You may not recognize the South Beach in these photos. Take a look
While many of the notable Art Deco buildings that give the area its charm were constructed in the 1930s, Miami Beach had a second heyday in the 1950s and '60s, when TV stars including Jackie Gleason helped draw tourists to the town with the backdrop of swaying palm trees and a tropical moon.
A downward spiral that followed in the '70s, which was halted in the mid-80s with another renewal, this time when 'Miami Vice' depicted candy-colored South Beach through a new and flattering lens, equal parts alluring and dangerous.
The area has continued to thrive since then, with a celebrity-fueled club scene, the annual Art Basel influx of money and culture, and a reputation as an international playground.
Let's take a look at South Beach's early days through the photo archives of the Miami Herald:
Ocean Drive
South Pointe
On the street
The hot spots
Schools
Lincoln Road
The area
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New York Post
a day ago
- New York Post
California compound that starred in ‘Basic Instinct' lists for $91.35M — about double its previous ask
Sharon Stone's home in the 1992 film 'Basic Instinct' is up for grabs. The 12,441-square-foot residence in California's Carmel Highlands is part of a sprawling cliffside compound. Listing details ooze Pacific romance — rocky beaches, cypress forests and moody ocean views — and none of it comes cheap. The 5.35-acre property can be all yours for a cool $91.35 million. The Wall Street Journal first reported on the listing. 12 The main residence, known as 'The Lodge,' includes eight bedrooms. Tim Allen Properties / Coldwell Banker Global Luxury 12 Sharon Stone's character Catherine Tramell called The Lodge home in 'Basic Instinct.' ©TriStar Pictures/Courtesy Everett Collection The compound, dubbed Seacliff, sits approximately 8 miles south of Monterey and claims an impressive 1,000 feet of picturesque Pacific coastline. Its grounds, encompassed by a cypress forest, nabbed another Hollywood credit when featured in the HBO hit series 'Big Little Lies,' according to listing materials. 'On the whole, Seacliff is perhaps the most dramatic and inspiring oceanfront property I have ever listed or laid eyes on,' said listing agent Tim Allen of Coldwell Banker Realty in a statement. Owners Gary Vickers, a software entrepreneur, and his wife, Kerry Vickers, attempted to list the compound in 2019 after their children left home, the Journal reported. The $52.37 million listing found no attractive offers, according to the outlet. The family subsequently undertook $11 million in renovations across the property and added an extra 1.31 acres in 2023. 12 The sprawling main residence is just one of six homes on the compound. Tim Allen Properties / Coldwell Banker Global Luxury 12 The lofty living room features floor-to-ceiling windows. Tim Allen Properties / Coldwell Banker Global Luxury 12 Stone and her co-star Michael Douglas in a scene shot inside the home. TriStar 12 A sunlit walkway. Tim Allen Properties / Coldwell Banker Global Luxury 12 The two-story Art Deco library. Tim Allen Properties / Coldwell Banker Global Luxury 12 Steve Fossett, the first man to circumnavigate the world in a hot air balloon, previously owned the property. AP 12 A hidden cold plunge. Tim Allen Properties / Coldwell Banker Global Luxury The 'Basic Instinct' house, called 'The Lodge,' is the compound's main residence. That eight-bedroom abode includes three kitchens and 11 fireplaces, the Journal reported. Luxury finishes overwhelm the interiors — a 1,250-bottle wine refrigerator and a 10-burner stovetop here, a sauna and a steam room there. The Lodge's indoor spa amenities are complemented by an outdoor barrel sauna and a cold plunge accessed by a hidden trail. A Zen Garden with raw jade boulders sits nearby. The Vickerses picked up the main residence and the surrounding land from the estate of Steve Fossett — the first person to circumnavigate the globe in a hot air balloon, and disappeared on a pleasure flight in a small aircraft in 2007. The Lodge's two-story library pays homage to Fossett. The Art Deco room's silver-and-gold-leaf domed ceiling depicts a astronomical mural and its oak bookshelves feature records and photos related to Fossett's voyages. The memorabilia is included in the sale, the Journal reported. 12 One of the property's idyllic cottages, built by the current owners. Tim Allen Properties / Coldwell Banker Global Luxury 12 Each cottage hearth is custom-designed with hand-selected stones. Tim Allen Properties / Coldwell Banker Global Luxury 12 A rustic bedroom. Tim Allen Properties / Coldwell Banker Global Luxury Elsewhere on the property sit four cottages built by the Vickerses, as well as a one-bedroom residence. The cozy cottages features dry-stacked stonework and oversized, bespoke fireplaces. 'For me, Seacliff was like a jailbreak from the toils of commerce I had been conducting over the prior 30 years,' Gary Vickers said in a statement. 'In its creation, I became akin, once again, to the nuances of nature.' In recent years the estate has been used as a luxury villa rental, the Journal reported, with the Vickerses residing in one of the cottages. Since the aborted 2019 sale, Allen told the Journal that interest and prices for surrounding luxury properties have surged. Seacliff's most notable neighbor, actor Brad Pitt, purchased his own Carmel Highlands home less than an eight of a mile down the road from Seacliff for $40 million in 2022.
