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[blowflyfag]

ECW Magazine: April 2000

exit light,

enter night

ECW fans wake up to Sandman-again

By s. connor

‘The business has taught me to keep my mouth shut and keep my eyes and ears wide open. You never know who is going to stab you in the back.’

Since Sandman returned to Extreme Championship Wrestling in October 1999, fans have renewed their fondness for the beer chugging, Kendo stick wielding hardcore icon. “Enter Sandman” is once again a familiar prelude on ECW cards.

Sandman left ECW in August 1998 and tried to make a name for himself as Hak in World Championship Wrestling. Fed up with how he was being used, Sandman followed Raven’s lead and returned to the promotion where he first honed his hardcore skills. In the following interview, Sandman talks about the two companies, his impact on wrestling and what he wants to accomplish in his second run in ECW.

Q. Why did you leave ECW in August 1998?

A. Wrestling was really hot at that point and the ratings were going through the roof. ECW didn’t have national television exposure. If there ever was going to be a time to jump, it was the best time to go. 

Q. Why did you leave WCW in October 1999?

A. When Raven asked for his release, I called Eric Bischoff [former vice president of WCW] the next day and asked for my release. I didn’t like what was going on with the company either. They had me call out [Bam Bam] Bigelow; they had me call out Goldberg. All i was doing was making the top guys look good. I didn’t get my release until more than a month later. But anybody in their right mind–with the ratings I was pulling for that company–would never even think about releasing me.

Q. What was it like when you returned to the ECW Arena in Philadelphia on Oct. 23, 1999?

A. Lights off, lights on. I had so much electricity running through my body I could have lit up New York City. It was awesome. The pop was unbelievable. I was so jacked up for my return I actually couldn’t hear when I was out there. So the next weekend when I showed up in Dayton (Ohio), I enjoyed it a little bit more because I wasn’t so tense. 

Q. Did ECW’s television deal with TNN influence your decision to return?

A. That was another good thing about coming back. I figured, if Raven’s going to go back, I’m going to go back too. We can really jump start that show.

‘I’m the guy who sits at the end of the bar drinking beer. Everybody knows someone like me. It’s a timeless character. Sandman is just me. Drinking beer, smoking cigarettes–that’s what I do.’

Q. When and where did you start wrestling?

A. I started in 1989 with the Tri-State Wrestling Alliance, which Joel Goodheart owned. I went to his wrestling school and started wrestling on his matches. He had a little federation going–his first year running maybe eight shows, second year maybe 10 to 12, then up to 25 a year. He got bought out by Tod Gordon around 1992 and Tod Gordon renamed it Eastern Championship Wrestling. When he ran out of money, Paul E. [Heyman] took it over. 

[Hardcore hijinks with Sandman and Dawn Marie]

Q. Where did you get the name Sandman?

A. My first promoter was driving down the road one day in Philadelphia and he saw a ‘Mr. Sandman Boxspring and Mattress’ billboard. I started with Mr. Sandman. I didn’t like that Mr. so I changed it to just Sandman.

Q. How would you describe yourself to someone who’s never met you?

A. I’m the guy who sits at the end of the bar drinking beer. That’s why they [fans] relate to me. Everybody knows somebody like me. If strangers come in and they want to play pool or something like that, then you beat them up and throw them out. It’s a timeless character. Sandman is just me. Drinking beer, smoking cigarettes–that’s what I do.

Q. Have you always wanted to be a professional wrestler?

A. Ever since I was 4 years old. When other kids wanted to be firemen, doctors, cops, I wanted to be a wrestler. I live my life’s dream everyday and get paid a s—load of money to do it and I’m happy as hell. I grew up in the Northeast from 1968 to 1978. All I saw was the WWF. I watched Ivan Koloff, Superstar Billy Graham, Bruno Sanmartino. But I never really wanted to be like any of them. I just wanted to be like myself. 

Q. Did you participate in sports while growing up?

A. In high school I was the captain of my teams and got nine letters each year in football, basketball and track. So I was an athlete, actually. Believe it or not!

Q. Do you think your peers respect you?

A. Respect is a funny word. Respect in which way? Respect in that I can go out there and take a harder chair shot than anybody in the business, except maybe for Cactus Jack? Or respect as in going to the gym everyday, working real hard to try and make your living? There’s a couple of different respects. I don’t think a lot of people respect me for all three of them. 

[Sandman’s cocky swagger is legendary.]

Q. Do you think you are helping shape what wrestling is today?

A. It’s just me being me and I'm glad I have a forum to live my life’s dream. If you want to talk about wrestlers who drink beer, like Steve Austin and me, or if you want to talk about wrestlers using Kendo sticks—what other company hasn't used a Kendo stick in the last week? Obviously something I'm doing is right, otherwise people wouldn't be copying it. I don’t really get mad at that because imitation is the best form of flattery.

Q. What has the wrestling business taught you?

A. The business has taught me to keep my mouth shut and keep my eyes and ears wide open. You never know who is going to stab you in the back.

Q. Do you have any interest in politics?

A. I still plan on running for some office some day. Let’s get the wrestling career out of the way first.

Q. What’s your next goal in wrestling?

A. The ECW world heavyweight title.

[opera-ghosts]

Mme. Marcella Sembrich, whose successes as a star of the opera were followed by widely hailed achievements as the mentor of singers after her retirement in 1909 from the Metropolitan and from the concert stage in 1916, died at 8 A. M. yesterday in her home, 151 Central Park West. She was 76 years old. She had been ill since last Nov. 15, with her condition becoming progressively worse as she lost strength. For the last few days death, which was attributed to emphysema and heart complications, had been hourly imminent. So widely was she known, however, not only in New York City but also in other cities of the United States and abroad, that the foreknowledge of the end did not dim the shock of her passing. Persons who called at or telephoned to her home yesterday forenoon for| news of her condition were in-'| formed of her death, and then to)! the apartment began a steady succession of messages of condolence and of callers to express their grief.

Son Present at the End. Recently, Mme. Sembrich had been in such a weak condition that she had received no callers. With her at the time of her death were her son, William Marcel Stengel, and her daughter-in-law, Mrs. Juliette Stengel. Her husband, Wilhelm Stengel, died in 1917. She had no other close relatives in the) United States. Until the onset of her illness she had remained actively at work as a. teacher. During the Summer she) had conducted the school she had maintained for a number of seasons at Lake George, N. Y. Many satudents got instruction there from her | rich store of operatic accomplishment.

New York in October and took up her residence in her apartment,which overlooked , Central Park. She went forward as usual with her teaching. Since her illness, however, which at first took the form of asthma and interfered seriously | with her breathing, all of her contact with her students had been curtailed. To conserve her strength, the utmost quiet was prescribed by her physician, Dr. Charles Goodman Taylor. Friends said yesterday, however, that her advanced ace had from the first made her, illnes a matter of serious concern to them. : Her teaching contacts previously had been linked both with the Juilliard School of Music here, and) with the Curtis School in Philadelphia. She was a director of the, latter institution until last year, and was the recipient of a degree of Doctor of Music for her work there. In accordance with what was understood to be a wish of Mme. Sembrich, and of her family, the funeral services will be simple. The services, it was announced, will be held at 3 P. M. tomorrow in St.Patrick’s Cathedral. There will be. no special music, other than that, by the boys’ choir of the cathedral. The place of burial was not made known.

