Hi guys
Ortega's firm was purchased by Hillier. I believe he's in their Philadelphia
office these days, or at least they'll know how to get in touch with him.
As for Lucy (in Margate?), wasn't John Milner Architects (or Associates)
involved with that? Somehow I think Westfield Architects, too. Maybe
different phases/tasks.
- Johnette
> There are 15 messages totalling 1594 lines in this issue.
>
> Topics of the day:
>
> 1. BULLAMANKA-PINHEADS Digest - 7 Jun 2003 to 8 Jun 2003
> (#2003-151)
> 2. Hot water
> 3. Two Weeks Notice (Was Re: Preservation is kind of cool) (7)
> 4. FW: Geek Testing
> 5. The top of... (4)
> 6. FW: Irish Castle, Good Condition, Seeks New Owner
>
> --
> To terminate puerile preservation prattling among pals and the
> uncoffee-ed, or to change your settings, go to:
> <http://maelstrom.stjohns.edu/archives/bullamanka-pinheads.html>
>
> ----------------------------------------------------------------------
>
> Date: Tue, 10 Jun 2003 06:03:36 -0400
> From: Jim Hicks <[log in to unmask]>
> Subject: Re: BULLAMANKA-PINHEADS Digest - 7 Jun 2003 to 8 Jun 2003
> (#2003-151)
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_0054_01C32F16.07B6EAC0
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> I doubt, with their teeny weenys, they can reach it let alone step on =
> it. Gore got the popular vote and lost in Fla. And your right, the Dems =
> lost it rather than the gops winning it.
> jh
> ----- Original Message -----=20
> From: Ralph Walter=20
> To: [log in to unmask]
> Sent: Monday, June 09, 2003 9:25 PM
> Subject: Re: BULLAMANKA-PINHEADS Digest - 7 Jun 2003 to 8 Jun 2003 =
> (#2003-151)
>
>
> In a message dated 6/9/2003 3:42:33 PM Eastern Daylight Time, =
> [log in to unmask] writes:
>
>
> Ralph;
> Where were you in 2000? I was in Joisey most of the time Did you =
> miss the Fla story No, I monitored the crime in progress on TV, just =
> like everybody else. and the Supremes final (electoral) act? I have =
> nasty feeling that what you call the Supremes final act is turning out =
> to be more like the opening act of something a whole lot worse.=20
> Can you name a state that the vote for RN tipped the vote to the =
> Shrub? No. I got enough horseshit to keep track of without that. =
> However, it is my impression that the Other Ralph siphoned enough votes =
> off to give, and even worse refused to consider that his running would =
> have the effect of giving, the election to Dubya. Just proves once =
> again that the Democrats are perfectly capable of stepping on their own =
> dicks, and doing so repeatedly, without help from the Republicans.
> Sigh.
>
> Ralph
>
>
>
>
> ------=_NextPart_000_0054_01C32F16.07B6EAC0
> Content-Type: text/html;
> charset="iso-8859-1"
> Content-Transfer-Encoding: quoted-printable
>
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META http-equiv=3DContent-Type content=3D"text/html; =
> charset=3Diso-8859-1">
> <META content=3D"MSHTML 6.00.2800.1170" name=3DGENERATOR>
> <STYLE></STYLE>
> </HEAD>
> <BODY bgColor=3D#ffffff>
> <DIV><FONT face=3DArial size=3D2>I doubt, with their teeny weenys, they =
> can reach it=20
> let alone step on it. Gore got the popular vote and lost in Fla. And =
> your right,=20
> the Dems lost it rather than the gops winning it.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>jh</FONT></DIV>
> <BLOCKQUOTE=20
> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
> BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
> <DIV=20
> style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
> black"><B>From:</B>=20
> <A [log in to unmask] href=3D"mailto:[log in to unmask]">Ralph =
> Walter</A> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
> [log in to unmask]
> =
> href=3D"mailto:[log in to unmask]">BULLAMANKA-PINH=
> [log in to unmask]</A>=20
> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Monday, June 09, 2003 =
> 9:25 PM</DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: =
> BULLAMANKA-PINHEADS Digest -=20
> 7 Jun 2003 to 8 Jun 2003 (#2003-151)</DIV>
> <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
> face=3DArial=20
> color=3D#ff0080 size=3D2 FAMILY=3D"SANSSERIF"><B>In a message dated =
> 6/9/2003 3:42:33=20
> PM Eastern Daylight Time, <A=20
> href=3D"mailto:[log in to unmask]">[log in to unmask]</A>=20
> writes:<BR><BR>
> <BLOCKQUOTE=20
> style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
> solid; MARGIN-RIGHT: 0px"=20
> TYPE=3D"CITE"></FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: =
> #ffffff" face=3DArial=20
> color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF"></B>Ralph;</FONT><FONT =
> lang=3D0=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
> size=3D3=20
> FAMILY=3D"SANSSERIF"><BR></FONT><FONT lang=3D0 =
> style=3D"BACKGROUND-COLOR: #ffffff"=20
> face=3DArial color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF">Where =
> were you in 2000?=20
> <B>I was in Joisey most of the time</B> Did you miss the Fla story =
> <B>No, I=20
> monitored the crime in progress on TV, just like everybody else. =
> </B>and the=20
> Supremes final (electoral) act? <B>I have nasty feeling that what =
> you call=20
> the Supremes final act is turning out to be more like the opening =
> act of=20
> something a whole lot worse. </FONT><FONT lang=3D0=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
> size=3D3=20
> FAMILY=3D"SANSSERIF"></B><BR></FONT><FONT lang=3D0=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
> size=3D2=20
> FAMILY=3D"SANSSERIF">Can you name a state that the vote for RN =
> tipped the vote=20
> to the Shrub? <B>No. I got enough horseshit to keep track of =
> without=20
> that. However, it is my impression that the Other Ralph =
> siphoned=20
> enough votes off to give, and even worse refused to consider that =
> his=20
> running would have the effect of giving, the election to =
> Dubya. Just=20
> proves once again that the Democrats are perfectly capable of =
> stepping on=20
> their own dicks, and doing so repeatedly, without help from the=20
> Republicans.</FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: =
> #ffffff" face=3DArial=20
> color=3D#000000 size=3D3 FAMILY=3D"SANSSERIF"></B><BR></FONT><FONT =
> lang=3D0=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
> size=3D2=20
> FAMILY=3D"SANSSERIF"><B>Sigh.</BLOCKQUOTE></FONT><FONT lang=3D0=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
> size=3D2=20
> FAMILY=3D"SANSSERIF"><BR></FONT><FONT lang=3D0 =
> style=3D"BACKGROUND-COLOR: #ffffff"=20
> face=3DArial color=3D#000000 size=3D2=20
> =
> FAMILY=3D"SANSSERIF"> &nbs=
> p; =20
> Ralph</FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: #ffffff" =
> face=3DArial=20
> color=3D#000000 size=3D3 FAMILY=3D"SANSSERIF"></B><BR></FONT><FONT =
> lang=3D0=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
> size=3D3=20
> FAMILY=3D"SANSSERIF"><BR><BR></FONT><FONT lang=3D0=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#ff0080 =
> size=3D2=20
> =
> FAMILY=3D"SANSSERIF"><B><BR></BLOCKQUOTE></B></FONT></FONT></BODY></HTML>=
>
>
> ------=_NextPart_000_0054_01C32F16.07B6EAC0--
>
> ------------------------------
>
> Date: Mon, 9 Jun 2003 22:28:14 -0700
> From: Ruth Barton <[log in to unmask]>
> Subject: Re: Hot water
>
> You're welcome to come visit my furnace anytime. Ruth
>
>
>
> At 6:45 PM -0400 6/9/03, [log in to unmask] wrote:
> >Ruth;
> >I just got home and there was a message on my machine from a ....you
> >guessed it a "central boiler rep "
> >I will let you know as I like to visit one and "kick the tires" best Michael
> --
> Ruth Barton
> [log in to unmask]
> Dummerston, VT
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 11:31:55 EDT
> From: Heidi Harendza <[log in to unmask]>
> Subject: Two Weeks Notice (Was Re: Preservation is kind of cool)
>
> --part1_1d5.b4d7a35.2c1753eb_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> > Besides, preservation has become kind of cool. It's a cause that
> > attracts historians, academics and politicians of all stripes, yes --
> > but also celebrities, sports heroes, supermodels, media heavyweights
> > and performers of all kinds. Don Henley, Hal Holbrook, Sharon Stone,
> > Kathy Ireland, Bryant Gumbel, Christopher Reeve, Paul Newman -- all
> > and more have been associated with preservation causes in recent
> > years; many have been enlisted by the trust and cable's HGTV to
> > promote historic preservation on television this year.
>
> Preservation is so hip, it has even made it to Hollywood. I was pleasantly
> surprised to watch the Hugh Grant/ Sandra Bullock movie _Two Weeks Notice_ to
> see Sandra Bullock playing a sandal-wearin' preservation lawyer chaining herself
> to buildings.
