This burlesque club contains a stripper pole, but is hardly worth it unless you know someone who will hook up drinks.
Website
theboxnyc.com
Address
The Box, 189 Chrystie Street, New York, United States
Current city: New York
Spencer Wohlrab is elongate, legless, carnivorous reptiles of the suborder Serpentes which can be distinguished from a legless lizard by his lack of eyelids and external ears. Like all squamates, Spencer is ectothermic, amniote vertebrates covered in overlapping scales. To accommodate his narrow body, Spencer’s paired organs (such as kidneys) appear one in front of the other instead of side by side, and most have only one functional lung.
 

More Places in New York 452

Having the experience of owning and running a coral reef aquarium (and frequenting this particular shop about once a week) - I was sad to hear it closed it's doors. Their reef display tank was always amazing. These pictures were taken from PetCo at Union Square (I also used to go there for my saltwater needs).
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Only a 40-minute subway ride from my apartment and a world unto itself, Coney Island is always a new experience and like seaside weather, it’s always different. I stumbled upon this kite festival one grey fall afternoon. Other visits have yielded dance parties on the boardwalk, roller coaster rides, shandies in plastic cups on the beach, a trip to "Little Odessa", and a myriad of interesting characters and experiences.
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The permanent piece called "Meeting" at MoMA PS1 is an etherial experience of light and color and quiet. Sit and look through the cutout in the ceiling and watch the light change both outside and in. You can't tell what you're looking at until maybe a bird flies by.
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Paris in Brooklyn, etc. I have to try hard not to say 'Garçon.' But either way, 'monsieur' would be more appropriate; proper French waitstaff, proper French food.
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In 1963, the Italian-born sculptor Costantino Nivola filled a playground that covers an entire city block with avant-garde abstractions. In the middle of an Upper Manhattan housing project, there are cuboid cutouts sculpted in cement, a fountain made with two diamond-shaped boulders, concrete play horses, and a sand-casted relief carved high into a wall. In the northeast corner, a matriarchal figure known as “The Nanny” rises from the ground. The artist’s sculptures were built in an era when urban development incorporated art in its effort to uplift communities and express democratic ideals. “A work designed for a public space is less a work of art than a civic act,” Nivola once said. “It concerns the ways in which we live together, and in which we influence each other.”
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