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Saturday, June 29, 2013

Unique phone app shows photographs of iconic London locations overlaid with historical views of exact same spots

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception 

They are the modern, gleaming symbols of London and among the most iconic places in the world.
And now Covent Garden, Piccadilly Circus, Trafalgar Square and other famous Capital locations can now been seen in a unique light through computer-generated photographs which juxtapose how they look today with historical views of the same spot.
The incredible images, from the Museum of London's collection, give a tantalising glimpse into events from decades past and, although showing just how much life in the city has changed, most of the landmarks are easily recognisable.

Piccadilly Circus in 1927 juxtaposed with how it looks today. The image is part of a stunning series of pictures from the Museum of London's collection which give a unique glimpse into the city's past
Piccadilly Circus in 1927 juxtaposed with how it looks today. The image is part of a stunning series of pictures from the Museum of London's collection which give a unique glimpse into the city's past

Trafalgar Square 1962 and 2010 as seen on the Streetmuseum app
4. Buckingham Palace -© Museum of London.jpg
An anti-union protester is marched away in Trafalgar Square in 1962, while the same fate befell suffragette Emily Pankhurst, who failed in her attempt to hand a petition to the King at Buckingham Palace

The Royal Exchange in Bank as seen after a bomb was dropped 1941 and as it looks today
The Royal Exchange in Bank as seen after a bomb was dropped 1941 and as it looks today

Back in the days when the River Thames used to freeze, in the 17th-century, as people and animals slide around on the ice
Back in the days when the River Thames used to freeze, in the 17th-century, as people and animals slide around on the ice

Piccadilly Circus has changed little since 1953, where a soldier is seen getting his shoes polished, while Pattiserie Valerie is pictured in Soho in 1926 and remains at the exact same spot today.
There are pictures of anti-union protests in Trafalgar Square in 1962, while Bank Station is shown after a bomb was dropped nearby in 1941.
Music-lovers are seen queuing for a festival at Hyde Park in 1970, a venue which still attracts big acts today.
Covent Garden c.1877 and 2010 as seen on the Streetmuseum app
15. Hippodrome Cranbourn St -© Museum of London.jpg
Ladies sell flowers at Covent Garden in 1877 and a hive of activity at the Hippodrome in Leicester Square in 1930, when it was one of the capital's major venues

Sugar being hoisted into warehouses at West India Docks, east London in 1900. Now, the buildings of Canary Wharf gleam in the background in an area which has seen enormous change
Sugar being hoisted into warehouses at West India Docks, east London in 1900. Now, the buildings of Canary Wharf gleam in the background in an area which has seen enormous change

The clothes vehicles are different but the station is exactly the same at Piccadilly Circus as a soldier gets his shoes polished there in 1953
The clothes vehicles are different but the station is exactly the same at Piccadilly Circus as a soldier gets his shoes polished there in 1953

From opposite Old Change in 1930 running from Cheapside. The street was lost as was the church, though its tower remains. The area is now called New Change
From opposite Old Change in 1930 running from Cheapside. The street was lost as was the church, though its tower remains. The area is now called New Change

During the 'swinging 60s', Carnaby Street boasted many fashionable boutiques including John Stephen (right). Stephen opened his first shop in 1963 and went on to own nine more in Carnaby Street alone
During the 'swinging 60s', Carnaby Street boasted many fashionable boutiques including John Stephen (right). Stephen opened his first shop in 1963 and went on to own nine more in Carnaby Street alone
The collapsing front of Nos. 23 & 25 Queen Victoria Street, caused by the German bombing raid on the City of London on the night of 10th May 1941
The collapsing front of Nos. 23 & 25 Queen Victoria Street, caused by the German bombing raid on the City of London on the night of 10th May 1941

Bankside Power station under construction in 1952. The power station closed in 1981 and the building has been home to the Tate Modern art gallery since 1995. The Shard now dominates the skyline nearby
Bankside Power station under construction in 1952. The power station closed in 1981 and the building has been home to the Tate Modern art gallery since 1995. The Shard now dominates the skyline nearby
 