>
> Does anyone know the building that she is trying to save in the movie? (it's
> supposedly at Coney Island, but no guarantee of fact when in the theater)
>
> -Heidi
>
> --part1_1d5.b4d7a35.2c1753eb_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=
> =3D"Arial" LANG=3D"0">> Besides, preservation has become kind of cool. It=
> 's a cause that<BR>
> > attracts historians, academics and politicians of all stripes, yes --<B=
> R>
> > but also celebrities, sports heroes, supermodels, media heavyweights<BR=
> >
> > and performers of all kinds. Don Henley, Hal Holbrook, Sharon Stone,<BR=
> >
> > Kathy Ireland, Bryant Gumbel, Christopher Reeve, Paul Newman -- all<BR>
> > and more have been associated with preservation causes in recent<BR>
> > years; many have been enlisted by the trust and cable's HGTV to<BR>
> > promote historic preservation on television this year.<BR>
> <BR>
> Preservation is so hip, it has even made it to Hollywood. I was pleasantly s=
> urprised to watch the Hugh Grant/ Sandra Bullock movie _Two Weeks Notice_ to=
> see Sandra Bullock playing a sandal-wearin' preservation lawyer chaining he=
> rself to buildings.<BR>
> <BR>
> Does anyone know the building that she is trying to save in the movie? (it's=
> supposedly at Coney Island, but no guarantee of fact when in the theater)<B=
> R>
> <BR>
> -Heidi</FONT></HTML>
>
> --part1_1d5.b4d7a35.2c1753eb_boundary--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 12:49:46 EDT
> From: Met History <[log in to unmask]>
> Subject: Re: Two Weeks Notice (Was Re: Preservation is kind of cool)
>
> --part1_110.246812a3.2c17662a_boundary
> Content-Type: text/plain; charset="UTF-8"
> Content-Transfer-Encoding: quoted-printable
> Content-Language: en
>
> In a message dated 6/10/03 11:32:29 AM Eastern Daylight Time,=20
> [log in to unmask] writes:
>
>
> > Does anyone know the building that she is trying to save in the movie?=20
> > (it's supposedly at Coney Island, but no guarantee of fact when in the the=
> ater)
> >=20
> > -Heidi
>
> There is no additional charge for this service, it is included in your=20
> membership dues. =20
>
> Childs in Coney Island, July 21, 2002
>
> Built in 1924, the Childs Restaurant at West 21st Street and the Boardwalk=20
> was one of the last gasps of elegance for Coney Island, and its fireproof=20
> construction saved part of Coney Island in a massive 1932 blaze. Now a pres=
> ervation=20
> group says it wants to save the building, an effort the family which has=20
> owned it for half a century sees not as a offer, but a threat.=20
>
> By the turn of the century Coney Island was attracting millions, and many of=
> =20
> the amusement operators adopted fantastical architectural designs, like Luna=
> =20
> Park and Dreamland Park, once at on Surf Avenue between 8th and 11th Streets=
> .=20
>
> Earlier buildings centered along Surf Avenue - one block in from the beach -=
> =20
> but in the early 1920's the arrival of the subway and the construction of th=
> e=20
> Boardwalk encouraged development outside the center of the amusement area.
>
> In 1924 Childs, the quick lunch chain known for its simple meals, built an=20
> imposing, steel-framed restaurant building at 21st and the Boardwalk. Chil=
> ds=20
> was founded in 1889 on Cortlandt Street by Samuel and William Childs, who=20
> sought to serve the rushing ferry crowds in downtown New York; by the mid-19=
> 20's=20
> they were grossing $25 million a year out of over a hundred branches, half i=
> n=20
> New York City. =20
>
> William oversaw the operational end and Samuel handled the real estate side.=
> =20
> Presumably it was Samuel who oversaw the restaurant's trademark design of th=
> e=20
> 1910's - storefront establishments which were white-tiled, efficient and=20
> clean, responsive to what The New York Times called the American "lust for=20
> sanitation". =20
>
> But for their Coney Island building, the Childs' brought in an elite=20
> architectural firm, Ethan Allen Dennison & Fredric C. Hirons - they had both=
> studied=20
> at the Ecole des Beaux-Arts in Paris. The architects embraced the Coney Isl=
> and=20
> esthetic with creative gusto. Against a soft grey stucco field they set a=20
> wild profusion of colored terra cotta ornament in varied colors, with a roof=
> top=20
> pergola apparently meant as a dining area. =20
>
> From a distance, the Childs building presents as a nice but fairly standard=20
> neo-Spanish colonial design with classical elements. But, closer, it is cle=
> ar=20
> that the detailing is all "marine to the last degree - and even submarine in=
> =20
> part", said the magazine Atlantic Terra Cotta in 1924; Atlantic executed the=
> =20
> ornament for the building.
>
> Wherever there was an opportunity for an egg-and-dart or a bracket, the=20
> architects put in sea life: seaweed, fish, snails, seahorses, conchs, crabs,=
> shells=20
> and scallops, in scarlet gold, green, aqua, blue, white and other colors. =20
> This sense of absurd surprise makes the building pleasing beyond its=20
> architectural accomplishment.
>
> In 1924 the critic F. S. Laurence, writing in the American Architect,=20
> particularly admired the modeling of the marine life, "so lifelike that they=
> might=20
> easily have floated in with the tide from Barren Island".
>
> Childs' earlier buildings - usually just storefronts - were objects of=20
> derision by architectural writers, and the sudden burst of ambitious design=20=
> is=20
> peculiar. Just after the new Coney Island Childs, the restaurant hired Will=
> iam Van=20
> Alen to design a an art deco jewel-box restaurant, much altered but still=20
> recognizable at 604 Fifth Avenue, near 48th Street. =20
>
> Samuel Childs died in early 1925; he missed the Coney Island "Frolics of=20
> 1925" in September, a week long carnival with a parade of huge lobsters,=20
> frankfurters and glasses of beer, a baby contest with $2000 in prizes, and t=
> he=20
> presentation of "Miss Coney Island".
>
> After Samuel's death, William Childs took over the company. A dedicated=20
> vegetarian - and teetotaler - he gradually removed meat from the company's m=
> enus. =20
> Earnings dropped from $2 million to $1 million, the stock dropped from 74 i=
> n=20
> 1925 to 52 =C2=BD in 1928, and he was ousted from the company.
>
> In July 1932 a $5 million blaze swept the Coney Island oceanfront, leaving=20
> 1000 homeless, and destroying the bathhouses, rides and homes from 24th Stre=
> et=20
> down to Childs at 21st Street; the restaurant was damaged, but blocked the=20
> advance of the flames further east. In the same period, Robert Moses finis=
> hed a=20
> series of parkways connecting Jones Beach to New York - "that's when Coney=20
> Island died, when everybody got cars" says Robert V. Ricci, who now owns the=
> old=20
> Childs building.
>
> His father Enrico Ricci bought the structure in the 1950's, when "Childs was=
> =20
> long gone" says Mr. Ricci. Since then the Ricci family has operated the Tel=
> l=20
> Chocolate Company from the building. They have kept up the stucco walls,=20
> removed the graffiti, kept the building watertight, and cared for the terra=20=
> cotta.=20
> But, with its windows sealed for factory use, the building still has a=20
> forlorn air. Noticeable chunks of ornament have been removed, but large sec=
> tions=20
> remain.
>
> Mr. Ricci says that he had 150 people making candy in the 1980's, but now=20
> he's down to one employee, and revenues have gone from $2 million year ten y=
> ears=20
> ago to $200,000 in 2001. He has rented out most of the ground floor to a bo=
> ok=20
> distributor, and is offering the cavernous main floor for rent. Leftover=20
> candy making machinery lines the room, with a 24 foot high ceiling, a terraz=
> zo=20
> floor, and more plaques similar to those outside. =20
>
> But he says that rents are below $5 per square foot in the area - 21st Stree=
> t=20
> is well away from the current amusement area, between 8th Street and 16th=20
> Street - not that that section is the high rent district, either. The old C=
> hilds=20
> is flanked by large, weed-choked vacant lots and backs up onto a social=20
> services office. =20
>
> A year ago, after urging by a preservation group, the Friends of Terra Cotta=
> ,=20
> the Landmarks Preservation Commission calendared the old Childs for a=20
> hearing, although that has not yet taken place. =20
> "It's culturally, historically and architectural significant" says Susan=20
> Tunick, founder of the group. "The Riccis have taken great care of it, but=20=
> every=20
> building that's not designated has a possibility of being damaged or lost" s=
> he=20
> says.
