Kolkata, Dec 4 (IANS) Cleiton Silva (24th min, 66th min) and Nandhakumar Sekar (62nd min, 81st min) struck a brace each as East Bengal FC recorded their biggest ever victory in the Indian Super League

These pieces, along with the three from the last post ("Melliflua"), are the ones I exhibited at this year's Cheapart, within the 81st Thessaloniki International Fair.

It's time to spice up your Netflix queue with a few programs from across the pond.

2002 D60HF #5516 Q10 at Lefferts Blvd and 81st Avenue.

hdl.loc.gov/loc.pnp/ppmsca.71027

Drive a short distance from Baltimore and enjoy all this history eatery has to offer.

Although she was famously regarded as the widow of slain civil rights leader Malcolm X (El-Hajj Malik El-Shabazz), Dr. Betty Shabazz blazed trails of her own. As an activist and educator, the late-Dr. Shabazz juggled the weighty responsibility of raising six children alone while advancing her education. Her selfless devotion to family and ...

St. Lucia Distillers: Sixth Edition. REVIEW of the final edition in the 1931 range.

photo by Alice Lum Clarence True worked in the office of esteemed architect Richard M. Upjohn until 1884 when he struck out on his own. A few years later, around 1890, real estate developer Charles G. Judson hired True. The two men had offices in the same building. At the time the Upper West Side was emerging as Manhattan newest residential frontier as rows of eccentric townhouses sprouted on the streets and hefty mansions appeared on the avenues. Clarence True threw himself headlong into the frenzy and by the turn of the century would be among the most prolific architects of the Upper West Side. As the turn of the century approached, Riverside Drive rivaled Fifth and Madison Avenues with its spectacular mansions. In 1897 Clarence True initiated his own project—acting as both speculator and architect for six lavish residences that wrapped the corner of 81st Street and Riverside Drive. True often drew on historical styles for his charismatic works and for this group he turned to Elizabethan Renaissance Revival. Serving as the focal point for the six homes was the hulking No. 86 Riverside Drive at the corner. The imposing structure rose five stories and stretched 50 feet along the Drive. photograph by Wurts Bros. from the collection of the Museum of the City of New York http://collections.mcny.org/C.aspx?VP3=SearchResult_VPage&VBID=24UAYW5FLRBT&SMLS=1&RW=1280&RH=915&XXXFEP=1 High pointed gables marked both elevations of the rough-cut granite façade. Romantic stone balconies harkened to chivalrous times. A deep, arched portico sheltered arriving guests and provided another balcony at the second story. Commanding attention was the hefty round pavilion at the corner, surmounted by a stone parapet. A thin two-story chimney rose above the surrounding rooftops. Inside True carried out the Elizabethan motif with period-inspired plastered ceilings and intricately-carved woodwork. Intricate woodwork and ceilings reflected the historical style -- photograph by Wurts Bros. from the collection of the Museum of the City of New York http://collections.mcny.org/C.aspx?VP3=SearchResult_VPage&VBID=24UAYW5FLRBT&SMLS=1&RW=1280&RH=915&XXXFEP=1 The houses were completed in 1898 and in 1899 No. 86 Riverside Drive was purchased by William Carroll, the principal in William Carroll & Co., manufacturers of fur, wool and straw hats. Carroll’s family consisted of his wife, Grace, daughter Elsa and son Ralph. Ralph C. Carroll was enrolled in the private Cutler School at No. 49 East 61st Street where he was the captain of the golf team. True's Elizabeth motif was especially evident in the portico and second floor window framing -- photo by Alice Lum Two years later, on January 2, the house was the scene of the wedding reception of Elsa and her new husband, Henry Rowland. The New York Times described the house as being “decorated with pink roses and foliage” and said “The young couple received in a bower of pink roses, with garlands of the same flowers overhead.” Among the moneyed guests that afternoon were J. C. Havemeyer, Mr. and Mrs. Hugh Auchincloss and Mr. and Mrs. W. H. Barnes. The newlyweds moved into the Riverside Drive mansion and the Social Register would list them living here with the family at least until 1914. Following William Carroll’s death on November 2, 1910, Grace continued living at No. 86 Riverside Drive with her daughter and son-in-law until 1922. On August 30 of that year, she sold it for $125,000 (about $1.6 million today) to “a New York merchant.” In reporting the sale The New York Times called the residence “one of the most modern houses on the west side.” photo by Alice Lum The “New York merchant” was William H. Barnard, the Treasurer of the International Salt Company, President of the Aiken Investment Company, a director in the Avery Rock Sale Company and an officer in many others. The Times referred to Barnard as a “pioneer and leader in the American salt industry.” Barnard and his wife, the former Lillie Cohu, moved into the Riverside Drive mansion. Their