In the days when the River Thames used to freeze, numerous figures - both animal and human -  are seen amusing themselves, skating, sliding and snowballing in 1677.
Old London Bridge in in the middle distance and beyond it is the tower of St. Olave's Tooley Street and Southwark Cathedral.
Suffragette Emily Pankhurst is seen being led away by police as she tries to present a petition to the king outside Buckingham Palace in 1914.
The incredible images are inspired by the museum's Street Museum App.

The Real Mad Men and Women of Madison Avenue

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception



A new documentary that looks back at the men and women behind some of America's most ground-breaking ad campaigns is set to answer one question that has kept Mad Man fans fascinated: What were the advertising agencies of Madison Avenue really like during the Sixties?

The Real Mad Men and Women of Madison Avenue, premiering June 30 on Thirteen, reveals whether those martini lunches and workplace sex trysts were the stuff of dreams or reality.
Interviewing real-life Don Drapers and Peggy Olsons - legendary writers and art directors who created iconic ads for Volkswagen, Avis, and Dove - the hour-long film talks sex, stereotypes and chutzpah of the Sixties ad age.

The Real Mad Men and Women of Madison Avenue, premiering June 30 on Thirteen, reveals whether those three martini lunches and workplace sex trysts were the stuff of dreams or reality.
The Real Mad Men and Women of Madison Avenue: Premiering June 30 on Thirteen, the documentary reveals whether those three martini lunches and workplace sex trysts were the stuff of dreams or reality

 
'We were so thrilled to be admitted to this mans world, we didn't care if we were in this ghetto of women's  products,' explains Jane Mass, the creative director at Ogilvy & Mather who ran the iconic 'I Love New York' campaign.
'We genuflected before the men who were running everything,' she says in the documentary.

 
'We worked on accountants that were considered womens accounts, like food, and beverages. I worked on beautiful accounts like Draino toilet bowel cleaner. All the prettyy accounts were mine.'
The documentary, which chronicles the growth of the advertising industry from the Fifties through today, also showcases the creative, innovative, and iconic work that was created at the time.

x
x
The original Don Draper? George Lois, the art director best known for the covers he designed for Esquire magazine from 1962 to 1972, pictured today and in 1964

The real Peggy Olsen? Jane Mass, the creative director at Ogilvy & Mather who ran the iconic 'I Love New York' campaign, say she was a woman in a 'mans world'
The real Peggy Olsen? Jane Mass, the creative director at Ogilvy & Mather who ran the iconic 'I Love New York' campaign, say she was a woman in a 'mans world'
The real Peggy Olsen? Jane Mass, the creative director at Ogilvy & Mather who ran the iconic 'I Love New York' campaign, say she was a woman in a 'mans world'


  

Some of the most memorable campaigns and slogans the film touches on include 'End of the Plain Plane' for Braniff International Airlines, the 'Think Small' ad for Volkswagen, and 'You don’t have to be Jewish to love Levy’s' for Levy’s Real Jewish Rye.
And although the documentary uses Mad Men as inspiration, many of the creative executives of the Sixties say that the show trivializes the advertising industry.
'I'm called the original mad men all over the world, and it drives me nuts!' exclaims George Lois, the art director best known for the covers he designed for Esquire magazine from 1962 to 1972.
'You know, I'm not Don Draper, and second of all, I was much better looking than Don Draper back then!'
xIndustry insights: Amil Gargano, now 81, worked on accounts for Avis, Volvo, and FedEx, alongside Carl Ally at the award-winning agency, Ally & Gargano, and reveals just how sexually charged his agency could be
Industry insights: Amil Gargano, now 81, worked on accounts for Avis, Volvo, and FedEx, alongside Carl Ally at the award-winning agency, Ally & Gargano, and reveals just how sexually charged his agency could be
Industry insights: Amil Gargano, now 81, worked on accounts for Avis, Volvo, and FedEx, alongside Carl Ally at the award-winning agency, Ally & Gargano, and reveals just how sexually charged his agency could be