Active pallbearers were announced as Cornelius N. Bliss, Serge Rachmaninoff, Josef Hofmann, Ernest Hutcheson, Ernest Schelling, Frank Ia Forge, Wilfred Pelletier, André de Coppet, Walter Damrosch, Antonio Scotti, H. H. Flagler, W. J. Henderson, Richard Aldrich, Emilio de Gogorza, Edward Ziegler, Adolfo) Betti, Efrem Zimbalist and Paul D. Cravath. | Honorary pallbearers will be Giulio Gatti-Casazza, John Erskine, Francis Rogers, Alexander Siloti, Ugo Ara, Dr. W. H. Haskin, Adolph S. Ochs, Alfred Pochon, Rubin Goldmark, Sigismund Stojowski and Dr. J. A. Taylor.

When Marcella Sembrich sang her |farewell to opera on Feb. 6, 1909,her voice was young and beautiful. The final rise of the curtain that | night revealed her enthroned on | the Metropolitan Opera House) stage. Grouped about her was every member of the Metropolitan Opera Company. Facing her was an audience that filled every foot of floor space from the doors to the roof. Gifts were piled high beside her throne and great masses of flowers | stretched into shadows far down. the stage. “It is because I like the sun best | when it is high,’’ she said, in ex- | planation of her retirement. ‘‘It is | better that I leave when every one is asking ‘why?’ than later when. my ability might be less.’’ * She was then within nine days) of being 51 years old. She had | reigned at the Metropolitan for| more than a generation; she had/| typified for three decades here and| abroad the highest perfection of| bel canto singing. Just as Mme. Adelina Patti had done before her, she had kept alive the old traditions of Italian song, and with Melba she had carried on to increasingly greater heights the traditions of the old Italian mastery of the voice. She had found success early and it had lasted long. In her bright career was no place for anticlimax. She never could recall a time when music was not the chief interest of her life. There were piano lessons when she was 4 years old; lessons on the violin two years later. After she had developed a remarkable ability on both instruments recognition of her extraordinarily appealing and expressive colorature soprano voice came when she was 15. So she had, as Franz Liszt told her, ‘‘three pairs of wings to fly with through the land of music.”” ‘‘But sing,” he had ordered, ‘‘sing for the world, for you have the voice of an angel.’’ Music, poverty and endless work made up her childhood. She was born Praxede Marcelline Kochanska on Feb. 15, 1858, in the hamlet of Wizniewczyk, Galicia, Poland. Her father, Kasimir Kochanski, one of fourteen children of a tanner, had run off and joined a military band. Leaving to marry, he had learned to play all the musical instruments and was able to make a passable living by his skill.

The family made up a home quartet. Her mother, whose maiden name was Sembrich, played second violin, her brother first violin, the father a ‘cello and Marcelline the piano. They wandered about seeking pupils. As the daughter grew older she played piano to her father’s violin in the homes of the minor nobility and rich townsfolk, Always very poor, they had to borrow the scores of Haydn and Mozart, and the daughter worked by candlelight, copying the parts. She was 12, alert and confident, a self-supporting artist—she lived very cheap—when she met her first patron. A wandering singer of folk-songs, Father Lanovich, liked her instrumental accomplishments so much he helped her to enter the conservatory at Lemberg. In three years one Wilhelm Stengel, instructor of piano, taught her all he had to teach. He took her to Liszt and the great man talked of her wings. He gained her a hearing wit: Epstein, who accepted her as a student of piano and to Helmesberger, under whom she studied the violin. He took her to Rochitansky, in Vienna, under whom she _ studied voice. Then, when she was 19 years old and ready for her début he married That year of her début and marriage, 1877, she wintered in Milan, learning from the younger Lamperti that Italian ‘‘bel canto’’ which she was later to make her special art. To Milan then as now came impresarios seeking singers. Marcelline had two offers. One would have taken her to Tiflis, across the Black Sea. The other called to Athens and she accepted it. The night of her début was June 3, 1877. It was very hot; the opera was at Phaleron by the sea. The King entered the royal box and the opera, “‘I Puritani,’’ started. The new singer was well received, but ee was no great sensation about it.

In the next year advisers on her musical career worked. over her name and molded it into Marcella Sembrich. She appeared as Sembrich at the Saxon Royal Opera at Dresden and had an immediate and tremendous success. A two-year engagement in Dresden followed.

Then she made her London début at Covent Garden in 1880. It was in ‘Lucia’? and the critics reported that London was dazzled by her vocalization. A season of grand opera in Madrid followed directly and then the first of fifteen seasons in St. Petersburg and Moscow. Those were great days for the opera. The gracious applause of royalty was important and thrilling then. The young singer had much of it. Orders and decorations and royal gifts began overwhelming her. But in 1883 she left Europe for New York.

She came in stirring times. A war was on between the old and the rew. Insurgents from the old citathe Academy of Music, had joined with considerable recent wealth to build the Metropolitan Opera House, familiarly known As the ‘‘White Elephant,’’ where every one with enough money could sit in a box and show off gowns and jewels. Adelina Patti was retained by the old; Christine Nilsson by the new. | Marcella Sembrich, then only 25) years old, rated next to Nilsson in| in “‘Lucia,’’ the second opera it, gave, and sang Patti’s roles. By the end of the season the critics could find no praise too She was not, of coursé, favored above Patti. When Patti Sang the Academy was two-thirds For Patti was was Queen of But Marcella Sembrich did make a real place for herself. Her great night of that first year was April 21, 1884. Henry E. Abbey, impresario for the Metropolitan, had found hard going that first year. He had gambled on exrensive productions and lost heav‘- .. A benefit was given for him. The littl. girl whose father could play all the instruments in the band showed off her three pairs of wings. She sang an aria from ‘“‘La Sonnambula,’” she played a nocturne by Chopin and furnished the violin obbligato to Gounod’s ‘‘Ave Maria,’’- sung bv Miss Nilsson. One critic the next day described her as a “‘meteor in a galaxy of More Singing Lessons, England and many long tours of the Continent followed. She appeared in opera and concerts in St. Petersburg, Moscow, Warsaw, Berlin, Paris, Madrid and lesser capitals, sharing the first honors of Italian opera with the most distinguished artists of her generation and with the great ones who had been famous when she was still playing for dances in Galicia. In 1897 she came back to America for a concert tour, and in ovember, 1898, rejoined the Metropolitan Opera Company. In the Metropolitan’s répertoire she made the operas of the florid Italian school inevitable. In the succeeding seasons she lost none of her vocal powers. Several stars of the last generation made their debuts by her side. She reappeared as Gilda on Nov. 23, 1903, for Caruso’s American début as the Duke in ‘‘Rigoletto’’ and she sang with him in his first successes. There were several reasons why she retired in 1909, when her career was at zenith, when she was winning the operatic honors and popularity that were to be equaled only by Caruso. One was that fashions in opera had changed. In her younger days, as she put it, you just came out In your nicest evening frock and sang. But by 1909 the dramatic opera had pretty much taken the place of lyric opera and she found that while the public had once wanted to hear only the old operas sung over and over again, they then wanted ‘‘a new role every week.’’

