#Complete Remodeling West Hollywood

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Complete Remodeling Services in West Hollywood, CA | Landmark Remodeling

Revitalize your home with Landmark Remodeling’s complete remodeling services in West Hollywood, CA. We specialize in custom designs, high-quality materials, and expert craftsmanship. Contact us today for a free consultation!

[blackbriarxyz]

Welcome to Blackbriar Development, your trusted partner for home remodeling in West Hollywood, CA. Our mission is to transform your living spaces into masterpieces that blend timeless design with modern luxury. We pride ourselves on using the finest materials and employing a team of skilled professionals dedicated to making your dream home a reality. Here, we’re not just builders; we’re artisans and visionaries, committed to delivering a seamless, personalized experience from start to finish.

Our Services

At Blackbriar Development, we offer a comprehensive range of home remodeling services to meet your needs. Whether you're looking to update a single room or undertake a full home remodel, we have the expertise to make your vision a reality.

Home Remodeling

Our home remodeling services cover all aspects of your home, from kitchens and bathrooms to living areas and bedrooms. We work with you to create a cohesive design that reflects your style and enhances your home’s functionality.

Kitchen Remodeling

The kitchen is the heart of the home, and our home remodeling contractors are experts in creating beautiful, functional kitchen spaces. Whether you want a modern, minimalist look or a cozy, traditional feel, we have the skills and materials to deliver.

Bathroom Remodeling

Transform your bathroom into a luxurious retreat with our bathroom remodeling services. We focus on creating spa-like spaces that offer comfort and relaxation, using top-quality fixtures and finishes.

Living Areas

Our team can help you redesign your living spaces to better suit your lifestyle. From open-concept layouts to cozy, intimate rooms, we tailor our designs to your needs and preferences.

Custom Homes

As luxury home builders in West Hollywood, we specialize in creating custom homes that are as unique as you are. Our team works closely with you to design and build a home that reflects your personality and meets your specific needs.

Full Home Remodeling

For those looking to undertake a major transformation, our full home remodeler services in West Hollywood offer a comprehensive solution. We handle every aspect of the project, from initial design to final construction, ensuring a seamless and stress-free experience.

Our Process

Our streamlined process ensures that your home remodeling project is smooth and efficient from start to finish. Here’s how we work:

Consultation: We start with an in-depth consultation to understand your vision, needs, and budget. This initial meeting allows us to gather the information we need to create a detailed plan for your project.

Design: Our design team works closely with you to develop a design that reflects your style and meets your needs. We use the latest technology to create detailed renderings, so you can see exactly what your finished project will look like.

Planning: Once the design is finalized, we develop a comprehensive plan for your project. This includes a detailed timeline, budget, and list of materials. We ensure that every aspect of the project is carefully planned to minimize disruptions and ensure a smooth process.

Construction: Our skilled construction team brings your vision to life, using the highest quality materials and craftsmanship. We keep you informed throughout the process, providing regular updates and addressing any concerns that arise.

Completion: Once construction is complete, we conduct a thorough inspection to ensure that every detail meets our high standards. We then walk you through your new space, making sure you’re completely satisfied with the results.

Why Choose Blackbriar Development?

Choosing the right remodeling contractor is crucial for ensuring your project is successful. At Blackbriar Development, we stand out for several reasons:

Experience and Expertise: With years of experience in the industry, we have honed our skills and knowledge to deliver outstanding results. Our team of seasoned professionals brings a wealth of expertise to every project, ensuring quality and attention to detail.

Customer Satisfaction: We believe in putting our customers first. Your satisfaction is our top priority, and we work closely with you to understand your vision and bring it to life. Our commitment to customer satisfaction sets us apart from other home remodeling contractors.

Quality Materials: We use only the highest quality materials to ensure the longevity and beauty of your remodel. From premium finishes to durable fixtures, every element of your project is crafted to stand the test of time.

Innovative Design: Our team is passionate about design and innovation. We stay up-to-date with the latest trends and technologies to offer you the best in modern living. Our unique home designs in West Hollywood are a testament to our creativity and forward-thinking approach.

Why We’re Different

In a market crowded with home remodeling contractors near me, what sets Blackbriar Development apart? Here are a few reasons:

Personalized Service: We take the time to understand your unique needs and preferences, ensuring that every project is tailored to you.

Attention to Detail: We believe that the difference is in the details. Our meticulous attention to detail ensures that every aspect of your project is perfect.

Commitment to Quality: We use only the highest quality materials and craftsmanship to ensure that your remodel is built to last.

Customer-Centric Approach: Your satisfaction is our top priority. We work closely with you throughout the process to ensure that you’re completely satisfied with the results.

Contact Us:

Blackbriar Development 9255 Sunset Blvd #1100 West Hollywood, CA, 90069 (424) 581-0855

Find us online:

Our Website: https://builtblackbriar.com/custom-home-builder-west-hollywood-ca/

Google Maps: https://www.google.com/maps?cid=3474223829542850316

Build Zoom: https://www.buildzoom.com/contractor/blackbriar-development

Pinterest: https://in.pinterest.com/blackbriarx/_created/ 

Yelp: https://www.yelp.com/biz/blackbriar-development-corporation-west-hollywood

Waze: https://www.waze.com/en/live-map/directions/blackbriar-development-sunset-blvd-9255-west-hollywood?place=w.158335317.1583418705.20440136

Proven Expert: https://www.provenexpert.com/blackbriar-development/

Property Management: https://www.property-management-today.com/blackbriar-development

[inreallifedesign12]

IRL Design And Build

We are experts in the field of artificial structure design. The 3D models will astound you, we guarantee it. We offer photorealistic 3D floor plans that might be useful for clients, builders, architects, and decorators.

Los Angeles-based general contractor well-versed in cutting-edge 3D modelling

In the greater Los Angeles area, no general contractor can match IRL Design And Build when it comes to 3D designs. The company was established in Los Angeles Bathroom Remodel West Hollywood Painting both the inside and outside of buildings is just one of many possible duties for painters in this industry. Their expertise lies in creating cutting-edge three-dimensional structures, modern hardscapes, and landscaping. Those are all available on their extensive menu. Any structure you can think of can be rendered in three dimensions by our team of skilled designers and illustrators. These models are really useful in the real world. When it comes to creating architectural marvels, we are experts in fusing novel ideas with cutting-edge technology. That it is within our grasp fills us with joy. We are able to serve a wide range of customers because we are committed to offering affordable solutions that do not sacrifice quality.

By making use of state-of-the-art technological developments

Your first priority should be to acquire dependable 3D rendering software if your project calls for photorealistic outcomes.

Given that no two businesses are the same, we modify our offerings to cater to the unique requirements of each client. Separate sets of experts reviewed the results.

Our skilled construction crew has extensive experience in the graphics sector, making them the best in the market. Enjoyment Amidst Achieving Objectives It Looks Like We've Gleaned Some New Knowledge From This.

We have assisted countless individuals in accomplishing extraordinary feats, all because of our impeccable track record and unwavering commitment to our clients' satisfaction. Our track record shows that we have been successful in assisting a number of clients in reaching their objectives.

Anyone can see that these huge problems are not going away anytime soon.

You have always had remarkable ability to estimate how long and how much money will be required to finish a project. Make sure it suits your requirements before proceeding.

We guarantee your complete happiness so you can rest easy. Priority number one at our company is making sure customers are happy. We can't tell if our efforts were fruitful without your comments.

Get People Talking About Your Brand by Introducing Ground-Breaking New Products Buying unique, handcrafted goods can elevate our quality of life. Your digital artwork will appear far better if you seek our assistance.

A more realistic look can be achieved by expertly arranging flat artwork and furniture. If it is not possible to obtain a full-body 3D model, proceed with the purchase. When you need assistance, don't hesitate to get in touch with our team of specialists.

Change the way your home's interior looks.

Use our photorealistic 3D models to showcase your company's exceptional interior design work. Our professionals will pay great attention to detail, ensuring that every shot highlights the unique features of each participant.

Never in a million years would any of us think about renting an office. I am completely bewildered.

At this time, the vast majority of architectural research focuses solely on single-family homes.

As we learn more about your request, we are growing increasingly confident in our capacity to meet your needs and provide error-free 3D models project design Our target market consists of design firms, construction businesses, and homeowners considering a remodel. We meticulously constructed cutting-edge computer models to investigate complex topics. 

The Views We Have on the Matter

Provide me with a rough estimate if you'd like.

