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I was at the ABC Radio complex yesterday for an interview with the peerless Margaret Throsby. We talked a lot about the circus, a bit about entertainment around the Pacific, and even squeezed in some discussion of numismatics. All in all I had a wonderful time and our conversation can be found in podcast form here.
An Aquatint of Lord William, a Horse
One of the things that I am packing up for the move across country is a fine print that I acquired at a garage sale here in Cheesman Park. It is an 1845 aquatint of a trotting horse named Lord William and a delightful example of the widely popular British sporting prints that were produced during the mid-nineteenth century. According to Bent's Register of Engravings (1846), it was engraved and published in London by J. R. Mackrell after a painting by William Shayer. Prices are listed for both a plain (7s 6d) and colored edition (15s). After a bit of haggling, I paid $20 for this plain version, which I think actually looks better than the color print.
William Joseph Shayer (1811-1892) was an English artist and the eldest son of William Shayer (1787-1879), a noted landscape and figure painter from Hampshire. The younger Shayer specialized in coaching and hunting scenes, but as both signed their works "W.S." and painted in the same style, there is often some confusion with regards to the attribution of their respective works. Given the subject and date, it seems clear that this particular print was based on an early work by the younger Shayer (and if a reader can point me to the original painting, do let me know). The painting below, descriptively entitled The London to Brighton Stage Coach (ca. 1850), offers a good impression of his typical subject matter and technique.
The pleasing pastoral and sporting scenes painted by the Shayer family made their works popular with printmakers who sought to capitalize on the seemingly insatiable public demand for such images. Hundreds, if not thousands, of different prints after the Shayers' works were produced in volume in London and beyond during the nineteenth century.
The "Lord William" aquatint was made by a prolific engraver named James R. Mackrell (ca. 1814-1866). As previously noted it was first published in 1845, but some restrikes seem to have been made at a later date. An aquatint is a variety of etching that was invented in France in the 1760s, and its characteristic feature is to give the appearance of watercolor washes. The process involves a copper or zinc plate that is covered with powdered rosin and then progressively etched and bathed in acid to create the desired lines and tonal variations. An intaglio method of printmaking, the resulting incised image is able to hold ink and is then passed through a press with a sheet of paper to produce the final print. The appeal of the aquatint was that it provided printers with a way to more easily create large areas of tone, and the durability of the plates used allowed for large print runs. The distinctive "watery" look of the aquatint proved popular with the public as well, and even after the ascent of lithography in the mid-nineteenth century, aquatints were still being produced in large numbers.
I was initially under the impression that the titular "Lord William" was the driver, and it was only upon closer inspection that I realized that it was the horse. The descriptive text underneath the image indicates that he was the property of one Samuel Lawrence, Esqr., while also noting the following: 'This Extraordinary animal Trotted a Match against time in harness, for a wager of 200 Sovereigns aside from London to Brighton in the unprecedented time of Three hours and Fifty minutes. October 14th 1842. Driven by the Owner.' Harness racing, in which horses race at a specified gait pulling a wheeled cart called a sulky, had originated in North American in the late 17th century and the first recorded harness races in Britain were held in 1750. By the mid-nineteenth century, it was a favored form of sport and gambling among gentlemen of means, as the relatively large stakes of this contest suggest. Although races are now held at formal tracks, at the time they were usually staged as single matches between two gentlemen and their steeds over a proscribed road and/or distance. The famed Brighton Road (the modern day A23) was fifty-one and a half miles as measured from the south side of Westminster bridge to the seaside aquarium in Brighton, which was then a fashionable resort. Horses bred specifically for trotting came to be known as "Standardbreds" because they had to be able to trot a "standard" mile in less than two and a half minutes. In his race from London to Brighton, Lord William traveled at a clip of 13.4 miles per hour or a little less than four and a half minutes per mile, an impressive pace given the total distance. Unfortunately, I have been unable to locate a contemporary account of the contest, so this print might serve as the only record of Lord William's victory.
Sources: Brian Stewart and Mervyn Cutten, The Shayer Family of Painters (1981); Wray Vamplew, The Turf: A Social and Economic History of Horse Racing (1976); for a more recent and entertaining account of horse racing in New York see Steven Reiss, The Sport of Kings and the Kings of Crime (2011)
Mandarin and the Strangling of Circus Elephants
One of the things that I referred to in the op-ed I had published over the weekend was the public execution of the elephant Mandarin, which occurred in November 1902. It happened shortly after the Barnum & Bailey Circus arrived aboard the S.S. Minneapolis, docking at Pier 40 on Manhattan's west side. The circus had been on an extended tour through Europe, and just before departing London, Mandarin struck and killed a keeper with his trunk. He was unruly throughout the crossing, and owner James Bailey decided to have him killed rather than risk Mandarin killing or injuring another worker or the other animals. When the circus steamed into New York Harbor, the Evening World sensationally reported that there was a "MAD ELEPHANT" rampaging onboard and helpfully provided a sketch of the ship for readers.
Four years earlier, the circus had departed for Europe with a herd of eighteen elephants. A photograph on Buckles Blog shows the herd of ten large and eight small elephants. Six of them, including all four big males, died during the tour.
George Conklin (1845-1924) was a lion tamer and elephant trainer who served as the "Superintendent of Animals" for the Barnum & Bailey Circus while it was abroad. His memoir as recorded by journalist Harvey W. Root was published by Harper & Row in 1921 as The Ways of the Circus: Being the Memories and of George Conklin Tamer of Lions. Conklin believed that choking was the "easiest and most humane" way to put down an elephant. In his account of the tour, he describes how a rope and block system was first used to kill Don Pedro at Liverpool in May 1898 after he became aggressive. On the last day of that initial touring season at Stoke-on-Trent, another male Asian elephant named Nick was strangled after becoming unruly. The largest of the elephants, Fritz, was killed after going on a rampage in Tours, France. It was only with much luck that Conklin was able to get him chained to a tree, and a hundred men pulled for fifteen minutes before he was finally choked to death. Fritz's body was donated to the Musee de Beaux Arts, where it is still on display today.
Last but not least was of course Mandarin. Conklin's rather laconic account of the killing of the elephant is as follows:
Mandarin was about forty-five years old, all of eight feet high, and heavy in proportion. We brought him to New York in a big crate on the upper deck of the boat. On the way over, Mr. Bailey decided to have him killed, so instead of unloading him on to the pier, Mr. Bailey had a big seagoing tug come alongside, and the crate, elephant and all, was swung down to the deck of the tug, which then put out to sea. When far enough outside the crate was loaded down with pig iron, swung out over the water, and let go. And so ended Mandarin (131).
