1920, the pair formed a partnership and the firm Reilly & Hall occupied an office at 749 Fifth Avenue. Though fruitful, the venture does not appear to have lasted long. By 1928, there is no longer a listing for Reilly & Hall, and Hall is a sole practitioner with an office on East 45th Street. Reilly opened his own office in 1930 on lower Fifth Avenue.
Neo Renaissance Revival Style and the Movies
The 1920s was an era of tremendous growth in the development of movie theater buildings. Often constructed by the studios to showcase their films, theaters were seen as crucial advertising. If the theater was elegant, if it served to enhance the escapism of the movie-going experience, if the eye could be continually delighted, the patron would return week after week. Some theaters were developed as grand “movie palaces” with fantastic interiors that added to the total experience of the invented world on the screen.
Others were dressed in historical revivalist styles, still popular in the 1920s. Of these, there were many variants, including Italianate and French. Based on European precedents of the Renaissance, Baroque, and classical, the style is characterized by rational planning, with classical elements like balustrades and prominent cornices, restrained facades, and a light palette. The neo Renaissance revival style (popular in the 20th century) was an outgrowth of the earlier Renaissance Revival style, which was in vogue beginning in the 1880s. Buildings constructed in these styles ranged from public buildings like theaters and municipal structures to private homes, such as row houses or town houses. These historical revival styles suggested sophistication, wealth, and class. For a movie theater to be outfitted in such architectural clothing communicated the serious side of the Loew’s Coney Island Theater. Its builders intended the structure to evoke high-brow entertainment and edification, as part of Coney Island’s more dignified aspirations at this time.
History of the Loew’s Theater
The Loew’s Coney Island Theater opened on June 17, 1925. Marcus Loew himself presided, and with typical show-business bravura promised an array of stage, screen, and radio stars in attendance. Those who were scheduled to attend included Johnny Hines, Barbara Lamarr, Mae Busch, Ben Lyon, John Irving Fisher, Texas Guinan, Dorothy Mackaill, Virginia Lee Corbin, and John Lowe. Builder Irwin S. Chanin declared, “Here all of the island arrive, and here we hope to make the corner a sort of Coney Island ‘Broadway and 42nd Street.’” During the first week of operation, the stage was given over to Violet and Daisy Hilton, the famed Hilton Sisters.
Built primarily as a movie theater, the Loew’s Coney Island also featured live vaudeville entertainment, as Loew’s included live performances in many of its theaters to bolster the box office.
The Loew’s Coney Island Theater remained under the control of Loew’s Incorporated until 1964. Spaces on the ground floor housed small shops or restaurants, and various offices were located in the upper floors. Some of these businesses included Nedick’s, Garcia y Vega Cigars and Admiration Cigars. The office building housed such varied tenants as Angelo Paino & Co., Inc. (building contractors); Belpark Construction Corporation; and a local draft board.
By the end of 1964, Loew’s Inc. lost control of the theater, and it became the Brandt Shore Theater. As the Shore Theater, movies were shown exclusively, although by the end of 1965, the management announced that the space would become a legitimate theater with musicals, revues, and plays. During this period, some of the offerings included “Let’s Dance,” “The Jewel Box Revue,” and “Bagels and Yox.” By April 1966, burlesque operator Leroy C. Griffith was staging shows at the Shore; thereafter, films resumed being shown along with live entertainment.
It appears that the era of live entertainment in the building was short-lived. Films returned exclusively and by the early 1970s, it had become an adult venue. In 1972 the orchestra level of the theater was converted to a bingo hall and during the 1970s, the Gay Way Bar was a tenant in the ground floor corner retail space. In the 1980s, a branch of Kansas Fried Chicken occupied the corner store. During the late 1960s and through the 1970s, tenants in the office space above included a dress manufacturer, a Medicaid office, and a Head Start nursery program. The building is currently vacant.
Description Surf Avenue Façade: The Shore Theater Building is located on the northwest corner of Stillwell and Surf Avenues. The building, including the ground floor storefronts, is vacant. Scaffolding projects at the first floor cornice line and covers the marquee which is located at the center of the seven-bay wide facade. The storefronts are non-historic and are covered by roll-down iron grilles. The westernmost opening on this facade is for vehicular access and is covered by a solid, roll-down gate. A pedestrian entrance is located in the bay just to the east of this. It has a stone surround, with a rope molding framing the doorway and a stone plaque carved with the name, “Coney Island Theatre Building” above. This opening is also covered by a solid metal gate. Another doorway under the marquee is also surrounded by dressed stone blocks, as are the end piers on both facades.
Above the base is a piano nobile faced with terra cotta molded to replicate rusticated limestone. This level has double-height, round-arched windows with one-over-one metal replacement sash. Within each arched opening the top part has non-historic metal infill, while the spandrels beneath the windows feature terra-cotta panels with foliate designs. This section of the building is capped by a narrow cornice formed by a terra-cotta dentil molding and a series of stone moldings.
Floors three through five are faced with buff-colored brick and have unadorned, rectangular window openings, set in pairs. The top of this level is marked by a dentil course of terra cotta. The sixth floor has the same window pattern as below, but the windows are framed by white terra cotta and the panels between the windows are faced with square white terra-cotta tiles set on the diagonal. The top of the sixth story has a broad, terra-cotta frieze ornamented with circles and classical foliate designs and topped by a terra-cotta cornice. All of the sash in the windows on this facade has been replaced.
The brick-faced seventh floor consists of a central pavilion, five-bays wide, with single-bay setbacks at the eastern and western ends of the facade. These setback bays are fronted by small terraces set behind terra-cotta balustrades and are topped by a brick dentil course and terracotta coping. The top of each round-arched window has been filled with a terra-cotta panel. The round-arched windows of the central pavilion have brick moldings and terra-cotta keystones, with round, flat terra-cotta panels inset into the brick in the spandrels between the arches. Two additional round-headed windows are located to the outside of this central area and these windows have terra-cotta moldings and keystones and sit above small panels of terra-cotta ornament. A broad balcony projects in front of the central five, round-arched windows of this level. Its underside is faced with terra cotta and it is supported on ornate terra-cotta brackets, and topped by a delicate, classically-inspired iron railing. All of the windows on the seventh story have replacement, one-over-one metal sash and the upper areas of the round-arched windows have been filled in. The central area of this level is capped by a projecting, overhanging terracotta cornice with modillions. A broad, bronze frieze ornamented by moresque fretwork sitting on a terra-cotta rope molding is also part of this capping element.
At the southeastern corner of the building a neon blade sign is affixed between the third and sixth floors. The sign reads “SHORE.” Stillwell Avenue façade: The east façade, along Stillwell Avenue, exhibits the narrow side of the seven-story office tower with the undecorated brick facade of the movie theater, about half its height, extending northward beyond it. The design of this facade of the office building is similar to that on Surf Avenue. The ground floor storefronts are vacant and covered by grilles. The double-height piano nobile is faced with terra cotta and pierced by three large, round-headed windows. Between the two northernmost windows are two smaller rectangular window openings, one above the other. The large, northernmost window has its original metal sash, while the other windows have replacement sash. The next four stories have rectangular window openings, with a few of the windows on the northern side of each level retaining their original two-over-two wood sash. The window pattern on these floors is 2-1-2-1-1. The moldings and decorative treatment are the same on this facade as on Surf Avenue. At the top floor level are three round-headed windows flanked by a single rectangular window on each side. The central windows have non-historic infill at the top of the windows, and all have non-historic one-overone sash. The side windows are capped by inset round, terra-cotta circles and the northernmost window has small paned, double-hung sash.
The painted side wall of the theater extends to the north behind the office building. There is a small entrance door at the ground level and a variety of small window openings at the second story level, either blocked closed or filled by non-historic sash. A covered metal emergency stairway steps down along this facade, toward the northern side of the building. A small non-historic storefront is located at this side of the facade along with a doorway near the top of the building, fronted by a metal balcony, with a ladder leading to the roof. West façade: The western façade has two sections, the office building and the other side of the movie theater. Both are not designed. The side of the office building is faced with buff brick and features three vertical columns of rectangular, one-over-one double-hung replacement windows. The top of the building features three setbacks, and coping stones are evident at the top. The movie theater is faced in painted brick with a covered emergency stairway that steps down toward the rear. North façade: The northern facade consists of two angled blank painted brick walls, projecting outward slightly and forming the end of the movie theater.
- From the 2010 NYCLPC Landmark Designation Report
We were optimistic this little character might be a mother with little ones, but it seems to be a loner, no other marmots showed themselves on the several occasions we passed its tree with its balcony overlooking the road.
I woke when the alarm went off at five.
Early.
Not even the trains seemed to be running, though in a few minutes one did pass below my window. But by then I was dressed and packed, taking one last check around the room before walking to the lift, and then out into the early morning air.
I crossed Waterloo Road, up to the concourse above, then out to the taxi rank. The front cab’s driver was asleep. I didn’t want to wake him, but the driver in the cab behind said I had to. I tapped on the window and he woke with a start.
Just resting my eyes, he said.
I climbed in, told him to take me to Paddington, so he did.
We drove over Westminster Bridge, around Parliament Square, up Great Gorge Street, along Birdcage Walk, past Buckingham palace where all windows were dark, meaning Her Maj was still akip, up Constitution Hill, between two Royal parks, up Park Lane past all the expensive and exclusive hotels, round Marble Arch and finally up Edgeware Road to the station.
Sixteen pounds.
I give him twenty.
A station before rush hour, at half five in the morning, is quiet. Too quiet. I walk to the platform where no trains were waiting.
But I needed to get a ticket, which I do: £37 for a return. I go on the platform to wait, standing among but not too near other early morning passengers.
The train comes in, a version of the Electrostars we have in Kent, but with larger luggage racks, and TV screens to show advertising on mile for mile, the most expensive train journey in the UK. Again, its still dark, so don’t see much of the journey to the airport, the tunnels being as dark as the early morning air.
I make my way to terminal 3, then have to find the KLM desks, wait in line to check my case in and get my boarding passes.
Are you vaccinated?
Yes.
Do you have proof?
Yes. Here is the documents I was given at the time?
I shows the guy the two credit card pieces of evidence.
No, certificate passport?
I don’t need one.
But, he starts to say.
I checked on our corporate information site, I don’t need one.
He holds up his hand.
Checks with a colleague who points out his mistake. I issues me with boarding passes but no apology.
I go through security, all the time a large Jamaican is complaining something about cheese in a heavy accent, I don’t turn round to see if he’s talking to me.
I get though with no issues, and look for something to eat and drink. Instead of getting something cooked, I get a sandwich, some crisps and a bottle of water, so sit in the departure hall to eat and wait.
After which I walk round the hall, look in the World of Whisky shop and carry on before returning to sit down.
I manage to use my phone to log onto Twitter, so catch up on the news, but had no lunch with Facebook.
Time passes.
The gate is announced, and I go down to find lots of people already sitting near the gate. As I approach, all are ordered out of the gate waiting area, a queue forms, and I am in the first ten, somehow.
We were checked in, one by one, and allowed to board, I find an old guy in my seat, so have an aisle seat, which would mean I would be quicker to jump up to get my bag from the overhead locker.
We were all aboard, the plane backs out and we trundle to the end of the runway, and I’m sure Big Jet TV was watching as we roared off down the runway. In our forty year old 737.
In the 55 minutes we were in the air, the crew managed to serve a drink and snack, and collect the waste before we landed in sunny Holland.
Since travel started again, I was dreading the connection here, knowing how large the queues at immigration were. So I thought the 90 minutes given me for transit was optimistic to say the least. I walked all the way down the G gates, followed the signs for connecting flights to the border where no more than six were waiting.
I wait at the back, but a kind lady said I should go forward to the desk.
Why are you going to Denmark?
Work
OK, have a nice day.
Passport stamped.
The next gate had been announced, B4, so I amble down there, and on the way I get a text from KLM stating the flight had been delayed 15 minutes, meaning I had over an hour to kill. Shows how wrong even I can be…..
I sit near the gate, there’s a lot of people, but the gate is used for departures from the pan, and passengers are bussed to the plane. A flight to Munich went first, then us, I get a window seat, settle in.
The plane was full, and in a flight ten minutes shorter, the crew manage to serve drink and a snack and collect the rubbish before landing, although they were hassling people to drink up on final approach.
We land at Billund, it is a grim place, out in the country, surrounded by woods and tussock grass.
Just as I remembered it.
At least we didn’t have to go through immigration now, just pick up our cases.
What I hadn’t factored in was the belt system at reclaim failing, and while half the flight got their bags before the breakdown, the other half, my half, stood around for twenty minutes while the belt was fixed. Our bags were just below our feet, someone could have carried them, but instead we waited.
It was fixed, my case next up the ramp. I grab it and go to go through customs. I was asked to go into a room.
Can we scan your case?