Drafts, specifications, blueprints, and drawings are all kinds of project documentation that can be created. Feel free to call or email us with any inquiries or for a price quote.

Get a model ready to go by making it.

Our professional team can make a basic 3D model that fits your exact specifications. Please have a look at the prototype and let us know what you think before we go on to the finished product. Thank you in advance for your assistance.

Perhaps by discussing it, you two can come to a mutual understanding.

Up until now, nothing more than adjusting the 3D model has been done. Make a note of everything that needs fixing after you've read it thoroughly. Providing further information will allow us to better address your requirements.

Verify its efficacy before recommending it to clients.

We will be happy to provide you with the URL once you let us know when the final render is finished. If this happens, please know how deeply sorry we are. Alternatively, if you are still dissatisfied with the outcome, we are happy to make revisions to the previous work until you are satisfied. Our number one goal is your complete satisfaction with our services.

The certification of the final plan means that construction can now begin. If you want your most extravagant desires realised, contact us. Everyone is pleased and fulfilled since everything is going according to plan. Our continual reporting and updates will ensure that you are never in the dark again. 

[danielgreen1]

Discovering the Magic of Home Remodeling

Your home is more than just a structure; it is your comfort zone and your personal space where you unwind, entertain, and create memories. Sometimes, however, the house you fell in love with might need a little updating or may no longer fit your lifestyle. That’s where home remodeling steps in to breathe new life into your living spaces.

Understanding Home Remodeling

Home remodeling can involve anything from moderate upgrades to a complete overhaul of your house's interior or exterior sections, depending on specific needs and preferences. While some homeowners decide on quick fixes like cabinet refacing or bathroom fixtures upgrade, others opt for extensive remodelings such as basement finishing or room additions. No matter how vast or small the task, home remodeling is an investment that pays off by enhancing both your home's beauty and functionality.

The Potential of Space Utilization 

Expertly planned and executed remodeling projects pave the way for optimal use of every square foot in your home. A poorly maintained attic or underutilized basement can be transformed into vibrant living areas by remodeling professionals near you. Perhaps that 'junk' room could serve better as an office for remote work or even a playroom for kids? Home remodeling allows homeowners to dream big and unlock possibilities within existing infrastructure.

Boosted Property Value 

Apart from breathing fresh life into older buildings, another significant advantage often observed with home remodeling is enhanced real estate value. If you have plans to put your property up for sale shortly, a solid remodel could contribute significantly towards fetching a slight premium above market prices. Updated kitchens and bathrooms particularly meet demands of fussy buyers — adding not only aesthetic value but also functional applicability.

Personalization Possibilities 

One of the most exciting aspects of home remodeling lies in its potential to imprint personal style into any housing structure. No longer must homeowners be stuck with features or aesthetics that don’t resonate with them. Want to switch your old-fashioned kitchen tiles with a sleek quartz countertop? Or perhaps intend on switching the wall colors to suit your personality? All this and more can become possible through comprehensive home remodeling near you.

Energy Efficiency 

With eco-consciousness on the rise, many homeowners are increasingly leaning towards green remodeling solutions. Be it energy-efficient windows, green insulation, solar panel roofing, or low-flow plumbing fixtures, there exists a myriad of options for those keen on reducing their carbon footprint. Such remodels not only contribute positively towards environmental conservation but also translate into substantial utility bill savings in the long run.

At its core, home remodeling represents a rebirth of living spaces aligning them closer with homeowner preferences and modern trends. Whether it's space utilization potential, raised property value, personalization possibilities or enhanced energy efficiency; each aspect holds promising value for anyone considering a home renovation project. As long as you find reliable professionals who can help guide the process while keeping in tune with your vision, there’s no limit to how much transformation home remodeling can bring about.

Blackbriar Development Address: 9255 Sunset Blvd #1100, West Hollywood, CA 90069 Phone: 424-581-0855

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Completely remodeled 5 bed + 4 baths #duplex in West Hollywood w/ high-end finishes, including recessed lighting, hardwood floors, new plumbing fixtures, & AC systems. Ideal as an #incomeproperty. 7702 Norton Ave. Call (310) 299-7655 for a tour. Details - https://bit.ly/39Ndauh

[lex-2002]

The Savoy Ballroom was a large ballroom for music and public dancing located at 596 Lenox Avenue, between 140th and 141st Streets in the Harlem neighborhood of Manhattan, New York City. Lenox Avenue was the main thoroughfare through upper Harlem. Poet Langston Hughes calls it the Heartbeat of Harlem in Juke Box Love Song, and he set his work "Lenox Avenue: Midnight" on the legendary street. The Savoy was one of many Harlem hot spots along Lenox, but it was the one to be called the "World's Finest Ballroom". It was in operation from March 12, 1926, to July 10, 1958, and as Barbara Englebrecht writes in her article "Swinging at the Savoy", it was "a building, a geographic place, a ballroom, and the 'soul' of a neighborhood". It was opened and owned by white entrepreneur Jay Faggen and Jewish businessman Moe Gale. It was managed by African-American business man and civic leader Charles Buchanan. Buchanan, who was born in the British West Indies, sought to run a "luxury ballroom to accommodate the many thousands who wished to dance in an atmosphere of tasteful refinement, rather than in the small stuffy halls and the foul smelling, smoke laden cellar nightclubs ..."

The Savoy was modeled after Faggen's downtown venue, Roseland Ballroom. The Roseland was a mostly white swing dance club. With swing's rise to popularity and Harlem becoming a connected black community, The Savoy gave the rising talented and passionate black dancers an equally beautiful venue. The ballroom, which was 10,000 square feet in size, was on the second floor and a block long. It could hold up to 4,000 people. The interior was painted pink and the walls were mirrored. Colored lights danced on the sprung layered wood floor. In 1926, the Savoy contained a spacious lobby framing a huge, cut glass chandelier and marble staircase. Leon James is quoted in Jazz Dance as saying, "My first impression was that I had stepped into another world. I had been to other ballrooms, but this was different – much bigger, more glamour, real class ..."

The Savoy Ballroom was named after the Savoy Hotel in London as those who named the ballroom felt this gave the ballroom a classy, upscale feeling, as the hotel is a very elite, upscale hotel.

The Savoy was popular from the start. A headline from the New York Age March 20, 1926, reads "Savoy Turns 2,000 Away On Opening Night – Crowds Pack Ball Room All Week". The ballroom remained lit every night of the week.

The Savoy had the constant presence of the best Lindy Hoppers, known as "Savoy Lindy Hoppers". Occasionally, groups of dancers such Whitey's Lindy Hoppers turned professional and performed in Broadway and Hollywood productions. Whitey turned out to be a successful agent, and in 1937 the Marx Brothers' movie A Day at the Races featured the group. Herbert White was a bouncer at the Savoy who was made floor manager in the early 1930s. He was sometimes known as Mac, but with his ambition to scout dancers at the ballroom to form his own group, he became widely known as Whitey for the white streak of hair down the center of his head. He looked for dancers who were "young, stylized, and, most of all, they had to have a beat, they had to swing".

Unlike many ballrooms such as the Cotton Club, the Savoy always had a no-discrimination policy. The clientele was 85% black and 15% white, although sometimes there was an even split. Lindy hop dancer Frankie Manning said that patrons were judged on their dancing skills and not on the color of their skin: "One night somebody came over and said, 'Hey man, Clark Gable just walked in the house.' Somebody else said, 'Oh, yeah, can he dance?' All they wanted to know when you came into the Savoy was, do you dance?".

The northeast corner of the dance floor, nicknamed "Cats' Corner," was monopolized by the best and boldest dancers. Some sources claim only Whitey's Lindy Hoppers were permitted to dance there, while others are less specific. Competition for a place in Cats' Corner was fierce, and every serious hopper awaited the nightly "showtime". Other dancers would create a horseshoe around the band and "only the greatest Lindy-hoppers would stay on the floor, to try to eliminate each other". On 140th street was the opposite, mellow corner which was popular with dancing couples. The tango dancer known as The Sheik frequented this corner.

Many dances such as Lindy Hop (which was named after Charles Lindbergh and originated in 1927) were developed and became famous there. It was known downtown as the "Home of Happy Feet" but uptown, in Harlem, as "the Track" because the floor was long and thin. The Lindy Hop is also known as The Jitterbug and was born out of "mounting exhilaration and the 'hot' interaction of music and dance". Other dances that were conceived at the Savoy are The Flying Charleston, Jive, Snakehips, Rhumboogie, and variations of the Shimmy and Mambo. Capitol Records released at least one album devoted to the club, The Home of Happy Feet, from 1959.

