Lehigh & Susquehanna Railroad Station (1868): An Italianate railroad station that served Wilkes-Barre for a century before it closed in 1972. The Lehigh and Susquehanna Railroad (later known as the Central Railroad of New Jersey) was founded by magnates who conquered the mountains and tapped the Wyoming coal fields.

I’ve been struggling with this location. The reason is this: I often hesitate to reveal locations to the public because their revelation often leads to their destruction. At the same time, there are certain stories that simply have to be told. This is one of them.

In the heart of Pennsylvania coal country at the fringes of a small city is a brewery. The brewery has become a federal building, and its hulking brewhouse still proudly displays the pomp of the Gilded Age. Within the shadows of its countenance is a small, shuttered train station. Like most abandonments of our modern era, this diminutive edifice tells the story of corruption, mismanagement, and the ineptitude of bureaucratic sinecures.

The interior work was top-notch for an era that prided itself on craftshmanship.

The modest Italianate structure facing the railroad tracks along Wilkes-Barre Boulevard was known as the Lehigh & Susquehanna Station (and later the Central Railroad of New Jersey Station). From the outside, it looks like most small-town stations in most rail-towns of mid-19th century America, but looks are deceiving.  Within its walls are awe-inspiring works of original craftsmanship: hand-carved mahogany, hand-laid terrazo, and – perhaps most compelling – a resplendent, curved staircase banister, a spiral exemplar of roccoco. Just look inside this station and you’ll immediately know why it earned its place in, “Great American Railroad Stations.”

The story of this station, however, isn’t told through its beauty. There is a sordid side, too. This station – as it exists in its dilapidated state – is a manifestation of boss politics that still seems to thrive despite the death of the “Tweed” gang and Tammany Hall. Granted, Wilkes-Barre is one among hundreds of cities with rampant corruption. All too often, we pay too much attention to national politics when the true turpitude rests in our local leaders (dare I call them leaders).

Market Street Square, the property in which the railroad station rests, was owned by convicted (and admitted) felon Thom Greco. Greco has been called a real estate mogul by some, but at least one anonymous online comment finds the title humorous. “‘Mogul?’ Really? I’ve sold to that guy 4 times over the last 20 years, and it took threats of all kinds to get my money. I always got, ‘Mr. Greco is unavailable’ from some young woman on the phone.”

But Greco is just a strand of much larger, much more Machiavellian web. Fact is: He was not part of the County Redevelopment Authority, who decided to purchase the station from him in 2005 for $5.8 million. Unlike the commissioners who accepted bribes and extorted flat screen televisions in exchange for Greco’s largess, he wasn’t the guy who had control over taxpayers’ hard-earned dollars. Truth is, to properly tell this story, we have to start in 1868 – when the station was built. Yes, this station has more layers than its recent ignominious decline.

A Product of Pennsylvania’s Coal Boom

When the station was born, the Steam Age was at its apex. Locomotives bombasted their way westward to join the continent by iron rail. The same year that the Wilkes-Barre station was built, the Golden Spike was driven into its Laurel Tie at Promontory Summit, Utah. Suffice to say, the country was hungry for coal – both to power its steam engines, and to cast the increasingly voracious appetite for steel. Wilkes-Barre was conveniently situated between two canals. Getting coal from one canal to another meant that the two waterways had to be connected by rail. These were the Wilkes-Barre station’s inchoate moments.

The rabid enthusiasm of the era was immediately apparent within its original walls and accouterments, but only once I was inside. I was a week into my journey, so it wasn’t easy to elicit any sort of enthusiasm out of me, especially after exploring dozens of awe-inspiring sites-in-decline. The station feigns curiosity with its exterior. Honestly, it isn’t much to look at from the outside. Its embellishments aren’t like a vainglorious wedding cake, but rather like a hollow birthday cake (with opportunity for surprise of course).

Like many cakes, this station also had layers; additions and extensions attenuated its hidden corners and serendipitous potential. In the early 20th century the Central Railroad of New Jersey was the sole leasor of the tracks. Many a luxurious Jersey passenger passed through its hallways. No doubt, the ornate frosting within its walls was spackled on after the fact; fireplaces were later added and aristocratic comforts became prominent. Whereas the early station served the needs of industry, the improved station became the playground of quixotic entrepreneurs, tycoons, and political bosses.

A Grand Train Station in Decline

Those halcyon days quickly came to a halt by the Great Depression. Passenger service precipitously declined while anthracite coal prices plummeted. The CNJ went into receivership for an entire decade, beginning in 1939. By the time it was finally able to emerge from its financial straits, the railroad found itself in the midst of a burgeoning American love affair with the highway. It didn’t take long for the Wilkes-Barre station to receive its final passenger on July 1, 1963. Train NO. 301 feebly rolled into the Wilkes-Barre stop with a single passenger coach in tow; its two passengers exited the car; and, according to railroad historian Ed Gardner, “thus ended a period of passenger service inaugurated 120 years earlier.”

The five decades that followed were largely modest years for the station. Vacant cars – skeletons of an earlier era – stood in a pall-like atmosphere to be eaten away by time. The station itself was painstakingly restored in the mid-70s, and it was placed on the National Register of Historic Places on May 12, 1975. Reading MU cars and Fruit Grower Express cars began to occupy the adjoining lot. Around 1980 it opened as “The Station,” a high-end bar and restaurant. Some of the nearby Reading MU cars were converted into charming Bed & Breakfast-style overnight accommodations.

According to Michael G. Rushton of NEPA Railfan, the place was quite “ritzy” by 1984, and it hosted political functions with expensive, gourmet cuisine. The station was then owned by Marvin Roth, but he passed away and the park was auctioned. A single, lonely plaque bears the Marvin’s (and the station’s?) epigraph: “Marvin Roth, a local entrepreneur, rehabilitated this edifice so posterity may forever enjoy its presence.”

The Choo Choo Inn (the train car sleepers) were phased out, and “entertainment magnate” Thom Greco acquired the property. “The crowd started changing,” Said Michael Rushton. “It was not the college crowd, but thugs from out of town… There were shootings, stabbings, robberies, fights, breaking into cars.”

Its final incarnation was as Banana Joe’s, a restaurant chain with cocktails and American fare. Rushton said nobody really went to it, and for “whatever reasons, it failed.” The nearby rail cars met a similar fate. By this time they had become occupied by the homeless and were the victims of fire at least twice a week. Such was the state of the Station when the Luzerne County Redevelopment Authority considered buying the property in 2005.

Rebirth as Market Street Square and Chess Piece in Corruption

By early 2006 the Luzerne County Redevelopment Authority decided to purchase the building for $5.8 million. By then, it was dilapidated and in need of millions in restoration work. It soon became apparent that the Authority had purchased a white elephant, and it stands to this day an embarrassment to all taxpaying Luzerne County citizens. Even more egregious are the stories of the men embroiled in this controversy.

Thom Greco worked with numerous Authority commissioners in the negotiation for the building’s sale.  Soon after it was sold, Greg Skrepenak asked Greco for $10,000 worth of flat screen televisions, presumably for his father’s sports bar.  Greco complied, but when he asked for payment, Skrepenak alluded to the fact that the televisions were recompense for the county’s purchase of the Market Street Square Station. Unfortunately, Skrepenak is difficult to reach these days… He’s in jail for accepting $5,000 in bribes for another completely separate deal with a developer.

Skrepenak wasn’t the only Redevelopment Authority official to be tied up in legal trouble. Back in 2005, Allen Bellas was drumming up the purchase of the Railway Station in the local newspaper. “It’s going to tie into all the downtown projects. It’s obviously going to help out the passenger rail service.” Of course, five years later, the station is still not helping out passenger rail service and is far from helping downtown Wilkes-Barre. As for Allen Bellas, who was then the Executive Director of the Redevelopment Authority, he’s in jail for a $2,000 bribery scandal that’s unrelated to the Station. Even the owners of the property leased to Big Ugly’s Sports Bar (the Bar that received the tainted $10,000 worth of flat screen TV’s), were ensnared in October of 2009 for paying a $1,400 bribe to Gerald Bonner and William McGuire, both one-time bureaucrats in the Luzerne County Housing Authority.

All of these events transpired so quickly that the Redevelopment Authority had to respond with its own Public Relations campaign. Their first order of business was to verify the accuracy of the price they paid for the station. This is generally done by using two neutral real estate appraisers. Before they purchased the property, they chose Stanley Komosinsky and Alan Rosen, neither of whom appear on the roster of the Appraisal Institute (the nationally recognized professional organization for appraisers). Perhaps not coincidentally, both appraisers valued the property at exactly the same price: $5.74 million. And it gets even deeper: Alan Rosen works for the real estate company owned by the Mayor of Wilkes-Barre, Thomas M. Leighton.

A Dilapidated Symbol of Corruption

These days, the Central New Jersey Rail Station (now euphemistically known as “Market Street Square”) sits in neglect. But the station serves as a very salient symbol of bureaucracy run amok and the loss of accountability in local government. It’s highly likely that the men involved with embezzling the public coffers in various ways will receive nothing more than a few months in jail and a slap on the wrist. They’ll return to their lives agrandized by the lucre from the backs of their constituents.

