#west avenue immigration

[westavenuetourismreviews123]

West Avenue Immigration: Your Trusted Global Immigration Consultant in the UAE

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[westsvenueglobal1234]

Empowering Dreams: Your Trusted Partners in Immigration and Education

Discover your pathway to a brighter future with West Avenue Immigration & Visa Services. Trusted experts in immigration, education, and career development.

Click here for more info: https://westavenueglobal.com/

[theunderestimator-2]

Steel Pulse photographed for their 1978 single "Ku Klux Klan" by Dennis Morris: "I have taken many controversial images; this is one of them. The record company thought it was too controversial and it was never used.. It is now in the Victoria & Albert Museum in London!"

blackhistorymonth.org.uk: "Steel Pulse was formed in 1975 in Birmingham, England, specifically the inner city area of Handsworth. The founding members were schoolmates (…) from working class West Indian immigrant families, and none had much musical experience… They initially had difficulty finding live gigs, as club owners were reluctant to give them a platform for their “subversive” Rastafarian politics. Luckily, the punk movement was opening up new avenues for music all over Britain, and also finding a spiritual kinship with protest reggae. Thus, the group wound up as an opening act for punk and new wave bands like the Clash, the Stranglers, Generation X, the Police, and XTC, and built a broad-based audience in the process. In keeping with the spirit of the times, Steel Pulse developed a theatrical stage show that leavened their social commentary with satirical humor; many of the members dressed in costumes that mocked traditional British archetypes (Riley was a vicar, McQueen a bowler-wearing aristocrat, Martin a coach footman, etc.). Steel Pulse’s first single for Island was the classic “Ku Klux Klan,” which happened to lend itself well to the band’s highly visual, costume-heavy concerts. It appeared on their 1978 debut album, Handsworth Revolution, which was soon hailed as a classic of British reggae by many fans and critics.."

allmusic.com/ : "The number is tightly wound around a dangerously thumping bass line and David Hind's searing delivery. The extended version is even more musically militant, the instruments now weapons in the engineer's hands, the rhythm even more threatening. This remains Pulse's most enduring classic."

(via)

[beardedmrbean]

DENVER — In what could be a national trend, racist, anti-Kamala Harris signs popped up Thursday near multiple bus stops along Colfax Avenue in Denver and in at least one other state.

“I wish I could say I were surprised, but in a year when a Black woman could become POTUS those with hate in their heart are going to coordinate these kinds of atrocious, expensive campaigns to stir division,” Denver City Councilwoman Shontel Lewis said in a statement on X.

The first Denver sign was reported around 5 a.m. by a bus driver at a stop near the intersection of Colfax Avenue and Oneida Street, according to a news release from Denver’s Regional Transportation District.

RTD officials said the metal sign was attached to the bus stop’s pole with rivets and appears to have been installed shortly before it was reported.

Around 8:20 a.m. Thursday, one man in Denver’s Congress Park neighborhood spotted two white women putting up another sign at an RTD bus stop near the intersection of Colfax Avenue and Garfield Street.

“It was one of those things where you know something is out of place, but you don’t know what’s going on,” Congress Park resident Greg Bell said.

Bell said he passed the two women — who were carrying a white stepladder and trash bags he believes were holding the signs — as he made his way into a Sprouts on the corner of the intersection to run a quick errand. His receipt was time-stamped for 8:23 a.m.

As he left the store, Bell said he saw the pair setting up the stepladder in front of the bus stop and one woman climbing onto it while holding a white, metal sign.

When Bell saw photos posted on social media later Thursday morning, he said he immediately recognized the building behind the bus stop sign and realized what the women had been doing.

“This is appalling, illegal and hateful,” Colorado Attorney General Phil Weiser wrote in a statement on social media Thursday. “Hate against any of us must be treated as hate against all of us.”

Photos posted by Lewis, the councilwoman, show the signs screwed into the RTD bus stop pole at Colfax Avenue and Garfield Street, outside of National Jewish Health and just west of Colorado Boulevard.

One white sign reads “Blacks must sit at the back of the bus. Kamala’s migrants sit in the front.” Another yellow caution sign on the same pole warns riders of “Kamala’s illegals,” with imagery of people running that is supposed to mimic immigrants crossing the border.

The caution sign is designed after real road signage that used to be posted in California, warning drivers near the San Diego border to watch for migrants running across the freeway. The last of the signs was removed in 2018.

“As a community, we must stand united against hate in all its forms. The recent appearance of racist signs in Denver is deeply troubling and does not reflect the values of our city,” the Denver City Council said in an emailed statement Thursday. “Denver is a place of inclusivity, diversity, and respect, and we will not tolerate messages of division or hate. We stand with all residents in condemning these acts and reaffirm our commitment to building a community where everyone feels safe, valued, and heard.”

As of 10:45 a.m., signs had been found at three RTD bus stops near the intersections of Colfax Avenue and Oneida Street, Colfax Avenue and Yosemite Street and Colfax Avenue and Garfield Street, according to RTD officials.

RTD officials said similar signs had appeared Thursday at Chicago Transit Authority bus stops and that Colorado officials are connecting with other agencies across the county to “assess the magnitude of the coordinated racist activity.”

Shortly before the Legislature ended its property tax-focused special session Thursday, two Denver lawmakers decried the signs from the state House floor, several blocks away from where one of the signs was posted. Several other Democratic lawmakers stood around them, and other legislators stood at their desks, a sign of solidarity in the chamber.

“What I think is important is that we confront our history, and note that if any of us care to say that we have moved forward, that all of us demonstrate that in standing here, undivided, on the declaration that this is hate, and that it’s unacceptable,” said Rep. Jennifer Bacon, a Denver Democrat and the House’s assistant majority leader. “I also want to say that we don’t know who put these up. And so we don’t know who’s part of the problem. We know that we cannot continue to allow people to believe that this is acceptable or allow people to believe that they can grow power from posting signs like this.”

RTD officials are working with the Denver Department of Transportation and the Denver Police Department to remove all the reported signs and investigate each of the incidents, according to a Thursday news release.

“RTD strongly condemns the hateful, discriminatory message portrayed by the signs,” transportation officials wrote in the release. “There is no place for racism or discrimination at RTD or within the communities we serve. The signs do not reflect the organization’s adopted values or promote a welcoming transit environment for all, nor should such vile messaging be tolerated or supported by anyone.”

[hangelbel]

Exploring Manhattan: The Heart of New York City

Manhattan, the vibrant heart of New York City, is a place where history, art, culture, and commerce converge. With its iconic skyline, diverse neighborhoods, and endless entertainment options, Manhattan offers an experience like no other. Whether you’re visiting for the first time or rediscovering the city as a local, here’s everything you need to know about exploring Manhattan.