It is estimated that the ballroom generated $250,000 in annual profit in its peak years from the late 1920s to the 1940s. Every year the ballroom was visited by almost 700,000 people. The entrance fee was 30 to 85 cents per person, depending on what time a person came. Thirty cents was the base price, but after 6pm the fee was 60 cents, and then 85 cents after 8pm. The Savoy made enough money by its peak in 1936 that $50,000 was spent on remodeling.

The ballroom had a double bandstand that held one large and one medium-sized band running against its east wall. Music was continuous as the alternative band was always in position and ready to pick up the beat when the previous one had completed its set. The bouncers, who had previously worked as boxers, basketball players, and the like, wore tuxedos and made $100 a night. The floor was watched inconspicuously by a security force of four men at a time who were headed by Jack La Rue, and no man was allowed in who wasn't dressed in a jacket with a tie. Besides the security staff, the Savoy was populated by "Harlem's most beautiful women": the Savoy Hostesses. They would be fired for consorting with patrons outside the ballroom, but inside the hostesses would teach people to dance and were dance partners for anyone who purchased a 25 cent dance ticket. Roseland Ballroom hostesses often visited the Savoy on their night off; this inspired Buchanan to create Monday Ladies-Free Nights. Other special events began during the week, including the giveaway of a new car every Saturday. The floor had to be replaced every three years due to frequent use.

During the 1930s, Chick Webb was the bandleader of the Savoy's most popular house band. Ella Fitzgerald, fresh from a talent show victory at the Apollo Theater in 1934, became its teenage vocalist. Webb also recorded the 1934 big band song and jazz standard "Stompin' at the Savoy", which is named for the Savoy. The Savoy was the site of many Battle of the Bands or Cutting Contests, which started when the Benny Goodman Orchestra challenged Webb in 1937. Webb and his band were declared the winners of that contest. In 1938, Webb was challenged by the Count Basie Band. While Webb was declared the winner again, there was a lack of consensus on who won. Earle Warren, alto saxophonist for Basie, reported that they had worked on the song "Swingin' the Blues" for competing and says, "When we unloaded our cannons, that was the end".

Floating World Pictures made a documentary called The Savoy King about the ballroom. It was shown at the 50th New York Film Festival. Other prominent Savoy house bandleaders included Al Cooper, Erskine Hawkins, Lucky Millinder (with Wynonie Harris on vocals), Buddy Johnson, and Cootie Williams.

The Savoy participated in the 1939 New York World's Fair, presenting "The Evolution of Negro Dance".

The ballroom was shut down in April 1943 as a result of "charges of vice filed by the police department and Army". Its license was renewed in mid-October of the same year.

[silent-era-of-cinema]

Jean Arthur (born Gladys Georgianna Greene; October 17, 1900 – June 19, 1991) was an American Broadway and film actress whose career began in silent films in the 1920s and lasted until the early 1950s.

Arthur had feature roles in three Frank Capra films: Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939), films that championed the "everyday heroine". Arthur was nominated for an Academy Award for Best Actress in 1944 for her performance in The More the Merrier (1943).

James Harvey wrote in his history of the romantic comedy: "No one was more closely identified with the screwball comedy than Jean Arthur. So much was she part of it, so much was her star personality defined by it, that the screwball style itself seems almost unimaginable without her." She has been called "the quintessential comedic leading lady". Her last film performance was non-comedic, playing the homesteader's wife in George Stevens's Shane in 1953.

Arthur was known as a reclusive woman. News magazine Life observed in a 1940 article: "Next to Garbo, Jean Arthur is Hollywood's reigning mystery woman." As well as recoiling from interviews, she avoided photographers and refused to become a part of any kind of publicity.

Arthur was born Gladys Georgianna Greene in Plattsburgh, New York, to Protestant parents, Johanna Augusta Nelson (1871–1959) and Hubert Sidney Greene (1863–1944).[7] Gladys' Lutheran maternal grandparents immigrated from Norway to the American West after the Civil War. Her Congregationalist paternal ancestors immigrated from England to Rhode Island in the second half of the 1600s. During the 1790s, Nathaniel Greene helped found the town of St. Albans, Vermont, where his great-grandson, Hubert Greene, was born on September 1, 1863.

Johanna and Hubert were married in Billings, Montana, on July 7, 1890. Gladys's three older brothers—Donald Hubert Greene (1890–1967), Robert Brazier Greene (1892–1955) and Albert Sidney Greene (1894–1926)[8]—were born in the West. Around 1897, Hubert moved his wife and three sons from Billings to Plattsburgh, so he could work as a photographer at the Woodward Studios on Clinton Street. Johanna gave birth to stillborn twins on April 1, 1898.

Two and a half years later, Johanna gave birth to Gladys Georgianna. The product of a nomadic childhood, the future Jean Arthur lived at times in Saranac Lake, New York; Jacksonville, Florida, where George Woodward, Hubert's Plattsburgh employer, opened a second studio; and Schenectady, New York, where Hubert had grown up and where several members of his family still lived. The Greenes lived on and off in Westbrook, Maine, from 1908 to 1915 while Gladys's father worked at Lamson Studios in Portland, Maine. Relocating in 1915 to New York City, the family settled in the Washington Heights neighborhood – at 573 West 159th Street – of upper Manhattan, and Hubert worked at Ira L. Hill's photographic studio on Fifth Avenue.

Gladys dropped out of high school in her junior year due to a "change in family circumstances". Presaging many of her later film roles, she worked as a stenographer on Bond Street in lower Manhattan during and after World War I. Both her father (at age 55, claiming to be 45) and siblings registered for the draft. Her brother Albert died in 1926 as a result of respiratory injuries suffered during a mustard gas attack during World War I.

Discovered by Fox Film Studios while she was doing commercial modeling in New York City in the early 1920s, the newly named Jean Arthur landed a one-year contract and debuted in the silent film Cameo Kirby (1923), directed by John Ford. She reputedly took her stage name from two of her greatest heroes, Joan of Arc (Jeanne d'Arc) and King Arthur.[citation needed] The studio was at the time looking for new American sweethearts with sufficient sex appeal to interest the Jazz Age audiences. Arthur was remodeled as such a personality, a flapper. Following the small role in Cameo Kirby, she received her first female lead role in The Temple of Venus (1923), a plotless tale about a group of dancing nymphs. Dissatisfied with her lack of acting talent, the film's director Henry Otto replaced Arthur with actress Mary Philbin during the third day of shooting. Arthur agreed with the director: "There wasn't a spark from within. I was acting like a mechanical doll personality. I thought I was disgraced for life." She was planning on leaving the California film industry for good, but reluctantly stayed due to her contract, and appeared in comedy shorts instead. Despite lacking the required talent, Arthur liked acting, which she perceived as an "outlet". To acquire some fame, she registered herself in the Los Angeles city directory as a photo player operator, as well as appearing in a promotional film for a new Encino nightclub, but to no avail.

Change came when one day she showed up at the lot of Action Pictures, which produced B westerns, and impressed its owner Lester F. Scott Jr., with her presence. He decided to take a chance on a complete unknown, and she was cast in over twenty westerns in a two-year period. Only receiving $25 a picture, Arthur suffered from difficult working conditions: "The films were generally shot on location, often in the desert near Los Angeles, under a scorching sun that caused throats to parch and make-up to run. Running water was nowhere to be found, and even outhouses were a luxury not always present. The extras on these films were often real cowboys, tough men who were used to roughing it and who had little use for those who were not." The films were moderately successful in second-rate Midwestern theaters, though Arthur received no official attention. Aside from appearing in films for Action Pictures between 1924 and 1926, she worked in some independent westerns, including The Drug Store Cowboy (1925), and westerns for Poverty Row, as well as having an uncredited bit part in Buster Keaton's Seven Chances (1925).

