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Flight Tickets To New York

flight tickets to new york
    flight tickets
  • (Flight ticket) An airline ticket is a document, created by an airline or a travel agency, to confirm that an individual has purchased a seat on a flight on an aircraft. This document is then used to obtain a boarding pass, at the airport.
    new york
  • the largest city in New York State and in the United States; located in southeastern New York at the mouth of the Hudson river; a major financial and cultural center
  • A major city and port in southeastern New York, situated on the Atlantic coast at the mouth of the Hudson River; pop. 7,322,564. It is situated mainly on islands, linked by bridges, and consists of five boroughs: Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. Manhattan is the economic and cultural heart of the city, containing the stock exchange on Wall Street and the headquarters of the United Nations
  • a Mid-Atlantic state; one of the original 13 colonies
  • A state in the northeastern US, on the Canadian border and Lake Ontario in the northwest, as well as on the Atlantic coast in the southeast; pop. 18,976,457; capital, Albany; statehood, July 26, 1788 (11). Originally settled by the Dutch, it was surrendered to the British in 1664. New York was one of the original thirteen states
  • one of the British colonies that formed the United States
flight tickets to new york - Come Fly
Come Fly With Me
Come Fly With Me
Franks Sinatra Photos

More from Ole Blue Eyes

Classic Sinatra
In the Wee Small Hours
Frank Sinatra Sings for Only the Lonely

The Capitol Years
Songs for Swingin’ Lovers
Come Dance with Me!

When critics refer to Sinatra's Capitol albums, their highest praise is usually reserved for the dark melancholy of Wee Small Hours or Only the Lonely. But the upbeat "Swinging" records should not be ignored. Probably the finest of these albums is Come Fly with Me. The first of Sinatra's albums with arranger Billy May (whose arrangements have been overshadowed by Nelson Riddle's), Fly is the conceptual equal of Lonely-a carefree, romantic musical travelogue. From the opening invitation--one of Sinatra's most rollicking vocals--to the tender invocations of "Autumn in New York" and "April in Paris," and the serene seductiveness of "Moonlight in Vermont," Sinatra personified the modern traveler--jaunty, cosmopolitan, irrefutably cool. --Steven Mirkin

