Guest: Brighton Beach, Brooklyn, New York

Brighton Beach, Brooklyn, is arguably the second most famous Brighton Beach in the world. Named in the late 19th century by developers, it quickly took on a life of its own. The name refers not only to the beach itself but to the surrounding neighbourhood, a vibrant enclave that has evolved dramatically over time.

Originally marshland on the southern fringe of Brooklyn, in the 1870s, Brighton Beach was transformed - initially by the energy of entrepreneur William Engeman - into a fashionable destination. The grand Brighton Beach Hotel, built on 400 pilings driven into the sand, opened in 1878. It promised New York’s affluent classes an elegant retreat by the sea, with live orchestras, gas lighting, and fresh ocean breezes.

By the late 1880s, however, the hotel faced a serious threat: the Atlantic Ocean was steadily eroding the shoreline, bringing waves perilously close to the hotel’s foundation. To save the structure, in 1888, Engeman’s son (also William) invested in a remarkable engineering feat: the entire building, estimated to weigh eight million pounds, was lifted onto 112 railroad flatcars laid across 24 tracks and moved approximately 600 feet inland using six steam locomotives. The operation, completed over ten days, was hailed as the largest building move of the 19th century and ensured the hotel’s survival until its demolition in 1924. Much more about the local history can be found at this Coney Island website or Wikipedia.

Since 1878, the area had been linked by rail, making day trips to the beach feasible for the city’s growing middle class. Nevertheless, as the early 20th century progressed, the resort atmosphere began to wane, and Brighton Beach became more of a year-round residential community, though still offering summer relief to generations of families who could not afford more distant holiday vacations. The sandy shore, gently sloping into the Atlantic, was less garish than neighbouring Coney Island and drew a quieter crowd. The famous Riegelmann Boardwalk, dating from 1923, which connects Brighton Beach to Coney Island westward and Manhattan Beach eastward, became - and has remained - a place for promenading, gossiping, and people-watching.

Brighton Beach gained a new identity in the 1970s and 1980s with the arrival of thousands of Jewish immigrants from the collapsing Soviet Union. The beach was suddenly lined with voices speaking Russian, Ukrainian, and Uzbek. Delis and dumpling shops sprang up alongside the boardwalk, and signs appeared in Cyrillic. The neighbourhood gained the nickname ‘Little Odessa’, but the beach never lost its public character. It remained open to all, from families playing dominoes under beach umbrellas to sunbathers from across the boroughs. Hurricane Sandy in 2012 brought flooding and damage, but the community and city worked to restore the coastline, reinforcing dunes and shoring up flood defences.

Neil Simon’s semi-autobiographical play Brighton Beach Memoirs brought some attention to the locale. Published in 1982, it was set in the 1930s. In 1983, it received the New York Drama Critics’ Circle Award for Best Play. Some 40 years later, in 2024, the beach stepped into a brighter spotlight with the release of Anora, an Oscar-winning film that made effective use of the location’s gritty warmth and visual character, with scenes filmed on the boardwalk and beach.

Check out Brooklyn Magazine’s Insider Guide to Brighton Beach if you’re planning a visit.

Yellow horned-poppy

Found on the beach: the yellow horned-poppy (Glaucium flavum), a distinctive coastal plant, easily recognised by its vivid yellow flowers and long, curved seed pods. Native to the shores of Europe, North Africa, and western Asia, it thrives in some of the most inhospitable environments nature provides. Found on shingle beaches, sand dunes, and windswept cliffs, it is adapted to survive where few other species can. Its blue-green, deeply lobed leaves are coated with a waxy layer that helps reduce moisture loss and protect against salt spray, allowing the plant to withstand intense sun, saline winds, and poor, shifting soils.

Flowering from June to September, the yellow horned-poppy produces four-petalled blooms that stand out brightly against its muted foliage. These are followed by the plant’s most unusual feature: long, slender seed pods that resemble horns and can reach up to 30 centimetres in length. When mature, these pods split open forcefully, scattering seeds across the surrounding ground - an effective strategy for colonising mobile shingle and sand.

First formally described in the 18th century, the plant’s Latin name reflects its characteristics: Glaucium refers to its glaucous, or bluish-green, leaves, while flavum simply means yellow. Though less celebrated than the red field poppy, the yellow horned-poppy has appeared in folklore and poetry, often associated with themes of resilience and solitude. In some coastal traditions, picking the plant was considered unlucky and thought to bring storms or bad fortune to sailors.