only child, 24-year old daughter Lilybel, who had married James W. Salisbury in 1913, lived in Bristol, Rhode Island. Five years after moving in, following an illness of several weeks, Lillie Barnard died in the house on February 10, 1927. By the mid 1920s apartment buildings had already crept into the area. The Barnards were living in no. 86 (right) -- photograph from the collection of the New York Public Library William Barnard would live alone here only a few months before Lilybel moved in. Her unhappy marriage had come to a highly-publicized end when she obtained a Reno divorce in August 1927. She explained her forlorn condition to the court, saying she was interested in art, literature and outdoor sports; but her husband had no such interests. A Nevada newspaper reported “he criticized her every comment, she told the Court.” The newspaper added “Salisbury objected to her friends, she said and when she had arranged a dinner party at their home at Bristol, R. I., in August, 1926, he demanded that she cancel it at the last minute, and when she refused, charged her with being interested in one of the invited guests, her complaint says.” Actually, it seems quite possible that Lilybel was interested in someone other than her husband; for five months after her divorce was granted, so was the divorce of Andrew Weeks Anthony a Boston manufacturer. A few days later, on January 19, 1928 Anthony obtained a marriage license in Boston. The New York Times sub-headline blared “Boston Manufacturer, Divorced on Wednesday, to Wed Mrs. Lilybel B. Salisbury. She is Reno Divorcee.” The vaguely scandalous wedding took place in St. Paul’s Methodist Episcopal Church on West End Avenue at 86th Street at noon on January 22, 1928 with William Barnard escorting his 35-year old daughter down the aisle. Afterward the understated reception was held in the Riverside Drive mansion. In describing the wedding, The New York Times could not help commenting with “Both Mr. Anthony and his bride have been married previously and have been divorced.” Years after the house was converted for institutional use some architectural details survived. -- photograph by Wurts Bros. from the collection of the Museum of the City of New York http://collections.mcny.org/C.aspx?VP3=SearchResult_VPage&VBID=24UAYW5FLRBT&SMLS=1&RW=1280&RH=915&XXXFEP=1 On October 15, 1929 William H. Barnard died in the house at No. 86 Riverside Drive. The Great Depression coupled with changing attitudes concerning hulking private homes meant the end of the road for many of Manhattan’s great mansions. Blocks of properties were razed to make way for luxurious Art Deco apartment houses; while other homes were converted to apartments or commercial structures. The house at No. 86 Riverside Drive, however, would hold on for a few more years. It became home to Kathryn E. Henessey until 1940 when she leased it a political organization with the ungainly name of the 7th Assembly District Regular Republican Organization Club, Inc. The mansion was used as the group’s clubhouse and headquarters until 1945. That year it was sold to the Chinese Delegation for International Cooperation and Cultural Relations, along with the house next door at No. 85. The Times said the group intended “to remodel the buildings for its own use.” The Delegation moved in along with related organizations; among them the International League for the Rights of Man, the Woochefee Institute which staged exhibitions of contemporary Asian artists, and the Rochdale Institute and the Institute of International Cooperation School. The two institutes held classes for the “training of cooperative educators and executives.” Grace Carroll's elaborate interiors were stripped for in-ceiling lighting and modern wall sconces -- photograph by Wurts Bros. from the collection of the Museum of the City of New York http://collections.mcny.org/C.aspx?VP3=SearchResult_VPage&VBID=24UAYW5FLRBT&SMLS=1&RW=1280&RH=915&XXXFEP=1 Only four years later, on February 10, 1949 The Times reported that “The twenty-room residence at 86 Riverside Drive, formerly the home of Katherine E. Henessey and now owned by the Woochefee Institute of New York, has been leased to the Royal Consulate of Iraq for its quarters here.” When the Consulate of Iraq left, the building once again filled with Asian-related organizations: The Sino-American Amity Fund, the Free Pacific Association and the East Asian Research Institute. Then, later, in the 1980s and ‘90s it was home to the National Catholic Press. Today the Carroll mansion has been dissected into apartments. The castle-like building that the AIA Guide to New York City calls a “dour and forbidding essay in rock-face granite” still demands attention at the corner of 81st Street and Riverside Drive. photo by Alice Lum

Earlier this week, Pope Francis turned 81 years old, and to celebrate, he requested a signature Italian dish.

Last week, the Hugo Awards melted down over unexplained disqualifications. Insiders tell Esquire what really happened—and what it could mean for the future of literary awards.