The New York Tribune, on the other hand, provided a much more sensational account of the proceedings in its November 9 edition. Mandarin, with "head cased in leather harnesses," and "trunk and legs manacled with huge chains," was slowly strangled to death on the deck of the ship using a two-inch thick hawser (rope) and windlass. The article also suggests why Conklin's account was terse, observing that: "George Conklin, the trainer, who had made an especial pet of Mandarin, could not witness the elephant's end. He watched the preparations, but just before the time for the execution burst into tears and ran away." A crowd of spectators watched from the docks as the elephant was choked to death; it took about eight minutes and seemed "painless" to the reporter on hand. The next morning Mandarin's body was disemboweled on deck with "his comrades trumpeting the while," and then loaded onto another ship, weighted down with lead, and dumped out at sea.
Though less infamous than the electrocution of Topsy at Coney Island or the hanging of the elephant Mary in Kingsport, Tennessee, Mandarin's execution was an instructive example of the way that the contemporary circus industry valued profits over the welfare of its animals. But part of what makes "The Elephant People" chapter of Conklin's book so fascinating is that he so clearly cares for the elephants, even as he describes doing things that most modern observers would undoubtedly find troubling. Ideas about what constitutes the humane treatment of animals have simply changed over the last century, and this is what has made the use (and abuse) of wild animals in commercial entertainment increasingly problematic.
It took over half a century for elephants to become integrated into the circus in the United States, and it was not until the late nineteenth century that herds of performing elephants like the one advertised above became common (for a penetrating historical analysis of this process, see Susan Nance's Entertaining Elephants: Animal Agency and the Business of the American Circus). As the fortunes of the circus in the United States declined over the course of the twentieth century, so did the use of elephants, and the circus revival of recent decades has been driven almost exclusively by shows that have abandoned traditional wild animal acts. Clearly something akin to the public execution of Mandarin is unlikely to happen today, and the episode serves as an apt illustration of the way ideas about animal welfare in the United States have evolved. Now it is up to the American circus industry to fully catch up.
Let Us Now Praise 12 Years a Slave
This past weekend I was finally able to see 12 Years Slave, which has been one of the most talked about and lauded films of the past year. Given the rather harrowing subject matter, it was not necessarily something I was looking forward to, but I came away impressed with the film as both a work of art and a powerful consideration of the historical legacy of slavery in the United States. As most readers will undoubtedly already know, it is based upon the experiences of Solomon Northrup, a free-born African American from upstate New York, who was kidnapped and sold into slavery in 1841. After over a decade working on different plantations in Louisiana, Northrup was able to secure his freedom with the help of an itinerant Canadian carpenter and friends from the North. Working with an editor named David Wilson, Northrup subsequently published a narrative of these events entitled Twelve Years a Slave (originally published in 1853, link is to an 1859 edition). Although there is some scholarly debate about the veracity of all the happenings and anecdotes included therein, it is unquestionably a powerful account of the American slavery system.
John Ridley's admirably spare adaption for the most part remains faithful to Northrup's narrative, and the episodic fashion in which Steve McQueen's film unfolds was, I thought, particularly effective. In short, I liked it because it does not try to do too much. I am not sure what I can contribute to the already voluminous and penetrating commentary on the film (see this great piece by Wesley Morris for one), but I had a few thoughts that I wanted to share. For one, it was simply refreshing to see an honest depiction of slavery in American popular culture. The racial power dynamics portrayed in the film long outlasted slavery, and the nation's tortured race relations have been reflected and refracted in American culture in ways that typically marginalize black people and experiences or turn them into a form of entertainment for white audiences. In presenting the brutal historical legacy of slavery from a black perspective, 12 Years a Slave powerfully confronts the pernicious cultural legacy that haunts American popular culture. One of the more striking scenes in the film for me was when the drunken Master Epps rouses Solomon and the other slaves from their quarters late one night to dance for his amusement. Finding their enthusiasm wanting, an enraged Epps screams at the "damned niggers," whip in hand, until sufficient spirit is shown and he begins to cavort with his "property." The dismal scene is arguably an apt metaphor for the traditional dynamics of popular entertainment in the United States.
While I certainly found the film and its implications disturbing, it was not as hard to watch as I expected. Part of this was no doubt due to my knowledge about the history of slavery going in, but it was also due to McQueen's masterful direction. Despite telling a relatively straightforward and downright brutal story, the film is not unrelenting. At times the camera lingers on the natural beauty of a scene; at others we see some of the small triumphs of Solomon and the other slaves in their struggle to preserve their humanity. Probably the most cutting scenes for me were those in the New Orleans slave market, where we see the dehumanizing process of chattel slavery at work (for a great scholarly take on the same, see Walter Johnson's Soul by Soul). The one scene that fell a bit flat for me, and one which I appreciate was supposed to be a very emotional moment, was Solomon's singing of "Roll Jordan Roll" at the funeral of an unnamed fellow slave. Spirituals, and music more generally, clearly played an important role in slave life (see Shane and Graham White's The Sounds of Slavery), but the use of this particular song in what was ostensibly a transformative moment just felt a bit contrived to me. I could probably write an entire book on the role of music and dancing in the film, though, so it is perhaps best to move along.
This might sound strange, but the work that resonated most with me in thinking about this film was James Agee and Walker Evans' Let Us Now Praise Famous Men (1941). Although McQueen is trying to represent something of the historical reality of slavery and Agee/Evans are considering the contemporary lives of white sharecroppers amidst the Great Depression, both are works of art that center on somehow capturing and communicating the humanity of their subjects. This probably deserves a much longer post and explanation, but I cannot help but think of the two as complementary. In the "Preamble" to Let Us Now Praise Famous Men, Agee struggles with the limits of representation and human experience, writing that "a piece of the body torn out by the roots might be more to the point" than a "book," and he goes on to warn the reader that if they were to truly understand what he wants to communicate, "you would hardly bear to live." I imagine that McQueen likewise struggled with these issues, albeit in a rather different context. I also cannot help but think that Agee would have appreciated the naturalism, economy of style, and moral force of 12 Years a Slave. There's a powerful moment in Let Us Now Praise Famous Men ("Late Sunday Morning") when a group of African-American singers perform for Agee and Evans at the behest of their white landlord, much to the discomfort of both parties. The scene eerily echoes Epps forcing his slaves to dance, though in this case Agee is "sick in the knowledge that they felt they were here at our demand, mine and Walker's, and that I could communicate nothing otherwise." Though much had obviously changed in the intervening century, the stultifying racial power dynamics remain, and a disconcerted Agee plays his part through by tipping the young men, who thank him in a "dead voice" and go on their way. Agee and McQueen each in their own way grapple with the discomfitting history of American race relations, and their respective works of art succeed in part because they are so clearly moral efforts. In 12 Years a Slave, McQueen has produced an at once beautiful and harrowing film that forthrightly addresses the terrible history and complex cultural legacy of slavery in the United States. I cannot recommend it highly enough.