1. Iconic Landmarks

No visit to Manhattan is complete without exploring its famous landmarks. The Statue of Liberty stands proudly in New York Harbor, symbolizing freedom and hope. Nearby, Ellis Island shares the stories of millions of immigrants who helped shape the city’s history. Another must-see is the Empire State Building, offering breathtaking panoramic views of the skyline from its observation deck.

Other landmarks include Times Square, known as "The Crossroads of the World," where bright lights and billboards dazzle visitors day and night. Central Park, an oasis in the city's midst, provides a natural escape with walking trails, ponds, and beautiful scenery. For art lovers, the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art are must-visit destinations.

2. Diverse Neighborhoods

Each neighborhood in Manhattan has a unique personality, offering something for everyone. SoHo, known for its cobblestone streets and trendy boutiques, is a haven for art enthusiasts and fashionistas. The Lower East Side showcases the city’s immigrant history with vibrant eateries and cultural sites. For a taste of luxury, visit the Upper East Side, home to upscale shops, fine dining, and classic brownstones.

Head to Greenwich Village for a bohemian vibe with live music venues, quirky coffee shops, and the birthplace of the Beat movement. Meanwhile, Harlem offers rich African American culture, from soul food to jazz clubs and historic churches. Chinatown and Little Italy are other highlights, each offering unique flavors, cultural landmarks, and annual festivals.

3. Entertainment and Nightlife

Manhattan is famous for its Broadway district, where world-class musicals and plays entertain millions. Be sure to catch a show in one of the historic theaters, or, for a unique experience, see an off-Broadway production. The nightlife scene is also thriving, with rooftop bars offering stunning skyline views, jazz clubs in the West Village, and dance clubs in Chelsea.

If you prefer a more relaxed evening, consider a dinner cruise along the Hudson River. You’ll enjoy beautiful views of Manhattan’s illuminated skyline, including landmarks like the One World Trade Center, Chrysler Building, and Brooklyn Bridge.

4. Foodie’s Paradise

Manhattan is a culinary haven, offering everything from food trucks to Michelin-starred restaurants. For street food, try a New York-style hot dog, a classic slice of pizza, or a bagel with lox and cream cheese. Food halls like Chelsea Market and the Essex Market offer international cuisine, artisanal groceries, and unique dining experiences.

If you’re in the mood for fine dining, Manhattan boasts some of the world’s best restaurants. Jean-Georges, Eleven Madison Park, and Nobu offer exceptional experiences for food lovers. And don’t forget the borough's dessert scene: Magnolia Bakery’s cupcakes and Levain Bakery’s cookies are must-tries.

5. Shopping Extravaganza

For shopping, Fifth Avenue is a dream destination, offering high-end brands like Gucci, Prada, and Louis Vuitton. For unique finds, head to the markets in Hell’s Kitchen or the boutiques in NoLIta. And if you’re looking for budget-friendly options, the Garment District has plenty of sample sales and outlet stores.

Manhattan truly has it all—from world-renowned landmarks and diverse neighborhoods to mouth-watering cuisine and unparalleled entertainment. Whether you’re strolling through Central Park, dining in Little Italy, or exploring the art galleries in Chelsea, Manhattan will capture your heart and inspire memories that last a lifetime.

[xtruss]

Mapping Gilded Age New York

The Gilded Age was a study in contrasts. Immigrants arrived in New York City with little to nothing in their pockets, while just uptown some of the richest men and women in America built mansions that resembled European palaces. As more and more people carved out their homes on the island at the end of the 19th century, different ideas about what New York was and who belonged there emerged. American Experience spoke to Jack Tchen, Associate Professor at NYU’s Gallatin School of Individualized Study, about the way race and class tensions played out against the vibrant, dynamic landscape of New York City in the Gilded Age

— By Jack Tchen | American Experience | Published: February 2018 | November 04, 2023

J. W. Williams, Root & Tinker/Library of Congress

1. The Spine

Leading up to and during the Gilded Age, New York City begins to define itself along its spine, the middle of the city, rather than by its shoreline. The wealthy are gravitating away from the shoreline, which is seen as rougher and more dangerous. If you have money, you’re afraid that the workers in your counting house or your factory are going be jealous. You want to find other people who have money. And Fifth Avenue becomes the place where you find them. From Bowling Green to Washington Square Park, from Washington Square Park to Madison Park, and from Madison Park up to Central Park and 57th Street — this becomes what wealthy white Anglo-American Protestants feel is their New York. They feel that the greatest wealth of the city and of the nation is being generated and being expressed along this spine. The global branding of Fifth Avenue really emerges at a moment in which the Fifth Avenue merchants come together and say, “We have to protect Fifth Avenue. Fifth Avenue is ours and to maintain our identity, we have to keep out all the new immigrants who are trying to make money, who are setting up garment factories.” They begin to re-territorialize what had been a neighborhood of small producers, and to claim a kind of ascendancy and superiority.

Charles Pollock/Library of Congress

2. Metropolitan Opera House - Broadway and 39th Street

The building of the Metropolitan Opera House in 1883 is a great example of how cultural capital actually works. Did the people who went to the Met love opera? Probably not. In some ways, this was an emulation of European culture, especially Italian culture — but in Italy, opera was actually a mass activity that people from all stations of life loved. In the new world, it was transformed into this rarified art that supposedly only elites could understand. It was stilted in terms of performance, especially in comparison to the more popular forms of theater. And it was in a foreign language.

But the building was important. The box seats were important. Who was sponsoring the performances was important. So in a sense, supporting the opera became the perfect vehicle for elites to outdo each other.

Ernest Marx/Library of Congress

3. Vanderbilt House — 1 West 57th Street in New York City

Alva Vanderbilt was the driving force behind the “Petite Chateau” Vanderbilt mansion, which was completed in 1883. It was built of limestone, in contrast to neighboring brownstones, in the style of a French Renaissance palace. Her housewarming party was one for the ages. Twelve-hundred guests attended. Their costumes were sheer excess and outré; one woman, Miss Kate Strong (nicknamed “Puss”), wore a taxidermied cat head and seven cat’s tails decorating her skirt. By today’s dollars, the party was said to cost $6 million—one quarter of which went to the finest champagne.

What’s really important here is to acknowledge the role of women in the wealth-building process itself. Because it’s not just wealth building in terms of actual dollars — it’s also wealth building in terms of status. And women are the ones who know how to build that kind of social and cultural capital that gives their families the standing and prestige that other families of wealth will begin to recognize and accept.