I should explain at this point that certain products are not allowed in Denmark. Bovril is one. Bovril is a reduction of beef, somehow, and a hot drink can be made from it.
Beef tea, it was called.
It’s the truth.
Anyway, my friend, Shaggy, asked me to bring jars of Bovril and Marmite. And tea bags. In fact two other colleagues asked me to bring teabags. So I had nearly 1,000 teabags, Bovril, Marmite and Crème Eggs.
Red handed.
The guy looked at the scan. Said, OK, that’s fine.
Have a nice day.
Phew.
Out to the car hire place where I was hoping to meet a friend, Jan, who I had been speaking to everytime I visited. He wasn’t there.
Where’s Jan, I asked.
He left two years ago.
Oh no, I’ll miss Jan, I said.
We all miss Jan she said.
I was given a Kia Ceed estate, I just had to find it.
Out through the parking house, out the back, clicking the unlock button until I saw the lights flash.
I load by case and bag into the boot, get in, press “start”, lights come on and the car plays some electronic tune, but no engine starts.
I press the stop button.
I think.
Press the start button and press the accelerator, the engine wakes. It’s a hybrid.
No need to program the sat nav, as I have made this journey hundreds of times, but being as it was half two already, too late to go to the office, so straight to the hotel.
Along the main roads, crossing the flat countryside, past farms and villages until it was time to turn onto the motorway, then foot down and up the 50km to Aarhus, turning off towards the port, past the station and into the familiar parking lot.
Like being home.
I check in, go up to my spacious room on the 9th floor, dump my bags and decide to go out for a walk.
I walk to check on the fine display of crocus on the other side of the road from the hotel, always a spectacle this time of year, take a few shots, then walk down the main shopping street, over the canal and on to the square behind the cathedral.
From there it was a short walk over the tram lines to the edge of the harbour, where I join the students taking in the air and light. I watch a young woman sketch the scene, while others look on as the jet ferry backs out of its berth and crosses the harbour, parting the reflections as it went.
I realised how tired I was. I walk back through the town, up the hill to the art museum, I stop to buy some fruit and drinks in a supermarket, trying to reset my body.
In my room I eat a can or corn, half a pound of grapes and snack on some salt sticks. I put a pod cast on, climb into bed and fall asleep.
At half seven, Jools rang, we speak, but I am done. No dinner for me, instead I clean my teeth and get back into bed.
Done for the day.
Here's a high-quality prediction from HBX! For my original blog post, see engineroomblog.blogspot.com/2009/10/my-metrics-tool-is-fe...
Rwanda’s private sector players are optimistic of business and investment opportunities that will come with Rwanda hosting the upcoming Commonwealth Business Forum (CBF) that will take place during this year’s Commonwealth Heads of Governments Meeting (CHOGM 2020).
This was revealed today in a breakfast meeting organized by RDB (Rwanda Development Board) and the Private Sector Federation (PSF) to engage members of the private sector on the opportunities that they stand to take advantage of by participating at the CBF.
CBF will bring together between 1,000 to 1,200 business and government leaders from all Commonwealth countries for a dialogue on practical ways to enhance trade and investment.
The forum will be structured around plenary sessions and interactive workshops over three days, and will also facilitate B2G and B2B discussions at the very highest levels, addressing key themes that affect the 54 diverse Commonwealth member nations.
Speaking while making her remarks, Clare Akamanzi, the RDB Chief Executive Officer said:
“I have every confidence that you agree with me that CBF 2020 presents a unique platform for us to market Rwanda as the best destination for investments. Indeed, we look forward to the private sector signing deals and partnerships on projects that will contribute to the sustainable economic growth of our country through profits, jobs, and increasing Rwanda’s exports. Just to give you some context, over 2.4 billion people live within the Commonwealth Marketplace, and this year will see US$ 1 trillion worth of trade realised within the Commonwealth for the very first time. This means that we have a limitless market for our Made in Rwanda products and services and there shouldn’t be reason not to export more quantities to these countries.”
Robert Bapfakulera, the PSF Chairman said:
“It is important for us to ensure that the CBF leaves a lasting and positive legacy, with Rwanda at the centre of Commonwealth trade for its two years as Chair-in Office. To achieve this, the private sector must be fully prepared to optimise the Commonwealth trade opportunity-for business, investment and trade. CBF is an extremely unique platform for us to meet strategic partners and do great business.”
CHOGM 2020 will take place in Kigali from 22nd to 28thJune and will have four main forums which are Commonwealth Business, People’s, Women and Youth forums.
Coney Island, Brooklyn, New York City, New York, United States
The seven-story theater and office building recently known as the Shore Theater and originally known as the Coney Island Theater is one of the largest, most substantial structures in Coney Island in Brooklyn and, when it was constructed in 1925, represented the optimistic attitude of that period for the successful year-round development of Coney Island as a premier entertainment district. Seeking to change the atmosphere of the resort from the somewhat seedy aura it had developed in the 19th century into an area of wholesome family amusement, the city constructed the Boardwalk and extended subway service to Stillwell Avenue while private developers built enclosed amusement parks, restaurants and hotels. The Coney Island Theater was part of this redevelopment effort and featured live performances as well as motion picture screenings.
The neo Renaissance Revival style building was constructed and owned by the Chanin Construction Company and leased to the prominent Loew’s theater chain. This large building contained stores, a theater and offices, originally intended for businesses related to the theater industry. Faced with brick and terra-cotta and highlighted by stone and terra-cotta details this structure presents a grand and substantial counterpoint to Coney Island’s more modest one- and two-story buildings. The architects, Reilly & Hall, were leading theater architects of the day. Their selection for the design of the building is indicative of the desire, on the part of Coney Island’s civic and business leaders, to confer legitimacy, grandeur, and elegance on Coney Island. The building is organized in a tri-partite configuration, with a rusticated base, a buff brick shaft and a crown featuring a central arcade and balcony. The Shore Theater Building is a remarkably intact survivor of the early 20th century period when Coney Island was New York City’s playground, and was striving to become a year-round entertainment district for the entire city.
DESCRIPTION AND ANALYSIS
Coney Island
Although the western end of Coney Island had achieved some popularity as a rustic seaside resort early in the 19th century, it also gained an unsavory reputation for its gambling, pickpockets and prostitution. The real growth of Coney Island as a resort came about in the 1870s when five new railroads were constructed to connect the island with the rest of Brooklyn. These lines were built by businessmen and entrepreneurs who developed large hotels on the eastern end of the island and wanted to provide easy access to Brooklyn and Manhattan to attract a higher-end clientele than those who frequented the west side. The Manhattan Beach Hotel was opened in 1877 on the far eastern end of Coney Island, served by the New York and Manhattan Beach Railway with direct connections to lower Manhattan. Just to the west of this was the huge Brighton Beach Hotel opened in 1878, primarily drawing its clientele from Brooklyn’s middle-class business community.
Between Brighton Beach and the less savory environs of the far western point lay West Brighton, an area that became the island’s entertainment section and was served by the Prospect Park & Coney Island Railroad, commonly known as the Culver Line. Carrying numerous day-trippers away from their teeming tenements, this train terminated at a large depot near 17th Street across from Culver Plaza, a spacious open area filled with colorful flowers. West Brighton became the site of numerous bathing pavilions, restaurants, saloons, variety shows, small stores, games and unusual attractions such as “Lucy the Elephant” (destroyed by fire in 1896) and the Iron Tower (imported from the Philadelphia Centennial of 1876). West Brighton became “Coney’s true entertainment district, attracting the lion’s share of the island’s visitors.”
By the end of the 19th century a series of devastating fires opened up vast tracts of land for redevelopment and the West Brighton section became home to a new type of diversion: the enclosed amusement park. In 1895 Paul Boyton’s Sea Lion Park opened, quickly succeeded in 1897 by George C. Tilyou’s legendary Steeplechase Park, and Coney Island took on a different mien. These parks, along with Luna Park (opened in 1903) and Dreamland (opened in 1904) offered thrilling, gravity-defying mechanical rides as well as exotic fantasy architecture shimmering with millions of electric lights, sideshows, live entertainment, theatrical reenactments, music and dance halls, bathing pavilions, and eateries.
It was during the first decades of the 20th century, with the advent of the great amusement parks, that the idea of the “New Coney Island” began to take shape. The “New Coney Island” was a notion promulgated by some Coney business leaders to turn Coney Island into a year-round resort, similar to Atlantic City. Chief among the goals of the “New Coney Island” was to slough off the seedy, somewhat dangerous reputation of the late 19th century, and replace it with a more wholesome image. The enclosed parks all banned alcohol, and required patrons to pay an admission fee. It was believed that this would help to keep out patrons perceived as undesirable. Several civic organizations began calling for the construction of a boardwalk, which would provide visitors with an important public amenity.
The Boardwalk opened in 1920, the same year subway service was extended to Coney Island. Three years later, the Coney Island Chamber of Commerce was organized, with the goal of “developing Coney Island on a larger and broader scale.” With the support and promotion of the Coney Island Chamber of Commerce, several new buildings and amusements were erected. These included the (second) Child’s Restaurant on the Boardwalk, the Cyclone Roller Coaster, the Wonder Wheel, the Stillwell Avenue subway terminal, the Half Moon Hotel, Stauch’s Baths, the RKO Tilyou Theater, and the Coney Island Theater. The Coney Island Theater Building is one of the few structures still extant from this period. Other surviving features include the Wonder Wheel, the Cyclone and the Child’s Restaurant (all designated New York City Landmarks) on the Boardwalk. By decade’s end, Coney Island had been transformed once more.
The Coney Island Theater Building
This large, intact building rising on the Coney Island skyline is a prominent neo Renaissance Revival style structure that expresses, through its size and style, the aspirations of Coney Island’s boosters in the 1920s. The Coney Island Theater Building, most recently known as the Shore Theater Building, was constructed as a fireproof structure on part of the site of the former Culver Railroad line depot (replaced by the newly extended subway). A comment by Irwin S. Chanin, president of the Chanin Construction Company who was the developer of this building indicated a concern for changing the atmosphere at Coney Island. “We realized the great need in Coney Island for an all-year amusement, and I believe we have satisfied this need. We spared no expense to provide adequate facilities that will attract the finest business and amusement ventures.”
By the booming 1920s, with the Jazz Age in full swing, the culture of Coney Island was fully formed. The construction of the Half Moon Hotel in 1927, the first major hotel to be built in Coney Island since the days of the great resorts of the late 1800s, along with the completion of the newly reconstructed and publicly accessible Boardwalk, was to be a harbinger of Coney’s direction for the future. The construction of the Coney Island Theater was part and parcel of this movement. The Brooklyn Daily Eagle reported in May, 1925 that “[the theater] will be the first of its kind at the resort and the forerunner of similar structures in the movement to make Coney Island an all-year amusement resort.” Expanding upon this theme, Irwin S. Chanin continued,
The resort has the greatest population area in the country to draw from, and nothing has prevented it from being an all-year amusement place but the present type of structures, which for the most part are built only for summer use. With the subway terminating at Surf Avenue, the boardwalk extending the full length of the ocean front and the adequate police regulations, nothing can now stand in the way of its advancement.
These bold intentions are also visible in the choice of the architectural firm for the theater building. Reilly & Hall were noted theater architects of the 1920s. Some of their most important commissions were New York’s Sheridan Theater (now demolished) and the Newton Theater in Newton, New Jersey. Upon the opening of the New Jersey theater, a local newspaper, the Sussex County Democrat remarked that,
These young men have, in a short time, impressed theatre owners with their unusual ability, as operators of exquisite theatres and supervised the Tivoli Theatre in Newark, the Sheridan Theatre in New York, the Strand Theatre in Schenectady, and are engaged at present in directing the work on the Coney Island Theatre which, when completed, will rival the best picture palaces of the country.
The firm’s choice of material also indicates the ambitious building campaign. Limestone, brick, and terra cotta were used, rather than wood, as had been the custom at Coney Island. Additionally, the building is not merely a movie theater, but a seven-story “Coney Island Theater Building,” complete with offices intended to be occupied by organizations related to the entertainment industry. With buildings such as this theater and the Half Moon Hotel, the business community of Coney Island was announcing the area’s legitimacy and its aspirations.
Indeed, a 1925 Brooklyn Eagle headline announced, “$2,000,000 Theater and Office Building Reflects Transformation of Coney Island.”
The theater was immediately leased to the prominent Loew’s movie theater chain, an organization that was expanding its holdings throughout the city and beyond.
Chanin Construction Company
The Chanin Construction Company, developers of the Coney Island Theater Building, was founded in 1919 by Irwin S. Chanin (1892–1988) and his brother Henry (1893–1973), an accountant. Irwin was graduated from the Cooper Union School of Engineering in 1915. Beginning with modest residences in Bensonhurst, the firm quickly expanded and by the late 1920s, it was responsible for some of New York’s most significant buildings, including the Century and Majestic Apartments on Central Park West, and the Chanin Building (all designated New York City Landmarks). Indeed, a 1929 profile of the company in The New Yorker notes that “What is unusual about the Chanins’ story is that their achievements are visible; a whole city of scattered buildings, a hundred and forty-one of them in New York and Brooklyn.” Henry was responsible for the day-to-day management of the firm, while Irwin was the artistic visionary. Two other brothers, Samuel and Aron, also played a role in the Chanin Construction Company.