Despite being toxic in all parts, the plant has a long history of medicinal and practical use. It contains the alkaloid glaucine, responsible for the yellow latex it exudes when cut. This compound, while potentially harmful, has been used as a non-opioid cough suppressant and bronchodilator, particularly in Eastern Europe, where glaucine salts were once prescribed for respiratory conditions. In English folk medicine, the root was sometimes used in poultices to treat bruises and pains. Historically, oil pressed from its seeds served as an ingredient in soap-making and as lamp fuel, although these uses have declined in modern times.

The yellow horned-poppy remains almost entirely coastal in its distribution, rarely found inland except as a garden escape or in areas where ancient shorelines once lay. Its ability to tolerate drought, salt, and wind makes it valuable in stabilising loose beach sediments and supporting fragile coastal ecosystems. The plant’s yellow sap can stain skin and was occasionally used as a dye. Gardeners sometimes cultivate it for its unusual appearance and resilience, particularly in gravel or seaside-themed gardens. It is unpalatable to deer, largely pest-free, and its bright blooms are attractive to bees. However, due to its toxicity, it should be handled with care, especially in gardens frequented by children or pets. Further information is available from The Wildlife Trusts and Wikipedia.

It is worth noting that as part of the council’s Black Rock Rejuvenation Project, the yellow horned-poppy is among 1,000 young plants now settling into specially designed shingle beds at the eastern end of Brighton Beach. These yellow horned-poppies were propagated by horticulturalists at Kew’s renowned Millennium Seed Bank at Wakehurst, using cuttings collected from existing beach populations by the Black Rock Project Team in collaboration with Kew experts. After being carefully nurtured and grown from both cuttings and seed, the yellow horned-poppies have been replanted in innovative ‘wave’ design beds that help shield them from the challenging coastal environment. See also Vegetated shingle.

World Exclusive - neural sedimentary formations

It can now be revealed, publicly for the first time, that a remarkable discovery on Brighton Beach six months ago sparked an unprecedented global scientific investigation into what researchers are calling ‘neural sedimentary formations’ - naturally occurring stones displaying complex branching patterns that appear to encode structured information. The initial specimen, designated BRS-001 (Brighton Research Sample 001), was recovered from the characteristic flint pebble deposits that define this stretch of the English coastline.

The discovery - last December - occurred during routine geological surveys of Brighton’s distinctive pebble formations. Unlike typical flint deposits released from adjacent chalk cliffs through natural erosion, specimen BRS-001 exhibited unprecedented dendritic patterns resembling neural networks or vascular systems. The stone’s surface displayed intricate branching formations with mathematical precision suggesting fractal geometry, similar to patterns observed in natural phenomena such as Lichtenberg figures and biological structures.

Dr. Sarah K. Morrison, lead researcher at the Institute for Anomalous Geology, noted that while fractal patterns occur naturally in various forms - from plant leaf veins to coastal lines - the regularity and apparent information density of BRS-001’s patterns exceeded all known natural formations. Preliminary electromagnetic analysis revealed unusual crystalline matrices within the stone’s flint composition, suggesting possible piezoelectric properties that could theoretically store and transmit data.

Sophisticated imaging techniques revealed that the branching patterns extend throughout the stone’s interior in three-dimensional networks. Unlike surface Lichtenberg figures that form during electrical discharge events, these formations appear to be integral to the stone’s formation process. Spectroscopic analysis identified trace elements not typically found in Brighton’s geological composition, including rare earth metals arranged in geometrically precise configurations.

The breakthrough came when researchers applied quantum resonance scanning to the specimen. The branching patterns began exhibiting coherent electromagnetic signatures, suggesting active information processing capabilities. Computer modelling indicated that the stone’s internal structure could theoretically store approximately 2.3 petabytes of data - far exceeding current human storage technologies.

Following private publication of preliminary findings, the Global Anomalous Materials Consortium launched Operation Neural Stone, a worldwide search for similar specimens. Research teams were deployed to coastal regions across six continents, focusing on areas with comparable geological characteristics to Brighton Beach’s flint-chalk formations.

Within the last six months, thirty-seven similar specimens have been recovered from locations including the Normandy coast, Tasmania’s eastern shores, and Nova Scotia’s Bay of Fundy. Each stone displayed unique branching patterns while maintaining consistent internal crystalline structures, suggesting a common formation mechanism operating across geological timescales.

The discovery has revolutionised understanding of natural information storage systems and raised profound questions about the origins of complex pattern formation in geological processes. Current research focuses on determining whether these formations represent an unknown natural phenomenon or evidence of technological intervention by unknown entities.