In some ways, the women who are leading these families and creating these parties are like the ad men on Madison Avenue. They’re branding the family. They’re making the public — other elites especially — appreciative of why they belong and why they should be recognized widely. So when Alva Vanderbilt builds her mansion, she’s being very creative, very thoughtful, and very tenacious in trying to establish that profile of the Vanderbilt family.

Petite Chateau, Library of Congress

4. Seventh Regiment Armory - 640 Park Ave., Bet. East 66th & East 67th

The street grid of New York City means that people of great wealth are cheek-to-jowl next to people living in extreme poverty. That sense of injustice and the divide between the wealthy and the poor is palpable.

The Gilded Age was a fractious time, and amidst growing wealth and opulence, a sense of desperation and resentment emerged. I think the wealthy felt some anxiety at the thought that at some point that tension would erupt.

So they built armories to defend against riots and protests. The armories housed volunteer regiments — the precursor of the National Guard. The Seventh Regiment, also known as the “Silk Stocking” or “Blue-Bloods” regiment, was a who’s who of the Gilded Age elite. It was first headquartered on the Lower East Side — but it moved uptown as the wealth of the city did. The armory now on Park Avenue opened its doors in 1880.

The New York Public Library

5. Harbor

New York Harbor was deep enough that it didn’t freeze over, so it could actually operate year-round. Lots of raw products — grains, sugars from the Caribbean — can all be exchanged in this deep-water port and then processed and sent by way of the Erie Canal into the heartland, and also traded across the Atlantic. So New York becomes kind of a central economic exchange hub, feeding and processing so much of what is being consumed by the growing middle classes of North America, and Europe.

Currier & Ives/Library of Congress

6. Orchard Street

As the wealthy Protestant elite move uptown, away from the waterfront, the lower east side becomes a neighborhood of immigrants. Jewish and Italian immigration really starts in great numbers in the latter part of the 19th century. Millions of people are coming to New York. They’re dazzled by visions of streets of gold.

The older tenements on the lower east side become jam-packed. The whole notion of a middle class apartment with one person in a room — that didn’t exist. A single apartment could house multiple extended family members; a family might even rent out a room to make ends meet. The idea of how you used space was different. The streets were really an extension of where you lived.

Take the market on Orchard Street. It was really an American reproduction of the small market towns that many Jews had left in eastern Europe. If you look at old photos, you can just imagine the sounds and smells. Jews, Italians, and Chinese are living side by side. And out of that, a port culture begins to emerge. People are bringing the cultures that they left. Lots of languages are being spoken, and lots of new dishes and new fashions are being created. It’s all part of this new, intermingled culture. And that intermingling, I think, is what’s distinctive to New York City — as opposed to the culture of the uptown elites, who are really emulating their fantasy of the european aristocracy.

The uptown elites, by the way, are really scared of this new, intermingled port culture. They have a certain notion of Protestant destiny in terms of who this country properly belongs to. They’re concerned with who’s creating value — monetary, but also the cultural value of the nation. Meanwhile, these non-Protestants of suspect racial origin keep coming into the city. So there’s a growing guardedness of who should count, who belongs there.

Bain News Service/Library of Congress

7. Bowery

While the elites are walking up and down Broadway, checking each other out in a way that prefigures the shopping mall or the arcade, immigrants and members of the white working class hang out on the Bowery. It’s where people go for dime museums, tattoo parlors, bars; all that kind of popular culture that we tend to think of now as connected to Coney Island originates on the Bowery.

These new immigrant and working class audiences are constantly looking for new and exciting forms of expression. They’re willing to pay maybe five cents to see what’s happening on the stage, what’s happening in music, and in bars. Essentially, what happens is street culture gets brought into the commercial culture, the indoor culture in which people are willing to pay for entertainment.

Library of Congress

[noyatv]

𝐬𝐭𝐚𝐫𝐭 𝐨𝐟 𝐚𝐧 𝐞𝐫𝐚

warning: this starts all the way back in 2012, when y/n was 14 and conor was 18, 3.5 year age gap, y/n is said to be born in winter-spring, y/n's sister's name is victoria, victoria is like 7 years older than y/n, y/n is southern italian-american, y/n's family is considered 'old money', victoria is a songwriter, probably really badly translated italian (i haven't done my duolingo lessons), also your implied to be a nepo baby, 2016 drama, taylor swift is over party makes an appearance, these aren't my beliefs, ima diehard swiftie, conor is a simp, k***e west and psycho fans, yn and conor break up briefly, yn is linked with a lot of people, you have an older brother who is like 4 years older, his name is lorenzo, he isn't that important rn

the timeline of conor and y/n's relationship

2012 Hyannis Port, Massachusetts ᵗʰᵉ ᵐᵉᵉᵗⁱⁿᶢ

Victoria had recently returned from Brandeis for summer break, at least, that's what my mom said.

The beach was nearly deserted, aside from blond and brunette leaning on a rock halfway across the beach.

Without another thought, I pushed myself to my feet, slipping my hand in the back pocket of my shorts, placing my phone in the pocket. The strides I took to my house ended up taking me a different way; to the Kennedy Compound. Ethel, who was on the porch, had babysat us when Victoria and I were younger, supporting us on our misadventures around the beach.

"Hi, Ethel!" She seemed to escape from her trance, eyes lighting up when she realized it was me.

"What're you doing here? I haven't seen you or your sister in so long, how are you?"

"Just walking back from the beach, Victoria's back from college."

"Tell her I said hi, will you? Stay out of trouble!"

"I will!"

I shuffled over the sidewalk, until I reached the house on Scudder Avenue, Victoria's dented Toyota was parked in front of the house. From the window at the top of the door, I could see Victoria sitting at the kitchen island.

The door creaked as it opened, Victoria's head snapping to the left.

She had cut her hair shorter. Her once shoulder-length brown hair had now been chopped down to her ear.

"Taylor's coming over for songwriting. Just thought you might like to know that," she yelled towards the stairs once she heard the creak and thumping of the old wood stairs.

Not even ten minuets later, a knock reverberated from downstairs.

"Victoria!" I yelled, hoping to have my voice reach her ears, but it fell on deaf ears. "Victoria! Porta qui il tuo culo!" Again, no response.

Another knock made an appearance.

"I'll be there in a second!"

The leg of the table behind the couch seemed to have extended a few inches out, forcing a shriek out of me as I stubbed my toe. I made my way to the door and opened it.

"Hey, come in." I stepped aside to let Taylor in, and to my surprise, another person.

"Thanks, this is Conor." She gestured to the male beside her. "Where is Victoria?"

"'Dunno," I shrugged my shoulders. "I'll look for her, make yourself comfortable."

I walked through the kitchen to get to the backyard door. She was sitting on the steps of the porch, presumably watching Lolita, her Chihuahua, run around the yard.