*A quick final note, and one that some will no doubt find superfluous. Solomon Northrup was lured from Saratoga Springs to Washington by two men, Brown and Hamilton, who promised him work with a circus company there. Brown was apparently a small-time magician and ventriloquist as he performed a show in Albany for an audience that Northrup recalled was "not of the selectest of character." They arrived in Washington in early April and a quick check of the relevant sources shows that that there was no circus wintering there and a touring show did not arrive until later that summer. It thus seems clear then that neither Brown nor Hamilton were actually affiliated with a circus and this was simply a ruse to lure Northrup south. While the nineteenth-century American circus undoubtedly had its share of dodgy characters, skipping out on debts was more par for the course. Still, the deception does reinforce why itinerant entertainers were looked on with such suspicion by so many Americans at the time.
Further reading: Solomon Northrup, Twelve Years a Slave (1853); Clifford Brown, et. al., Solomon Northup: The Complete Story of the Author of Twelve Years a Slave (2013); Walter Johnson, Soul by Soul: Life Inside the Antebellum Slave Market (2001); Shane and Graham White, The Sounds of Slavery (2005); James Agee and Walker Evans, Let us now Praise Famous Men (1941); Laurence Bergreen, James Agee: A Life (1984).
RBB&B Circus at the Bronx Coliseum, 1929
Above is a large-format photograph of the Ringling Bros. and Barnum & Bailey Circus performing at the Bronx Coliseum in March 1929 that I recently acquired at an auction. It was taken by Edward J. Kelty (1888–1967), who has been described as the "Cecil B. DeMille of circus photography" for the spectacular series of oversize prints he made using a custom-built banquet camera in the 1920s and 1930s. The photograph is of the so-called grand entrée when the circus performers and animals paraded around the ring in spectacular costume to open the show. The 1929 Ringling Bros. and Barnum & Bailey Circus was notable for being the last of the lavish editions of the show produced prior to the stock market crash that plunged the United States (and the circus industry) into depression. The circus was also unique for the fact that instead of beginning the season at Madison Square Garden, it began in the Bronx to celebrate the public opening of what was then called the New York Coliseum. The building was originally constructed as an auditorium for Philadelphia's 1926 Sesquicentennial Exposition, and it was subsequently purchased by Edward B. Whitewell, owner of the Starlight Amusement Park, which was a kind of Bronx version of Coney Island that flourished in the 1920s. The arena was reconstructed at Bronx River and 177th Street with a Romanesque facade and seating for around 15,000. The March 21st opening of the building was celebrated by ex-Governor Al Smith and other dignitaries, although the photo above seems to be from a later daytime performance by the Ringling show. The stars of the circus were Goliath, billed as "The Monster Sea Elephant," and Hugo Zacchini, an Italian daredevil who sensationally reintroduced the "human cannonball" act to the American circus. After a successful week in the Bronx, the circus transferred to Madison Square Garden for the remainder of its New York run. Despite its glittering debut, the New York Coliseum was not very successful as a venue, although it hosted everything from boxing matches to midget auto racing before being repurposed by the U.S. Army as vehicle-maintenance center during World War II. It was subsequently taken over by the New York City Transit Authority, and the building is now known as the West Farms Bus Depot.
A massive collection of Kelty photographs is available via the Ringling Museum here. For further information, see Step Right this Way: The Photographs of Edward J. Kelty and my own Circus and the City catalogue. All information about the history of the Bronx Coliseum is from a "Streetscapes" column by the peerless Christopher Gray in the New York Times.
*A reader noted that there is a Kelty photograph in Josh Sapan's neat new book The Big Picture: America in Panorama
The Armory Exhibition at 100
The centennial of the International Exhibition of Modern Art, better know as simply the Armory Show, has prompted a renewed wave of interest and a number of competing exhibitions about what many regard as the most important event in the history of American art. A full list of exhibitions and related publications can be found here, but perhaps the most prominent of these shows is the New-York Historical Society's Armory Show at 100, which runs through February 23, 2014. I had the opportunity to visit when I was in New York City last week, and I must say that I came away rather disappointed (though the accompanying website is useful). Although the NYHS was able to get some fantastic material on loan for the exhibition, the overall interpretation was creaky and its organization was at times simply confusing.
First and foremost, it is not clear where the exhibition actually starts, with a small gallery of material about "Organizing the Armory Show" and a hallway full of contextual information about New York City in the early twentieth-century awkwardly positioned before the main gallery (I am still not sure if I was meant to go through these before or after the art). Whatever the case, the central gallery includes some 100 works drawn from over thirteen hundred pieces that appeared in the 1913 exhibition. One thing that is made very clear from the beginning is the overall theme, which promises "Modern Art & Revolution," but much of what follows belies this bold promise and the conflation of politics and aesthetics is problematic throughout. The NYHS exhibition is roughly structured along the same lines as the original show, but the very truncated wall texts deal in such generalities that it is sometimes difficult to get a strong sense of either the historical exhibition or the contemporary interpretation being proposed.
One salutary feature of the present exhibition is its fidelity to representing the wide range of art works that appeared in the Armory Show, much of which was neither revolutionary nor particularly modern. The American painter Albert Pinkham Ryder (1847-1917) and French Symbolist Odilon Redon (18401-1916) were among the most well-represented and received artists, and neither are particularly well-known today.
My favorite paintings in the exhibition (and it is almost entirely paintings) were those by what I would call the American avant-garde. George Bellows' The Circus, Robert Henri's Figure in Motion, Arthur B. Davies' Line of Mountains, and John Sloan's McSorley's Bar are all wonderful paintings by artists identified with the so-called Ashcan School. All of these artists were also "revolutionary" and "modern" in their own way, but the framing of the exhibition is so narrowly focused on celebrating an ostensibly sui generis European modernism that it effectively marginalizes innovative American art. Indeed, this was something that many American artists bemoaned about the the Armory Show at the time, so I suppose it is only proper that this current exhibition similarly elevates the European artists over their supposedly hidebound American counterparts. In short, the NYHS exhibition does not do American artists any favors, and all the Armory Show's complications and contradictions are elided in favor of the shibboleth that the "new" European art revolutionized American culture in one fell swoop.
One noteworthy section positioned amidst the transition to the vaunted European works is a selection of prints by a variety of artists, ranging from John Marin and Stuart Davies to Henri de Toulouse-Lautrec and Edvard Munch. These delightful prints suggest a much more complementary relationship between European and American art than is elsewhere acknowledged.
Still, in arriving at the exhibition's version of Gallery I, the infamous "Chamber of Horrors" that featured Marcel Duchamp's Nude Descending a Staircase, No. 2 and Henri Matisse's Blue Nude, it is easy to see why some visitors found these works so surprising in 1913. The NYHS was able to borrow an impressive array of what was regarded as the more sensational art in the Armory Show, but it is of course impossible to resurrect the shock of the new with what are now canonical works. Count me as skeptical that "everyone" was so stunned by these artworks. Recent scholarship suggests that the response to the Armory Show by critics, artists, and the public was much more complicated than the conventional narrative suggests. Moreover, one of the most tired tropes in cultural history and criticism is the idea that X (film, book, album) shocked the world and/or changed everything. As J.M. Mancini, Christine Stansell, and many others make clear, this supposed cultural and aesthetic revolution had a much longer trajectory.
