Saturday, July 11, 2026

Booze and Balloons: The story of Sam Teele’s Building on Church Street

Long Live Rock!

When I was growing up in the 1970s, my brother and I considered ourselves hard rock aficionados. Led Zeppelin, The Who, the Rolling Stones, and Van Halen were among our favorite bands. We wanted nothing to do with the disco movement and were known to proclaim "Disco sucks!"—much to our mother's dismay. So, when Phineas Phogg's Balloon Works discotheque opened at Church Street Station, we would have been decidedly unimpressed. In fact, quite the opposite.

Housed in a historic building constructed by restaurateur Sam Teele, Phogg's was created by Bob Snow at the height of the disco craze in an effort to capitalize on its popularity. While the nightclub may be the building's most memorable tenant for many Orlandoans, its story begins decades earlier with a Greek immigrant who became one of the city's most beloved restaurateurs and philanthropists.


The Good Greek

Sam Stavrou, better known as Sam Teele, was born on July 18, 1892, in Moutsara, Greece. He immigrated to the United States on July 8, 1910, beginning his career in the restaurant business in New Hampshire before moving to Georgia, then Jacksonville, and eventually settling in Orlando, likely in the early 1920s. He filed his declaration of intention to become a U.S. citizen in February 1926.

Teele's petition for immigration, 1926

Before that, the Orlando Sentinel announced the opening of Teele's first downtown Orlando restaurant, the Royal Palm, in the fall of 1922. Owned by Teele and Charles Tassios, the restaurant opened on Armistice Day—November 11, 1922—and operated 24 hours a day, seven days a week. It was located at 128 S. Orange Avenue, between Church and Pine Streets, on the site now occupied by the Orange Avenue side of the Kress Building.

Orlando Evening Star, November 9, 1922

On January 1, 1925, the Royal Palm advertised a special New Year's dinner, but only a few days later the Sentinel reported that the building's owners, the Cooper-Atha-Barr Co. (CABCO), were "dismantling and shipping the fixtures" of the restaurant to "other parts," signaling the end of its operation.

Orlando Evening Star, December 23, 1921

Teele also operated the popular Sanitary Restaurant at 118 S. Orange Avenue, where he earned a reputation for feeding anyone who was hungry, regardless of their ability to pay.


In 1924, Teele moved into the building on Church Street that today bears his name. The Teele Building became home to Sam's Bar and Grill. Beyond his business ventures, Teele was a leader in Orlando's Greek-American community, serving on the board of directors of the Greek Orthodox Society and helping raise funds for the construction of the city's first Greek Orthodox church.

In 1929, the Orlando Sentinel reported that Teele was returning to Greece to visit family and find a bride. Although he spent nearly a year abroad, his thoughts were never far from Orlando. In a letter published by the Sentinel, he wrote, "I get the blues and homesickness for our little city. I have traveled 64 days, but I have not seen anything like Orlando or Florida climate. You fellows do not know how to appreciate a good little city and the best state in the world."

After eleven months overseas, Teele returned to the city he loved with his new wife, Olga. The couple would raise three children in Orlando: daughters Mary and Evangeline, and a son, Terry.

Sam's Place ad, Orlando Evening Star, April 5, 1945

By the 1940s, 101 W. Church Street was home to Sam's Place, a "cut-rate liquor store." It is unclear whether Sam's Bar and Grill had evolved into the liquor store or whether the bar continued to operate alongside it. Classified advertisements from the period, however, sought waitresses and barmaids for the Church Street address, suggesting that a bar remained part of the business.

Sadly, Teele died in 1946 while vacationing in Daytona Beach. His passing was deeply felt throughout Orlando, where he had become one of the city's best-known and most beloved restaurateurs. His pallbearers reflected the esteem in which he was held, including Orlando Sentinel publisher Martin Andersen and Orlando Mayor William Beardall.

