The New York Times
The New York Times is an American newspaper based in New York City with worldwide influence and readership. Founded in 1851, the paper has won more than any other newspaper; the Times is ranked 17th in the world by circulation and 2nd in the U. S; the paper is owned by The New York Times Company, publicly traded and is controlled by the Sulzberger family through a dual-class share structure. It has been owned by the family since 1896. G. Sulzberger, the paper's publisher, his father, Arthur Ochs Sulzberger Jr. the company's chairman, are the fourth and fifth generation of the family to helm the paper. Nicknamed "The Gray Lady", the Times has long been regarded within the industry as a national "newspaper of record"; the paper's motto, "All the News That's Fit to Print", appears in the upper left-hand corner of the front page. Since the mid-1970s, The New York Times has expanded its layout and organization, adding special weekly sections on various topics supplementing the regular news, editorials and features.
Since 2008, the Times has been organized into the following sections: News, Editorials/Opinions-Columns/Op-Ed, New York, Sports of The Times, Science, Home and other features. On Sunday, the Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T: The New York Times Style Magazine; the Times stayed with the broadsheet full-page set-up and an eight-column format for several years after most papers switched to six, was one of the last newspapers to adopt color photography on the front page. The New York Times was founded as the New-York Daily Times on September 18, 1851. Founded by journalist and politician Henry Jarvis Raymond and former banker George Jones, the Times was published by Raymond, Jones & Company. Early investors in the company included Edwin B. Morgan, Christopher Morgan, Edward B. Wesley. Sold for a penny, the inaugural edition attempted to address various speculations on its purpose and positions that preceded its release: We shall be Conservative, in all cases where we think Conservatism essential to the public good.
We do not believe that everything in Society is either right or wrong. In 1852, the newspaper started a western division, The Times of California, which arrived whenever a mail boat from New York docked in California. However, the effort failed. On September 14, 1857, the newspaper shortened its name to The New-York Times. On April 21, 1861, The New York Times began publishing a Sunday edition to offer daily coverage of the Civil War. One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials in the Times alone; the main office of The New York Times was attacked during the New York City Draft Riots. The riots, sparked by the beginning of drafting for the Union Army, began on July 13, 1863. On "Newspaper Row", across from City Hall, Henry Raymond stopped the rioters with Gatling guns, early machine guns, one of which he manned himself; the mob diverted, instead attacking the headquarters of abolitionist publisher Horace Greeley's New York Tribune until being forced to flee by the Brooklyn City Police, who had crossed the East River to help the Manhattan authorities.
In 1869, Henry Raymond died, George Jones took over as publisher. The newspaper's influence grew in 1870 and 1871, when it published a series of exposés on William Tweed, leader of the city's Democratic Party—popularly known as "Tammany Hall" —that led to the end of the Tweed Ring's domination of New York's City Hall. Tweed had offered The New York Times five million dollars to not publish the story. In the 1880s, The New York Times transitioned from supporting Republican Party candidates in its editorials to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign. While this move cost The New York Times a portion of its readership among its more progressive and Republican readers, the paper regained most of its lost ground within a few years. After George Jones died in 1891, Charles Ransom Miller and other New York Times editors raised $1 million dollars to buy the Times, printing it under the New York Times Publishing Company.
However, the newspaper was financially crippled by the Panic of 1893, by 1896, the newspaper had a circulation of less than 9,000, was losing $1,000 a day. That year, Adolph Ochs, the publisher of the Chattanooga Times, gained a controlling interest in the company for $75,000. Shortly after assuming control of the paper, Ochs coined the paper's slogan, "All The News That's Fit To Print"; the slogan has appeared in the paper since September 1896, has been printed in a box in the upper left hand corner of the front page since early 1897. The slogan was a jab at competing papers, such as Joseph Pulitzer's New York World and William Randolph Hearst's New York Journal, which were known for a lurid and inaccurate reporting of facts and opinions, described by the end of the century as "yellow journalism". Under Ochs' guidance, aided by Carr
Alexander Saeltzer was a German-American architect active in New York City in the 1850s and 1860s. His work includes the Anshe Chesed Synagogue, Academy of Music, Theatre Francais, the Duncan, Sherman & Company building and the South Wing of the Romanesque revival structure at 425 Lafayette Street built between 1853 and 1881 as the Astor Library, his father, Wilhelm Sältzer, was a brickyard-owner, an architect, a Grand Duke council of Saxe-Weimar-Eisenach, who worked as the construction manager in the reconstruction of the Wartburg. Alexander Saeltzer was born in Germany, he was a pupil of Karl Friedrich Schinkel. He moved to the U. S. from Berlin. Saeltzer was engaged in February 1849 to design the synagogue at 172 Norfolk Street in an area of New York known as kleine Deutschland; the synagogue's Gothic Revival style was inspired by the Cologne Cathedral in Cologne and Friedrichwerdesche Kirche in Berlin. According to a 1987 report by the New York City Landmarks Preservation Commission, while Gothic architecture is associated with Christianity, it had become popular with synagogues as Jewish congregations had taken over old church buildings and become accustomed to the style, viewed it as just as appropriate as any other architectural style.