>
> Mr. Ricci bristles at the idea that someone else is going to help him take=20
> care of the building his family has looked after for half a century, apparen=
> tly=20
> twice as long as the Childs company did. "The Landmarks Commission told me=20
> designation is not a big deal. Hey, I have to keep a business together -=20
> anything more than saying =E2=80=98let's do this now' is a big deal" he says=
> , referring to=20
> the review that the Landmarks agency exercises over both interior and exteri=
> or=20
> changes to Landmark buildings. =20
>
> "I repaired stuff all over this building, not because anybody asked me, but=20
> because I like it" He is also offended by the common preservationist tactic=
> of=20
> lobbying for Landmark designation without bringing the owner into the loop.=20=
> =20
> "Susan Tunick went around behind my back for months - where was she when I w=
> as=20
> paying taxes and repairs for all these years" he says. =20
>
> Beyond the ring of vacant lots around his building lie ramshackle houses and=
> =20
> subsidized housing, although the new KeySpan Park for minor League baseball=20
> opened last year at 18th and Surf Avenue. =20
>
> Mr. Ricci finds ludicrous talk that his building could be converted into a=20
> restaurant or nightclub on the fantasy theme of the architecture. "Hey, the=
> =20
> stadium's still got empty stores. There's no carnival spirit here, this is=20=
> a=20
> ghetto, it's an inner city" he says.=20
>
>
> --part1_110.246812a3.2c17662a_boundary
> Content-Type: text/html; charset="UTF-8"
> Content-Transfer-Encoding: quoted-printable
> Content-Language: en
>
> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SERIF" FACE=3D"=
> Times New Roman" LANG=3D"0">In a message dated 6/10/03 11:32:29 AM Eastern D=
> aylight Time, [log in to unmask] writes:
> <BR>
> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=3D"Ar=
> ial" LANG=3D"0">
> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-=
> LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Does anyone know the buildi=
> ng that she is trying to save in the movie? (it's supposedly at Coney Island=
> , but no guarantee of fact when in the theater)
> <BR>
> <BR>-Heidi</FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=
> =3D"Arial" LANG=3D"0"> </BLOCKQUOTE>
> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SERIF" FACE=3D"Times=20=
> New Roman" LANG=3D"0">
> <BR>There is no additional charge for this service, it is included in your m=
> embership dues.
> <BR>
> <BR>Childs in Coney Island, July 21, 2002
> <BR>
> <BR>Built in 1924, the Childs Restaurant at West 21st Street and the Boardwa=
> lk was one of the last gasps of elegance for Coney Island, and its fireproof=
> construction saved part of Coney Island in a massive 1932 blaze. Now=20=
> a preservation group says it wants to save the building, an effort the famil=
> y which has owned it for half a century sees not as a offer, but a threat.=20
> <BR>
> <BR>By the turn of the century Coney Island was attracting millions, and man=
> y of the amusement operators adopted fantastical architectural designs, like=
> Luna Park and Dreamland Park, once at on Surf Avenue between 8th and 11th S=
> treets.=20
> <BR>
> <BR>Earlier buildings centered along Surf Avenue - one block in from the bea=
> ch - but in the early 1920's the arrival of the subway and the construction=20=
> of the Boardwalk encouraged development outside the center of the amusement=20=
> area.
> <BR>
> <BR>In 1924 Childs, the quick lunch chain known for its simple meals, built=20=
> an imposing, steel-framed restaurant building at 21st and the Boardwalk. &nb=
> sp; Childs was founded in 1889 on Cortlandt Street by Samuel and Willia=
> m Childs, who sought to serve the rushing ferry crowds in downtown New York;=
> by the mid-1920's they were grossing $25 million a year out of over a hundr=
> ed branches, half in New York City.
> <BR>
> <BR>William oversaw the operational end and Samuel handled the real estate s=
> ide. Presumably it was Samuel who oversaw the restaurant's trademark d=
> esign of the 1910's - storefront establishments which were white-tiled, effi=
> cient and clean, responsive to what The New York Times called the American "=
> lust for sanitation".
> <BR>
> <BR>But for their Coney Island building, the Childs' brought in an elite arc=
> hitectural firm, Ethan Allen Dennison & Fredric C. Hirons - they had bot=
> h studied at the Ecole des Beaux-Arts in Paris. The architects embrace=
> d the Coney Island esthetic with creative gusto. Against a soft grey s=
> tucco field they set a wild profusion of colored terra cotta ornament in var=
> ied colors, with a rooftop pergola apparently meant as a dining area.
> <BR>
> <BR>From a distance, the Childs building presents as a nice but fairly stand=
> ard neo-Spanish colonial design with classical elements. But, closer,=20=
> it is clear that the detailing is all "marine to the last degree - and even=20=
> submarine in part", said the magazine Atlantic Terra Cotta in 1924; Atlantic=
> executed the ornament for the building.
> <BR>
> <BR>Wherever there was an opportunity for an egg-and-dart or a bracket, the=20=
> architects put in sea life: seaweed, fish, snails, seahorses, conchs, crabs,=
> shells and scallops, in scarlet gold, green, aqua, blue, white and other co=
> lors. This sense of absurd surprise makes the building pleasing beyond=
> its architectural accomplishment.
> <BR>
> <BR>In 1924 the critic F. S. Laurence, writing in the American Architect, pa=
> rticularly admired the modeling of the marine life, "so lifelike that they m=
> ight easily have floated in with the tide from Barren Island".
> <BR>
> <BR>Childs' earlier buildings - usually just storefronts - were objects of d=
> erision by architectural writers, and the sudden burst of ambitious design i=
> s peculiar. Just after the new Coney Island Childs, the restaurant hir=
> ed William Van Alen to design a an art deco jewel-box restaurant, much alter=
> ed but still recognizable at 604 Fifth Avenue, near 48th Street.
> <BR>
> <BR>Samuel Childs died in early 1925; he missed the Coney Island "Frolics of=
> 1925" in September, a week long carnival with a parade of huge lobsters, fr=
> ankfurters and glasses of beer, a baby contest with $2000 in prizes, and the=
> presentation of "Miss Coney Island".
> <BR>
> <BR>After Samuel's death, William Childs took over the company. A dedi=
> cated vegetarian - and teetotaler - he gradually removed meat from the compa=
> ny's menus. Earnings dropped from $2 million to $1 million, the=20=
> stock dropped from 74 in 1925 to 52 =C2=BD in 1928, and he was ousted from t=
> he company.
> <BR>
> <BR>In July 1932 a $5 million blaze swept the Coney Island oceanfront, leav=
> ing 1000 homeless, and destroying the bathhouses, rides and homes from 24th=20=
> Street down to Childs at 21st Street; the restaurant was damaged, but blocke=
> d the advance of the flames further east. In the same period, Ro=
> bert Moses finished a series of parkways connecting Jones Beach to New York=20=
> - "that's when Coney Island died, when everybody got cars" says Robert V. Ri=
> cci, who now owns the old Childs building.
> <BR>
> <BR>His father Enrico Ricci bought the structure in the 1950's, when "Childs=
> was long gone" says Mr. Ricci. Since then the Ricci family has operat=
> ed the Tell Chocolate Company from the building. They have kept up the=
> stucco walls, removed the graffiti, kept the building watertight, and cared=
> for the terra cotta. But, with its windows sealed for factory use, th=
> e building still has a forlorn air. Noticeable chunks of ornament have=
> been removed, but large sections remain.
> <BR>
> <BR>Mr. Ricci says that he had 150 people making candy in the 1980's, but no=
> w he's down to one employee, and revenues have gone from $2 million year ten=
> years ago to $200,000 in 2001. He has rented out most of the ground f=
> loor to a book distributor, and is offering the cavernous main floor for ren=
> t. Leftover candy making machinery lines the room, with a 24 foot high=
> ceiling, a terrazzo floor, and more plaques similar to those outside.  =
> ;
> <BR>
> <BR>But he says that rents are below $5 per square foot in the area - 21st S=
> treet is well away from the current amusement area, between 8th Street and 1=
> 6th Street - not that that section is the high rent district, either. =
> The old Childs is flanked by large, weed-choked vacant lots and backs up ont=
> o a social services office.
> <BR>
> <BR>A year ago, after urging by a preservation group, the Friends of Terra C=
> otta, the Landmarks Preservation Commission calendared the old Childs for a=20=
> hearing, although that has not yet taken place.
> <BR>"It's culturally, historically and architectural significant" says Susan=
> Tunick, founder of the group. "The Riccis have taken great care of it=
> , but every building that's not designated has a possibility of being damage=
> d or lost" she says.
> <BR>
> <BR>Mr. Ricci bristles at the idea that someone else is going to help him ta=
> ke care of the building his family has looked after for half a century, appa=
> rently twice as long as the Childs company did. "The Landmarks Commiss=
> ion told me designation is not a big deal. Hey, I have to keep a busin=
> ess together - anything more than saying =E2=80=98let's do this now' is a bi=
> g deal" he says, referring to the review that the Landmarks agency exercises=
> over both interior and exterior changes to Landmark buildings.
> <BR>
> <BR>"I repaired stuff all over this building, not because anybody asked me,=20=
> but because I like it" He is also offended by the common preservationi=
> st tactic of lobbying for Landmark designation without bringing the owner in=
> to the loop. "Susan Tunick went around behind my back for months - whe=
> re was she when I was paying taxes and repairs for all these years" he says.=
>
> <BR>
> <BR>Beyond the ring of vacant lots around his building lie ramshackle houses=
> and subsidized housing, although the new KeySpan Park for minor League base=
> ball opened last year at 18th and Surf Avenue.