Elle
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- Elle
'Ridley' Season 2 Filming Locations: Everywhere The Second Season Was Filmed
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San Francisco Chronicle
4 days ago
- San Francisco Chronicle
Review: If you're not OK right now, ‘Are You Okay?' is the show for you
A poet friend once told me that her art form was all about pacing. Break that line, and the reader has to slow down, reconsider. The everyday becomes strange and new. Dance does that with motion, plucking a moment out of time to probe, stretch or overturn our familiar ways of occupying space. Sure, dance says, you could get from A to B as you always would, but why, when the canvas is infinite? The two media have long found synergy in the work of choreographer Joe Goode, whose dancers don't maintain the genre norm of silent, vaguely quizzical expressions. They can talk. Throughout his oeuvre, you hear him picking out and finding the syncopated rhythm in the banal, often inadequate ways we try to connect through words. Linger on something deceptively simple like 'Are you OK?' for a moment, and it seems to bore to the soul and encompass the whole universe at once. That's the title of his latest piece, created and directed with Melecio Estrella of Bandaloop. 'Are You Okay?' is balm for anyone who doesn't always know how to answer that question except by gesturing vaguely at the state of the world — as well as for anyone who's asked it of someone else then felt guilty afterward. Is it not OK to be OK? When you ask it, are you forcing the ask-ee to discourse on climate change and politics, sociology and public health? Did an act of care just become an imposition? Joe Goode Performance Group's production, which opened Thursday, Aug. 14, at the Rincon Center, understands from its opening moments that at a time when a seemingly straightforward question is so fraught, we both need to laugh at ourselves and receive genuine comfort — and that those needs are not contradictory but complementary. There we are, in the post office lobby of the building, with its jade green Art Deco finishes, when barefoot performer Rotimi Agbabiaka stands atop a cube, mic in hand. Forget about polite intros, he bids us. Instead, pretend the show's already over. We were provoked and nourished, confused at times but cleansed. As audience members, 'You did OK,' he tells us, in the godlike tone of a parent tucking a child into bed, and in that moment, you remember: OK actually is enough. The bulk of the show takes place in a showroom where, at first, performers enact solo or duet tableaux, like living exhibits in a museum that you stroll through at your own pace. Voiceover weaves documentary-style excerpts from people in various states of OK-ness: 'I wanted to make sure my kids have at least one living parent.' Two dancers explore a doll-strewn sandbox, sand sifting between fingers in a long stream. Another pair, behind a wrecked car, have the building's window pane between them. As the inside dancer (Molly Katzman) wafts a hand past the torso of the outside dancer (B Dean), you might remember the lonesome childhood lark of lying in bed at night and hoping-slash-fearing that a friend, alien or princess could creep across your sill. In immersive theater, perennial problems include directing spectators' gaze and making sure everyone can see everything in a space not built with sightlines in mind. Here, Joe Goode Performance Group dispatches those obstacles with the economy and elegance of sound and light (including one handheld LED light that has the feel of putting on a show in an attic), as well as with rolling platforms. They're mini elevated stages, but they're also like boats adrift at sea, emphasizing characters' isolation and need to connect. If the dance moves themselves are more muddy than crisp, occasional sequences break through. A knot of bodies expels one upward, in a motion akin to giving birth. Kicks use dancers' feet to skywrite. Lighting designer Jack Carpenter, combining hues of blue orchid and red, suggests the cool center of a flame as performers intone, 'I don't know why I have water falling from my eyes.' Costume designer Sara Estrella outfits three performers in yellow rain jackets, helping them become climate change's floods that send a wide-eyed worrywart (Jessica Swanson) down current with her downward spiral. It's OK to not be OK for small, selfish reasons, the show implies. It's also OK to ask someone how they're doing when you're really just wondering if you yourself will be able to make it. Even in pits of despair, dreams and wonder are still possible. Glitter confetti could fall on you, a partner could metamorphose into a princess and a dress could stretch into a work of architecture. It's possible. Fantasy is the flip side of fret.