Debuted with celebration, the layout of the Ten Commandments and the use of stained glass in the synagogue caused some controversy within the congregation. It was the demise of the Astor Opera House that spurred New York's elite to build a new opera house in what was the more genteel neighborhood of Union Square. Efforts were led by Moses H. Grinnell, who formed a corporation in 1852 to fund the construction of the building. Shares were sold at $1,000 each to raise $200,000; when finished, the building –, designing the Astor Library at about the same time, had designed Anshe Chesed Synagogue – was the world's largest opera venue with seats for four thousand arranged on five levels and an interior height from floor to dome of 80 feet. It had a plush interior, private boxes in the orchestra, but due to newspaper editorials questioning the project's republican values, was consciously somewhat less "aristocratized" the Astor Opera House had been – there, general admissions were relegated to the benches of a "cockloft" reachable only by a narrow stairway, otherwise isolated from the gentry below, while in the new theatre many of the regular seats were inexpensive.
The stage's proscenium opening was 48 feet, with an additional 35 feet in the wings, a depth of 70 feet from the footlights to the back wall. The height of the proscenium opening was 30 feet; the acoustics were lauded. Saeltzer won the competition to build the library designed the building in Rundbogenstil style the prevailing style for public building in Germany. Funding was provided by William B. Astor, son of the library's founder, John Jacob Astor. Astor funded two expansions of the building toward Astor Place by Griffith Thomas from 1856–1869 and Thomas Stent from 1879–1881. Both large expansions followed Saeltzer's original design making it difficult for an observer to detect that the edifice was built in three stages. In 1920, the Hebrew Immigrant Aid Society purchased the building. By 1965 it faced demolition; the Public Theater the New York Shakespeare Festival, persuaded the city to purchase it for use as a theater. It was converted for theater use by Giorgio Cavaglieri between 1967 and 1976.
The building is a New York City Landmark, designated in 1965. It was one of the first buildings to be recognized as such by the newly formed Landmarks Preservation Commission of New York City, thanks to Joseph Papp’s perseverance. In 2009, The Public began its “Going Public” campaign to raise funds for a major renovation of the historic building. Groundbreaking for the $35 million renovation occurred on March 9, 2010, with notables such as Liev Schreiber and Philip Seymour Hoffman in attendance. Plans include a renovation of Joe’s Pub; the Fourteenth Street Theatre was a New York City theatre located at 107 West 14th Street just west of Sixth Avenue. As a home for French language dramas and opera, it opened in 1866 as the Theatre Francais and was renamed the Lyceum in 1871. When J. H. Haverly took it over in 1879, he had renamed it Haverly's 14th Street Theatre. By the mid-1880s, it had become the Fourteenth Street Theatre. By the mid-1910s it was being used as a movie theatre, until actress Eva Le Gallienne turned it into the Civic Repertory Theater in 1926.
She mounted a number of successful productions, but the Great Depression ended that venture in 1934. The building was demolished in 1938 or 1948. Saeltzer was contracted to design the syangogue in 1849, he designed the Astor Library and the Academy of Music on Astor Place in 1854. In 1866 he designed the Theatre Francais. Duncan, Sherman & Company building at 11 Pine Street on the corner of Nassau. Saeltzer disguised it as stone using scagliola. Treatise on Acoustics in connection with Ventilation The New Architect: Containing for Picturesque Dwellings, Villas, &c. E Scenery, Plans, De
The Still Alarm
The Still Alarm is a melodramatic play by Joseph Arthur that debuted in New York in 1887 and enjoyed great success, was adapted to silent films in 1911, 1918, 1926. Though never a favorite of critics, it achieved widespread popularity, it is best known for its climactic scene. The play debuted at the Fourteenth Street Theatre in New York City on August 30, 1887. Harry Lacy played the lead role of Jack Manley. Though it ran only a few weeks in its initial engagement, the play returned in March 1888 and ran for over 100 more performances, its popularity was well-secured. In September 1889, it re-appeared at the Grand Opera House, it ran again at the Fourteenth for two weeks in 1891, returned to the Grand Opera House in 1892. The play was successful in England, ran for 100 nights at the Princess's Theatre in London in 1888. Critics noted its success with guarded bemusement. An August 1888 note on its London success reported that "the critics have come down rather on "The Still Alarm", but as this was not unexpected, the management does not worry.