To be fair, some of these complications are addressed around the edges of exhibition, and I can appreciate why the curators stay so focused on the conventional, if flawed, interpretation of the Armory Show to give the exhibition a certain clarity. But other decisions seem less defensible. The end of the main gallery contains a mixed bag of material that confusingly includes some works from J.P. Morgan's collection in an apparent effort to show that not all contemporary collectors were interested in modern art, which hardly seems surprising. There are also a smattering of works that do not convincingly address the legacy of the Armory Show in American art, though it is a subject that gets more satisfying treatment in the historical materials displayed in the hall adjacent to the main gallery. I really wish that an effort had been made to integrate the very useful and important contextual material in this hall that both sets the scene and explores the legacy of the Armory Show with the actual art. It would have made for a much more coherent interpretation and introduced a level of dynamism that the simple recreation of the original show in smaller form lacked. Of the other ancillary room on "Organizing the Armory Show," the less said the better about this text-heavy and generally uninteresting display. In sum, I feel like what the Armory Show at 100 needed was to find a better angle, one that would have integrated the Armory Show art with the other materials into a larger story about the development of American modernism. All of that said, the NYHS has assembled a truly wonderful collection of art, and it is well worth a visit. I should also note that the museum has another exhibition open downstairs called Beauty's Legacy: Gilded Age Portraits in America, which has a rather more satisfying and focused interpretative line and some really excellent portraits so be sure to check that out as well.
Some final notes. The accompanying catalogue, which has a great roster of contributors, undoubtedly deals with some of the complications and criticisms of the exhibition that I offered above, but its size and price ($65!) precluded me from getting a good look. I will update when I do! There are also some great resources online about the Armory Show for those interested. Beyond the aforementioned New-York Historical Society website accompanying the exhibition, the Smithsonian Archives of American Art has a good collection of primary sources here, and the Art Institute Chicago's has a neat site here about the Armory Show's sojourn to the Midwest.
Elsmore & Forster Circus Jug
The other day a reader sent in an inquiry about an antique circus jug. It is a truly fascinating piece of mid-nineteenth-century English pottery that was manufactured in Tunstall by Elsmore & Forster sometime between 1853 and 1871.
Tunstall was part of the so-called "Staffordshire Potteries" (modern-day Stoke-on-Trent), a center of ceramic production that developed in the late seventeenth century and which became a hotbed of working class radicalism in the 1840s. Elsmore & Forster seemed to have specialized in this sort of large glazed earthenware jug, which measures 14″ across and 10″ in height. The firm produced several different versions of these jugs decorated with popular entertainment motifs that were "transfer-printed" from wood or metal engravings (see other examples at the V & A here and here).
In this case, the engravings were likely borrowed or purchased from a local printer who used these sorts of illustrations in advertising for circuses and menageries. The assorted animals pictured on the jug are based on the work of artist and engraver Thomas Bewick (1753-1828). As I have written about elsewhere, Bewick's works of natural history, most notably A History of Quadrupeds (1790), were also frequently copied by American printers and feature prominently in many early menagerie posters. A curious range of animals are represented, including an elephant, a zebra, a tiger, a squirrel, a frog, and several domestic house cats. After the outline of the illustrations was transferred onto the surface, they were colored in by hand before the piece was glazed. The line-up of animals are repeated on each side of the jug with a one or two variations and there are some additional ivy leaf and berry decorations inside of the rim and the spout, and along the main handle.
On either side of the smaller carrying handle there are twin images of a clown, identified by various sources as Joe Cashmore. According to John Turner's biographical dictionary of British circus performers, Joe's father was a clown named Ike Cashmore and his mother, billed as Madame Cashmore, was a noted tight-rope performer and equestrian. His full name was Joseph Henry Cashmore, and advertisements printed in The Era (a contemporary trade journal for entertainers) listed his skills as follows: "Comic Knockabout Clown, High Stilts, Juggler, Running Globe, Vaulter, &c." The clown is the most technically accomplished illustration on the jug, with intricately detailed clothing and checkered tights that required real skill by the colorist to execute. For more on the fascinating world of the mid-nineteenth-century British circus, see The Victorian Clown by Jacky Bratton and Ann Featherstone. The book includes a manuscript by a man named James Frowde, who performed with Hengler's Circus in the 1850s, and offers a wealth of information about what life was like for clowns like Cashmore.
And, if you are interested, the this wonderful piece of ceramic circus history can be found here for just $2600!


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On one Phone call i felt i know Mr.Goldberg Last 20 years My issue is Auto accident at Fault . My Insurance Carrier is Mercury Plaintiff filed a Complaint and Sued Me. I got the Summons and i simply Pick up the Phone and dial to Mr.Goldberg in Wood Hills, He simply wokeup the Mercury &
Aggresivly taken care of my Issue and every thing went smooth. I honestly ran out of words to describe Mr.Goldberg's works for his Clients. I will highly recommend Mr Barry Goldberg No matter how big or small of your Claim.
Mr Goldberg is very responsive and is very kind to offer free consultation to me at his office. He is knowledgeable, very experienced and interprets legal terms clearly.
I initially called a different attorney to handle my case. He didn't file the DMV forms and got my license suspended due to negligence. He also stopped answering the phone for a solid 6-8 months.
One day I began to search for a new attorney and I found Barry. He took over my case, knowing that it was a mess and he would have to put in extra work for free. He immediately took control and got everything in motion. My case was resolved in my favor, faster than I had anticipated.
I was kept up-to-date at all times, even when I didn't call them. Sarah was sure to update me anytime new info came in. I would recommend Barry to my family. This is a great law office, so there's no need to continue searching around and worrying who to call. You have found the people you are looking for. They also have a nice office for the times you need to stop by.


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I am pretty sure this is the Heinrich Magasch that is also on the list with his son-in law Johann Bernhard Fehr. Johann Bernhard Fehr marriad Heinrich's daughter Dorothy Magasch. I am from that marriage. The name was later changed from Fehr to Fair. So my next question is this Maria Barbara who marriad Heinrich is part of your Kayser, Kiser family. We were trying to pinpoint what area Heinrich and Johann Bernhard Fehr came from and u have given us some hints as to location
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College News
School of Education Faculty and Dean Author Article in Education Journal
Drs. Michael Wischnowski, Interim Dean of the Ralph C. Wilson, Jr. School of Education, and Marie Cianca, Assistant Professor in the Ed.D. program, have had an article published in the October/November 2012 issue of Educational Horizons, a publication of Pi Lamda Theta, one of the three main education honor societies and professional associations for educators. The journal is aimed at teacher candidates.
