Southern Funeral Home For Sale

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S. Grand & Iron
South St. Louis, MO

The palatial hacienda-style funeral home with “that sign” is now for sale.

This building is absolutely gorgeous, in whole and for its details. The funeral home started in 1908, and they moved into this building in 1929, which was built for them, and is supposedly the first St. Louis structure made expressly for a funeral home.

I’ve always been fond of the mid-century rear addition, loving the juxtaposition between eras. Plus, how can you not love the reiteration of their logo in giant, 3-D (below)?

They’re asking only $375,000 for this massive building, which also includes 2 apartments. I ran into the family that were living in the place until recently, when they had to find a new place to live because the place is for sale. There was a language barrier preventing me from getting any details from them, because I wanted to ask the little boy just how was it living in a funeral parlor. Seems like something a kid would dig, right?

Inside, there’s a beautiful chapel with a stage and seating for more than 200 people. It’s in a commercial district and has tons of parking.

This building is crying out to be a concert club. Think about it: music and food, the owner can live above the business. Because it’s by Carondelet Park, it’s easy to get to from Hwy 55.
So, do we yet have anyone inspired to do something with this fabulous place?

Retro Retail Holiday

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West Florissant & Hwy 270
North St. Louis County, MO

St. Louis hasn’t seen the likes of a Venture sign since 1998. But for the holiday shopping season, much like Gypsy Rose Lee peeling and dropping a glove, Venture teases us with a blast from the past.

One question though: after 12 years, Kmart still won’t spring for real signage?  Nice job, class all the way.

Wish You a Merry Christmas

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How people express their holiday joy to the outside world is what makes this season so special. Last year, more about Emmett suggested I see the light displays shown above and below. You can click the photos to see them enlarged. And Emmett eloquently explains why these are so special, viagra (plus, view shares the addresses).

“There is no display anywhere that comes close. If you are looking for a Wildwood McMansion festooned with lights designed by Himmler’s descendants, purchased in 2010 (and soon to be trash canned), this isn’t your place.

But if you want completely idiosyncratic designs with often-ancient lighting sets carefully maintained by people too poor to buy new ones against a background of housing where no two homes are alike, plus narrow streets and close set-backs so that you can almost reach out and touch the displays … go thither. I will stack the denizens of Lemay up against the trendies in the Central West End, Benton Park, or Soulard for refined artistic sensibilities and pure right-brainism.”

Staying in the immediate South Side area, the light display at Korners is so tasteful and sympathetic to its architecture that it warms my heart on a cold night.

Along Loughborough Avenue, east of Hwy 55, I love this line drawn in the sand (or on Christmas Eve, it would be drawn in the snow!).

The chain of light displays along Holly Hills on the north side of Carondelet Park is a must-see magical moment. Among blocks of gorgeousness, this one above is my absolute favorite. It reminds me of the Avon Christmas album covers that hypnotized me as a child.

I think the magic of this season comes from the memories it constantly conjures. May you be remembering the happiest and warmest ones, and making new memories. And may your days be merry and bright, and may all your Christmases be white!

Woodchopper’s Ball

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Fyler Ave., west of Hampton
South St. Louis, MO

Turning a tree stump into art is charming, as is. Decorate it for the holidays, and it’s off the charts.

Every time I see this, the Woody Herman Orchestra song “Woodchopper’s Ball” goes through my head. Released in 1939, it went on to sell a million copies. If it could be updated with a metal hip-hop arrangement, it would best fit THIS amazing sight….

The photos above and below were sent to me by loyal B.E.L.T. reader Larry Hoffman (thank you!). Homeowners in the Claverach Park subdivision in Clayton, MO cut down a dead oak tree. But rather than waste large chunks of dead tree waiting to be carted off, they had a chainsaw artist turn 25 feet  into this awe-inspiring giraffe! The e-mail says it took him one day to create this fabulous, unique sculpture.

Former Runaways’ singer Cherie Currie is now a chainsaw artist, which made me chuckle upon learning it. But after seeing our local turtle and giraffe, I realize she continues to remain cooler than we’ll ever be. As are these two homeowners!

The U.S. Census & St. Louis’ Over 50 Housing Stock

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American housing statistics from the U.S. Census Bureau are making the media rounds, and the media has already begun taking a negative slant. Take a look at the coverage by the city with the most housing stock over 50 years old, Buffalo, New York. They lead off by slamming New Orleans for the highest vacancy rate.