In 1927, Arthur attracted more attention when she appeared opposite Mae Busch and Charles Delaney as a gold digging chorus girl in Husband Hunters. Subsequently, she was romanced by actor Monty Banks in Horse Shoes (1927), both a commercial and critical success. She was cast on Banks's insistence, and received a salary of $700. Next, director Richard Wallace ignored Fox's wishes to cast a more experienced actress by assigning Arthur to the female lead in The Poor Nut (1927), a college comedy which gave her wide exposure to audiences. A reviewer for Variety did not spare the actress in his review: "With everyone in Hollywood bragging about the tremendous overflow of charming young women all battering upon the directorial doors leading to an appearance in pictures, it seems strange that from all these should have been selected two flat specimens such as Jean Arthur and Jane Winton. Neither of the girls has screen presence. Even under the kindliest treatment from the camera they are far from attractive and in one or two side shots almost impossible." Fed up with the direction that her career was taking, Arthur expressed her desire for a big break in an interview at the time. She was skeptical when signed to a small role in Warming Up (1928), a film produced for a big studio, Famous Players-Lasky, and featuring major star Richard Dix. Promoted as the studio's first sound film, it received wide media attention, and Arthur earned praise for her portrayal of a club owner's daughter. Variety opined, "Dix and Arthur are splendid in spite of the wretched material", while Screenland wrote that Arthur "is one of the most charming young kissees who ever officiated in a Dix film. Jean is winsome; she neither looks nor acts like the regular movie heroine. She's a nice girl – but she has her moments." The success of Warming Up resulted in Arthur being signed to a three-year contract with the studio, soon to be known as Paramount Pictures, at $150 a week.

With the rise of the talkies in the late 1920s, Arthur was among the many silent screen actors of Paramount Pictures initially unwilling to adapt to sound films. Upon realizing that the craze for sound films was not a phase, she met with sound coach Roy Pomeroy. It was her distinctive, throaty voice – in addition to some stage training on Broadway in the early 1930s – that eventually helped make her a star in the talkies. However, it initially prevented directors from casting her in films.[19] In her early talkies, this "throaty" voice is still missing, and it remains unclear whether it has not yet emerged or whether she hid it. Her all-talking film debut was The Canary Murder Case (1929), in which she co-starred opposite William Powell and Louise Brooks. Arthur impressed only a few with the film and later claimed that at the time she was a "very poor actress ... awfully anxious to improve, but ... inexperienced so far as genuine training was concerned."

In the early years of talking pictures, Paramount was known for contracting Broadway actors with experienced vocals and impressive background references. Arthur was not among these actors, and she struggled for recognition in the film industry. Her personal involvement with rising Paramount executive David O. Selznick – despite his relationship with Irene Mayer Selznick – proved substantial; she was put on the map and became selected as one of the WAMPAS Baby Stars in 1929. Following a silent B-western called Stairs of Sand (1929), she received some positive notices when she played the female lead in the lavish production of The Mysterious Dr. Fu Manchu (1929). Arthur was given more publicity assignments, which she carried out, even though she immensely disliked posing for photographers and giving interviews.

Through Selznick, Arthur received her "best role to date" opposite famous sex symbol Clara Bow in the early sound film The Saturday Night Kid (1929). Of the two female leads, Arthur was thought to have "the better part," and director Edward Sutherland claimed that "Arthur was so good that we had to cut and cut to keep her from stealing the picture" from Bow. While some argued that Bow resented Arthur for having the "better part," Bow encouraged Arthur to make the most of the production. Arthur later praised her working experience with Bow: "[Bow] was so generous, no snootiness or anything. She was wonderful to me." The film was a moderate success, and The New York Times wrote that the film would have been "merely commonplace, were it not for Jean Arthur, who plays the catty sister with a great deal of skill."

Following a role in Halfway to Heaven (1929) opposite popular actor Charles "Buddy" Rogers (of which Variety opined that her career could be heading somewhere if she acquired more sex appeal), Selznick assigned her to play William Powell's wife in Street of Chance (1930). She did not impress the film's director John Cromwell, who advised the actress to move back to New York because she would not make it in Hollywood. By 1930, her relationship with Selznick had ended, causing her career at Paramount to slip. Following a string of "lifeless ingenue roles" in mediocre films, she debuted on stage in December 1930 with a supporting role in Pasadena Playhouse's ten-day run production of Spring Song. Back in Hollywood, Arthur saw her career deteriorating, and she dyed her hair blonde in an attempt to boost her image and avoid comparison with more successful actress Mary Brian. Her effort did not pay off: when her three-year contract at Paramount expired in mid-1931, she was given her release with an announcement from Paramount that the decision was due to financial setbacks caused by the Great Depression.

In late 1931, Arthur returned to New York City, where a Broadway agent cast Arthur in an adaptation of Lysistrata, which opened at the Riviera Theater on January 24, 1932. A few months later, she made her Broadway debut in Foreign Affairs opposite Dorothy Gish and Osgood Perkins. Even though the play did not fare well and closed after twenty-three performances, critics were impressed by her work on stage. She next won the female lead in The Man Who Reclaimed His Head, which opened on September 8, 1932, at the Broadhurst Theatre to mostly mixed notices for Arthur, and negative reviews for the play caused the production to be halted quickly. Arthur returned to California for the holidays, and appeared in the RKO film The Past of Mary Holmes (1933), her first film in two years.

Back on Broadway, Arthur continued to appear in small plays that received little attention. Critics, however, continued to praise her in their reviews. It has been argued that in this period, Arthur developed confidence in her acting craft for the first time. On the contrast between films in Hollywood and plays in New York, Arthur commented:

I don't think Hollywood is the place to be yourself. The individual ought to find herself before coming to Hollywood. On the stage I found myself to be in a different world. The individual counted. The director encouraged me and I learned how to be myself.... I learned to face audiences and to forget them. To see the footlights and not to see them; to gauge the reactions of hundreds of people, and yet to throw myself so completely into a role that I was oblivious to their reaction.

The Curtain Rises, which ran from October to December 1933, was Arthur's first Broadway play in which she was the center of attention. With an improved résumé, she returned to Hollywood in late 1933, and turned down several contract offers until she was asked to meet with an executive from Columbia Pictures. Arthur agreed to star in a film, Whirlpool (1934), and during production she was offered a long-term contract that promised financial stability for both her and her parents. Even though hesitant to give up her stage career, Arthur signed the five-year contract on February 14, 1934.

In 1935, at age 34, Arthur starred opposite Edward G. Robinson in the gangster farce The Whole Town's Talking, also directed by Ford, and her popularity began to rise. It was the first time Arthur portrayed a hard-boiled working girl with a heart of gold, the type of role she would be associated with for the rest of her career. She enjoyed the acting experience and working opposite Robinson, who remarked in his biography that it was a "delight to work with and know" Arthur. By the time of the film's release, her hair, naturally brunette throughout the silent film portion of her career, was bleached blonde and would mostly stay that way. She was known for maneuvering to be photographed and filmed almost exclusively from the left; Arthur felt that her left was her best side, and worked hard to keep it in the fore. Director Frank Capra recalled producer Harry Cohn's description of Jean Arthur's imbalanced profile: "half of it's angel, and the other half horse." Her next few films, Party Wire (1935), Public Hero No. 1 (1935) and If You Could Only Cook (1935), did not match the success of The Whole Town's Talking, but they all brought the actress positive reviews. In his review for The New York Times, critic Andre Sennwald praised Arthur's performance in Public Hero No. 1, writing that she "is as refreshing a change from the routine it-girl as Joseph Calleia is in his own department." Another critic wrote of her performance in If You Could Only Cook that "[she is] outstanding as she effortlessly slips from charming comedienne to beautiful romantic." With her now apparent rise to fame, Arthur was able to extract several contractual concessions from Harry Cohn, such as script and director approval and the right to make films for other studios.

The turning point in Arthur's career came when she was chosen by Frank Capra to star in Mr. Deeds Goes to Town. Capra had spotted her in a daily rush from the film Whirlpool in 1934 and convinced Cohn to have Columbia Studios sign her for his next film as a tough newspaperwoman who falls in love with a country bumpkin millionaire. Even though several colleagues later recalled that Arthur was troubled by extreme stage fright during production, Mr. Deeds was critically acclaimed and propelled her to international stardom. In 1936 alone, she earned $119,000, more than the President of the United States and baseball player Lou Gehrig. With fame also came media attention, something Arthur greatly disliked. She did not attend any social gatherings, such as formal parties in Hollywood, and acted difficult when having to work with an interviewer. She was named the American Greta Garbo – who was also known for her reclusive life – and magazine Movie Classic wrote of her in 1937: "With Garbo talking right out loud in interviews, receiving the press and even welcoming an occasional chance to say her say in the public prints, the palm for elusiveness among screen stars now goes to Jean Arthur."