The article, "Collaborating with Parents of Students with Disabilities," focuses on the School of Education's relationship with the Advocacy Center, a local non-profit disability advocacy organization. Teacher candidates participate in a course with families from the Center before they begin student teaching, giving them the opportunity to learn how valuable collaborating with parents of students with disabilities will be in their own classrooms someday.
Since the course began, 250 Fisher students and 20 Advocacy Center families have participated.
Latest College News Stories
- Alumna Shares Journey with Cushing's Disease with Nursing Students
- Rhone Attends BGS Student Leadership Fall Forum
- Staff Recognition Program Seeking Nominations
- St. John Fisher College's 12th Justinian Medal Presented to Michael R. Law, Esq. '69
- Students Receive Dante Scholarship from Italian Women's Civic Club
- Madigan to Serve as Guest Lecturer for December First Friday Lecture
- Investment Club Travels to New York City
- Student Athletes "Scare Away Brain Cancer" in Honor of Teammate
- Veterans Affairs Club, President Bain Host Veterans Day Celebration
- St. John Fisher College to Celebrate 12th Annual Philosophy Day
- St. John Fisher College and Herkimer College Announce 2+2 Partnership Agreement
- Bain Starts Farewell Tour, Visiting Alumni Across Country
- Martínez-Hernández to be part of NIH National Research Mentoring Network Grant
- Read Elected VP of State Association
- Carhart '12 and Harney '13 Produce "UFO" Music Video


text: Shawn Michaels, Townsquare Media [ Five Chambers of Commerce Mega Business Expo By Shawn Michaels October 17, 2013 Network in Ocean County Read More|Comment Category: Articles, Community, Hometown Happenings, Lifestyle, Ocean County Breakfast Show Tags: Brick Twp, chamber of commerce, Jersey Shore, Lakewood, networking, Ocean County, Point Pleasant, Point Pleasant Beach, radio, Toms River, wobm Send to a friend! Share on Facebook Share on Twitter Pin it! Reddit This! Share on Tumblr!


text:
Black Friday bargains and brawls
Fatal crash case adjourned
Golden Girls Trepanier and Morel in top form
Shane Preston held off Darryl Belanger 280-228 to keep his title during Week 10 at Sunday's Beat the Champ at Mid-Town Bowl.
Swapping skis at Porcupine Ski Runners
Sharing is caring at the Porcupine Ski Runners (PSR) as they get set to host their annual Ski Swap this Saturday, Nov. 29 from 9 a.m. to noon.
Peers praise Tom Laughren
Mayor Tom Laughren built up a reputation at Timmins City Hall as the fellow who rarely got excited and portrayed the face of calm, no matter how urgen
Driver honoured for heroics
A city bus driver has been honoured for his role in helping a Schumacher resident escape safely from a house fire.
Front line workers deserve contract
An open letter to the editor in support of the article "Workers stage picket outside CMHA office," from the Nov. 20, 2014 edition of The Daily Press.
Recycling stalls for complex residents
Debbie Quinn is passionate about recycling.
Seasonal campers help save parks
Northeastern Ontario campers appear to have responded well to the change of heart demonstrated by the Ontario Ministry of Natural Resources and Forest
Mayor elect up for challenge
Steve Black doesn't expect to be offered a juice box, a cookie and a condescending pat on the head the first time he meets with a provincial minister
Eskimos aim to add to KL's road woes
All four of the Kirkland Lake's regulation losses this season have come on the road — including a 2-1 setback against the Abitibi Eskimos.
City cracks down on high-fiving crossing guard
A city crackdown on a high-fiving crossing guard inspired parents to protest outside City Hall Friday morning.
Tremendous roundhouse kick ends in KO
Footage from a kickboxing match is circulating social media. And for good reason.
Scott Stapp placed on psychiatric hold
Former Creed rocker Scott Stapp was placed on a psychiatric hold two weeks before he posted an online video detailing his financial struggles.


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A cooperative venture with Curry Anadromous Fishermen, Oregon Department of Fish and Wildlife, People of Central Curry County, and the Knox Family to increase the number of Fall Chinook Salmon in area streams.
Meetings and Events
NEWSSpawning Nov. 18th, 9AM to 10AM. If you don't get a call from me, feel free to call 541 247-0396/425-0396.
Please check your membership/sponsorship "due date" on the Riffle mailing label and stay up to date.
MEETINGSFirst Thursday of the Month, 10:00 AM to 11:30 AM Board Meeting at ODFW Building.
November 6
December 4
January (To Be Determined)
Second Thursday of the Month, 10:00 AM General Meeting at Mangia Buff Cafe, 29692 Ellensburg Ave. Gold Beach.ÂÂÂÂÂÂ Come at 9:00 AM for a no host breakfast.
November 13
December 11
January 08
November 5, 5:00 PM to 7:30 PM, CAF Fundraiser at Sunset Pizza. CANCELLED
Last Updated (Monday, 17 November 2014 00:58)


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Wednesday, November 05, 2014
Lodge Life
I fully expected this to be one of our hawks, as we have a few that fly through the dense deciduous forest silently and perch, wait, and swoop off again.
The only problem was that when it perched, came to a stop, and turned its head, it was clearly an owl, and a large one at that!
It stayed long enough for me to yell out through the house to "come quick!" and see the owl, and luckily the colleague on the phone was indulgent enough to allow me to drop our conversation for a moment and guide everyone's eyes to the tuftless large owl just out back.
After looking carefully at the guides for the available local species I feel left with it having to be a Barred Owl, due to size, range, habitat, russet wings, and tuftless head (no pointy ears.)
_ _ _ _ _ _ _ _ _ _ _ _
In other exciting news, today the USFS Fire Danger Class rose to "HIGH" and the sign out on Olean Street has been changed to reflect this.
It would be a bad time for a lighting a fire (recreational or brush) in the forest, so keep an eye out folks!
Monday, September 08, 2014
Great Weather!
Great Weather!
8:00 am weather conditions:
58.3°F temperature and steady;
83% humidity and steady;
29.56" Hg pressure and steady;
Blue skies;
Cascades Brook is at a trickle;
No wind reading on the anemometer; &
No new precipitation.
Also, this evening at 5:30 pm we will be meeting on Indian Hill Road and Pleasant Street in Paxton to install a new property sign for Muir Meadow!
Very Very Good stuff!
Friday, August 29, 2014
Lovely Friday
Thursday, August 28, 2014
Clear morning after the rain
At 9:30 am, it is 67 degrees and rising.
It is 81% humidity.
Clear skies, with the barometer steady at 29. 12 inches of mercury.
Monday, August 25, 2014
Today's conditions
Today's Conditions, 9:35 am:
Temperature is 70.2°F and rising;
Humidity is 81% and falling;
Pressure is 29.44" of Hg and steady;
Breeze is stirring, no reading;
Cascades Brook is dry;
No recent precipitation;
Skies are blue and clear;
USFS Fire Danger is LOW.