At least the St. Louis Business Journal’s headline about the statistics focuses on St. Louis. We have the 2nd highest vacancy rate. Here’s their article.  Here’s some St. Louis housing stock stats they break down for easier consumption:

  • Housing units 180,490
  • Occupied units 143,045
  • Seasonal units/units that are not occupied but have been sold or rented 2,514
  • Vacant units 34,931
  • Vacancy rate 19.35%
  • Units built since 2005 1,706
  • Share of units built in past five years 0.95%
  • Units built before 1960 145,264
  • Share of units built more than 50 years ago 80.48%
  • Median year of construction for existing units 1939
  • Median value of owner-occupied housing units $119,900

    • As I hunker down in my home built in the median year of 1939 (another useful stat), I’m afraid to read any other local media outlet’s take on this news, because it will surely be negative – that’s what the media (and reader comments) excels at.  Words have power, and going for the negative spin only holds a benefit for those hell bent on tearing down rather than building up. As these new stats make the media rounds over the next few days, I ask you to consider a positive take on every negative you hear.

    For examples of positive spin, let’s look at a stat like 80.48% of our homes are over 50 years old:
    • Ask most any carpenter or architect and they will tell you you’re better off in a home over 50 because they were built to last.
    • St. Louis is the 3rd most sustainable city in America because of its older housing stock.
    • People move to out city because of the deep and vast character of our original housing stock.
    • St. Louis is proud to have so much of its heritage to show off.

    You get the point.
    Perception becomes reality, the power of positive thinking is that it brings positive results.  Your response to the following declaration will reveal if you’re part of the problem or the solution:

    St. Louis is such an affordable, historic, well-built and handsome city that the vacancy rate is a temporary set back.

    St. Louis Holiday Shopping? Buy Local

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    Today is Black Friday, the kick-off to the holiday shopping season. As we work on lists of gifts to buy for family and friends, let’s consider the importance of buying local: it keeps much-needed money in our community. This is so crucial, that StL is extending the concept one more day to Small Business Saturday.  But imagine taking this Buy Local concept one step further, and buy something made by an actual St. Louisan – you help them pay the bills that helps them contribute to our community, and you give a highly unique gift that makes, say, the Kindle purchased on-line at Amazon seem lazy by comparison.

    I took a look at the walls of my dining and living rooms and realized I have a catalog of just some of the hundreds of options we have for buying local art. I was also pleasantly surprised to realize that I have only St. Louis-made art on my walls. Trust that this was not a conscious decision; I’ve only acquired things that move me deeply, and it just so happens that the people of the city I love also make art that enriches my life every single day.

    Take a look at the vignette above in one corner of my dining room. On the right is “Venus de Milo” by Tony Renner. It’s part of his Birth of the Cool series, 12 paintings inspired by the Miles Davis ( a St. Louisan!) album of the same name.

    To the left of the painting is a 1958 photograph by the late Orville D. Joyner, “Man standing at bar during office Christmas party.” I got it at a July 2006 exhibit of his decade’s worth of work, and even got it signed by Joyner himself! And to the left of that is a piece by my friend Gina Dill-Thebeau, a gifted interior designer whose endless creativity needs multiple outlets .  It is a miniature study of what became a giant 3-piece triptych.

    Sweeping across an entire wall is a photo series by Croatian-born Biljana Erdeg, a.k.a BiBi. Not only is she an evocative portrait photographer, but one of the most artful printers in a darkroom. This series of photos are from a New Year’s Eve 2004 Gypsy celebration we went to. The Romani immigrants are a very closed society, but BiBi had been working on a portrait series with some of them, so was invited to their New Year’s party, and brought along a camera. An entire night of wonderful, musical people made for gorgeous images, and being able to see these memories every day is an endless gift.

    Dominic Finocchio is, seriously, one of the most talented men walking the face of this earth. All who have heard his work with The Love Experts knows he is a moving and accomplished musician, and his art is even, possibly, more moving. This painting, “Roman Statuary,” has so many layers of meaning. After decades of longing, Dominic finally made it to the Vatican museum in Rome, and as he stood overwhelmed by beauty in the Antiquities room, he snapped a photo with a crappy disposable camera before a guard stepped up to stop him. That photo became this painting.