> <BR>
> <BR>Mr. Ricci finds ludicrous talk that his building could be converted into=
> a restaurant or nightclub on the fantasy theme of the architecture. "=
> Hey, the stadium's still got empty stores. There's no carnival spirit=20=
> here, this is a ghetto, it's an inner city" he says.=20
> <BR></FONT></HTML>
>
> --part1_110.246812a3.2c17662a_boundary--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 12:52:15 EDT
> From: Met History <[log in to unmask]>
> Subject: Re: Two Weeks Notice (Was Re: Preservation is kind of cool)
>
> --part1_1c2.ad61ff1.2c1766bf_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> In a message dated 6/10/03 11:32:29 AM Eastern Daylight Time,
> [log in to unmask] writes:
>
> > Preservation is so hip, it has even made it to Hollywood. I was pleasantly
> > surprised to watch the Hugh Grant/ Sandra Bullock movie _Two Weeks Notice_ to
> > see Sandra Bullock playing a sandal-wearin' preservation lawyer chaining
> > .
>
> In front of, if I recall correctly, Thomas Lamb's movie palace at 175th and
> Broadway, now occupied by Reverend Ike. ["Don't blame me, I voted for Ike"??]
>
> Also, I suspect it is the only time the names William Van Alen and H. Craig
> Severance will appear in the same dialogue sequence, at least in a single-rotor
> helicopter in mid-air. Christopher
>
>
> --part1_1c2.ad61ff1.2c1766bf_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SERIF" FACE=3D"=
> Times New Roman" LANG=3D"0">In a message dated 6/10/03 11:32:29 AM Eastern D=
> aylight Time, [log in to unmask] writes:
> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=3D"Ar=
> ial" LANG=3D"0">
> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-=
> LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Preservation is so hip, it=20=
> has even made it to Hollywood. I was pleasantly surprised to watch the Hugh=20=
> Grant/ Sandra Bullock movie _Two Weeks Notice_ to see Sandra Bullock playing=
> a sandal-wearin' preservation lawyer chaining herself to buildings</BLOCKQU=
> OTE>.</FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"A=
> rial" LANG=3D"0">
> <BR>
> <BR>In front of, if I recall correctly, Thomas Lamb's movie palace at 175th=20=
> and Broadway, now occupied by Reverend Ike. ["Don't blame me, I voted for Ik=
> e"??]=20
> <BR>
> <BR>Also, I suspect it is the only time the names William Van Alen and H. Cr=
> aig Severance will appear in the same dialogue sequence, at least in a singl=
> e-rotor helicopter in mid-air. Christopher=20
> <BR></FONT></HTML>
>
> --part1_1c2.ad61ff1.2c1766bf_boundary--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 14:12:27 -0400
> From: Pam Stevenson <[log in to unmask]>
> Subject: FW: Geek Testing
>
> It's official - find out not if, but how much of a geek you truly are. As
> the slogan was at Ziff Davis when we went public a few years back, "There's
> a little geek in all of us."
>
> http://www.innergeek.us/geek.html
>
> - Pam
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 15:59:55 -0400
> From: "J.A. Drew Diaz" <[log in to unmask]>
> Subject: Re: Two Weeks Notice (Was Re: Preservation is kind of cool)
>
> This is a multi-part message in MIME format.
> --------------C75A889FA77032E67874B71D
> Content-Type: multipart/alternative;
> boundary="------------155E2A9E4A94171B3290C578"
>
>
> --------------155E2A9E4A94171B3290C578
> Content-Type: text/plain; charset=iso-8859-1
> Content-Transfer-Encoding: 8bit
>
> Outstanding-
> just this morning I was telling Ken to get ahold of Dreamland by kevin
> Baker, as sequel to Paradise Alley... and wondering how historically
> accurate his Coney Island geography was...
> Have you any idea if the "tin Elephant" hotel was real?
> http://www.bookpage.com/9903bp/kevin_baker.html
>
>
> In Dreamland nearly everyone ends up at Coney Island. "Coney Island had
> all these extraordinary rides and exhibits -- the
> Steeplechase ride, the All Dwarf City, tableaux of all
> the great disasters of the time. You could see an
> earthquake in Martinique or the Johnstown Flood. I was
> really inspired by Ric Burns's great documentary on Coney Island. . . .
> I saw that Coney Island was a key part of the
> assimilation process, a sort of blank sheet on which these
> people projected their greatest hopes and worst fears
> about life in America. Coney Island was a sort of
> pageant of their lives." And so is Kevin Baker's Dreamland.
>
> Met History wrote:
>
> > In a message dated 6/10/03 11:32:29 AM Eastern Daylight Time,
> > [log in to unmask] writes:
> >
> >
> >
> >> Does anyone know the building that she is trying to save in the
> >> movie? (it's supposedly at Coney Island, but no guarantee of fact
> >> when in the theater)
> >>
> >> -Heidi
> >
> > There is no additional charge for this service, it is included in your
> > membership dues.
> >
> > Childs in Coney Island, July 21, 2002
> >
> > Built in 1924, the Childs Restaurant at West 21st Street and the
> > Boardwalk was one of the last gasps of elegance for Coney Island, and
> > its fireproof construction saved part of Coney Island in a massive
> > 1932 blaze. Now a preservation group says it wants to save the
> > building, an effort the family which has owned it for half a century
> > sees not as a offer, but a threat.
> >
> > By the turn of the century Coney Island was attracting millions, and
> > many of the amusement operators adopted fantastical architectural
> > designs, like Luna Park and Dreamland Park, once at on Surf Avenue
> > between 8th and 11th Streets.
> >
> > Earlier buildings centered along Surf Avenue - one block in from the
> > beach - but in the early 1920's the arrival of the subway and the
> > construction of the Boardwalk encouraged development outside the
> > center of the amusement area.
> >
> > In 1924 Childs, the quick lunch chain known for its simple meals,
> > built an imposing, steel-framed restaurant building at 21st and the
> > Boardwalk. Childs was founded in 1889 on Cortlandt Street by Samuel
> > and William Childs, who sought to serve the rushing ferry crowds in
> > downtown New York; by the mid-1920's they were grossing $25 million a
> > year out of over a hundred branches, half in New York City.
> >
> > William oversaw the operational end and Samuel handled the real estate
> > side. Presumably it was Samuel who oversaw the restaurant's trademark
> > design of the 1910's - storefront establishments which were
> > white-tiled, efficient and clean, responsive to what The New York
> > Times called the American "lust for sanitation".
> >
> > But for their Coney Island building, the Childs' brought in an elite
> > architectural firm, Ethan Allen Dennison & Fredric C. Hirons - they
> > had both studied at the Ecole des Beaux-Arts in Paris. The architects
> > embraced the Coney Island esthetic with creative gusto. Against a
> > soft grey stucco field they set a wild profusion of colored terra
> > cotta ornament in varied colors, with a rooftop pergola apparently
> > meant as a dining area.
> >
> > From a distance, the Childs building presents as a nice but fairly
> > standard neo-Spanish colonial design with classical elements. But,
> > closer, it is clear that the detailing is all "marine to the last
> > degree - and even submarine in part", said the magazine Atlantic Terra
> > Cotta in 1924; Atlantic executed the ornament for the building.
> >
> > Wherever there was an opportunity for an egg-and-dart or a bracket,
> > the architects put in sea life: seaweed, fish, snails, seahorses,
> > conchs, crabs, shells and scallops, in scarlet gold, green, aqua,
> > blue, white and other colors. This sense of absurd surprise makes the
> > building pleasing beyond its architectural accomplishment.
> >
> > In 1924 the critic F. S. Laurence, writing in the American Architect,
> > particularly admired the modeling of the marine life, "so lifelike
> > that they might easily have floated in with the tide from Barren
> > Island".
> >
> > Childs' earlier buildings - usually just storefronts - were objects of
> > derision by architectural writers, and the sudden burst of ambitious
> > design is peculiar. Just after the new Coney Island Childs, the
> > restaurant hired William Van Alen to design a an art deco jewel-box
> > restaurant, much altered but still recognizable at 604 Fifth Avenue,
> > near 48th Street.
> >
> > Samuel Childs died in early 1925; he missed the Coney Island "Frolics
> > of 1925" in September, a week long carnival with a parade of huge
> > lobsters, frankfurters and glasses of beer, a baby contest with $2000
> > in prizes, and the presentation of "Miss Coney Island".
> >
> > After Samuel's death, William Childs took over the company. A
> > dedicated vegetarian - and teetotaler - he gradually removed meat from
> > the company's menus. Earnings dropped from $2 million to $1 million,
> > the stock dropped from 74 in 1925 to 52 ½ in 1928, and he was ousted
> > from the company.
