Fulton Street, named after Robert Fulton, is a long east–west street in northern Brooklyn, New York City. A street of the same name in Manhattan was linked to this street by Fulton with his steam ferries; this street begins at Joralemon Street in Brooklyn Heights. For a hundred years before the Fulton Ferry monopoly, Fulton Street was the Ferry Road through Jamaica Pass and, in the centuries before any ferry service, Indian path to the Hempstead Plains, it began at the Fulton Ferry Landing and climbed south through Brooklyn Heights past City Hall to where it now begins at Adams Street. Part of the original Fulton Street survives as Old Fulton Street in Brooklyn Heights/DUMBO and Cadman Plaza West; the segment of Fulton Street that traveled past Borough Hall has been turned into a pedestrian esplanade. The initial segment of Fulton Street as it exists today is the Fulton Mall between Adams Street and Flatbush Avenue. East of Flatbush Avenue, Fulton Street becomes a major artery of Downtown Brooklyn, Fort Greene and Clinton Hill.
At Franklin Avenue, Fulton Street becomes the signature street of Bedford–Stuyvesant. At Broadway Junction in East New York, the street is interrupted by the intersection of Broadway and Jamaica Avenue, but continues on the other side as a one-way residential street through East New York and Cypress Hills until Norwood Avenue, once again as a two-way street reaching the Queens border at Elderts Lane in Woodhaven, Queens. There it becomes 91st Avenue; the elevated BMT Fulton Street Line used to run over Fulton Street. The New York City Subway's IND Fulton Street subway line has replaced it east of Washington Avenue; the BMT Jamaica Line runs above Fulton Street between Crescent Street. On March 10, 2005, Fulton Street was co-named Harriet Ross Tubman Avenue along most of its length from Rockaway Avenue in Bedford-Stuyvesant to Elm Place in Downtown Brooklyn, on the anniversary of the death of the ex-slave and abolitionist, designated "Harriet Tubman Day of Commemoration" in New York State. Fulton Mall is a pedestrian street and transit mall in Downtown Brooklyn that runs on Fulton Street between Flatbush Avenue and Adams Street.
Fulton Mall contains 230 stores as well as dedicated bus lanes. For the mall's length, only buses, commercial vehicles, local truck deliveries, emergency vehicles are allowed to use the street; the center of the Fulton Mall is an open public space known as Albee Square. Architect Lee Harris Pomeroy redesigned the mall in the early 1980s: he designed street furniture and equipment for the project including large, free-standing canopies, vendors’ kiosks and telephone kiosks; the graphics program, which he designed for the project, consists of informational and street signage. The Mall had been in operation since the 1970s, but Pomeroy's renovation was completed in 1984. Numerous subway services at Jay Street–MetroTech, DeKalb Avenue, Hoyt–Schermerhorn Streets, Nevins Street, Hoyt Street stations and bus lines service the Fulton Mall area; the Fulton Mall area is New York City's third largest commercial center after Herald Square and a stretch of Madison Avenue. The mall has attracted major investments from prominent Brooklyn retail real estate developers such as Stanley Chera, Albert Laboz, Joseph Jemal, Eli Gindi.
The stores along Fulton Mall includes major retailers such as Macy's, H&M, GameStop, Foot Locker, Modell's Sporting Goods, Finish Line. The Fulton Mall Improvement Association is the local business improvement district. According to Fulton Mall Improvement Association, in 2003 the Fulton Mall area saw between 100,000 and 125,000 visitors a day. Fulton Mall has spurred additional commercial development in its immediate vicinity, such as the City Point development; the Fulton Mall has become the most expensive place to do business in the downtown Brooklyn area. Fulton Street's retail space was $301 per square foot in 2016, $326 per square foot in 2017; the Macy's store, located at 422 Fulton Street, was Abraham & Straus's flagship store. This building was built in 1933 and the design is Art Deco, designed by Starrett & Van Vleck; the Macy's building was the showroom for the W. C. Vosburgh Mfg. Co; as of 2017, the former Abraham & Straus Building is undergoing a $194 million renovation by Tishman Speyer.
