Culture
In the 1970s, an article in Philadelphia Magazine quipped that, "The haves turn right (south) and the have mores turn left (north)," referring to the option of turning right or left when arriving on the island from the bridge. Nominally accurate, the low-density northern end of the island, Loveladies, North Beach, and the surrounding neighborhoods are home to an assortment of large-scale waterfront homes which attract considerable attention from visitors and are often the source of rumors regarding vacationing celebrities during the summertime. The southern community of Beach Haven features historic and elegant Victorian homes that have survived the many storms. The south end contains significantly more commercial zoning, which generally decreases north of the bridge. Year-round residents and businesses in operation are more common toward the southern end of the island, particularly in the larger boroughs of Beach Haven and Ship Bottom.
Long Beach Island typically attracts a family-oriented crowd during the summertime, unlike more frenzied beach vacation destinations such as nearby Belmar and Seaside Heights. The island has not contained a boardwalk since the one in Beach Haven was washed away by the 1944 hurricane, and the night life is limited to a few quality bars. Visitors generally take part in such activities as miniature golf, parasailing, jet skiing, walking, shopping, and relaxing on the beaches. The island has a reputation as a base for many long-range recreational fishing and charter boats, whose trips can range from 10–100 miles from one of the island's two inlets (at Barnegat Light in the north, and Beach Haven in the south.) In 2009, the Lighthouse International Film Festival launched on the Island. The three-day event screens films in venues throughout the Island. Other art venues include the Surflight Theatre in Beach Haven, and numerous art galleries throughout the island.
Read more about this topic: Long Beach Island
Famous quotes containing the word culture:
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)
“Our culture is ill-equipped to assert the bourgeois values which would be the salvation of the under-class, because we have lost those values ourselves.”
—Norman Podhoretz (b. 1930)