For some years. after retirement from opera she continued in concert tours both here and abroad. ‘“‘Gradually,’’ she had said in re-calling the period, “I began to feel the desire of transmitting to the younger generation of today the art that I had learned so thoroughly. and practiced so long.’’ After the death of her husband in 1917 she withdrew entirely from the public platform and devoted her time and energy exclusively to teaching. Aspirants came to her and she selected and labored over the most promising. Stars of the Metropolitan and other companies came also; ‘‘for inspiration,’’ they always said, but Sembrich’s aides ‘the ichestra, she appealed to the public knew they were seeking perfection. When the Juilliard Foundation was established in New York and the Curtis Institute of Music in Philadelphia she was called to head the departments of voice. In the succeeding years at New York, Philadelphia and at her estate in Lake George pupils from all over the world assembled for her tutelage. She gave many stars to the musical | firmament. Her most. successful pupils included Dusolina Giannini, Queena Mario, Alma Gluck, Hulda Lashanska, Harriet van Emden, Ethyl Hayden, Florence Page Kimball and many others. Her great hope in the last few years of her life was that America should have a national opera— opera through a movement that should reach out to every part of the country, bringing to the nation the culture that goes hand in hand with musical development. It would utilize American talent and its productions would be entirely in English. It was on behalf of this movement that she appealed to the public béginning in 1930 when the depression threatened the American opera. First her efforts were in behalf of the American Opera Company. Then she returned to the stage of the Metropolitan on Feb. 26, 1933, at the jubilee stage show, and begged her old friends to help the Metropolitan, urging the company and its followers to ‘‘carry on.”’

For the Metropolitan, as well as Philharmonic-Symphony Oragain on her seventy-sixth birthday on Feb. 15, 1934. Paderewski, her friend of many years’ standing, sent her the following message on this birthday: ‘‘Most affectionate. wishes and greetings to the greatest and noblest artist and friend, from Paderewski."’ Except for such occasions, and in addition her chairmanship of the Polish-American Relief Fund during the war, she remained in retirement from the public eye. But in the world of music, even to her last days, retirement was not for her. She occupied a position in American music such as Liszt had in the Weimar days. Musical notables came to her studio, her ‘“‘trophy room,” as she called it. Surrounded by mementos of Brahms, Verdi, Rubinstein, Gounod, Thomas, Paderewski, Modjeska, Joachim and Clara Schumann and others of the great artists who had worshiped her talent, she was sought for the gospel of perfection with which she inspired fellow-musicians. In those last years most of her time was spent in America, her Winters in the apartment facing Central Park, replete with cherished reminders of her lifelong triumphs; her Summers at Lake George at the estate she had established with her husband and teacher, and-to which they used to repair in the early days of her retirement. She was one of the really great personalities in the music world, one of the great ones whose sun was always high.

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[whileiamdying]

Norman Jewison, 97, Dies; Directed ‘In the Heat of the Night’ and ‘Moonstruck’

His genre-spanning movies — dramas, comedies and musicals, like “Fiddler on the Roof” — were magnets for Oscar nods, but he was best known for socially conscious films.

Norman Jewison in his production company’s offices in Toronto in 2011. His films, many of them both popular and critical successes, earned many Oscars and dozens of nominations.Credit...Chris Young for The New York Times

By Dennis Lim Jan. 22, 2024

Norman Jewison, whose broad range as a filmmaker was reflected in the three movies that earned him Academy Award nominations for best director — the socially conscious drama “In the Heat of the Night,” the big-budget musical “Fiddler on the Roof” and the romantic comedy “Moonstruck” — died on Saturday at his home. He was 97.

His death was confirmed by a spokesman for the family, Jeff Sanderson. He declined to specify where Mr. Jewison lived, saying that the family requested privacy.

Mr. Jewison, whose career began in Canadian television and spanned more than 50 years, was, like his close friend Sidney Lumet and a select few other directors, best known for making films that addressed social issues. The most celebrated of those was “In the Heat of the Night” (1967), one of his earliest features and his first Oscar-winning film.

A story of racial tensions in the American South filtered through a murder mystery that brings together a Black Philadelphia detective (Sidney Poitier) and a white Mississippi police chief (Rod Steiger), “In the Heat of the Night” could not have been more timely: It opened weeks after racial violence had erupted in Detroit and Newark. It went on to win five Academy Awards, including best picture and best actor, for Mr. Steiger.

Mr. Poitier was among the many actors who had fond memories of working with Mr. Jewison. “He gives his actors room and keeps them as calm as he can, because it’s easier to speak with them when they’re calm,” he told The New York Times in 2011. “A director has to keep the actors on their toes while the camera’s running, but when the scene is done, they should be relaxing, nothing on their minds. There can’t be a constant level of seriousness. And with Norman, there’s always a lot of laughter.”

Mr. Jewison lost the best director award for “In the Heat of the Night” to Mike Nichols, who won for “The Graduate,” and he never did win an Oscar for directing. But his films, and the actors in them, garnered many Oscars and 46 nominations.

Mr. Jewison once said, “The movies that address civil rights and social justice are the ones that are dearest to me.” He attributed his predilection for such movies to his lifelong sense of being an outsider.

Norman Frederick Jewison was born on July 21, 1926, in Toronto, where his parents, Dorothy (Weaver) and Percy Jewison, ran a dry-goods store below their apartment. From a childhood love of movies, radio shows and vaudeville, he developed an interest in writing and performing.

The family was Methodist, but because of his surname, young Norman was teased and bullied by schoolmates who assumed he was Jewish. A later formative brush with bigotry came while he was on a hitchhiking trip through the segregated American South in the 1940s. On the outskirts of Memphis, he was chastised by a driver for sitting in the back of a bus with the Black passengers.

“Traveling in the South,” Mr. Jewison wrote in an autobiography, “This Terrible Business Has Been Good to Me” (2004), “I understood the meaning of being victimized even more than I had as a boy.”

After World War II, during which he served in the Canadian Navy, he attended Victoria College at the University of Toronto, where he directed and acted in student theater productions. He graduated with a bachelor’s degree in liberal arts in 1949.

Like many filmmakers of his generation, Mr. Jewison came up through the ranks of television. He worked as a writer and actor for the BBC in London and as a director for the Canadian Broadcasting Corporation in Toronto before landing at CBS in New York, where he directed specials starring Judy Garland, Harry Belafonte and Danny Kaye.

He directed his first feature film in 1962, for Universal Studios: “40 Pounds of Trouble,” a comedy based on a Damon Runyon story that starred Tony Curtis. Under contract to Universal, he was paired with the studio’s biggest star at the time, Doris Day, for two more comedies, “The Thrill of It All” (1963) and “Send Me No Flowers” (1964).