The Sentinel devoted a prominent article to his funeral, publishing a photograph of mourners gathered on the steps of St. Luke's Episcopal Church downtown to pay their respects. The newspaper remembered Teele as the "good Greek," honoring not only his success in business but also his generosity to those in need and his leadership in Orlando's civic and fraternal organizations.

Orlando Evening Star, August 6, 1946


Before and After Sam

Early Sanborn Fire Insurance maps show that the site where the Teele Building would later stand—just west of the railroad tracks on the north side of Church Street—served a variety of purposes before Sam Teele arrived. Orlando pioneer Joseph Bumby operated a warehouse nearby where he sold hay, grain, and fertilizer. When the South Florida Railroad reached Orlando in 1880, the building briefly served as the town's railroad depot. Having previously worked for the railroad in England, Bumby also became Orlando's first railroad ticket agent before later constructing the Bumby Hardware Building in 1886. 

The 1887 Sanborn map also shows the T.O.&R.R.R. depot nearby, while later maps depict orange packing facilities and lumber storage on the property. Sanborn maps published after Teele's death simply identify the site as a restaurant. However, Orlando Sentinel references indicate that Sam's Place remained in business long after its namesake passed away. As late as 1966, the newspaper reported a purse-snatching at Sam's Place. By then, downtown Orlando—and Church Street in particular—had fallen into decline, and the neighborhood had acquired a somewhat seedy reputation.

Church Street's fortunes began to change in 1974 when entrepreneur Bob Snow opened Rosie O'Grady's, launching what would become the Church Street Station entertainment complex. He painstakingly restored a collection of historic buildings, adding Apple Annie's Courtyard in 1976 and Lili Marlene's Aviator's Pub and Restaurant in 1978. That same year, Snow unveiled his newest attraction in the Teele Building: Phineas Phogg's Balloon Works, a disco inspired by the hot-air balloon adventures of Jules Verne's fictional world. The nightclub was designed to capitalize on disco's soaring popularity while adding another themed destination to Church Street Station's growing collection of immersive entertainment venues.

Church Street Station marketing image of Phineas Phogg's

Postcard showing the interior of Phogg's


Purveyors of Balloons, Burgers and Boogie

 Bob Snow debuted the first Phineas Phogg's Balloon Works at Seville Quarter in Pensacola in April 1978, about eight months before opening the Orlando location. An Orlando Sentinel notice announced that the Church Street Station nightclub would open the day after Christmas, so newspaper reviews did not appear until early 1979.

The Sentinel described the new discotheque as both a nightclub and a hot-air balloon museum:

"The almost total restoration of the building housing Phineas Phogg's has turned what was Sam's Bar in the early part of this century into a sleek 1890s-type museum with a dance floor. Able to seat 450, Phineas Phogg's brings customer capacity of the Church Street Station complex to 1,500. Phogg's 40 employees bring the staff to a total of 270. There are 26,000 square feet of floor space in the Church Street Station, which is composed of Rosie O'Grady's Good Time Emporium, Apple Annie's Courtyard and Lili Marlene's Aviators Pub & Restaurant along with the new Phineas Phogg's Balloon Works."

Admission to the entire Church Street Station complex at that time was just $3—free for membership card holders. Sentinel entertainment columnist Dean Johnson gave Phineas Phogg's a glowing review, praising its sound system, spacious dance floor, and light show, which he called "pleasantly different." He also singled out the second-floor balloon basket seating as "a neat touch."  

Seville Quarter's Phineas Phogg's opened in April 1978

January 1979 Sentinel review of Phogg's

Postcard courtesy of Orlando Memory

The balloon theme extended well beyond the décor. Press materials described the venue as an "1890 Balloon Museum," featuring photographs and artifacts chronicling some of history's most famous balloon flights, from the Montgolfier brothers to the transatlantic journey of the Double Eagle II. A large display honored Orlando's own Col. Joe Kittinger, whose pioneering achievements in high-altitude ballooning made him one of the world's most celebrated aviators.