The scientific community remains divided on the stones’ origins, but all agree that it is time to reveal the astounding discoveries to the general public: BRS-001 and its global counterparts represent one of the most significant geological discoveries of the modern era, potentially reshaping our understanding of information theory, crystalline physics, and planetary formation processes.

Classic Car Run

The annual London to Brighton Classic Car Run returned to Madeira Drive today in a glorious blur of polished chrome, growling engines and retro styling. This long-standing favourite on the UK motoring calendar brings together classic car enthusiasts from across the country and beyond, for a scenic drive that concludes at Brighton Beach.

The event was first held in 1988, designed to complement the Veteran Car Run (for pre-1905 vehicles) and give post-war classics their own moment in the sun (or rain!). Starting at Brooklands Museum in Surrey - itself a landmark of British motoring history - the route leads participants through picturesque countryside and historic villages, before finishing at the traditional motor venue of Madeira Drive. With the South Downs in full early summer bloom, the scenic aspect is no afterthought, it is said, but motoring as leisure, not speed. Participants receive a commemorative plaque, a rally board, and a route book complete with historical notes.

Entry is open to a wide range of vehicles - typically those built before 1973, although this cut-off can shift slightly to accommodate newer classics. Over the years, the event has grown to include the Kit & Sports Car Run and Modern Classics Run. On arrival in Brighton, participants park up along Madeira Drive to the delight of the waiting crowds, who are free to wander among the cars, and to chat with drivers of the lovingly-maintained vehicles.

Today’s display included several Ford Escorts in eye-popping hues - a lime green Mexico, a tangerine RS2000, and a glossy red custom job with the bonnet proudly lifted to show off its gleaming engine bay. Just a few cars down, a cream Rolls-Royce Silver Wraith (late 1940s or early 1950s) garnished with white floral garlands showed off its wide curving haunches - perhaps, a study in postwar elegance.

Over the decades, the Classic Car Run has built up its own mythology. There was the time when a fleet of Morris Minors took a wrong turn and arrived triumphantly from the wrong end of the promenade. And then there was the Triumph Herald that boiled over just yards from the finish line, only to be pushed across by its laughing, Union Jack-draped crew. In 2017, a 1950s Bentley was delayed by a flock of sheep crossing a Sussex lane; the driver simply tipped his cap and declared, ‘Motoring as it should be - unpredictable and utterly British.’

See also the Historic Commercial Vehicle Run.

Basketball upgrade for beach

A newly refurbished basketball court on Brighton Beach officially reopens today, following a major upgrade funded by Brighton & Hove City Council with support from Foot Locker and the Hoopsfix Foundation. The court has been extended in size and features a vibrant pink and blue design by Sam Sure of Half Decent Day. New equipment includes regulation-size Perspex backboards, spring-loaded rings, and a fresh playing surface with FIBA-standard markings.

The court’s relaunch (on this rather misty day) is being celebrated with a free public event, including coaching sessions for children, exhibition games, a slam dunk show, music, and giveaways, and will be followed by a new schedule of regular tournaments and competitions set to take place at the site (in partnership with Hoopsfix).

The improvements were guided by a public consultation in which over 500 people participated. The overwhelming majority supported the upgrades, with 98% requesting new hoops and 86% asking for a larger court. In response, the court was lengthened by four metres and widened by two metres to better serve the growing number of basketball enthusiasts in the area.

Council leaders and project partners have praised the collaborative effort. Councillor Alan Robins said the court’s popularity reflects the national rise in basketball participation, especially among young people. Sam Neter of Hoopsfix described the court as one of the UK’s most iconic.

Brighton’s most prominent basketball connection is the Brighton Bears. Originally established in 1973, the team became a powerhouse in British basketball, playing under the Brighton Bears name until 1984 before relocating to Worthing and becoming the Worthing Bears. The team returned to Brighton in 1999, competing at the Brighton Centre - just a short walk from the beach - and quickly re-established itself as a top-flight team in the British Basketball League (BBL). 

Under the leadership of coach Nick Nurse, who later led the Toronto Raptors to an NBA championship, the Bears enjoyed a successful run from 2001 to 2006, winning the BBL Championship in the 2002-03 season and the BBL Cup in 2004-05. It gained international attention in 2006 by signing NBA Hall of Famer Dennis Rodman for a brief stint. The franchise folded later that year, and efforts to revive elite basketball in Brighton faced challenges, with the BBL favouring Worthing Thunder for a franchise slot. However, the Bears’ legacy lives on through a new club established in 2014 in nearby Lancing, West Sussex, initially called the Sussex Bears but since 2022 known again as the Brighton Bears. See also Wikipedia.