Among their numerous projects were many theaters. One of the earliest was the Roxy Theater, known as the “Cathedral of Motion Pictures” (demolished) followed by the Biltmore Theater; the Forty-Sixth Street Theater; the Mansfield Theater; the Theater Masque; The Royale Theater; and the Majestic Theater. Irwin Chanin had distinct ideas about theater design. The theme of fantasy and escape, of taking people away from their everyday lives was always uppermost in Chanin’s mind. The comfort of the theatergoer and performer was also paramount. The Chanin Construction Company built theaters with wide aisles, wide seats, roomy entry foyers, ample dressing rooms and good acoustics.
The Loew’s Corporation
From the beginning, this theater was leased and operated by the Loew’s theater chain. Marcus Loew (1870 – 1927), the company founder, was born on Manhattan’s Lower East Side and had an early career as a furrier. While working in this field Loew met Adolph Zukor, who was also in the fur business, and Morris Kohn and the three began investing in residential real estate. When Zukor and Kohn invested in a penny arcade on 14th Street, Loew watched the business thrive and was invited to join the partnership. Soon after, Loew began a competing establishment with an arcade on 23rd Street. By 1907 Loew’s company had a nationwide chain of 3,000 nickelodeons. Loew then purchased Watson’s Cozy Corner, a so-called low vaudeville theater in downtown Brooklyn, transformed it into a genuine movie palace and renamed it the Royal Theatre, charging 10 cents for admission, which was twice the standard. Loew began to expand his business rapidly, taking control of several large theaters in Manhattan and then constructing new ones, the first being the National Theatre in the Bronx in 1910. By 1911 a newly reorganized company - Loew’s Theatrical Enterprises – had purchased or taken over the management of dozens of theaters across the country.
During the second decade of the 20th century, studios and audiences had embraced full-length feature films. Zukor’s company had created the earliest essays of this new type and by 1919, Loew was convinced that this was the future of the industry. He changed his company’s name one again to Loew’s Incorporated and acquired Metro Pictures Corporation, a small existing movie production company. Loew’s Inc. then started producing its own movies in addition to owning or managing the theaters in which they would be shown. One of their first productions, The Four Horsemen of the Apocalypse with Rudolph Valentino, which premiered in 1921, was a smash and with it Loew’s Inc. became a force in the motion-picture industry. The firm embarked upon an extensive theater-building campaign of which the apogee was the construction of the Loew’s State Theater in 1921. Designed by legendary theater architect Thomas W. Lamb, the construction of this theater was a “major event in Loew’s progress [and] fulfilled his dream of possessing a big vaudeville-picture palace in the nation’s theatrical center, Times Square.” If a location could vie with Times Square as a center of entertainment and amusement, it was Coney Island. Although Loew’s Inc. leased rather than owned the new theater, when it opened in 1925 the new building was named the Loew’s Coney Island Theater.
Reilly & Hall
Paul C. Reilly, (1890 – 1984)
Douglas Pairman Hall (1880 – 1945)
Reilly, a native of New York City, was graduated from the Columbia University School of Architecture. In addition to the design of several theaters, Reilly was closely associated with the Roman Catholic Archdiocese of New York, and served for a period as the architect of St. Patrick’s Cathedral. Among his church commissions were the Sacred Heart Cathedral in Newark and the Church of Our Saviour on Park Avenue and East 38th Street in Manhattan. Other works include St. Ephrem’s Church, Brooklyn and the Church of St. Peter Claver in Montclair, New Jersey.
Hall, a Scotsman (like Lamb), immigrated to America in 1912. He was graduated from the University of Edinburgh and received his architectural degree from the Royal Institute of Architecture in London. Hall developed a reputation as a theater architect, and was responsible for the design of more than 50 theaters in the New York area.
Early in their careers, both Reilly and Hall were employed by the firm of Thomas W. Lamb, theater architect, where Reilly held the position of chief designer. By 1920, the pair formed a partnership and the firm Reilly & Hall occupied an office at 749 Fifth Avenue. Though fruitful, the venture does not appear to have lasted long. By 1928, there is no longer a listing for Reilly & Hall, and Hall is a sole practitioner with an office on East 45th Street. Reilly opened his own office in 1930 on lower Fifth Avenue.
Neo Renaissance Revival Style and the Movies
The 1920s was an era of tremendous growth in the development of movie theater buildings. Often constructed by the studios to showcase their films, theaters were seen as crucial advertising. If the theater was elegant, if it served to enhance the escapism of the movie-going experience, if the eye could be continually delighted, the patron would return week after week. Some theaters were developed as grand “movie palaces” with fantastic interiors that added to the total experience of the invented world on the screen.
Others were dressed in historical revivalist styles, still popular in the 1920s. Of these, there were many variants, including Italianate and French. Based on European precedents of the Renaissance, Baroque, and classical, the style is characterized by rational planning, with classical elements like balustrades and prominent cornices, restrained facades, and a light palette. The neo Renaissance revival style (popular in the 20th century) was an outgrowth of the earlier Renaissance Revival style, which was in vogue beginning in the 1880s. Buildings constructed in these styles ranged from public buildings like theaters and municipal structures to private homes, such as row houses or town houses. These historical revival styles suggested sophistication, wealth, and class. For a movie theater to be outfitted in such architectural clothing communicated the serious side of the Loew’s Coney Island Theater. Its builders intended the structure to evoke high-brow entertainment and edification, as part of Coney Island’s more dignified aspirations at this time.
History of the Loew’s Theater
The Loew’s Coney Island Theater opened on June 17, 1925. Marcus Loew himself presided, and with typical show-business bravura promised an array of stage, screen, and radio stars in attendance. Those who were scheduled to attend included Johnny Hines, Barbara Lamarr, Mae Busch, Ben Lyon, John Irving Fisher, Texas Guinan, Dorothy Mackaill, Virginia Lee Corbin, and John Lowe. Builder Irwin S. Chanin declared, “Here all of the island arrive, and here we hope to make the corner a sort of Coney Island ‘Broadway and 42nd Street.’” During the first week of operation, the stage was given over to Violet and Daisy Hilton, the famed Hilton Sisters.
Built primarily as a movie theater, the Loew’s Coney Island also featured live vaudeville entertainment, as Loew’s included live performances in many of its theaters to bolster the box office.
The Loew’s Coney Island Theater remained under the control of Loew’s Incorporated until 1964. Spaces on the ground floor housed small shops or restaurants, and various offices were located in the upper floors. Some of these businesses included Nedick’s, Garcia y Vega Cigars and Admiration Cigars. The office building housed such varied tenants as Angelo Paino & Co., Inc. (building contractors); Belpark Construction Corporation; and a local draft board.
By the end of 1964, Loew’s Inc. lost control of the theater, and it became the Brandt Shore Theater. As the Shore Theater, movies were shown exclusively, although by the end of 1965, the management announced that the space would become a legitimate theater with musicals, revues, and plays. During this period, some of the offerings included “Let’s Dance,” “The Jewel Box Revue,” and “Bagels and Yox.” By April 1966, burlesque operator Leroy C. Griffith was staging shows at the Shore; thereafter, films resumed being shown along with live entertainment.
It appears that the era of live entertainment in the building was short-lived. Films returned exclusively and by the early 1970s, it had become an adult venue. In 1972 the orchestra level of the theater was converted to a bingo hall and during the 1970s, the Gay Way Bar was a tenant in the ground floor corner retail space. In the 1980s, a branch of Kansas Fried Chicken occupied the corner store. During the late 1960s and through the 1970s, tenants in the office space above included a dress manufacturer, a Medicaid office, and a Head Start nursery program. The building is currently vacant.
Description Surf Avenue Façade: The Shore Theater Building is located on the northwest corner of Stillwell and Surf Avenues. The building, including the ground floor storefronts, is vacant. Scaffolding projects at the first floor cornice line and covers the marquee which is located at the center of the seven-bay wide facade. The storefronts are non-historic and are covered by roll-down iron grilles. The westernmost opening on this facade is for vehicular access and is covered by a solid, roll-down gate. A pedestrian entrance is located in the bay just to the east of this. It has a stone surround, with a rope molding framing the doorway and a stone plaque carved with the name, “Coney Island Theatre Building” above. This opening is also covered by a solid metal gate. Another doorway under the marquee is also surrounded by dressed stone blocks, as are the end piers on both facades.
Above the base is a piano nobile faced with terra cotta molded to replicate rusticated limestone. This level has double-height, round-arched windows with one-over-one metal replacement sash. Within each arched opening the top part has non-historic metal infill, while the spandrels beneath the windows feature terra-cotta panels with foliate designs. This section of the building is capped by a narrow cornice formed by a terra-cotta dentil molding and a series of stone moldings.
Floors three through five are faced with buff-colored brick and have unadorned, rectangular window openings, set in pairs. The top of this level is marked by a dentil course of terra cotta. The sixth floor has the same window pattern as below, but the windows are framed by white terra cotta and the panels between the windows are faced with square white terra-cotta tiles set on the diagonal. The top of the sixth story has a broad, terra-cotta frieze ornamented with circles and classical foliate designs and topped by a terra-cotta cornice. All of the sash in the windows on this facade has been replaced.
The brick-faced seventh floor consists of a central pavilion, five-bays wide, with single-bay setbacks at the eastern and western ends of the facade. These setback bays are fronted by small terraces set behind terra-cotta balustrades and are topped by a brick dentil course and terracotta coping. The top of each round-arched window has been filled with a terra-cotta panel. The round-arched windows of the central pavilion have brick moldings and terra-cotta keystones, with round, flat terra-cotta panels inset into the brick in the spandrels between the arches. Two additional round-headed windows are located to the outside of this central area and these windows have terra-cotta moldings and keystones and sit above small panels of terra-cotta ornament. A broad balcony projects in front of the central five, round-arched windows of this level. Its underside is faced with terra cotta and it is supported on ornate terra-cotta brackets, and topped by a delicate, classically-inspired iron railing. All of the windows on the seventh story have replacement, one-over-one metal sash and the upper areas of the round-arched windows have been filled in. The central area of this level is capped by a projecting, overhanging terracotta cornice with modillions. A broad, bronze frieze ornamented by moresque fretwork sitting on a terra-cotta rope molding is also part of this capping element.
At the southeastern corner of the building a neon blade sign is affixed between the third and sixth floors. The sign reads “SHORE.” Stillwell Avenue façade: The east façade, along Stillwell Avenue, exhibits the narrow side of the seven-story office tower with the undecorated brick facade of the movie theater, about half its height, extending northward beyond it. The design of this facade of the office building is similar to that on Surf Avenue. The ground floor storefronts are vacant and covered by grilles. The double-height piano nobile is faced with terra cotta and pierced by three large, round-headed windows. Between the two northernmost windows are two smaller rectangular window openings, one above the other. The large, northernmost window has its original metal sash, while the other windows have replacement sash. The next four stories have rectangular window openings, with a few of the windows on the northern side of each level retaining their original two-over-two wood sash. The window pattern on these floors is 2-1-2-1-1. The moldings and decorative treatment are the same on this facade as on Surf Avenue. At the top floor level are three round-headed windows flanked by a single rectangular window on each side. The central windows have non-historic infill at the top of the windows, and all have non-historic one-overone sash. The side windows are capped by inset round, terra-cotta circles and the northernmost window has small paned, double-hung sash.
The painted side wall of the theater extends to the north behind the office building. There is a small entrance door at the ground level and a variety of small window openings at the second story level, either blocked closed or filled by non-historic sash. A covered metal emergency stairway steps down along this facade, toward the northern side of the building. A small non-historic storefront is located at this side of the facade along with a doorway near the top of the building, fronted by a metal balcony, with a ladder leading to the roof. West façade: The western façade has two sections, the office building and the other side of the movie theater. Both are not designed. The side of the office building is faced with buff brick and features three vertical columns of rectangular, one-over-one double-hung replacement windows. The top of the building features three setbacks, and coping stones are evident at the top. The movie theater is faced in painted brick with a covered emergency stairway that steps down toward the rear. North façade: The northern facade consists of two angled blank painted brick walls, projecting outward slightly and forming the end of the movie theater.
- From the 2010 NYCLPC Landmark Designation Report
Classic Space is bright and optimistic and shiny and innocent.
Not any more.
Those that may have been following my photostream (or my blog ghsquarefeet.wordpress.com) may recall that I've been wondering "what if the old catalogue images are propaganda? What if the Blacktron are the good guys and the Classic Space faction are an oppressive tyranny?"