Eager to prove his range, Mr. Jewison jumped at the chance to direct “The Cincinnati Kid” (1965), a drama with Steve McQueen as a Depression-era gambler, when the original director, Sam Peckinpah, was fired a few days into the shoot.

Mr. Jewison’s other ’60s films include “The Russians Are Coming, the Russians Are Coming” (1966), a satire of Cold War paranoia that was his first film to receive an Oscar nomination for best picture (although he himself was not nominated for best director), and “The Thomas Crown Affair” (1968), a romantic crime caper starring Mr. McQueen and Faye Dunaway. But the movie that sealed his reputation was “In the Heat of the Night,” which beat two other era-defining films, “Bonnie and Clyde” and “The Graduate,” for best picture honors.

Mr. Jewison took pride in the movie’s success, which suggested to him a widespread receptiveness to its liberal message. But with the United States mired in Vietnam and the assassinations of the Rev. Dr. Martin Luther King Jr. and Robert F. Kennedy, he was also growing disillusioned with the political mood in America. (The Oscar ceremony at which “In the Heat of the Night” was named best picture was delayed two days because of Dr. King’s funeral.)

After finishing the 1969 comedy “Gaily, Gaily,” Mr. Jewison moved his family to London and worked abroad for several years. Shot largely in Eastern Europe, “Fiddler on the Roof” (1971) — which Mr. Jewison claimed he had been asked to direct in part because executives at United Artists, like the bullies at school, thought he was Jewish — received Oscar nominations for best picture and best director. He followed it with another screen version of a popular Broadway musical, “Jesus Christ Superstar” (1973), based on the Andrew Lloyd Webber rock opera and filmed in Israel.

Returning to North America, Mr. Jewison bought a cattle farm outside Toronto and divided his time between Canada and California from the late ’70s onward. He scored one of his biggest hits in 1987 with “Moonstruck,” a commercial and critical success that earned Cher an Oscar and put Nicolas Cage on the map as a leading man.

But throughout his career Mr. Jewison was repeatedly drawn to more serious fare, in movies like “F.I.S.T.” (1978), a labor-union drama that starred Sylvester Stallone; “In Country” (1989), about the daughter of a Vietnam War casualty; and his last film, “The Statement” (2003), the story of a former Nazi collaborator, played by Michael Caine.

Well into the post-civil-rights era, Mr. Jewison remained interested in race, specifically racial injustice. In 1984, he directed “A Soldier’s Story,” an adaptation of Charles Fuller’s Pulitzer Prize-winning “A Soldier’s Play,” which, like “In the Heat of the Night,” told the story of a Deep South murder investigation, this time on an Army base in World War II-era Louisiana. The movie was critically praised and earned Mr. Jewison yet another best picture nomination.

But when it was announced a few years later that Mr. Jewison would be directing a film about the life of Malcolm X, he encountered resistance. The filmmaker Spike Lee, who had long wanted to make such a film himself, was the most outspoken critic of the choice, maintaining that a white director could not do justice to the story of a major Black political activist.

Mr. Jewison eventually left the project, although he denied that his departure was in response to the protest. Mr. Lee himself went on to direct “Malcolm X,” which was released in 1992, and later said that Mr. Jewison “was happy I got to do the film.”

In 1999, Mr. Jewison directed “The Hurricane,” about Rubin Carter, the African American boxer whose career was cut short by a murder conviction, and who was imprisoned for nearly 20 years before the charges against him were dismissed. Denzel Washington (who had one of his first film roles in “A Soldier’s Story,” and who had also starred in “Malcolm X”) received rave reviews and an Oscar nomination for his performance in the title role (Stephen Holden of The Times called it “astonishing”). But the film was criticized by many for taking liberties in its depiction of Mr. Carter’s life and legal battles.

Beginning in the late 1960s, Mr. Jewison served as producer on his own movies. He also produced the work of other directors, including “The Landlord” (1970), the directing debut of his regular editor, Hal Ashby (who won an Oscar for his work on “In the Heat of the Night”).

Mr. Jewison married Margaret Ann Dixon, a model, in 1953. She died in 2004. He married Lynne St. David in 2010. He is survived by two sons from his first marriage, Kevin and Michael; a daughter, Jenny Snyder; and five grandchildren.

In 1988, Mr. Jewison founded the Canadian Film Center, a film school and institution in Toronto. He received the Irving G. Thalberg Memorial Award for his body of work at the 1999 Academy Awards and a lifetime achievement award from the Directors Guild of America in 2010. In 2011, the Film Society of Lincoln Center in New York presented a 15-film retrospective of his work.

“For me, films are about ideas,” Mr. Jewison told The Times on the occasion of the retrospective. “Every director should ask himself, ‘Why am I making this picture?’ And if you can’t answer that, you shouldn’t make it.”

Alex Traub contributed reporting.

[holidaylightspa]

Making Your Holiday Shine Bright: Christmas Light Installation Company

Are you looking to transform your home or business into a dazzling winter wonderland during the holiday season? Look no further! Holiday Lights Pa has got you covered. We specialize in providing top-notch Christmas light installation services in Southeastern Pennsylvania, Delaware, and New Jersey. Whether you're a homeowner wanting to create a festive atmosphere or a business owner aiming to attract customers with a brilliant display, our professional LED lights are here to make your holiday season truly magical.

Why Choose a Christmas Light Installation Company?

1. The Art of Illumination

The holiday season is all about spreading joy and warmth, and one of the best ways to do that is by decorating your property with beautiful lights. A Christmas light installation company like Holiday Lights Pa brings an artistic touch to your festive decor. Here's why you should consider professional installation:

Expertise: Our team consists of skilled professionals who understand the art of illumination. They know how to create breathtaking displays that will leave your neighbors in awe.

Safety: Hanging holiday lights can be a risky endeavor. Professionals have the necessary equipment and training to ensure both their safety and the safety of your property.

Customization: We work closely with you to design a lighting display that suits your vision and budget. Whether you want a classic look or something unique, we've got you covered.

Efficiency: Installing holiday lights can be time-consuming. We take the hassle out of the process, allowing you to enjoy the festive season stress-free.

2. The Benefits of LED Lights

When it comes to Christmas lights, not all bulbs are created equal. LED lights are becoming increasingly popular for several reasons:

Energy Efficiency: LED lights use significantly less energy compared to traditional incandescent bulbs, saving you money on your energy bill.

Durability: LED lights are known for their durability and long lifespan. They can withstand the harsh winter weather, ensuring your display stays beautiful throughout the season.

Safety: LED lights produce very little heat, reducing the risk of fire hazards associated with traditional lights.

Vibrant Colors: LED lights offer a wide range of colors and are known for their brightness, making your display truly mesmerizing.

The Holiday Lights Pa Experience

3. Our Service Area

At Holiday Lights Pa, we are proud to serve the following areas:

Southeastern Pennsylvania: From the vibrant streets of Philadelphia to the charming suburbs, we bring holiday cheer to the entire region.