    And BiBi and Gina appear yet again in my dining room. On the left is a photo from a portrait session BiBi did with me. On the right is an oil pastel by Gina from an abstract series she did about motherhood.

    This Marilyn Monroe painting by Demetrie Kabbaz was the culmination of a mysterious and magical relationship with the artist himself. It began with spotting a series of Marilyn (and other icons) paintings in a deserted store front on South Kingshighway (chronicled here), which sparked a friendship (Kabbaz himself hung this painting on my wall!) and a St. Louis magazine article that brought him a tiny portion of the recognition he deserves for his decades of idol worship.

    This is the very first painting I bought, in May 2002. I was stunned immobile when spotting it across the large loft space on Washington Avenue where an art exhibit was staged. I couldn’t stop staring at it… it called up deep, seldom-recalled childhood memories that – now recalled – made me feel warm and secure. I guess from spending so much time staring at it, a lady came up to ask. She took me to the artist, William M. Reznick (is this him, now deceased?), an abstract artist and furniture maker.

    Turns out the painting is titled “Memory Mark,” like a bookmark for memories. It was his interpretation of lying on his back as a child and staring up through the glass-top dining room table at the chandelier hanging above. It was his personal memory, yet had made me do the very same thing – remember abstracts of the past!

    Because he had just finished the painting earlier that day, and because it was his first shot at what he considered realism (so he was a bit nervous about showing it), and my emotionally overwhelmed response to it, he sold me this painting for far less than his other work sold. At the time, it broke my bank to get it, and every day that I see it, I am grateful to have gone without food for a bit to have this in my life.

    And this is the power of art, and the magical connection of St. Louis art. This is my argument for buying local St. Louis art this holiday shopping season. If Santa is reading, I’m missing some St. Louis Smiths on my walls… I need a Brian David Smith and a Dana Smith. And we all need to support St. Louis financially and creatively.

    If you need a kick start into StL Gift Giving, head over to Cherokee street for STL Style and the St. Louis Curio Shoppe. They can set you up with gifts far more valuable than anything at a mall, and also point you in other StL-centric directions. And may your holidays be merry & bright!

    St. Louis Mid-Century Modern Events

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    If you love Mid-Century Modern architecture in general, and St. Louis’ stash of MCM specifically, then set your sites on this coming week. You have 2 opportunities to be with others like you.

    # 1.

    Modern StL makes it social debut on Thursday, November 18th, from 5 – 8 PM at Atomic Cowboy. Our group has put together 25 atomic-minded gift bags which will go the first 25 people who join up. There will be a raffle for two Geneva Jelly Watches. Meet the people who want you to be a part of celebrating St. Louis MCM (that would be the Board Members), and mix and mingle with other folks who absolutely have the best taste in design and architecture because they came out to support Modern StL.

    #2.

    I am very honored to be invited by the Landmarks Association to be the closing act of their  Mid-Century Modern Master Series. On Sunday, November 21st at 3 PM at Landmarks, I present St. Loves MCM: Embracing Recent Past Preservation.  This venerable organization describes it best on their website:

    From Mad Men to Design Within Reach, it seems as if America is embracing mid-century modern (MCM) with a passion.  With the Arch as out global calling card, it’s time for St. louis to embrace and protect its MCM heritage.  Join Toby Weiss as she showcases some of St. Louis’ best MCM buildings and looks at ways to ensure their preservation.

    The lecture will begin at 3:00 PM in the classroom at Architecture St. Louis at 911 Washington Avenue, Suite 170. Seating is limited to 50 people.  We strongly encourage reservations as we cannot guarantee seating without one.  To reserve a seat, please call 314.421.6474 or email: landmark@stlouis.missouri.org.

    It is always a great pleasure to hear from and meet B.E.L.T. readers because we all have so much in common. Now in November, we have two chances to “Gabba gabba, we accept you, one of us!” I hope you can make it to one or (preferably!) both events.

    North St. Louis MCM: North Cote Brilliante Subdivision

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    Shreve & Lexington Avenues
    North St. Louis City, MO
    The St. Louis City Talk blog pegged these houses above when covering the Kingshighway East neighborhood (scroll down 40%), and when I said to Matt Mourning that I wish I knew exactly where they are, he said, “I told you about them in January. They’re at Shreve and Lexington.”  Within a couple days, Chris Naffziger and I were taking in this scene. St. Louis bloggers do not mess around (except when they forget something told to them 10 months ago – what a drag it is getting old!)