Snow recruited Kittinger away from Martin Marietta to head Rosie O'Grady's Flying Circus, and his influence could be seen throughout Church Street Station. In addition to overseeing the Flying Circus, Kittinger and his wife, Sherry, offered champagne balloon flights, with tickets sold from their balloon and kite shop in the restored railroad depot.


From the collection of the Orange County Regional History Center

Nickel Beers, Teeny Bikinis, and a Basket Brawl

As disco faded in popularity during the early 1980s, Church Street Station adapted by introducing promotions designed to keep the crowds coming.

One of the most successful was Nickel Beer Night, which moved from Rosie O'Grady's to Phineas Phogg's. My office was directly across Church Street from the Teele Building, and every Wednesday afternoon patrons would begin lining up outside carrying stacks of plastic beer mugs, eager to claim a good spot before the doors opened.

Nickel Beer, 1999


Nickel Beer mug, designed by yours truly, via Reddit



Another crowd favorite was the Miss Hawaiian Tropic Contest. Preliminary and regional competitions held at Phineas Phogg's drew packed houses throughout the late 1980s and into the 1990s.

Perhaps the nightclub's most infamous moment came in 1997, when NBA superstar Charles Barkley was arrested after throwing another patron through the club's plate-glass window. One of Church Street Station's marketing executives had developed relationships with professional athletes while working at a theme park and frequently invited them downtown, knowing their presence would attract crowds. During an evening at Phineas Phogg's, Barkley became involved in an altercation with a much smaller man, picked him up, and hurled him through the front window facing Church Street. Barkley was arrested, later released after a teammate posted bail, and the case was ultimately settled out of court.


The Sentinel recently reviewed the incident as part of their 150th anniversary stories

Although Phineas Phogg's operated for only about two decades, it occupies an outsized place in the memories of many Orlandoans. For me the history of the Teele Building is clouded in the haze of personal nostalgia surrounding Phineas Phogg's. The nightclub closed in 1999, ending one of Church Street Station's most colorful chapters. The historic Teele Building, however, would continue to reinvent itself through a succession of new tenants in the 21st century.

Caught in Downtown's Decline

I have not stepped inside the Teele Building since Phineas Phogg's closed, but the space has lived several different lives in the 21st century. The first was Bliss Ultra Lounge, a nightclub that transformed the Victorian ballooning theme into a contemporary dance club. It was followed by Lion's Pride Pub & Grill, an eatery affiliated with Orlando City SC and the Orlando Pride that featured more than 40 television screens, a 200-inch projection screen, and a menu of pub favorites.

Photos of Bliss Ultra Lounge from social media


In 2020, during the height of the COVID-19 pandemic, the building became home to HAOS on Church. Spectrum News 13 described it as "a trailblazer in the local arts community" where "the concept is about food, drinks, acceptance, and activism." With entertainment ranging from burlesque performances to Orlando Fringe Festival events, the historic building once again buzzed with activity. Unfortunately, that revival proved short-lived.




The Church Street Social Club reportedly opened in the building in 2023, according to the sign out front, but the space has since gone quiet. Today, the Teele Building once again awaits its next chapter
.




Remembering Sam, Bob, and Joe

Looking back, I realize I came of age during my years working at Church Street Station. I stood in line for Nickel Beer Night, attended a few Hawaiian Tropic contests, and—even though I was a self-proclaimed rock-and-roll kid—spent more than a few evenings dancing to disco at Phineas Phogg's. Those nights became some of my favorite memories of downtown Orlando.

The restaurants and clubs that followed Phogg's may never have achieved the same place in Orlando's collective memory, but each added another chapter to the story of this remarkable building. While tenants remodeled the interiors and updated the exterior over the years, the heart of Sam Teele's 1924 building has endured.