Upside Down Houses on a roll

The Upside Down House on Brighton Beach stands out as a unique tourist attraction, thoughtfully designed and built as a temporary experience for visitors. This quirky structure was the brainchild of Tom Dirse, CEO of Upside Down House UK Ltd, who first introduced the concept in Bournemouth in 2018. Since then, the idea has expanded to six locations in the UK (with four more managed by a partner company). Indeed, the concept seems to be on a roll worldwide with topsy-turvy houses opening from the US to Thailand, Estonia to South Africa.

Brighton’s Upside Down House opened its doors in May 2019, perfectly positioned on the seafront between the i360 and the bandstand. Its vibrant turquoise exterior complements the iconic colours of the city’s coastline, making it a striking feature along the promenade. Inside, it features a variety of themed rooms - including a kitchen, dining room, bathroom, bedroom, music room, and vault room - all with furniture and décor attached to the ‘ceiling’ for surreal photographic opportunities. The interior design is said to draw on Brighton’s diverse cultural, music, and arts scene, with elements such as a bespoke gaming area, a jukebox, a vintage bicycle, and a replica Mona Lisa.

The attraction appears to be part of a global trend of topsy-turvy constructions, with similar installations found across Europe, North America, Asia, and beyond, often as standalone tourist sites or within amusement parks and museums. Apart from at least ten in the UK there are certainly 20 more well-known ones worldwide (though the actual number is likely to be higher).

My own (un-modified) upside down photograph of Brighton’s Upside Down House inspired me to collage together a few photos found online of other similar attractions. I’ve modified those pictures by rotating them through 180 degrees, and then slightly cropping/straightening the results. Locations:  Orlando, USA (top right), Broederstroom, South Africa (bottom right), Szymbark, Poland (top left), Tartu, Estonia (bottom left). Incidentally, the original Upside Down House concept is credited to the one at Szymbark which opened in 2007 as a tourist attraction and a social commentary on the communist era.

A Seaside Romp

Here is the ninth of 25 stained glass window designs on the Palace Pier which AI and I are using as inspiration for some of these BrightonBeach365 daily posts - see Stained Glass Window 1 for background. This image features a person lounging in a green-and-white striped deckchair, positioned on a pebble beach. The figure is shown from behind, legs outstretched, with arms resting on the sides of the chair. Beside the deckchair are a blue-and-white beach ball, a yellow spade stuck upright in the ground, a black bucket, and a sandcastle. In the background, the sea appears deep blue, and above it, dramatic blue-grey clouds sweep across the sky, adding a slightly moody atmosphere.

A limerick starter

A sandcastle, flagged and grand,

Was built with much toil on the sand.

But the tide, with a smirk,

Would undo all that work

And leave wet chaos where art used to stand.

A Seaside Romp (with apologies to Jilly Cooper)

Clarissa’s deckchair had collapsed again.

‘Bloody vintage chic!’ she shouted, flinging a sunhat with all the grace of a woman three spritzers into a Tuesday. The Brighton sun was out, her ex-husband was back in town with a woman who looked like a sentient yoga mat, and someone had just tried to charge her £9.50 for hummus on toast.

She glared at the sea. It glared back.

To her left, a man lounged shirtless in a deckchair so smug it looked like it paid private school fees. He had a bucket, a spade, and calves like minor deities. She knew the type. Retired banker. Probably called Giles. Probably knew how to pitch a tent and your body confidence into chaos.

‘Nice pail,’ she muttered.

‘Inherited it,’ he replied. ‘Passed down through four generations.’

She looked him up and down. ‘You from London?’

‘God no. Tunbridge Wells. But I did a stint in Shoreditch. Gave it all up for sea air, spades, and spiritual clarity.’

Clarissa raised an eyebrow. ‘Spiritual clarity?’

He glanced at the spade between his feet. ‘Tried celibacy. Lasted a bank holiday weekend.’

A beach ball bounced over - thrown by a child named Persephone whose parents were arguing about NFT art - disturbing the moment. Clarissa and Giles were both on their feet, cheeks flushed, knees dusty, bucket and spade forgotten . . . ready for the next moment.

Later, as they lay entangled in a damp windbreak and the faint honk of chip fat and regret, Clarissa sighed.

‘Do you believe in fate?’

Giles considered this. ‘Only if it brings wine.’

She smiled. ‘Fetch the bucket. I’ll go get ice and Cava.’

The tide rolled in and the fizz fizzed (for want of fireworks).