"Taylor's here, she's waiting for you."

2016 ᵗʰᵉ ˢᵖᵒᵗᵗⁱⁿᶢ

Italian-American singer-songwriter Y/N Buscemi recently dropped her debut album, and was recently caught making out with 22 year old Conor Kennedy, her friend's ex-boyfriend, Taylor Swift.

Y/N Buscemi is an 18 year old singer-songwriter who has been making waves in the music industry since her debut album dropped. She is the daughter of Italian immigrants and comes from a long line of wealth and privilege.

Buscemi is a multifaceted artist who writes her own songs, and her sister Victoria is a songwriter who has written for both Y/N and Taylor Swift. Y/N's music has been described as an eclectic mix of genres, ranging from pop, hip-hop, to rock.

The recent news of her and Conor Kennedy, Taylor Swift's ex, being caught making out has only added to the mystery surrounding her as an artist. While it is unclear why the two were together, it has been speculated that they were discussing music, as Kennedy is also an aspiring musician.

Neither parties have commented on the situation, leaving us to question what the nature of both relationships.

Y/N Buscemi is an exciting new artist to watch, as she continues to make her mark in the music industry with her debut album. With her unique sound and style, she is sure to make a lasting impression.

What do you think? Leave a comment.

𝗖𝗼𝗻𝘃𝗲𝗿𝘀𝗮𝘁𝗶𝗼𝗻 ²⁴⁹⁸ ᶜᵒᵐᵐᵉᶰᵗˢ

sachasen 1hr ago Not surpised that he went for his ex's friend

taylorSNAKE 30 min ago glad her friends are now seeing how much of a snake she is!

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ynbuscemi Grazie, Austin! You have lived up to your reputation!🫶 photo credit to jconorkennedy (ti amo)

redbullracing You should come support us ↳ynbuscemi No thanks, I'm more of a Mercedes girl

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Y/N Buscemi, the 18-year-old Italian-American singer-songwriter, has been seen with 23-year-old Jack Schlossberg, who is the cousin of her 22-year-old boyfriend Conor Kennedy. This sighting has sparked rumors that Buscemi and Kennedy have broken up, and that Schlossberg may have played a crucial role in the split.

Buscemi, who is originally from Plymouth, Massachusetts, has been gaining recognition in the music industry since she released her debut EP in 2015. Since then, she has been performing at venues across the country and collaborating with other artists. Her music is described as a combination of indie-pop and alternative rock, and has been compared to the likes of Halsey and Lorde.

Kennedy, who is the son of Robert F. Kennedy Jr., first began dating Buscemi in June of this year. Since then, the couple has been spotted together at various events, such as this year's MTV awards. However, recent reports have suggested that the couple has called it quits, and that Schlossberg may have played a part in the break-up.

Schlossberg, who is the son of former U.S. Ambassador to Japan Caroline Kennedy, is an actor and writer. He has appeared in several films and television series, including the Netflix series “Grace and Frankie”. He is also the founder of the social media platform “My Friend Jack”, which is focused on helping people find their support systems and connect with others.

Given the age difference between Buscemi and Schlossberg, as well as the fact that he is related to Kennedy, it is understandable why people are speculating about the nature of their relationship. However, neither Buscemi nor Schlossberg have publicly commented on the rumors.

In the meantime, fans of Buscemi can look forward to the release of her new single, which is due out later this month. With her music career continuing to take off, it will be interesting to see what the future holds for this talented young artist.

[cymlea]

Bridging Horizons: A Transcendent Finale

As your exploration of Florida and New York reaches its zenith, consider the grandeur of the journey you've undertaken—the interplay of sunlit beaches, towering skyscrapers, and the myriad hues of cultural diversity. Your odyssey is more than a mere traversal between states; it's a testament to the interconnectedness of experiences, a tapestry woven with the threads of discovery.

Sunrise on the East Coast, Sunset on the West:

Embrace the symbolic transition from sunrise to sunset, a metaphor for your expedition from the east coast of Florida to the western landscapes of New York. Witness the celestial journey, a celestial ballet that mirrors your earthly adventure.

Capturing the Essence:

Capture the essence of each destination not just through photographs but through the sensations imprinted on your soul. The warm embrace of Florida's sun, the rhythmic lull of waves, the cosmopolitan heartbeat of New York—all are etchings in the gallery of your memories.

Reflecting by the Water's Edge:

Find reflective moments by the water's edge, whether it be the Atlantic's gentle caress along Florida's shores or the contemplative embrace of the Hudson River. Let the waters mirror the revelations and insights garnered throughout your sojourn.

A Melody of Urbanity and Nature:

Listen to the harmonious melody that emerges when the urban rhythms of Miami blend with the natural symphony of upstate New York. Recognize that even in the contrasts, there is a sublime melody of coexistence.

The Lure of Uncharted Avenues:

Feel the allure of uncharted avenues, beckoning you to explore beyond familiar horizons. In Florida's untamed wilderness and New York's urban alleys, discover the thrill of stepping into the unknown and the joy of unscripted moments.

Cultural Weavings:

Marvel at the intricate weavings of culture, history, and tradition. In Florida's storied past and New York's tapestry of immigrant narratives, find the common threads that unite diverse communities and enrich the narrative of the American experience.

A Journey Beyond Borders:

Acknowledge that your journey extends beyond geographical borders. It's a journey of self-discovery, cultural immersion, and the realization that every destination, no matter how distinct, contributes to a universal story of human exploration.

Crafting the Epilogue:

As your dual-state odyssey draws to a close, consider crafting the epilogue—a reflection on the transformative power of travel. Share your narrative, weaving together the landscapes, faces, and moments that have shaped your understanding of these two remarkable states.

A Heartfelt Adieu:

Bid a heartfelt adieu to the states that have opened their arms to your wanderlust. Whether it's the sun-drenched beaches of Miami or the city lights of Manhattan, express gratitude for the hospitality and beauty that have enriched your journey.

Carrying the Essence Forward:

Carry the essence of Florida and New York forward. Let the lessons learned and the memories made become guiding lights for future travels. Your dual-state odyssey isn't just a chapter; it's a compass pointing towards the next horizons waiting to be explored.

Final Words: A Journey Unbound

As you conclude this exceptional journey through the landscapes of Florida and New York, remember that the true beauty lies not just in the destinations but in the profound connections forged along the way. Your footsteps have left an indelible mark on the shores, streets, and hearts encountered.

May your future adventures be as boundless as the horizons you've glimpsed, and may the memories of Florida and New York continue to echo in your heart. As you step into the world beyond, know that the spirit of exploration is a perpetual flame, lighting the way for journeys yet to unfold.