Legendary lady: Paula Green, a pioneer of women in advertising, is responsible for the Avis motto 'We Try Harder,' and touches on the all-white male club that ran the industry in the film
Legendary lady: Paula Green, a pioneer of women in advertising, is responsible for the Avis motto 'We Try Harder,' and touches on the all-white male club that ran the industry in the film
Legendary lady: Paula Green, a pioneer of women in advertising, is responsible for the Avis motto 'We Try Harder,' and touches on the all-white male club that ran the industry in the film

But when it comes to romantic relationships in and outside the office, it seems that Mad Men, which portrays infidelity and sexual harassment as being prevalent within the industry, is far more realistic than they like to think.
Amil Gargano, 81, who worked on accounts for Avis, Volvo, and FedEx, alongside Carl Ally at the award-winning agency, Ally & Gargano reveals just how sexually charged his agency could be.
'Carl Ally was generally horny,' he admits in the film. 'I mean, the cleaning women were not safe at night when he worked late.'
Jerry Della Femina, who founded the advertising agency Della Femina Travisano & Partners in the Sixties, encouraged romance between creatives and secretaries.
Boys club: Jerry Della Femina, who founded the advertising agency Della Femina Travisano & Partners in the Sixties, encouraged romance between creatives and secretaries
Boys club: Jerry Della Femina, who founded the advertising agency Della Femina Travisano & Partners in the Sixties, encouraged romance between creatives and secretaries

Number one guy: Len Sirowitz was the 'Number One Art Director in America' in 1968 and 1970 polls taken by Ad Weekly; at Doyle Dane Bernbach, his accounts included Mobil, Volkswagen and Sonyx
Number one guy: Len Sirowitz was the 'Number One Art Director in America' in 1968 and 1970 polls taken by Ad Weekly; at Doyle Dane Bernbach, his accounts included Mobil, Volkswagen and Sonyx

The real Mad Men? Although the documentary uses Mad Men as inspiration, many creative executives of the Sixties say that the show trivializes the advertising industry
The real Mad Men? Although the documentary uses Mad Men as inspiration, many creative executives of the Sixties say that the show trivializes the advertising industry

'I encouraged romance in my agency because I figured when people are interested in each other, they'll come in earlier and stay later,' he reveals.
Thanks to Mad Men, sexed-up and discriminatory stereotypes of the advertising industry run the gamut.
Paula Green, a pioneer of women in advertising who is responsible for the Avis motto 'We Try Harder,' touches on the all-white male club that ran the industry in the film.
'You had all of these big old time agencies with their old time clients and their old boy networks,' she explains.
Iconic ads: The documentary takes a look back at the men and women behind some of America's most ground-breaking ad campaigns
Iconic ads: The documentary takes a look back at the men and women behind some of America's most ground-breaking ad campaigns
Work ethic: George Lois said of his agency,' 'We were working around the sharpest people in the world. You're sitting there, out-punning people and you go home exhausted, but you wake up the next morning all
Work ethic: George Lois said of his agency,' 'We were working around the sharpest people in the world. You're sitting there, out-punning people and you go home exhausted, but you wake up all "let's go and do it again!"'




Meanwhile Roy Eaton, the first black creative in a general market agency - Young & Rubicam - recalls the industry as being 'totally waspy'.
'There was never a black on any commercial I ever wrote,' he says. '[The executives] just said to me, "This is your day job, you're working in a white world, live with it."'
But despite the tough clients, long hours, and exessive drinking, it seems the creatives had fun, for the most part.
Mr Lois said: 'No one had more fun than agencies like mine.
'We were working around the sharpest people in the world. You're sitting there, out-punning people and you go home exhausted at the end of the day, but you wake up the next morning all "let's go, let's go and do it again!"