The fact still remains: It is a beautiful building, filled with wonders, curves, craftsmanship, and symbology. If one spends moments inside of this grand structure, one is easily transported beyond the depressing story of how it came to be what it is. I left the disheveled box cars that line the building and walked back to my car. When I photographed it, I was oblivious to its history; and in those innocent moments I had truly discovered a different world inside of a tiny little train station among the once-prosperous anthracite valley of Pennsylvania.

Sources

http://www.northeast.railfan.net/ls.html
http://www.mtn-top-hs.org/njcrailroadhistory.pdf
http://nepa.railfan.net/articles/mssid.htm
http://www.allbusiness.com/legal/criminal-law-plea-agreements/13223135-1.html
http://purebunkum.com/?p=3352
http://sightsonpennsylvania.blogspot.com/2010/05/great-train-robbery-part-1.html
http://www.trainboard.com/grapevine/showthread.php?t=75059
http://www.allbusiness.com/legal/criminal-law-plea-agreements/13223135-1.html
http://www.timesleader.com/news/2-appraisals-performed-on-station-tracts.html?showAll=Y
http://www.timesleader.com/news/2_appraisals_performed_on_station_tracts_07-28-2010.html
http://citizensvoice.com/news/greco-pleads-guilty-admits-knowing-of-gratuities-1.904564

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Editor’s Note: What follows is a retrospective of the controversy surrounding an abandoned site in a secluded spot near the Chevron refinery in Richmond, California. Since I moved to the small city in the East Bay, the site has been on my list of places to photograph.  But Point Molate also represents a darker side of city politics that few are willing to talk about. Interspersed with photos of the abandoned “castle,” I’ll tell you about the very prescient influence of Indian Gaming on city politics in California.  I hope you enjoy.

Plagued with the highest homicide rate on the West Coast, Richmond, California often gets the brunt of bad media attention.[1] The East Bay city of 100,000 is gripped by the problems of urban blight and industrial legacy. On the North side of town is the Chevron oil refinery.  Since 1902, its effluence has seeped into the surrounding air. The winds from the San Francisco Bay sweep across the former Bay island of Potrero (now a peninsula) and carry refinery pollutants towards the impoverished neighborhoods to the East.  But on the West Side of the Chevron refinery is the city’s best kept secret – a small, little-developed waterfront stretch of 423 acres that reached the BRAC cutting room floor during Clinton-era military cutbacks.[2] As a result, a former military fuel depot has fortuitously landed on the City of Richmond’s doorstep.  This gift – sold to Richmond for $1 in 2003 – has quickly become a veritable ‘toxic asset’ for the city, which now finds itself at the center of controversy and competing interests.[3]

The 423-acre plot at Point Molate represents the very distillation of the struggle between Use Value and Exchange Value in local land use politics. At stake is a billion-dollar Native American gaming project; the interests of a coalition of environmentalists, municipal parks, and biking groups; the third most profitable corporation in the U.S.; and a slice of the $5.1 billion Native American gaming industry in California.[4] Few other examples in California development history portray the intricacies of local land conflict as much as the conflict over Point Molate; knowing that, this paper will assert that Native American gaming compacts present some of the most controversial and challenging problems of modern urban planning history, and their implementation lacks the consensus that serves the best interest of most communities. Ultimately, Point Molate represents the continuing struggle between community autonomy, Federal law, and big business.

Brief History & Background

Point Molate began its life of land use over 5,000 years ago, as a home to the Ohlone tribe. The Native inhabitants left behind shell mounds (heaps of discarded shells) as evidence of their presence.[5] The Guidiville Rancheria band of Pomo Indians say this is definitive justification for the land’s designation as federally recognized reservation; however, opponents – including Randall Milliken, Ph D. of Davis, California – claim that the same justification refutes the claim made for the Point Molate casino. “Pomo Indians have no traditional cultural connection with lands on the east side of the San Francisco Bay,” writes Milliken in his letter, which is included in the draft EIR. “It was the homeland of the Chochenyo Ohlone speaking people and remains the homeland of their descendants today.”[6]

Richmond’s industrial base was born when Standard Oil Company moved into the East Side of what was then Potrero Island.  The surrounding hills served as a perfect, terraced holding-place for a large tank farm, which was continuously replenished through oil tanker arrivals at the nearby pier in the San Francisco Bay. Prior to 1900, the unique geographic assets of Potrero Island (which had become a peninsula in the early 1900s) led to its formation as a Chinese shrimp camp;[7] after 1906, Point Molate was further exploited by the growing shipping needs of the California Wine Association, whose headquarters in San Francisco was devastated by the Great Quake.[8] The California Wine Association – once the “world’s largest winery” – had gone largely out of use during Prohibition. By 1941, the United States Navy entered the fray.  War-time demand for petroleum meant that Point Molate would be ground zero to store and distribute oil for the Pacific Ocean theater of operations at Iwo Jima, Marshall, American Samoa, Bikini, and beyond.

Chevron

Since 1902, oil has played a major role in the development of the Point Molate area. As one of the earliest industrial heavyweights in California, Standard Oil’s Richmond Refinery used the promontory of Potrero Island to their advantage, eventually becoming “one of the world’s largest refineries.” Today, Chevron produces 243,000 barrels a day from its Richmond facility; the company boasts of contributing $61 million to community development in the city of Richmond.[9]

Chevron is just as vehement as the Guidiville Rancheria tribe in establishing their interest in Point Molate. In fact, the company hired former San Francisco Mayor Willie Brown to lobby for them with the Richmond City Council.[10] Community leaders contend that Chevron’s interests in the land are to provide a “buffer” of security between their refinery and any further human habitation.

Gary Fisher, a Chevron external affairs manager noted that wildfires and security are some of Chevron’s top concerns. “The opportunity for trespassing and vandalism, including an avoidable increased risk for a potential terrorist act directed towards the refinery, increases with public access,” Fisher wrote.  What Fisher doesn’t mention is perhaps the most compelling reason for Chevron’s interest in the land: Liability and the concern of class action lawsuits. According to an environmental report from the Navy, “an ammonia leak at the refinery could create a toxic cloud,” which would endanger the life of anyone who is nearby.[11]

Chevron offered the City of Richmond $83 million for Point Molate (in addition to the ongoing property taxes assessed for the property) making it the most lucrative up-front offer for the land (the Guidiville Band offered $50 million).[12] Chevron maintained that it intended to keep the land as a privately owned open-space preserve. This produced an unlikely partnership: Environmental groups that are generally “anti-Chevron” joined forces with the oil company to oppose the Point Molate casino project.

Development, Investment Interests and the City of Richmond

Even more powerful than Chevron were the development special interests. They were able to provide the promise of long-term revenue and infrastructure improvements for the cash-strapped city of Richmond. Point Molate development interests are largely represented by their ‘patriarch,’ Jim Levine. Levine is a successful Berkeley developer who made his riches in the toxic cleanup market. The development interests – not the Guidiville tribe – were the first to conceive of Point Molate as a casino Mecca. According to the Berkeley Daily Planet, Levine’s Upstream Development Company “went out and recruited [the Guidiville]… to take the land as a reservation and claim formal ownership of the land.”[13]

Surely, money was a big part of the motive for all parties involved. The city of Richmond hired a consulting company to analyze the casino potential of Point Molate – most telling was that the city did this before they received ownership of the land from the Navy. What the consultants found was a gold mine for the city, but more importantly, for the developers. The report estimated $500 million in economic activity each year; Upstream signed an agreement that the city would receive $20 million annually.[14]

Early in the process, Levine contacted the Canadian Imperial Bank of Commerce (the “leading lender in the world of tribal casinos”); and, ultimately, Harrah’s signed on as financial partner.[15] Thus, the world’s largest gaming corporation had come into the fray, along with Levine and other financial backers. Further cementing the backing Levine’s Upstream had in government circles (particularly in obtaining reservation status from the Bureau of Indian Affairs and approval from the State of California), the powerfully connected William Cohen, Republican from Maine who was Secretary of Defense under President Clinton, joined the team as “consultant.”

In the midst of it all, Levine sold his plan to the public through a combination of promises of largesse (3,000 onsite jobs, 3,600 offsite jobs and 1,000 construction jobs); ^[16] environmentalism (Levine greenwashed the development as the “greenest project ever erected in California”);[17] and rehabilitation of the historic Winehaven buildings (probably to appease the Design Review Board).

Of course, along the way, there was plenty of opposition. Some opposition to the Casino Plan hailed from the County Board of Supervisors (who retracted their opposition upon learning that they – too – would receive $12 million a year from the casino).[18] Later, the State of California filed a lawsuit against Upstream; Governor Schwarzenegger’s office penned a letter to the Bureau of Indian Affairs and Richmond’s mayor, saying the project “undermined the constitutionality of California’s Indian gaming regime.”[19] The state cited Proposition 1A as reasoning for their opposition, and Senators Dianne Feinstein and Barbara Boxer wrote to the Secretary of Interior that they had “serious concerns about the recent practice of tribes and municipalities seeking advantageous gaming opportunities on lands that are not traditionally tribal lands.”[20] It all culminated in April of 2005, when the State Attorney General’s Office joined a lawsuit with Bay Area park agencies against Levine’s Upstream and the city. The suit claimed that that the sale of the land failed to adhere to the California Environmental Quality Act (CEQA). An Environmental Attorney for the Attorney General’s Office, Janill L. Richards spoke for the Attorney General’s office, saying that there was not adequate review “before a decision [was] made on an important piece of public property with significant public interests.”[21]

For a while, it looked like the project was dead in the water, but City Council member Gayle McLaughlin  (who opposed the project) said that the city – perhaps a bit too giddy with their newfound wealth – had already spent some of the $15 million in deposit money that Levine and his partners paid early in the process.[22] Upstream simply restarted from scratch, hiring consultants to draft a behemoth 3000-page Environmental Impact Report. Perhaps most telling about the project, however, came through silence that followed.  There was relative lack of large-scale community involvement in opposition to its plan. Perhaps the Environmental Impact Report was just too long?

