Uploaded December 2011 | Updated September 2026, 2 weeks ago
February 24, 1902 Edison Manufacturing Co.
Direction: Edwin S. Porter
Camera: James Blair Smith
An Edison actuality featuring New York City's bravest taming the smoldering remains of George Durland's Riding Academy on Manhattan's west side. This film was later re-titled and marketed as 'Firemen Fighting the Flames at Paterson', a much bigger fire in New Jersey with a greater notoriety but no cameraman. Some early films used actors and stage sets to tell stories inter-cut with actualities of fire fighters and others in action. Dobson's 1906 film 'Skyscrapers of New York' is one such work with building construction as the backdrop.
Durland's Riding Academy, home to the New York Riding Club, was located on the north side of Grand Circle (renamed 'Columbus' in 1905) at Central Park South in Manhattan (W.60th St. & 8th Ave.) The academy was built in 1887 but was abandoned after subway tunnel construction beneath the building apparently weakened the foundation. After this fire of undetermined cause, plans were proposed by the American & London Hippodrome Company to build a hippodrome theater on the property but this never happened. Trump International stands on the site today.
In 1901, Durland had a new stable designed and built by Henry Kilburn at 7 W.66th St. Today the original orange Roman brick facade of this second Durland academy is visible after having been exposed and restored in the 1990s. Along with other competing stables and academies in the vicinity, Durland did brisk business in what was still an essential part of transportation though it was beginning to change. By 1905 the city's horse drawn omnibuses and cable cars were entirely replaced with electric trolleys. Horses remained the major mode of transportation for fire, sanitation, livery and trade delivery until 1917. -TR
From Columbus Circle "[a] typical horseback or carriage excursion in those days went up through Central Park to West 72d Street, west to Riverside Park, north through that park, east to the Harlem River and then north through the Bronx or back down Seventh Avenue into Central Park."
-source NYT March 28, 1999: tinyurl.com/ck4ucvb
A piece written in 1893 about the 'Fire Laddies' of New York: nycisee.blogspot.com/2010/01/fire-laddies-of-new-york.html
01/01/12 - 57
February 24, 1902 Edison Manufacturing Co.
Direction: Edwin S. Porter
Camera: James Blair Smith
An Edison actuality featuring New York City's bravest taming the smoldering remains of George Durland's Riding Academy on Manhattan's west side. This film was later re-titled and marketed as 'Firemen Fighting the Flames at Paterson', a much bigger fire in New Jersey with a greater notoriety but no cameraman. Some early films used actors and stage sets to tell stories inter-cut with actualities of fire fighters and others in action. Dobson's 1906 film 'Skyscrapers of New York' is one such work with building construction as the backdrop.
Durland's Riding Academy, home to the New York Riding Club, was located on the north side of Grand Circle (renamed 'Columbus' in 1905) at Central Park South in Manhattan (W.60th St. & 8th Ave.) The academy was built in 1887 but was abandoned after subway tunnel construction beneath the building apparently weakened the foundation. After this fire of undetermined cause, plans were proposed by the American & London Hippodrome Company to build a hippodrome theater on the property but this never happened. Trump International stands on the site today.
In 1901, Durland had a new stable designed and built by Henry Kilburn at 7 W.66th St. Today the original orange Roman brick facade of this second Durland academy is visible after having been exposed and restored in the 1990s. Along with other competing stables and academies in the vicinity, Durland did brisk business in what was still an essential part of transportation though it was beginning to change. By 1905 the city's horse drawn omnibuses and cable cars were entirely replaced with electric trolleys. Horses remained the major mode of transportation for fire, sanitation, livery and trade delivery until 1917. -TR
From Columbus Circle "[a] typical horseback or carriage excursion in those days went up through Central Park to West 72d Street, west to Riverside Park, north through that park, east to the Harlem River and then north through the Bronx or back down Seventh Avenue into Central Park."