Safe travels, intrepid explorer, as you continue to embrace the beauty of uncharted paths and the wonders that await beyond every bend in the road. The odyssey is yours, unbound and limitless.

[b-sai-des]

A New Frontier: South Asian Fusion

In terms of any actual formal music knowledge, I come from the side of Carnatic music, the Indian classical music style, having been learning the mridangam for around ten years under my guru, Sri T.S Nandakumar. I am always eternally grateful for all that he has done for all of us students, and one of the many things I admire about sir is his willingness to explore unconventional avenues with the mridangam. The mridangam is a two-sided barrel drum usually played as an accompanying instrument in a Carnatic piece that may feature vocals or violin, and veena as well. Nandakumar sir is a renowned accompanying artist, but he’s also given his students many opportunities to perform like chamber concerts and arangetrams. One really unique thing he’s done is a large orchestra of mridangams and other Carnatic percussion instruments at the Cleveland Thyagaraja Festival, which he’s done for multiple years and encouraged even younger students to practice and perform there. It’s unusual for the mridangam to take such a center stage like that, where you have around 100 players playing together in an epic display alongside veena and violin. It was also cool to see Nandakumar sir bringing in western drums into those performances as well, along with drum pads there and in other performances. Having that exposure from a young age really opened my eyes to the potential of Carnatic music elements in contexts that you don’t normally see, and I got curious about what else is capable. Carnatic music for example utilizes many, many different talams (time signatures) apart from just 4:4 (Adi in Carnatic music), and it would be really interesting to see how that could be utilized more generally.

South Asian fusion is a huge, diverse space that’s hard to really pigeon-hole because of how many types of South Asian music there are (Carnatic is just one, there’s also Hindustani, Sufi music, folk music, Bhangra, etc.), along with different genres that they are mixed with like jazz, rock, pop, etc. You had mingling in the past, like Ravi Shankar and The Beatles. Later on it grew, definitely a more recent phenomenon and likely accelerated due to immigration and assimilation in the west. Younger generations are really at the forefront on it  – you see a ton of high school and college clubs doing Indian music or dance fusion. Rutgers has many, including RU Dhol for example. Some of these student clubs lean more on the side of Bollywood-oriented stuff, and there are times that can overshadow other ways to explore the genres – my sister sometimes talks about how the South Asian fusion club she’s part of really neglects classical dance forms like Bharatanatyam or Kathak. In that club it’s seen as the less hip thing, and people will say “it’s cool that you’re so confident to perform that” rather than actually having an interest in it and the people who want to share it. Then again, I'm talking about high-school pettiness here – it's not like this everywhere. RU Dhol combines South Asian instruments and styles of playing with western equivalents. This performance places electric guitars next to the Indian classical violin style in a really fun way.

One of my biggest experiences with South Asian fusion is with Brooklyn Raga Massive. My aunt is a Bharatanatyam teacher, and in 2018 or so she had collaborated with a theater director for a production of Jungle Book, where her students performed Bharatanatyam in a song. After the show, we had met some of the other musicians involved in the show, since my cousin learns Carnatic singing, my sister Bharatanatyam, and I mridangam, and we talked to a percussionist who was part of Brooklyn Raga Massive. He had told us about them – they do daily events at a Prospect Heights venue along with bigger events and performances, and he encouraged us to come on a Thursday where they hold an open mic jam session. We definitely got excited about this, and we went one evening.

The venue was a real hole in the wall type bar with a small stage and seating area in the back, and there was a decent and rather diverse crowd of people. Dim lights and creaky wooden floors, very aesthetic. It’s interesting because now they’ve grown immensely as an organization, and I don’t believe they still have events at this place. It was really cool to see the really different talents displayed there – one woman performed a really interesting singing performance which now I can’t pinpoint what style it was. You also had more traditional classical instruments like tabla and sitar. What’s really cool is that even though I was only in eight grade and my cousin was only in ninth grade, they gave both of us the opportunity to play with them, and they were super friendly and inviting, even despite any mistakes or hesitation I had. There were no judgments, just the spirit of experimenting and playing. I still look at that night with a lot of fondness. 

What I played that day, it was really incredible to get that opportunity and for it to be so low-key and welcoming. My cousin is also there on the stage (dressed in white), he’s an incredibly skilled Carnatic vocalist.

Recently I was inspired by all this and for my midterm assignment for the class I’m writing this for, I made a music track with mridangam and electronic effects in Ableton (free trial came clutch). I initially spent a lot of time worrying about doing it right and perfectly planning everything, but it only came together when I just let go of that and just messed around, re-arranging recordings of me playing and layering effects. Just doing it was fun, and I learned a lot from it.

shameless plug to my video

There’s a free-ness with something like this that’s a really different experience from traditional Carnatic music. At the same time, there’s a level of playfulness with Carnatic music too, as when you’re playing on stage you don’t practice with the other artist beforehand, and what happens there is often unexpected and exciting, and I’m reminded of that when I see jazz music too. To me says a lot about the inherent commonalities in what makes music so rewarding to make and experience.

[chipotle]

A year back in Florida

About a year ago, I moved away from the San Francisco Bay Area, back to Tampa Bay, Florida, where I’d lived for (mostly) all my previous life.

Florida is not the same place it was when I left. The metros feel more urban, more alive, than I remember. Some of that is undoubtedly on me, on my failure to explore them adequately back in the 1990s. But a lot of what I’ve been finding now simply wasn’t there two decades ago. St. Petersburg now has blocks of walkable downtown, starting from the waterfront museums and moving west through the Edge District, on to Kenwood and Grand Central, where they recently held one of the biggest Pride festivals in the country. Tampa’s downtown no longer feels like they roll up the sidewalks at five (a problem that San Jose struggled to solve for years as well). Just like St. Pete’s Central Avenue reminds me—a little—of K and J Streets in midtown Sacramento, smaller towns like Gulfport and Dunedin remind me—a little—of the smaller walkable towns back in California like Danville, Campbell, and Livermore.

Some of the areas that were truly nothing twenty years ago have become, well, something. The town I’ve moved to, Ridge Manor, is an unincorporated area a few miles north of still-tiny Dade City, on a state road that goes straight east-west between I-75 and Orlando. The next “big small town” over, Clermont, has blossomed from a near-abandoned downtown into a genuinely interesting suburb, even if it’s hard to figure out just what it’s a suburb of. Wesley Chapel, about a half-hour south along I-75, is a surprisingly large suburb of Tampa now.

A year ago, I wrote that you can find great coffee shops and craft breweries and cocktail bars in any metro area, and that’s true here, too. Dade City itself has a great craft brewery and a solid coffee shop, and there are far more throughout Tampa/St. Pete and Orlando. Great cocktail bars are the hardest to find here, I’ve found, but they are here.

