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General Info.Indd
General Information • Landmarks Beyond the obvious crowd-pleasers, New York City landmarks Guggenheim (Map 17) is one of New York’s most unique are super-subjective. One person’s favorite cobblestoned and distinctive buildings (apparently there’s some art alley is some developer’s idea of prime real estate. Bits of old inside, too). The Cathedral of St. John the Divine (Map New York disappear to differing amounts of fanfare and 18) has a very medieval vibe and is the world’s largest make room for whatever it is we’ll be romanticizing in the unfinished cathedral—a much cooler destination than the future. Ain’t that the circle of life? The landmarks discussed eternally crowded St. Patrick’s Cathedral (Map 12). are highly idiosyncratic choices, and this list is by no means complete or even logical, but we’ve included an array of places, from world famous to little known, all worth visiting. Great Public Buildings Once upon a time, the city felt that public buildings should inspire civic pride through great architecture. Coolest Skyscrapers Head downtown to view City Hall (Map 3) (1812), Most visitors to New York go to the top of the Empire State Tweed Courthouse (Map 3) (1881), Jefferson Market Building (Map 9), but it’s far more familiar to New Yorkers Courthouse (Map 5) (1877—now a library), the Municipal from afar—as a directional guide, or as a tip-off to obscure Building (Map 3) (1914), and a host of other court- holidays (orange & white means it’s time to celebrate houses built in the early 20th century. -
Wanderings Newsletter of the OUTDOORS CLUB INC
Wanderings newsletter of the OUTDOORS CLUB INC. www.OutdoorsClubNY.org ISSUE NUMBER 125 PUBLISHED TRI-ANNUALLY Mar-Jun 2020 The Outdoors Club is a non-profit 501(c) (3) volunteer-run organization open to all pleasant adults 18 and over that engages in hiking, biking, wilderness trekking, canoeing, mountaineering, snowshoeing and skiing, nature and educational city walking tours of varying difficulty. Individual participants are expected to engage in activities suitable to their ability, experience and physical condition. Leaders may refuse to take anyone who lacks ability or is not properly dressed or equipped. These precautions are for your safety and the well-being of the group. Your participation is voluntary and at your own risk. Remember to bring lunch and water on all full-day activities. Telephone the leader or Lenny if unsure what to wear or bring with you on an activity. Nonmembers pay one-day membership dues of $3. We will miss Bob Ward who left NYC for sunny California. He has been such an important part of the Outdoors Club especially for his knowledge and help in running the Club, and for all the outings he has led for us. He knew the history, places to visit, and little known facts about the area. He started off as a Club Delegate for the New York-New Jersey Trail Conference, served on committees, was Chair of the New York Metro Trails Committee, and currently was Chair of the Queens Parks Trails Council which he founded about six years ago. Bob, thank you and have a wonderful life in your new home. -
Biographical Description for the Historymakers® Video Oral History with James Earl Jones
Biographical Description for The HistoryMakers® Video Oral History with James Earl Jones PERSON Jones, James Earl Alternative Names: James Earl Jones; Life Dates: January 17, 1931- Place of Birth: Arkabutla, Mississippi, USA Work: Pawling, NY Occupations: Actor Biographical Note Actor James Earl Jones was born on January 17, 1931 to Robert Earl Jones and Ruth Connolly in Arkabutla, Mississippi. When Jones was five years old, his family moved to Dublin, Michigan. He graduated from Dickson High School in Brethren, Michigan in 1949. In 1953, Jones participated in productions at Manistee Summer Theatre. After serving in the U.S. Army for two years, Jones received his B.A. degree from the University of Michigan in Ann Arbor in 1955. Following graduation, Jones relocated to New York City where he studied acting at the American Theatre Wing. Jones’ first speaking role on Broadway was as the valet