Owner and Executive Chef Giuseppe Bruno brings a modern touch to the family's longstanding tradition of serving Southern Italian comfort food, using fresh ingredients from local markets. (Sistina, 24 E 81st St, New York. 212-861-7660.)Signed fine art Giclee prints on museum-quality, one-quarter-cotton 280 gsm paper with archival inks are available in two sizes: 5 x 7 for $55 9 x 12 for $95 Editions are strictly limited to 365 copies, and each annotated print is a beautiful reminder that our days are numbered.

We may earn commissions if you shop through the links below. The St. Francis Canoe of About 1910 appears as Figure 81 in the Bark Canoes and Skin Boats of North America. Howard I. Chapelle notes that the canoe features a narrow, rockered bottom, and he notes that the model was popular with guides and sportsmen for forest travel. The almost vertical to slightly flared sides resemble a more modern canoe than some of the other free plans that I posted. Chapelle writes that some of the St. Francis canoes had midship tumblehome like the Malecite canoes, but that those were not marketed to sportsmen. As my Winter Free Canoe and Kayak Plan project draws to an end, I feel like I’m finally gaining ground. With only six weeks left much of Bark and Skin remains unmodeled. The remaining kayaks are more complicated and harder to model than the last few, and lots of canoes remain. I’m torn, because I want someone to build the boats, but I also want to model some of the more — to my eye — bizarre boats, like the Beothuk canoe. If you have a suggestion, get it in. On the donation front, I recently received a $50 donation and very nice letter via the post office. A few other visitors have pitched in a beer or coffee. I even got two six packs. I have about 75 hours into the project. I hope you find it valuable enough to send me cash. I appreciate it. Specifications Length: 15 feet 2 inches Width: 36 inches Depth: 13.5 inches Capacity: 300 to 600 lbs. Linesplans Canoe Building Books These plans don’t include instructions. If you want that, pick up a canoe building book. Canoecraft: An Illustrated Guide to Fine Woodstrip Construction Building a Strip Canoe, Second Edition, Revised and Expanded by Gil Gilpatrick Consider buying The Bark Canoes and Skin Boats of North America for more info about this canoe. For a more, check out my review of canoe and kayak building books. Get the Free Canoe Plans Downloads and Complete Drawing Packages Available Get them here: 1910 St. Francis Canoe Drawings Builder’s Photos See 1910 St. Francis Canoe Builder’s Photos.