Delaware: We extend our services to the first state, lighting up homes and businesses in Delaware.

New Jersey: Whether you're in the bustling cities or peaceful countryside, we're your go-to Christmas light installation company in New Jersey.

4. Residential Magic

For homeowners, the holiday season is a time to create lasting memories with family and friends. Our residential Christmas light installation services aim to turn your home into a captivating holiday spectacle. Here's what you can expect:

Custom Design: We work closely with you to design a unique lighting display that complements your home's architecture and your personal style.

Professional Installation: Our experienced team handles everything, from hanging lights on your roof and trees to setting up stunning lighted displays in your yard.

Maintenance and Removal: We don't just install your lights; we also maintain them throughout the season and remove them when the festivities are over.

LED Lighting Options: Choose from a wide variety of LED lighting options, including warm white, cool white, and vibrant colors.

5. Shining for Business

Businesses understand the importance of attracting customers during the holiday season. A well-decorated storefront can make all the difference. Here's what we offer to commercial property owners:

Eye-Catching Displays: We create attention-grabbing displays that draw customers to your business.

Timely Installation: We work efficiently to ensure your lights are up and running in time for the holiday shopping rush.

Energy Efficiency: LED lights not only look great but also help you save on energy costs, a win-win for your business.

Maintenance and Removal: We take care of everything, so you can focus on running your business.

Let's Illuminate Your Holidays!

6. How to Get Started

Getting started with Holiday Lights Pa is easy. Here's what you need to do:

Contact Us: Reach out to us via phone or email to discuss your holiday lighting needs.

Design Consultation: We'll schedule a design consultation where we'll listen to your ideas and provide expert recommendations.

Installation: Once you're happy with the design, we'll schedule a convenient installation date.

Enjoy the Magic: Sit back and enjoy the magical transformation of your property as we bring your vision to life.

7. Conclusion

This holiday season, make your home or business stand out with the help of a professional Christmas light installation company like Holiday Lights Pa. From expert design to flawless installation and maintenance, we're here to ensure your property shines brightly throughout the festivities. Don't miss out on the joy of the season—contact us today to get started!

Don't let the holiday season pass you by without experiencing the enchantment of professionally installed LED lights. Contact Holiday Lights Pa now, and let us illuminate your holidays!

https://www.holidaylightspa.com

Here are 10 frequently asked questions (FAQs) about Christmas light installation companies:

What is a Christmas Light Installation Company?

A Christmas light installation company is a service provider that specializes in designing, installing, and maintaining holiday lighting displays for residential and commercial properties during the festive season.

Why Should I Hire a Professional Christmas Light Installation Company?

Hiring professionals ensures a safe and expertly designed display, saves you time and effort, and often includes maintenance and removal services.

Do Christmas Light Installation Companies Provide Lights?

Many Christmas light installation companies offer a variety of lighting options, including energy-efficient LED lights, and can provide lights as part of their services.

Can I Customize My Holiday Lighting Display?

Yes, most Christmas light installation companies offer customization options, allowing you to choose colors, styles, and designs that suit your preferences and property.

Is It Safe to Install Holiday Lights Myself?

Installing holiday lights can be risky without the right equipment and expertise. Hiring professionals ensures safety and reduces the risk of accidents.

How Much Does Professional Christmas Light Installation Cost?

The cost varies based on factors like the size of your property, the complexity of the design, and the type of lights used. Companies typically offer quotes based on your specific needs.

When Should I Schedule Christmas Light Installation?

It's best to schedule installation well in advance, as popular companies can become fully booked quickly. Most installations start in late October or early November.

Do Christmas Light Installation Companies Offer Maintenance Services?

Yes, many companies provide maintenance throughout the holiday season, ensuring your display remains flawless. They also handle removal after the holidays.

Are LED Lights Better Than Incandescent Lights for Holiday Displays?

LED lights are often preferred due to their energy efficiency, durability, and vibrant colors. They are also safer, as they emit less heat.

What Happens if Lights Get Damaged or Malfunction During the Season?

Reputable Christmas light installation companies typically offer warranties and will promptly replace or repair any damaged or malfunctioning lights during the holiday season.

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[scaffoldingtodayinc]

THE ADVANTAGES OF ACCESS SCAFFOLDING FOR LARGE-SCALE PROJECTS

Scaffolding has long been an important aspect of the building sector. Despite its long history, it remains one of the most effective and life-saving structures for construction workers. Scaffolding Today Inc. is one of the most trusted Houston scaffolding companies. We offer the best and premium quality of scaffolds for rent and sale in Houston, USA. In this blog, we will go through the primary advantages of using access scaffolding for large-scale building projects.

1) BETTER AND SAFER WORKING ENVIRONMENT

The primary advantage of scaffolding is that it provides better and safer working conditions at height for construction workers and other on-site staff. Scaffold towers are far safer than ladders since they are built with aluminium plywood decks, stair towers, steel or wooden plank systems, metal poles, and fittings to hold the framework effectively and securely. Ladders can easily slip and fall if not securely secured, resulting in injury. A scaffold tower is a preferable option since it provides a stable foundation for workers to move around in.

2) EASY ACCESS

Construction work might become more difficult to complete if access to certain portions is restricted. Workers and other staff have unrestricted access to all regions of the structure under construction because of the way the scaffolding was designed. This is why scaffolding is a perfect solution since it allows for easy access and unrestricted movement from one portion of the building to the next, regardless of how many people are on the scaffold tower or how tall or large the building is.

It not only provides quick access for construction workers, but also for personnel that need to enter the building. Scaffolding Today Inc operates during calmer periods to avoid access restrictions within your facility for you and your employees.

3) INCREASE PRODUCTIVITY

Increased productivity can be attributed to easier access and improved and safer working conditions. A scaffold tower enables construction workers to paint and plaster in difficult-to-reach regions. Workers can also store tools and materials on the scaffold tower instead of dragging them up and down ladders. As a result, scaffolding is an excellent time-saving framework for large-scale undertakings. These minor enhancements can help to accelerate the entire construction process.

4) DURABILITY

Scaffold towers have a lengthy lifespan. Scaffold towers are designed to last for as long as the construction job takes to complete. Due to unexpected setbacks, several large-scale projects take longer to complete than expected. Extreme weather conditions can sometimes cause building work to be delayed. 

5) VERSATILITY

Scaffolding is appropriate for a variety of projects in a variety of industries, including retail, industrial and housing developments, among others, for building managers, local governments and building construction businesses. Scaffolding Today Inc understands that scaffolding is not the same for all large-scale projects due to various requirements.

DO YOU REQUIRE ACCESS SCAFFOLDING IN HOUSTON, USA?

Do you have a large-scale building project planned in Houston, USA? Scaffolding Today Inc. offers the premium and high quality of scaffold for sale Houston at a very competitive price.

We are the most trusted  leading Scaffolding company in Houston. Throughout Chicago, Philadelphia, and New Jersey, we have provided access scaffolding to private persons, commercial scaffold applications, municipal, and industrial sectors. Each member of our team has been thoroughly trained and qualified to constantly provide a high degree of craftsmanship while working cautiously and effectively at all times. 

