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Just as Okrent's Nine Innings beautifully telescoped all of baseball into a single game in 1982 between the Milwaukee Brewers and the Baltimore Orioles, so the former Life editor and Time Inc. executive finds in the creation of Rockefeller Center a good deal of New York and many of the contradicti*** in American life as the country worked to emerge from the Depression. Built for profit on a run-down stretch of midtown between Fifth and Sixth Avenues called the Upper Estate-myriad lots that underwriter John D. Rockefeller Jr. slowly and inexorably leveraged into an available w***-the seven-year project was second only to the WPA in temporary job creation, though as Okrent shows, the project was far from worker-centered. While one of its originally intended (and abandoned) roles was to provide a new home for the Metropolitan Opera, the sprawling complex came to house a hydra-headed media center anchored by NBC, RKO and RCA, yet saw its g***eous Center Theatre torn down in 1954 (though Radio City Music Hall and the Rainbow Room remain). But the real stories here come from individual contributi*** to the huge project, from Junior (and his six children) to hired-artist Ge***ia O'Keeffe and her apparently abusive p***ographer-gallerist husband, Alfred Stieglitz; the Roxyettes and the Glee Club singers; engineer O.B. Hanson (inventor of "studio audiences"); and Ray Hood (who ascends from radiator-cover designer to architect of the "Radiator Building"). That the Rockefeller Center Christmas tree tradition began during c***truction in 1931 as a "modest balsam" decorated by site workers with cranberries, "garlands of paper and... a few tin cans" is just one of thousands of details (including the famous commissioning and destruction of Diego Rivera's murals) that make this magisterial account, itself seven years in the ***, fascinating and immediate.

A Note to the Reader

PROLOGUE: May 21, 1928, and September30, 1939

ONE: The Heart of This Great City

TWO: A 'Commonplace Person

THREE: These Properties Will Be Greatly Increased in Value

FOUR: I Chose the Latter Course

FIVE : Architecture Never Lies

six: Tears of Joy to a Small Business Man

SEVEN: I Like Having a Lot of People Against Me

EIGHT: A Genius

NINE: A Hundred Lawsuits

TEN" Let Owen Young Do It

ELEVEN: Who Designed Rockefeller Center?

TWELVE: Wondering Where I'm Going to Get the Money

THIRTEEN: Our Architects Deserve to Remain in Chains

FOURTEEN: Desperate for Business

FIFTEEN: Give 'Em Something Better

SIXTEEN: Ruthlessness Was Just Another Word for Good Business

SEVENTEEN: All the Finns in Helsingfors

EIGHTEEN: What Do You Paint, When You Paint on a Wall?

NINETEEN: I Was Not Interested in Sitting and Listening

TWENTY: Visitors Give Him Dollars

TWENTY-ONE: The Snake Changing Its Skin

TWENTY-TWO: The Kingdom of the World

TWENTY-THREE: The Demand Is Almost Unbelievable

EPILOGUE" 1948z2003

Notes

Bibliography

Acknowledgments

Illustration Credits

Index

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书籍介绍

Book Description

In this hugely appealing book, a finalist for the Pulitzer Prize, acclaimed author and journalist Daniel Okrent weaves together themes of money, politics, art, architecture, business, and society to tell the story of the majestic suite of buildings that came to dominate the heart of midtown Manhattan and with it, for a time, the heart of the world. At the center of Okrent’s riveting story are four remarkable individuals—tycoon John D. Rockefeller, his ambitious son Nelson Rockefeller, real estate genius John R. Todd, and visionary skysc***r architect Raymond Hood. In the tradition of David McCullough’s The Great Bridge, Ron Chernow’s Titan, and Robert Caro’s The Power Broker, Great Fortune is a stunning tribute to an American landmark that captures the heart and spirit of New York at its apotheosis.

Amazon.com

Those of us who love New York tend to love the city passionately, for its past as well as its present. Daniel Okrent's Great Fortune: The Epic of Rockefeller Center is a book for New Yorkers from Ashtabula to Zimbabwe: a study of ambition, audacity, and deal-*** on a grand scale that led to the c***truction of some of the most famous skysc***rs in the world. The cast of characters includes not only the many and diverse members of the Rockefeller family, but other powerful New York instituti*** such as Columbia University, the Metropolitan Opera, the Museum of Modern Art, and The New York Times--not to mention the radical Mexican artist Diego Rivera, the New Yorker cartoonist William Steig, the Marx Brothers, and a bevy of "Rockettes." Okrent's narrative neatly balances the epic and the intimate; he offers both authoritative pronouncements on modern architecture and reams of good gossip. Like New York itself, Great Fortune contains multitudes: densely packed, it remains surprisingly--and welcomingly--commodious.

　　　　　　　　　　　　　　　　　　　　　　　　　　　--Tim Page

From Publishers Weekly

Just as Okrent's Nine Innings beautifully telescoped all of baseball into a single game in 1982 between the Milwaukee Brewers and the Baltimore Orioles, so the former Life editor and Time Inc. executive finds in the creation of Rockefeller Center a good deal of New York and many of the contradicti*** in American life as the country worked to emerge from the Depression. Built for profit on a run-down stretch of midtown between Fifth and Sixth Avenues called the Upper Estate-myriad lots that underwriter John D. Rockefeller Jr. slowly and inexorably leveraged into an available w***-the seven-year project was second only to the WPA in temporary job creation, though as Okrent shows, the project was far from worker-centered. While one of its originally intended (and abandoned) roles was to provide a new home for the Metropolitan Opera, the sprawling complex came to house a hydra-headed media center anchored by NBC, RKO and RCA, yet saw its g***eous Center Theatre torn down in 1954 (though Radio City Music Hall and the Rainbow Room remain). But the real stories here come from individual contributi*** to the huge project, from Junior (and his six children) to hired-artist Ge***ia O'Keeffe and her apparently abusive p***ographer-gallerist husband, Alfred Stieglitz; the Roxyettes and the Glee Club singers; engineer O.B. Hanson (inventor of "studio audiences"); and Ray Hood (who ascends from radiator-cover designer to architect of the "Radiator Building"). That the Rockefeller Center Christmas tree tradition began during c***truction in 1931 as a "modest balsam" decorated by site workers with cranberries, "garlands of paper and... a few tin cans" is just one of thousands of details (including the famous commissioning and destruction of Diego Rivera's murals) that make this magisterial account, itself seven years in the ***, fascinating and immediate.

From Booklist

Rockefeller Center, a complex of buildings in Manhattan built over an eight- to ten-year period the during Great Depression, was the result of a philanthropic gesture by John D. Rockefeller Jr. that took on a life of its own. It took a coterie of legal firms, bankers, architects, and real estate moguls, not to mention thousands of laborers, to create the most ambitious c***truction project since the pyramids. The scale was unprecedented for its time: 154,000 t*** of structural steel; 1,000,000 square feet of window glass; 200 miles of brass pipe; and so on, with 42 elevators in five separate banks necessary to carry its occupants on their appointed rounds. With more office space than the much taller Empire State Building, this architectural marvel was produced to make optimal use of light and air flow before the advent of fluorescent lighting and air-conditioning. The individual characters and their stories form the backbone of this feat, including the famous episode of the controversial Diego Rivera wall mural that was never seen by the public.

　　　　　　　　　　　　　　　　　　　　　　　　　　David Siegfried

About Author

Daniel Okrent is a prizewinning journalist, author, and television commentator. For many years he was a senior editorial executive at Time Inc. In 2003 he was appointed the first Public Editor of the New York Times.

Book Dimension:

length: (cm)23.5 　　　　　　　　　width:(cm) 16