A Peek Inside The Woolworth Building

Because it is well documented elsewhere, I won’t go into the history of F.W. Woolworth, the Woolworth Building, or the stores to which the old man lent his name. For that, I urge you to check out the fantastic Woolworth Building episode of the Bowery Boys podcast. With that history thusly filed away, we can pick up our merry frolic through one of the city’s most iconic yet rarely seen first skyscraper. I say rarely seen because although you can marvel at the impressive exterior, the historic neo-Gothic lobby is off-limits to tourists, gawkers, amateur historians, and anyone who doesn’t work at a company housed in the building. It might be possible to get a glimpse if you wander in just after regular business hours and are really kind to the guard at the front desk, but barring that gamble on the mercy of strangers, you will just have to get a job at one of the many businesses that call the impressive building home. Oddly, my employer does have space in the Woolworth Building, but we have no access to the lobby. They don’t want our kind of rabble hanging around in there. But even if you do work in the building, there are still hidden niches and off-limit secrets to which you don’t get access.

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Phenomena is often regarded as a turning point in the career of Italian thriller director Dario Argento. Unfortunately for him, the direction it is most often cited as turning is down. After Phenomena, the influential director had one more good film in him – the mean-spirited and sadistic Opera — and then it was all downhill from there. In many ways, Argento’s career seemed to reflect that of another highly creative, important director: Tsui Hark. Both men revolutionized film making in their respective countries and inspired (and continue to inspire) countless other writers and directors. Both men brought a highly stylized vision to the screen. And both men have spent the better portion of the last decade trying to live up to their own reputations.

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Escape from The Bronx

“In the near future.” More times than not, it’s a euphemistic way for a science fiction film to say, “We were too broke to afford interesting sets.” Setting a film in “the near future” is a great way to get around a variety of stumbling blocks, not the least of which is a low budget. The near future allows you, as I said, to pretty much make up all sorts of new technology, situations, and laws while not having to fork over any money to build futuristic sets. It allows you to mold modern society to your whims without having to recreate it as something new. The alternate to this solution is to have a guy from the future travel back in time to the 20th century to save us or kill some other time traveling villain or some such nonsense. Once again, unless you are James Cameron, this allows you to throw some scifi stuff the way of the audience while not having to think too much about the look of the film.

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Let’s Jet Set!

Under normal circumstances, I consider turning to a discussion of the weather to be a sign that conversation has failed. There are exceptions of course, for extreme circumstances, but by and large if you are making small talk about the weather with someone then it’s bets to cut your losses and move on. Perhaps study up on a few more interesting topics for your next chance encounter. I also generally try to avoid putting a specific time stamp on the date on which something was written for Teleport City, as it rarely makes sense years or even weeks removed from that date. However, today in New York City it is almost twenty degrees. So to warm up, not only am I indulging in this brief time-stamped discussion of the weather, but I thought it was an appropriate day to prepare ourselves for breezy summer holidays. Now, whether you are driving along the Amalfi Coast in a Ferrari Daytona, hopping a jetliner to Monaco, or setting out to map a hitherto unexplored tributary of the Amazon River equipped with nothing but a machete, everyone knows the single most important thing to prepare before departure is your soundtrack. So we offer up to you some suggestions that blend both vintage and modern interpretations of music that will prepare you for whatever may occupy you during your warmer days.

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Food & Drink in San Diego

In November, I had a chance to visit San Diego for the first time. As befits a man of my tastes, the trip was built entirely around fancy places to eat and drink. San Diego offers a surprising number of options, both in the trendy, touristy downtown “Gaslamp” quarter, as well as in the surrounding suburbs and towns. With only a few days, I was hardly able to map any sort of definitive guide, and there were many stones left unturned. However, your pals at Teleport City — with an assist from accomplice Monster Island Resort — managed to hit enough bars and restaurants to make it worth jotting down on the off chance that you, too, one day find yourself in San Diego and long to follow in our footsteps. I was sans vehicle for most of the time and staying downtown, so most of my choices were driven by proximity as much as they were by recommendation. But either way, it worked out pretty well. As always, Greenie McGee of Greenie Travels fame was our regular partner in crime and is responsible for most of the pictures in this write-up.

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I had to watch this movie more than once to verify that George Lazenby actually has more dialog than just, “Hmm? Hmmmmm,” mumbled with that smug chin-in-the-air look as if to say he has discovered something important and must now jut forth his chin and stroke it slyly. Who the hell does he think he is? Mr. Bean? He does have a few other lines, but for the most part, he just hums through the whole movie. I know this isn’t the best way to kick off a review, but come on! Speak, damn you! This isn’t Quest for Fire.

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Devil’s Dynamite

The pain and glory of watching a Thomas Tang movie is that you never know what you are going to get, but it will almost always be stunningly terrible. Tang, for those fortunate enough to require an introduction, is part of the unholy trinity that also includes director Godfrey Ho and producer Joseph Lai, film makers in only the broadest and most liberal definition of the term. Their specialty, often working in concert, was to take part of one cheap-ass Hong Kong movie, splice it together with parts of a second cheap-ass Hong Kong movie, pepper in some original footage — usually of ninjas, hopping vampires, or white dudes (and by “white dudes” I mostly mean “Richard Harrison”) — then dub the entire thing into English in a lackadaisical attempt to make some sort of halfway coherent plot out of the mess. Using this formula, a guy like Thomas Tang could make ten or twelve movies out of just a couple movies, with very little production cost. By the time people paid to see whatever Frankenstein monster resulted from the process, it was too late for them to be pissed off. Thomas Tang — or Godfrey Ho, as the case may be — already had your money.

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