So, whether you need access to scaffolding for normal maintenance, to repair a broken roof, or if you're a local authority looking for an exceptional scaffolding provider, please contact Scaffolding Today Inc for a quote or further information.

[roofphiladlephia]

Top Reasons Why Flat Roofs Leak in Philadelphia and How to Prevent Them

Flat roofs are a popular choice in Philadelphia, especially for commercial and residential buildings due to their modern look and practicality. However, they are prone to leaks, which can lead to costly damage if not addressed promptly. Understanding the causes of flat roof leaks and taking preventative measures is essential to protect your property. This guide will walk you through the top reasons why flat roofs leak and how to fix or prevent these issues.

Common Causes of Flat Roof Leaks in Philadelphia

1. Ponding Water

Flat roofs are designed to be low-slope, not perfectly flat. However, improper drainage or sagging can cause water to pool after a rainstorm. This standing water puts extra pressure on the roofing material, eventually leading to leaks.

Solution: Ensure proper drainage by installing high-quality gutters and drains. Hire a professional roofing contractor in Philadelphia to assess and fix drainage issues.

2. Cracks and Blisters in Roofing Material

Philadelphia experiences extreme weather changes, from hot summers to freezing winters. These temperature fluctuations cause the roofing material to expand and contract, leading to cracks or blisters.

Solution: Regularly survey your flat roof for visible damage. Contact a roof repair company in Philadelphia for timely repairs to avoid further damage.

3. Damaged Flashing

Flashing is the material used to seal joints and edges on the roof. When flashing becomes loose, corroded, or improperly installed, water can easily penetrate these vulnerable areas.

Solution: Schedule regular maintenance with local roofing contractors in Philadelphia to ensure your flashing remains in good condition.

4. Aging Roofing Materials

Even the best flat roofs have a limited lifespan. Over time, the roofing material loosen, making it susceptible to leaks.

Solution: If your roof is nearing the end of its lifespan, consider a roof replacement in Philadelphia. A new roof will supply better protection and energy efficiency.

5. Poor Installation

Improper installation by inexperienced roofers can lead to early failure of your flat roof. Issues such as uneven surfaces, inadequate sealing, or poorly fitted materials can cause leaks.

Solution: Always hire a trusted roofing company in Philadelphia for roof installation. Look for certified and experienced roofing contractors to ensure the job is done right.

6. Clogged Gutters and Drains

Choked up gutters and drains can cause water to back up onto your flat roof, leading to leaks and water damage.

Solution: Clean your gutters regularly or enlist the help of local roofing contractors in Philadelphia to perform routine maintenance.

Preventing Flat Roof Leaks

Prevention is the best way to get rid of costly repairs. Here are some tips:

Schedule Regular Inspections: Work with commercial roofing contractors in Philadelphia to inspect your roof annually.

Upgrade Your Roofing Material: Consider durable options like metal roofing in Philadelphia for better longevity.

Repair Damage Promptly: Address small cracks, blisters, or other issues immediately with help from a roof repair company in Philadelphia.

Maintain Gutters and Drains: Keep your gutters and drains clear to prevent water from pooling.

When to Call a Professional Roofer in Philadelphia

While some minor issues can be fixed with DIY solutions, most flat roof problems require the expertise of a professional. Call a roofer in Philadelphia if:

You notice persistent leaks or water stains on ceilings.

The roof is sagging or shows significant wear.

You need an emergency repair after a severe storm.

Why Choose the Best Roofing Company in Philadelphia?

At Roofing Services Philadelphia, we pride ourselves on delivering top-notch services for both residential and commercial roofing. Our certified team specializes in everything from emergency roof repair to shingle roof repair and roof replacement. Here’s why you should choose us:

Experienced Contractors: Our team includes the best roofing contractors in Philadelphia with years of experience.

Comprehensive Services: Whether you need metal roofing, shingle roofing, or flat roof repairs, we’ve got you covered.

Reliable and Affordable: We offer quality services at competitive prices.

Conclusion

Flat roof leaks are a common issue in Philadelphia, but they don’t have to become a major headache. By understanding the causes, taking preventative measures, and hiring reliable roofing contractors, you can protect your property and extend the life of your roof. If you’re dealing with a flat roof leak or need professional guidance, contact Roofing Services Philadelphia today. We’re here to help you with all your roofing needs.

Get in Touch Today!

Call us or visit our website to program a consultation. Trust the experts at Roofing Services Philadelphia to keep your flat roof in top condition!

[umbrellaroof321]

ROOF REPAIR AND ROOF CONTRACTOR

We’re proud to be your Delco PA area roofing company! At Umbrella Roof, we service the entire Delaware County PA, with expert roof repair, roof installation, and roof contracting services. As a licensed and insured roofing expert in the region, we maintain competitive prices and offer free, no-obligation quotes for all Delco roofing projects.

YOUR ROOF COMPANY IN NORTHEAST PHILADELPHIA

Umbrella Roof is proud to be your go-to for new flat and mansard roof installations and roof repair in Northeast Philadelphia PA. With over 15 years of roof repair and installation experience, and over 4,000 installations, we’ve seen it all. No matter what type of roof or roofing material you need, we’ve got you covered. 

Northeast Philadelphia is bordered by the Delaware River to the east, the Bucks County line to the north, and the Schuylkill River to the west. Umbrella Roof’s 3000 SF warehouse is located near Southampton Road and Roosevelt Boulevard at 13420 Damar Drive, making it easy and convenient to service the surrounding neighborhoods. 

Northeast Philadelphia is known for its diverse neighborhoods, suburban atmosphere, and a mix of residential, commercial, and industrial areas. The region offers a range of amenities, including shopping centers, parks, and recreational facilities. Umbrella Roof services many of these commercial facilities and of course hundreds of residential customers each year!

As part of our commitment to exceptional customer service, we recommend only what’s needed and never add unnecessary line items to your quote. Soon, you’ll experience the Umbrella Roof difference for yourself.

NEW ROOFS: BUCKS COUNTY ROOFING SERVICES

Umbrella Roof is proud to service the Bucks County PA area. We have completed thousands of new shingle roof installations and roofing repairs in Bucks County PA.  Wether you’ve need new shingle roofing, flat roofing, gutters or siding work – we are happy to serve you! Please call us at 215-774-2950 to schedule your free estimate!

ROOF REPAIR AND REPLACEMENT ROOFERS IN MONTCO

Think your roof is in need of replacement? Umbrella Roof is your go-to for roof repair services in Montco. Every home or business owner should regularly be inspected their roof to look for signs of damage. Signs of roof damage may include shingles or tiles that are falling off or cracked.

ROOF REPAIR AND REPLACEMENT ROOFERS IN MONTCO

Think your roof is in need of replacement? Umbrella Roof is your go-to for roof repair services in Montco. Every home or business owner should regularly be inspected their roof to look for signs of damage. Signs of roof damage may include shingles or tiles that are falling off or cracked.