The new portion of the building will have 10 floors dedicated to Class A office space. Macy's is renovating its own portion of the building; the Offerman Building, located along Fulton Mall, was built in 1893 by Henry Offerman, a businessman in the sugar industry. It was designed in the Romanesque Revival architectural style and hosted retail on the ground floor; the Offerman Building was designated a New York City Historic Landmark in 2005, by 2017, it had been converted into a 121-unit residential complex. Map of Fulton Mall MetroTech BID Fulton Mall at about.com Brooklyn Site Co-naming: Image of co-naming City Comptroller William Thompson's speech of dedication An argument for full renaming and context on other Brooklyn street name changes
Edmond Hébert, French geologist, was born at Villefargau, Yonne. He was educated at the College de Meaux, at the École Normale in Paris. In 1836 he became professor at Meaux, in 1838 demonstrator in chemistry and physics at the École Normale, in 1841 sub-director of studies at that school and lecturer on geology. In 1857 the degree of D. es Sc. was conferred upon him, he was appointed professor of geology at the Sorbonne. There he was eminently successful as a teacher, worked with great zeal in the field, adding much to the knowledge of the Jurassic and older strata, he devoted, special attention to the subdivisions of the Cretaceous and Tertiary formations in France, to their correlation with the strata in England and in southern Europe. To him we owe the first definite arrangement of the Chalk into palaeontological zones. During his years he was regarded as the leading geologist in France, he was elected a member of the Académie des sciences in 1877, Commander of the Legion of Honour in 1885, he was three times president of the Geological Society of France.
He died in Paris on 4 April 1890. Comité des travaux historiques et scientifiques: short biography and list of publications
Beach music known as Carolina beach music, to a lesser extent, Beach pop, is a regional genre which developed from various rock/R&B/pop music of the 1950s and 1960s. Beach music is most associated with the style of swing dance known as the shag, or the Carolina shag, the official state dance of both North Carolina and South Carolina. Recordings with a 4/4 "blues shuffle" rhythmic structure and moderate-to-fast tempo are the most popular music for the shag, the vast majority of the music in this genre fits that description. Though confined to a small regional fan base to "Grand Strand" communities such as Myrtle Beach, Carolina Beach, the Golden Isles of Georgia, in its early days what is now known as Carolina beach music was instrumental in bringing about wider acceptance of R&B music among the white population nationwide, thus it was a contributory factor in both the birth of rock and roll and the development of soul music as a subgenre of R&B. While the older styles of R&B have faded from popularity nationally, the Carolina shag has gained wide popularity in swing dance circles around the US.
This has not led to increased appreciation for the music of the beach bands, however. Many of these new shag dance aficionados prefer the "R&B oldies" and/or shagging to popular tunes that happen to have the required beat; as more networking is being done on the Internet among shag deejays and beach music fans nationwide, there is a growing acceptance of the regional bands by the "new shaggers". Historical accounts of beach music as it relates to the development of this dance are conflicting, but most agree that the Ocean Drive section of North Myrtle Beach, South Carolina is where the beach/shag phenomenon had its greatest impact among vacationing teenagers and college students; the early development started around 1950. In the period from the end of World War II through the mid-1950s, many white youth in the still-segregated South could not always hear the compelling music of black popular recording artists in their home towns. At the time, much of these recordings were characterized as "race music", a term replaced by "R&B."
In some communities, this remained in effect after racial integration was implemented in the region. However, young people flocked to the bars and pavilions of the Carolina beaches where the shag was gaining popularity, R&B along with jazz instrumentals by artists such as Earl Bostic ruled the jukeboxes, the "beach clubs" where R&B artists performed live thrived. Though toward the end of the 1960s more and more such clubs with similar jukebox selections and live band performances opened in locations other than the beach resorts, the term "Beach Music" which began to emerge in the mid-1960s, keyed off of the memorable experiences of dancing the shag to this music at venues by the sea. A major contributing influence upon this musical affinity beginning in the late 1940s was radio station WLAC in Nashville, which blanketed the Southeast with everything from R&B to blues and more. Stations with similar playlists began to emerge in the Carolinas and surrounding states throughout the late 1950s and the 1960s, increasing the popularity of the music across racial lines and contributing to the increasing popularity of the emerging new gospel-infused R&B sound, soul music.