Florida is not the same place it was when I left. It was, back then, a relatively purple state overall. There are still Florida liberals and leftists, but the Florida of 2023 is a one-party state. And, not to put too fine a point on it, Florida Republicans lead the charge to make that party indistinguishable from the far-right fascist parties plaguing Europe and Central America. Every day brings a new attack on the rights of people DeSantis and his supporters have identified as The Enemy. Trans people. Queer people. Drag queens. Immigrants. Teachers. Librarians. Disney.

A drive around rural Florida a quarter-century ago would have certainly taken you past houses and farms flying confederate battle flags; the state’s panhandle has long been an epicenter for the neo-confederate movement. On a similar drive today, though, the flags are almost exclusively for Trump. And there are many, many flags for Trump. Flags and bumper stickers and banners, and an ugliness I can’t remember seeing in America in my lifetime. When I left Florida, Jeb Bush had just won reelection; I’ve returned to a state where Republicans would consider Jeb too suspiciously liberal to elect him to a municipal utility board.

I am not in the same place in Florida as I was when I left. Politically and culturally, I’m more Left Coast than I had been two decades ago, to be sure—but I spent most of my previous Florida years in Tampa or its suburbs, or the wealthy, culturally rich city of Sarasota.1 As someone who presents as a cishet male, I have little to worry about in most interactions here yet—but that yet slowly gathers weight. I’ve been open about my beliefs, moderately open about my not-so-binary, fairly asexual identity. I write queer, often political, furry fiction under my own name. So far, this has only resulted in lost friendships, but the potential for worse is real.

Yet my worries don’t center on me. The majority of my friends are queer, too. Will any trans friend, including my BFF/partner, be safe here even for a visit? They’re certainly not going to move here. More and more, I’m hearing of people moving out.

I am not in the same place in Florida as I was when I left. All my adult life, both in California and previously here, I could reach dozens of choices for shopping, eating and drinking in under fifteen minutes; some were just a nice walk away in good weather. But Ridge Manor’s several thousand residents spread out over rural half-acre lots. A few businesses cluster in a couple of strip malls around the I-75 interchange. There’s a grocery store, three or four decent restaurants (and three or four fast food places), so-so Chinese takeout, and a few gas stations. Anything else is twenty minutes away at a minimum.

That might not sound like a big deal. It didn’t sound like one to me, either. I’d come home to this house every Christmas from California; I knew where it was. And, I’ve always enjoyed driving. For years, my BFF and I took Saturdays out, exploring towns hours away. How bad could this be?

The answer, it turns out, is worse than I thought. In all my adult life, I’ve lived where I could reach dozens of choices for shopping, eating and drinking in under fifteen minutes, often in places where some were just a nice walk away in good weather. Now, hitting even most standard suburban chains is no longer a whim, it’s an excursion.

Sometimes I’ve dreamt of living in a cabin in Big Sur. I don’t anymore. I want to be in walking distance of something, a short driving distance of anything. Markets, coffee shops, a neighborhood bar, an ice cream parlor. Ridge Manor is not a place where that’s possible, and despite the construction and development around the area, it never will be. Yes, it will get hundreds of new tract homes, but the people who move in there will find that they, too, are a half-hour away from everything.

But do I regret moving? No. I moved to be with my mother, to help take care of her and the house. Our relationship isn’t frictionless, but it’s good, better than many such relationships that I see among my own friends and, for that matter, among hers. I know her better now than I have at any previous point in my life. It’s not just a solid, loving parent-child relationship, it’s a solid, loving friendship. That’s invaluable.

I still take Saturdays out, albeit mostly by myself now, and I’ve discovered or re-discovered plenty of cool places, many of which weren’t here before and all which have changed. There are places I could truly feel at home in, if I lived closer to them, and if Florida’s politics ever become less fraught. And if I can still deal with Florida summers.

The what-ifs remain, though, no matter how much I try to shunt them away.

First what-if: My ability to carve out my own time has been markedly impaired over the last year, from writing to TV watching to reading. Perhaps I am not good at setting boundaries, or perhaps I am just not used to living with someone who wants a lot of attention compared to past, undemanding housemates. Would it have been better to live in the suburbs a half-hour down the road, drive up here a few times a week for dinner, spend the night every other week?

Never say never, but I’m doubtful. The connections I’ve been making with my mom couldn’t have been made if we weren’t living together. Beyond that, I wouldn’t be here to be able to help with routine small things, and helping with large ones would be that much more challenging. She’d be markedly lonelier, and despite my penchant for solitude, I would be, too.

And there’s the cost of living. Despite the isolation, there are many things to like about this house—it’s on over an acre of wooded land, for a start—but the number one thing is, simply, that it’s fully paid off. A year ago, I wrote, “I won’t miss paying as much in rent share [in California] as I would pay for an entire two-bedroom apartment in Tampa.” That turned out to be optimistic; a decent one-bedroom, not two, apartment in Wesley Chapel would be hundreds more a month than my rent share in Santa Clara was. The median rent in Sacramento is, as of this writing, lower than both Tampa and Orlando.

Second what-if: my mother and I could move somewhere else, somewhere that checks off more of my boxes and, ideally, more of hers. She’d like to be closer to amenities, closer to medical care, closer to the water. We’re both concerned about the heat, too. As I write this, Florida swelters in record-breaking heat. The SF Bay Area and Sacramento are at unusual highs, too, but the old “it’s a dry heat” joke hits home. Sacramento’s projected high of 103°F tops our projected 94°, but our heat index hits 116° compared to Sac’s 164°—and our low will be 74° (with a heat index ten degrees higher), whereas Sacramento will make it down to a comparatively arctic 58°. If this is the new normal, it may be untenable for both of us.

Housing prices anywhere we’d want to live are likely to be challengingly high even with our resources pooled together, though, and I don’t know what place we’d both agree on. Stay in the state, or leave it? She thinks about going back to Baltimore, where she grew up, or around Asheville, where Floridians seem to be moving to when they want to leave this state. I have no personal affinity for Maryland or North Carolina, though; the places I do have affinity for—most of California and the Pacific Northwest, parts of the Southwest—aren’t places she does.

The thought of moving anywhere, though, leads to uncomfortable thoughts of mortality—both my mother’s and my own. When will I find myself living alone once more? Will I want to stay where I’m living then? If it’s still here, still in this house, the answer is likely no. But if my mother and I move to a new place, she’ll push for a bigger house. I doubt I’d want a bigger house by myself, or even with a housemate. (And if it’s in Florida, the current politics all but ensure my trans BFF won’t be that housemate.)