in Sunrise at Campobello in 1958. Then, in 1960, Jones acted in the Shakespeare in Central Park production of Henry V while also playing the lead in the off-Broadway production of The Pretender. Geraldine Lust cast Jones in Jean Genet’s The Blacks in the following year. In 1963, Jones made his feature film debut as Lt. Lothar Zogg in Dr. Strangelove, directed by Stanley Kubrick. In 1964, Joseph Papp cast Jones as Othello for the Shakespeare in Central Park production of Othello. Jones portrayed champion boxer Jack Jefferson in the play The Great White Hope in 1969, and again in the 1970 film adaptation. His leading film performances of the 1970s include The Man (1972), Claudine (1974), The River Niger (1975) and The Bingo Long Traveling All-Stars and Motor Kings (1976). -
Summer Shakespeare, Outside and Urban
June 4, 2010 Summer Shakespeare, Outside and Urban By STEVEN McELROY Joseph Papp first presented free Shakespeare performances in Central Park more than 50 years ago. Today, like heat advisories and smelly subway stations, Shakespeare among the elements is intrinsic to summer in the city. While Papp‟s legacy — the Public Theater presentations at the Delacorte in Central Park — is the best known of the productions, there are myriad offerings from smaller companies, and some of them are already under way. For some purveyors of outdoor theater, the appeal lies partly in one of Papp‟s original goals, to bring Shakespeare to the people. Hip to Hip Theater Company, for example, performs in parks in Queens. “To these people the Delacorte might as well be in Montana,” said Jason Marr, the artistic director. “It appeals to my political sense that we are doing something in the community and for the community.” Several artistic directors said that when admission was free and audiences could wander in and out as they pleased, they were more likely to sample Shakespeare or other classical plays, even if they were unfamiliar. “It brings people in who would not go to see Shakespeare, no matter what level of education,” said Ted Minos, the artistic director of the Inwood Shakespeare Festival. Such settings can also enrich the Shakespeare experience. “Many of the plays have natural outdoor themes because they were all performed outdoors originally, and that‟s something not to forget,” said Stephen Burdman, the artistic director of New York Classical Theater. “Shakespeare‟s language is so nature-oriented, whether he‟s going on and on about fishing, which he does, or we learn about the Forest of Arden” in “As You Like It.” “You hear the frogs croaking and the crickets chirping,” Mr. -
Fall Winter 2018 /2014 Volume / Volume Xxxix Xxxv No
THE NEWSLETTER OF NEW YORK CITY AUDUBON FALL WINTER 2018 /2014 VOLUME / VOLUME XXXIX XXXV NO. NO.3 4 THE URBAN AUDUBON The NYC Green Roof Researchers Alliance Trip Leader Profile: Nadir Souirgi The Merlin (Falco columbarius) Uptown Birds Fall 2018 1 NYC AUDUBON MISSION & STATEMENT Mission: NYC Audubon is a grassroots community that works for the protection of PRESIDENT’S PERCH Jeffrey Kimball wild birds and habitat in the five boroughs, improving the quality of life for all New Yorkers. ew York City Audubon is the most urban Audubon chapter in North America. Our Vision: NYC Audubon envisions a day when office is on the 15th floor of a beautiful Art Deco building in Chelsea, not in a former birds and people in the five boroughs enjoy a healthy, livable habitat. Nfarmhouse on 40-something acres. Being in a large, highly developed city has its chal- lenges, of course, but it also presents opportunities, and even magical moments. I am inspired THE URBAN AUDUBON Editors Lauren Klingsberg & Marcia T. Fowle daily by the abundance of wildlife present in our urban midst. That each year the City plays host Managing Editor Andrew Maas to nearly a third of all the bird species found in North America is truly astonishing. Raccoons, Newsletter Committee Seth Ausubel; Ellen Azorin; Lucienne Bloch; Ned Boyajian; chipmunks, and woodchucks flourish in our City parks, while seals, dolphins, and even the occa- Suzanne Charlé; Diane Darrow; sional whale grace our harbor. Endangered turtles nest right under flight paths at JFK airport. Meryl Greenblatt; Catherine Schragis Heller; NYC Audubon started in 1979, when a small and dedicated group of naturalists and Mary Jane Kaplan; Abby McBride; Hillarie O’Toole; Don Riepe; birdwatchers (there were no “birders” back then, just “birdwatchers”) organized a chapter here Carol Peace Robins in the City. -