Meanwhile and Pegasus, the two horses, have made a tremendous hit, are drawing crowded houses. Next to them in order of merit, according to the critics, comes the dog."The Still Alarm was Joseph Arthur's first successful creation, but he enjoyed similar success with more melodramatic fare including Blue Jeans and The Cherry Pickers. On opening night of the play, Arthur announced that theatre critic Andrew Carpenter Wheeler, known as "Nym Crinkle," was his collaborator. Wheeler received a writing credit on the 1926 film version. Jack Manley by Harry Lacy John Bird alia Gorman by Nelson Wheatcroft Willie Manley by Charles Dickson Franklyn Fordham by Eugene A. Eberle Doc Wilbur by Jacques Kruger Jenkins by Thomas W. Ford Nozzle by Joseph Doane Elinore Fordham by Blanche Thorne Cad. Wilbur by Blanche Vaughn Mrs. Manley by Mrs. Selden Irwin Pegasus, Bucephalaus.. The Twin Arabian horses The Still Alarm has been adapted to silent film three times, in 1911, 1918, 1926. A 1911 film version was directed by Francis Boggs and starred Robert Z. Leonard, Herbert Rawlinson, Al Ernest Garcia.
William Selig produced the film, preserved by the Museum of Modern Art Department of Film. Selig produced a wholly new film version in 1918; this version starred Tom Santschi, Fritzi Brunette, Bessie Eyton, directed by Colin Campbell, distributed by Pioneer Film Corporation. The final silent film version of the film, from Universal, was released in 1926, it starred Helene Chadwick, William Russell, Richard Travers, was directed by Edward Laemmle. Film archivist William K. Everson reviewed the film positively in 1956, noting that though it has "no reputation and is little known", it is "one of the best" of the "fire-fighting thrillers" popular in the 1920s. A 1903 Edison short called The Still Alarm consists of footage of moving New York fire equipment and is not a film adaptation of the play. A 1930 Vitaphone short of the same title is a comedy skit by George S. Kaufman, where Fred Allen and Harold Moffet debate what to wear before exiting a burning hotel joined by blase firemen, who play the violin.
The sketch comes from The Little Show, a revue that opened on Broadway in 1929. Despite its roaring success as a play in New York and elsewhere, including repeated revivals and local productions mounted for many years, the sensationalistic fame of The Still Alarm had to ebb. In 1920, a feature in the New York Tribune about the phasing out of the use of horses for fire fighting still highlighted The Still Alarm as the quintessential firefighting example, but Everson's observation in 1956 that it has "no reputation and is little known" characterizes its lack of long-term staying power. The Still Alarm on IMDb The Still Alarm on IMDb The Still Alarm on IMDb
Berenice Abbott, née Bernice Alice Abbott, was an American photographer best known for her portraits of between-the-wars 20th century cultural figures, New York City photographs of architecture and urban design of the 1930s, science interpretation in the 1940s to 1960s. Abbott was born in Springfield and brought up there by her divorced mother, née Lillian Alice Bunn, she attended Ohio State University for two semesters, but left in early 1918 when her professor was dismissed because he was a German teaching an English class. In Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography, her university studies included sculpture. She spent two years studying sculpture in Berlin, she studied at the Académie de la Grande Chaumiere in Paris and the Prussian Academy of Arts in Berlin. During this time, she adopted the French spelling of her first name, "Berenice," at the suggestion of Djuna Barnes. In addition to her work in the visual arts, Abbott published poetry in the experimental literary journal transition.
Abbott first became involved with photography in 1923, when Man Ray hired her as a darkroom assistant at his portrait studio in Montparnasse. She wrote: "I took to photography like a duck to water. I never wanted to do anything else." Ray was impressed by her darkroom work and allowed her to use his studio to take her own photographs. In 1921 her first major works was in an exhibition in the Parisian gallery Le Sacre du Printemps. After a short time studying photography in Berlin, she returned to Paris in 1927 and started a second studio, on the rue Servandoni. Abbott's subjects were people in the artistic and literary worlds, including French nationals and others just passing through the city. According to Sylvia Beach, "To be'done' by Man Ray or Berenice Abbott meant you rated as somebody". Abbott's work was exhibited with that of Man Ray, André Kertész, others in Paris, in the "Salon de l'Escalier", on the staircase of the Théâtre des Champs-Élysées, her portraiture was unusual within exhibitions of modernist photography held in 1928–1929 in Brussels and Germany.