Local Environmental Groups/Citizen Groups/Historic Preservation Groups

If one were to read the news reports of the project, one would get the sense that the project was a well-conceived plan with little public opposition – if a bit susceptible to the whims of bureaucratic rigamarole.  Of the dozens of newspaper articles that describe the controversy, very few – if any – include comments from actual community members. In the case that community concerns are cited in stories, it’s usually in the form of concerns that the project won’t go through.  And even in the rare case that community opposition is cited it’s actually community members from communities other than Richmond. It appeared that Richmond wasn’t the developers’ only target – it was simply the most convenient. Napa resident John Salmon, who is a partner with Levine in the project, originally was strongly against casinos in a talk in 2005 to Napa Rotarians. Apparently, Salmon said that the Richmond casino was a good deal for the Napa Valley, because it would relieve pressure that might otherwise lead to a gambling in the middle of Wine Country (where the Guidiville Pomo actually did originate from). The March 5, Napa Rotagram quoted Salmon as saying, “Molate will bear a likeness to Ghirardelli Square, and with its high-end qualities, will take the pressure off Napa and other North Bay locations that may face future casino proposals.”[23] Additionally, The Guidiville had originally proposed a casino in nearby Solano county, but the Board of Supervisors were adamantly against it – along with all community members in attendance at the meeting.

However, the absence of community involvement portrayed in the media isn’t the entire story. When one looks at the appendix of the Environmental  Impact Report – nearly 2000 pages by itself – the true community opposition reveals itself fully.  In Section 4 of Vol.  2, starting at page 74, the public review documents are displayed – over 400 pages in all; many of them state ardent opposition to the plan. Members of the community cited crime, traffic, gambling problems and the need for open space. But towards the end of Section 4, is the impassioned transcript of James Easter, who has lived in Richmond for 57 years. His words sum up – I think – the very real issue of Indian Gaming, and ultimately it arrives at the crux of my thesis and the true reason why communities are most often affected negatively due to Indian gaming, despite their presumed tax bounty.

“So what – I’m against Point Molate. I have been to a casino six or seven times in my life. I don’t consider myself a gambler, but I go through.  I do know that there’s a time and place for all things. It’s hard for us on the South Side. We can’t even get a decent shopping center down there… I’ll donate a little bit of money to the Indian Affairs. And I’m not against Indian gambling, but it seems strange to me that Indians got[sic] so much money to do all of this all of a sudden… I’m against a casino here, because it won’t bring no dollars. We lost Safeway. We lost Ford Motor Company. We lost all the big jobs. And now we’re broke and going to bring a CASINO? I’m against it.”[24]

Footnotes

[1] “Richmond leads per-capital murder rate in California.”

[2] BRAC – which stands for “Base Realignment and Closure,” was an Act of Congress in 1988. The Act helps return former military bases to public and community use.

[3] “BRAC – US Gov,” para. 3.

[4] Korosec, “Exxon, Chevron Win in a Loser Year for Top 500 Companies | BNET Energy Blog | BNET”; “Indian Gaming in California.”

[5] Santiago, “Betting on Point Molate.”

[6] “Draft Environmental Impact Statement / Environmental Impact Report,” 138-139.

[7] Weinstein, “Storming the Castle,” para. 10.

[8] Fronistas, “Before Napa, there was Winehaven,” para. 3.

[9] “Chevron Energy and Hydrogen Renewal Project,” para. 6.

[10] Vega, “Point Molate Casino On Track After City Council OKs Proposal,” para. 3.

[11] Williams, “Point Molate: Waterfront Dream or Terrorist Nightmare?,” para. 6.

[12] Rosen Lum, “ChevronTexaco Hires Willie Brown to Undo the Deal,” 10.

[13] Brenneman, “Berkeley Developer’s Big Dreams Dominate Richmond Landscape,” para. 16.

[14] Simerman, “County ready to back Point Molate casino plan – ContraCostaTimes.com,” para. 8.

[15] Brenneman, “Berkeley Developer’s Big Dreams Dominate Richmond Landscape.”

[16] “Richmond OKs Point Molate casino project,” para. 6.

[17] Brenneman, “Point Molate Casino Gets Fast-Track Status,” para. 4.

[18] Simerman, “County ready to back Point Molate casino plan – ContraCostaTimes.com,” para. 1.

[19] Hoch, “Governor Letter Against Pt Molate,” 1.

[20] Tam, “Sides still divided over Richmond casino-hotel plan’s potential impact – Inside Bay Area,” para. 17.

[21] Brenneman, “State Attorney General Joins Point Molate Casino Fight,” para. 5.

[22] Ibid., para. 19-20.

[23] Brenneman, “Lawsuit Challenges Point Molate Casino. Category: News from The Berkeley Daily Planet – Thursday January 29, 2009,” para. 31.

[24] “Draft Environmental Impact Statement / Environmental Impact Report.”

Sources

“BRAC – US Gov.” Government. http://www.bracpmo.navy.mil/basepage.aspx?baseid=50.

Brenneman, Richard. “Berkeley Developer’s Big Dreams Dominate Richmond Landscape.” Berkeley Daily Planet, April 26, 2005. http://www.berkeleydaily.org/issue/2005-04-26/article/21243?headline=Berkeley-Developer-s-Big-Dreams-Dominate-Richmond-Landscape-By-RICHARD-BRENNEMAN.

———. “Lawsuit Challenges Point Molate Casino. Category: News from The Berkeley Daily Planet – Thursday January 29, 2009,” January 28, 2009. http://www.berkeleydailyplanet.com/issue/2009-01-29/article/32111?headline=Lawsuit-Challenges-Point-Molate-Casino.

———. “Point Molate Casino Gets Fast-Track Status. Category: Front Page News from The Berkeley Daily Planet – Thursday June 12, 2008.” Newspaper, June 12, 2009. http://www.berkeleydaily.org/issue/2008-06-12/article/30235?headline=Point-Molate-Casino-Gets-Fast-Track-Status.

———. “State Attorney General Joins Point Molate Casino Fight.” Berkeley Daily Planet, April 22, 2009. http://www.berkeleydailyplanet.com/issue/2005-04-22/article/21212?headline=State-Attorney-General-Joins-Point-Molate-Casino-Fight-By-RICHARD-BRENNEMAN&status=301.

“Chevron Energy and Hydrogen Renewal Project.” Corporation. Chevron, Spring 2009. http://www.chevron.com/products/sitelets/richmond/renewal/.

“Draft Environmental Impact Statement / Environmental Impact Report.” http://www.pointmolateeis-eir.com/documents/draft_eis-eir/report.htm.

Fronistas, Phoebe. “Before Napa, there was Winehaven.” Blog. Richmond Confidential, October 13, 2009. http://richmondconfidential.org/2009/10/13/before-napa-there-was-winehaven/.

Hoch, Andrea Lynn. Letter. “Governor Letter Against Pt Molate,” October 12, 2009. http://docs.google.com/fileview?id=0B2Vh92XtfvhnNWRkYjNmMTktMjFkYS00NDVlLTk4NjItYTdhNTU3OTA0NTU4&hl=en.

“Indian Gaming in California.” http://igs.berkeley.edu/library/htIndianGaming.htm#Topic1.

Korosec, Kristen. “Exxon, Chevron Win in a Loser Year for Top 500 Companies | BNET Energy Blog | BNET.” News. BNET, April 20, 2009. http://industry.bnet.com/energy/10001114/exxon-chevron-win-in-a-loser-year-for-top-500-companies/.

“Richmond leads per-capital murder rate in California.” San Francisco Chronicle, June 10, 2008. http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2008/06/10/state/n103604D95.DTL.

“Richmond OKs Point Molate casino project.” Contra Costa Times, November 10, 2004. http://www.tombutt.com/forum/2004/041111.htm.

Rosen Lum, Rebecca. “ChevronTexaco Hires Willie Brown to Undo the Deal.” Contra Costa Times, November 11, 2004.

Santiago, Chiori. “Betting on Point Molate.” Bay Nature, 2005. http://www.baynature.org/articles/jul-sep-2005/betting-on-point-molate.

Simerman, John. “County ready to back Point Molate casino plan – ContraCostaTimes.com,” October 31, 2009. http://www.contracostatimes.com/ci_13685421?source=most_emailed.

Tam, Katherine. “Sides still divided over Richmond casino-hotel plan’s potential impact – Inside Bay Area.” Oakland Tribune, September 19, 2009. http://www.insidebayarea.com/news/ci_13368891.

Vega, Cecilia. “Point Molate Casino On Track After City Council OKs Proposal.” http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2004/11/11/BAG869PFRE1.DTL.