The Teele Building tells the story of more than brick and mortar. It is the story of Sam Teele, the immigrant restaurateur whose generosity earned him the affection of an entire city; Bob Snow, whose vision helped revive a struggling downtown; and Col. Joe Kittinger, whose adventurous spirit became part of Church Street Station's identity. Each, in his own way, left Orlando better than he found it.

Bob Snow and Col. Joe Kittinger


More than a century after Sam Teele built it, the Teele Building still stands as a reminder that historic places matter—not simply because they are old, but because they preserve the stories of the people who shaped our community. Ensuring its preservation means that future generations will be able to remember Sam, Bob, Joe, and the many others whose lives intersected within its walls.





Saturday, July 4, 2026

Unbelievably Real: Orlando's Story Told Through Two Murals


In the spring of 2023,
Visit Orlando and the Orlando Economic Partnership unveiled a downtown mural with the slogan “Unbelievably Real."
Designed by Clark Orr and painted by muralist Kristi Burke, the artwork was the product of what the Orlando Economic Partnership called a first-of-its-kind collaboration to appeal simultaneously to leisure visitors, meeting planners, business leaders, and prospective residents.

The mural occupies the same block that once featured a very different work of public art. In 1985, the Orlando Downtown Development Board commissioned artist Don Reynolds to paint a mural depicting historic scenes along Pine Street on the side of the O'Connell Building. After the building was destroyed by fire in 2005, the mural disappeared with it. The vacant lot is now slated to become a City of Orlando pocket park.

Viewed side by side, these two murals—created nearly four decades apart—tell a revealing story. One celebrated the history of downtown Orlando; the other promotes the city's brand. The shift in subject matter reflects a broader change in how Orlando sees itself, and may offer clues about the future direction of downtown.

Magnolia Hotel, photo from Mike McGinness, Historic Orlando Facebook Page

A Busy Corner

Long before it became the site of competing visions of Orlando, the corner of Orange Avenue and Pine Street was one of the city's busiest gathering places. In the 1880s, Thomas "Big Tom" Shine built the Magnolia Hotel between Pine Street and Central on the west side of Orange Avenue. Orlando historian Eve Bacon described the two-story hotel, with its spacious porches, as the "social center of the day." The second-floor veranda even served as a bandstand for concerts by the Orlando Coronet Band.

The McElroy block was at Church Street and Orange Avenue. 

As downtown grew, so did the value of the property. Rather than demolish the Magnolia Hotel, Shine had it moved about 150 feet north to make way for a three-story commercial building built by Dr. James McElroy, whose pharmacy stood across Orange Avenue. According to Bacon, the relocated hotel was eventually incorporated into the neighboring Elijah Hand Building and used as warehouse space.

Elijah Hand arrived in Orlando in 1885 and partnered with E. A. Richards in a furniture and undertaking business on Pine Street. His brick commercial building still stands today, and the change in brickwork along its side hints at where the Magnolia Hotel was once attached.

The Elijah Hand Building's eastward facing side

By 1903, the corner itself was occupied by the Empire Building, according to the Sanborn Fire Insurance maps. The building housed a succession of businesses, including a telephone exchange, a bicycle repair shop, a real estate office, and, according to historian Steve Rajtar, the Abernathy Drug Company. The neighboring Hudnal Building—later known as the Estes Building—became home to Estes Drug Store after Dr. Virgil W. Estes purchased an interest in the pharmacy following his arrival in Orlando in 1907.

Today, little on this corner suggests the layers of history beneath it, making the contrast with the modern mural all the more striking.

Montage of ads of businesses open in the Empire Building 

Sanborn map detail showing the Empire Building next to the Hudnal Building

Corner of Pine Street and Orange Avenue, 
photo from Mike McGinness, Historic Orlando Facebook Page

Sentinel images showing the corner of Pine and Orange in different eras

Postcard shows Empire building and Estes Drugs on left. Historic Orlando Facebook page.

