#point loma

[ckrposts]

Not a fire

[thedaily-beer]

Mason Ale Works Destroyer Hazy DIPA on tap at Eppig on Point Loma. A 3 of 4. Smells of tropical and stone fruit and a bunch of bright orange citrus. Drinks with a softness on the palate and lots more fruit there. Finish a touch dry with some lingering tropical notes, too.

[tail-feathers]

Nicolai Fechin (1881 – 1955)

Point Loma

oil on canvas, 20 × 24 inches

[fearsmagazine]

POINT LOMA - Theater Review

SYNOPSIS: Drawing from actual occurrences experienced by the playwright, POINT LOMA centers on Chad, a hospice nurse who accepts a night shift position in a storied Point Loma residence near San Diego's military owned Liberty Station. Following a series of unsettling paranormal experiences, a paranormal podcast team arrives to investigate. They discover that the home has a gruesome and shocking history, rooted in the history of San Diego. Their investigation reveals a crucial revelation: the tales of these lingering spirits require their stories be told for the living to find closure and for the spirits themselves to attain peace.

REVIEW: Tim Mulligan’s supernatural dramedy, POINT LOMA, marks his return to the Chain Theater, under the direction of Ken Wolf, Artistic Director and co-founder of Manhattan Repertory Theatre. This follows last year's “Witchland”, also staged there by Mulligan and Wolf. Featuring returning actors Dave Silberger and Chelsea Clark, POINT LOMA is a lively and contemporary supernatural farce that encourages the audience to scream along.

(L-R) Actors Parker Jenkins as Chad & Jessica Luhmann as Anna, photo courtesy of Chris Bentley.

Mulligan skillfully incorporates his personal supernatural experiences into a narrative that showcases his deep understanding and enthusiasm for supernatural drama and comedy acumen. The story features a diverse array of characters, each grappling with their own reasons for enduring the persistent spectral entities seeking connection. In contrast to his earlier work, POINT LOMA adopts a lighter, character-driven approach, avoiding cliché and the inclusion of social subtext. Indeed, its themes and humor remain PG-13, broadening its appeal. The characters are generally amiable, and a sense of controlled chaos, akin to a Marx Brothers film, permeates the production. A surprising twist awaits, and true to genre conventions, the tale extends beyond the apparent conclusion. The dialogue is consistently playful and witty, perfectly suited to the plot's unfolding circumstances and a lyrical banter happens when the characters are engaged.

The production bursts with energetic and infectious staging and directing. Hank, playing a comatose patient, serves as a catalyst for a character until they are joined by another cast member. Classic theatrical magic animates much of the narrative as draws open and close, pictures fall off the wall, and cryptic messages appear on kitchen items. Skillfully choreographed sound design enhances the theatrical sleight of hand and performances. Transitions are filled with small scenes offstage or roaming ghost figures unnerving the audience with strange sounds and fleeting appearances before the lights come up again.

(L-R) Actors Jevon Nicholson as Rick & Michelle Park as Kim, photo courtesy of Chris Bentley.

The production and costume designs were excellent. For an off-Broadway show, the set was notably impressive. Its minimalist yet well-conceived design effectively immersed the audience in the story. Costuming was utilized subtly but effectively, with few changes, minor accessory additions or subtractions, and slight adjustments in certain scenes to enhance both the performances and narrative. A spirit trumpet, a thin metal cone meant to amplify voices of the dead, plays a key role. While it was the correct shape, the prop appeared to be constructed from something other than metal.

Ken Wolf's masterful direction shines in POINT LOMA, showcasing a magical interplay between the cast and stage effects. The ensemble scenes, rich with movement, sound effects, and engaging actions, embody the classic poetry of a staged comedy. The actors swiftly establish their characters, captivating the audience and holding their focus throughout the energetic 90-minute performance. The cast is excellent, delivering a compelling, relentless and memorable evening.

(L-R) Actors Jevon Nicholson as Rick, Michelle Park as Kim (on table), Ian Brady as Todd, Parker Jenkins as Chad & Matthew Hernandez as Carl (back to camera), photo courtesy of Chris Bentley.

Tim Mulligan’s POINT LOMA, directed by Ken Wolf, is a delightfully sensational supernatural farce. Evoking a blend of “Will & Grace” and “Ghost Hunters” where the ghosts finally show up, it guarantees an entertaining experience. However, I found myself slightly wishing the narrative had incorporated some social issues, with the same light touch as “Witchland.” Furthermore, unlike Mulligan’s previous “Witchland,” online searches yielded no connection to any darker undertones of the story. While information about the US military’s Liberty Station is readily available, I couldn't uncover any hidden secrets or documented supernatural occurrences.

I highly recommend exploring witchlandplay.com to learn about Richland, a small Eastern Washington town with dark secrets. You can also order a graphic novel there, inspired by the stage play of the same title and its sequel, "Snitchland." "Snitchland" is also based on a Mulligan play, and I'm eager for its staging here in New York, hopefully soon.

POINT LOMA begins previews at Chain Theatre, located at 312 West 36th Street, 3rd Fl. Between 8th and 9th Avenues, on Saturday. May 31st with shows at 3PM and 7PM and Sunday June 1st at 3PM. Opening night is Wednesday June 4th at 7PM. The regular performance schedule is Wednesday June 4th thru Friday June 6th at 7PM, Saturday June 7th at 3PM and 7PM and Sunday June 8th at 3PM, then Wednesday June 11th thru Friday June 13th at 7PM, Saturday June 14 at 3PM and 7PM and Sunday June 15th at 3PM. All tickets are $40. For tickets go to https://witchland.thundertix.com/events/238172.