Weinstein, David. “Storming the Castle.” Preservation Magazine, July 25, 2009. http://www.preservationnation.org/magazine/story-of-the-week/2003/Storming-the-Castle.html.

Williams, Susan. “Point Molate: Waterfront Dream or Terrorist Nightmare?,” October 9, 2009. http://www.baycrossings.com/Archives/2003/09_October/point_molate_waterfront_dream_or_terrorist_nightmare.htm.

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"Ghost Ships" An Image of the J Row of the Mothball Fleet, with the U.S.S. President at the forefront - © Amy Heiden

Floating in the brackish waters of Suisun Bay is a fleet of decaying ships, many which have outlived their useful lives. Known as the Ghost Fleet, a few of these ladies of the deep have survived long enough to serve in three wars.

Gaining access to these closely-watched vessels is a privilege given to a chosen few. Fellow photographer and friend, Amy Heiden, was one of those few – and her recent story about visiting one of the ships (the AS-32 U.S.S. Holland, a 1960s-era Hunley-class submarine tender) is recounted in vivid detail on her website.

The U.S.S. Holland in Spain - Courtesy USSHolland.org, via Amy Heiden.

Amy’s trip to the Holland holds a special place in my heart, particularly because I’m somewhat obsessed with the history of all things nuclear and radioactive. Just browse around this site, and you will become well aware of my unhealthy obsession. So, it goes without saying that her experience on the ship was a true treat. After all: The Holland carried Poseidon warheads – gigantic, menacing submarine-based rockets that traveled 8,000 miles per hour with a payload of up to 14 reentry vehicles (viz. nuclear warheads!). But let’s allow Amy’s words to speak for themselves, shall we?:

“As we descended down a ladder, I reached up to turn on my headlamp, only to discover that we were immersed inside the mess, surrounded by plastic blue tables and yellow seats. Our flashlights blinded our eyes as the beams reflected off the metal cabinets covering the walls. Across the room, I noticed an old soda fountain, complete with drink labels that appeared to have been typed by a computer.”

Later, as Amy follows a cadre of experienced mothball aficionados inside the Holland, she is showna gigantic cargo hold that vertically spans the entire keel of the ship. According to the interview she conducted with a former crew member, the space she saw once held the radioactive waste-water of nuclear-armed submarines. Of course (we can only hope!), Amy arrived in this space long after its cleanup rendered it safe to explore.

"Vertigo" - the once-radioactive modified hull of the U.S.S. Holland a Vietnam-era submarine tender - © Amy Heiden

Amy’s experience is just one of many she’s had. In all she’s taken nearly a half-dozen journeys out to the mothball fleet. And her important documentation couldn’t have come at a better time. The Obama administration – rightly so – has made the removal and dismantling of the toxic ships a top environmental priority. As a result, MARAD is scrambling to find suitable shipyards that will recycle the ships in the most environmentally benign manner. In the last few months, two of the ships that the Suisun Bay fleet hosted have been cleaned and exported to the shipyards in Texas. It’s likely that – soon – Mare Island Naval Shipyard (an abandoned and mothballed naval shipyard in and of itself) will be another facility equipped for handling this delicate and important task.

This image - generously provided through the exhaustive research of Amy, and courtesy of MARAD - shows the Naval Defense Reserve Fleet (NDRF) in the 1950s, when 400 ships were moored along the shores of Suisun Bay.

At one point soon after the second World War, the NDRF fleet held 2,277 ships. Today, that number has dwindled to 230 ships (between 2003 and 2007 alone, 44 ships were removed from the fleet). I’m honored to know someone who has taken up the important task of documenting these relics of history before they’re gone forever. I hope you will take a look at Amy’s story. Do browse around, too, if you have the inclination; Amy’s dedication to photographing the pieces of the past extends far beyond the fascinating journey she narrates in her story about the Holland – nay, even her trips to the NDRF.

Further Reading

Amy’s detailed narrative of visiting the fleet

KQED’s map with history and citations of ship names and dates

San Francisco Chronicle : NDRF cleanup efforts

Related posts:

1. Mothball Fleets and the SS Red Oak Victory
2. Inside a Titan 1 Missile Base
3. Auschwitz “Death Camp” Blueprints Discovered in Berlin Apartment

It’s easy to forget – at least for me – the proximity with which our current times coincide with one of the most monumental eras of our modern time. What I speak of is the era of the atomic weapon.

It was only 60 years ago that the doomsday machine was set into motion and Oppenheimer had managed to turn a desert experiment into a national source of pride (which ironically also became the very subject of national paranoia). With the atom, we had managed – if only for that brief moment before the Soviets had discovered the same route – to command primacy in the world stage, unfettered by jingoist competition.

An image by LIFE photographer Ralph Crane, from an unpublished assignment on ICBM missile sites in the 1960s.

But what really has me reeling is not the fact that I underappreciate its proximity to my own generation, but the fact that my own generation knows little or nothing about Nikita Khrushchev, Operation Crossroads, Nagasaki, or Hiroshima.

Today we take little note, yet the undercurrents of a post-atomic society are more relevant than they’ve ever been – they manifest themselves in color-coded threat levels, between the margins of network news, and within the very fabric of our modern think tanks. It’s a purely Hegelian wellspring that runs below the surface of American society, but in its seemingly diminuitive nature, it affects every aspect of our politics.

The satellite photo, taken by GeoEye, shows a nuclear enrichment facility at a military site about 20 miles north-northeast of Qum, and 100 miles southwest of Tehran, Iran.

The fact that Iran is about to have one doesn’t seem surprising any more. After all, North Korea is about to have another and it seems to be the modern day mark of Progress for any self-respecting nation. If not a deterrent, it surely is a bargaining chip.

What I saw tonight reopened my eyes to its true meaning. As a collection of ephemera, gathered together from various war department films, promotional spots, talk shows, and propaganda shorts, Atomic Cafe brings you into the mindset of the 1950s – a time when rapid expansion of the federal government led to Eisenhower’s sober warning about the military industrial complex (when a former general – a war-man – decries the unsustainable rise of a state-sponsered defense industry, well, one just has to listen). Isn’t Eisenhower the man who connected all of these atomic bases by a national highway system?

This film is true because it is unaltered and free from the commentary that taints most documentaries these days. It’s not very often that a film simply speaks for itself. Even the modern documentary is rife with shaky secondary sources and personal, impassioned, commentary from the filmmaker. Though Atomic Cafe has no qualms with establishing its strong stance, it’s a very believeable and naturally affinity-inducing stance.

As an explorer, I often find myself in the creations of that era. I did not live through that time. I have no recollection of what it must have felt like – or how my mind would have wrapped itself around the anima in the air. What I do have, as a humble explorer, are my experiences as an observer and analyzer who has catalogued dozens of these places (from the deepest of contaminated ICBM silos to the tallest industrial escalator). In the former, I had stood in front of the 40-foot-wide 150-foot-deep cylinder in awe of its size and demeanor of power; in the latter, I ascended the rusty escalator links to get a birds eye view of where ships contaminated by nuclear tests in the Bikini Atolls were dismantled.

Atomic Cafe reminds me of a project that has special meaning to me: The collection of dying archival materials – many of which are finding themselves vanishing in the midst of the sheer volume of their existence. And two individuals who have adopted this much-needed cause are Rick and Megan Prelinger. The two of them maintain the Prelinger Archives, a collection of ephemera that has recently taken the notice of the Library of Congress.

It didn’t take a nuclear standoff to destroy much our nation’s cultural heritage – much of it simply vanished because of neglect. For example, the Library of Congress says that only 1 in 10 films made before 1928 exist today. Thankfully, what is presented in Atomic Cafe tells us a little about one of the most influential milestones of the millenia. Where we go from here nobody knows. All we can do about these clippings from the past is talk about them, tell the truth, and make sure that these stories don’t die.

Related posts:

1. Marconi, America, and the Monroe Doctrine
2. Inside a Ghost Fleet Ship – AS-32 U.S.S. Holland
3. Auschwitz “Death Camp” Blueprints Discovered in Berlin Apartment

I wanted to make this post, not simply to jump on the bandwagon of the media outpouring for Michael Jackson. I’m not here to judge his life or talk about his finances, or his troubled past, or the allegations, or even Bubbles. I’m writing this simply to tell a story. It’s a story that I didn’t really have the inclination to say before. Now that Michael’s “Ranch” no longer exists, and — rides dismantled — it simply stands as a bank-owned shadow of its former self, I wanted say a few things about my experience at Neverland, and the truth behind how I was able to get in.

In many ways, I feel this is sort of a confession. I never saw Neverland as an interesting place. At first, I didn’t understood its potential to tell a photographic story. As someone who finds significance in historic architecture, I neither saw Neverland as significant, nor historic. All of that changed.

In December of 2007, I was on my way down to Ventura for the Holidays. I had taken multiple trips down the 101 before. Each trip, I made it a point to stop at a roadside abandonment to photograph at night. As it invariably is every December, just prior to Christmas, the radios are filled with the repetitious yuletide jingles of yore. Usually, the six-hour drive is bearable if I switch from one station to the next – between commercials. This particular drive down, I grew weary of the music. I’m not exactly sure why Michael came to mind. Part of it probably had to do with the silence and the habit of mine to imagine music in my head in such moments. It’s also possible that I passed the off-ramp for Los Olivos and thought of the place, only to think of it more and more. Whatever it was, the idea of then-abandoned Neverland began to roll around in my mind. The radio was off, and I began mentally turning over rocks in the process. What did Neverland mean about Michael? Then the big one loomed: Why couldn’t Neverland be “historic” in my mind?