Image of Pine Street in the 1920s; Orange County Regional History Center

Parade in front of the Empire/O' Connell and Estes Buildings;
Orange County Regional History Center

Lighting Up Downtown Orlando

Downtown Orlando has always reinvented itself. Businesses came and went, buildings rose and fell, and economic booms were followed by periods of decline. When I moved to Orlando in the late 1980s, outside of Church Street Station and Lake Eola there were few reasons for most residents to venture downtown. City leaders had spent years trying to change that.

In 1969, Orlando created the Downtown Development Board (DDB), a special taxing district charged with revitalizing the city's urban core. By the early 1980s, the DDB had embraced a strategy that combined new investment with an appreciation for downtown's historic character.

Orlando Sentinel, March 1969

One of its signature events was Light Up Orlando, launched in 1983 to showcase downtown's revival. Visitors toured newly renovated buildings, explored historic preservation projects, and joined walking tours led through the downtown historic district. As the Orlando Sentinel observed, the festival was intended to demonstrate "the process of renovation and the successes," with architects on hand to explain how older commercial buildings had been adapted for new uses.

"Festivalgoers will be able to take at look at downtown's new buildings and some of the historic preservation work. Elizabeth Chave, city of Orlando historic-preservation officer, says that five, possibly six, buildings that have been renovated within the past two years will be open for inspection. The project architects of each will be on hand to talk about their work. "It's an educational opportunity," Chave says.

"The intent is to show the process of renovation and the successes." Information sheets, with historical vignettes and maps marking historic-preservation sites, will be handed out to visitors. All of the renovated buildings that will be open - from 7 to 9 p.m. - are commercial buildings, most of them law offices. The Junior League of Orlando/Winter Park will conduct a 6:30 p.m. walking tour through the downtown historic district."Orlando Sentinel, November 1, 1983

Map for Light up Orlando, 1983

Photo of downtown during Light up Orlando, circa 1987,
by Todd Mondak from Historic Orlando Facebook Page

I have fond memories of those evenings. Downtown streets were filled with people, live music echoed from temporary stages, and for a few nights each year the city celebrated not only where it was going, but where it had been.

The Pine Street Story

That philosophy found lasting expression in 1985 when the DDB commissioned artist Don Reynolds to paint a three-story mural on the former Empire Building, then known as the O'Connell Building. Rather than advertise Orlando as a destination, Reynolds told the story of the city itself. His mural depicted pioneer settlers, citrus groves, railroads, and the bustling commercial district that grew along Pine Street. A Florida Cracker driving an ox cart formed the centerpiece beneath elegantly painted "Orlando" lettering that continued across the building's windows in wrought iron—a memorable detail that blended art with architecture. Towering pine trees framed the composition, while an Atlantic Coast Line locomotive crowned the mural, reminding viewers of the railroad that transformed a frontier settlement into a thriving city.

The mural was more than decoration. It reflected the Downtown Development Board's belief that preserving and interpreting Orlando's history was an essential part of revitalizing downtown. Four decades later, that vision stands in sharp contrast to the city's contemporary emphasis on branding and tourism.

Reynolds mural on O'Connell Building; Historic Orlando Facebook page


Pine and Orange before mural; Historic Orlando Facebook page


From the State Archives of Florida

Artwork for Gertrude's Walk created by artist Don Reynolds


The Past Goes Up in Flames

In the early morning hours of February 19, 2005, the O'Connell Building caught fire and was destroyed. The businesses inside—including a tattoo studio, Quiznos, Kathmandu gift shop, and Steve's Southern Music Co.—were all lost. More importantly, so was one of downtown's historic commercial buildings and Don Reynolds' mural.

The Orlando Sentinel quoted Cindi Parker, then chair of Orlando's Historic Preservation Board, lamenting the loss: "We just hate to lose another one, especially on Orange Avenue; they're all we have." She wasn't simply mourning a building. More than a century of Orlando's history disappeared with it.

