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Who knew that the City That Never Sleeps had a narcoleptic neighbor?

As I prepare for some upcoming significant changes to my blog, I provide a sort of “placeholder” article as make the final modifications, which I will soon publicize. The placeholder motif extends to the content of this blog entry, where a window sign serves much the same purpose within its respective storefront. It’s simply announcing

MONTAGE: Stratification across the river.

Late last year I featured an article on the unusual Oxford Valley Mall in Bucks County, Pennsylvania, a mostly upper-middle income suburban region of Philadelphia.  It’s a distinctive mall because it’s simultaneously both low-rent and affluent: it has such high-end tenants as Williams Sonoma or Swarovski, but it also has Five Below, Dollar Hut, and

The state house makes the laws; the state takes it for granted.

I’ve observed in the past how, almost instinctively, we come to expect a certain degree of monumentality in major seats of government, usually the prominent display of a central building that hosts those administrative offices.  In the typical Midwestern county seat, the courthouse provides that landmark—an elaborate masonry building resting in the center of a park-like

Dressing the wounds with paint.

My suspicion is that the majority of the readers here have at least a vague knowledge of the Broken Windows Theory, and how it can apply across a variety of social contexts. For the unacquainted, it’s simple: an inanimate object showing signs of neglect or a general lack of maintenance invites the further degeneration of

In case it was unclear the first time, say it again.

Sometimes what seems like a message conveyed in an embarrassingly stupid manner actually belies a broader array of complicating cultural implications. Take this sign on the side of a private building in an urban neighborhood, for example:The universal symbol for female, coupled with writing emphasizing its exclusivity to that one gender. Was it really so

The exodus is complete.

I will always be apprehensive to post blighted urban scenes on this blog, particularly if it depicts residential disinvestment. First of all, I don’t want to exploit obvious signs of economic distress and poverty when it involves families, and photography can easily be very exploitative; secondly, even if my analyses attempt to deconstruct dire situations

Billboards blowing hot and cold.

After yesterday’s lengthy musings on strip malls, I’m going to spare the readers (and myself) a lengthy polemic on billboard proliferation and ensuing blight. But I had to show this beauty from Atlantic City, NJ, taken on a frigid winter day a few years ago: But what about this particular slab of rotting particleboard? Such

MONTAGE: Stratification across the river.

Late last year I featured an article on the unusual Oxford Valley Mall in Bucks County, Pennsylvania, a mostly upper-middle income suburban region of Philadelphia.  It’s a distinctive mall because it’s simultaneously both

Dressing the wounds with paint.

My suspicion is that the majority of the readers here have at least a vague knowledge of the Broken Windows Theory, and how it can apply across a variety of social contexts. For

In case it was unclear the first time, say it again.

Sometimes what seems like a message conveyed in an embarrassingly stupid manner actually belies a broader array of complicating cultural implications. Take this sign on the side of a private building in an

The exodus is complete.

I will always be apprehensive to post blighted urban scenes on this blog, particularly if it depicts residential disinvestment. First of all, I don’t want to exploit obvious signs of economic distress and

Billboards blowing hot and cold.

After yesterday’s lengthy musings on strip malls, I’m going to spare the readers (and myself) a lengthy polemic on billboard proliferation and ensuing blight. But I had to show this beauty from Atlantic

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