I must admit, I suffer from the myopic view, like most historians — amateur or otherwise — that history must always be equated with old. That’s why Graceland was “history” to me, but Neverland never would be — at least not until it was gone. Hours passed, and the desire to see the inside of Neverland grew stronger. I had essentially exhausted all other photographic possibilities down the 101, and I knew this opportunity wouldn’t last long. Then, a day before I began the drive back up to San Francisco, I exited a theater to find what seemed like snow falling on me. I immediately realized they were large flakes of ash from a fire nearby. The sky was dark and orange. It was an eerie, foreboding signal, or at least that’s what I made it out to be. I needed to photograph Neverland, or else — and I had a strong feeling — it would all go to ashes without proper documentation.

Once it was decided, there was no convincing me otherwise. Still, I thought more than once of giving it up altogether and to continue driving North. I tried to convince myself that I had trespassed many times before at other locations — but the implications had never really bothered me until I considered walking into Michael’s private park. As I write this, I still try to justify my actions by thinking how much Michael truly wanted to share his world. It was a genuine wish of his for everyone to understand things the way he did. And the world largely didn’t understand what he was trying to communicate with Neverland, so he abandoned it.

People have asked me over the past year what it felt like to be in Neverland at night, alone. I didn’t want to say anything except that it was the most surreal and incredible experience of my life. Others asked me how I felt about Michael, after seeing Neverland, but I couldn’t completely answer that. I was withholding judgement. Maybe, like all battle-bruised humans, I had the sneaking suspicion that all of my best feelings about the man would be shattered when another allegation would arise. But it never happened, just as I suspected, because everything I saw at the Ranch indicated to me that he was an innocent man.

The night I drove up to the front gates, the security guard was there, sitting in a well-lit pillbox on the side of the road. Neverland itself is up the road about 400 yards from the front gate. It happened to be a dark night. In fact, there was a new moon, and the sky was clear of any clouds. Out in Los Olivos, the stars shone brightly, and there was little light pollution in the atmosphere. I was sure to maintain my speed as I passed the guard, and I drove up the road to small parking area east of the park. The walk to Neverland was about a half-mile through rolling hills in pitch black conditions. I carried a GPS, set to its dimmest level, and continued on a straight click, towards the North end of the park.

I came upon a back road that seemed to have been a utility road for the animal caretakers. By then, all of the animals were gone, save a few dogs in the old aviary. Bursting out from the branches of valley oak, I found myself in a miniature city. I had emerged right at the petting zoo. From there, my adventure began.

Strangely enough, the moment I entered, a howling wind spread across the valley. Trees cracked their massive arms and fell; I could hear the Ferris Wheel creaking; the rope drawbridge waved wild and unpredictable. When I walked up to the deserted bumper car tent, the wind had become so strong, that it was tearing the red, canvas roof. It’s fortunate that the wind also allowed me to roam freely around the park without a single bark from the nearby dogs.

In the midst of all of this wind, the only static elements of Neverland were the frozen, bronze faces of the myriad statues that dotted the grounds. The children’s smiles almost seemed sad, in the context; and other than the occasional jolt of fear that hit me when I encountered a new frozen figure (thinking it was a real person), these statues were the subjects that I found my camera most drawn to. The rides themselves could have been found on any county fair in any state in the country. But it was the psyche of Michael Jackson that drew my curiosity. The statues were a conduit; they were my artifacts to catalog before the time of their eventual liquidation arrived.

I took two more trips to Neverland, each time with close friends. In all, I captured hundreds of photographs of the park. Many of these photographs, I will never publish. Each trip became progressively more bittersweet. I don’t really have any regrets about doing what I did, but if there is one thing I wish I had done at Neverland, it would have been to ride down the Super Slide; I think MJ would have liked that, and I’m sure the friends with me on my final trip would have turned it into a photo shoot.

Despite how kitschy it all seemed; despite the controversy; and the fact that I could only see Neverland from one perspective (that of night),  the times I spent at Neverland are among the most memorable moments of my life. Neverland allowed me to escape the cynical, xenophobic world of a country mired in war, terrorism, and daily reports of suicide bombers.  They may have been only a few nights of escapism, at best, but they allowed me to put myself in the shoes of Michael — moon walking my own way among the soon-to-end dreamscape of a truly magnanimous soul. May you rest in peace, Michael; your dream will live on.

Additional Neverland Sets

• My friend Scott’s set of Neverland Ranch photos
• Another great set from Sean

Related posts:

1. Forever Haunted: Cheesman Park, Denver
2. Abandoned Hotels of the Catskills Borscht Belt
3. The Moscow Subway

In my first few months of ‘seriously’ exploring, I formed a personal list of targets. I was pleased to have visited, four years later, the inside of each and every item on that list… With the exception of one building.

The Schlage lock and key factory has a storied history in the annals of San Francisco industry. Walter Schlage emigrated from Germany after completing his apprenticeship at the renowned Carl Zeiss Optical Works in Jena, Germany. After a jaunt across the Atlantic, and a brief foray through Brazil and the West Indes as a ship engineer, he landed on the shores of San Francisco – not much older than myself.

When he arrived in early 1900s, San Francisco’s Visitacion Valley was little more than a railway stop for the Southern Pacific, occupied by a veritable playground for San Francisco businessmen, including lodging, trap & rifle shooting, boxing, drinking, and other forms of “recreation.” Schlage purchased his three-acre tract of land from a local maker of custom mining machinery, the Bodinson Manufacturing Company. He hired Bay Area Architect William Peyton Day to build a Spanish colonial administration building – quite a flourishing design for what was – at the time – a very utilitarian industry. In addition to the four-story office building, Day designed Schlage’s Factory 1, a quintessential early-20th century industrial design, with its trademark sawtooth roof and triangular shape – not too unlike the iconic designs of famed Ford architect Albert Kahn.

Today, the administration building looks exactly as it did over eight decades ago. The same fire escape descends into a dark corner where pigeons have made a roost; where standing water stagnates. Today, this 1926 “spanish colonial” is all that will soon remain of what was once a central hub of San Francisco industry. The rest of the site will be quickly converted into affordable housing and “Green” certified condominiums — surely a boon for the Visitacion Valley neighborhood, but also a sad loss for what had been a prescient reminder of San Francisco’s proud, industrial past.

Schlage’s Toxic Legacy

I wouldn’t pretend to be opposed to such projects. In fact, Schlage was a rampant destroyer of the area’s water table, contributing – at minimum – 3074 pounds of VOCs to the groundwater (and that’s just the stuff that’s been filtered out through remediation efforts). But make no mistake about it: This project’s intention is to cover up and end what has become a legal maelsorm for two big corporations – a developer on one side and an industrial multinational on another (both have claimed that the other should assume responsibility for cleaning up the mess of VOCs).

When I first discovered this site in 2004, I had attempted to go the “legal” route of photographing the historical complex. I contacted the planning commission, who put me in touch with a representative at Schlage, who then put me in touch with someone at the parent company, Ingersroll Rand. In the end, probably because Ingersroll Rand didn’t want a young photographer “snooping around” their industrial trash heap, I was denied access. Little did I know what I would find out later: That the grounds were covered in Tetrachloroethylene (TCE) and Trichloroethylene (PCE) – synthetic compounds that are known to affect the central nervous system and cause acute health effects, even in small amounts.

Development Victory for Paragon leads to “Demolition Celebration”

My final chance came in early 2009, when the approval for demolishment had gone through. Hundreds of millions of dollars were involved in the purchase of land, soon to be followed by a multi-year legal battle between Ingersroll-Rand and Universal Paragon Corporation. It all culminatd in February of 2009 with a “Demolition Celebration” (an oxymoronic phrase, if there is one, to most explorers). It was my last chance, and I had to take it.

Not much remained when I first entered the Schlage complex. Demolition crews graded mechanical components from A1 to A18. Each memo likely indicated the component’s historic merit, because the plan called for “mitigation” of historic industrial components. It’s likely that this meant most of the demo crew would be able to keep whatever spoils remained. As I climbed the balustrades of the historic building, pigeons were alerted to my presence. They fluttered into another room. The main lobby was buffeted by original varnished paneling. Each room contained two of its own, dedicated arched windows, over 8 feet high each — not something that every office monkey could brag about these days. There was an original safe for every floor. On the top floor, a lone, dead pigeon – decayed to its bones – remained. Within a few inches of its contorted corpse, a demo crewman with an astute sense of humor claimed the corpse with a piece of labeled, blue tape — just like other crewmembers had with historic dials and panels downstairs.

I spent all day walking among the corridors and twisting passageways of this Escher-like atmosphere. There were blueprints that contained plans for Ingersroll Rand’s satellite lock operations in Tecate, Mexico — a real relic of its own merits, illustrating the start of America’s move into offshore “maquiladoras” – the very deindustrialization of the American landscape that has put us in the quandry that we find ourselves today.