Y 4 So1diersoffortune
= I I IM L j 1 AII 4 1M a- h t Wfr I h I I h- I The Evening World Daily Magazine Wednesday January 6 1909 t I e lyitiu siiitQaaeeaea n n S5 IS i i 1 f 4r OOtorW- AboutB- Fifty American ute Turn 1 Published Dally Except Sundny by the Press Publishing Company Nns U to 63 y Maurice Kettena Park now New York H t JOSEPH rUMTZEn Pre IP Park Ran J AXOU3SHAW BtTnu Ki earl now So1diersofFortune the Postt0t11ce at New York as Second Cbu Mall Matter 1 Entered By F vcrlptlon Ratu to Th + Eveslnc For England and the Continent and Albert Payson Terhune 1 of World for tho United States All Countries In the International ami Canada I Postal Union r One Year BM Ona Year JTS NO 34MliK1WKT1IKR LEWIS One Month 30 One Month U u X a series of 410 bills issued few years ago was the portrait of a sui- ¬ t VOLUME 40 NO 17303 rE GA- cide the first suicide whose tare ever ifdorned Uncle Sams cur-¬ 0 rency He was Merlwetber Lewis k Jl Lewis was a relative by marriage of George Washington Incidentally TRINITYS PROPERTY SBIll I he was a born ndventurer lie was u Virginian iintl from 1771 the year of c 17SS In a atmosphere About his SUite the Amer his birth to lived warlike has at HINTiT COKP011AT10X 4A5 lean Revolution raged Rattles sieges and military tactics formed the dally last made a public statement of SIR talk of the neighborhood Yet by the time the lad was old enough to bear how much money it takes in and 1 arms our country was at peace Lewiss first chance at fighting came when In 1701 He volunteered once for active ser-¬ what it does with it The state- ¬ -
A View from the Bridge
41st Season • 400th Production SEGERSTROM STAGE / MAY 17 - JUNE 26, 2005 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents A VIEW FROM THE BRIDGE BY Arthur Miller SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN Ralph Funicello Angela Balogh Calin Chris Parry Karl Fredrik Lundeberg FIGHT CHOREOGRAPHER ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER Ken Merckx Sharyn Case Jeff Gifford *Jamie A. Tucker DIRECTED BY Martin Benson HONORARY PRODUCERS CORPORATE PRODUCER Barbara and William Roberts American Airlines Presented by special arrangement with Samuel French, Inc. A View from the Bridge • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Alfieri ....................................................................................... Hal Landon Jr.* Eddie ........................................................................................ Richard Doyle* Louis .............................................................................................. Sal Viscuso* Mike ............................................................................................ Mark Brown* Catherine .................................................................................... Daisy Eagan* Beatrice ................................................................................ Elizabeth Ruscio* Marco .................................................................................... Anthony Cistaro* Rodolpho .......................................................................... -
New York Genealogical and Biographical Record, Vol 18
m<[ o V ^*^°x. „.-.*- ^.•^"•/ *^^'.?^\/ %*^-\*° .*' -'Mi' \/ •«• %/ -^"t *--^/ • ^ o5^^ ^x>^ ' "i'^ ^'} ei» * ^>syS->" • <L^ .-^'' r> * <? . * C (I o V ,0^ •^'^.-J^ .. V Digitized by the Internet Arciiive in 2008 with funding from The Library of Congress http://www.archive.org/details/newyorkgenealog18newy .^^ THE NEW YORK GENEA^ii*li^ND Biographical -^7 DEVOTED TO THE INTERESTS OF AMERICAN GENEALOGY AND BIOGRAPHY. ISSUED QUARTERLY. VOLUME XVIII., 1887. 1WASHIN6V PUBLISHED BY THE SOCIETY MoTT Memorial Hall, No. 64 Madison Avenue, NEW YORK CITY. PUBLICATION COMMITTEE: Rev. BEVERLEY R. BETTS, Chairman. Dr. SAMUEL S, PURPLE. Gen. JAS. GRANT WILSON, ex-officio. Mr. CHARLES B. MOORE. 