This is the first major build definitively tied into that universe. It has scary-looking Space Police. It has remote cameras. It has faceless transcorporate Classic Space goon squads. It has peaceful Blacktron protesters being gunned down. It isn't nice, and it's not innocent. This is the dark underbelly of the Classic Space System.
Tel Aviv-Yafo usually referred to as just Tel Aviv, is the most populous city in the Gush Dan metropolitan area of Israel. Located on the Israeli Mediterranean coastline and with a population of 467,875, it is the economic and technological center of the country. If East Jerusalem is considered part of Israel, Tel Aviv is the country's second-most-populous city, after Jerusalem; if not, Tel Aviv is the most populous city, ahead of West Jerusalem.
Tel Aviv is governed by the Tel Aviv-Yafo Municipality, headed by Mayor Ron Huldai, and is home to most of Israel's foreign embassies. It is a beta+ world city and is ranked 57th in the 2022 Global Financial Centres Index. Tel Aviv has the third- or fourth-largest economy and the largest economy per capita in the Middle East. The city currently has the highest cost of living in the world. Tel Aviv receives over 2.5 million international visitors annually. A "party capital" in the Middle East, it has a lively nightlife and 24-hour culture. The city is gay-friendly, with a large LGBT community. Tel Aviv is home to Tel Aviv University, the largest university in the country with more than 30,000 students.
The city was founded in 1909 by the Yishuv (Jewish residents) and initially given the Hebrew name Ahuzat Bayit (Hebrew: אחוזת בית, romanized: ʔAħuzat Bayit, lit. 'House Estate' or 'Homestead'), namesake of the Jewish association which established the neighbourhood as a modern housing estate on the outskirts of the ancient port city of Jaffa (Yafo in Hebrew), then part of the Mutasarrifate of Jerusalem within the Ottoman Empire. Its name was changed the following year to Tel Aviv, after the biblical name Tel Abib (lit. "Tell of Spring") adopted by Nahum Sokolow as the title for his Hebrew translation of Theodor Herzl's 1902 novel Altneuland ("Old New Land"). Other Jewish suburbs of Jaffa had been established before Tel Aviv, the oldest among them being Neve Tzedek. Tel Aviv was given township status within the Jaffa Municipality in 1921, and became independent from Jaffa in 1934. Immigration by mostly Jewish refugees meant that the growth of Tel Aviv soon outpaced that of Jaffa, which had a majority Arab population at the time. In 1948 the Israeli Declaration of Independence was proclaimed in the city. After the 1947–1949 Palestine war, Tel Aviv began the municipal annexation of parts of Jaffa, fully unified with Jaffa under the name Tel Aviv in April 1950, and was formally renamed to Tel Aviv-Yafo in August 1950.
Tel Aviv's White City, designated a UNESCO World Heritage Site in 2003, comprises the world's largest concentration of International Style buildings, including Bauhaus and other related modernist architectural styles. Popular attractions include Jaffa Old City, the Eretz Israel Museum, the Museum of Art, Hayarkon Park, and the city's promenade and beach.
Etymology and origins
Tel Aviv is the Hebrew title of Theodor Herzl’s 1902 novel Altneuland ("Old New Land"), as translated from German by Nahum Sokolow. Sokolow had adopted the name of a Mesopotamian site near the city of Babylon mentioned in Ezekiel: "Then I came to them of the captivity at Tel Abib [Tel Aviv], that lived by the river Chebar, and to where they lived; and I sat there overwhelmed among them seven days." The name was chosen in 1910 from several suggestions, including "Herzliya". It was found fitting as it embraced the idea of a renaissance in the ancient Jewish homeland. Aviv (אביב, or Abib) is a Hebrew word that can be translated as "spring", symbolizing renewal, and tell (or tel) is an artificial mound created over centuries through the accumulation of successive layers of civilization built one over the other and symbolizing the ancient.
Although founded in 1909 as a small settlement on the sand dunes north of Jaffa, Tel Aviv was envisaged as a future city from the start. Its founders hoped that in contrast to what they perceived as the squalid and unsanitary conditions of neighbouring Arab towns, Tel Aviv was to be a clean and modern city, inspired by the European cities of Warsaw and Odesa. The marketing pamphlets advocating for its establishment stated:
In this city we will build the streets so they have roads and sidewalks and electric lights. Every house will have water from wells that will flow through pipes as in every modern European city, and also sewerage pipes will be installed for the health of the city and its residents.
— Akiva Arieh Weiss, 1906
History
The walled city of Jaffa is modern-day Tel Aviv-Yafo's only urban centre that existed in early modern times. Jaffa was an important port city in the region for millennia. Archaeological evidence shows signs of human settlement there starting in roughly 7,500 BC. The city was established around 1,800 BC at the latest. Its natural harbour has been used since the Bronze Age. By the time Tel Aviv was founded as a separate city during Ottoman rule of the region, Jaffa had been ruled by the Canaanites, Egyptians, Philistines, Israelites, Assyrians, Babylonians, Persians, Phoenicians, Ptolemies, Seleucids, Hasmoneans, Romans, Byzantines, the early Islamic caliphates, Crusaders, Ayyubids, and Mamluks before coming under Ottoman rule in 1515. It had been fought over numerous times. The city is mentioned in ancient Egyptian documents, as well as the Hebrew Bible.
Other ancient sites in Tel Aviv include: Tell Qasile, Tel Gerisa, Abattoir Hill, Tel Hashash, and Tell Qudadi.
During the First Aliyah in the 1880s, when Jewish immigrants began arriving in the region in significant numbers, new neighborhoods were founded outside Jaffa on the current territory of Tel Aviv. The first was Neve Tzedek, founded in 1887 by Mizrahi Jews due to overcrowding in Jaffa and built on lands owned by Aharon Chelouche. Other neighborhoods were Neve Shalom (1890), Yafa Nof (1896), Achva (1899), Ohel Moshe (1904), Kerem HaTeimanim (1906), and others. Once Tel Aviv received city status in the 1920s, those neighborhoods joined the newly formed municipality, now becoming separated from Jaffa.
1904–1917: Foundation in Late Ottoman period
The Second Aliyah led to further expansion. In 1906, a group of Jews, among them residents of Jaffa, followed the initiative of Akiva Aryeh Weiss and banded together to form the Ahuzat Bayit (lit. "homestead") society. One of the society's goals was to form a "Hebrew urban centre in a healthy environment, planned according to the rules of aesthetics and modern hygiene". The urban planning for the new city was influenced by the garden city movement. The first 60 plots were purchased in Kerem Djebali near Jaffa by Jacobus Kann, a Dutch citizen, who registered them in his name to circumvent the Turkish prohibition on Jewish land acquisition.[34] Meir Dizengoff, later Tel Aviv's first mayor, also joined the Ahuzat Bayit society. His vision for Tel Aviv involved peaceful co-existence with Arabs.
On 11 April 1909, 66 Jewish families gathered on a desolate sand dune to parcel out the land by lottery using seashells. This gathering is considered the official date of the establishment of Tel Aviv. The lottery was organised by Akiva Aryeh Weiss, president of the building society. Weiss collected 120 sea shells on the beach, half of them white and half of them grey. The members' names were written on the white shells and the plot numbers on the grey shells. A boy drew names from one box of shells and a girl drew plot numbers from the second box. A photographer, Abraham Soskin (b. 1881 in Russia, made aliyah 1906), documented the event. The first water well was later dug at this site, located on what is today Rothschild Boulevard, across from Dizengoff House. Within a year, Herzl, Ahad Ha'am, Yehuda Halevi, Lilienblum, and Rothschild streets were built; a water system was installed; and 66 houses (including some on six subdivided plots) were completed. At the end of Herzl Street, a plot was allocated for a new building for the Herzliya Hebrew High School, founded in Jaffa in 1906. The cornerstone for the building was laid on 28 July 1909. The town was originally named Ahuzat Bayit. On 21 May 1910, the name Tel Aviv was adopted. The flag and city arms of Tel Aviv (see above) contain under the red Star of David 2 words from the biblical book of Jeremiah: "I (God) will build You up again and you will be rebuilt." (Jer 31:4) Tel Aviv was planned as an independent Hebrew city with wide streets and boulevards, running water for each house, and street lights.
By 1914, Tel Aviv had grown to more than 1 km2 (247 acres). In 1915 a census of Tel Aviv was conducted, recording a population 2,679. However, growth halted in 1917 when the Ottoman authorities expelled the residents of Jaffa and Tel Aviv as a wartime measure. A report published in The New York Times by United States Consul Garrels in Alexandria, Egypt described the Jaffa deportation of early April 1917. The orders of evacuation were aimed chiefly at the Jewish population. Jews were free to return to their homes in Tel Aviv at the end of the following year when, with the end of World War I and the defeat of the Ottomans, the British took control of Palestine.
The town had rapidly become an attraction to immigrants, with a local activist writing:
The immigrants were attracted to Tel Aviv because they found in it all the comforts they were used to in Europe: electric light, water, a little cleanliness, cinema, opera, theatre, and also more or less advanced schools... busy streets, full restaurants, cafes open until 2 a.m., singing, music, and dancing.
British administration 1917–34: Townships within the Jaffa Municipality
A master plan for the Tel Aviv township was created by Patrick Geddes, 1925, based on the garden city movement. The plan consisted of four main features: a hierarchical system of streets laid out in a grid, large blocks consisting of small-scale domestic dwellings, the organization of these blocks around central open spaces, and the concentration of cultural institutions to form a civic center.
Tel Aviv, along with the rest of the Jaffa municipality, was conquered by the British imperial army in late 1917 during the Sinai and Palestine Campaign of World War I and became part of British-administered Mandatory Palestine until 1948.
Tel Aviv, established as suburb of Jaffa, received "township" or local council status within the Jaffa Municipality in 1921. According to a census conducted in 1922 by the British Mandate authorities, Tel Aviv had a population of 15,185 (15,065 Jews, 78 Muslims and 42 Christians). The population increased in the 1931 census to 46,101 (45,564 Jews, 288 with no religion, 143 Christians, and 106 Muslims), in 12,545 houses.
With increasing Jewish immigration during the British administration, friction between Arabs and Jews in Palestine increased. On 1 May 1921, the Jaffa riots resulted in the deaths of 48 Arabs and 47 Jews and injuries to 146 Jews and 73 Arabs. In the wake of this violence, many Jews left Jaffa for Tel Aviv. The population of Tel Aviv increased from 2,000 in 1920 to around 34,000 by 1925.
Tel Aviv began to develop as a commercial center. In 1923, Tel Aviv was the first town to be wired to electricity in Palestine, followed by Jaffa later in the same year. The opening ceremony of the Jaffa Electric Company powerhouse, on 10 June 1923, celebrated the lighting of the two main streets of Tel Aviv.
In 1925, the Scottish biologist, sociologist, philanthropist and pioneering town planner Patrick Geddes drew up a master plan for Tel Aviv which was adopted by the city council led by Meir Dizengoff. Geddes's plan for developing the northern part of the district was based on Ebenezer Howard's garden city movement. While most of the northern area of Tel Aviv was built according to this plan, the influx of European refugees in the 1930s necessitated the construction of taller apartment buildings on a larger footprint in the city.
Ben Gurion House was built in 1930–31, part of a new workers' housing development. At the same time, Jewish cultural life was given a boost by the establishment of the Ohel Theatre and the decision of Habima Theatre to make Tel Aviv its permanent base in 1931.
1934 municipal independence from Jaffa
Tel Aviv was granted the status of an independent municipality separate from Jaffa in 1934. The Jewish population rose dramatically during the Fifth Aliyah after the Nazis came to power in Germany. By 1937 the Jewish population of Tel Aviv had risen to 150,000, compared to Jaffa's mainly Arab 69,000 residents. Within two years, it had reached 160,000, which was over a third of Palestine's total Jewish population. Many new Jewish immigrants to Palestine disembarked in Jaffa, and remained in Tel Aviv, turning the city into a center of urban life. Friction during the 1936–39 Arab revolt led to the opening of a local Jewish port, Tel Aviv Port, independent of Jaffa, in 1938. It closed on 25 October 1965. Lydda Airport (later Ben Gurion Airport) and Sde Dov Airport opened between 1937 and 1938.
Many German Jewish architects trained at the Bauhaus, the Modernist school of architecture in Germany, and left Germany during the 1930s. Some, like Arieh Sharon, came to Palestine and adapted the architectural outlook of the Bauhaus and similar schools to the local conditions there, creating what is recognized as the largest concentration of buildings in the International Style in the world.
Tel Aviv's White City emerged in the 1930s, and became a UNESCO World Heritage Site in 2003. During World War II, Tel Aviv was hit by Italian airstrikes on 9 September 1940, which killed 137 people in the city.
The village statistics of 1938 listed Tel Aviv's population as 140,000, all Jews. The village statistics of 1945 listed Tel Aviv's population as 166,660 (166,000 Jews, 300 "other", 230 Christians, and 130 Muslims).