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Village East City Cinemas
Village East City Cinemas
Louis N. Jaffe Art Theater (Yiddish Art Theater/Yiddish Folks Theater), East Village, New York City, New York, United States The Louis N. Jaffe Art Theater (Yiddish Art Theater/Yiddish Folks designed by the prolific theater architect Harrison G. Wiseman, was constructed in 1925-26 for Louis N. Jaffe, a Brooklyn lawyer and prominent Jewish civic leader, who intended it as a permanent home for the Yiddish Art Theater, one of the leading Yiddish "art theater" companies, under the direction of preeminent Yiddish actor Maurice Schwartz. Although the Yiddish Art Theater company performed in the Jaffe Art Theater for only four seasons, this theater remained a Yiddish playhouse (most often as the Yiddish Folks Theater) nearly the entire time between its opening in 1926 and 1945, and was also the site of Yiddish theater revival productions in the 1970s and '80s. The Jaffe Art Theater Building is one of the most tangible reminders of the heyday of Yiddish theater in New York City in the early twentieth century, particularly along the "Yiddish Rialto" of lower Second Avenue, when this form of entertainment was a significant part of the rich cultural heritage of the Jewish Lower East Side of Manhattan. The Moorish Revival design of the cast-stone front portion of the theater building incorporates Alhambraic motifs and Judaic references, but also reflects contemporary architectural trends of the 1920s. These include the search for an appropriate stylistic expression for synagogues and other Jewish institutions, the interest in contrast between areas of b!ank wall surface and concentrated areas of flat decoration, and the use of "exotic" styles for theaters. After its initial Yiddish heyday, the theater, under a variety of names, continued to have an incredibly rich cultural history, presenting many different forms of entertainment, including off-Broadway dramatic and musical productions (many of which moved to Broadway), burlesque, dance, concerts, and movies, and was particularly renowned as the off-Broadway Phoenix Theater from 1953 to 1961. In addition, the theater presented the work of many of the most important figures of the twentieth-century Yiddish and English-language stages, including actors, directors, writers, and designers. The Lower East Side and Yiddish Theater in New York City' Political events in Eastern Europe and in the so-called Pale of Settlement in western Russia, resulting in pogroms and repressive legislation, led to a massive exodus of Jews (by some estimates one-third of the Eastern European Jewish population) beginning in the ear!y 1880s. In a large wave of immigration to the United States which reached its peak just prior to World War I, nearly two million Jews arrived here; most settled in New York City, and the majority of these immigrants lived at least for a time on the Lower East Side of Manhattan — the area generally defined as that bordered by the East River, Catherine Street, the Bowery, and East 14th Street. After the turn of the century, New York City had the largest Jewish population of any city in the world, and by 1920 it was estimated that between 23 and 30 percent of the city's population was Jewish. In effect, the Lower East Side was also one of the world's largest ghettos, due to the extremely crowded living conditions of the area's tenements. The Jewish community's center was originally in the vicinity of Canal and Essex Streets, but after the turn of the century the population spread southward, eastward, and northward to Houston Street. After World War I, Second Avenue between Houston and East 14th Streets was considered the heart of the Jewish community in New York. In contrast to earlier, more established Jewish immigrants, mostly from Central Europe (particularly Germany), these recent Eastern European immigrants assimilated less easily due to economic and social circumstances, customs, and language. Yiddish was the shared language of these Jewish immigrants; a spoken dialect related to middle-high German, with borrowings from other languages, Yiddish is written in the Hebrew alphabet. Once considered a jargon,* Yiddish began to achieve respectability with its usage by European intellectuals in the mid-nineteenth century. In New York City, Yiddish acquired a new status and vigor, especially as related to two of the Jewish community's most important cultural institutions outside the synagogues — the Yiddish press and the Yiddish theater. The influential Yiddish press, epitomized by the socialistic Daily Forward, played major roles not only in the politics and culture of the community, but also in the development of American Yiddish. The origins of the modem Yiddish theater can be traced to Jassy, Rumania, around 1876, and slightly later to Odessa, Russia; a&er a ban by the czar in 1883, Yiddish theater companies accompanied Jewish emigration. By the end of the 1880s, most of the major figures within the Yiddish theater h
Sunset Play Center Bath House, First Floor Interior
Sunset Play Center Bath House, First Floor Interior
Sunset Park, Brooklyn, New York City, New York, United States The Sunset Play Center is one of a group of eleven immense outdoor swimming pools opened in the summer of 1936 in a series of grand ceremonies presided over by Mayor Fiorello LaGuardia and Park Commissioner Robert Moses. All of the pools were constructed largely with funding provided by the Works Progress Administration (WPA), one of many New Deal agencies created in the 1930s to address the Great Depression. Designed to accommodate a total of 49,000 users simultaneously at locations scattered throughout New York City’s five boroughs, the new pool complexes quickly gained recognition as being among the most remarkable public facilities constructed in the country. The pools were completed just two and a half years after the LaGuardia administration took office, and all but one survives relatively intact today. While each of the 1936 swimming pool complexes is especially notable for its distinctive and unique design, the eleven facilities shared many of the same basic components. The complexes generally employed low-cost building materials, principally brick and cast concrete, and often utilized the streamlined and curvilinear forms of the popular 1930s Art Moderne style. Each had separate swimming, diving and wading pools, and a large bath house with locker room sections which doubled as gymnasiums in non-swimming months. Concrete bleachers at the perimeter of each pool complex and rooftop promenades and galleries furnished ample spectator viewing areas. The complexes were also distinguished by innovative mechanical systems required for heating, filtration and water circulation. Sited in existing older parks or built on other city-owned land, the grounds surrounding the pool complexes were executed on a similarly grand scale, and included additional recreation areas, connecting pathway systems, and comfort stations. The team of designers, landscape architects and engineers assembled to execute the new pool complexes, in addition to hundreds of other construction and rehabilitation projects undertaken between 1934 and 1936 by New York’s newly consolidated Parks Department, was comprised largely of staff members and consultants who had earlier worked for Moses at other governmental agencies, including architect Aymar Embury II, landscape architects Gilmore D. Clarke and Allyn R. Jennings, and civil engineers W. Earle Andrews and William H. Latham. Surviving documents also indicate that Moses, himself a long-time swimming enthusiast, gave detailed attention to the designs for the new pool complexes. Designed by Herbert Magoon, the Sunset Play Center is set within the 24.5-acre site of Sunset Park, located in the neighborhood of the same name and developed as a park at the turn of the twentieth century. Displacing a small lake, play areas and pathways, construction of the Sunset Play Center resulted in a major redesign of the eastern half of the park in order to accommodate the immense new swimming, diving and wading pools complex, bath house, linking pathways, and adjacent play areas. The earlier attractive battered masonry wall which forms the perimeter of the entire park was breached on the Seventh Avenue side to accommodate a monumental flight of steps leading up to the play center’s main entrance. The play center officially opened on July 20, 1936 and became the sixth WPA pool to open throughout New York City and the first to open in Brooklyn. The play center’s bath house lobby is distinguished by a number of unique features. They include the patterned flooring of glazed brick, ceramic tile and blue stone, the smooth light-colored walls rising above the brick-faced entrances into the locker rooms, the contrasting decorative brick of the clerestory level above, and, repeating the treatment of the lower walls, the light-colored smooth undersurface of the ceiling from which Art Moderne style copper lamps suspend. Simple geometric forms are evident in the cast stone diamond and beltcourse motif, which update the look of a traditional entablature, and the diaper pattern formed by glazed header bricks above. The plan of the lobby evokes an ancient rotunda with enclosed porticos, grand entrances and clerestory windows. The clerestory level and the sweeping brick curved walls of the central portion of the lobby give the space a monumental feel that also invite patrons into the structure. The colossal brick column at the center of the lobby anchors the colorful ticket booth, and its octagonal shape creates corners that resemble fluting seen on more traditional columns. DESCRIPTION AND ANALYSIS History of the Sunset Play Center Site The Sunset Play Center is set within the 24.5-acre site of Sunset Park, which is located in the neighborhood of the same name in the southwest section of Brooklyn along Upper New York Bay. It is believed that the park (and, subsequently, the neighborhood) derives its name from its hilltop views of the sun

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