For more than two decades, the site has remained vacant. After the city acquired the property, it became an accidental archaeological exhibit. Layers of terrazzo, tile, and concrete flooring remained exposed, hinting at the many lives the building had lived. Today the lot is covered with gravel, although plans are underway to transform it into a pocket park.

Orlando Sentinel, February 20, 2005

From the Historic Orlando Facebook page

Activating the Corner

Even as an empty lot, the site has continued to tell new stories. During Creative City's Immerse festival—a twenty-first-century successor in spirit to Light Up Orlando—the space became a venue for temporary public art.

Artist and writer Brendan O'Connor helped reimagine the corner with two memorable installations. Giant inflatable pigeons perched atop the neighboring Elijah Hand Building, while the restored Merita Bread sign, preserved by the Morse Museum, returned to public view on the vacant lot. Perhaps the most evocative moment came when O'Connor, performing as his drag persona "Brenda from Bithlo," DJed beneath the open sky where Reynolds' mural had once overlooked Pine Street.

It was an unexpectedly fitting use of the space. By pairing a restored piece of Orlando's visual history with contemporary performance art, the installation demonstrated that honoring the past and embracing the present are not competing ideas. They can coexist—and, together, create something uniquely Orlando.


Unbelievably Real? Brenda from Bithlo

No Past in the Pocket Park

The Hudnal—later Estes—Building survived the 2005 fire and still stands on Orange Avenue. In 2023, its south wall became home to the "Unbelievably Real" mural, facing the vacant lot where the O'Connell Building and Don Reynolds' history mural once stood.

The Estes Building on Orange Avenue

The artwork is beautifully conceived and expertly executed. It brings much-needed color and energy to a downtown still recovering from the pandemic. Its imagery celebrates Orlando's strengths: innovation, technology, a growing culinary scene, and the tourism industry that powers the regional economy. Yet among its many visual references—a water slide, the convention center, a lazy river, the Orlando Eye—the only image connecting the mural to downtown itself is a swan gliding in front of the Lake Eola fountain.

That omission says something about how Orlando increasingly chooses to tell its story. 


Standing at Orange Avenue and Pine Street, one occupies ground where nearly 150 years of Orlando history unfolded. It was once the site of the Magnolia Hotel, where the Orlando Coronet Band entertained crowds from its veranda. Then came the Empire Building, the Estes Drug Store, and businesses that served generations of residents. Across the decades, trains delivered visitors to what boosters once called the "Phenomenal City," and artists later transformed the same corner into a celebration of Orlando's past.

Those stories are every bit as "real" as the city being marketed today.

Saving the Real Orlando

Later this year, the City of Orlando plans to transform the vacant lot into a pocket park with public art, water features, shade structures, and space for gathering. It's an exciting opportunity. Rather than creating another attractive public space that could exist almost anywhere, why not create one that could exist only here?

Pocket Park rendering from the Bungalower.com

Imagine interpretive elements telling the story of the Magnolia Hotel, the Empire Building, and Don Reynolds' lost mural. Imagine artwork inspired by Pine Street's railroad, citrus, and commercial heritage. Visitors could enjoy a modern public space while discovering the history beneath their feet.

Orlando has repeatedly demonstrated that preservation and innovation can work together. The Great Southern Box Company, East End Market, the Orange County Regional History Center, Aloft Orlando, Mathers Social Gathering, and countless other adaptive reuse projects prove that historic places can become some of a city's most vibrant destinations.

For decades, downtown revitalization recognized that history gave Orlando character. Somewhere along the way, the conversation shifted toward branding instead of identity.

Theme parks have made Orlando famous by creating imaginary worlds. But the Real Orlando is not imaginary. It is found in neighborhoods with distinct identities, in buildings that have adapted across generations, and in the stories that unfolded long before today's skyline.

Progress does not require erasing the past. In fact, Orlando's future will be stronger if it embraces the people, places, and history that make this city unlike anywhere else.

That's what makes Orlando unbelievably real. #SaveRealOrlando

From the Historic Orlando Facebook page