> >
> > In July 1932 a $5 million blaze swept the Coney Island oceanfront,
> > leaving 1000 homeless, and destroying the bathhouses, rides and homes
> > from 24th Street down to Childs at 21st Street; the restaurant was
> > damaged, but blocked the advance of the flames further east. In the
> > same period, Robert Moses finished a series of parkways connecting
> > Jones Beach to New York - "that's when Coney Island died, when
> > everybody got cars" says Robert V. Ricci, who now owns the old Childs
> > building.
> >
> > His father Enrico Ricci bought the structure in the 1950's, when
> > "Childs was long gone" says Mr. Ricci. Since then the Ricci family
> > has operated the Tell Chocolate Company from the building. They have
> > kept up the stucco walls, removed the graffiti, kept the building
> > watertight, and cared for the terra cotta. But, with its windows
> > sealed for factory use, the building still has a forlorn air.
> > Noticeable chunks of ornament have been removed, but large sections
> > remain.
> >
> > Mr. Ricci says that he had 150 people making candy in the 1980's, but
> > now he's down to one employee, and revenues have gone from $2 million
> > year ten years ago to $200,000 in 2001. He has rented out most of the
> > ground floor to a book distributor, and is offering the cavernous main
> > floor for rent. Leftover candy making machinery lines the room, with
> > a 24 foot high ceiling, a terrazzo floor, and more plaques similar to
> > those outside.
> >
> > But he says that rents are below $5 per square foot in the area - 21st
> > Street is well away from the current amusement area, between 8th
> > Street and 16th Street - not that that section is the high rent
> > district, either. The old Childs is flanked by large, weed-choked
> > vacant lots and backs up onto a social services office.
> >
> > A year ago, after urging by a preservation group, the Friends of Terra
> > Cotta, the Landmarks Preservation Commission calendared the old Childs
> > for a hearing, although that has not yet taken place.
> > "It's culturally, historically and architectural significant" says
> > Susan Tunick, founder of the group. "The Riccis have taken great care
> > of it, but every building that's not designated has a possibility of
> > being damaged or lost" she says.
> >
> > Mr. Ricci bristles at the idea that someone else is going to help him
> > take care of the building his family has looked after for half a
> > century, apparently twice as long as the Childs company did. "The
> > Landmarks Commission told me designation is not a big deal. Hey, I
> > have to keep a business together - anything more than saying ‘let's
> > do this now' is a big deal" he says, referring to the review that the
> > Landmarks agency exercises over both interior and exterior changes to
> > Landmark buildings.
> >
> > "I repaired stuff all over this building, not because anybody asked
> > me, but because I like it" He is also offended by the common
> > preservationist tactic of lobbying for Landmark designation without
> > bringing the owner into the loop. "Susan Tunick went around behind my
> > back for months - where was she when I was paying taxes and repairs
> > for all these years" he says.
> >
> > Beyond the ring of vacant lots around his building lie ramshackle
> > houses and subsidized housing, although the new KeySpan Park for minor
> > League baseball opened last year at 18th and Surf Avenue.
> >
> > Mr. Ricci finds ludicrous talk that his building could be converted
> > into a restaurant or nightclub on the fantasy theme of the
> > architecture. "Hey, the stadium's still got empty stores. There's no
> > carnival spirit here, this is a ghetto, it's an inner city" he says.
>
> --------------155E2A9E4A94171B3290C578
> Content-Type: text/html; charset=iso-8859-1
> Content-Transfer-Encoding: 8bit
>
> <!doctype html public "-//w3c//dtd html 4.0 transitional//en">
> <html>
> Outstanding-
> <br>just this morning I was telling Ken to get ahold of Dreamland by kevin
> Baker, as sequel to Paradise Alley... and wondering how historically accurate
> his Coney Island geography was...
> <br>Have you any idea if the "tin Elephant" hotel was real?
> <br> <a
> href="http://www.bookpage.com/9903bp/kevin_baker.html">http://www.bookpage.com/9
> 903bp/kevin_baker.html</a>
> <br>
> <p>In Dreamland nearly everyone ends up at Coney Island. "Coney Island
> had all
> these &nb
> sp;
> extraordinary rides and exhibits -- the Steeplechase ride, the All Dwarf
> City, tableaux of all
> the  
> ;
> great disasters of the time. You could see an earthquake in Martinique
> or the Johnstown Flood.
> I &
> nbsp;
> was really inspired by Ric Burns's great documentary on Coney Island. .
> . . I saw that
> Coney &nb
> sp;
> Island was a key part of the assimilation process, a sort of blank sheet
> on which these
> people &n
> bsp;
> projected their greatest hopes and worst fears about life in America. Coney
> Island was a sort
> of
>
> pageant of their lives." And so is Kevin Baker's Dreamland.
> <p>Met History wrote:
> <blockquote TYPE=CITE><font face="Times New Roman"><font size=-1>In a message
> dated 6/10/03 11:32:29 AM Eastern Daylight Time, [log in to unmask]
> writes:</font></font>
> <br>
> <br>
> <blockquote TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px;
> MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><font face="Arial"><font
> color="#000000"><font size=-1>Does
> anyone know the building that she is trying to save in the movie? (it's
> supposedly at Coney Island, but no guarantee of fact when in the
> theater)</font></font></font>
> <p><font face="Arial"><font color="#000000"><font
> size=-1>-Heidi</font></font></font></blockquote>
>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>There
> is no additional charge for this service, it is included in your membership
> dues.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Childs
> in Coney Island, July 21, 2002</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Built
> in 1924, the Childs Restaurant at West 21st Street and the Boardwalk was
> one of the last gasps of elegance for Coney Island, and its fireproof
> construction
> saved part of Coney Island in a massive 1932 blaze. Now a preservation
> group says it wants to save the building, an effort the family which has
> owned it for half a century sees not as a offer, but a
> threat.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>By
> the turn of the century Coney Island was attracting millions, and many
> of the amusement operators adopted fantastical architectural designs, like
> Luna Park and Dreamland Park, once at on Surf Avenue between 8th and 11th
> Streets.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Earlier
> buildings centered along Surf Avenue - one block in from the beach - but
> in the early 1920's the arrival of the subway and the construction of the
> Boardwalk encouraged development outside the center of the amusement
> area.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>In
> 1924 Childs, the quick lunch chain known for its simple meals, built an
> imposing, steel-framed restaurant building at 21st and the
> Boardwalk.
> Childs was founded in 1889 on Cortlandt Street by Samuel and William Childs,
> who sought to serve the rushing ferry crowds in downtown New York; by the
> mid-1920's they were grossing $25 million a year out of over a hundred
> branches, half in New York City.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>William
> oversaw the operational end and Samuel handled the real estate side.
> Presumably it was Samuel who oversaw the restaurant's trademark design
> of the 1910's - storefront establishments which were white-tiled, efficient
> and clean, responsive to what The New York Times called the American "lust
> for sanitation".</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>But
> for their Coney Island building, the Childs' brought in an elite architectural
> firm, Ethan Allen Dennison & Fredric C. Hirons - they had both studied
> at the Ecole des Beaux-Arts in Paris. The architects embraced the
> Coney Island esthetic with creative gusto. Against a soft grey stucco
> field they set a wild profusion of colored terra cotta ornament in varied
> colors, with a rooftop pergola apparently meant as a dining
> area.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>From
> a distance, the Childs building presents as a nice but fairly standard
> neo-Spanish colonial design with classical elements. But, closer,
> it is clear that the detailing is all "marine to the last degree - and
> even submarine in part", said the magazine Atlantic Terra Cotta in 1924;
> Atlantic executed the ornament for the building.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Wherever
> there was an opportunity for an egg-and-dart or a bracket, the architects
> put in sea life: seaweed, fish, snails, seahorses, conchs, crabs, shells
> and scallops, in scarlet gold, green, aqua, blue, white and other colors.
> This sense of absurd surprise makes the building pleasing beyond its
> architectural
> accomplishment.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>In
> 1924 the critic F. S. Laurence, writing in the American Architect, particularly
> admired the modeling of the marine life, "so lifelike that they might easily
> have floated in with the tide from Barren Island".</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Childs'
> earlier buildings - usually just storefronts - were objects of derision
> by architectural writers, and the sudden burst of ambitious design is
> peculiar.
> Just after the new Coney Island Childs, the restaurant hired William Van
> Alen to design a an art deco jewel-box restaurant, much altered but still
> recognizable at 604 Fifth Avenue, near 48th Street.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Samuel
> Childs died in early 1925; he missed the Coney Island "Frolics of 1925"
> in September, a week long carnival with a parade of huge lobsters, frankfurters
> and glasses of beer, a baby contest with $2000 in prizes, and the presentation
> of "Miss Coney Island".</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>After
> Samuel's death, William Childs took over the company. A dedicated
> vegetarian - and teetotaler - he gradually removed meat from the company's
> menus. Earnings dropped from $2 million to $1 million, the
> stock dropped from 74 in 1925 to 52 ½ in 1928, and he was
> ousted from the company.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>In
> July 1932 a $5 million blaze swept the Coney Island oceanfront, leaving
> 1000 homeless, and destroying the bathhouses, rides and homes from 24th
> Street down to Childs at 21st Street; the restaurant was damaged, but blocked
> the advance of the flames further east. In the same period,
> Robert Moses finished a series of parkways connecting Jones Beach to New
> York - "that's when Coney Island died, when everybody got cars" says Robert
> V. Ricci, who now owns the old Childs building.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>His
> father Enrico Ricci bought the structure in the 1950's, when "Childs was
> long gone" says Mr. Ricci. Since then the Ricci family has operated
> the Tell Chocolate Company from the building. They have kept up the
> stucco walls, removed the graffiti, kept the building watertight, and cared
> for the terra cotta. But, with its windows sealed for factory use,
> the building still has a forlorn air. Noticeable chunks of ornament
> have been removed, but large sections remain.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Mr.