As follow-up to the wildlife clearing @Cascades West, there will be targeted spraying of specific invasive exotic weeds in the meadow today. Orange signs have been posted. Please stay to the official marked trails.
Saturday, August 23, 2014
We're back!
A while back the darnedest thing happened.
Someone stole the "low" fire danger sign. This sorta was a problem in that the fire danger for most of the summer has been "low."
Honestly, this also took the wind out of our sails as well.
Never fear! GWLT Volunteer Paula is here!
Paula measured out, cut, traced, routed, sanded, and painted a replacement "low" sign. Harold threw a couple of coats of polyurethane on it. This morning we hung her up and away we go!
Observations for 1:15pm:
Temperature is 68° F and steady;
Humidity is 67% and falling;
Pressure is 29.38" and steady;
Sky is hazy and overcast;
No new rainfall today;
The Cascades Brook is dry;
There is a gentle breeze;
The USFS Fire Danger is "LOW"!!!
Thursday, July 03, 2014
Visitor at the Lodge this morning
Reporting in from the Lodge
Here at the Lodge at Cascading Waters it is overcast. There is a little bit of a breeze going at tops around 3.5 mph. It is 77 degrees outside with 70% humidity.
Saturday, May 24, 2014
Monday, May 12, 2014
Sunday, May 04, 2014
May the fourth
Friday, May 02, 2014
Working on Pleasant
Today started off cool, in the low 40s, but has crept up into nearly pleasant, and the sun makes occasional appearances just to keep us all hopeful but guessing.
The Cascades are still running white, thought they are no longer roaring. Both of the Cascades streams are running in their channels. Clearly the water table is still high.
Conditions at the Lodge at 2:00 p.m.:
Temperature is 67.3 degrees F and steady;
Humidity is 39% and steady;
Pressure is 28.94" of Hg and steady;
Wind Speed is variable, peaking at 25.5 mph; and
USFS Fire Danger Class is MODERATE.
Thursday, May 01, 2014
Happy May Day! The Cascades are ROARING!
The humidity is 98% and steady, with mist in the air.
The barometer is 29.06 inches of mercury and falling.
There is a flood watch in Worcester until 6 pm tonight.
The wind is stirring, but we don't have a reading.
The Cascades Brook is running through both channels.
And the Cascades are ROARING!
Wednesday, April 30, 2014
Rain for the Forseeable Future
The plants are soaking it in and are headed for a fluorescence of green, and the Cascades are running, and the Cascades Brook has good flow in it.
Bloodwort (White with a yellow center),
Trout Lily (Yellow with red and purple stripes), and
Red trillium (Deep maroon red),
are all presently in bloom in the Cascades and make for a wonderful floral mix.
The 8:00 a.m. conditions at the Lodge:
38.7 degrees F temperature and steady;
89% humidity and steady;
29.71" of Hg pressure and steady;
the air is stirring but registering no wind speed;
the sky is overcast but bright;
rain is presently falling;
the Cascades are running, and will likely pick up in volume over the course of the day;
the USFS Fire Danger Class is LOW.
Sunday saw a cleanup at Parson's Cider Mill and Marois 28, Monday saw a spot cleanup at Cascades East, and yesterday saw spot cleanups at Cascading Waters (more neighborly detritus), and Cascades West (generally older stuff finally unearthed through use and time.) Things are moving forward here in the Cascades.
Sunday, April 06, 2014
Sunny Sunday
At 9:45 am, it is 41.7 degrees and rising.
43% humidity
The barometer is 29.35 inches of mercury and rising.
The sky is blue, the sun is out, and it's heading into the 50's today.
While the Cascades are much smaller than they were a week ago, there is still water coming over the falls. The first and secondary stream channels are open with flow in the brook.
Friday, April 04, 2014
Even more weather excellence!
8:30 a.m. conditions at the Lodge:
Temperature is 37.9°F and rising;
Humidity is 58% and steady;
Pressure is 29.35" and steady;
Wind is stirring, but no reading;
Sun through high altitude clouds;
Cascades Brook is running, mostly in primary channel;
Cascades are running;
USFS Fire Danger us LOW.
Yesterday was busy!
Beams getting hewn, sign posts getting signs mounted, signs being traced, signs being routed, "no dumping" sign posts getting assembled, signs getting treated with wood preservative, and, hugely, the jersey barrier getting picked up and moved by a Sansoucy Stone forklift to close off vehicular access to Cascades East! We had old and new volunteers all in the mix. Thanks to everyone!
Also, our first crocus is up!


text:
Deploy your static sites to S3. Supports Cloudront object invalidation, file gzipping, and configuration of cache control headers.
Until upstatic is released on rubygems, please clone the repository and install with:
rake install
Create a file named Upstatic in the directory you want to deploy and specify at least the S3 bucket name:
bucket "upstatic-site"
Upstatic tries to read your AWS credentials from the following
environment variables:
AWS_ACCESS_KEY_ID and
You can also specify them in the Upstatic file as:
access_key_id "MY_AWS_KEY_ID"
secret_access_key "MY_AWS_SECRET_ACCESS_KEY"
Once the bucket and credentials are setup, you can deploy by running:
upstatic deploy
For more configuration options, keep reading.
If you want to gzip certain files, just specify which file extensions you'd like gzipped. Note that gzipping files means that they'll always be served compressed. S3 does not support serving different files based on the Accept-Encoding header.
gzip_extensions ".html", ".js", ".css"
By default no files are gzipped.
Cache-Control headers
You can also specify Cache-Control headers for specific file extensions.
For example, you might want Cloudfront (and proxies) to cache HTML files for 600 seconds, but tell the browser not to cache them:
cache_control ".html", "public, s-maxage=600, max-age=0"
You can also specify the default for all other files:
default_cache_control "public, max-age=691200"
The default is to serve every file with
Cache-Control: public,
If you are serving some or all your files from Cloudfront, you probably want to invalidate the newly updated objects. Just specify your Cloudfront distribution ID and it will be taken care of when you deploy.
distribution_id "E2ADVMBKHEFZJ3"
This extension keeps track of every deployed file in a
.sha1sums at
the root of the bucket. This is a private file that contains a SHA-1 sum
of the uploaded file, followed by a SHA-1 sum of its upload options and
finally the filename. This file is used to know if a file needs to be
uploaded again.
Everything is tested by actually deploying to S3 and requesting the deployed files.
- Fork it
- Create your feature branch (
git checkout -b my-new-feature)
- Commit your changes (
git commit -am 'Add some feature')
- Push to the branch (
git push origin my-new-feature)
- Create new Pull Request
MIT License.


text:
Town Square
look up
Original post made by Sarah, South of Midtown, on May 21, 2007
Comments (3)
a resident of Duveneck/St. Francis
on May 21, 2007 at 11:54 pm
look down
there is a thread about this already beneath yours.