    There’s actually 2 perfect rows of these houses, back to back on Lexington and Palm, creating an entire block of mid-century bungalows between Marcus and Shreve. All of them are 1,104 square feet, built between 1962-63, according to City records. The Lexington side also extends one block to the west, where the homes face Handy Park, with half of them of the same vintage, but with a few design variations and a little more space, clocking in at 1,173 s.f.  These new homes were labeled the North Cote Brilliante Subdivision.

    What makes the compact block of North Cote Brilliante so intriguing is what is across the street from them. Shown above is a good sample of what the residents of the 4700 block of Lexington see when looking out the floor-to-ceiling windows of their mid-century pads. These brick boxes date from 1911-1912, and none of them go over 725 s.f. This is standard for this era of single family homes in this area. It’s the mid-century homes that are out of place, in the best way possible.

    Take a look at the aerial map and you see how different they look from their neighbors, with no alley dividing the backyards, and their bright, low-pitched roofs contrasting with the flat roofs all around them. Considering the history and density of the area, it’s natural to assume that similar homes were demolished to build the new houses. But why did they choose to demolish that particular block – plus another near-dozen across from the park – to insert new homes?

    So began the research through old City Directories, which showed nothing at all at these addresses even as far back as 1921. In fact, in 1921, Shreve didn’t even exist as a street south of Natural Bridge, and Palm ended 10 blocks east at Clay Avenue.

    A 1958 aerial map confirms that the sites in question were indeed blank, with Handy Park taking shape at this time. Turns out Handy Park was dedicated in June 1960 in honor of songwriter W.C. Handy, who matters greatly to blues music, in general, and matters specifically to our city because of his seminal 1914 classic “St. Louis Blues.”

    The City made the ordinance to turn this land into a park in 1941, and even at the dedication 19 years later, the houses overlooking the park (shown above & below) were still 3 years away from being built and bought. So why were there sizable swaths of blank land in the middle of this neighborhood for so many decades?

    Tired of pouring through books at the library, I took a delayed shortcut and called my father, Richard, to ask what was up with that part of Kingshighway East. His immediate answer:  Handy Park was once a quarry. He remembered being 8 or 9 (which would be 1940 or ’41) and going with his parents to visit their friends who lived at Lexington and Aubert Avenue, and being specifically told not to go near the quarry which had recently been closed because some boys had been killed while exploring the site. For roughly 15 years, they filled the site with cement and stone to get it to a point where they could build the park.

    His recollection of time period jived perfectly with the City park ordinance, and a quick cyber search verified that indeed there was an awful lot of quarry right there, as shown in the pink dot on the 1904 quarry map, above.  According to Stone Quarries and Beyond, it was known as First Quarry, one of three owned by John B. O’Meara. The official address was at Euclid and Ashland Avenues, and limestone was pulled from it starting in 1876.

    Which means that these homes on Palm – dating from 1926 to 1935 – had a quarry or a vacant dirt lot as their view until…

    …these homes popped up in 1963.

    It’s heartening to know that nothing was demolished to make these small, swanky homes, and it’s intriguing that many homes of this type were going in the North Side. For example, Norwood Square – just 1 mile west of here – went up on the site of a former trash dump. And similar homes (which can be seen here at St. Louis Patina) went up on always-vacant land on both Carter and Anderson Avenues – about 2 miles northeast of here – between 1952 to 1961. There’s also San Francisco Court that went up in 1957, and which will be covered in a future B.E.L.T. post.

    There was a sizable chunk of new post-war housing being built in North St. Louis, yet all the various versions of St. Louis City history never mention this, even in passing. These new developments were a big deal to the people living in the area. In fact, on this block that you see above, there still resides two original residents who moved in to them when they were brand new in 1962.  And note that most of them are in really good condition, which is evidence of decades worth of constant maintenance.

    These houses were a big deal then, and they still matter today. Yet they don’t rate a mention in the developing history of North St. Louis. The story is told as if nothing new and inspiring went on in North St. Louis after World War 2. With a sidelong glance to the Urban Renewers, Red Liners and Paul McKee’s of St. Louis, I ask:
    Why is that?