> Ricci says that he had 150 people making candy in the 1980's, but now he's
> down to one employee, and revenues have gone from $2 million year ten years
> ago to $200,000 in 2001. He has rented out most of the ground floor
> to a book distributor, and is offering the cavernous main floor for rent.
> Leftover candy making machinery lines the room, with a 24 foot high ceiling,
> a terrazzo floor, and more plaques similar to those
> outside.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>But
> he says that rents are below $5 per square foot in the area - 21st Street
> is well away from the current amusement area, between 8th Street and 16th
> Street - not that that section is the high rent district, either.
> The old Childs is flanked by large, weed-choked vacant lots and backs up
> onto a social services office.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>A year
> ago, after urging by a preservation group, the Friends of Terra Cotta,
> the Landmarks Preservation Commission calendared the old Childs for a hearing,
> although that has not yet taken place.</font></font></font>
> <br><font face="Times New Roman"><font color="#000000"><font size=-1>"It's
> culturally, historically and architectural significant" says Susan Tunick,
> founder of the group. "The Riccis have taken great care of it, but
> every building that's not designated has a possibility of being damaged
> or lost" she says.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Mr.
> Ricci bristles at the idea that someone else is going to help him take
> care of the building his family has looked after for half a century, apparently
> twice as long as the Childs company did. "The Landmarks Commission
> told me designation is not a big deal. Hey, I have to keep a business
> together - anything more than saying ‘let's do this now' is
> a big deal" he says, referring to the review that the Landmarks agency
> exercises over both interior and exterior changes to Landmark
> buildings.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>"I
> repaired stuff all over this building, not because anybody asked me, but
> because I like it" He is also offended by the common preservationist
> tactic of lobbying for Landmark designation without bringing the owner
> into the loop. "Susan Tunick went around behind my back for months
> - where was she when I was paying taxes and repairs for all these years"
> he says.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Beyond
> the ring of vacant lots around his building lie ramshackle houses and subsidized
> housing, although the new KeySpan Park for minor League baseball opened
> last year at 18th and Surf Avenue.</font></font></font>
> <p><font face="Times New Roman"><font color="#000000"><font size=-1>Mr.
> Ricci finds ludicrous talk that his building could be converted into a
> restaurant or nightclub on the fantasy theme of the architecture.
> "Hey, the stadium's still got empty stores. There's no carnival spirit
> here, this is a ghetto, it's an inner city" he
> says.</font></font></font></blockquote>
> </html>
>
> --------------155E2A9E4A94171B3290C578--
>
> --------------C75A889FA77032E67874B71D
> Content-Type: text/x-vcard; charset=us-ascii;
> name="ddedge.vcf"
> Content-Transfer-Encoding: 7bit
> Content-Description: Card for J.A. Drew Diaz
> Content-Disposition: attachment;
> filename="ddedge.vcf"
>
> begin:vcard
> n:Diaz;J.A. Drew
> tel;cell:917.971.1577
> tel;fax:212.741.7423
> tel;work:212.741.7348
> x-mozilla-html:FALSE
> url:http://edgedc.com/
> org:EDGE Development Construction
> version:2.1
> email;internet:[log in to unmask]
> adr;quoted-printable:;;Suite 1205=0D=0A150 W 28th
> St;NY;NY;10001;http://edgedc.com/
> note;quoted-printable:It's a heck of a world when an all American boy
> =0D=0Acan't carry a pocketknife.=0D=0A
> fn:Drew Diaz
> end:vcard
>
> --------------C75A889FA77032E67874B71D--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 16:07:26 -0400
> From: "J.A. Drew Diaz" <[log in to unmask]>
> Subject: Re: Two Weeks Notice (Was Re: Preservation is kind of cool)
>
> This is a multi-part message in MIME format.
> --------------B48B765745EB8BBC11B41420
> Content-Type: text/plain; charset=us-ascii
> Content-Transfer-Encoding: 7bit
>
> wow the tin elephant
>
> http://www.levins.com/lucy.html
>
> --------------B48B765745EB8BBC11B41420
> Content-Type: text/x-vcard; charset=us-ascii;
> name="ddedge.vcf"
> Content-Transfer-Encoding: 7bit
> Content-Description: Card for J.A. Drew Diaz
> Content-Disposition: attachment;
> filename="ddedge.vcf"
>
> begin:vcard
> n:Diaz;J.A. Drew
> tel;cell:917.971.1577
> tel;fax:212.741.7423
> tel;work:212.741.7348
> x-mozilla-html:FALSE
> url:http://edgedc.com/
> org:EDGE Development Construction
> version:2.1
> email;internet:[log in to unmask]
> adr;quoted-printable:;;Suite 1205=0D=0A150 W 28th
> St;NY;NY;10001;http://edgedc.com/
> note;quoted-printable:It's a heck of a world when an all American boy
> =0D=0Acan't carry a pocketknife.=0D=0A
> fn:Drew Diaz
> end:vcard
>
> --------------B48B765745EB8BBC11B41420--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 16:49:52 EDT
> From: Ken Follett <[log in to unmask]>
> Subject: Re: The top of...
>
> --part1_127.2b495e5e.2c179e70_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> So, now you're that commercial with the person who goes to work in PJs
>
> I'm the unHamptons guy standing in the front yard in my PJ's w/ bare feet w/
> the cell phone because the reception in the basement is lousy and CNN is
> blasting too loud to hear over upstairs and it is plain neat to see the blooming
> irises while talking on the phone instead of the rear ends of cars on the LIE.
> ][<
>
> --part1_127.2b495e5e.2c179e70_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT COLOR=3D"#0000ff" SIZE=3D2 FAMILY=
> =3D"SCRIPT" FACE=3D"Comic Sans MS" LANG=3D"0">So, now you're that commercial=
> with the person who goes to work in PJs </BLOCKQUOTE><BR>
> </FONT><FONT COLOR=3D"#000000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2=
> FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"><BR>
> I'm the unHamptons guy standing in the front yard in my PJ's w/ bare feet w/=
> the cell phone because the reception in the basement is lousy and CNN is bl=
> asting too loud to hear over upstairs and it is plain neat to see the bloomi=
> ng irises while talking on the phone instead of the rear ends of cars on the=
> LIE. ][<</FONT></HTML>
>
> --part1_127.2b495e5e.2c179e70_boundary--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 16:56:45 -0400
> From: Pam Stevenson <[log in to unmask]>
> Subject: Re: The top of...
>
> This is a multi-part message in MIME format.
>
> --Boundary_(ID_13DcibeQYhXCBfN3ojtxgQ)
> Content-type: text/plain; charset=US-ASCII
> Content-transfer-encoding: 7BIT
>
> Wasn't that you "spider spotting" on the front door screen in said PJs with
> phone in hand last night?
> -----Original Message-----
> From: When I'm in NH I'm a tourist. Ruth
> [mailto:[log in to unmask]]On Behalf Of Ken Follett
> Sent: Tuesday, June 10, 2003 4:50 PM
> To: [log in to unmask]
> Subject: Re: The top of...
>
>
> So, now you're that commercial with the person who goes to work in PJs
>
>
> I'm the unHamptons guy standing in the front yard in my PJ's w/ bare feet
> w/ the cell phone because the reception in the basement is lousy and CNN is
> blasting too loud to hear over upstairs and it is plain neat to see the
> blooming irises while talking on the phone instead of the rear ends of cars
> on the LIE. ][<
>
> --Boundary_(ID_13DcibeQYhXCBfN3ojtxgQ)
> Content-type: text/html; charset=US-ASCII
> Content-transfer-encoding: 7BIT
>
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META content="text/html; charset=us-ascii" http-equiv=Content-Type>
> <META content="MSHTML 5.00.3513.900" name=GENERATOR></HEAD>
> <BODY>
> <DIV><FONT color=#0000ff face="Comic Sans MS" size=2><SPAN
> class=385575520-10062003>Wasn't that you "spider spotting" on the front
> door screen in said PJs with phone in hand last night?</SPAN></FONT></DIV>
> <BLOCKQUOTE>
> <DIV align=left class=OutlookMessageHeader dir=ltr><FONT face=Tahoma
> size=2>-----Original Message-----<BR><B>From:</B> When I'm in NH I'm a
> tourist. Ruth [mailto:[log in to unmask]]<B>On Behalf
> Of </B>Ken Follett<BR><B>Sent:</B> Tuesday, June 10, 2003 4:50
> PM<BR><B>To:</B> [log in to unmask]<BR><B>Subject:</B>
> Re: The top of...<BR><BR></DIV></FONT><FONT face=arial,helvetica><FONT
> color=#0000ff face="Comic Sans MS" lang=0 size=2 FAMILY="SCRIPT">So, now
> you're that commercial with the person who goes to work in PJs
> <BLOCKQUOTE></BLOCKQUOTE><BR></FONT><FONT color=#000000 face=Arial lang=0
> size=2 style="BACKGROUND-COLOR: #ffffff" FAMILY="SANSSERIF"><BR>I'm the
> unHamptons guy standing in the front yard in my PJ's w/ bare feet w/ the cell
> phone because the reception in the basement is lousy and CNN is blasting too
> loud to hear over upstairs and it is plain neat to see the blooming irises
> while talking on the phone instead of the rear ends of cars on the LIE.