Official Site: https://witchlandplay.com/point-loma/

Review By: Joseph B Mauceri

[eopederson]

Point Loma Lighthouse, Cabrillo National Monument, San Diego, 1997.

[crudlynaturephotos]

[popculturelib]

Today, August 7th, is National Lighthouse Day in the US! The event was established during the bicentennial of when the US government created the US Lighthouse Establishment in 1789.

To kick off a week of lighthouses, we're starting with a book by the National Park Service and the Cabrillo Historical Association about the Old Point Loma Lighthouse (1978), located in San Diego, California. Included here are two pages about how the lighthouse was lit. Image transcripts below the cut.

For more information, check out these links:

National Lighthouse Day history from the US Lighthouse Society

The Lighthouses of Point Loma by the National Park Service

The Old Point Loma Lighthouse in our catalog

The Browne Popular Culture Library (BPCL), founded in 1969, is the most comprehensive archive of its kind in the United States.  Our focus and mission is to acquire and preserve research materials on American Popular Culture (post 1876) for curricular and research use. Visit our website at https://www.bgsu.edu/library/pcl.html.

Image caption

Fresnel (fra-nel) lighthouse lenses came in seven different "orders," or sizes; first, second, third, three and a-half, fourth, fifth, and sixth. The first order were the largest, and the sixth the smallest. Generally, the larger the lens the greater its range. The larger lenses could be seen from further away than the smaller ones. Also, if a lens was high above sea level, it could be seen from further away than if it was at the water's edge. The ranges given in the illustration are median distances for a lens with a 1,000 watt bulb.

Lenses and Illuminants

Until the 1850's, nearly every lighthouse in the United States used a number of Argand lamps and parabolic reflectors for illumination. These lamps were placed "side by side around the circumference of a circle," and the number of lamps used depended upon the arc of the horizon it was desired to illuminate. For years a bulls-eye magnifying lens was used on each lamp, but these lenses were practically useless, and in 1840 they were removed, leaving the reflectors.

This system, which had become known as the American system, had but one virtue—the lamps were inexpen-sive. But their faults were legion: They were complicated, they used a vast amount of oil, they required constant attention, and, most important of all, they produced relatively little light.

In 1822 Augustin Fresnel, a French physicist, developed a lens apparatus which was to revolutionize lighthouse illumination. A Fresnel lens is like a glass barrel whose outer surface is made up of prisms and bulls-eyes. In a revolving or flashing light, the bulls-eyes are surrounded by curved, concentric prisms, concentrating the light of a central lamp into several individual beams, radiating like the spokes of a wheel. In the fixed, or steady light, the bulls-eyes become a continuous "lens belt," with the prisms [next page] parallel to it, producing an uninterrupted, horizontal sheet of light. Fresnel lenses were classified into seven orders. The order was determined by focal distance—that is, the distance from the illuminant to the lenses.

The United States was slow to adopt the Fresnel lenses, and for years a controversy raged in this country over the merits of the old and new systems. Finally, in 1841, the United States purchased its first Fresnel lens and installed it at Navesink Light, New Jersey, to test the new system. The Fifth Auditor conducted the experiment with all deliberate speed (the accent being on deliberate); 10 years later there were only three light stations in the country which had Fresnel lenses. On March 3, 1851, Congress expressed confidence in the new system by approving an appropriation bill which included permission for the Secretary of the Treasury to place the Fresnel lens system in new lighthouses, in lighthouses not having lenses, and in lighthouses requiring new ones.

Image caption

In the fall of 1855 craftsmen installed a third order, fixed light lens in the lighthouse lantern. Made in Paris, it stood over five feet high and three feet wide. In the center, a lamp with three circular wicks, one inside the other, produced a flame of 168 candlepower. The finely ground and highly polished prisms, and the bulls-eye that encircled the lens, captured the light from this flame, focused and magnified it to about 19,000 candlepower, and sent it out in a horizontal sheet of light. According to the 1862 edition of the "Directory for the Pacific Coast of the United States," the lens of the Point Loma light which is 462 feet above sea level "illuminates the entire horizon, and in clear weather should be visible—From a mast height of 20 feet above the sea, at a distance of 28 miles."

[acreativeco]

Who doesn't love tide pools... Better yet who doesn't love San Diego tide pools during the big big King Tides. During King Tide the tide is usually a negative tide and that means the water is low low. The best time for treasure hunting.

We love visiting the central California coast, we have a few secret spots we have found the best tide pools. We haven't really found anything as exciting in the so cal area, so this was a chance to see if so cal could measure up. And it definitely did not disappoint!

So many treasure's we haven't see before. Beginning with the brittle sea star, or brittle star fish. We saw 3 total with the one pictured above as the biggest one. A true delight was the rainbow star, that little booger was hiding in the grass but you can see the little speckled colors through the grass. Super fun!

Bat stars and abalone shells are always super fun. The pink furry looking thing is a nudibranch (type of sea slug) and that black blob with a shell stuck to is a keyhole limpet.

These tide pools are part of Cabrillo National Monument near Point Loma in San Diego.

This is a find, learn, and leave area as is all state and national parks. 

Where do you like to explore the most?

tide ppols

sandy beaches

Voting ended onFeb 12, 2023