Arthur's next film was The Ex-Mrs. Bradford (1936), on loan to RKO Pictures, in which she starred opposite William Powell on his insistence, and hoped to take a long vacation afterwards. Cohn, however, rushed her into two more productions, Adventure in Manhattan (1936) and More Than a Secretary (1936). Neither film attracted much attention.[44] Next, again without pause, she was re-teamed with Cooper, playing Calamity Jane in Cecil B. DeMille's The Plainsman (1936) on another loan, this time for Paramount Pictures. Arthur, who was De Mille's second choice after Mae West, described Calamity Jane as her favorite role thus far. Afterwards, she appeared as a working girl, her typical role, in Mitchell Leisen's screwball comedy, Easy Living (1937), with Ray Milland. She followed this with another screwball comedy, Capra's You Can't Take It with You, which teamed her with James Stewart. The film won an Academy Award for Best Picture with Arthur getting top billing.

So strong was her box office appeal by now that she was one of four finalists for the role of Scarlett O'Hara in Gone with the Wind (1939). The film's producer, David O. Selznick, had briefly romanced Arthur in the late 1920s when they both were with Paramount Pictures. Arthur re-united with director Frank Capra and Stewart for Mr. Smith Goes to Washington (1939), with Arthur cast once again as a working woman, this time one who teaches the naive Mr. Smith the ways of Washington, D.C.

Arthur continued to star in films such as Howard Hawks's Only Angels Have Wings (also 1939), with love interest Cary Grant, The Talk of the Town (1942), directed by George Stevens (with Cary Grant and Ronald Colman, working together for the only time, as Arthur's two leading men), and again for Stevens as a government clerk in The More the Merrier (1943), for which Arthur was nominated for the Academy Award for Best Actress (losing to Jennifer Jones for The Song of Bernadette). As a result of being in dispute with studio boss Harry Cohn, her fee for The Talk of the Town (1942) was only $50,000, while her male co-stars Grant and Colman received upwards of $100,000 each. Arthur remained Columbia's top star until the mid-1940s, when she left the studio, and Rita Hayworth took over as the studio's biggest name. Stevens famously called her "one of the greatest comediennes the screen has ever seen," while Capra credited her as "my favorite actress."

Arthur retired when her contract with Columbia Pictures expired in 1944. She reportedly ran through the studio's streets, shouting "I'm free, I'm free!"[46] For the next several years, she turned down virtually all film offers, the two exceptions being Billy Wilder's A Foreign Affair (1948), in which she played a congresswoman and rival of Marlene Dietrich, and as a homesteader's wife in the classic Western Shane (1953), which turned out to be the biggest box-office hit of her career. The latter was her final film, and the only color film in which she appeared.

Arthur's post-retirement work in theater was intermittent, somewhat curtailed by her unease and discomfort about working in public. Capra claimed she vomited in her dressing room between scenes, yet emerged each time to perform a flawless take. According to John Oller's biography, Jean Arthur: The Actress Nobody Knew (1997), Arthur developed a kind of stage fright punctuated with bouts of psychosomatic illnesses. A prime example was in 1945, when she was cast in the lead of the Garson Kanin play, Born Yesterday. Her nerves and insecurity got the better of her and she left the production before it reached Broadway, opening the door for a then-unknown Judy Holliday to take the part.

She did score a major triumph on Broadway in 1950, starring in Leonard Bernstein's adaptation of Peter Pan, playing the title character, when she was almost 50. She tackled the role of her eponym, Joan of Arc, in a 1954 stage production of George Bernard Shaw's Saint Joan, but she left the play after a nervous breakdown and battles with director Harold Clurman.

After Shane and the Broadway play Joan of Arc, Arthur went into retirement for 12 years. In 1965, she returned to show business in an episode of Gunsmoke. In 1966, the extremely reclusive Arthur took on the role of Patricia Marshall, an attorney, on her own television sitcom, The Jean Arthur Show, which was canceled mid-season by CBS after only 12 episodes. Ron Harper played her son, attorney Paul Marshall.

In 1967, Arthur was coaxed back to Broadway to appear as a midwestern spinster who falls in with a group of hippies in the play The Freaking Out of Stephanie Blake. In his book The Season, William Goldman reconstructed the disastrous production, which eventually closed during previews when Arthur refused to go on.

Arthur next decided to teach drama, first at Vassar College and then the North Carolina School of the Arts. While teaching at Vassar, she stopped a rather stridently overacted scene performance and directed the students' attention to a large tree growing outside the window of the performance space, advising the students on the art of naturalistic acting: "I wish people knew how to be people as well as that tree knows how to be a tree."

Her students at Vassar included the young Meryl Streep. Arthur recognized Streep's talent and potential very early on and after watching her performance in a Vassar play, Arthur said it was "like watching a movie star."

While living in North Carolina, in 1973, Arthur made front-page news by being arrested and jailed for trespassing on a neighbor's property to console a dog she felt was being mistreated. An animal lover her entire life, Arthur said she trusted them more than people. She was convicted, fined $75 and given three years' probation.

Arthur turned down the role of the female missionary in Lost Horizon (1973), the unsuccessful musical remake of the 1937 Frank Capra film of the same name. Then, in 1975, the Broadway play First Monday in October, about the first woman to be a Supreme Court justice, was written especially with Arthur in mind, but once again she succumbed to extreme stage fright, and quit the production shortly into its out-of-town run after leaving the Cleveland Play House. The play went on with Jane Alexander playing the role intended for Arthur.

After the First Monday in October incident, Arthur then retired for good, retreating to her oceanside home in Carmel, California, steadfastly refusing interviews until her resistance was broken down by the author of a book about Capra. Arthur once famously said that she would rather have her throat slit than do an interview.

Arthur was a Democrat and supported the campaign of Adlai Stevenson during the 1952 presidential election.

Arthur died from heart failure June 19, 1991, at the age of 90. No funeral service was held. She was cremated, and her remains were scattered off the coast of Point Lobos, California.

Upon her death, film reviewer Charles Champlin wrote the following in the Los Angeles Times:

To at least one teenager in a small town (though I'm sure we were a multitude), Jean Arthur suggested strongly that the ideal woman could be – ought to be – judged by her spirit as well as her beauty … The notion of the woman as a friend and confidante, as well as someone you courted and were nuts about, someone whose true beauty was internal rather than external, became a full-blown possibility as we watched Jean Arthur.

For her contribution to the motion picture industry, Jean Arthur has a star on the Hollywood Walk of Fame at 6333 Hollywood Blvd. The Jean Arthur Atrium was her gift to the Monterey Institute of International Studies in Monterey, California.

On May 2, 2015, the city of Plattsburgh, New York, honored her with a plaque in front of the house where she was born (94 Oak Street).

On October 9, 2019, Plattsburgh unveiled a large commissioned mural of the actress by artist Brendon Palmer-Angell on a wall behind the bank building at 30 Brinkerhoff Street.

As of 2019, the Adirondacks Welcome Center near Exit 18 on the northbound lanes of the Northway (I-87) in Queensbury, New York, featured a ground plaque of Jean Arthur, among other famous persons connected to the Adirondacks region, as part of the Adirondacks Walk of Fame, similar in style to the Hollywood Walk of Fame in Los Angeles.

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[historichollywoodphotographs]

Cafe Trocadero - The Place to “See and Be Seen”

Socializing, dining, and dancing at Hollywood’s restaurants and nightclubs were an expected part of an actor’s career. Publicity around these activities drove the public to buy movie tickets and fan magazines.

William "Billy" Wilkerson, owner of industry tabloid "The Hollywood Reporter", understood this well and decided to throw his hat into the entertainment ring when he opened The Vendome restaurant at 6666 Sunset Boulevard, the first in a string of highly successful restaurant-nightclubs to grace Hollywood's nightlife scene, in May of 1933. Conveniently located just a stone's throw from the Reporter's offices, The Vendome was originally planned as a specialty store for Hollywood's royalty, serving lunch and dinner to patrons such as Joan Crawford, The Gables, Mae West, Louella Parsons and Marlene Dietrich.  