> ][<</FONT> </FONT></BLOCKQUOTE></BODY></HTML>
>
> --Boundary_(ID_13DcibeQYhXCBfN3ojtxgQ)--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 16:52:49 EDT
> From: Ken Follett <[log in to unmask]>
> Subject: Re: Two Weeks Notice (Was Re: Preservation is kind of cool)
>
> --part1_1ca.b72a020.2c179f21_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> wow the tin elephant
>
> Drew,
>
> Some years back there was an article in an APT Bulletin ('95 ?) regarding the
> technical details of the restoration of Lucy. I'm not sure if I can find it
> but will try to remember to look before I retire.
>
> ][<
>
> --part1_1ca.b72a020.2c179f21_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=
> =3D"Arial" LANG=3D"0">wow the tin elephant</BLOCKQUOTE><BR>
> <BR>
> Drew,<BR>
> <BR>
> Some years back there was an article in an APT Bulletin ('95 ?) regarding th=
> e technical details of the restoration of Lucy. I'm not sure if I can find i=
> t but will try to remember to look before I retire.<BR>
> <BR>
> ][<</FONT></HTML>
>
> --part1_1ca.b72a020.2c179f21_boundary--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 16:54:46 EDT
> From: Ken Follett <[log in to unmask]>
> Subject: Re: The top of...
>
> --part1_46.39ad0021.2c179f96_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
> Wasn't that you "spider spotting" on the front door screen in said PJs with
> phone in hand last night?
>
> 10-4... about 200-300 spiders were born on our front door and they were
> exploring in an area about 4" square.
>
> ][<
>
> --part1_46.39ad0021.2c179f96_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT COLOR=3D"#0000ff" SIZE=3D2 FAMILY=
> =3D"SCRIPT" FACE=3D"Comic Sans MS" LANG=3D"0">Wasn't that you "spider spotti=
> ng" on the front door screen in said PJs with phone in hand last night?</BLO=
> CKQUOTE><BR>
> </FONT><FONT COLOR=3D"#000000" style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2=
> FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"><BR>
> 10-4... about 200-300 spiders were born on our front door and they were expl=
> oring in an area about 4" square.<BR>
> <BR>
> ][<</FONT></HTML>
>
> --part1_46.39ad0021.2c179f96_boundary--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 16:14:36 -0500
> From: John Callan <[log in to unmask]>
> Subject: Re: Two Weeks Notice (Was Re: Preservation is kind of cool)
>
> --Apple-Mail-10--336934918
> Content-Transfer-Encoding: 7bit
> Content-Type: text/plain;
> charset=US-ASCII;
> format=flowed
>
> Ernie Conway may be the author. If not, try Rick Ortega.
>
> Hmmmm. anyone got contact info on Rick? He seems to have escaped my
> address book.
>
> -jc
>
> On Tuesday, June 10, 2003, at 03:52 PM, Ken Follett wrote:
>
> > wow the tin elephant
> >
> > Drew,
> >
> > Some years back there was an article in an APT Bulletin ('95 ?)
> > regarding the technical details of the restoration of Lucy. I'm not
> > sure if I can find it but will try to remember to look before I > retire.
> >
> > ][<
> >
>
> --Apple-Mail-10--336934918
> Content-Transfer-Encoding: 7bit
> Content-Type: text/enriched;
> charset=US-ASCII
>
> Ernie Conway may be the author. If not, try Rick Ortega.
>
>
> Hmmmm. anyone got contact info on Rick? He seems to have escaped my
> address book.
>
>
> -jc
>
>
> On Tuesday, June 10, 2003, at 03:52 PM, Ken Follett wrote:
>
>
> <excerpt><fontfamily><param>Arial</param><smaller>wow the tin elephant
>
>
> Drew,
>
>
> Some years back there was an article in an APT Bulletin ('95 ?)
> regarding the technical details of the restoration of Lucy. I'm not
> sure if I can find it but will try to remember to look before I retire.
>
>
> ][<<</smaller></fontfamily>
>
>
> </excerpt>
> --Apple-Mail-10--336934918--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 17:21:27 -0400
> From: Pam Stevenson <[log in to unmask]>
> Subject: FW: Irish Castle, Good Condition, Seeks New Owner
>
> This is a multi-part message in MIME format.
>
> --Boundary_(ID_udUHrUMxCEOfjy8/pmcxCQ)
> Content-type: text/plain; charset=iso-8859-1
> Content-transfer-encoding: 8BIT
>
> International Living PostcardsFor anyone with a spare $3.5M sitting
> around....
>
> - Pam
>
>
>
> The current owner of 14th-century Cloghan Castle
> has spent the last 30 years restoring it.
>
>
> IRISH CASTLE, GOOD CONDITION, SEEKS NEW OWNER
>
> Monday, June 9, 2003
> Waterford, Ireland
>
> Dear International Living Reader,
>
> County Offaly's Cloghan Castle in the west of Ireland goes on sale
> this week.
>
> The 155-acre estate on the River Shannon dates back to the 14th
> century and is one of the longest-inhabited castles in Ireland…though not
> always the safest. (During a siege in 1595, 46 people were thrown off the
> battlements to their deaths.) For the next 300 years, the castle changed
> hands through fair means and foul; it's been variously confiscated,
> attacked, and occupied by kings, queens, and armies, before ending up with
> the current owner, who spent the last 30 years restoring it.
>
> Because of its historical significance, Cloghan Castle qualifies for
> special tax exemptions as long as it's open to the public from time to time.
>
> This is a castle in good condition that you could live in--very
> comfortably--right now…and is priced accordingly: 3 million euro ($3.5
> million). Contact agent Jackson-Stops, tel. (353) 1-633-3777, for more
> information.
>
> If you're not quite sure about owning an Irish castle just yet, you
> can take a trial run and rent one out. Waterford's Lismore Castle, not too
> far from IL headquarters, is rented out during the summer by the present
> owner, Lord Hartington. A butler and staff are part of the deal, along with
> dinner, breakfast, and afternoon tea every day. The castle has seven acres
> of gardens, with easy access to several thousand acres of woods, farmland,
> and mountains. If you don't feel like leaving the castle grounds, diversions
> include billiards, table tennis, and tennis. The rate for one week for up to
> 12 guests (with a bedroom each) is 3,500 euro ($4,000) per night, which
> makes it cheaper than some Dublin hotels. For more information, tel. (353)
> 58-54424.