Bert Stern's iconic Marilyn Monroe portraits

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception

Bert Stern, the famed photographer best known for his sensual portraits of Marilyn Monroe, passed away on Wednesday at 83 years old - but his iconic images are set to live on, most likely in other people's living rooms. 

Stern's raw and poignant series of Monroe, The Last Sitting, photographed for Vogue at the Bel Air Hotel in Los Angeles just weeks before her drug overdose death, will be auctioned off on September 10.
'His images will live forever and wow generations to come,' said Stern's wife, Shannah Laumeister, 43.

The Last Sitting; Bert Stern's poignant series of Monroe, which was photographed for Vogue at the Bel Air Hotel in Los Angeles just weeks before her drug overdose death, is set to be auctioned off on September 10
The Last Sitting; Bert Stern's poignant series of Monroe, which was photographed for Vogue at the Bel Air Hotel in Los Angeles just weeks before her drug overdose death, is set to be auctioned off on September 10


The 2,500 photographs, taken over three days in June 1962, were originally published in a 1982 book titled The Last Sitting, and a second book, Marilyn Monroe: The Complete Last Sitting, that came out in 2000.
Intimate portraits: The 2,500 photographs, taken over three days in June 1962, were originally published in a 1982 book titled The Last Sitting

The 2,500 photographs, taken over three days in June 1962, were originally published in a 1982 book titled The Last Sitting, and a second book, Marilyn Monroe: The Complete Last Sitting, that came out in 2000.

 
An undisclosed number of the nude and semi-nude portraits will go under the hammer at Freeman's Auctioneers in Philadelphia for an estimated $10,000 to $15,000 each.
'It was a one-time-in-a-lifetime experience, to have Marilyn Monroe in a hotel room,' Stern said in the 2010 documentary Bert Stern: Original Madman.
Up close and personal: 'It was a one-time-in-a-lifetime experience, to have Marilyn Monroe in a hotel room,' Stern said in the 2010 documentary Bert Stern: Original Madman
Up close and personal: 'It was a one-time-in-a-lifetime experience, to have Marilyn Monroe in a hotel room,' Stern said in the 2010 documentary Bert Stern: Original Madman

An undisclosed number of the nude and semi-nude portraits will go under the hammer at Freeman's Auctioneers in Philadelphia for an estimated $10,000 to $15,000 each.
Up for auction: An undisclosed number of the nude and semi-nude portraits will go under the hammer at Freeman's Auctioneers in Philadelphia for an estimated $10,000 to $15,000 each

Revealing: Monroe was captured nude and semi-nude for the shoot, playing with a see-through scarf for a touch of modesty
Revealing: Monroe was captured nude and semi-nude for the shoot, playing with a see-through scarf for a touch of modesty

'I would never have taken any nudes of Marilyn if she didn't want to do it,' he added in the film.
'I wasn't out to do nudes, I was out to do pictures. But I didn't know about clothes, I didn't see her in clothes. I saw her with jewellery, or something to cover her a little bit. But it ended up to be more nude than I meant.'
Stern died Wednesday at his Manhattan home, confirmed Ms Laumeister, who said she and Stern had been secretly married since 2009.
'He’ll be remembered as someone who loved women and loved taking pictures and putting things he felt strongly about in the camera,' she said.

Bedside: For the shoot, Stern converted the biggest suite at the Bel Air Hotel into a studio, because he 'wanted something more personal,' and felt Monroe would feel more comfortable in its surroundings
Bedside: For the shoot, Stern converted the biggest suite at the Bel Air Hotel into a studio, because he 'wanted something more personal,' and felt Monroe would feel more comfortable in its surroundings



Immortalized: Monroe died aged 36 in 1962, just weeks after posing uninhibited with Stern
Immortalized: Monroe died aged 36 in 1962, just weeks after posing uninhibited with Stern
Memories: Stern previously said he remembered one particular moment from the shoot after Monroe had changed; lifting up one layer of the scarf so you could see through it, she said:
Memories: Stern previously said he remembered one particular moment from the shoot after Monroe had changed; lifting up one layer of the scarf so you could see through it, she said: "Hows this for 36?"'