Born in Dundee, Scotland, Thomas W. Lamb arrived in New York in 1883 at the age of 12 and went on to study architecture at the Cooper Union. Eventually, after working as a buildings inspector for the City, he established his architectural office, Thomas W. Lamb, Inc. His first commission for a theater came in 1909 from William Fox, who was involved for the fledgling moving picture industry. Within eight years he had designed three more motion picture theaters on Times Square. On March 26, 1913 The American Architect reported that Lamb had filed plans for a "3-sty theatre and stores to be erected on the corner of Broadway and 81st St. for the Fulton Building Co." Construction costs were projected at $130,000, or about $3.4 million in today's terms. Unlike Lamb's projects for William Fox, the 81st Street Theatre was intended mainly as a vaudeville venue, with "photo-plays" as an added attraction. It was completed by the end of April the following year. The Broadway section which held the lobby, ticket booths and lounges was three stories tall. Its dignified neo-Classical style facade was executed in white terra cotta and featured soaring double-height arches flanked by columns and separated by tall Corinthian pilasters. The auditorium directly behind was clad in dull red brick which purposely did not compete with the Broadway showpiece. The theater opened on May 25, 1914, this ad calling "one of the finest vaudeville and photo-play theatres in New York City. The Evening World, May 25, 1914 (copyright expired) In its July 1914 issue Architecture and Building beamed "The new Eighty-First Street Theatre...which has just been opened, is decidedly a step forward in the erection and equipment of a modern vaudeville and photoplay house. The amount of study which has been given and the taste displayed throughout this entire structure is evident, even to the exterior of the building which is of matt [sic] glaze white terra cotta." The lobby was lit by solid brass sconces and hanging fixtures "of white glass in Adam's design." Architecture and Building, July 1914 (copyright expired) The lobby was paneled in Caen stone--a marble-like material--and its ceiling was decorated in "delicate clouded effects." The critic said "On entering the theatre one is impressed with the harmony and refined richness of the entire color scheme." The carpeting and the curtains were deep red. The seats were upholstered in Spanish leather dyed to match. Above the audience was a large mural depicting music and dance. Architecture and Building commented that it "introduces just a sufficient amount of color to give a rich note to the entire color scheme." The main ceiling panel depicted Music and Dancing. Architecture and Building, July 1914 (copyright expired) Acts in vaudeville theaters changed often and patrons visited more than once a week. The proprietors of the new theater quickly established a clever gimmick to keep its customers coming back. On July 2, 1914 The Evening World reported "At the Eight-first Street Vaudeville and Motion Picture Theatre, the management lends umbrellas to patrons in rainy weather." A highly unusual event took place on September 25, 1918. Members of the Screen Club staged a benefit for its house fund. Moving Pictures magazine reported "Many picture people were present. The proceeds for the club came from the sale of souvenir programs and autographed photographs, also the difference in the advance of seat prices." None of that would have prompted press coverage. But then at 11:00 four audience members were selected and brought on stage. While the audience watched, a motion picture was made. Moving Pictures explained "The film was to be 500 feet in all, and will be shown at the theatre October 15-17." The management was rethinking its programming by the spring of 1919. In March Variety wrote "This theatre divides its program with a feature picture, playing three [vaudeville] acts at either side of the film. Through that the theatre confesses that first it is a picture house rather than vaudeville, and secondly it prefers pictures." On September 1 that year the management of the theater was turned over to B. F. Keith, who immediately changed the name to B. F. Keith's 81st Street Theatre. That was the only initial change. Vaudeville reported "The house will open with six acts and a picture, without a headline attraction billed." There were two performances each day, "placing it in the big time class," said the trade journal. Columbia Daily Spectator, December 3, 1919 (copyright expired) Audiences showed their disapproval of vaudeville performers by tossing pennies. On November 1, 1920 a group of well-dressed young men in the orchestra section were caught by booking agent Charles Stockhouse "casting pennies on the stage during the turn of Clayton and Lennie," as reported in Vaudeville. Stockhouse went to the street and found a policeman, who arrested the youths. As it turned out, they were not neighborhood rowdies, but college boys "home from school on an election day week-end vacation." The night court judge "reprimanded the penny throwers, stating to them they stood in no different position before him, though they were sons of wealthy fathers, than any other culprit," reported Vaudeville. "He warned them if a further complaint was lodged against either they would receive a jail sentence." The neo-Classical design of the exterior was carried on within the auditorium. Architecture and Building, July 1914 (copyright expired) Patrons enjoyed the works of the best directors and most celebrated screen stars here. On January 11, 1920, for instance, The New York Herald announced "At B. F. Keith's Eight-first Street Theatre the feature will be Cecil B. De Mille's 'Male and Female,' with Miss Gloria Swanson in the lead. There will be six vaudeville features in addition to the feature." Among the live acts in February 1928 was Rudy Vallée and his musical group, the Connecticut Yankees. The crooner was the equivalent of a pop star of today and drew masses of screaming female fans. The crush of devotees on opening night caused traffic to come to a halt on Broadway. He mentioned the incident in his 1930 memoir, Vagabond Dreams Come True, calling it "the tremendous outburst we received." Stores lined the street level in this 1915 photograph. photo by Byron Company from the collection of the Museum of the City of New York At mid-century the venue had become a full-time motion picture theater, operated by Howard Hughes's R. K. O. Pictures. The New York Times theater critic was less than thrilled with The Lisbon Story on September 6, 1951. Saying that the film "arrived from over the water yesterday afternoon at the R.K.O. Eighty-first Street Theatre, British National Film, the company responsible did neither continent any great favor." He concluded his critique saying "Anyone who pays good money to see this one deserves the boredom he'll get in return." Then, in December 1953, CBS-TV announced it had leased the property. The venue was converted to its first color television studio. Among its most memorable productions here was the 1957 Rodgers & Hammerstein Cinderella starring Julie Andrews. It was the only musical written by the partners expressly for television. The elegant terra cotta building, now named the Reeves television studio, seemed doomed in November 1984 when it was sold to a developer for $11 million. The Landmarks Conservancy pronounced the structure "an excellent example of early classical and elegant movie palace building form." The following spring, however, The New York Times reported "But the landmarking effort was never pursued." It was only the developers, Louis V. Greco, Jr. and Peter Gray, who had formed the Landmark Restorations Company three years earlier, who saved the front of the building. When they purchased the building the television soap opera "Search for Tomorrow" was still being taped there. The firm announced plans for a 22-story apartment tower, Renaissance West, designed by Beyer Blinder Belle behind the gutted Broadway section. The New York Times remarked "Landmark Restorations has made a specialty of projects with a preservationist character, or at least a sensitivity to history." At a time when developers are demolishing vintage structures at an alarming rate, it is refreshing that at least the shell of Thomas W. Lamb's handsome 1914 theater was preserved by one of them. photographs by the author

Gordon Murray’s T.50 supercar gets more power and more downforce in track-only form, and it's now made its public debut at the 81st Goodwood Members' Meeting

81st Street Studio is a microcosm of the Met, condensed and repackaged for the museum’s youngest visitors.

It's time to spice up your Netflix queue with a few programs from across the pond.