Among the most popular and influential R&B artists who produced "beach records" in the 1950s and 1960s were the Dominoes, the Drifters, the Clovers, Maurice Williams and the Zodiacs, the Tams, the Tymes, the Temptations, the Four Tops, the Chairmen of the Board. Beginning in the 1960s, certain pop records that had the right tempo to do the shag to came to be included as a part of the beach music genre. Among the best-known examples are "More Today Than Yesterday" by the Spiral Starecase, "Build Me Up Buttercup" by British soul band the Foundations. While some of the "beach hits" by these artists appeared on the R&B and rock and roll charts nationally, a great many of them were "B-sides"—or more obscure recordings that never charted at all. With this penchant for obscure R&B from the 1960s, beach music has much in common with the northern soul phenomenon in the UK, even more with the popcorn sound in Belgium. Another wave of artists, known today as the "beach bands" came into prominence in the mid-1960s to early 1970s influenced by the sound of Motown and the other prominent R&B labels of the day such as Atlantic Records, etc.
These included the nationally-charting groups The Swingin' Medallions, The O'Kaysions, The Tassels, Bill Deal and the Rhondels. This wave of white R&B artists was part of a strong but nationally short-lived musical trend known as blue-eyed soul. In the 1980s, beach music enjoyed a major revival in the Carolinas, thanks to the formation of a loose-knit organization known as The Society of Stranders. Intended as a small social gathering of shag enthusiasts, "beach diggers" and former lifeguards meeting yearly in the Ocean Drive section of North Myrtle Beach, S. O. S. Grew to become a major Spring event. At around the same time, a fanzine called It Will Stand began to delve into the history of beach music. Concurrent with the new enthusiasm for the shag, an increased emphasis on the roots of the music came a period of revival for many of the beach bands that had come to prominence in the 1960s. In addition to these groups, younger artists began to emerge, either as members of established groups, or with groups of their own.
Dedicated beach music charts began to appear, tracking the musical tastes of shaggers and other aficionados of the genre. The number of regional radio stations p
The 2018 Copa Sudamericana second stage was played from 17 July to 16 August 2018. A total of 32 teams competed in the second stage to decide the 16 places in the final stages of the 2018 Copa Sudamericana; the draw for the second stage was held on 4 June 2018, 20:00 PYT, at the CONMEBOL Convention Centre in Luque, Paraguay. For the second stage, the teams were allocated to two pots according to their previous results in this season: Pot 1: 10 teams transferred from the Copa Libertadores and six best winners of the first stage from the Copa Sudamericana Pot 2: 16 remaining winners of the first stage from the Copa SudamericanaThe 32 teams were drawn into 16 ties between a team from Pot 1 and a team from Pot 2, with the teams from Pot 1 hosting the second leg. Teams from the same association could be drawn into the same tie; the following were the 10 teams transferred from the Copa Libertadores. The following were the 22 winners of the first stage from the Copa Sudamericana. Matches in the first stage were considered for the ranking of teams for the second stage draw.
In the second stage, each tie was played on a home-and-away two-legged basis. If tied on aggregate, the away goals rule would be used. If still tied, extra time would not be played, the penalty shoot-out would be used to determine the winner; the 16 winners of the second stage advanced to the round of 16 of the knockout stages. The first legs were played on 17–19, 25–26 July, 1–2 August, the second legs were played on 24, 31 July, 1–2, 7–9 and 14–16 August 2018. Notes Millonarios won 5–1 on aggregate and advanced to the round of 16. Botafogo won 3–2 on aggregate and advanced to the round of 16. Nacional won 1–0 on aggregate and advanced to the round of 16. Tied 1–1 on aggregate, Colón won on penalties and advanced to the round of 16. Banfield won 2–1 on aggregate and advanced to the round of 16. Fluminense won 3–0 on aggregate and advanced to the round of 16. Atlético Paranaense won 6–1 on aggregate and advanced to the round of 16. Deportivo Cali won 6–1 on aggregate and advanced to the round of 16.