Au natural: Stern once revealed that Monroe agreed to be photographed wearing no make-up, just a touch of eyeliner and lipstick was used for the shoot
Au natural: Stern once revealed that Monroe agreed to be photographed wearing no make-up, just a touch of eyeliner and lipstick was used for the shoot


As a commercial photographer, Stern helped redefine fashion advertising and portraiture in the Fifties and Sixties, photographing the likes of Audrey Hepburn, Elizabeth Taylor and Truman Capote; and launching his career with an ad campaign for Smirnoff Vodka.
'He was an enormously innovative photographer, both as a commercial photographer and a photographer of celebrities and fashion models, said Bruce Barnes, director of the George Eastman House in Rochester, New York, which will present Stern’s only documentary film, Jazz on a Summer’s Day, this summer.
The 1959 documentary film about the 1958 Newport Jazz Festival was selected in 1999 for the National Film Registry in recognition of its historical significance.
Intimate portraits: The 2,500 photographs that were taken over three days in June 1962, including ones Monroe initially rejected, were originally published in a 1982 book titled The Last Sitting
Racy: Stern commented in 2010, 'I didn't see [Monroe] in clothes, I saw her with jewellery, or something to cover her a little bit; but it ended up to be more nude than I meant'

The Last Sitting; Stern's poignant series of Monroe, which was photographed for Vogue at the Bel Air Hotel in Los Angeles just weeks before her drug overdose death, is set to be auctioned off on September 10
Cinematic: The images, taken during Monroe¿s last ever formal photo shoot, reveal just how much the blond bombshell was able to seduce the camera

Bert Stern: The commercial photographer, who was best known for his icnoic photos of Marilyn Monroe, died on Wednesday at his home in Manhattan at age 83
Bert Stern: The commercial photographer, who was best known for his icnoic photos of Marilyn Monroe, died on Wednesday at his home in Manhattan at age 83


Born in Brooklyn, Stern was among a generation of photographers including Irving Penn and Richard Avedon known for their uncluttered and alluring images.

'He’s not quite as well known but fits into that group for revolutionizing the way celebrities were photographed,' said Jessica Johnson, assistant curator at the George Eastman House.

Stern and Laumeister had been scheduled to appear at the photography and film museum in August for a screening of Ms Laumeister’s documentary, Mr Barnes said.

Louisiana "literacy" test

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception 

The "literacy" test, administered to prospective voters in Louisiana before the Voting Rights Act made it illegal: http://slate.me/11NOkTc
 



Thursday, June 27, 2013

lese majesty ... word day

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception

lese majesty

\ LEZ MAJ-uh-stee, LEEZ- \  , noun;
1.
Law.  a. a crime, especially high treason, committed against the sovereign power. b. an offense that violates the dignity of a ruler.
2.
an attack on any custom, institution, belief, etc., held sacred or revered by numbers of people: Her speech against Mother's Day was criticized as lese majesty.
 
Quotes:
“Little brother, if you're going to commit lese majesty , never do it by messenger. I'd have to execute him too, and it's wasteful.”
-- Harry Turtledove, The Misplaced Legion , 1987
His father was what you call an agitator, and his father was in jail for lese majesty —what you call speaking the truth about the Emperor.
-- Jack London, The Iron Heel , 1908
 
Origin:
This term, which entered English in the 1400s, comes from the Latin laesa majestos , which literally means "violated majesty."

The Upper-Class Brooklyn Resorts of the Victorian Era

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception


Welcome back to Curbed Classics, a column in which writer Lisa Santoro traces the history of a classic New York City building.

