By Joshua Olsen
An Amazon overview, that is extra informative than the publisher's blurb:
This is an exceptional ebook, good prepared and written, giving a truly finished account of the profession of financier-developer-builder-planner James Rouse. His occupation spanned the main early life of post-War American city coverage, and he used to be considering many of the significant tasks that happened. whereas the writer doesn't try to delve deeply into what made Jim Rouse tick, he offers a radical account of some of the tasks he undertook, his explanations for doing so, and the nice and undesirable effects that ensued.
Rouse's so much outstanding accomplishments, together with the hot neighborhood of Columbia, MD, and the competition marketplaces in Boston and Baltimore, by way of themselves warrant offering an account of his existence. what's awesome is how even more he did, in either suburban and critical urban environments. He additionally interacted with and infrequently partnered with the various different city visionaries over the last half the twentieth century.
I come clear of interpreting this booklet with admiration for what Rouse finished yet knowledge of the boundaries and outcomes of his paintings. In a few respects, he verified the way to do rather well the foremost new phenomena that emerged in American city existence within the post-War interval, together with procuring facilities and suburban subdivisions, yet probably the structure of those advancements used to be bland they usually ended up having some of the comparable adverse consquences for American city lifestyles that their much less profitable examples did. He additionally, to his credits, attempted to take on the unfavorable affects those suburban phenomena had for vital urban existence, understandably with combined luck, starting from significant demolition and clearance initiatives below city renewal, to local rehabilitation, to the competition marketplace.
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Extra resources for Better Places, Better Lives: A Biography of James Rouse
Willie’s mother did not like her new dark-skinned daughter-inlaw. ” It was ironic that the Bakers considered her too dark; growing up Josephine had always felt out of place in her family show business debut 19 because her skin was so much lighter than that of her siblings and her mother. Willie’s father owned a restaurant, and the young couple ate there most of the time. They got to know people who frequented the restaurant, and Josephine became friends with Wilsa Caldwell, who later helped her out in New York City.
Lights reflected from the mirror and threw shadow images all over the theater. When the dance concluded, the egg closed and the cables started to pull it back up. Then one night, something went awry. One of the cables jammed and caused the cage to tilt. Trapped on the slippery mirror, Joséphine began to slide out of the dangling cage, 45 feet above the orchestra. Somehow, she grabbed the edge of the mirror and managed to hold on until stagehands rescued her. As a whole the show received criticism for being too extravagant, but Joséphine received only accolades.
Her Charleston dancing inspired the fashion world, and skirts became shorter to accommodate the dance’s movements. Her lateness aside, Joséphine was popular with the show’s cast, and on June 3, 1926, they threw a 20th birthday party for her. They showered her with gifts—perfume, scarves, bracelets, and a puppy. Despite this show of friendship, Joséphine was lonely and began to party away most nights. “After the show at the Folies, I began appearing at various cabarets, where I danced the Charleston until the wee hours.