LDU Quito won 3–2 on aggregate and advanced to the round of 16. Caracas won 6–3 on aggregate and advanced to the round of 16. Tied 4–4 on aggregate, Deportivo Cuenca won on penalties and advanced to the round of 16. Defensa y Justicia won 2–1 on aggregate and advanced to the round of 16. Tied 1–1 on aggregate, Junior won on penalties and advanced to the round of 16. San Lorenzo won 3–1 on aggregate and advanced to the round of 16. Bahia won 3–1 on aggregate and advanced to the round of 16. Santa Fe won 2–0 on aggregate and advanced to the round of 16. CONMEBOL Sudamericana 2018, CONMEBOL.com
The Chica Show was an American children's television series based on the puppetry segments of The Sunny Side Up Show on Universal Kids, which features the chicken puppet character Chica in full episodic and animated adventures rather than the traditional continuity of The Sunny Side Up Show. The program premiered on November 24, 2012, with a preview episode airing on October 31, 2012; the program began to air as part of the NBC Kids block on Comcast sister network NBC in February 2013, is compliant with E/I regulations. A second season started on July 29, 2013. Kelly – The shopkeeper of the Costume Coop, a store that sells lots of different costumes. Chica – A chicken puppet and Mr. and Mrs. C's daughter. Chica causes problems in the live-action segments, only for Kelly to teach her a lesson and the lesson to be demonstrated in the cartoon segment. Chica's name is Spanish for "girl" or "cute". Bunji – A bunny who likes carrots. Stitches – A boy who seems to be a rag doll, is a display in the Coop's window.
Mr. C – A rooster, Chica's father. Mrs. C – A hen, Chica's mother, she has starred in many plays at the Coop. Jett – A delivery man, so fast as the jet plane. In every episode, Chica, Mr. C and Mrs. C tend to what the customer at the Costume Coop that episode needs. Things go wrong in this part due to Chica, so Kelly tries to teach Chica the lesson of the episode; the cuckoo clock goes off and Kelly said to Chica, The Coop Is Closing, But We're Not Done. Let's Lock Up The Shop, And Have More Fun. and Mr. and Mrs. C lock up the Coop while singing a song. After, two eggs with legs hop out of the cuckoo clock and Kelly, Chica and Bunji turn into cartoon characters. Kelly says "Time to dress up and play!" and the cartoon segment is shown, demonstrating the lesson that Chica learned. "Captain Chica Redcomb" / "The Amazing Chicadini": Chica loses a pirate party hat. / Chica learns to believe in herself. "Chica Rocks" / "Chica Twinkle Toes": Chica learns to keep a beat in her imaginary rock band. / Ballerina Chica learns the importance of practicing.
"Cowgirls and Cowchicken" / "Icky, Chicky": Chica learns about following rules / Chica creates chaos in the coop when she doesn't want to clean up after making an icky, sticky masterpiece. "Chica to the Rescue" / "Chica and the Vikings": Fire Chief Chica learns. / Chica learns to be polite. "Commander Chica Lifts Off" / "Chica the Artist": Chica gets jittery during her imaginary space mission. / Chica discovers. "Chica Plays the Egg Games" / "Super Chica": Chica learns to be a good sport. /. Chica learns the importance of teamwork. "Special Delivery Chica" / "Chica's Big Comb Circus": The cuckoo clock in the Coop breaks and makes other animal noises. / Chica acts bossy while being the ringmaster of a circus. "Reporting for WCLUCK" / "Doctor Chica": Chica pretends to be a news reporter. / Chica, a fairy doctor, tries to cure Fairy Stitches of his "Wilted Wing." "Chica Has the Chirples" / "Chica's Jug Band Jamboree": Chica loses her voice. / No one can play in the jug band jamboree because Chica will not share any of the instruments.