In mid-1934, Wilkerson sought a location for a new venture specifically geared to the nighttime crowd already frequenting the stretch of Sunset Boulevard between Hollywood and Beverly Hills, known as the Sunset Strip. According to one account, Wilkerson was scouting for a place to store his stock of vintage libations and happened upon La Boheme, a restaurant equipped with a large cellar, that had recently closed due to gambling and liquor violations. He bought the place with the idea of opening a nightclub above the basement. He employed Harold Grieve, decorator to the stars with a midas touch, who remodeled the interior in the mode of a smart French cafe. The result was Cafe Trocadero, whose grand opening, much like The Vendome, was hyped by a series of provocative ads in The Hollywood Reporter. Wilkerson persuaded agent Myron Selznick to host the opening night party, a private affair, before the club's public open a couple nights later on September 17, 1934.

The official opening the “Troc” (as it was more commonly referred to) attracted notable revelers such as Joe Schenck; actress Peggy Fears; Ida Lupino; the Gene Markleys (Joan Bennett); Carl Laemmle Jr; George Raft; Virginia Hill; Pat DiCicco; Sally Blanc; and the Darryl Zanucks. By all standards, the Troc was a bona fide success and Wilkerson was credited with ushering in Hollywood's Golden Age of glamour. The film industry finally had its own official playground, sanctioned by the stars and their studios, and legal by virtue of Prohibition's repeal and the club's no-gambling policy. The Trocadero became the place to “see and be seen”, the stars' idea of a perfect hangout, so thick with actors and actresses, it felt more like someone's party den than a public nightclub.

Robert Cummings and Marsha Hunt at Cafe Trocadero, 1936

Wilkerson initiated a Sunday night audition where newcomers had an opportunity to perform for Hollywood’s power players. Sunday night soon became THE night to head to the Troc - not only for the array of talent on display, but also due to the City of Los Angeles' Blue Sky Laws, which prohibited dancing within the city limits on the Sabbath. Conveniently located at 8610 Sunset Boulevard, the Troc was not within city limits, but on a block of unincorporated Los Angeles County. In the wake of the Troc's enormous success, other clubs also sprang up along Sunset, making the boulevard one long procession of nocturnal merrymaking and host to private benefits, birthdays, anniversaries, and movie premiere parties.

In late 1936, Cafe Trocadero was completely remodeled to the delight of its many patrons. Wilkerson decided to sell it in August 1937, but received no offers. When he pulled out of the Trocadero in 1938, Felix Young became involved, as a manager or part owner. Shortly thereafter, Wilkerson began developing another nightclub just down the street named Ciro’s, which opened in January 1940. With the added competition, the Trocadero began to lose the dominance it had previously enjoyed on the Sunset Strip. In 1939, Young tried to renegotiate the club’s lease with the landlord, Chateau Sunset Corp. When negotiations broke down, however, Young closed the club on the morning of October 7, 1939, ordering his secretaries to telephone the 400 people who had reservations for that evening and say, "Until my contract is clarified to my satisfaction, the Troc will remain dark." Three days later, The Trocadero was thrown into involuntary bankruptcy, and by May 1940, the club’s furniture and fittings were auctioned off to satisfy the debts. Several months later, it was reopened under new management, simply renamed "Trocadero". Over the next few years, it enjoyed some degree of success, but its liquor license was suspended a couple of times, and it finally closed its doors in 1947.

- Christy McAvoy, Historic Hollywood Photographs

Source: Bruce Torrence archives

[xmwkristian4242-blog]

Varieties Of Music

For the reason that introduction of digital devices and synthetic sound units within the early 1900s, digital music has developed into a singular style. In ancient instances, http://www.audio-transcoder.com/ corresponding to with the Historical Greeks , the aesthetics of music explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. Within the 18th century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment ( plaisir and jouissance ) of music. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant By way of their writing, the ancient term 'aesthetics', which means sensory notion, received its present-day connotation. In the 2000s, philosophers have tended to emphasize issues moreover magnificence and pleasure. For instance, music's capability to specific emotion has been a central subject. An opera may very well be defined broadly as a theatrical presentation (a play) during which the characters' strains are sung reasonably than spoken. The vocal fashion used in historic opera displays the fact that before digital amplification voices needed to be big and loud so they may very well be heard in a large live performance hall over the orchestra used to accompany them. A rock opera is simply an opera (sung play) that uses the model and devices of rock music. Examples of rock operas are Lease by Jonathan Larson, Tommy by The Who, and Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice. The term 'rock opera' is usually used as a synonym for 'idea album' (equivalent to My Chemical Romance's The Black Parade, The Beatles' Sgt. Pepper's Lonely Hearts Membership Band, or Pink Floyd's The Wall), however only those with a transparent narrative (a storyline with characters and occasions) that is informed fully in music (no spoken traces) ought to be referred to as rock operas.

Rockabilly; what some name the original Rock & Roll. A mixture of hillbilly and rock containing a western swing and a bouncing party vibe. With parts of piano-based Leap Blues and electrical boogie woogie, it made it is mark on the music scene indelibly. Almost everyone's named contained a "Y". essays larger ranges of similarity with the Energetic and Conventional genres (e.g., pop music). wonky : Wonky is electronic music characterized by synths with unusual time signatures in summary, hip hop-type beats. Wonky takes cues in its sound from instrumental hip hop and glitch however sets itself aside primarily by its lack of the heavy quantization seen in many digital genres. Alice had her breakthrough after winning the Sanremo Music Festival with the tune Per Elisa" in 1981, followed by European hit singles like Una notte speciale", Messaggio", Chan-son Egocentrique", Prospettiva Nevski" and Nomadi" and albums like Gioielli rubati, Park Lodge, Elisir and Il sole nella pioggia charting in both Continental Europe, Scandinavia and Japan. Very good voice. If you load up the page in your browser , youвЂll be greeted with a large wall of colored text hyperlinks. Each represents a selected genre of music. ThereвЂs everything from “Taiwanese pop” to “dark psytrance” to “Danish jazz” to “vapor twitch” to “Brazilian gospel” to “funk rock” to “discofox” to good ol†usual “hip hop.” With greater than 1,500 completely different music genres mapped, itвЂs all there. 1995When the Brill constructing met Lennon-McCartney: continuity and alter within the early evolution of the mainstream pop tune. Widespread Music Soc. Another instance of sub-genres influencing one another was the punk beginnings of Queercore. A response to the societal disapproval of LGBT citizens, Queercore was one of many many music communities created in the US and UK which offered cultural alternate between members and allies. So here, for a little bit of enjoyable with information and musical exploration, are a few of the most strangely-named genres on Spotify. You may click on them to listen to what they sound like. This record is so incomplete and so pathetically inept in its order that I consider I'll pee-yook. Rush at #5??? The third top-selling band ever. Solely The Beatles and The Rolling Stones are forward of them. Gordon Lightfoot at #sixteen…just spit in his face. He is been putting out music for over SIXTY years. What about Bob Ezrin? Pink Floyd's The Wall" wouldn't exist with out him. Neither would a couple of KISS albums, Alice Cooper tunes, Pat Benatar and several other others. Gary and Dave…Ian Thomas is high 20. I don't argue against Neil Young, kraft dinner(kd) Lang in #4? Rufus Wainwright? Ron Sexsmith does loads, but has no business being on this checklist. Had been you individuals smoking herb if you thought up this muddled mess? Horrible…absolutely horrible. Battle hardened in the golf equipment of Hamburg, the fab four remodeled from squeaky-clear pop sweethearts to rock monsters in the course of the course of their career, and produced a few of the finest music ever made alongside the best way. They constantly pushed boundaries, took their sound to locations you'd by no means assume potential and along with pioneering producer George Martin used the studio as an instrument unlike ever before. Their story and their music is legendary, and you just can't look previous them as the best British rock band of all time. Fresh production work on Jay-Z's 2001 album, The Blueprint (soul nuggets clashing with Bowie and the Doorways) announced Chicagoan West's expertise, parlayed into modern solo records drawing from more and more eclectic soundworlds (folk, classical, synth-pop) and minting an over-sharing confessional blog-rap style whose overcome the lengthy-reigning gangsta idiom was symbolized when his 2007 album, Graduation, pipped 50 Cent's Curtis in a hyped-up sales race". West's genius for digital-period publicity makes him unignorable - his avidity for new musical territories makes him inimitable. Allways use the large picture and follow logic and scientific criteria. The truth is that each one those genres you hear arround you (this rock or that rock, or this jazz or that jazz) are SUB-genres, not genres, they use nearly the identical language and range only in particulars. I thought it could be useful to share a playlist featuring one music from every of the genres listed. Given the various vary of content we've got coated, it is a really combined bag — but it's sure to get you enthusiastic about all the obscure genres that you just're currently missing out on.I guess this is not a style, maybe it is only a group of bands from different metallic subgenres specializing in certain lyrical themes. Holt, Fabian (2007) Genre in Standard Music. Chicago: University of Chicago Press. You're in all probability already aware of at least among the music by well-known composers like Mozart and Beethoven. You could even be conversant in some of the work by composers of baroque music who preceded them, equivalent to Bach, Vivaldi, and Handel. And most people immediately have heard the work of recent composers who use elements of classical music in their scores for main Hollywood motion pictures.