-source NYT March 28, 1999: tinyurl.com/ck4ucvb
A piece written in 1893 about the 'Fire Laddies' of New York: nycisee.blogspot.com/2010/01/fire-laddies-of-new-york.html
01/01/12 - 57
![A Wake in Hells Kitchen 1903
Filmed July 26, 1900/1903?, on the roof of the Bronx Biograph studio.
American Mutoscope and Biograph Co.
Camera: Arthur W. Marvin
Another ethnic vaudeville routine as with the film A Gesture Fight in Hester Street, only this time its the Irish slum in Hells Kitchen. The neighborhood was home to Irish immigrants starting in the mid-nineteenth century. Like all other immigrant ethnicity, Irish stereotypes were a staple of the vaudeville stage, with the symbol of choice being a voracious appetite for drinking. Even the stiff in the box didnt get enough over a lifetime. Note the fellow playing the wife. Guffaws of laughter! Of course anarchy ensues!
MAN: She thinks lettuce is a proposition!
WOMAN: Someone is fooling with my knee.
MAN: Its me, and Im not fooling!
WOMAN: Im not married.
MAN: Any children?
WOMAN: I told you, Im not married.
MAN: Answer my question!
WOMAN: Hes the father of a baby boy but his wife doesnt know it yet.
From Biograph picture catalogue, Nov. 1902 [MI], p. 39:
This scene is laid in the parlor of a New York tenement. Two watchers at the wake are smoking and drinking, while the widow is weeping over the coffin. The attention of the three is distracted for an instant, and the supposed corpse rises up, drinks all the beer in the pitcher which is standing on a table nearby, and lies down in the coffin again. The mourners return, and seeing that the beer is gone, engage in a controversy over it. During the scrap the corpse jumps out of the coffin and takes part in the melee.
Hells Kitchen, also known as Clinton and Midtown West, is a neighborhood of Manhattan in New York City that includes roughly the area between 34th Street and 59th Street, from 8th Avenue to the Hudson River. The southern part of Hells Kitchen overlaps with the northern part of the Tenderloin District (Chelsea). And speaking of Chelsea in the West Village, heres the Tenderloin at Night 1899: http://tinyurl.com/77uc4cw
Film from the Library of Congress
01/01/12 - 3,389 A Wake in Hells Kitchen 1903](https://i.ytimg.com/vi/w21aCV9aWCM/mqdefault.jpg)
![How a French Nobleman Got a Wife through the New York Herald Personal Columns 1904 (Part 3)
August 26, 1904
Thomas A. Edison Manufacturing Co.
General Grant National Monument (Grants Tomb),
Riverside Drive, Manhattanville, New York
Whoa! Theyre gaining on em! This is the first shot that has him and them in the same frame. Better get some wind in your sails bhoy, those dames look like they mean business and youre the business!
[1:05] Oh no, the edge of the island, trapped! Theres only one thing to do now. Youre gonna have to take the plunge if you dont wanna take the plunge. Hey, you should consider yourself plenty lucky mister. That must be some handshake this guy has! It doesnt seem as if theyll be going away just because hes got wet feet.
[2:10] A winner! Some people and scripts will stop at nothing to get what they want. You just found yourself a lady. Any woman willing to cross the water for you without a boat or a second thought is definitely a keeper. Well! That must be the most lucrative 50¢ any guy has spent on advertising himself in Manhattan. What a letter to home this is going to make! France aint got nothin on New York women. Cie et la vie.....Au revior.....later buddy. How a French Nobleman Got a Wife through the New York Herald Personal Columns 1904 (Part 3)](https://i.ytimg.com/vi/ykz6f5CSIwI/mqdefault.jpg)


![Little Egypt 1896
Fatimas Couchee-Couchee Dance also known as Muscle Dance
Thomas A. Edison / Black Maria Studio 1896 (Kinetographic Theater)
Director: James H. White
Camera: William Heise
Not the original Little Egypt, but one of the later women to go by the name. This is an original Edison film (censored at 0:32) featuring scandalous hips of the 19th century. The censor tag was a concession to earning those pennies and avoiding refusal of distribution on the part of Kinetoscope house proprietors fearful of raids by the moral enforcement thugs of the day. Film historians consider this the first film to suffer so.