Ironically, by the time it had been acquired by Ingersroll-Rand, Schlage didn’t even use its own locks on the doors of its own factory. I made this discovery in an upstairs room (one of many rooms in Schlage’s self-heralded “Schlage University,” an in-house learning institution in all things lock and lock-related); on the door of that upstairs room, I looked in shock at a Chinese-produced door lock – its own ominous reminder of what we had become in San Francisco – one of the most marked dichotomies in history. In less than a hundred years, we had gone from a producer of mining machinery, metal locks, and vast naval ships, to a producer of 0′s and 1′s inside of microchips and database-driven social networking sites.

In a way, I’m glad to see a site like Schlage leave the Visatacion Valley. Its contribution had long passed when its counterpart factory broke ground in Tecate. At least now, it will provide homes for people, and maybe contribute a little green space. I only hope that future generations will look at the lone remaining Spanish Colonial building, and wonder why it’s there. I hope they will glance at the mysterious lettering near the Muni stop that says “Safety Subway,” and ask about its origin.

Schlage may have a dirty past, it may have passed its time – but it doesn’t mean that knowledge of its past can’t help us move forward.

Further Research

Environmental Impact Report EIR (with Historical Background)

Developer’s Web Site

Related posts:

1. Flared Mushroom Columns
2. Highway 101 in a Post-Industrial West
3. Saying Goodbye to Neverland and Michael Jackson

There is a cross atop a hill in Waterbury, Connecticut. The cross is fifty feet tall and made of steel. Below it, ten-foot-tall neon letters spell out HOLY LAND U.S.A, a ‘testament’ to the religious amusement park, now closed, that occupies the site. The sign and the cross are still illuminated at night, the electric bill paid by the two nuns who live next to the property. Holy Land was an amusement park, built in the mid-1950s by a local lawyer named John Greco; the park was aimed at educating visitors in Christian doctrine by showing them scenes from the life of Christ.

Holy Land did not have rides or roller coasters — just an earnest desire to teach. This lofty goal was accomplished with simple materials — plaster, concrete, plywood, and tin siding. Since its closure in 1984, the park has slowly crumbled to become a ruin of religious proportions.

The entrance to Holy Land. The wood-and-plaster architecture is found throughout the park, as is the faux-ancient-Palestinian style.

Holy Land is easy to find and easier to access. Drive towards the cross, prominent on one of Waterbury’s tallest hills, or follow any of several road signs that local authorities still — after 25 years — managed not to remove. Then walk around the locked gate, hoping that the nuns don’t see you. (The nuns, part of the Religious Teachers Filippini, do not seem especially vigilant.)

Jerusalem in miniature. Each building is between eight and twelve inches tall.

Just inside the entrance is a set of archways, labeled “Holy Land — Jerusalem.” These lead to the heart of the park, a rocky hill covered in miniature buildings. It feels like the type of thing your wacky uncle might build in his backyard. The buildings, most made of plaster and wood, are meant to represent Jerusalem as it existed during the life of Jesus Christ. The original installation used a crude version of forced perspective, placing larger buildings closer to the path.

This building is about three feet tall.

The park seems to maintain a fine balance between between sincerity and kitsch: A building next to the path, about the size of a large doghouse, has caved in on itself. Across its front, the letters spell out “HEROD’S PALACE,” but the style of the letters suggests something your father might have picked up at the corner hardware store to nail the family name above the front door; really, that describes most of the park.

The tiny buildings are pieced together from plywood. Tin siding has been bent into columns, then crudely covered with plaster. House paints, in mid-20th-century colors, have transformed a motley collection of tiny shacks into a vision of the Middle East. Of the Holy Land.

The stainless-steel cross is different. In a clearing at the top of the hill, beyond the crumbling Jerusalem, it feels clean and no-nonsense, an architecture reminiscent of US military bases and mid-century hospitals. The welds are precise, the angles sharp. It is also new, the second such cross to crown the site. Its predecessor, replaced last year, was six feet taller and made of neon, but both were meant to last. They towered above Waterbury and were visible from the highways–I-84, CT-8–that pass beneath the park. From the top of the hill, Waterbury and the Brass Mill Mall stretch out beneath you.

The Hollywood-style letters were also renovated, by Boy Scouts in 1997. Together, the cross and letters burn bright in Waterbury’s night sky. That’s the paradox of Holy Land. It is abandoned, derelict, and falling in on itself, but still able to summon compassion and care from those around it. Every attempt to demolish the park has brought protests. The cross and letters remain lit at night because they are a local icon, a vital part of Waterbury.

We spent about 40 minutes in the park and left just after sunset. It’s a small park. It is also decaying quickly. The miniature sphinx visible in various photos online has lost its face. A life-size tin statue of Jesus holding a lamb has been lopped off at the shin, the upper part of His body now gone. The concrete rock garden built by Boy Scouts barely a decade ago–HONOR GOD, it used to read–has been vandalized, so that it now reads HONOR COD.

Inside the park, there are few hazards beyond underbrush and pricker bushes. The paths, like the rest of the park, are overgrown, and trash–mostly beer cans–abounds. The park’s existence is no secret, and it seems especially popular with local teenagers.

Holy Land is gone, but not forgotten. People still care about the park–the nuns with the electric bill, the Boy Scouts who replaced the sign, the photographers and explorers who still frequent its grounds. I’d like to be able to pin an adjective on my experience, to summon a word that encapsulates the park. But I can’t, really. The park wasn’t creepy, wasn’t thrilling. It had none of the drama or tragedy of Six Flags New Orleans. Despite the decayed statuary, there was nothing about it that summoned “Ozymandias.” Mostly it felt innocent. It is one man’s loving paean to a religion. It is a material hymn sung to Jesus Christ.

Further Research:

• Roadside America has an entry on Holy Land, including photos and instructions for getting there.
• Two relatively recent New York Times articles, here and here, detail the ongoing plans to save or restore Holy Land.
• Roadtrip Memories has excellent collection of vintage photos of Holy Land, including construction shots.
• More vintage photos and postcards are in this Flickr set.

Related posts:

1. Symbolism, Icons at the Abandoned Byron Hot Springs
2. Abandoned Gary – A Lost Metropolis of Indiana Industry
3. Abandoned: Six Flags New Orleans

Downtown Beirut is full of silent and boarded buildings, which stand between the featureless identical cement apartment blocks that make up the periphery. Most are pockmarked with bullet holes and — in places — red, Mediterranean-style ceramic tiles have fallen away, revealing the woodwork beneath. Still, these damaged, pre-civil war houses, mansions and apartment buildings manage to recall more than a little of the elegance that earned Beirut the title, “Paris of the Middle-East.” It’s a blatantly colonial term, given to the city by the French during their “administration” of the country from the end of the first world war until the end of the second. But the dirtied white facades of these buildings manage to catch the low-slanting light of sunset with a defiant brilliance their sterile replacements just can’t muster. They were designed to catch Mediterranean sunsets.

On Rue Spears, a couple of blocks past the Saneyeh park towards downtown, a prime example of Lebanese pre-war architecture sits mouldering behind a forbidding stone wall. I saw it on my first day of a 2008 winter break trip to Beirut to visit my father, a professor at the Lebanese American University. There is a certain prestige implicit with being the first explorer to hit an important building, and as far as I could tell there were no active explorers in all of Beirut. As such, I was out on the street every day at sunrise, hoping to make the best of my two weeks there.

This building is a standing, contradictory dichotomy — dark and gorgeous at the same time. The 10-foot high wall and chained, rusting gates create an atmosphere of something off-limits yet irresistible; its very demeanor from the outside implicitly suggests a world of secrets to discover.

On my first trip out I circled the block alone to find myself receiving suspicious stares from the urban-camouflaged Lebanese police. These eagle-eyed sentries stand near red and white striped guard houses glowering with their M-16s. Societally, cameras are looked upon with suspicion in Beirut. Tourists fare better than most, but any photographer walking around taking snapshots can expect to be questioned by a security or policeman.

This was especially so around the LAU campus, where I studied in 2003. The LAU campus sits adjacent to Saad Hariri’s palace, a gigantic structure built in the old pre-war Mediterranean style. Every time I walked in or out of the front gate with a giant Nikon hanging from my neck a security guard would run up to me repeating “No photo, no photo,” like a magic, protective mantra. I wonder if it ever occurred to them that a spy would probably use a smaller, less obtrusive camera than a D200. I mean, a DSLR doesn’t exactly fit into a belt buckle or a pack of cigarettes. I wonder how they would react if they knew the entire layout of the grounds is readily available on Google Earth. Still, they have good cause to be nervous.

In 2005 Saad’s father, former prime minister and billionaire Rafic Hariri was killed, along with 21 other people, by a massive car bomb in front of the St. George Hotel in Beirut. A Lebanese man I met told me that the hotel’s owner was one of Hariri’s opponents, and Saad has since blocked any attempts to rebuild the place. It sits vacant on the sea, another monument to violence. Since then, Saad has assumed leadership of the Sunni and Maronite anti-Syrian coalition — Hezbollah’s chief competition. These simmering tensions, amplified by the subsequent withdrawal of Syrian troops from the country and the 2006 war between Hezbollah and Israel, exploded in a mini-civil war in 2007, during which Hezbollah fighters occupied and burned FutureTV, owned by Saad, the mouthpiece of the anti-Hezbollah Future Movement.