4122 Press of J. J. Little & Co. , Astor Place, New York. / ) . J:m}7/zrpif\ IE IRDSKT I^E^. SARfflOJEL !p[a©^®®STjl FIRST 3ISEOP OF SEW-YOSK. Original Portrait in. dve aosaessiou of DT Jain es R.Chi1toii THE NEW YORK Vol. XVIII. NEW YORK, JANUARY, 1887. No. i. SAMUEL PROVOOST, FIRST BISHOP OF NEW YORK.* AN ADDRESS TO THE GENEALOGICAL AND BIOGRAPHICAL SOCIETY. By Gen. Ja.s. Grant Wilson. [With a Portrait of BishoJ> Provoost.) Mr. Chairman, Ladies and Gentlemen : " It is a pleasing fancy which the elder Disraeli has preserved, somewhere, in amber, that portrait-painting had its origin in the inventive fondness of a girl, who traced upon the wall the iirofile of her sleeping lover. It was an outline merely, but love could always fill it up and make it live. It is the most that I can hope to do for my dear, dead brother. But how many there are—the world-wide circle of his friends, his admiring diocese, his attached clergy, the immediate inmates of his heart, the loved ones of his hearth—from whose informing breath it will take life, reality, and beauty." These beautiful words are borrowed from Bishop Doane, of New Jersey, who used them as an introductory paragraph in a memorial of one of Bishop Pro- voost's successors, Jonathan Mayhew Wainwright. -
Newark, NJ Section 106 Memorandum of Agreement
Advisory Council On Historic Preservation The Old Post Office Building 1100 Pennsylvania Avenue, NW, #809 Washington, DC 20004 MEMORANDUM OF AGREEMENT DIRECTOR'S RECOMMENDATION Reference:NJ/Military Park Commons Historic District/City-CDBG/ New Jersey Performing Arts Center Project Signature Recommendation: Chairman Executive Director Staff Member:Charlene Dwin Vaughn Date Action Required:3/19/93 Approved by Director: Don L. K1 ate) Attached Abstract: [_x_] yes ] no Attached Briefing Statement: [ ] yes [ ] no 2 Reference:NJ/Military Park Commons Historic District/City-CDBG/ New Jersey Performing Arts Center Project Attachment ABSTRACT The City of Newark, New Jersey, proposes to allocate $1.2 million dollars in CDBG funds from a "Special Purpose Grant" authorized by Congress in 1990 to the New Jersey Performing Arts Center (NJPAC) for the New Jersey Performing Arts Center Project. The undertaking, which will be constructed in the Central Business District, will cost an estimated $250 million and be implemented in phases over the next ten years. As currently designed, Phase I, a 2,7000 seat multi-purpose hall and 500 studio theater, will have an adverse affect on the Military Park Commons Historic District, two archeological sites, including the Trinity Church Cemetery, and several other standing structures, all of which have been determined eligible for listing on the National Register. NJPAC has been consulting with the New Jersey SHPO regarding this undertaking since 1990. Although a cultural resources survey and assessment of effect for properties within the "area of potential effect" was completed over two years ago, the Council did not become aware of this undertaking until the fall of 1992 when we were appraised by the SHPO that human remains would be impacted by the removal of the nineteenth-century Trinity Church Cemetery. -
The New Criterion Art April 2014 Gallery Chronicle
The New Criterion Art April 2014 Gallery chronicle by James Panero On the “Invitational Exhibition of Visual Arts” at the American Academy of Arts and Letters, New York, the “2014 Whitney Biennial” at the Whitney Museum of American Art, New York, and “Volta NY” at 82 Mercer Street, New York Go see this year’s “Invitational Exhibition of Visual Arts” at the American Academy of Arts and Letters.1 Then go see it again. First off, this restorative show of more than 120 paintings, sculptures, photographs, and works on paper by thirty-seven contemporary artists offers an excuse to visit Audubon Terrace, one of New York’s most unexpected spaces, and one that deserves renewed attention. Located on a hillside of what was once John James Audubon’s family farm, this block west of Broadway between 155th and 156th Streets in upper Manhattan was purchased and developed as a cultural complex in the beaux-arts style by Archer