BEST SOUTH PHILADELPHIA ROOF CONTRACTOR IN THE AREA

South Philadelphia is one of the main sections that make up the city and is south of Center City, Philadelphia’s downtown area. South Philadelphia is known for its diverse neighborhoods, rich cultural heritage, iconic landmarks, and passionate sports fans.

One of the most famous neighborhoods in South Philadelphia is the Italian Market, located along 9th Street. Another prominent neighborhood in South Philadelphia is Passyunk Square, known for its charming streets lined with unique boutiques, restaurants, and cafes.

As your South Philadelphia roof contractor we lead the way in customer service. Your roofing experience should be a breeze, from start to finish. With the help of our roofing experts, your South Philadelphia roof repair or installation will be simple and easy. You’ll experience the Umbrella Roof customer service difference when you call us.

[ohioroofrepairnearme]

How to Choose the Best Roofers in Ohio? Tips and Tricks!

Installing a new roof or repairing roof damage can be a major investment for any homeowner. With such an important decision on the line, it pays to find the most qualified and reliable Roofing Contractor in Akron in your area.

Use the helpful tips below to locate top-rated local Best Roofers for your residential or commercial building.

Research Local Roofing Companies

The first step is compiling a list of established roofing companies that serve your Ohio city or region. Search online review sites and business directories for highly-rated professionals based on past customer feedback.

Be sure to gather key details like years in business, range of roofing services, and industry certifications. Create a shortlist of contractors that meet your criteria.

Verify Licensing and Insurance

Reputable Roofing Company Wooster should hold all required state-level licensing for operating legally. Always verify active credentials.

Additionally, only hire companies that carry general liability insurance and workers' compensation policies to protect you from liability in the event of on-site incidents. Ask contractors to provide recent proof of coverage.

Compare Experience and Specialties

Carefully examine the backgrounds of each Residential Roofing Company Ohio on your list. How many years have they been installing and repairing roofs?

Do they specialize in particular roof types like tile, metal, or flat single-ply membranes? What about working on historic homes? Choose a contractor that aligns with your specific roofing needs.

Request Local References

The best indicator of future performance is past work. Ask each roofing professional to supply multiple local customer references. Follow up with those previous clients and inquire about their experiences.

Were they satisfied with the finished product? Was the crew professional and courteous? Did the contractor adhere to the timeline and budget terms? Their real-world feedback can prove invaluable.

Evaluate Quotes and Warranties

Have your shortlist of roofing contractors inspect your roof on-site and provide written estimates for the work. Compare quotes side-by-side while accounting for material types, labor warranties, project timelines, and additional services.

Be wary of quotes substantially lower than the competition that seems “too good to be true.” They may be cutting corners or using inferior products and methods.

Trust Your Gut Instinct

Even with all your diligent research, there is no substitute for personal rapport. Meet face-to-face with prospective Roofing Company New Philadelphia before signing an agreement. Do you communicate effectively?

Are your questions and concerns addressed promptly? Go with the Ohio contractor you trust most for such an essential home improvement project.

Finding the ideal roofer takes effort but pays dividends through years of weather protection and peace of mind.

Warping up

For additional guidance identifying top-rated local professionals, contact the experienced team at Ohio Roof Repair near Me today! Our website also features helpful roofer recommendation resources.

[springvalleyroofing]

Roofers in Montgomery County PA Can Improve the Look and Value of Your Home

Roofers in Montgomery county PA, are a valuable resource for anyone who is interested in improving the look and value of their home. They are trained to recognize issues and make repairs as needed, and they can also help to prevent future problems from occurring. If you are considering hiring one of these professionals, it is important to do your research before selecting a company. There are several factors to consider, including experience and price.

Montgomery County, Pennsylvania is a county in southeastern Pennsylvania, northwest of Philadelphia. It is a gently hilly piedmont region bounded by the Schuylkill River and other waterways, including Green Lane Reservoir. Its population was 826,518 in the 2020 census.

Its affluent residents enjoy a diverse economy and high quality of life. In addition to its thriving business sector, it is home to many of the nation’s best public and private schools. It is also known for its extensive system of parks and green spaces, and it features dozens of supermarkets and hundreds of cafes and restaurants.

In the nineteenth century, Montgomery County was an active region of family farms and small industries. Turnpikes, canals, and railroads crisscrossed the area, connecting it to Philadelphia and other parts of the state. Early European settlers worked modest-size farms and owned some African-descended slaves, though many Quaker, Mennonite, and Schwenkfelder landowners opposed slavery.

Upgrading the roof of your house is a big investment. It is also an important element of your home’s protection and energy efficiency. In fact, a new roof will often save homeowners money in the long run, as it can significantly reduce energy costs. It is also an excellent way to increase the resale value of your home.

If you are in the market for a new roof, it’s best to find a local roofing contractor that has years of experience. This will ensure that the job is done right the first time and you don’t end up with costly repairs later on. Also, a local roofing contractor will know the weather conditions in your area better than someone from out of town.

There are various types of quality roofing available in the market, including asphalt shingles, copper, slate, and wood. Each type of roofing has its own set of advantages and disadvantages. However, it is essential to have a reliable roof over your head to protect you and your loved ones from harmful elements like rain.

While most homeowners will need a roofer for some repairs at some point, it is important to do routine maintenance to ensure that your roof stays in good condition. You can also hire a local roofer to do a thorough inspection of your roof before deciding on any repairs or replacements. These experts can provide you with a range of services, including roof repair, gutter installation and siding repairs. Moreover, they can help you with the entire process of choosing the right roofing materials for your property. You can also get an estimate for your project, which will save you time and money.

At Spring Valley Roofing, we take roof inspections seriously. Before our team begins any roof service or repair job, our exclusive West Chester roofing contractor makes sure to perform a thorough inspection. Inspecting a roof before beginning any service is an important step of the process, as it can provide vital information about the condition of a roof, including its age, materials used, and any existing damage or problems.

[yatescountyhistorycenter]

A titan of local industry

By Jonathan Monfiletto

Penn Yan – like many small towns across the Finger Lakes region, and perhaps like many towns small and large across the United States of America, in the days before globalization – has boasted many industries and manufacturers throughout its history. Not many of these factories, however, can boast of itself as a 100-plus-year institution – in different forms – in the community, but the company known as Walker Bin or Walkerbilt can do so.

The company best known as Walkerbilt, which stood in its final days on North Avenue in a building where Mozaic (a merger of Arc of Seneca Cayuga and Arc of Yates) is now situated, can trace its roots to 1870 and a sawmill and lumberyard run by Charles Welles. The operation produced lumber from logs and planed them for carpenters’ use, later adding woodworking machines and milling services. The operation also began providing factory fabrication used in building homes; until factories made such items, wood products were made by craftsmen on the premises as they built buildings. The craftsman did it with hand tools; the factories made them with power tools. M.B. Miller eventually took over the business, and then it came into the hands of John Shepherd.