During the Jewish insurgency in Mandatory Palestine, Jewish Irgun and Lehi guerrillas launched repeated attacks against British military, police, and government targets in the city. In 1946, following the King David Hotel bombing, the British carried out Operation Shark, in which the entire city was searched for Jewish militants and most of the residents questioned, during which the entire city was placed under curfew. During the March 1947 martial law in Mandatory Palestine, Tel Aviv was placed under martial law by the British authorities for 15 days, with the residents kept under curfew for all but three hours a day as British forces scoured the city for militants. In spite of this, Jewish guerrilla attacks continued in Tel Aviv and other areas under martial law in Palestine.
According to the 1947 UN Partition Plan for dividing Palestine into Jewish and Arab states, Tel Aviv, by then a city of 230,000, was to be included in the proposed Jewish state. Jaffa with, as of 1945, a population of 101,580 people—53,930 Muslims, 30,820 Jews and 16,800 Christians—was designated as part of the Arab state. Civil War broke out in the country and in particular between the neighbouring cities of Tel Aviv and Jaffa, which had been assigned to the Jewish and Arab states respectively. After several months of siege, on 13 May 1948, Jaffa fell and the Arab population fled en masse.
State of Israel
When Israel declared Independence on 14 May 1948, the population of Tel Aviv was over 200,000. Tel Aviv was the temporary government center of the State of Israel until the government moved to Jerusalem in December 1949. Due to the international dispute over the status of Jerusalem, most embassies remained in or near Tel Aviv. The boundaries of Tel Aviv and Jaffa became a matter of contention between the Tel Aviv municipality and the Israeli government in 1948. The former wished to incorporate only the northern Jewish suburbs of Jaffa, while the latter wanted a more complete unification. The issue also had international sensitivity, since the main part of Jaffa was in the Arab portion of the United Nations Partition Plan, whereas Tel Aviv was not, and no armistice agreements had yet been signed. On 10 December 1948, the government announced the annexation to Tel Aviv of Jaffa's Jewish suburbs, the Palestinian neighborhood of Abu Kabir, the Arab village of Salama and some of its agricultural land, and the Jewish Hatikva slum. On 25 February 1949, the depopulated Palestinian village of al-Shaykh Muwannis was also annexed to Tel Aviv. On 18 May 1949, Manshiya and part of Jaffa's central zone were added, for the first time including land that had been in the Arab portion of the UN partition plan. The government voted on the unification of Tel Aviv and Jaffa on 4 October 1949, but the decision was not implemented until 24 April 1950 due to the opposition of Tel Aviv mayor Israel Rokach. The name of the unified city was Tel Aviv until 19 August 1950, when it was renamed Tel Aviv-Yafo in order to preserve the historical name Jaffa. Tel Aviv thus grew to 42 km2 (16.2 sq mi). In 1949, a memorial to the 60 founders of Tel Aviv was constructed.
In the 1960s, some of the older buildings were demolished, making way for the country's first high-rises. The historic Herzliya Hebrew Gymnasium was controversially demolished, to make way for the Shalom Meir Tower, which was completed in 1965, and remained Israel's tallest building until 1999. Tel Aviv's population peaked in the early 1960s at 390,000, representing 16 percent of the country's total. By the early 1970s, Tel Aviv had entered a long and steady period of continuous population decline, which was accompanied by urban decay. By 1981, Tel Aviv had entered not just natural population decline, but an absolute population decline as well. In the late 1980s the city had an aging population of 317,000. Construction activity had moved away from the inner ring of Tel Aviv, and had moved to its outer perimeter and adjoining cities. A mass out-migration of residents from Tel Aviv, to adjoining cities like Petah Tikva and Rehovot, where better housing conditions were available, was underway by the beginning of the 1970s, and only accelerated by the Yom Kippur War. Cramped housing conditions and high property prices pushed families out of Tel Aviv and deterred young people from moving in. From the beginning of 1970s, the common image of Tel Aviv became that of a decaying city, as Tel Aviv's population fell 20%.
In the 1970s, the apparent sense of Tel Aviv's urban decline became a theme in the work of novelists such as Yaakov Shabtai, in works describing the city such as Sof Davar (The End of Things) and Zikhron Devarim (The Memory of Things). A symptomatic article of 1980 asked "Is Tel Aviv Dying?" and portrayed what it saw as the city's existential problems: "Residents leaving the city, businesses penetrating into residential areas, economic and social gaps, deteriorating neighbourhoods, contaminated air – Is the First Hebrew City destined for a slow death? Will it become a ghost town?". However, others saw this as a transitional period. By the late 1980s, attitudes to the city's future had become markedly more optimistic. It had also become a center of nightlife and discotheques for Israelis who lived in the suburbs and adjoining cities. By 1989, Tel Aviv had acquired the nickname "Nonstop City", as a reflection of the growing recognition of its nightlife and 24/7 culture, and "Nonstop City" had to some extent replaced the former moniker of "First Hebrew City". The largest project built in this era was the Dizengoff Center, Israel's first shopping mall, which was completed in 1983. Other notable projects included the construction of Marganit Tower in 1987, the opening of the Suzanne Dellal Center for Dance and Theater in 1989, and the Tel Aviv Cinematheque (opened in 1973 and located to the current building in 1989).
In the early 1980s, 13 embassies in Jerusalem moved to Tel Aviv as part of the UN's measures responding to Israel's 1980 Jerusalem Law. Today, most national embassies are located in Tel Aviv or environs. In the 1990s, the decline in Tel Aviv's population began to be reversed and stabilized, at first temporarily due to a wave of immigrants from the former Soviet Union. Tel Aviv absorbed 42,000 immigrants from the FSU, many educated in scientific, technological, medical and mathematical fields. In this period, the number of engineers in the city doubled. Tel Aviv soon began to emerge as a global high-tech center. The construction of many skyscrapers and high-tech office buildings followed. In 1993, Tel Aviv was categorized as a world city. However, the city's municipality struggled to cope with an influx of new immigrants. Tel Aviv's tax base had been shrinking for many years, as a result of its preceding long term population decline, and this meant there was little money available at the time to invest in the city's deteriorating infrastructure and housing. In 1998, Tel Aviv was on the "verge of bankruptcy". Economic difficulties would then be compounded by a wave of Palestinian suicide bombings in the city from the mid-1990s, to the end of the Second Intifada, as well as the dot-com bubble, which affected the city's rapidly growing hi-tech sector. On 4 November 1995, Israel's prime minister, Yitzhak Rabin, was assassinated at a rally in Tel Aviv in support of the Oslo peace accord. The outdoor plaza where this occurred, formerly known as Kikar Malchei Yisrael, was renamed Rabin Square.
In the Gulf War in 1991, Tel Aviv was attacked by Scud missiles from Iraq. Iraq hoped to provoke an Israeli military response, which could have destroyed the US–Arab alliance. The United States pressured Israel not to retaliate, and after Israel acquiesced, the US and Netherlands rushed Patriot missiles to defend against the attacks, but they proved largely ineffective. Tel Aviv and other Israeli cities continued to be hit by Scuds throughout the war, and every city in the Tel Aviv area except for Bnei Brak was hit. A total of 74 Israelis died as a result of the Iraqi attacks, mostly from suffocation and heart attacks, while approximately 230 Israelis were injured. Extensive property damage was also caused, and some 4,000 Israelis were left homeless. It was feared that Iraq would fire missiles filled with nerve agents or sarin. As a result, the Israeli government issued gas masks to its citizens. When the first Iraqi missiles hit Israel, some people injected themselves with an antidote for nerve gas. The inhabitants of the southeastern suburb of Hatikva erected an angel-monument as a sign of their gratitude that "it was through a great miracle, that many people were preserved from being killed by a direct hit of a Scud rocket."
Since the First Intifada, Tel Aviv has suffered from Palestinian political violence. The first suicide attack in Tel Aviv occurred on 19 October 1994, on the Line 5 bus, when a bomber killed 22 civilians and injured 50 as part of a Hamas suicide campaign. On 6 March 1996, another Hamas suicide bomber killed 13 people (12 civilians and 1 soldier), many of them children, in the Dizengoff Center suicide bombing. Three women were killed by a Hamas terrorist in the Café Apropo bombing on 27 March 1997.
One of the deadliest attacks occurred on 1 June 2001, during the Second Intifada, when a suicide bomber exploded at the entrance to the Dolphinarium discothèque, killing 21, mostly teenagers, and injuring 132. Another Hamas suicide bomber killed six civilians and injured 70 in the Allenby Street bus bombing. Twenty-three civilians were killed and over 100 injured in the Tel Aviv central bus station massacre. Al-Aqsa Martyrs Brigades claimed responsibility for the attack. In the Mike's Place suicide bombing, an attack on a bar by a British Muslim suicide bomber resulted in the deaths of three civilians and wounded over 50. Hamas and Al Aqsa Martyrs Brigades claimed joint responsibility. An Islamic Jihad bomber killed five and wounded over 50 on 25 February 2005 Stage Club bombing. The most recent suicide attack in the city occurred on 17 April 2006, when 11 people were killed and at least 70 wounded in a suicide bombing near the old central bus station.
Another attack took place on 29 August 2011 in which a Palestinian attacker stole an Israeli taxi cab and rammed it into a police checkpoint guarding the popular Haoman 17 nightclub in Tel Aviv which was filled with 2,000 Israeli teenagers. After crashing, the assailant went on a stabbing spree, injuring eight people. Due to an Israel Border Police roadblock at the entrance and immediate response of the Border Police team during the subsequent stabbings, a much larger and fatal mass-casualty incident was avoided.
On 21 November 2012, during Operation Pillar of Defense, the Tel Aviv area was targeted by rockets, and air raid sirens were sounded in the city for the first time since the Gulf War. All of the rockets either missed populated areas or were shot down by an Iron Dome rocket defense battery stationed near the city. During the operation, a bomb blast on a bus wounded at least 28 civilians, three seriously. This was described as a terrorist attack by Israel, Russia, and the United States and was condemned by the United Nations, United States, United Kingdom, France and Russia, whilst Hamas spokesman Sami Abu Zuhri declared that the organisation "blesses" the attack. More than 300 rockets were fired towards the Tel Aviv Metropolitan area in the 2021 Israel–Palestine crisis.
New laws were introduced to protect Modernist buildings, and efforts to preserve them were aided by UNESCO recognition of Tel Aviv's White City as a world heritage site in 2003. In the early 2000s, Tel Aviv municipality focused on attracting more young residents to the city. It made significant investment in major boulevards, to create attractive pedestrian corridors. Former industrial areas like the city's previously derelict Northern Tel Aviv Port and the Jaffa railway station, were upgraded and transformed into leisure areas. A process of gentrification began in some of the poor neighborhoods of southern Tel Aviv and many older buildings began to be renovated.
The demographic profile of the city changed in the 2000s, as it began to attract a higher proportion of young residents. By 2012, 28 percent of the city's population was aged between 20 and 34 years old. Between 2007 and 2012, the city's population growth averaged 6.29 percent. As a result of its population recovery and industrial transition, the city's finances were transformed, and by 2012 it was running a budget surplus and maintained a credit rating of AAA+. In the 2000s and early 2010s, Tel Aviv received tens of thousands of illegal immigrants, primarily from Sudan and Eritrea, changing the demographic profile of areas of the city. In 2009, Tel Aviv celebrated its official centennial. In addition to city- and country-wide celebrations, digital collections of historical materials were assembled. These include the History section of the official Tel Aviv-Yafo Centennial Year website; the Ahuzat Bayit collection, which focuses on the founding families of Tel Aviv, and includes photographs and biographies; and Stanford University's Eliasaf Robinson Tel Aviv Collection, documenting the history of the city. Today, the city is regarded as a strong candidate for global city status. Over the past 60 years, Tel Aviv had developed into a secular, liberal-minded center with a vibrant nightlife and café culture.
Geography
Tel Aviv is located around 32°5′N 34°48′E on the Israeli Mediterranean coastline, in central Israel, the historic land bridge between Europe, Asia and Africa. Immediately north of the ancient port of Jaffa, Tel Aviv lies on land that used to be sand dunes and as such has relatively poor soil fertility. The land has been flattened and has no important gradients; its most notable geographical features are bluffs above the Mediterranean coastline and the Yarkon River mouth. Because of the expansion of Tel Aviv and the Gush Dan region, absolute borders between Tel Aviv and Jaffa and between the city's neighborhoods do not exist.