I recall speaking to my father on the phone then, me in rural Illinois working my first newspaper job, he in his campus apartment — the roar of gunfire from the street below competed with his voice for my attention. I recall not only the expected, intense worry for his safety, but how disconcerted I was by his own apparent lack of it. He was more upset by the fact that the cable was out than by the rocket propelled grenades aimed at Hariri’s Palace, a couple of hundred feet away.

My father’s relative indifference could have stemmed from a regional adjustment to conflict. The waves of violence in Beirut hit like the seasonal flooding of an undammed river. The waters pull back, the silt settles and the shop keepers on Hamra sweep the dust off their doorways, no longer surprised by much of anything.

The decaying mansion I set out to explore sits across the street from the new FutureTV office, and the guards, manning a checkpoint a block way, stare in that way that always strikes the few American tourists who come to Beirut. It’s simply not considered rude to lock eyes with strangers for extended periods of time. And when the person staring at you is holding a loaded machine gun it sets your nerves on edge. So, after two trips around the block trying to find a way in, I decided to head home rather than have to again explain to a policeman why I had a camera; what I was taking pictures of; why I wanted to take pictures, etc. At first, the only glimpse I got was through a hole in the back gate. I saw an overgrown courtyard, full of trees and bushes that obscured the quiet and vacant mansion.

It wasn’t until a few days later that I went back, this time with Michel, a friend who works in computers downtown. It was his first time exploring; I don’t speak Arabic and figured a translator would be handy if I encountered anyone in the building.

We walked around to the front courtyard and bought local energy drinks from the corner shop that occupies the lower part of what was once the mansion’s guard house. Down the street is a small car repair shop, and we ducked behind it, seeking a secluded place to scale the wall. Walking down the alley between the courtyard wall and what appeared to be another abandoned building to the right, I was reminded of why exploring abandoned buildings in Beirut is a tricky business – you have to be considerate of the people who live in them.

The truth is, despite being home to a great many abandoned buildings, Beirut has very few vacant ones. Look beyond the pristine beauty of the rebuilt downtown area or the ritzy, exclusive dance clubs around Monot street — packed with rich kids going to school at LAU or AUB — and you’ll find a grossly unequal distribution of wealth in Lebanon.

About a kilometer from the giant and gorgeous blue-domed mosque built by Rafic, Syrian day laborers loiter around a filthy, vacant lot hoping for a day’s work. Many of these people choose to live rent-free in the many abandoned buildings of the city, often stealing power and even photo service from nearby lines. Look up in some places around the city and the huge number of pirated electric and phone lines forms a kind of multi-colored spiderweb, intricate and impressive.

This abandoned building, adjacent to the mansion we sought to explore, had a similar life support system jacked in from the city’s power grid. Laundry hung out on balconies and potted plants added a bit of color. Baskets hung on ropes that reached from top floor balconies to the alley below. It’s a general rule — if a building can provide shelter for someone, chances are it does.

We scaled the wall, one at a time; Michel provided me with a boost and I pulled him up in turn. The courtyard of the mansion must have been gorgeous. Giant, old trees of that strange type in Lebanon that throws down roots from the limbs into the ground, creating a miniature forest, dotted the landscape. Garbage was everywhere — old luggage, tires, children’s toys and literally thousands of empty plastic bottles. A dead white rabbit lay in a tree, balanced on a piece of carpet. I have no idea who put it there or why; it might have been one of the army of stray cats that live short, desperate lives in orbit around the city’s dumpsters. I quickly took its picture.

I wasn’t surprised when we saw a power line leading into the side of the building, as well as a garden hose. The doors on this side entrance were nailed shut from the inside, and the hose and power lines were threaded through holes drilled in the wood. Someone was living there, that was certain. I expected Michel to want to turn back, but he’d received an adrenaline jolt from hopping the wall and wanted to find a window to climb through. Fair enough, I said, conscious that I just agreed to go inside of someone’s home. Walking around to the front, I looked back at the side entrance and was really struck by how wealthy the former tenants must have been. Even though it was only the side door, it was flanked by tall, elegantly carved columns. It was an entrance worthy of any mansion, yet before the war it was probably used by house workers to bring in food and take out garbage.

We moved around to the front. Identical sets of white marble steps flanked an empty fountain and buttressed the arched and ornate French doors. It was then, as I turned facing the cobbled entrance road, that I imagined black European luxury cars stopping to disgorge impossibly well-coiffured party guests. We jimmied the door using a long piece of cut marble fallen off the steps to push aside the board that someone had jammed into the door. Michel had a big grin on his face, finding out what more experienced explorers already know and what keeps us coming back: the need to see the forbidden and off-limits is ingrained in our DNA as humans.

The barricade fell with a clatter and we entered the grand hall, silent and accepting. There were no footprints in the deep dust that covered the floor; we walked in a silent, reverent fashion that the building seemed to demand of us. Our footsteps were light and silent; our voices half-whispers.

What immediately caught my eye was the giant pile of papers at the end of the hall. Upon closer inspection many of the papers turned out to be black and white photographs — hundreds of them, all of the same elderly man in a tall, flat-topped Fez-style hat, at what appeared to be political events. In some of the photos the walls were covered in campaign posters bearing his image. Always: Around him were supporters, cheering and clapping. The other documents, Michel told me, were voter registration lists – hundreds of names, addresses and phone numbers. There were also various memos and letters. He didn’t know who the man in the photo was.

Michel went upstairs and I took out my tripod to shoot the photos in the low light. My camera’s timer, a soft beep, beep, beep seemed to echo in the dead, cold hall. It was after the third or fourth shot that I heard the footsteps behind me, crunching the broken glass of a long-shattered window. I turned, expecting to see Michel. Instead I encountered the scowl of a very large and very humorless Syrian man in heavy boots. His shoulders were gigantic, the product of years of manual labor. His eyes had no smile lines.

“I…I’m just taking pictures,” I offered, impotently, not expecting him to understand.

“It’s not open,” He replied, in what my memory holds to have been a deep growl.

“I…noticed.” And we just kind of stared at each other.

I was saved by Michel, who came down to tell me of a desk he found upstairs. A short exchange ensued which Michel later translated to me as:

Syrian: “You’re not allowed to come in here.”

Michel: “Well, we already are.”

Michel’s kind of gutsy like that. Especially considering the man could have easily kicked our teeth in. As it was, he agreed to give us 20 minutes after realizing we weren’t cops. We moved upstairs quickly, deciding to forsake the south wing of the house where we assumed the squatters lived. The clatter of our break-in must have echoed throughout the house.

Upstairs we found more clues as to the political nature of the home. A bookshelf, full of rotting books, sat in a room no longer protected by a roof. They were all political texts, some in French, some in Arabic. A book by Francois Mitterrand; another entitled, “for Lebanon” — books ruined by years of rainy Beirut winters.

In the next room was large wooden desk, of the sort befitting a president or CEO, Michel remarked. It sat next to pointed, arched windows and a balcony with a view of the courtyard and street below. I looked out and saw two bored Lebanese policeman smoking cigarettes and watching the passing cars. One of my favorite parts of exploring is looking out of windows on upper floors and watching cars, cyclists and joggers who pass and don’t look up where I am — a place I can’t help but notice.

There were Bedrooms, too. They were covered in an inch of red sand and colorful, flowered wallpaper. A few televisions, newspapers, some empty cigarette packets. The kitchen had been used by squatters at one point — an unopened can of peaches sported a 1988 expiration date. And they had left behind half-full barrels of cooking oil and a large bag of rice. Photos of female Lebanese pop stars torn from magazines decorated some of the walls.

There were bullet holes in the wall opposite the windows. Someone who had spent his or her mornings making spare breakfasts likely sought an antidote against those bullet holes; they saw in the perfect teeth of a pop star, the rim light and soft-focus photography, something better than the monotonous clattering of gunfire that drifted in like a cold front from the Green Line.

We only explored part of the mansion, content that something was better than nothing. With our presence known and no doubt communicated to whoever else was living there, we decided that overstaying our already cold welcome would be foolhardy, especially if they found out how we’d entered.

“He asked us how we managed to get in,” Michel laughed. “I told him we climbed in through an open window”

“What if he looks at the door and finds we kicked it in?”

“I dont’ think he’d be happy.”

On our way out we grabbed as many of the photos as we could. It seemed wrong to let them slowly decay, falling prey to piss and rainwater. As we re-crossed the courtyard I looked back and saw three windows on the third floor of the south wing filled with men staring at us, these strange intruders. I waved. They did not wave back.

A few days later I dropped in on Bassam Lahoud, photography professor at the Lebanese American University. A man for all seasons, Bassam is an architect, writer and dance instructor. He’s from Amchit, a small, charming mountain village near Byblos, the longest continually inhabited city on the planet. Bassam taught me how to use a camera, a Canon 35mm A1 from the 1970s. He runs a foundation with the modest aim of collecting every single photo ever taken of Lebanon. Any photo. Of anything. I handed him the warped stack of black and white photos from the mansion.

“Takkieddin el-Solh” he said. “He was a prime minister.”

We had broken into the former prime minister’s home. Evidently he had abandoned it when Beirut began to tear itself to shreds in 1975. His time in office had ended a year before. In 1980 he was asked by the president to form a government but was unable to find consensus in a country at war with itself. He died in 1988 in Paris.

“Can I keep one of these? For my foundation?” Bassam asked.