Huntington, beginning in the first decades of the twentieth century. Its unusual location was perhaps a real-estate miscalculation, based on the belief that Manhattan’s center of development would continue to sweep northward, rather than skyward, as it soon proved to do through the development of the high-rise. But the relative remoteness of Audubon Terrace must now be seen as its saving grace. The pull of the skyscraper has never stretched the complex out of recognition like so many other institutions. Moreover, as the city’s peripheral places, extending in an arc from industrial Brooklyn to northern Manhattan and the Bronx, have now become new centers for living art in New York, Audubon Terrace feels like an old spirit with renewed vitality. -
Andrei Serban's Hamlet
Patricia LENNOX Patricia Lennox ‘‘Romanian’’ Shakespeare on the New York Stage ,, ‘‘Romanian Shakespeare on the New York Stage: Andrei Serban’s Hamlet To search for reviews of European Shakespeare productions on the American stage is to be reminded that almost every Shakespeare performance seen in the US is the product of a director whose native language is English. With a couple of notable exceptions (Bergman, Strehler, Ninagawa) there are almost no reviews or press releases for non-English Shakespeare performances in the extensive files at the New York City’s Library for the Performing Arts.1 Although European Shakespeare productions seldom cross the Atlantic, fortunately their innovative ideas frequently do. American directors have been absorbing and recycling European influences in their Shakespeare productions for decades, but especially the eastern European work during the mid-twentieth century. Occasionally there is an even more direct influence – a European director will migrate to ,, New York for an extended ‘‘visit . When this happens, particularly when the visit gradually morphs into a long-term residence, usually due to a combination of financial success and political exile, the work that results raises questions about international creative boundaries and national identity. This is the case for Rumanian-born director Andrei Serban, who came to the US intending to stay for a couple of months, but who, thirty years later, is still there and a citizen. What makes his position unique is the continuing identification for over three decades of Serban as a Romanian director. This paper considers how this dual identity as Romanian/American may have been a factor in the ,, critical reception of Serban’s ‘‘disastrous 1999 production of Hamlet. -
Mertz, Luesther T
Angel of the Arts LUESTHER T. MERTZ, 1906-1991 Founder of the LuEsther T. Mertz Funds in the THE NEW YORK COMMUNITY TRUST Theater’s ‘Angel of the Arts’ I just know a good idea “ when I see one. — LuEsther Mertz” ong before she was a beloved New York arts patron or had a butterfly named for her, LuEsther Turner was the studious daughter of a Methodist Lminister from Rossmoyne, Ohio, who lost both of Audiences at the Public Theater, Lincoln her parents when she was young. She studied Center, and other prime New York venues at Syracuse University to be a librarian and was known for her love of poetry—she could stop in might be surprised to learn what they owe the middle of a conversation, friends recalled, to a modest, poetry-loving woman from Ohio and recite a complete poem appropriate to the who aspired to work in a library. moment. In 1927, LuEsther married a visionary Indeed, if not for LuEsther T. Mertz, businessman, Harold E. Mertz, whom she had known since high school. They had two there might be no New York Shakespeare children, Joyce and Peter, and raised their family Festival and much less of Broadway as we in Port Washington, Long Island. know it. She co-founded the enormously Harold, a magazine publishing executive, began a sideline business with LuEsther and successful Publishers Clearing House Joyce in 1953. Realizing that magazines needed in 1953 and established funds and a cheaper way to get subscription renewals foundations that have enriched the city and than door-to-door sales, he hit on a simple but untested idea—direct mailings to sell beyond for nearly 60 years.