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Cheaper By The Dozen Mansion, Los Angeles

Cheaper By The Dozen Mansion, LA Home For Sale, Los Angeles Residence and Pool, Californian Property Photos

Cheaper By The Dozen Mansion in Los Angeles

8 Feb, 2022

Kat Von D’s Cheaper By The Dozen Mansion, Los Angeles – is now for sale priced at $15 million.

Location: Los Angeles, California, USA

Source: TopTenRealEstateDeals

Cheaper By The Dozen Mansion For Sale

Best known for her TLC reality show LA Ink, which chronicled her work as a tattoo artist and tattoo studio owner, Kat Von D is a multi-faceted star. A model, recording artist, New York Times bestselling author, animal rights campaigner, and entrepreneur, the Mexican-born Kat Von D is famous for her gothic style.

In 2016, she paid $6.5 million for the LA mansion which served as the set for 2003’s family comedy Cheaper by the Dozen and completely remodeled it to suit her spooky aesthetic. In recent months, Kat has closed her LA studio, High Voltage Tattoo, and announced a move to Indiana to spend more time with her family. Her spectacular, distinctive home has now been listed for sale at $15 million.

The three-story Victorian mansion was originally built in the 1890s by Isaac Newton Van Nuys, who once owned the entire southern portion of the San Fernando Valley and for whom the city of Van Nuys is named. With striking red brick and turrets, the magical estate is completely gated and sits on over half an acre of manicured grounds with maze-like gardens and fountains. A blood-red swimming pool flanked by classical statues makes for an impressive statement piece, with plenty of patio space for entertaining.

The sprawling main residence offers 12,565 square feet, eleven bedrooms and eight-and-a-half baths. The grand salon connects seamlessly to the library, den, formal living and sitting rooms. The dining room is lined with linenfold paneling and stained-glass windows and connects to the fully renovated chef-quality kitchen. A hidden bar with hand-carved walls conceals a secret door that leads out to the pool and spa.

Every room in the house has been carefully styled, with intricate woodwork and ornate details. One bedroom suite features a custom-painted, bat-themed mural and a fireplace, one of seven throughout the residence.

The top floor provides a special living space that doubles as a theater with a bar and kitchenette. The stage is complete with original footlights and a dramatic turret side room. The home’s systems are modern and updated, including the multi-zone HVAC system, painstakingly installed without disturbing the intricate original wood and plaster work. The estate also includes a two-bedroom, two-bath carriage house above the garage.

Located near Hancock Park, the home is close to the center of Los Angeles, convenient to the 10 and 101 freeways and a few miles from the entertainment zone of Hollywood Boulevard. Nearby options for entertainment include the Los Angeles County Museum of Art, The Wilshire Country Club, and the numerous shops and restaurants at The Grove.

At one time, Hancock Park was home to Golden Age Hollywood celebrities, including Howard Hughes, Mae West, Muhammad Ali, and Nat King Cole. Home to many historic houses, the neighborhood still attracts celebrities such as George Takei, Manny Pacquiao and Antonio Banderas.

The listing is held by Jamie Sher of The Sher Group.

Source: www.sherhomes.com

Photo Credit: The Sher Group

Cheaper By The Dozen Mansion, Los Angeles images / information received 080222

Location: Los Angeles, Southern California, United States of America

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10

With you, 10 days is never a good sign. 

The silence now deafening thunder, shaking the ground beneath me and causing my pulse to race.

The worry and fear an 8-track in my head, an infinity of anxiety and despair; is he alive, have I lost him? I wonder…

At 5 days my stomach began a slow sink; nausea and a stone in my throat. Mouth dry and hard to swallow, my mind distracted; the thoughts deep but the water too shallow.

Now my gut is an elevator, plummeting down in ceaseless decent; hurtling to a non-existent bottom.

My heart a muscle-rag woven of pain and grief, wringing a tsunami of frustration threatening to break its cage of ribs. And in someways I long for the break to just happen so the bone can begin to remodel, the muscle to stitch and scar.

The fault is mine you see. I’m in love with you and I should’ve just said so when I knew.

On those lazy afternoons, nestled in a bed of cloud, tucked away in West Hollywood with the light long and golden…

We laughed and we talked, we napped and made love. Our cares put aside and yet often discussed. I felt a magic, a bond, I was enchanted and full of lust for more time, more days, so much more of you. 

I kept quiet and believed that love had no expectations. I didn’t want to scare you with the strength of emotion I held for you so soon.

Being respectful and kind, being human and wise, I knew I had a mooring to untie.

You woke me in the dark of the day I set sail; we made love and whispered of longing. You held me in the street, kissed my forehead and lips and said “I’ll see you soon.”

Into the future I flew, 10 hours ahead of you I went to break the heart of another. 

I’d planned a life with him, I loved him and yet I knew: if him then I’d be lying and hold space for you still. 

He was angry and sad, but in the end grateful I had the courage to stand before him in honesty. 

A few days went by with correspondence between us abundant; then a lag, then one liners… and then just silence. 

I had only been absent 10 days.

A year. 

And then more. 

I moved on and made plans. Then from nowhere a digital thread: “Happy belated Valentines and many other things!” it said, and the irony of the timing was not lost on me. A few more weeks and that lifeline would have been thrown into the Pacific, where it would have become waterlogged and sunk, unanswered.

How lucky, I thought, as I pulled out the scalpel and opened my once wounded heart. 

We connected, rekindled and it was once again love for me and perfect timing. I held my expectations calling it respect for your wishes as I knew that career was your first priority and a relationship not your momentary desire. And who was I really to ask for, or seek ,more; half a world away with an ocean and beyond between us?

The day of my birth spent with you was my best. I felt special and loved and respected. 

In the pre-dawn of the next day you turned to me and finally said: 

“Happy Birthday. I didn’t say it yesterday because I was too anxious about giving you a perfect first day home and to add a birthday celebration was too much for me. So I hope it was good; I wanted it to be amazing.”

I melted and kissed you, and you made love to me again, begging me to hold you tighter. We stayed like that, tangled up in each other as we drifted in and out of sleep. In a moment of lazy caresses from your nose to my neck, I whispered my secret words at last. I cheated, I know, because you were only half-conscious, and really it was the coward’s way out. But in that moment I gave form to the emotion I had, and hoped it would not go unnoticed.

Away and back again I flew and this time your greeting warmer, and that was… unexpected. There’s a shyness I have when it comes to me and you, and it’s because I don’t allow my love for you to have expectations. But I thought here we go, perhaps when my homecoming is solid and I won’t be leaving again… Then maybe, maybe then it’ll be the right moment.

We parted for Christmas with well wishes and kisses, and promises to see each other again before I left the country. Correspondence became spare, and then…well then… non-existent.

10 days I waited, then begged and waited a few more, you answered finally and I went to the floor. Shocked and dizzy, sick to my stomach, and then literally ill, crawling to the closest garbage can.

And then silence again.

Silence. 

I stitched up my heart, talked you out of my mind, churned the advice given by friends and professionals. 3 months this time and then again a digital line: “Dear Peri, thinking of you Dame. Miss you.” 

Expressions of remorse and care, a statement that you “missed me too much and knew immediately you had done the wrong thing" had me snipping at surgeons knots again and pulling at string. I tried to make it clear that now I realise love comes with some healthy expectations. 

Respect, honesty, kindness the most important and valuable to me. With those three I can forgive everything and love fully. Encompassing each ugly part and the darkness they bear is the true sign of loving completely. 

And I do.

8 blissful weeks.

But now 10 days. 

10 days of wonder and worry. 

I have become your marionette strung with the suture thread from my again torn open and bleeding heart, and your silence is the hand that plays me.

I can be your puppet no more, your option when you are my priority. I can’t play your game and lose every time; your rules don’t include my expectations-

I asked for kindness, respect, and honesty; you’ve had plenty of time to incorporate, but now I see that those things never will be a part of what you can offer me. 