    No Casino at Chain of Rocks

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    Riverview Drive at 270
    North St. Louis City, MO

    There remains one untouched portion of North St. Louis where you can see and feel the river.  Bike or walk the Riverfront Trail and the Chain of Rocks Bridge, and see years worth of diligent work by Trailnet and Confluence Greenway to give everyone a tranquil taste of the beauty and power of  the Mississippi River.

    St. Louis City Hall and Koman Properties see this same area as empty land ripe for a casino – a way to keep within city bounds the 13th gambling license that was put in jeopardy when the President Casino folded. They have devised a plan for inserting a new casino here that does not take into consideration the people who live here, the people who use this area, and the ecology that makes the area unique. Their plan is not well thought out, and they’re trying to keep it closed to public input.

    This is why the residents of the Chain of Rocks neighborhood and other concerned citizens gathered on October 23rd to stage a photo that will be sent to the state Gaming Commission. And I was honored to be asked to take the group picture (that’s me on the ladder!). Here’s KSDK coverage of the event.

    Barb Floreth,  one of the planners of this event (and a resident of the City’s 2nd Ward in the bluffs above Riverview), wrote this piece explaining their side for Urban StL.

    Together with other neighborhood associations who would be directly impacted by the proposed casino, Barb and her husband Chris Ballew have worked hard to ensure that this project is not a backroom handshake deal. The State Gaming commission has welcomed response from concerned citizens, and will keep that in mind when they make a November decision on which – if any – location gets the license.

    So far, the group has handed out 1,000 pre-printed postcards for us to fill out and send to the Gaming Commission to express your concern. Print out this postcard to help show your support of No Casino at Chain of Rocks.

    Chris Ballew (left), Barb Floreth (seated) are Chain of Rocks neighborhood residents. The man on the bike pedaled to thephoto event from Grand Ave. & Hwy 44.

    If you are familiar with this part of town and this spot at the foot of the Chain of Rocks Bridge, in particular, then you know the 2-lane road that is Riverview Drive. When looking at the drawings and plans for the proposed casino, the residents learned that the developers are only concerned with traffic coming in from Interstate 270. They have not given any thought to who will use Riverview and its existing traffic problems. If the developers have overlooked this crucial factor – how consumers would get to the casino – what else have they overlooked?

    The projected financials are another interesting aspect. Mayor Slay acknowledges that the new casino could bring in $50 million in business from Alton. Basically, that’s poaching business from another casino, right? Which is rather un-neighborly, and highlights the cut-throat aspect of casino competition. No one seems to concentrate on creating NEW clients, just re-routing the same base. And let’s consider human nature: gamblers will flock to the newest casino, but will eventually return to the one closest to their house. The proposed Chain of Rocks Casino will most likely wind up dead in the water because of its remote location.

    But Slay is willing to bet on this project because of the projectd $2 – 11 million it could bring to the City coffers.  But what is the long-term cost of this project? Is it worth decimating everything Trailnet, Greenways and the 2nd Ward have achieved? Is it worth alienating the people who live in this part of town (who happen to be City voters) by literally putting a casino in their backyard?

    The Gaming Commission granted a half hour public meeting about this project, which was more than City Hall or Koman wanted. But the Commission is open to further comment. If you think this proposed casino is a bad idea, please speak up by writing to the Missouri Gaming Commission to let them know you do not want a riverfront casino built in St Louis City at the Old Chain of Rocks Bridge.

    Leann McCarthy
    Missouri Gaming Commission
    3417 Knipp Drive
    P.O. Box 1847
    Jefferson City, MO 65102

    leann.mccarthy@mgc.dps.mo.gov

    Learn more at the blog No Casino at Chain of Rocks.

    Mid-Century Fetish: Elvis Presley

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    Viva Las Vegas. It’s 1964. It’s Elvis Presley and Ann-Margret (I want this picture as a wall mural). Need any more be said?

    Yeah?
    OK, let’s talk.
    We all know the deal with Elvis movies; typical phrases include “cheesy,” “so bad they’re good,” “so awful,” and “flip the channel now, or else!”  The plots are flimsy and recycled movie after movie. Elvis wasn’t an actor, and these things killed his career. And all of this is probably true.