The city is located 60 km (37 mi) northwest of Jerusalem and 90 km (56 mi) south of the city of Haifa. Neighboring cities and towns include Herzliya to the north, Ramat HaSharon to the northeast, Petah Tikva, Bnei Brak, Ramat Gan and Giv'atayim to the east, Holon to the southeast, and Bat Yam to the south. The city is economically stratified between the north and south. Southern Tel Aviv is considered less affluent than northern Tel Aviv with the exception of Neve Tzedek and northern and north-western Jaffa. Central Tel Aviv is home to Azrieli Center and the important financial and commerce district along Ayalon Highway. The northern side of Tel Aviv is home to Tel Aviv University, Hayarkon Park, and upscale residential neighborhoods such as Ramat Aviv and Afeka.
Environment
Tel Aviv is ranked as the greenest city in Israel. Since 2008, city lights are turned off annually in support of Earth Hour. In February 2009, the municipality launched a water saving campaign, including competition granting free parking for a year to the household that is found to have consumed the least water per person.
In the early 21st century, Tel Aviv's municipality transformed a derelict power station into a public park, now named "Gan HaHashmal" ("Electricity Park"), paving the way for eco-friendly and environmentally conscious designs. In October 2008, Martin Weyl turned an old garbage dump near Ben Gurion International Airport, called Hiriya, into an attraction by building an arc of plastic bottles.[120] The site, which was renamed Ariel Sharon Park to honor Israel's former prime minister, will serve as the centerpiece in what is to become a 2,000-acre (8.1 km2) urban wilderness on the outskirts of Tel Aviv, designed by German landscape architect, Peter Latz.
At the end of the 20th century, the city began restoring historical neighborhoods such as Neve Tzedek and many buildings from the 1920s and 1930s. Since 2007, the city hosts its well-known, annual Open House Tel Aviv weekend, which offers the general public free entrance to the city's famous landmarks, private houses and public buildings. In 2010, the design of the renovated Tel Aviv Port (Nemal Tel Aviv) won the award for outstanding landscape architecture at the European Biennial for Landscape Architecture in Barcelona.
In 2014, the Sarona Market Complex opened, following an 8-year renovation project of Sarona colony.
Tel Aviv has a Mediterranean climate (Köppen climate classification: Csa), and enjoys plenty of sunshine throughout the year. Most precipitation falls in the form of rain between the months of October and April, with intervening dry summers, and there is almost no rainfall from June to September. The average annual temperature is 20.9 °C (69.6 °F), and the average sea temperature is 18–20 °C (64–68 °F) during the winter, and 24–29 °C (75–84 °F) during the summer. The city averages 528 mm (20.8 in) of precipitation annually.
Summers in Tel Aviv last about five months, from June to October. August, the warmest month, averages a high of 30.6 °C (87.1 °F), and a low of 25 °C (77 °F). The high relative humidity due to the location of the city by the Mediterranean Sea, in a combination with the high temperatures, creates a thermal discomfort during the summer. Summer low temperatures in Tel Aviv seldom drop below 20 °C (68 °F).
Winters are mild and wet, with most of the annual precipitation falling within the months of December, January and February as intense rainfall and thunderstorms. In January, the coolest month, the average maximum temperature is 17.6 °C (63.7 °F), the minimum temperature averages 10.2 °C (50.4 °F). During the coldest days of winter, temperatures may vary between 8 °C (46 °F) and 12 °C (54 °F). Both freezing temperatures and snowfall are extremely rare in the city.
Autumns and springs are characterized by sharp temperature changes, with heat waves that might be created due to hot and dry air masses that arrive from the nearby deserts. During heatwaves in autumn and springs, temperatures usually climb up to 35 °C (95 °F) and even up to 40 °C (104 °F), accompanied with exceptionally low humidity. An average day during autumn and spring has a high of 23 °C (73 °F) to 25 °C (77 °F), and a low of 15 °C (59 °F) to 18 °C (64 °F).
The highest recorded temperature in Tel Aviv was 46.5 °C (115.7 °F) on 17 May 1916, and the lowest is −1.9 °C (28.6 °F) on 7 February 1950, during a cold wave that brought the only recorded snowfall in Tel Aviv.
Government
Tel Aviv is governed by a 31-member city council elected for a five-year term by in direct proportional elections, and a mayor elected for the same term by direct elections under a two-round system. Like all other mayors in Israel, no term limits exist for the Mayor of Tel Aviv. All Israeli citizens over the age of 17 with at least one year of residence in Tel Aviv are eligible to vote in municipal elections. The municipality is responsible for social services, community programs, public infrastructure, urban planning, tourism and other local affairs. The Tel Aviv City Hall is located at Rabin Square. Ron Huldai has been mayor of Tel Aviv since 1998. Huldai was reelected for a fifth term in the 2018 municipal elections, defeating former deputy Asaf Zamir, founder of the Ha'Ir party. Huldai's has become the longest-serving mayor of the city, exceeding Shlomo Lahat's 19-year term. The shortest-serving was David Bloch, in office for two years, 1925–27.
Politically, Tel Aviv is known to be a stronghold for the left, in both local and national issues. The left wing vote is especially prevalent in the city's mostly affluent central and northern neighborhoods, though not the case for its working-class southeastern neighborhoods which tend to vote for right wing parties in national elections. Outside the kibbutzim, Meretz receives more votes in Tel Aviv than in any other city in Israel.
Ok, so here it is, I just love it. I mean I'm really obsessed with it, really " When someone hurts you cry a river, build a bridge and get over it!" tell me something more beautiful, deep, optimistic and more true than this!
Ken approaches Cooper-Gran on Bugaboo Spire optimistic the weather will improve on a gloomy morning. Alana and I were on our way to try our second attempt on Crescent spire after being rained off the previous day when the boys caught up to us. Thanks to our rappelling mis-adventure we all got back onto the glacier around the same time that night. Ken's optimism paid off because the clouds all burned off and they had a successful ascent.
The Bugaboos - August 12-18, 2012
Living in Squamish I am very lucky to be surrounded by excellent rock to train my technical climbing skills as well as many great peaks for scrambling. But, until last week I had never had the opportunity to combine the two skills I've been developing for years. That all changed when a friend invited me to be her partner on the yearly trip my friend group takes. Two months after the invitiation, a partner swap, and a week of careful packing and preparation I actually found myself driving east about to embark on what would be the greatest adventure of my life to date.
The moment I arrived at basecamp my lofty climbing aspiration were downgraded to starting with a 4th class route and going from there. I received tons of advice from friends that had been going for several years, but still nothing could have prepared me for the reality of being there. The ascent to Applebee basecamp, the scale of the spires, the difficulty of the glaciers, and the exposure did not translate well to maps and photos I found myself in awe and terror. Every single obstacle I encountered was more physically and mentally demanding that I could have expected.
Even though we were with a large group of friends, we were on our own when we headed out for the day and often learning as we went. As a result we learned many lessons the hard way, including when to put crampons on, when to switch into rock shoes, how hard preventing rockfall can be, and all the ways rappelling can go wrong.
It was both the single most terrifying and rewarding experience of my life. Never did I expect to learn so much in a week, or do so little actual climbing. Instead it was a wild ride of alpine obstacles, and a truly life changing experience shared with great friends old and new.
A brief summary of my adventure:
Aug 12 - Hike into Applebee base camp with 80+lbs pack full of climbing, camping, and glacier gear as well as 7 days of food, and clothes for everything from -10 to +30 degrees celcius rain and shine.
Aug 13 - Eastpost spire, combination of Northeast and Northwest ridges.
Aug 14 - Crescent Spire, W ridge. - Rained off first attempt, after self arresting and improv. anchor construction.
Aug 15 - Crescent Spire, W ridge - Successful ascent followed by rappelling disaster involving ditching a rope that was later recovered
Aug 16 - Pigeon Spire, W ridge - Got 30m up route then turned back to save terror management skills for descent back down the Bugaboo-Snowpatch col
Aug 17 - Eastpost spire again and bathing in the tarn
Aug 18 - Hike out and long drive home
Please feel free to contact me with any questions regarding my experience.
Photos from this trip were taken with a combination of my Nikon D7000, Olympus uT8000 & GoPro HD2
A brain tumor occurs when there is an abnormal level of cell growth within the brain. A brain tumor can be either benign or malignant; these being non-cancerous and cancerous tumors respectively. Brain cancer is extremely serious and once had a very low rate of survival, but recent medical advancements have increased the chances of the survival.
One of the largest problems with brain cancer in certain countries is actually receiving the needed treatment. Costs are very expensive and it is difficult to find coverage. The hospitals, insurance companies, and financial aid organizations put up far too much red tape that must be gone through, and precious time is wasted. People are forced to wait far too long while their claim is still pending, and many are eventually denied help.
A miracle for some people has been the treatment for brain cancer abroad. In North America and some European countries, the waiting time for treatment and overall cost is so overwhelming that it negatively affects the odds of survival. But there are many foreign countries where patients can receive treatment at a much faster and reliable speed, and at more reasonable costs.
Getting treatment abroad does not mean that you will have to receive less effective treatment. There are many foreign countries with highly capable medical centers with professionals who were trained in the United Kingdom or the United States and have a good rate of success with cancer treatments.
Another great benefit of getting treatment abroad is that patients can visit new and exciting places while receiving care. It helps the patient to be more relaxed, optimistic, and happy during this time. There's no point spending every moment worrying. A change in scenery, beautiful sights, exiting things to do and see, and knowing that you're now receiving the treatment that you need, can help keep you in a positive mind-set.
It is caused due to age, race and family history. Little children and men are highly prone to this disease. Also people who are exposed towards harmful radiations and chemicals like formaldehyde, vinyl chloride and acrylonitrile are highly prone to this disease.
The symptoms include:
Severe headache usually in the mornings
Vomiting
Swelling
Surrounding inflammation
Weakness
Clumsiness
Difficulty in walking
Difficulty in speech
Abnormal vision
Changes in emotional reactions or logical sense
Usually CT scans and MRI scans are used for detection of tumors located in brain. The biopsy is examined to confirm whether it is cancer or not. The standard treatment types available are surgery, radiation therapy and chemotherapy. The alternative brain cancer treatment aids to ease out the pain, fatigue, retard cancerous cell growth and side-effects. They are listed out below:
Nutrition supplements rich in vitamins, antioxidants, green tea, parsleys, proteins etc are given to patients.
Herbal medicines provide natural ways to treat cancer.
Mind body medicine techniques emphasize on power of thoughts and emotions positively, to control the body.
Physical therapy techniques like massage therapy, reflexologies are used to alleviate the pains through manipulative techniques on the affected parts, controlled movements, bending and postures etc.
Imagery techniques are useful in offering peace to mind by the way of imagining beautiful natural sceneries, arts, pictures etc.
Meditation techniques offer peace to both mind and the body, thereby lessening mental stress caused by the afflictions.
Today's word is optimistic. She immediately came to mind. Yes, she can be difficult, and moody, and demanding. She has her tantrums. She's not a morning person. But she LOVES life. She gets excited about having popcorn after dinner. Wearing her favorite outfit. When anyone comes over to visit. She's always looking for something to be happy about, whether it's going to Disney or going to get her brother up from his nap. I love that about her.
Something tells me this old Triumph might have a bit of trouble making it to the top speed on its speedometer. 2009 All British Field Meet, VanDusen Botanical Garden, Vancouver. May 16, 2009.
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THE WALL STREET JOURNAL:
Schumer Optimistic on Democrats’ Chances in 2012
By Corey Boles
Never let it be said that Sen. Charles Schumer (D., N.Y.) isn’t an optimist.
On Wednesday, the senior Democrat said that if his party was able to knock off one or two Republican-controlled Senate seats in next November’s elections, it would be “almost impossible” for the Democrats to lose control of the Senate.
“When you look at it from 30,000 feet it looks bad,” Mr. Schumer said, at a round table with reporters hosted by the Third Way, a centrist economic think tank. “But when you look at it race by race, it looks darn good.”
Mr. Schumer’s reasoning goes against the views of political oddsmakers, who think Democrats will have a difficult time retaining control of the Senate. They currently have a 53-47 majority, but 23 seats currently held by Democrats are up next year as opposed to just 10 seats for the GOP, leaving Democrats defending more than double the number of seats as Republicans. Analysts also believe about 10 of the Democratic seats are competitive, while just two of the Republican seats are seen as being potentially vulnerable.
But Mr. Schumer sees it differently. He said it was possible Democrats can defeat GOP incumbent Sen. Scott Brown in Massachusetts, where former Harvard professor Elizabeth Warren is running against him. He also mentioned Arizona, Indiana and Nevada as possible Democratic targets depending on the candidates.
The New York Democrat is far from being a novice in political matters. He ran the campaign which steers funds to Senate candidates in the fat years for Democrats in 2006 and 2008 when they regained control of the chamber and then reached their height of power at 60 seats, a mark that effectively gave them complete control of the Senate.
Unsurprisingly, Republicans disagreed with Mr. Schumer’s assessment. Brian Walsh, communications director for the National Republican Senatorial Committee, said Mr. Schumer’s view was “out of touch with political reality.”
Forty years ago this month (September 1972), the British rock band Family released their sixth album, Bandstand.