Manhattan%20Beach%20Hotel%20NYPL.jpg
[The Manhattan Beach Hotel, via the New York Public Library.]

While Coney Island was known for entertaining the masses with its amusements and oddities, further east lie two areas that once catered to a more genteel and refined population. Beginning in the 1870s, two prominent men would develop their respective properties, Manhattan Beach and Brighton Beach, creating lavish and grandiose hotels for the city's upper middle class and wealthy elite. At the time, these areas were premiere resort destinations; today they are a distant memory, demolished just a few decades after they were built. Looking at present day Manhattan and Brighton Beaches, communities that are quite distinct from one another, it is difficult to envision their past—which makes it all the more interesting.
An unfortunate circumstance first brought Manhattan Beach's creator, investor and railroad tycoon Austin Corbin, to the area. Under doctor's orders to spend the summer at the seaside for his young son's health, Corbin was a guest at the Ocean Hotel owned by William Engelman, a man who made his fortune selling horses to the government during the Civil War. While there, Corbin set his sights on the uninhabited swampland east of Engelman's property, realizing its potential as a resort destination. He chose the name "Manhattan Beach" in the hope that its cosmopolitan flavor would attract a clientele of the same ilk. Also recognizing that the remote location required transportation access, he used his power as president of the Long Island Railroad to construct the New York and Manhattan Beach Railway, bringing the shore within one hour of uptown New York.


MB%20Hotel%20MCNY.jpg
[The Manhattan Beach Hotel, via the Museum of the City of New York.]

The Manhattan Beach Hotel opened for business in the summer of 1877. Built by architect J. Pickering Putnam, the four-story Queen Anne-style wooden hotel was nearly 700 feet long, featuring distinctive turrets and covered verandas with neatly manicured grounds surrounding the hotel and facing the boardwalk. The hotel had a grand reputation from the moment it opened—former president Ulysses S. Grant presided over its open ceremony on July 4 of that year. The Brooklyn Daily Eagle called it "the best hotel on the Atlantic Ocean." It would have been difficult to disagree: the hotel featured 150 guest rooms as well as an assortment of restaurants, ballrooms, and shops and offered first class entertainment—John Philip Sousa performed here and wrote the musical piece "The Manhattan Beach March" in the hotel's honor in 1893. In addition, exclusive New York clubs such as the University Club, the Union League, the New York Club and the Coney Island Jockey Club used the resort as their summer headquarters. Based on the success of his first hotel, Corbin would build another three years later—the Oriental Hotel. An opulent hotel with a Moorish motif, this hotel catered to the wealthiest of families, offering them suites for extended stays throughout the entire resort season.

Hotel%20Brighton%20MCNY.jpg
[Hotel Brighton via MCNY.]

Not to be overshadowed by his neighbor, Engelman also decided to create a resort. He named it Brighton Beach after the idyllic British seashore destination and built the Hotel Brighton (later the Brighton Beach Hotel) in 1878. Also made of wood, the hotel was 460 feet long and several stories high, with accommodations for upwards of 5,000 guests. However, ten years later, the beach in front of the hotel would become so badly eroded that the ocean waves would lap up against the hotel's façade. To save it from destruction, the hotel was placed atop 120 railcars and moved inland 500 to 600 feet. This massive job only took three months to complete, meaning the hotel was open for business again in the summer of 1888. Engelman failed to lure Corbin's wealthier clientele, however, because they did not wish to be any closer to Coney Island.

Moving%20the%20Brighton%20Beach%20Hotel%20NYPL.jpg
[Moving the Brighton Beach Hotel, via the NYPL.]