    But I look at it another way. They are harmless fun, Elvis was undeniably hot, even when the song was crap that voice was incredible, and most important of all: They Are Flat Out Gorgeous To Look At! If you can’t buy the other arguments, simply turn down the sound and watch and try not to be transported into jet set modern nirvana.

    Elvis made a total of 31 movies, most of them during the 1960s when they were after the burgeoning Boomer youth market with disposable cash, so they made every effort to be bright, sexy and colorful. All the girls wore the most up-to-date mod clothes and accessories, all the boys are in skinny chinos and the shirts that, today,  go for top dollar at the vintage stores, and they’re all falling in love and dancing up a storm.

    From a design standpoint, this pursuit of ultra mod makes for some of the most captivating modern sets, and locations (like the 1963 McCarran Airport Terminal, above) with all the jet age architectural icons of the ’60s filmed almost as soon as they were built. For instance, his 1963 film It Happened at the World’s Fair is all about finding love and singing songs at the Century 21 Exposition in Seattle, and was filmed on location at the Fair. Meaning there’s the Space Needle and the Pacific Science Center all shiny and new being used as Elvis props! What’s not to love?

    Elvis movies tended to use the same teams of people in rotation, and all the best looking mod Elvis films are art directed by George W. Davis with set decoration by Henry Grace. A little IMDB research shows that Davis and Grace worked together most of the time, including all the Elvis films mentioned so far (and the one below) plus Double Trouble, Speedway (with Miss Nancy Sinatra wearing the most to-die-for wardrobes ever!), Spin Out and The Trouble With Girls. Choose any one of these and see a mid-century master at work, with the ginchiest locations (like the Flamingo Hotel pool, above), or sets made from scratch filled with sinuous curves and lines, and colors that make the eyes feel like velvet.

    Even if you can’t stomach the prerequisite Forlorn Elvis Love Ballad, Davis made sure it looked amazing, like this scene above where he turns a shop-worn boat into a purple riot. George W. Davis was also the art director for films such as Bells Are Ringing, 2 Doris Day flicks (Please Don’t Eat the Daisies and The Glass Bottom Boat), The Courtship of Eddie’s Father, and he did most all Connie Francis movies, and the 2 movies featuring Herman’s Hermits (Hold On! and When The Boys Meet The Girls). His consistency of style was his strong suit… until that style faded away. His last movie credit is in 1972, which means he retired the age of 58. This is one art director who may not have had the patience to endure 1970s realism for a paycheck. So good for him!

    When they move inside to hotel rooms (all the characters in Elvis movies stay in hotels – the best way to go mad with the mod furniture and accessories), every single shot is loaded with details that make it look like a Barbie doll play house come to life. And Elvis and his love interest are usually in the brightest, contrasting colors of all so they have half a chance of not being upstaged by the sets.

    1965’s Girl Happy screams MCM right out of the starting gate, with the craziest cool opening credits. The only plot point that really matters is that it’s set in spring break Fort Lauderdale, Florida, which creates the excuse for THIS….

    To my eyes, this is way better than any masterpiece Renaissance painting. It looks like a painting, doesn’t it? And maybe for this long shot it is. But 60% of the flick takes place at the fictional Seadrift Motel, so they built a 3-dimensional set that should have been billed as one of the stars.

    The exterior set of the motel is all pastels and sharp angles softened by curves, both architecturally and human-wise. These pastels are needed so that…

    …Elvis pops in his bright red and sleek black ensemble. It doesn’t matter what song it is because it’s just the sexy purr of his voice as he saunters around a Hollywood googitude take on Florida beach side motels.

    Come night shots, the aqua water is still, thus introducing the cool, smokey pastels, and check out that floating palm tree in stand! The art direction is so precisely thought out that the pick-up truck that will eventually play an “important” part in this scene is the most exquisite pastel shade of mint green, and they make sure to get a shot of it parked against a pink and white striped wall!

    Many girls cram into the small motel rooms (spring break, remember), making it difficult to get a clear shot of the decor, but you get the gist. And bear in mind that we’ve only looked at two Elvis movies art directed by Davis. I had to stop myself from documenting more of them because, at some point, obsessive behavior is off-putting, and it’s best not to cross that line in public.  But if you’re wanting more mouth-watering mid-century modernism a la Hollywood, simply watch anything where Elvis is swathed in the luscious glow of George W. Davis, and sound on or off, it’s a guaranteed treat.