In 1925, Man Ray introduced her to Eugène Atget's photographs. She became interested in Atget's work, managed to persuade him to sit for a portrait in 1927, he died shortly thereafter. She acquired the prints and negatives remaining in Eugène Atget’s studio at his death in 1927. While the government acquired much of Atget's archive — Atget had sold 2,621 negatives in 1920, his friend and executor André Calmettes sold 2,000 more after his death — Abbott was able to buy the remainder in June, 1928, started work on its promotion. An early tangible result was the 1930 book Atget, photographe de Paris, in which she is described as photo editor. Due to a lack of funding, Abbott sold a one-half interest in the collection to Julien Levy for $1,000. Abbott's work on Atget's behalf would continue until her sale of the archive to the Museum of Modern Art in 1968. In addition to her book The World of Atget, she provided the photographs for A Vision of Paris, published a portfolio, Twenty Photographs, wrote essays.
Her sustained efforts helped Atget gain international recognition. In early 1929, Abbott visited New York City, ostensibly to find an American publisher for Atget's photographs. After New York when she was doing portrait photography most of the time, she moved on to documentary photography. Upon seeing the city again, Abbott recognized its photographic potential, she went back to Paris, closed up her studio, returned to New York in September. She was a central figure, her first photographs of the city were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera which produced 8 x 10 inch negatives. Using this large format camera, Abbott photographed New York City with the diligence and attention to detail she had so admired in Eugène Atget. Atget died in 1927 and she bought all his work which contained over 5000 negatives and glass slides from him and brought it to New York in 1929, her work has provided a historical chronicle of many now-destroyed buildings and neighborhoods of Manhattan.
Her work appeared in an exhibition "Changing New York" at the Museum Of City in 1937. This was a book made to show the transformation of New York City, she focused more on the physical part of the transformation rather than the mental part of it, such as the change of neighborhoods and the replacement of skyscrapers to low rise buildings. Abbott worked on her New York project independently for six years, unable to get financial support from organizations, foundations, or individuals, she supported herself with commercial work and teaching at the New School of Social Research beginning in 1933. In 1935, Abbott was hired by the Federal Art Project as a project supervisor for her "Changing New York" project, she continued to take the photographs of the city, but she had assistants to help her both in the field and in the office. This arrangement allowed Abbott to devote all her time to producing and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were deposited at the Museum of the City of New York.
Abbott's project was a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the div
Internet Broadway Database
The Internet Broadway Database is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, a trade association for the North American commercial theatre community; the website has a corresponding app for both the IOS and Android. This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today. Details include cast and creative lists for opening night and current day, song lists and other interesting facts about every Broadway production. Other features of IBDB include an extensive archive of photos from past and present Broadway productions, links to cast recordings on iTunes or Amazon and attendance information, its mission was to be an interactive, user-friendly, searchable database for League members, journalists and Broadway fans. The League added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country.
It is managed by Karen Hauser, Michael Abourizk, Mark Smith of the Broadway League. Internet Theatre Database – ITDb Internet Movie Database – IMDb Internet Book Database – IBookDb Lortel Archives – IOBDb The Broadway League Official website Broadway League website
Blue Jeans (play)
Blue Jeans is a melodramatic play by Joseph Arthur that opened in New York City in 1890 to great popularity. The sensation of the play is a scene where the unconscious hero is placed on a board approaching a huge buzz saw in a sawmill, which became one of the most imitated dramatic scenes; the play remained popular for decades, was made into a successful silent film in 1917. The play made its debut on October 1890, at the Fourteenth Street Theatre; the original New York run of the play ran through March 7, 1891. The play enjoyed considerable success around the United States and in revivals in the following decades, it debuted in London in 1898. It was rumored that theatre critic Andrew Carpenter Wheeler, known as "Nym Crinkle," was the actual author or co-author of Blue Jeans, as well as Arthur's prior hit The Still Alarm. A silent film version of the play was released in December 1917, was quite popular, starring Viola Dana as June and Robert D. Walker as Bascom. Perry Bascom returns home to Rising Sun, Indiana to make a run for Congress, marry Sue Eudaly.
Sue's ex, Ben Boone, is nonplussed at this turn of events, runs for office against Bascom. Bascom sours on Sue, divorces her to marry June. After various twists, Boone corners Bascom at Bascom's sawmill. After knocking Bascom out, Boone places him on a board approaching a huge buzz saw. June, locked in an office, escapes just in time to save Bascom from certain death; the initial Broadway cast included: Robert C. Hilliard as Perry Bascom George D. Chaplin as Col. Henry Clay Risener J. J. Wallace as Jacob Tutewiler Jacques Kruger as Jim Tutewiler W. J. Wheeler as Isaac Hankins Alice Leigh as Cindy Tutewiler Marian Mourdant Strickland as Samanthe Hinkins Laura Burt as Nell Tutewiler and Baleena Kicker Gracie Sherwood as Bascom's child George Fawcett as Ben Boone Ben Deane as Seth Igoe Jennie Yeamans as June Judith Berolde as Sue Eudaly