All three resorts catered to the sensibilities and interests of the refined Victorian era. Guests enjoyed evenings filled with concerts and elaborate firework displays. Horse racing, an immensely popular pastime, was first introduced in the area when Engelman opened a track in Brighton Beach in 1879. In subsequent years, other tracks would open up nearby, making the area the race track capital of the country. And as salt water bathing became more popular, the resorts built bathhouses to serve its guests. By 1880, the Manhattan Beach Hotel offered 2,350 single bathhouses and 350 larger rooms for groups of a half-dozen bathers. These accommodations and amenities made these resorts a destination, attracting patrons away from the resorts they would normally frequent in places like Newport, Rhode Island, and Long Branch, New Jersey.
Oriental%20Hotel%20NYPL.jpg
[The Oriental Hotel, via the NYPL.]

Yet despite the success of these hotels, they were relatively short-lived. Many factors contributed to the decline of the resort area: the amusement parks opening in West Brighton, the suburbanization of parts of Brooklyn, and the Manhattan Beach Improvement Company selling off parcels of land for residential development. But what truly destroyed these areas was the prohibition of gambling, forcing the once very lucrative horse tracks to close, thus causing many patrons to stop coming to these resorts. Between 1910 and 1920, both the Manhattan Beach (1911-2) and Oriental Hotels (1916) were torn down and the land was sold for residential development. Although once considered a negative, the Brighton Beach Hotel's close proximity to Coney Island, which was at its peak during this time, meant that the Brighton Beach Hotel fared a bit better—it stood until 1926. Although these hotels were gone, the area remained popular for its Manhattan Beach Baths, a bungalow and bathhouse community with daily concerts and dance. The baths closed in 1942, marking the end of Manhattan and Brighton beaches as resort destinations.

Today the communities of Manhattan and Brighton beaches, once fairly similar, are now two distinct areas with seemingly no trace of their early past. Brighton Beach is predominantly a Russian immigrant enclave, comprised of small bungalows and a recent proliferation of non-contextual development, in stark opposition to the private and palatial homes that grace the streets of Manhattan Beach. Despite these changes, one unifying link remains—the boardwalk. Although so much has changed for these areas, the boardwalk still stands, offering uninterrupted views of the gulls, seabirds, sand, and ocean, surely as much of a welcome respite today as it would have been in the nineteenth century.
—Lisa Santoro

Further Reading:
· The Coney Island History Web Site [westland.net]
· An Imperfect Paradise in Brooklyn [BPL]
· Brighton and Manhattan Beach, at your leisure [The Bowery Boys]
· The Encyclopedia of New York City
· Curbed Classics archive [Curbed]

first-ever Pride parade

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception

A flier inviting people to the first-ever Pride parade, NYC, 1970: http://slate.me/10Z7Opo

Coroner's fascinating files reveal the bizarre ways Victorians died

de bene esse: literally, of well-being, morally acceptable but subject to future validation or exception



From rows over a washing line to eating dodgy food, some of the more unusual ways the Victorians died have been uncovered in a series of notebooks found in a coroners' files.
A series of handwritten manuscripts, compiled by Thomas Taylor, County Coroner for Yorkshire from 1852 to 1900, spill the details on the ways more than 17,000 people met their demise.
Among the more curious cases is the wealthy Eliza Coulson, whose cause of death was recorded as being from eating bad beef and dubious dumplings in 1868.

A series of handwritten manuscripts, compiled by Thomas Taylor, County Coroner for Yorkshire from 1852 to 1900, spill the details on the ways more than 17,000 people met their demise
The notebooks, property of West Yorkshire Archive Service, record details of the inquests into sudden deaths, accidental demises and mysterious ends
Coroners' notes: A series of manuscripts, written by Thomas Taylor, County Coroner for Yorkshire from 1852 to 1900, have revealed some of the more unusual ways thousands of people met their demise

Inquest: The notebooks record details of hearings into sudden, accidential and mysterious deaths
Inquest: The notebooks record details of hearings into sudden, accidential and mysterious deaths

Manuscripts: Jennie Kiff, research archivist at the West Yorkshire Archive Service, based in Wakefield, works her way through some of the coroners' notes
Manuscripts: Jennie Kiff, research archivist at the West Yorkshire Archive Service, based in Wakefield, works her way through some of the coroners' notes

Sarah Hughes meanwhile died from natural causes 'accelerated by fright occasioned by riotous proceedings of a mob'.
From mining disasters to natural causes, the notebooks, property of West Yorkshire Archive Service, record details of the inquests into sudden deaths, accidental demises and mysterious ends.
But not all the deaths recorded in the notebooks were natural or accidental.
 