Bandstand was a straightforward rock album with some tough soul-based numbers and some intense ballads. It's more conventional that its predecessor, the superb and innovative Fearless, but the musicianship remained first-rate and enjoyable. Roger Chapman continued to make good use of his growling vibrato, while Charlie Whitney took a more pensive, nuanced approach to his guitar on lighter numbers and offered up some crunchy riffs on others. Poli Palmer's flute and vibraphone remain highlights on the record, as well as the tight rhythms of drummer Rob Townsend and bassist John Wetton.
Bandstand opened with “Burlesque,” a fun, gut-busting tune about a nightclub of that name in Chapman and Whitney's hometown of Leicester, and features some punchy tunes such as "Ready To Go," a jab at the band’s detractors with some inspired drum work from Townsend. "Broken Nose" may be one of the most terrifying songs Family committed to disc, full of sexual and class politics between a hapless working-class bloke and his rich girlfriend. The biting music is complemented by the angry voice of Roger Chapman competing with his backing vocalist, British soul singer Linda Lewis, for attention. "The day that I stopped loving you was the day you broke my nose," the lyrics go. (Chapman sings them. She broke his nose!)
Bandstand offers some nice ballads as well, with the hopeful, optimistic acoustic ballad "My Friend The Sun" that promises better , sunnier days ahead, much like the Beatles’ "Let It Be" does, while the short "Dark Eyes" is a gentle harmonic song reminiscent of Crosby, Stills and Nash." Only "Bolero Babe" and "Top of the Hill," the closing cut, fall short of the rest of the LP by meandering a bit, but not by that much. The worst things you can say about Bandstand is that John Wetton, having been a vital presence vocally on Fearless, doesn't sing lead anywhere here, and that there's no instrumental track on the record - Bandstand is the only Family LP not to have one - to pique your interest.
The cover artwork didn't disappoint, showing the band in the studio listening to a playback in an image on an antique television screen. The outer sleeve, cut in the shape of a TV cabinet, is a gatefold that opens up to reveal the inner workings of a TV set underneath. John Kosh, who designed the innovative layered-paging cover of Fearless, also designed the Bandstand cover, with pictures of the band from photographer Peter Howe.
For more on Bandstand, go to my Family page - A Family Affair - and the fan Web site Family Bandstand.
Family in 1972 was:
Roger Chapman (vocals)
Charlie Whitney (guitar)
John Wetton (guitar, bass, vocals)
Poli Palmer (keyboards, vibraphone, flute, vocals)
Rob Townsend (drums)
I was practicing my freehand panning (NL: pannen) technique during the 42nd cycling competition "Wielerronde van Ermelo".
Ferrari Formula One driver Sebastian Vettel of Germany sits in his car as he prepares for the second free practice session of Abu Dhabi F1 Grand Prix at the Yas Marina circuit in Abu Dhabi November 27, 2015. REUTERS/Hamad I Mohammed
ABU DHABI – mainstay Ferrari driver, Sebastian Vettel,...
www.world.zorhea.com/optimistic-vettel-ferrari-can-exceed...
Yes, it's analog, not done in Photoshop. I have a bunch of manipulated Polaroids here.
'Stubbornly Optimistic Hydrangea (SX-70 manipulation)' On Black
This one head of hydrangea blossoms kept on going until late November, long after most of the bush and all the rest of the flowers had turned brown and gone to sleep for the winter. I added the rain, mostly just to compensate for the blurry shot done with not enough light. By the time I got home every afternoon, it was getting dark, so my shooting options were restricted.
Optimistic, Friendly, Heartwarming Lad
This little fellow showed up in our backyard recently. He has no
out-door kitty skills. He is sweet and refuses to be engaged by
Kitty's through-the-window aggression. He appears to take her hissy
fits as acts of friendly playfulness. It amazes us how open-hearted he
is.
One night he jumped up on the barbecue to cry at me through the
window. I went over to see what he wanted and heard Anton go, "Oh,
it's raining! That's what he's telling us." And that was it. He was
telling us it was raining, letting us know, saying, "Mommy! Daddy!
It's raining! Let Me In!" My heart broke a bit. It hurts to keep him
out.
He will look at me through the window, open-eyed, as if he doesn't
understand why we don't let him in. He found us and he is happy. A
very happy little one.
I remember the first time I fed him. He was so happy he purred out
loud and ate like crazy.
He likes to walk in front of me and often tangles himself in my legs
as he leaps ahead on the narrow path of stepping stones, tail high. He
feels so connected, he feels home and it hurts my heart. For I know he
is an indoor cat. He has other fur siblings. Someone is missing their
cat, and he was so thin.
How long has he been on his own? How long has he been starving and
cold? How long can I keep him outside? I worry about his health, and I
worry that he might have something contagious. I change my clothes
when I visit with him, then change again when I go back inside. But I
am walking on the same wet ground he does, then walk on my floors and
carpet. The same floors and carpet Kitty walks on. He seems healthy,
so I am keeping my fingers crossed for all of our sakes.
I walked the neighborhood tonight handing out little flyers with my
phone number on them, trying to find his home.
Outside of the Town Hall theater on West 43rd Street in Manhattan, a crowd of smiling and optimistic people Friday overflowed into the one-way street. Delivery trucks and yellow taxi cabs creeped by, their engines engaged in a shouting match with Bennet Weiss, a man who bore a fleeting resemblance to the Democratic presidential candidate they were all there to support.
"We don't have billions of dollars! All we have are people wearing Bernie pins," Weiss yelled, a large black umbrella covered in Bernie Sanders campaign pins at his feet, catching drops of sweat from his brow. The Occupy Wall Street protester-turned-Sanders supporter urged the crowd to wear the pins at all times with no exception -- even in the shower -- and gave them away freely to anyone who said they didn't have enough cash to afford to pay the suggested donation.
That's the kind of populist support Sanders' campaign has steadily been attracting since the U.S. senator from Vermont formally announced his candidacy in late April. Friday was no exception, with passion-filled people who think Sanders has proved himself the worthy champion of causes they care about the most, such as income inequality, climate change, Wall Street reform and further healthcare reforms. But, perhaps most importantly, they also think he can win the White House.
"Absolutely" he can win, said Joe Trinolone, 30, a former finance industry worker from Long Island, New York, who is studying mathematics at St. Joseph's University. "I mean, he's winning right now."
Sanders, during a fundraising speech Friday, ticked through the policies he cares about and areas of change he wants to see in Washington should he become president. At each turn, his blend of outrage, optimism and sly sarcasm brought raucous cheers from the crowd of 1,100. He rejected recent Wall Street Journal criticism of the high price tag of his proposals, including making public colleges and universities free, lowering so-called real unemployment by pumping funding into infrastructure repairs for the nation’s roads and bridges and implementing a universal healthcare system.
Instead, he pointed to European nations that already have those programs. He implored the crowd to think about what many of them were already talking about: that taking on the big-money interests in the United States that impede those sorts of policy changes is a shared moral obligation.
“Welcome to the revolution,” Sanders said, describing what he believes must happen to American politics. “We can accomplish all of this and more.” And the crowd ate it up.
When asked why they support Sanders, many described his candidacy as a movement. They love his policies, and have a hard time thinking of much they don’t like about him. They especially like that he has been a consistent voice during his time in Washington. That’s a big perceived difference between Sanders and his Democratic rival Hillary Clinton. Those "feeling the Bern" were split on whether they would consider voting for her if she becomes the nominee. Many were newcomers to political action but felt compelled to join the fray when they heard Sanders and his message.
“I’ve never been excited about a politician my entire life,” said Meira Marom, 34, a Brooklyn third-grade teacher with a master's degree in creative writing. When Marom started seeing social media posts about Sanders and reading about him, she decided to stop focusing her personal time on writing for herself. She now writes and publishes something about Sanders every day -- Dr. Seuss themes every Sunday, poems and parodies. “I decided this is the most worthy cause to put my rhymes to use.”
Sanders has seen an unexpected rise in the polls since he joined the race for the Democratic nomination shortly after the current national front-runner Clinton announced her candidacy. While Sanders was trailing Clinton by 21.4 percent in national averages of polls compiled by Real Clear Politics, a look at early nominating states like Iowa and New Hampshire paints a different picture of vulnerability for Clinton and strength for Sanders.
The two candidates are tied in Iowa, which constitutes a dramatic drop for Clinton and an impressive surge for Sanders, who has been distancing himself from Clinton in New Hampshire at the top of the Democratic pack since Aug. 25, when he jumped past her in the state for the first time. He currently leads there by 10.5 points.
The candidates are noticeably different in many ways, from policy prescription to fundraising strategy.
Clinton has moved leftward since announcing her candidacy, but she is still threatened by the populist appeal of Sanders, who has long championed the causes that seem to be coming into grace for the Democratic Party. While the candidates currently hold some very similar positions on issues such as immigration reform, gay rights, gun control and campaign finance reform, Sanders has been able to stake out positions to the left of Clinton on other issues that excite some vocal voters.
Among them are his strong anti-war and anti-government surveillance positions as well as his distaste for President Barack Obama's Trans Pacific Partnership trade deal. Sanders also has been a vocal critic of Wall Street and champion of financial reforms, and his stance on those issues has drawn attention to Clinton's cozy relationship with Wall Street executives and the huge paychecks she has received for speeches to large banks since leaving the U.S. State Department. For some Sanders supporters, though, the perception that Sanders has been a consistent proponent of these liberal policies, and cares about them more than winning, is key.
“It’s the message that supporting Bernie Sanders is not just voting on a horse in the race” that attracts Brian Dillon, a 28-year-old self-employed Web designer and developer for e-commerce, said Friday. Dillon has voted just one time in his life, but he has been organizing meetings to drum up support for Sanders.
Sanders's fundraising portfolio also is the reverse of Clinton's. While the former secretary of state is expected to spend somewhere north of $1 billion should she win the primary and head into the general election for 2016, the same has not been said of Sanders. Currently, Clinton has raised, through her campaign committee and super PACs associated with the campaign, $47.5 million, according to data from the Center for Responsive Politics. Sanders, on the other hand, has raised just shy of $16.5 million, according to CRP data.
Their most startling difference in fundraising, however, can be seen in the size of the donations they're receiving. The Clinton campaign received 82 percent of its donations from large contributors, and her top industry donors, not including retired people, so far have been lawyers, business services and the financial industry.
In contrast, Sanders relies much more on small donations, which are defined as donations totaling $200 or less. So far, 69 percent of his contributions have come from small donors, and the biggest industries that have given to his campaign have been from the education, legal and healthcare sectors.
Who are those small donors? The types of people who showed up Friday. Some said they donate $25 to $30 a month to Sanders. Some said they have donated several hundred dollars since he jumped into the presidential race. Nearly all of them mentioned they don't earn a ton of money personally. One in particular, Machumu Sakulira, said he donated $500 before attending Friday’s event.
There is “no way” he would support a Clinton ticket, said Sakulira, a 31-year-old senior political science student at the University at Buffalo. He got on a bus Thursday night at 11 p.m. and arrived in New York at 7 a.m. for the Sanders speech. He said he was going back Friday night. “Bernie represents my interest. My vote is a moral choice, I don’t give it to somebody who doesn’t deserve it.”
www.ibtimes.com/election-2016-bernie-sanders-nyc-fundrais...
Outside of the Town Hall theater on West 43rd Street in Manhattan, a crowd of smiling and optimistic people Friday overflowed into the one-way street. Delivery trucks and yellow taxi cabs creeped by, their engines engaged in a shouting match with Bennet Weiss, a man who bore a fleeting resemblance to the Democratic presidential candidate they were all there to support.
"We don't have billions of dollars! All we have are people wearing Bernie pins," Weiss yelled, a large black umbrella covered in Bernie Sanders campaign pins at his feet, catching drops of sweat from his brow. The Occupy Wall Street protester-turned-Sanders supporter urged the crowd to wear the pins at all times with no exception -- even in the shower -- and gave them away freely to anyone who said they didn't have enough cash to afford to pay the suggested donation.
That's the kind of populist support Sanders' campaign has steadily been attracting since the U.S. senator from Vermont formally announced his candidacy in late April. Friday was no exception, with passion-filled people who think Sanders has proved himself the worthy champion of causes they care about the most, such as income inequality, climate change, Wall Street reform and further healthcare reforms. But, perhaps most importantly, they also think he can win the White House.
"Absolutely" he can win, said Joe Trinolone, 30, a former finance industry worker from Long Island, New York, who is studying mathematics at St. Joseph's University. "I mean, he's winning right now."
Sanders, during a fundraising speech Friday, ticked through the policies he cares about and areas of change he wants to see in Washington should he become president. At each turn, his blend of outrage, optimism and sly sarcasm brought raucous cheers from the crowd of 1,100. He rejected recent Wall Street Journal criticism of the high price tag of his proposals, including making public colleges and universities free, lowering so-called real unemployment by pumping funding into infrastructure repairs for the nation’s roads and bridges and implementing a universal healthcare system.
