Motivated by potentially turning Flushing Meadows, literally a land of refuse, into his greatest public park, Robert MosesaNew York's qMaster Builderqabrought the World's Fair to the Big Apple for 1964 and '65. Though considered a financial failure, the 1964-65 World' s Fair was a Sixties flashpoint in areas from politics to pop culture, technology to urban planning, and civil rights to violent crime. In an epic narrative, the New York Times bestseller Tomorrow-Land shows the astonishing pivots taken by New York City, America, and the world during the Fair. It fetched Disney's empire from California and Michelangelo's La Pieta from Europe; and displayed flickers of innovation from Ford, GM, and NASAafrom undersea and outerspace colonies to personal computers. It housed the controversial work of Warhol (until Governor Rockefeller had it removed); and lured Ken Kesey and the Merry Pranksters. Meanwhile, the Fairaand its house band, Guy Lombardo and his Royal Canadiansasat in the musical shadows of the Beatles and Bob Dylan, who changed rock-and-roll right there in Queens. And as Southern civil rights efforts turned deadly, and violent protests also occurred in and around the Fair, Harlem-based Malcolm X predicted a frightening future of inner-city racial conflict. World's Fairs have always been collisions of eras, cultures, nations, technologies, ideas, and art. But the trippy, turbulent, Technicolor, Disney, corporate, and often misguided 1964-65 Fair was truly exceptional.... 2006), which was key to trying to understanding the Fab Four and the impact they had in both Britain and the United States in 1963a64. ... My account of New York Citya#39;s crackdown on the downtown art scene was drawn from a wide range of sources (see my notes for Chapter 19). ... to America by Martin Goldsmith (J. Wiley, 2004); Bob Spitza#39;s The Beatles; and Jonathan Goulda#39;s Cana#39;t Buy Me Love.
|Publisher||:||Rowman & Littlefield - 2013-12-23|