In 1890, William M. Patterson acquired the business and continued to improve it and strengthen it. The year 1900, though, marked the point at which it became most familiar to students of Yates County history. That year, Patterson became acquainted with E.J. Walker, a Philadelphia merchant who had invented a store merchandising system and created the Walker Patent Pivoted Bin Company. Walker developed a special type of bin designed to be self-counterbalancing so it was easier to open and shut, and he had started to build these bins in a factory in Camden, New Jersey. Instead, Walker and Patterson combined their resources and began working together in Penn Yan as the Walker Bin Company.

The company officially started in 1909 and moved its operation to Lake Street – where Patterson had been conducting his sash, door, and blind factory – the following year. Walker Bin thrived; a couple of undated newspaper articles – likely from the 1910s – document the company moving its main office from Philadelphia to Penn Yan and breaking ground on additions to its building to expand its footprint, its operation, and its workforce. In a 1914 newspaper article, the company was praised both for its economic and social contributions to the community and its trademark product that streamlined the work of the retail industry. Walker Bin announced another expansion to its buildings and operations in 1924, and it also took over the former Commercial Iron Works property for its lumber yard.

The Great Depression, changes in merchandising practices, and the rise of chain stores all combined to turn the tide of the company’s fortunes. On January 1, 1934, the newspaper reported Walker Bin filed for bankruptcy. Within a few months, though, four workers revived the company under the name Walkerbilt and developed new products for the mill, specializing in woodwork for new central schools during the 1930s. When World War II arrived, the company turned to making products for war use, such as shell boxes, ammunition crates, and wooden truck body parts. Just as quickly, Walkerbilt shifted back to civilian production after the war with counters, shelving, tables, and special wood millwork for large and small buildings.

In 1948, the company incorporated was Walkerbilt Woodwork Inc., and it thrived in its buying and selling of materials used it homes, commercial buildings, farm buildings, and other construction. These products included lumber, cement, windows, doors, roofing, paint, glass, eavestrough, hardware, and more. Walkerbilt also manufactured store fixtures – including its trademark line of Walker Bins – radio cabinets, industrial wood parts, and custom woodwork.

Once again, as in its early years, Walkerbilt thrived; in 1960, it was reported the company added the manufacture of library equipment – with the law and medical libraries at the State Education Department building in Albany as examples of the local firm’s work – to its existing emphasis on millwork for hospitals and schools. In February 1964, Walkerbilt – along with other Yates County industries – reported an optimistic outlook for the year ahead, announcing it had a banner year in 1963 as it expanded its manufacture of library equipment with a focus on universities.

Nearly two years later, Walkerbilt – which at that point employed 108 people – announced it would move from its longtime Lake Street location to a then-to-be-announced location, still within Penn Yan village limits, as part of the village’s urban renewal plan that targeted the section of Lake Street between Main and Liberty streets. In November 1965, it was noted the company was plagued by financial difficulty because of the antiquated condition of its factory. In June 1969, the contract to construct the new facility on North Avenue was awarded to Iversen Construction Corp. of Gorham, with construction expected to begin in July and finish in March 1970.

Indeed, in June 1971, Walkerbilt both commemorated its centennial in business as part of Penn Yan’s industrial community and dedicated its modern building and state-of-the-art equipment. However, as much as the celebration brought good feelings to the company, its workforce, and the community, it didn’t seem to bring financial prosperity; just 18 months later – in January 1973 – Walkerbilt filed for bankruptcy and suggested it may seek a merger in order to provide financial stability. And that was the end of the story for Walkerbilt.

About a year later, in January 1974, Kilt Associates – a Rochester-based producer of school equipment – announced it had purchased Walkerbilt and revived the company’s millwork operations. However, within a few months in the spring and summer of 1974, the Heywood-Wakefield Furniture Company purchased the former Walkerbilt factory from Kilt and planned to begin production of maple bedroom furniture in August. In turn, in May 1979, it was announced the Heywood Wakefield plant would be sold to General Mills Inc., which produced lines of furniture in cherry, oak, and pine and upholstery goods under its Pennsylvania House subsidiary. The Penn Yan plant specialized in beds, tables, chests, and pieces in pine and oak for Pennsylvania House.

Pennsylvania House celebrated its 10th anniversary in business in Penn Yan in July 1989 with a tent sale for its employees and an open house for the community. The following February, however, the corporate office announced it would close the Penn Yan factory and move the production to its other factories around the country. And with that announcement came the true end to a titan of local industry for Penn Yan and Yates County.

[davidanderson121]

Paving Company Philadelphia - American Roofing and Masonry Philadelphia

5 Reasons Why You Should Hire A Paving Company In Philadelphia What would you say if we told you that the majority of accidents in Philadelphia happen not on the road but on sidewalks and streets? According to The Daily Pennsylvanian, this is indeed a reality. In fact, pavements are responsible for one-third of all vehicular accidents in Philadelphia. If you live in Philadelphia and have children who walk to school or play outside, hiring a paving company may be the best decision you ever make. Here are five reasons why: Paving Company Philadelphia

You'll Save Money There are many reasons why you should hire a paving company in Philadelphia. Here are four of the most common: 1. You'll Save Money Paving companies can save you a lot of money on your driveway or street project. Some estimates suggest that a paving job can cost as much as 50 percent less than traditional road construction methods. 2. You Won't Have To Stress About The Project Some people think that paving projects are quite stressful, but this isn't always the case. With the right paving contractor by your side, you can relax and let them take care of everything. 3. Paving Projects Can Be Completed Quickly Most paving projects can be completed within a few days, if not hours, depending on the size and complexity of the project. This means that you won't have to worry about any delays or complications. 4. Paving Projects Are Economical In The Long Run When it comes to roads and driveways, keeping them in good condition is essential for both your own safety and that of those who use them regularly. Over time, poorly maintained roads and driveways can become very costly to fix or replace – something you definitely don’t want to experience if you can avoid it! You'll Get Better Quality Than You Would From Doing It Yourself If you're thinking of paving your driveway, walkway, or patio yourself, there are a few reasons why you might want to reconsider. First, the quality of your finished product likely won't be as good as it could be if you hired a paving company in Philadelphia. Second, pavement maintenance is a lot more complicated and time-consuming than most people think - and it's not something that you can easily do yourself. Finally, pavements are often designed to meet specific safety and performance standards - which may not be applicable to your situation. If you're serious about getting your driveway paved correctly the first time, give us a call! We'll take care of everything for you. Your Paving Will Look Great When you are looking to improve the curb appeal of your property, a paving company in Philadelphia can be an excellent option. Not only will your driveway, walkways, and other areas look great, but you will also receive efficient and professional service. Here are some reasons why you should hire a paving company in Philadelphia: -They know their stuff. A paving company in Philadelphia is likely experienced with a variety of materials and techniques, which means they will be able to give you a quality product that looks great. -They take care of business. When it comes to paving companies, reliability is key. You don't want to waste your time or money on a project that won't turn out the way you wanted it to - hiring a reputable company like this is crucial. -They're affordable. Unlike many other services which can be quite expensive, paving companies in Philadelphia offer affordable rates that won't break the bank. This means you can get exactly what you need without having to worry about being overcharged or left with debt later on down the line.

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