"Chica Climbs a Mountain" / "Snow Princess Chica": A cold wind forces Chica to cancel her luau plans, so see sets off on an icy adventure. / Chica becomes frustrated. "Vroom, Vroom Chica" / "Chica the Bock-a-Doodle Builder ": Chica and her friends race off on an adventure. / Chica learns about planning buildings. "Farmer Chica" / "Bock-a-Doodle-Doo, I Love You": Chica gorges on junk food. / Chica thinks. "Chica's Fashion Squeak" / "Cheerleading Chica": Chica creates a costume for her dad. / Chica plays hide-and-squeak. "Can Chica Play Too?" / "Detective Chica": Kelly's cousin Sally visits. / Chica's baby chick goes missing. "Techno-Chica" / "Chica's Comedy Of Errors": Chica uses Kelly's smartphone without asking. / Chica misinterprets some important information, things get confusing, with a trip to Shakespearean times, Chica learns that it's good to ask questions when things sound strange. "Bock-a-Doodle-Loo Chica" / "Tweet Dreams Chica": Chica wants to show her mom and dad how much she loves them.
/ Chica realizes that she doesn't have enough energy to have fun. "Lights! Camera! Chica!" / "Star Struck Chica": Chica shoots a television commercial for The Costume Coop. / Chica learns about personal space. "Chicasaurus Rex" / "Safari Chica": Stomping like a dinosaur, Chica accidentally ruins Dad's model city. / The search for a costume makes Chica hungry. "Dance of the Sugar Cluck Chica": Chica wants to give her parents a snow globe for Christmas. The Chica Show on IMDb The Chica Show at TV.com
Carl Rakosi was the last surviving member of the original group of poets who were given the rubric Objectivist. He was still performing his poetry well into his 90s. Rakosi was born in Berlin and lived there and in Hungary until 1910, when he moved to the United States to live with his father and stepmother, his father was a jeweler and watchmaker in Chicago and in Gary, Indiana. The family lived in semi-poverty but contrived to send him to the University of Chicago and to the University of Wisconsin–Madison. During his time studying at the university level, he started writing poetry. On graduating, he worked for a time as a social worker returned to college to study psychology. At this time, he changed his name to Callman Rawley because he felt he stood a better chance of being employed if he had a more American-sounding name. After a spell as a psychologist and teacher, he returned to social work for the rest of his working life. At the University of Wisconsin–Madison, Rakosi edited the Wisconsin Literary Magazine.
His own poetry at this stage was influenced by W. B. Yeats, Wallace Stevens, E. E. Cummings, he started reading William Carlos Williams and T. S. Eliot. By 1925, he was publishing poems in Nation. By the late 1920s, Rakosi was in correspondence with Ezra Pound, who prompted Louis Zukofsky to contact him; this led to Rakosi's inclusion in the Objectivist Anthology. Rakosi himself had reservations about the Objectivist tag, feeling that the poets involved were too different from each other to form a group in any meaningful sense of the word, he did, however admire the work of Charles Reznikoff. Like a number of his fellow Objectivists, Rakosi abandoned poetry in the 1940s. After his 1941 Selected Poems he dedicated himself to social work and neither read nor wrote poetry. Years earlier, shortly after his twenty-first birthday, Rakosi had changed his name to Callman Rawley, believing that he would not find work with his foreign-sounding name. Under his adopted name, he served as head of the Minneapolis Jewish Children's and Family Service from 1945 until his retirement in 1968.
A letter from the English poet Andrew Crozier about his early poetry was the trigger that started Rakosi writing again. His first book in 26 years, was published by New Directions in 1967 and his Collected Poems in 1986 by the National Poetry Foundation; these were followed by readings across the United States and Europe. In early November 2003, Rakosi celebrated his 100th birthday with friends at the San Francisco Public Library. Upon his death Jacket Magazine editor John Tranter observed the following: Poet Carl Rakosi died on Friday afternoon June 25 at the age of 100, after a series of strokes, in his home in San Francisco. My wife Lyn and I were passing through California in November 2003, we stopped by to have a coffee with Carl at his home in Sunset. By a lucky coincidence, it happened to be his 100th birthday, he was, as always, thoughtful and alert, as sharp as a pin. We felt privileged to know him. Rakosi at Modern American Poetry The Carl Rakosi Papers in the Mandeville Special Collections Library at UC San Diego Carl Rakosi Reading and Interview on KPFA's Ode To Gravity, 13 May 1971 Obituary in The Guardian, UK Carl Rakosi feature at Jacket Magazine includes Rakosi in conversation with Tom Devaney & Olivier Brossard.