Sarah Ann Koyton died suddenly in 1889 from 'excitement and passion' after a row with a neighbour over a washing line. 
In 1864 the verdict at the inquest on 19-year-old Keziah Booth suggested foul play after Keziah’s deathbed statement, written up in the notebook, accused her lover, William Dawson of poisoning her as she was 'in the family way'.
Eye-witness accounts and details of people’s lives are recorded in the notebooks, providing a fascinating insight into life and death in 19th century Yorkshire.
Lifestyle: The manuscripts offer a glimpse into life in Victorian Yorkshire. Pictured is a street in Bradford in the late 19th century
Lifestyle: The manuscripts offer a glimpse into life in Victorian Yorkshire. Pictured is a street in Bradford in the late 19th century
Notebook: One of the cases describes someone's thoughts after eating suet and subsequently dying of food poisoning, as 'It's not fit to use'
Notebook: One of the cases describes someone's thoughts after eating suet and subsequently dying of food poisoning, as 'It's not fit to use'
The alphabetical list of names is hoped to become a useful asset for researchers and historians
Eyewitness accounts and details of people's lives are recorded in the notebooks
Assets: The files, which provide eye-witness accounts along with personal details of people's lives, are hoped to become a useful tool for researchers and historians

Records: The notebooks, property of West Yorkshire Archive Service (pictured), record details of the inquests into sudden deaths, accidental demises and mysterious ends
Records: The notebooks, property of West Yorkshire Archive Service (pictured), record details of the inquests into sudden deaths, accidental demises and mysterious ends
Conditions: A number of washing lines can be seen across this Bradford street in the late 19th century
Conditions: A number of washing lines can be seen across this Bradford street in the late 19th century

The alphabetical list of names is hoped to become a useful asset for researchers and historians.
Graham Hebblethwaite, chief officer of West Yorkshire Joint Services, which oversees the work of the Archive Service, said: 'Finding out about these inquests can help us understand our family history on a much more personal level.
'Our new Ask the Experts service can help to find out a lot more about these events and the lives of your families.'
Councillor Val Slater, chairman of the archive, archaeology and trading standards committee, said: 'These notebooks make fascinating reading. They are like opening a window into another world.'

FOUL PLAY AND FOOD POISONING: SOME OF THE MORE CURIOUS CAUSES OF DEATH REVEALED

Some of the more striking cases in the files include:
  • Eliza Coulson, who died in 1868 after eating bad beef and dumplings
  • Sarah Hughes, who died from natural causes which were 'accelerated by fright occasioned by riotous proceedings of a mob'
  • Sarah Ann Koyton meanwhile died suddenly from 'excitement and passion' after a row with a neighbour over a washing line in 1889
  • The verdict into the death of 19-year-old Keziah Booth in 1864 suggested foul play after her deathbed statement accused her lover of poisoning her as she was 'in the family way'
  • The deaths of seven workers, aged between 9 and 35, who died following an explosion at the Firework Manufactory, in Barnsley. The inquests were held in October, 1868
  • The case of Robert Green in 1882, who died of rabies following 'the bite of a mad dog'
  • Thomas Lindley Middlebrook, aged 17, who was 'accidentally injured in a cricket field' in May 1883
  • Walter Coates, 14, from Pudsey, who was 'accidentally injured in a coconut shy' in August 1888
  • And the case of James Tennant and Emily Thorp, from Horsforth, in September 1896: James murdered Emily, and then shot himself