See Web Link
a resident of South of Midtown
on May 23, 2007 at 5:25 pm
Thanks, RS. And thanks for the laugh.
a resident of South of Midtown
on May 28, 2007 at 1:34 pm
Sarah, they've been circling around for money. You take a ride round the Bay for between $325 - $535
Don't miss out on the discussion!
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text:
Antony and the Johnsons' "You Are My Sister" Video to Show Every Night Next Month in Times Square
By Evan Minsker on November 11, 2014 at 10:38 p.m. EST
The Midnight Moment is a rotating video installation in Times Square. For the final three minutes of each night for an entire month, the same video appears, counting down to midnight. Björk's "Mutual Core" was previously featured. For the entirety of December, Antony and the Johnsons' video for "You Are My Sister", directed by Charles Atlas, will play every night in Times Square.
Antony and the Johnsons to Release Turning Live Album and Film
By Evan Minsker on October 6, 2014 at 10:22 a.m. EDT
Antony and the Johnsons: "Daylight and the Sun" [live] (via SoundCloud)
In 2011 and 2012, Antony Hegarty and artist Charles Atlas screened their film Turning at theaters around the world. The film documented Antony and the Johnsons' fall 2006 European tour, which featured the band performing alongside 13 women. Now, it's getting a DVD (and digital) release alongside an album of Antony and the Johnsons' full November 2006 live set at the Barbican in London. It's out November 11 via Secretly Canadian in the U.S. and November 10 via Rough Trade in the UK/Europe.
Watch a Clip From Antony's Film Turning
By Jenn Pelly on November 16, 2012 at 11:15 a.m. EST
Tonight at New York City's IFC Center, Antony Hegarty's long in-process Turning film finally begins its American theatrical run, following the U.S. premiere last weekend at the DOC NYC festival.
Listen/Watch: How to Dress Well Covers Antony and Janet Jackson, Announces Tour
By Jenn Pelly on August 16, 2012 at 5:06 p.m. EDT
Photo by Andrew Volk
How to Dress Well: "Again" (Janet Jackson Cover) (via SoundCloud)
Tom Krell, a.k.a. How to Dress Well, will release his new LP Total Loss September 18 in North America via Acéphale and September 17 elsewhere via Weird World. The deluxe version comes with a 7" featuring Krell's cover of Janet Jackson's "Again", as well as an a cappella version of the album track "Set It Right" and a cover of Robbie Basho's "Blue Crystal Fire".
Watch the Antony and the Johnsons Video for "Cut the World", Starring Willem Dafoe
By Pitchfork on August 6, 2012 at 10:11 a.m. EDT
As promised, here's the music video for "Cut the World", the previously unreleased title track from Antony and the Johnsons' upcoming live album, out August 6 on Rough Trade in the UK and August 7 through Secretly Canadian in the U.S. The video was directed by NABIL and stars Willem Dafoe (the Spider-Man trilogy, The Last Temptation of Christ), Carice van Houten ("Game of Thrones", Valkyrie), and Marina Abramović. Fair warning: It gets a bit violent.
Hercules and Love Affair to Perform "Blind" With Antony Live for the First Time at Meltdown
By Carrie Battan on July 26, 2012 at 2:00 p.m. EDT
At this year's Meltdown Festival in London on August 6, festival curator Antony Hegarty will appear alongside Hercules and Love Affair to perform their single "Blind". This will be the first time Hegarty has performed the song live with the band. ("Blind" was Pitchfork's number one song of 2008.)
Antony and the Johnsons Announce Live Album
By Carrie Battan and Amy Phillips on May 18, 2012 at 9:00 a.m. EDT
Photo by Inez & Vinoodh
Antony and the Johnsons will release the live record Cut the World August 6 on Rough Trade in the UK and August 7 through Secretly Canadian in the U.S. The album is made up of symphonic versions of songs primarily from the band's four full-length studio albums, recorded last September in Copenhagen, Denmark with the Danish National Chamber Orchestra. That's the cover art, above.
Antony Talks Curating Meltdown Festival
By Evan Minsker on May 1, 2012 at 9:38 a.m. EDT
Photo by Mark Seliger
The annual Meltdown Festival at the Southbank Centre in London is curated by a different artist every year; past curators have included David Bowie, Morrissey, Scott Walker, Nick Cave, Patti Smith, Laurie Anderson, Elvis Costello, Ray Davies, Massive Attack, and Jarvis Cocker. This year, the honor goes to Antony Hegarty. His festival, which runs from August 1-12, represents a "constellation of artists" he greatly admires.
Photos: James Blake, Antony, Stephin Merritt, Lou Reed, Laurie Anderson at Tibet House Benefit
By Pitchfork on February 14, 2012 at 2:50 p.m. EST
Last night at Carnegie Hall, Philip Glass curated the 22nd Annual Tibet House Benefit Concert, featuring Lou Reed, Laurie Anderson, Antony Hegarty, James Blake, Das Racist, Stephin Merritt of the Magnetic Fields, Rahzel, and more. Our photographer Will Deitz was there.
Photos: Antony at Radio City Music Hall
By Pitchfork on January 27, 2012 at 11:45 a.m. EST
Last night at Radio City Music Hall in New York City, Antony Hegarty and Antony and the Johnsons debuted a "large-scale concert and performance event" titled "Swanlights", which was commissioned by the Museum of Modern Art. Our photographer Will Deitz was there.
Check out a selection of shots after the jump, then head over to our Facebook page for even more photos.
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Anywhere, Anytime
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Watch Up All Night Season 2 Episode 5 Online
Another Saturday Night
Air Date:
Watch Up All Night Season 2 Episode 5 online via TV Fanatic with over 2 options to watch the Up All Night S2E5 full episode. Affiliates with free and paid streaming include Amazon and iTunes.
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Episode Details
On Up All Night, it's date night and Reagan and Chris head out for a night of fun with Ava and Jerry. Per Chris' advice, Scott decides to begin dating again.
- Show:
- Up All Night
- Season:
- Up All Night Season 2
- Episode Number:
- 5


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text:
Merkel against unilaterally recognizing Palestine as a state
PA chief warns against resorting to 'religious war'
Jewish youths hurt in brawl with Arabs in east Jerusalem
Riots break out in various areas of West Bank
Hamas denies knowledge of Liberman plot, but says leaders of 'occuaption' are legitimate targets
Israeli official: Erdogan rhetoric befits Tehran or Damascus, not a NATO capital
Netanyahu proposes his own version of 'Jewish state bill'
Israel's ambassador to return to Sweden on symbolic Nov. 29th date
Netanyahu: We have nothing against east Jerusalem residents, but we must protect our citizens
Pro-public health advocates battle against private-medicine lobbying and ad campaign
Doctors, nurses more than twice as likely to get flu shots than general population
Cheapen gluten-free food for celiac patients, panel says
Project to improve nutrition loses funds
'Leviathan gas reservoir to begin flowing by early 2018'
New kid's Israeli archaeology game launched for iPhone
Green Knesset advances as MKs replace paper with iPads
Zion Tech: Our Israeli start-up of the week aims to revolutionize therapy access
James Blunt is coming to get 'high' in Tel Aviv
Staging music
Grapevine: Farewell to an articulate advocate for Israel
Theater Review: The Tempest
Yellow-and-blue survives scare to beat Limoges
Beersheba with an opportunity to go top
Back-on-track Maccabi Tel Aviv takes on Limoges in Euroleague
Hapoel Jerusalem facing early Eurocup exit
Jerusalem Mayor: We cannot discriminate against Arabs
Due to medical treatment, Glick to stay in hospital
English soccer club owner faces racism probe for saying Jews 'chase money'
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Wishful doing
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On the volcano's edge
Knowledge, power and abuse
Q&A with a Colombian lone soldier
European Press: Dividing line
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Book Review: Written from his heart
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Qui prendra la relève de Mahmoud Abbas ?