So I’ll use my last bit of thread and hope that there’s tissue enough left to stitch together. 

You’ve stung me your last and the paralysis has worn off. Now I move forward, bury my love, and truly grieve.

10 days, now I know, I finally have learned; 10 days is never a good sign.

With you, 10 days is never a good sign.

-For Eric, 30 May, 2015. PCNB.

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[sliceannarbor]

Joseph Becker

Associate Curator of Architecture and Design San Francisco Museum of Modern Art San Francisco, California sfmoma.org

Photo by Matthew Millman

SPECIAL GUEST SERIES

Joseph Becker is associate curator of architecture and design at the San Francisco Museum of Modern Art. He has contributed to over twenty exhibitions at the Museum, including the curation of Tomás Saraceno: Stillness in Motion – Cloud Cities (2016-17), and Field Conditions (2012), as well as the co-curation of Nothing Stable Under Heaven (2018), Typeface to Interface: Graphic Design from the Collection (2016), and Lebbeus Woods, Architect (2013-14). During his 11-year tenure, Joseph has also been responsible for numerous major acquisitions for the Museum’s collection, as well as exhibition design and visual direction of many of its architecture and design exhibitions. He has served on architecture, design, and public art panels; been an invited juror at national architecture programs; led workshops on exhibition and experiential design; moderated public dialogue; and lectured internationally. Joseph earned both a bachelor of architecture and a masters of advanced architectural design (in design theory and critical practice) from the California College of the Arts, where he is currently a visiting professor. When Joseph is not working, you can find him sailing his 1979 Columbia 9.6 on the San Francisco Bay, or working on a slow remodel of his 1948 house in Bernal Heights.

FAVORITES

Book: I really avoid playing favorites, and I love books, so I’ll just say that Reyner Banham’s Los Angeles: The Architecture of Four Ecologies is always on my list of required reading, both because of my interest in architecture and as a native Angeleno. I don’t have much time to read for fun, so I’m currently picking at short stories by George Saunders. Just the right amount of weird.

Destination: Marfa. Worth the journey. I’ve been lucky to visit a handful of times over the past few years, doing research on Donald Judd’s furniture practice. The wide open sky of West Texas has a very special quality.

Motto: I once had a keychain that said “Screw it, Let’s do It.”

Prized possession: Right now I’m really excited about my 1953 O’Keefe and Merritt stove, which I just put into my kitchen. I have many small collections of really wonderful and quirky objects, but I love the four-inch pine needle basket that my mom wove for me at our family forestry-service cabin in the Sierras, where I am right now.

THE QUERY 

Where were you born?

At home in Los Angeles.

What were some of the passions and pastimes of your earlier years?

Certainly when I was a child I was a big Lego fan. But I also took art classes at Dorothy Cannon’s renown studio in North Hollywood, which exposed me to paint and clay and charcoal. She was an amazingly encouraging teacher.

What is your first memory of architecture as an experience?

When I was four, my parents bought their 1930s ranch house across the street from my mom’s sister, and worked with an architect to build an addition. I have early memories of exploring the house under construction, and especially sitting at the bottom of the empty swimming pool and marveling at the scale and curves and very different quality of space inside the concrete shell.

How did you begin to realize your intrigue with architecture and design?

I think I was always interested in building and making things, even as a child. My dad and I used to make model rockets, and we built my bedroom furniture to my designs when I was around 13. I also remember traveling with my parents in the UK when I was 14, and chose to take them to the Design Museum in London because of an ad I saw in the underground. It was a Verner Panton exhibition, and from then on I was hooked on the idea of total environment. The psychedelic aspect was pretty good, too.

Why does this form of artistic expression suit you?

I think I’m interested in the logic of design and architecture – the creative response to problem solving. But I really get excited when the boundaries break down, and the architecture or design response is an artistic critique of societal conditions, and perhaps a vision for an alternative future.

What led to your coming on board with the San Francisco Museum of Art?

I knew I wanted to study architecture, but not necessarily practice it. My interest in art led me to explore curatorial practice as a way to combine the two.

What is your greatest challenge in this role?

Each exhibition or program has unique challenges. Working with living artists is a really exciting challenge – pushing and pulling in a dialogue while keeping their vision pure. I think the greatest challenge is that I never feel like I have enough time for robust scholarship on any exhibition, no matter how far in advance I begin planning.

Is there a project along the way that has presented an important learning curve?

Each project is an opportunity for growth in a different arena. I think my very first project at SFMOMA, which was designing the giant walk-in freezer that housed the Olafur Eliasson ice-covered hydrogen powered race car chassis called Your mobile expectations, set a high bar. The car fit in the freight elevator by two inches and we had a pretty hard time calculating what it would weigh once laden with its frozen shell.

What exhibition remains most memorable, even today?

There are two exhibitions I have curated that I actually see as a continuation of a single idea. Field Conditions (2012) and Tomás Saraceno: Stillness in Motion – Cloud Cities (2017) each deal with pushing the boundaries of architecture as conceptual spatial practice, with foray into the hypothetical and visionary. I worked with some amazing artists in Field Conditions, and was very excited to put drawings by Lebbeus Woods on view that I had studied in undergraduate school. I acquired those drawings for the Museum collection, and then co-curated the first comprehensive survey of Woods’ work after his passing.

How would you describe your creative process?

As a curator, you’re always looking around for new artists and projects, and connecting them to explorations in the past. I think my process is really just about trying to see as much as possible and trusting my instinct when it comes to what I think is interesting, and want to share with the Museum’s audience.

What three tools of the trade can’t you live without?

I’m completely indebted to our museum library, and the ability to access hundreds of amazing publications. Obviously the internet is an indispensable research tool, but I try to not get mesmerized by it – you can get tangential quickly. And without my glasses I’d have a hard time doing anything, so I have to credit LA Eyeworks for keeping me bespectacled with their amazing frames.

How has your aesthetic evolved over the years?

I lean toward simple and beautiful things, often with history, or some sense of timelessness.

Is there an architect/designer living today that you admire most?

For many reasons, I tremendously admire Olafur Eliasson. His multivalent practice spans many of my interests, from complex geometry to color and light. Beyond sculpture, he works in architecture and design, as well as humanitarian and socially driven design work. And his studio culture is really quite incredible, revolving around food and collaboration.

What has been a pivotal period or moment in your life?

I lost the 1907 loft that I had lived in for a decade to a house fire in 2014. It was a 2,000 square foot unfolding architecture project that I had spent ten years building and rebuilding, and was the center of my world. A fire at the other side of the building ended up red-tagging the entire structure, and all the tenants were subsequently evicted. I spent the next few months in formative self reflection, and can attest to the power of pushing through.

Do you have a favorite artistic resource that you turn to?

I spin through a handful of different art, design, and architecture websites. I think biennials and triennials are amazing opportunities to see so many contemporary projects at once.

From where do you draw inspiration?

Inspiration is everywhere, if your eyes are really open.

What’s the best advice you’ve ever received?

Certainly to remain open to new ideas and experiences. Say ‘yes’ until you have to say ‘no.’ This can be problematic when you say ‘yes’ to too many exciting projects. Really, the best advice is to just show up, and see where it goes.

Is there a book or film that has changed you?

I have always been fascinated by Film Noir for its portrayal of architecture, and the city as a character that is laden with nefarious potential. I love the art of storytelling, whether in cinema, poetry, or history.

Who in your life would you like to thank, and for what?

I am in general incredibly grateful for so many people who have had a positive impact on my life, from family to friends and colleagues. Two people I would love to thank, but can’t, would be both of my grandmothers, who were each incredible artists in their own right and taught me how to look, and see, the creative potential inside me and in the world beyond.

What are you working on right now?

I just delivered a commencement address for the graduate programs at the California College of the Arts, so that was something that I had been focusing on until last week. I’m currently wrapping up the details on an exhibition catalogue that I am the co-author of, with my colleague Jennifer Dunlop Fletcher, on The Sea Ranch, which will launch when the show opens at the Museum in December. Next month I’ll open a small show of Steve Frykholm’s playful Summer Picnic Posters for Herman Miller, which he created from 1970 to 1989. And, in two months, I will be opening an exhibition that I am curating on the furniture practice of Donald Judd, which I am very excited about. We will have Judd-designed chairs outside the gallery that our visitors can sit in!

What drives you these days?

I’m coming out of an incredibly busy six months, with opening four exhibitions, teaching, and writing for various projects, so I’m just counting down days until I can take some time off in August.