Instead, he pointed to European nations that already have those programs. He implored the crowd to think about what many of them were already talking about: that taking on the big-money interests in the United States that impede those sorts of policy changes is a shared moral obligation.
“Welcome to the revolution,” Sanders said, describing what he believes must happen to American politics. “We can accomplish all of this and more.” And the crowd ate it up.
When asked why they support Sanders, many described his candidacy as a movement. They love his policies, and have a hard time thinking of much they don’t like about him. They especially like that he has been a consistent voice during his time in Washington. That’s a big perceived difference between Sanders and his Democratic rival Hillary Clinton. Those "feeling the Bern" were split on whether they would consider voting for her if she becomes the nominee. Many were newcomers to political action but felt compelled to join the fray when they heard Sanders and his message.
“I’ve never been excited about a politician my entire life,” said Meira Marom, 34, a Brooklyn third-grade teacher with a master's degree in creative writing. When Marom started seeing social media posts about Sanders and reading about him, she decided to stop focusing her personal time on writing for herself. She now writes and publishes something about Sanders every day -- Dr. Seuss themes every Sunday, poems and parodies. “I decided this is the most worthy cause to put my rhymes to use.”
Sanders has seen an unexpected rise in the polls since he joined the race for the Democratic nomination shortly after the current national front-runner Clinton announced her candidacy. While Sanders was trailing Clinton by 21.4 percent in national averages of polls compiled by Real Clear Politics, a look at early nominating states like Iowa and New Hampshire paints a different picture of vulnerability for Clinton and strength for Sanders.
The two candidates are tied in Iowa, which constitutes a dramatic drop for Clinton and an impressive surge for Sanders, who has been distancing himself from Clinton in New Hampshire at the top of the Democratic pack since Aug. 25, when he jumped past her in the state for the first time. He currently leads there by 10.5 points.
The candidates are noticeably different in many ways, from policy prescription to fundraising strategy.
Clinton has moved leftward since announcing her candidacy, but she is still threatened by the populist appeal of Sanders, who has long championed the causes that seem to be coming into grace for the Democratic Party. While the candidates currently hold some very similar positions on issues such as immigration reform, gay rights, gun control and campaign finance reform, Sanders has been able to stake out positions to the left of Clinton on other issues that excite some vocal voters.
Among them are his strong anti-war and anti-government surveillance positions as well as his distaste for President Barack Obama's Trans Pacific Partnership trade deal. Sanders also has been a vocal critic of Wall Street and champion of financial reforms, and his stance on those issues has drawn attention to Clinton's cozy relationship with Wall Street executives and the huge paychecks she has received for speeches to large banks since leaving the U.S. State Department. For some Sanders supporters, though, the perception that Sanders has been a consistent proponent of these liberal policies, and cares about them more than winning, is key.
“It’s the message that supporting Bernie Sanders is not just voting on a horse in the race” that attracts Brian Dillon, a 28-year-old self-employed Web designer and developer for e-commerce, said Friday. Dillon has voted just one time in his life, but he has been organizing meetings to drum up support for Sanders.
Sanders's fundraising portfolio also is the reverse of Clinton's. While the former secretary of state is expected to spend somewhere north of $1 billion should she win the primary and head into the general election for 2016, the same has not been said of Sanders. Currently, Clinton has raised, through her campaign committee and super PACs associated with the campaign, $47.5 million, according to data from the Center for Responsive Politics. Sanders, on the other hand, has raised just shy of $16.5 million, according to CRP data.
Their most startling difference in fundraising, however, can be seen in the size of the donations they're receiving. The Clinton campaign received 82 percent of its donations from large contributors, and her top industry donors, not including retired people, so far have been lawyers, business services and the financial industry.
In contrast, Sanders relies much more on small donations, which are defined as donations totaling $200 or less. So far, 69 percent of his contributions have come from small donors, and the biggest industries that have given to his campaign have been from the education, legal and healthcare sectors.
Who are those small donors? The types of people who showed up Friday. Some said they donate $25 to $30 a month to Sanders. Some said they have donated several hundred dollars since he jumped into the presidential race. Nearly all of them mentioned they don't earn a ton of money personally. One in particular, Machumu Sakulira, said he donated $500 before attending Friday’s event.
There is “no way” he would support a Clinton ticket, said Sakulira, a 31-year-old senior political science student at the University at Buffalo. He got on a bus Thursday night at 11 p.m. and arrived in New York at 7 a.m. for the Sanders speech. He said he was going back Friday night. “Bernie represents my interest. My vote is a moral choice, I don’t give it to somebody who doesn’t deserve it.”
www.ibtimes.com/election-2016-bernie-sanders-nyc-fundrais...
Apologies for not keeping up on this the past few weeks. Today I resume. I miss the photos.
He dumped me.
Months ago.
So far, I've lost almost 50 lbs.
It's the medications for keeping my back pain under control. It's been a rough road. I'm finally on medication that doesn't make me high out of my mind. It's nice to have most of my thoughts back- though, motivation I'm still having a tough time with.
The pain eases a little each day- but some days it comes back full force. I'm trying to stay optimistic.
I suppose it's time to be very shallow and a little bitchy.
Meet my revenge body.
It's no longer his to enjoy!
Boy, that makes me gloat.
Call me Snake offers an optimistic provocation – ‘imagine what could be here’ by Judy Millar. On a walk into the city October 3, 2015 Christchurch New Zealand.
The work is comprised of vibrant graphics of Millar’s looped paintings, which are adhered to five intersecting flat planes, and draws inspiration from the forms found in pop-up books. The colourful piece will add a dramatic and rhythmic counterpoint to the city’s current urban landscape — a mix of flattened sites, construction zones and defiant buildings that have stood through the quakes. The work employs theatricality, playfulness and visual trickery, whereby the viewer is unsure about the work’s flatness or three-dimensionality; and it has been designed to offer a different perspective from each angle. The bright colours interrupt the grey of the work’s surrounds, and as buildings pop up around it,
SCAPE 8, New Intimacies curated by Rob Garrett was a contemporary art event which mixed new artworks with existing legacy pieces, an education programme, and a public programme of events. The SCAPE 8 artworks were located around central Christchurch and linked via a public art walkway. All aspects of SCAPE 8 were free-to-view.
The title for the 2015 Biennial – New Intimacies – came from the idea that visually striking and emotionally engaging public art works can create new connections between people and places. Under the main theme of New Intimacies there are three other themes that artists responded to: Sight-Lines, Inner Depths and Shared Strengths.
For more Info: www.scapepublicart.org.nz/scape-8-judy-millar
Outside of the Town Hall theater on West 43rd Street in Manhattan, a crowd of smiling and optimistic people Friday overflowed into the one-way street. Delivery trucks and yellow taxi cabs creeped by, their engines engaged in a shouting match with Bennet Weiss, a man who bore a fleeting resemblance to the Democratic presidential candidate they were all there to support.
"We don't have billions of dollars! All we have are people wearing Bernie pins," Weiss yelled, a large black umbrella covered in Bernie Sanders campaign pins at his feet, catching drops of sweat from his brow. The Occupy Wall Street protester-turned-Sanders supporter urged the crowd to wear the pins at all times with no exception -- even in the shower -- and gave them away freely to anyone who said they didn't have enough cash to afford to pay the suggested donation.
That's the kind of populist support Sanders' campaign has steadily been attracting since the U.S. senator from Vermont formally announced his candidacy in late April. Friday was no exception, with passion-filled people who think Sanders has proved himself the worthy champion of causes they care about the most, such as income inequality, climate change, Wall Street reform and further healthcare reforms. But, perhaps most importantly, they also think he can win the White House.
"Absolutely" he can win, said Joe Trinolone, 30, a former finance industry worker from Long Island, New York, who is studying mathematics at St. Joseph's University. "I mean, he's winning right now."
Sanders, during a fundraising speech Friday, ticked through the policies he cares about and areas of change he wants to see in Washington should he become president. At each turn, his blend of outrage, optimism and sly sarcasm brought raucous cheers from the crowd of 1,100. He rejected recent Wall Street Journal criticism of the high price tag of his proposals, including making public colleges and universities free, lowering so-called real unemployment by pumping funding into infrastructure repairs for the nation’s roads and bridges and implementing a universal healthcare system.
Instead, he pointed to European nations that already have those programs. He implored the crowd to think about what many of them were already talking about: that taking on the big-money interests in the United States that impede those sorts of policy changes is a shared moral obligation.
“Welcome to the revolution,” Sanders said, describing what he believes must happen to American politics. “We can accomplish all of this and more.” And the crowd ate it up.
When asked why they support Sanders, many described his candidacy as a movement. They love his policies, and have a hard time thinking of much they don’t like about him. They especially like that he has been a consistent voice during his time in Washington. That’s a big perceived difference between Sanders and his Democratic rival Hillary Clinton. Those "feeling the Bern" were split on whether they would consider voting for her if she becomes the nominee. Many were newcomers to political action but felt compelled to join the fray when they heard Sanders and his message.
“I’ve never been excited about a politician my entire life,” said Meira Marom, 34, a Brooklyn third-grade teacher with a master's degree in creative writing. When Marom started seeing social media posts about Sanders and reading about him, she decided to stop focusing her personal time on writing for herself. She now writes and publishes something about Sanders every day -- Dr. Seuss themes every Sunday, poems and parodies. “I decided this is the most worthy cause to put my rhymes to use.”
Sanders has seen an unexpected rise in the polls since he joined the race for the Democratic nomination shortly after the current national front-runner Clinton announced her candidacy. While Sanders was trailing Clinton by 21.4 percent in national averages of polls compiled by Real Clear Politics, a look at early nominating states like Iowa and New Hampshire paints a different picture of vulnerability for Clinton and strength for Sanders.
The two candidates are tied in Iowa, which constitutes a dramatic drop for Clinton and an impressive surge for Sanders, who has been distancing himself from Clinton in New Hampshire at the top of the Democratic pack since Aug. 25, when he jumped past her in the state for the first time. He currently leads there by 10.5 points.
The candidates are noticeably different in many ways, from policy prescription to fundraising strategy.
Clinton has moved leftward since announcing her candidacy, but she is still threatened by the populist appeal of Sanders, who has long championed the causes that seem to be coming into grace for the Democratic Party. While the candidates currently hold some very similar positions on issues such as immigration reform, gay rights, gun control and campaign finance reform, Sanders has been able to stake out positions to the left of Clinton on other issues that excite some vocal voters.
Among them are his strong anti-war and anti-government surveillance positions as well as his distaste for President Barack Obama's Trans Pacific Partnership trade deal. Sanders also has been a vocal critic of Wall Street and champion of financial reforms, and his stance on those issues has drawn attention to Clinton's cozy relationship with Wall Street executives and the huge paychecks she has received for speeches to large banks since leaving the U.S. State Department. For some Sanders supporters, though, the perception that Sanders has been a consistent proponent of these liberal policies, and cares about them more than winning, is key.
“It’s the message that supporting Bernie Sanders is not just voting on a horse in the race” that attracts Brian Dillon, a 28-year-old self-employed Web designer and developer for e-commerce, said Friday. Dillon has voted just one time in his life, but he has been organizing meetings to drum up support for Sanders.
Sanders's fundraising portfolio also is the reverse of Clinton's. While the former secretary of state is expected to spend somewhere north of $1 billion should she win the primary and head into the general election for 2016, the same has not been said of Sanders. Currently, Clinton has raised, through her campaign committee and super PACs associated with the campaign, $47.5 million, according to data from the Center for Responsive Politics. Sanders, on the other hand, has raised just shy of $16.5 million, according to CRP data.
Their most startling difference in fundraising, however, can be seen in the size of the donations they're receiving. The Clinton campaign received 82 percent of its donations from large contributors, and her top industry donors, not including retired people, so far have been lawyers, business services and the financial industry.
In contrast, Sanders relies much more on small donations, which are defined as donations totaling $200 or less. So far, 69 percent of his contributions have come from small donors, and the biggest industries that have given to his campaign have been from the education, legal and healthcare sectors.
Who are those small donors? The types of people who showed up Friday. Some said they donate $25 to $30 a month to Sanders. Some said they have donated several hundred dollars since he jumped into the presidential race. Nearly all of them mentioned they don't earn a ton of money personally. One in particular, Machumu Sakulira, said he donated $500 before attending Friday’s event.
There is “no way” he would support a Clinton ticket, said Sakulira, a 31-year-old senior political science student at the University at Buffalo. He got on a bus Thursday night at 11 p.m. and arrived in New York at 7 a.m. for the Sanders speech. He said he was going back Friday night. “Bernie represents my interest. My vote is a moral choice, I don’t give it to somebody who doesn’t deserve it.”
www.ibtimes.com/election-2016-bernie-sanders-nyc-fundrais...