Of course, maybe a bigger house still makes financial sense; with luck, having a more expensive house means I get more money if I sell it and do move somewhere else, ultimately. The money isn’t being lost. Objectively, I know that. But I don’t feel it.

So, where does this leave me? It leaves me with a loving parent and great finances; it leaves me isolated, frustrated with my inability to manage my own time, wondering why I’m even worse than I used to be at coordinating with friends. It leaves me in a good and bad place. It leaves me in limbo.

I’ll check back in after another year.

Sarasota is now ground zero for not just Florida’s culture wars but all of America’s, as the home of the neofascist Moms of Liberty and epicenter of QAnon conspiracy nonsense. My college, New College, is the one that DeSantis is in the process of transforming from a nationally-recognized liberal arts school into a national laughing stock. [return]

[westavenuetourismreviews123]

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[grits-galraisedinthesouth]

The Smoking Gun: Get Jim Jordan on the phone

Subpoena Matt Colangelo

Jim Jordan

Washington DC Office

2056 Rayburn House Office Building

Washington, DC  20515

Phone: (202) 225-2676

Fax: (202) 226-0577

Lima District Office

3121 West Elm Plaza

Lima, OH  45805

Phone: (419) 999-6455

Fax: (419) 999-4238

Mansfield District Office

28 Park Avenue West

Suite 100A

Mansfield, OH  44902

Phone: (419) 982-8045

Fax: (419) 668-3015

Environmental Crimes

And assisting with the District Attorney’s focus on financial crimes will promote confidence in the legal system by making clear that the same rules apply to everyone — no matter how powerful.”

This is the first time the Manhattan D.A.’s Office will have an executive position focusing on these priority areas. The Office recently announced the creation of its first-ever Housing & Tenant Protection Unit, which investigates and prosecutes landlords and developers for systemic harassment of tenants and abuse of government programs. Colangelo will provide support to the Unit and deepen the Office’s relationships with stakeholders, drawing on his three years spent as the Chief of Staff at the U.S. Department of Labor, his work as Deputy Director of the Obama-Biden Administration’s National Economic Council, three years at the Civil Rights Division of the Department of Justice, and seven years litigating fair housing and fair employment cases at the NAACP Legal Defense & Educational Fund.

Colangelo brings a breadth of relevant experience, most recently his two years at the U.S. Department of Justice, where he served in a senior leadership position and helped to oversee the Antitrust, Civil, Civil Rights, Environment and Natural Resources, and Tax Divisions, including review of significant hate crime matters. In his time at the New York State Office of the Attorney General, he was Chief Counsel for Federal Initiatives, leading more than eighty lawsuits challenging federal agency action on constitutional and statutory grounds. This work included representing three dozen states and local governments in a successful challenge to the inclusion of a citizenship question on the decennial census, challenging the federal policy of conducting immigration arrests at state courthouses, supervising civil and criminal labor prosecutions, and investigating the Trump Foundation. 

[canaryrecords]

n September 1950, the 29-year-old Aleppo-born Assyrian singer Djamal A. Aslan flew into New York City from Gander, Newfoundland, Canada, representing himself as Iranian and having an address in Central Falls, Rhode Island. It is clear that he was not Iranian and unclear if he had been in the U.S. previously. In 1952, he married one Rose Arena in Brooklyn, and the couple divorced less than two years later in Florida. Whether he was actively trying to undermine U.S. immigration laws, we cannot say with any certainty, but it does look that way from this distance.

By November 1953, he had he begun performing. We know he appeared with the Damascus-born, Boston-based singer Russell Bunai and violinist Louis Badwi at the Syriac (Assyrian) Orthodox Church In West New York, New Jersey. And he was very active as a performer in 1954-55, playing with Naif Agby, Philip Solomon, Naim Karacand, Mike Hamway, Mohammed El-Bakkar, Eddie Kochak, Odette Kaddo, etc. Notably, he made a string of appearances during ’54-55 with the brilliant and celebrated Aleppo-born Egyptian violinist Sami al Shawwa (b. 1889; d. 1965) who was on tour in the U.S. at the time.

In 1955 he married Alberta Olever of Paterson NJ, and they settled on the same block of Brooklyn’s Atlantic Avenue as Albert Rashid’s and Fred Alam’s record stores. He could easily have recorded for either of their labels but did not. Instead, he played constantly at Arab-American gatherings in New York, New Jersey, and Pennsylvania (with a visit to California in 1957) and set up a music studio on Flatbush Avenue that he called Cinara-Phone where he started giving music lessons.

Between gigs, teaching, and the birth of his two daughters during 1957, he self-produced a group of 14 recordings with all of the best Arab performers in Brooklyn and sold them to the record subsidiary of the 20th Century Fox film company. They were released together as an in April 1958 as Lebanon: Her Heart, Her Sounds, an elaborate - one might say “overblown” for an immigrant - production including a 37-member choir, dozens of performers, and a cover painting by the popular illustrator Irv Doctor (b. 1918; 2008). It was certainly made under the influence of the singer and film star Farid al-Atrash. Its title reference to Lebanon was meant to attract the largest Arabic-speaking group the U.S. (It was also issued in Argentina.) It was clearly the culmination of his hopes and dreams as an American immigrant.

Did it accomplish its aims for Aslan? Not that we can detect. In 1959, he traveled as far as Connecticut and Florida to play gigs for Arab-American gatherings. In 1960, he got the news that his mother Zahida had died in Aleppo. It does not appear that he was able to travel to visit his father Aboud, his sister Antoinette Sayad, and his brother Antoine at the time. So, he stayed in Brooklyn, playing gigs at Arab-American social events and teaching, year after year.

In the mid-60s, the scene for live music at Arab-American events dwindled to almost nothing, and many players had made the transition to playing multi-ethnic nightclubs. Djamal Aslan however did not. He made no more records, and at present, we have no more documentation of his having performed after 1966. He died in Brooklyn June 11, 2000.

Several pieces from his LP appear on our recent Hakki Obadia collection.

[ultraheydudemestuff]

Tinnerman Steel Range Company

2048 Fulton Rd.

Cleveland, OH

Originally built in 1893, Tinnerman Steel Range Company building, home to a prominent Cleveland family-owned company founded by George A. Tinnerman, is a factory building constructed in segments from 1886 to 1914, where the first steel cooking range and the first speed nut was manufactured. George August Tinnerman was born in Bavaria in 1845. In 1847, the year before the 1848 Revolutions which shook central Europe from Vienna to Paris, George immigrated to America with his parents Henry and Sophia Tinnerman. Like his father who was a wheelright, George entered the trades but as a tinner. In 1868, he opened a hardware store on Lorain Avenue--just east of its intersection with Fulton Road. Among the products George sold were cast iron stoves. In 1875, according to his son Albert, George became dissatisfied with the cumbersome cast iron stoves and invented the first steel range--a forerunner of today's range stoves.

