Savoy Ballroom, c. 1930. This popular Harlem dance hall was referred to as "Home of the Happy Feet," and the "World's Finest Ballroom." The venue's lifespan was a relatively short 30-some years, but there is no doubt it made major contributions to the artistry of the Swing era. A plaque, dedicated in 2002, says the following: "Here once stood the legendary Savoy...a hothouse for the development of jazz in the Swing Era. Visually dazzling and spacious, the Savoy nightly featured the finest jazz bands in the nation...the great jazz dancers who appeared on its block-long floor ranged from professionals...to everyday Harlemites. During a time of racial segregation and strife, the Savoy was one of the most culturally and racially integrated of institutions, and its fame was international. It was the heartbeat of Harlem's community and a testament to the indomitable spirit and creative impulse of African-Americans. It was a catalyst of innovation where dancers and musicians blended to forge new, wide-spread and long-lasting traditions in music and dance." The club was opened on March 12, 1926 by Jay Faggen, who owned downtown swing venue Roseland, and Moe Gale, a Jewish businessman. It was managed by Charles Buchanan, a Black civil rights activist. The ground floor of the Savoy was marked by a hulking marquee. Patrons entered a lavish lobby, adorned with a glass chandelier and marble staircase which led to the 10,000 square foot ballroom on the second floor. The block-long ballroom of the Savoy had a capacity of 4,000 guests and saw around 700,000 patrons annually, meaning the wood-sprung floor needed to be replaced once every three years. Its pink interior was bathed in colored lights, with mirrored walls and a double bandstand that allowed music to play continuously, night after night. Musical acts included Ella Fitzgerald, Al Cooper, Erskine Hawkins, Lucky Millinder, Buddy Johnson, Cootie Williams, and later be-bop jazz musicians Dizzy Gillespie, Charlie Parker, Art Blakey, and Thelonious Monk. The ballroom also hosted "Battle of the Bands" competitions, the most famous face-off being between Chick Webb and Benny Goodman. In addition to musical talent, patrons attended the Savoy Ballroom for the spectacular footwork that could be seen on the dancefloor. Dances like the Lindy Hop, named for Charles Lindbergh, the Jitterbug, Flying Charleston, Jive, Snakehips, Rhumboogie, and variations of the Shimmy and Mambo were pioneered and popularized on the floor of the Savoy. The northeast corner of the ballroom now called the Cat's Corner was where experienced dancers would work on their routines all night, or enjoy dance-offs where "only the greatest...would stay on the floor to try to eliminate each other," as Barbara Engelbrecht writes in 'Swinging at the Savoy,' for the Dance Research Journal in 1983. A group called "Whitey's Lindy Hoppers" frequented the floor of the Savoy, and later went professional with the help of Herbert "Whitey," White, a bouncer with an eye for talent who was nicknamed for his streak of grey hair. Amateur dancers could learn some of the hottest new moves with the help of the Savoy Hostesses, who would partner-up for lessons for 25 cents a dance ticket. Entry to the club ranged from 30 cents to 85 cents after 8 pm, or just over $10 today. Other than a dress-code, the Savoy Ballroom had no discrimination policy. The only thing owners and staff were concerned about was whether or not you could dance. Patrons were around 85% Black and 15% white, though some nights the crowd was an even fifty-fifty. A tuxedo-wearing security team led by actor Jack La Rue monitored the crowd, and bouncers made sure patrons were dressed in a jacket and tie. The club was demolished in 1958 to make way for a housing project after many efforts to save the venue by the owners of the club, its patrons, and even Borough President Hulan Jack. The commemorative plaque was unveiled by who of Whitey's Lindy Hoppers, Frankie Manning and Norma Miller.

Bronx County Jail, 1940. Constructed as a Works Progress Administration project in 1937, the Art Deco Bronx County Jail was designed by Joseph Freedlander, who also created the Bronx County Courthouse and the Museum of the City of New York. The 350-cell jail building was well received (at least as an architectural feature), its ornamented facade of granite and limestone giving the impression of a stately office building. Highly visible, given its location only a few blocks from Yankee Stadium, the jail operated for more than 60 years. The jail, which was later more commonly referred to as the Bronx House of Detention, closed in 2000. A few years later the city struck a deal with a developer to demolish the building for the construction of the Gateway Center, a retail space and new park along the river. The development, now called the Bronx Terminal Market, is a shopping mall that encompasses both the former jail property and a former wholesale fruit and vegetable market. A number of architectural features, including ornate stone panels and the sculpted stone eagles were saved before the building was razed. These ornaments have been installed on the River Avenue facade of the new complex.

Stephens House, 1930. This Italianate, wood-frame home was constructed in 1832 by a Joseph Francis and purchased in 1893 by Olin, J. Stephens, a wealthy coal dealer. It is unfortunately no longer standing.

Gerard Avenue, at East 140th Street, showing at left the 12-story Lehigh Valley Railroad warehouse at the southwest corner of East 144th Street, November 29, 1936.

369th Regiment Infantry Armory ARCHITECT: Tachay & Vaight DATE: 1921-34 STYLE: Art Deco The 369th Regiment Armory occupies the eastern half of the block bounded by west 142nd Street and West 143rd Street at 2360 Fifth Avenue, just off Harlem River Drive. Like other New York City armories built in the late 19th century and early 20th century, this armory is a highly specialized structure built to serve as a training and marshaling center for the National Guard. The armory consists of two sections, the drill shed, and the administration building. The building combines the medieval design forms of earlier armories with contemporary Art Deco elements.

73 West 141st Street, ca. 1930.

Public School 31, April 30, 1941. Affectionately called the "Castle on the Concourse," Public School 31 was a Collegiate Gothic style school designed by C.B.J. Snyder and completed in 1899. The design is notable as one of Snyder's first forays in late Gothic features such as pointed windows topped with stone tracery. The irregularity and deeply pointed gables gave the building its castle-like look and created an eye-catching visual on the broad Grand Concourse. The school was designated a landmark in 1986 but closed in 1997 amid concerns of structure deterioration. For the next 15 years the city allowed the building to continue its deterioration. In 2014 the city requested permission from the Landmarks Commission to demolish the building. Despite disgust at the situation and virulent opposition by the local community and preservationists, the building was finally razed in 2015. A large number of architecture features of the 19th century school were saved during the process of demolition and are required to be included in the design of whatever new structure rises in its place.