From the Midway of Chicagos Columbian Exposition to the Midway of Brooklyns own Coney Island.
Step right up! See Little Egypt and Pharaohs harem of harlots bare it all live on the inside.
The legend and lore of Belly Dance in America most likely begins at the Worlds Columbian Exposition held in Chicago in 1893, the first Worlds Fair in the United States. The main attraction for fair visitors seems to have been the Midway Plaisance, a crowded boisterous main street with rides and a carnival atmosphere that led to the pristine White City of beau-arts architecture and major attractions of serious exhibits.
This was also the fair at which Captain Paul Boyton of Coney Islands Sea Lion Park fame had his start, bringing the idea for Coney Islands first major attraction Shoot-the-Chutes back to New York with him http://tinyurl.com/7j9uhc6. George C. Tilyou, creator of the future Steeplechase Park also came away inspired, having seen a new ride designed and built by Englands G.W.G. Ferris. Tilyou built his own scaled down version of the wheel on Coney the next year.
The Midway itself was filled with representations of cultures and countries from around the world. Among those small self contained cities were a number of Middle Eastern representations including Egypt, Morocco, Syria, Tunisian, Algeria, Turkey and others. But one had an entertainment that became the talk of the town, a show called the Streets of Cairo produced by Gaston Akoun which featured snake charmers, camel rides, and the unfamiliar but attractive strains of exotic instruments.
It was upon the Midway stage before the entrance that performers did their thing in hopes of attracting customers to the foreign magic and exotic treasures within. One such performer was Farida Mahzar-Spyropoulos, a member of The Algerian Dancers of Morocco. As men in turbans accompanied on instruments she and other girls danced a dance formally called Raks Sharki, a traditional dance not so traditional to a culture used to staid formal waltzes and prim propriety. While a number of dancers were usually present to entertain and entice it was Farida .a.k.a. Fatima who apparently shook it best. Here was a specimen of feminine pulchritude showing her bare arms, gyrating in a provocative fashion and probably smiling about it. Women were shocked into gasps of Victorian dismay and men were shocked into undivided attention, and probably smiling too.
Sol Bloom, entertainment director for the expo (and later a Tammany Congressman for New York) had the biggest smile of them all as lots of spectators parted with lots of coin to see more inside. Bloom was quite the impresario, barking ballyhoo and drawing crowds with introductions to watch them shimmy and shake! Known to some as the Music Man he claimed to have improvised the melody on the piano at a press briefing in 1893 to introduce Little Egypt. This became the song most associated with danse du ventre (literally dance of the belly), so named by Napoleons men after seeing this strange entertainment in Egypt after invasion earlier in the century. Bloom never bothered to copyright his composition which he may have swiped from North African or European Orientalist musicians, inspiring later variations and rip-offs with as many different titles: From the Vaudeville inspired Hoochy Koochy to Hoolah! Hoolah!, Kutchi Kutchi, Dance of the Midway, Coochi-Coochi Polka, On the Streets of Cairo: https://www.youtube.com/watch?v=6A5yJ5Z2Ezw&spfreload=10, Kutchy Kutchy and probably the most famous of them, the Snake Charmer [a brief sample: http://tinyurl.com/3s4ev7m] He also claimed to have coined the term belly dance, but this may have been the self promoting hyperbole of a carny. The word coochi was derived from the French couche, past part of coucher which means to lay down. (not sure what laying down has to do with this dance, though I suppose one could easily imagine)
01/08/12 - 50 ระบำหน้าท้อง Little Egypt 1896](https://i.ytimg.com/vi/zxZoXJBILbc/mqdefault.jpg)