Arafat, Abbas, même combat ?
Daniel Oren, maestro d'Israël, d'Italie et d'ailleurs !
Nos plus belles années ?
De Berlin à New York, 1920-1975
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Le pot de chocolat liégeois par qui le scandale arrive
Le dernier kibboutz
La course aux étoiles
Les mordus du français
On n'invite pas un pyromane à éteindre un incendie
Tuer l'EI dans l'œuf
Le mont du Temple et la guerre sainte de l'islam
Les attentats du lundi 10 novembre vus par la presse française
L'Europe, nouvelle alliée d'Abbas ?
Ces enseignants-éclaireurs
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11.22.2014 | 29 Heshvan, 5775
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Panel discussion: The housing situation
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High prices, low availability
The allure of Jerusalem
The going rates
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60% of TA wholesale market apartments sold for NIS 1b
Real Estate
01/01/0001 00:00
Living the high life
Penthouse in Tel Aviv 311.
(photo credit:Courtesy)
In Israel, living in a single-family home with a large garden was a very
important status symbol. It meant that the owners were
affluent. If they also used their house to host receptions, it meant that
the owners were high up on the social scale.Nowadays a single-family
home is still a status symbol, but it is being upstaged by the penthouse. In a
single-family home, the size of the house and the garden are important, as well
as the interior design. These are also important in a penthouse, but there is
something that is even more important – the height of the building. The
higher, the better.When buying a penthouse that is still in the building
stage, height and location are the most important elements. Size comes second.
The interior design and layout of the apartment are always left to the buyer or
to his interior designer. Meir Menachem, co-general manager of the Naot
Shiran real estate agency that deals with high-end properties, says, "At
present, demand for expensive real estate is somewhat subdued. The market has
its ups and downs, and right now we are at the bottom of the trough. But demand
is set to recover."The market for very expensive penthouses is made up
of overseas buyers, as well as local buyers. In fact, more than half the buyers
are Israelis. During the past 15 to 20 years as the socioeconomic divide has
widened, the number of wealthy Israelis has increased
substantially.There are many who can afford multimillion-dollar
dwellings, and today it is fashionable to live in very expensive
dwellings.Menachem explains that when an Israeli family moves into a
penthouse that costs two or three million dollars, they usually move in from the
suburbs and the penthouse becomes their principal residence."With
overseas buyers, it's different," he says. "In most cases, it is not their
principal residence but a second home or a holiday home, and there is a marked
preference for penthouses with a sea view."A large luxurious penthouse
with a sea view can cost much more than a single-family home in one of the
high-end areas of the country. A 400 square meter villa on a 1,250 sq. m. plot in
Savyon can cost NIS 8 million to NIS 11 million.A 200 sq. m. penthouse
with an 80 to 100 sq. m, terrace can cost much more, especially if it is on the
seafront and has a sea view. Penthouses on the seafront or near the seafront can
be found in Tel Aviv, Herzliya and Netanya.And Bat Yam, a satellite town
to the south of Tel Aviv, is slowly coming into its own. Very expensive
penthouses can also be found in Jerusalem. There, a prime location has a view of
the Old City or the Judean Hills.An example of a seafront penthouse is
for sale in Herzliya Pituah. It is a triplex penthouse of 180 sq.m. and a 150
sq.m. rooftop garden with panoramic views of the Mediterranean Sea and Tel
Aviv.There is a split-level apartment on the fourth and fifth floors in
a restored Bauhaus building in downtown Tel Aviv. It has high ceilings, and the living room cum dining room area opens on to a 25 sq.m.
terrace. The lower floor also includes a master suite and a study. The
upper floor includes a guest suite and a rooftop terrace. The asking price is
NIS 9 million. In the Rova Lev Ha'ir Tower in central Tel Aviv, a 210
sq.m. penthouse is being offered at NIS 12 million. A penthouse or
rooftop apartment can cost NIS 4 million to NIS 6 million, depending on its size
and location. In the past, penthouses were the abode of the wealthy. At
these times, developers are adapting themselves to market trends and building
penthouses in their new developments. They may not be as large or as high as
their multimillion-dollar counterparts, but they are penthouses all the same,
with large terraces or roofs and a greater degree of privacy.A
second-hand penthouse apartment of 150 to 200 sq. m. in a good location in Ramat
Gan or Givatayim can cost from NIS 2.3 million to NIS 3.5 million. And
one can develop one's own penthouse, as it were. The municipal authorities allow
owners of top floor apartments to annex the part of the roof that is above their
apartments to build a 40 sq. m. room. This requires the approval of at least 75%
of the apartment owners in the building. In most cases, the owners of the top
floor apartments refurbish the lobby or the garden as a quid pro quo.The
Minrav Tower in Jerusalem The Minrav Group is building a magnificent apartment
building in the center of Jerusalem of three-, four- and five-room apartments
and penthouses. It is called the Minrav Tower and it is a landmark in
design.It has spacious interiors and large balconies with breathtaking
views. It is located on Straus Street near Rav Kook Street. This is a
great opportunity to acquire a home in a special location, which in several
years will be one of the more exclusive areas in the capital. There is no doubt
that the center of Jerusalem will be changing dramatically for the better, and
this will be reflected in a rise in prices.For more information, call
Shelly Levine at (02) 566-2499.
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text:
Mr. Nye Represents The Elitist/Atheistic Viewpoint That
Chrisitans are definetly opposed to. Why is teaching kids about the difference between creationism vs.evolution is a bad thing? How could anyone know that there isn't a higher power with conscience and intelligence? Why do I have to believe in gradualistic evolution versus evolution in conjunction with more sudden climate change or catastrophies being the reason for what we see and what animals and life survive to this day? What equation proves there is not an existence with greater knowledge, scale and power that we are not aware of due to the physical and dimensional constraints of the world we live in? Don't buy the Nye elistic, look-down-on Chrisitans BS, he is no more authority on the origins of the universe than an invalid - also Chrisitians can be great engineers and scientists. My advice is to keep the faith and dream big and keep learning. I would love to debate this guy.
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text:
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