Of course. Of course. I gave him all of the photos, and copied 8 gigs of .jpg files onto his desktop. I wanted to feel like I was contributing something.

He looked at my photos of the mansion, the ones you’re looking at now. “Perhaps we could do an exhibition some time, at my house in Amchit, where we took the field trip.” He had taken his entire class to his home for a day to practice architectural photography. His house is gorgeous, a mansion too, built before the civil war yet free of scars. Yes, of course you can do an exhibition, Bassam. When I put them up on Flickr I set the license to Creative Commons.

I said my goodbyes to Bassam and went downstairs. Outside, there was a campus demonstration against the Israeli air assault in Gaza. Students chanted and burned Israeli flags. In a brief moment of unity, yellow Hezbollah flags waved next to the red and white Lebanese. “The enemy of my enemy is my friend,” and for the moment they had found in war a reason to come together. It’s not sustainable, I thought. I raised my camera and took their picture. Smoke billowed from burning flags, and painted faces cheered, chanted.

Further Reference

• Full Set of Photos from the Mansion
• New York Timse Obituary for Takieddin Solh
  

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The Bus/RV entrance to Six Flags New Orleans. The barbed-wire fence was added after the storm. June, 2008.

Interstate 10 curves up and out of New Orleans, looping out of the Big Easy and chasing the Gulf Coast towards points east. About thirty minutes outside the city, just after the I-510 interchange, a set of faded blue structures rises on the southern horizon. These are the derelict roller coasters of Six Flags New Orleans, which closed in advance of Hurricane Katrina and has yet to reopen.

The park was not so much shut down as abandoned—sacrificed, almost, to the encroaching storm. Merchandise stayed on shelves, electronics remained in place, and the logs in the flume ride were left stuck halfway up their plastic hills. The sole preparation for Katrina seems to be a message on the park’s signboard, still visible more than three years later: CLOSED FOR STORM.

The empty and overgrown parking lot for Six Flags New Orleans, with roller coasters on the horizon.

The property opened as Jazzland in 2000. Rides such as the Bayou Blaster and The Big Easy Ferris Wheel were sprinkled through lands with similarly local-sounding names, including ‘Cajun Country’ and the ‘French Quarter.’ After low visitor numbers forced Jazzland into bankruptcy, Six Flags purchased the park in 2002. The park was rebranded as Six Flags New Orleans and expanded, but the expansion did little to improve the park’s profitability. Since Hurricane Katrina, the park has been derelict, with Six Flags claiming that insurance disputes are holding up the re-opening of the park.

The park as it appeared immediately after Hurricane Katrina. Photos from the online forums of Theme Park Review.

Six Flags New Orleans was flooded by Hurricane Katrina. After the storm, the park sat in water that was between four and six feet deep for several weeks. After the waters had receded, the parking lots were used as a staging area for FEMA trailer distribution. The trailers are still visible in the Google Maps satellite view of the park.

The Gator Bait Air Boat ride.

Since the storm, Six Flags has removed some ride equipment from the park, refurbishing it and deploying it to other Six Flags properties. “Batman: The Ride” has been rebuilt as “Gotham” at Six Flags Fiesta Texas. Awnings, light posts, security cameras, and other salvageable equipment has also been sent to other Six Flags properties, an invisible diaspora of amusement park ephemera.

The park’s Main Street Square, just inside the main entrance.

More interesting than what Six Flags has taken from the park is what they have left behind. The level of preservation is incredible. Parts of the park look as if they were abandoned only hours earlier. Stores, restaurants, rides were all still standing and unlocked when I visited this past summer.

An abandoned restaurant in Cajun Country.

In part, the park owes this level of preservation to its location in a desolate stretch of suburban New Orleans East, about half an hour outside of New Orleans proper. There was some graffiti and some vandalism—coin-operated lockers, vending machines, and cash registers had all been forced open—but overall, there was very little sign of human presence or activity, especially recent activity.

In a merchandise kiosk, Tweety Birds and Scooby-Doos await purchase by children who will never arrive.

Even three years later, Katrina remains the strongest presence in the park. The remaining merchandise approximates how high the waters rose: Everything still on shelves was above the waterline. The surrounding bayou has started to reclaim the park, and plants are encroaching on walkways and threading themselves through rides. This part of New Orleans is sinking, at up to 2 inches per year. In 10 years, Six Flags New Orleans may again be underwater.

I spent about an hour inside the park and covered most of the south side. What I found most interesting is how the park is historically flat: Most places, especially in New Orleans, have layers upon layers of history, capturing decades of construction, demolition, change, and reuse, each layer with its own story.

Six Flags has none of those layers: The park is so young—barely 10 years old, and derelict for the last three—that it has very little history. There was nothing before Jazzland but swamps; the park came from the swamps and to the swamps it will return. The ersatz theming of the amusement park heightens that feeling of emptiness. Not only is there nothing here, but what is here isn’t even real.

An abandoned photo kiosk, with computers, receipt printers, and sample photos still there.

The future of the property is complicated by the ownership arrangement between Six Flags and the City of New Orleans. The land is owned by the city, and Six Flags is committed to a 75-year lease requiring it to operate the park. Both Six Flags and the City owe money on a $25 million construction loan from the Department of Housing and Urban Development.

The Joker continues to survey his overgrown domain.

The city is loath to allow Six Flags to exit the lease, because it would have to assume the full burden of the HUD loan. Other companies have approached Six Flags about buying the property, with grand ideas about a water park or a full-scale resort, but none of these ideas have solidified.

A look across the park’s central lagoon, formerly Jazz Lake.

For the time being, the park remains caught in a post-Katrina catch-22: it is both too expensive to rebuild and too expensive to abandon.

Further Research:

• The official Six Flags New Orleans website has carried the same message for three years.
• Six Flags New Orleans has an unofficial fan site, SNFO.com. The website has maps, forums, a comprehensive photo archive, and ongoing updates about the future of the park.
• Recent Times-Picayune coverage, here and here.
• The park has spawned several tribute videos on YouTube, which show the park when it was active.
• A collection of photos on Shutterfly, likely taken by a Six Flags employee, show the extent of the flooding.
• A high-resolution satellite photo shows the park during flooding.

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2. An Abandoned Amusement Park in Berlin
3. An Abandoned Mansion from Lebanon’s Past

Interior of Castro Theatre image by Katie Spence

Movie Poster Passion of Joan of Arc

The Passion of Joan of Arc is consistently given the laurels as one of the greatest movies of all time. Maria Falconetti’s performance as the 19-year-old Saint, Joan of Arc, has been called the 26th greatest performance in cinema. Sight & Sound’s top ten films poll listed Passion three times (in 1952, 1972, and 1992). But Passion itself is not the remarkable story, despite its revolutionary cinematography and film editing techniques.

No, the real story is that of Director Theodore Dreyer, who spent $9 million in 1928 dollars on the Passion of Joan of Arc only to see its destruction by fire a year later. Dreyer died in 1968 believing that his uncut, 86-minute opus in its original format was lost forever. History, however, has strange ways of creeping back into notoriety.

When Dreyer passed in 1968, there were only a few rudimentary cuts of the film remaining (whatever wasn’t consumed by fire was censored by religious leaders for its harsh portrayal of Joan’s inquisitors who – let’s not forget – were men of ‘religious esteem’). Dreyer painstakingly tried to piece together fragments in a 1933 release that was 61 minutes long (the original was 86). The film circulated for some time in its less then perfect format until the second original was destroyed once again, annoyingly enough by fire once again.

Still, in pure, poetic justice to the film’s namesake and Joan herself (who was given sainthood by the Catholic Church just seven years before the film’s release) an uncut, original release re-emerged in 1981. It appeared in the most unlikely of places: Deep in the bowels of a closet within the maze of passageways of an abandoned psychiatric hospital in Oslo, Norway. An unknown doctor had ordered the film – perhaps intending to show it to his troubled patients as an example of Christian virtue (or maybe even to show his mentally ill patients that divinity is sometimes perceived wrongly as “insanity”). What mattered was that history had rediscovered something it never should have lost — and all because someone forgot to throw away something in their closet.

Falconetti as Joan of Arc

The warm November night I sat admiring the Castro Theater’s Spanish Colonial embellishments and the deco sconces, I imagined the original screening of the film in the very place I was sitting. The Wurlitzer Pipe Organ started the show with verve. The curtains separated. And the lights dimmed. Maria Falconetti’s face appeared, in dramatic close-up. Her tears were palpable, and hundreds of strings heralded the beginning of the oratorio created specifically, and inspired by, the film. Richard Einhorn’s “Voices of Light” could not have been a better match for the dramatic images of Joan of Arc’s final days alive.

As it turned out, Passion would be Falconetti’s final performance as a film actress. After a stint as a stage actor, she escaped from France to Argentina at the height of World War II and lived her final days in peace (no doubt from Dreyer’s authoriatarian style of directing). But the re-discovery of The Passion of Joan of Arc will always be considered one of the great blessings of modern cinema. Chances of its survival were slim – the Library of Congress estimates that only 10% of films made before 1928 exist today. But in its 1,300 individual shots, its three-dimensional multi-million dollar set, and the painful passion exhibited on the face of Maria Falconetti we see a new purpose in the preservation of history, even for something as ‘kitsch’ as a reel of old film.

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