In 1890, as George Tinnerman grew financially successful, he and his family moved from their house on Fulton, which abutted the Tinnerman stove and range manufacturing plant, to a more fashionable address on the northwest corner of Franklin Boulevard and Gordon Street (now West 65th Street). George and his wife Caroline completed the raising of their four children in this house, and, when the children became adults, three of them acquired houses on Franklin Boulevard in the 6000-7000 block--none more than a few minutes walk from their parents' home on the corner of West 65th. Members of the Tinnerman family continued to live on Franklin Boulevard until well into the decade of the 1940s.

George became so successful in selling his new steel stoves that, in 1913, he closed his hardware store and began to exclusively manufacture stoves and ranges. In 1925, George A. Tinnerman died and his son Albert H. Tinnerman, who until 1938 lived at 6910 Franklin Boulevard, took over the family business. In 1925, Albert invented a new fastener for stoves called a "speed nut." As it turned out, Albert's invention had application not only in the manufacture of stoves, but also in the manufacture of automobiles and aircraft. In the 1930s, Albert's son, George A. Tinnerman II, convinced Henry Ford to use the speed nuts in his automobiles, and in the 1940s, during World War II, the United States government also began using Tinnerman's speednuts in its aircraft. One source claimed that the federal government's use of the Tinnerman speed nut not only reduced the weight of American war planes, but also cut production time in half.

In 1950, Tinnerman Products-- now a national manufacturer of speed nuts and other clips and fasteners, moved from its original location on Fulton Road to a new state of the arts facility on Brookpark Road in the suburb of Brooklyn. The Tinnerman Stove and Range Company building at 2048 Fulton Road became home to Vista Color Imaging, a visual marketing solutions business.During the decades of the 1950s and 1960s, Tinnerman Products continued to grow under the guidance of Albert Tinnerman and then his daughter Alberta Buttris, a third generation Tinnerman and granddaughter of George A. Tinnerman. In 1969, the company's separate corporate existence in Cleveland came to an end when it merged with Cleveland industrial giant, Eaton Corporation.

The Tinnerman Steel Range manufacturing facility was added to the National Register of Historic Places on February 21, 2017. Throughout their leadership, the Tinnerman’s successfully patented hundreds of other innovations in hardware and machinery that today can be found in several industries and product types. Although the company eventually merged with industrial giant Eaton Corp. in the late 60’s, they certainly left their mark in Cleveland. and the newly renovated Tinnerman Lofts is a celebration of that legacy, offering stunning apartments, blending ten-foot-high windows and brick walls with contemporary finishes, surround a courtyard oasis featuring a grill station, firepit, and bocce courts. The inside finds a two-story community living room offering the perfect escape for remote work or relaxing with friends.

[dankusner]

Dallas unveils memorial fallen first responders street toppers

Dallas officials on Thursday unveiled the city’s first pair of police and fire-rescue memorial street toppers, created as part of an effort to better remember first responders who died in the line of duty.

The ceremonial markers — which have the first responder’s name, rank and end-of-watch date — have been in the works for years and the Dallas City Council approved the program in August.

Officials identified more than 160 first responders who’ve died in the line of duty since at least 1892.

They’ve said they’re working with surviving family members to install toppers on top of street signs near where each person spent their final moments, starting with the earliest deaths.

The first two were installed Thursday within about two blocks of each other in the Deep Ellum area.

One topper — now at the corner of Elm and North Hall streets — honored Dallas police Officer William H. Riddell, 55, who was fatally shot June 17, 1892, while trying to serve a warrant on a man with a weapon.

He’d been with Dallas police for three years and was survived by his wife and seven children.

City officials worked with his distant relatives, who appeared at a ceremony unveiling the topper before it was installed.

The second topper at Main and South Walton streets was placed to memorialize Dallas Fire-Rescue Firefighter John Dardeman Jr., 30, who was killed March 28, 1925 when a car crashed into his fire truck, pinning him between the vehicles as he worked an active fire scene.

He was survived by his mother, two sisters and three brothers.

“We are proud of the work our first responders do each and every day to keep our residents safe,” Interim City Manager Kimberly Bizor Tolbert said in a news release this week.

“We are honored to commemorate those who have sacrificed their lives in the line of duty and to celebrate the legacy of their commitment to safety for decades to come.”

WEST DALLAS

Topper honors advocate

City Council approves sign commemorating late community leader

A street in West Dallas will receive a sign topper honoring the late Raul Reyes Jr., a fierce advocate for the community.

The Dallas City Council unanimously approved honoring Reyes’ legacy with a sign topper on Morris Street between North Winnetka Avenue and Sylvan Avenue.

Council members Omar Narvaez, Carolyn King Arnold and Adam Bazaldua asked interim City Manager Kimberly Bizor Tolbert in August if the city would install the ceremonial sign.

��Raul loved his community. He had a passion for serving others. He believed that, in his heart, he had the civic duty to engage, serve and help progress our communities,” Roberto Reyes, Raul Reyes’ brother, said at the meeting.

Reyes died on Feb. 27 at the age of 50.

Three children survive him.

Reyes was born and raised in the Los Altos neighborhood of West Dallas.

His father, Raul Reyes, and his mother, Juanita, immigrated to Dallas from Mexico in the 1960s.

Roberto Reyes shared that, from the time his brother was a child until his last days, he used Morris Street to either go to school or ride his bike to the community centers and local organizations in the area.

Other West Dallas community leaders, such as James Armstrong III, president of Builders of Hope; Ronnie Mestas, leader of the Los Altos Neighborhood Association; and Shellie Ross, chief executive of Wesley-Rankin Community Center, spoke in favor of the resolution.

“Raul was instrumental in the advancement of some of the city’s plans, including the Climate Action Plan and the racial equity plan,” said Kathryn Bazan, chair of the Dallas Environmental Commission.

“His relentless advocacy for West Dallas led to the end of new incompatible concrete batch plans and asphalt plants in residential neighborhoods, not just in his community, but across the city.”

Over the years, Reyes became a respected active voice and a leader in the community, joining organizations such as the Los Altos Neighborhood Association and later becoming president of West Dallas 1, a coalition of neighbors and neighborhood associations working to ensure equity in education and safe neighborhoods and to provide opportunities for residents.

Reyes was appointed to several boards and commissions in Dallas over the years.

In 2023, he was appointed by Narvaez to represent District 6 on the Dallas Public Facility Corporation.

“We did lose a big hero in West Dallas,” Narvaez said.

“This honorary street topper is something we can remember him by. It’s an honor we can give him.”