>
> Kathleen Peddicord
> Publisher, International Living
>
> * Further reading:
>
>
>
>
> --Boundary_(ID_udUHrUMxCEOfjy8/pmcxCQ)
> Content-type: text/html; charset=iso-8859-1
> Content-transfer-encoding: 7BIT
>
> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <!-- saved from url=(0022)http://internet.e-mail
> --><HTML><HEAD><TITLE>International Living Postcards</TITLE>
> <META content="text/html; charset=iso-8859-1" http-equiv=Content-Type>
> <STYLE type=text/css>P {
> FONT-FAMILY: Arial, Helvetica, sans-serif; FONT-SIZE: 10pt
> }
> .tableborder {
> BORDER-BOTTOM: #000000 2px solid; BORDER-LEFT: #000000 1px solid;
> BORDER-RIGHT: #000000 2px solid; BORDER-TOP: #000000 0px solid; PADDING-BOTTOM:
> 5px; PADDING-LEFT: 5px; PADDING-RIGHT: 5px; PADDING-TOP: 5px
> }
> .cell_border {
> BORDER-BOTTOM: #31496b 2px solid; BORDER-LEFT: #31496b 2px solid;
> BORDER-RIGHT: #31496b 2px solid; BORDER-TOP: #31496b 2px solid; MARGIN-RIGHT:
> 10px; PADDING-TOP: 18px
> }
> .caption {
> FONT-FAMILY: "Courier New", Courier, mono; FONT-SIZE: 10px
> }
> .captiontext {
> COLOR: #000000; FONT-FAMILY: Arial, Helvetica, sans-serif; FONT-SIZE:
> 10px
> }
> HR {
> BORDER-BOTTOM: #efeff7 0px solid; BORDER-LEFT: #efeff7 0px solid;
> BORDER-RIGHT: #efeff7 0px solid; BORDER-TOP: #efeff7 1px solid
> }
> .tabletop {
> BACKGROUND-COLOR: #efeff7; BORDER-BOTTOM: #000000 1px solid;
> BORDER-LEFT: #000000 1px solid; BORDER-RIGHT: #000000 1px solid; BORDER-TOP:
> #000000 1px solid; FONT-FAMILY: Arial, Helvetica, sans-serif; FONT-SIZE: 14px;
> FONT-WEIGHT: bold; PADDING-BOTTOM: 1px; PADDING-LEFT: 10px; PADDING-RIGHT: 0px;
> PADDING-TOP: 1px
> }
> .furtherreadingtop {
> BACKGROUND-COLOR: #ffcc00; BORDER-BOTTOM: #000000 1px solid;
> BORDER-LEFT: #000000 1px solid; BORDER-RIGHT: #000000 1px solid; BORDER-TOP:
> #000000 1px solid; FONT-FAMILY: Arial, Helvetica, sans-serif; FONT-SIZE: 14px;
> FONT-WEIGHT: bold; PADDING-BOTTOM: 1px; PADDING-LEFT: 10px; PADDING-RIGHT: 0px;
> PADDING-TOP: 1px
> }
> .furtherreadingcell {
> BORDER-BOTTOM: #000000 1px solid; BORDER-LEFT: #000000 1px solid;
> BORDER-RIGHT: #000000 1px solid; BORDER-TOP: #000000 0px solid; FONT-FAMILY:
> Arial, Helvetica, sans-serif; FONT-SIZE: 12px; MARGIN: 4px; PADDING-BOTTOM: 5px;
> PADDING-LEFT: 5px; PADDING-RIGHT: 5px; PADDING-TOP: 5px
> }
> .tablecell {
> BORDER-BOTTOM: #000000 1px solid; BORDER-LEFT: #000000 1px solid;
> BORDER-RIGHT: #000000 1px solid; BORDER-TOP: #000000 0px solid; FONT-FAMILY:
> Arial, Helvetica, sans-serif; FONT-SIZE: 12px; MARGIN: 4px; PADDING-BOTTOM: 5px;
> PADDING-LEFT: 5px; PADDING-RIGHT: 5px; PADDING-TOP: 5px
> }
> </STYLE>
>
> <STYLE type=text/css>
> <!--
> .postcardhead {
> font-family: Arial, Helvetica, sans-serif;
> font-size: 24px;
> font-weight: bold;
> color: #000066;
> margin-bottom: 8px;
> }
> .picframe {
> background-color: #FFCC33;
> padding: 5px;
> border: 1px solid #000000;
> }
> .typewriter {
> font-family: "Times New Roman", Times, mono;
> font-size: 12pt;
> color: #000000;
> }
> -->
> </STYLE>
>
> <META content="MSHTML 5.00.3513.900" name=GENERATOR></HEAD>
> <BODY bgColor=white text=#000000>
> <DIV><FONT color=#0000ff face="Comic Sans MS" size=2><SPAN
> class=559062021-10062003>For anyone with a spare $3.5M sitting
> around....</SPAN></FONT></DIV>
> <DIV><FONT color=#0000ff face="Comic Sans MS" size=2><SPAN
> class=559062021-10062003></SPAN></FONT> </DIV>
> <DIV><FONT color=#0000ff face="Comic Sans MS" size=2><SPAN
> class=559062021-10062003>- Pam</SPAN></FONT></DIV>
> <DIV><BR> </DIV>
> <TABLE align=center bgColor=#ffffff cellPadding=0 cellSpacing=0 width=550>
> <TBODY>
> <TR>
> <TD width=480>
> <P>
> <TABLE align=center>
> <TBODY>
> <TR>
> <TD><IMG align=absMiddle border=1 height=350 hspace=7
> src="http://www.internationalliving.com/images/cloghancastle.jpg"
> width=305 cellpadding="0" cellspacing="0" NOSEND="1"></TD></TR>
> <TR>
> <TD align=middle class=captiontext>The current owner of 14th-century
> Cloghan Castle<BR>has spent the last 30 years restoring
> it.</TD></TR></TBODY></TABLE>
> <P><SPAN class=typewriter><FONT face="Times New Roman, Times, serif"
> size=3>IRISH CASTLE, GOOD CONDITION, SEEKS NEW OWNER<BR><BR>Monday, June
> 9, 2003<BR>Waterford, Ireland</FONT></SPAN></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>Dear International
> Living Reader,</FONT></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>County Offaly's <A
> href="http://www.cloghancastleoffaly.com/">Cloghan Castle</A> in the west
> of Ireland goes on sale this week.</FONT></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>The 155-acre estate
> on the River Shannon dates back to the 14th century and is one of the
> longest-inhabited castles in Ireland…though not always the safest.
> (During
> a siege in 1595, 46 people were thrown off the battlements to their
> deaths.) For the next 300 years, the castle changed hands through fair
> means and foul; it's been variously confiscated, attacked, and occupied by
> kings, queens, and armies, before ending up with the current owner, who
> spent the last 30 years restoring it.</FONT></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>Because of its
> historical significance, Cloghan Castle qualifies for special tax
> exemptions as long as it's open to the public from time to
> time.</FONT></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>This is a castle in
> good condition that you could live in--very comfortably--right
> now…and is
> priced accordingly: 3 million euro ($3.5 million). Contact agent
> Jackson-Stops, tel. (353) 1-633-3777, for more information.</FONT></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>If you're not quite
> sure about owning an Irish castle just yet, you can take a trial run and
> rent one out. Waterford's <A href="http://www.lismorecastle.com/">Lismore
> Castle</A>, not too far from IL headquarters, is rented out during the
> summer by the present owner, Lord Hartington. A butler and staff are part
> of the deal, along with dinner, breakfast, and afternoon tea every day.
> The castle has seven acres of gardens, with easy access to several
> thousand acres of woods, farmland, and mountains. If you don't feel like
> leaving the castle grounds, diversions include billiards, table tennis,
> and tennis. The rate for one week for up to 12 guests (with a bedroom
> each) is 3,500 euro ($4,000) per night, which makes it cheaper than some
> Dublin hotels. For more information, tel. (353) 58-54424.</FONT></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>Kathleen
> Peddicord<BR>Publisher, International Living</FONT></P>
> <P><FONT face="Times New Roman, Times, serif" size=3>* Further
> reading:</FONT></P><FONT face="Times New Roman, Times, serif"
> size=3><BR><FONT color=black><FONT
> color=#000000></FONT></FONT></FONT></TD></TR></TBODY></TABLE></BODY></HTML>
>
> --Boundary_(ID_udUHrUMxCEOfjy8/pmcxCQ)--
>
> ------------------------------
>
> Date: Tue, 10 Jun 2003 18:16:21 -0400
> From: Lisa Sasser <[log in to unmask]>
> Subject: Re: The top of...
>
> <HTML><HEAD>
> <META content="MSHTML 6.00.2712.300" name=GENERATOR></HEAD>
> <BODY>
> <DIV><FONT face="MS Sans Serif" size=2>][en,</FONT></DIV>
> <DIV><FONT face="MS Sans Serif" size=2></FONT> </DIV>
> <DIV><FONT face="MS Sans Serif" size=2>Are those, by any chance, FBF
> iris?</FONT></DIV>
> <DIV><FONT face="MS Sans Serif" size=2></FONT> </DIV>
> <DIV><FONT face="MS Sans Serif" size=2>Lisa</FONT></DIV>
> <BLOCKQUOTE style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px;
> BORDER-LEFT: #000000 2px solid">
> <DIV style="FONT: 10pt Arial">----- Original Message ----- </DIV>
> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color:
> black"><B>From:</B> <A [log in to unmask] href="mailto:[log in to unmask]">Ken
> Follett</A> </DIV>
> <DIV style="FONT: 10pt arial"><B>To: </B><A
> [log in to unmask]
> href="mailto:[log in to unmask]">BULLAMANKA-PINHEADS@MAEL
> STROM.STJOHNS.EDU</A></DIV>
> <DIV style="FONT: 10pt arial"><B>Sent:</B> 6/10/2003 12:49:52 PM </DIV>
> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: The top of...</DIV><FONT
> size=2><FONT face=arial,helvetica></BLOCKQUOTE><FONT lang=0
> style="BACKGROUND-COLOR: #ffffff" face=Arial color=#000000 size=2
> FAMILY="SANSSERIF">. . . it is plain neat to see the blooming irises while
> talking on the phone instead of the rear ends of cars on the LIE.
> ][<</FONT> </FONT></FONT></BODY></HTML>
>
> ------------------------------
>
> End of BULLAMANKA-PINHEADS Digest - 10 Jun 2003 to 11 Jun 2003 (#2003-154)
> **************************************************************************
--
To terminate puerile preservation prattling among pals and the
uncoffee-ed, or to change your settings, go to:
<http://maelstrom.stjohns.edu/archives/bullamanka-pinheads.html>
|
