In 1906, Cord Meyer Development Company purchased 600 acres in Whitepot and renamed it Forest Hills after its high elevation of rolling hills and proximity to Forest Park. After the Russell Sage Foundation acquired 142 acres and Grosvenor Atterbury and Frederick Law Olmsted Jr. partnered, the Forest Hills Gardens, founded in 1909, became America's earliest planned garden community. When Henry Schloh and Charles Hausmann of the Rego Construction Company came upon farmland in Forest Hills West, they renamed it Rego Park in 1923 after their slogan, "REal GOod Homes." Between the Tudor and Colonial landmarks, one can sense the footsteps of a few hundred notables who granted soul to the community and society. At the Forest Hills Tennis Stadium, imagine the Beatles landing in a helicopter in front of screaming fans in 1964, or when Althea Gibson became the first African American to win a US national tennis title in 1957. Forest Hills High School was a cornerstone for notable alumni, such as composer Burt Bacharach; musical duo Simon & Garfunkel; Bob Keeshan, who portrayed Captain Kangaroo; and the first space tourist, Dennis Tito.

Forest Hills grew out of an experiment - the transformation of 142 undeveloped acres into America's first garden city. From the early renderings of 1909 came a "fairy-book suburb," as Sinclair Lewis wrote, with architecture that was inspired by medieval villages. The success of the community bred development of homes, churches, and businesses on nearby plots. Forest Hills landed the most prestigious tennis tournament in the country. Theodore Roosevelt visited. Helen Keller moved in. Only generations later would the peace shatter when residents viciously protested a historic proposal for public housing.

"Conceived as an experiment that would apply the new "science" of city planning to a suburban setting, Forest Hills Gardens was created by the Russell Sage Foundation to provide housing for middle-class commuters as an alternative to cramped flats in New York City. Although it has long been recognized as one of the most influential planned communities in the United States, this is the first time Forest Hills Gardens has been the subject of a book." "Susan L. Klaus's illustrated history chronicles the creation of the 142-acre development from its inception in 1909 through its first two decades, offering critical insights into American planning history, landscape architecture, and the social and economic forces that shaped housing in the Progressive Era."--BOOK JACKET.

Ebenezer Howard, an Englishman, and Jane Jacobs, a naturalized Canadian, personify the twentieth century's opposing outlooks on cities. Howard had envisaged small towns, newly built from scratch, fashioned on single family homes with small gardens. Jacobs embraced existing inner-city neighbourhoods emphasizing the verve of the living street. From Howard's idea, the American Dream of garden suburbs had emerged, yet his conceptualization of a modern city received criticism for being uniform and alienated from the rest of the city. Similarly, at the turn of the new century, Jacobs' inner-city neighbourhoods came to be recognized as the result of commodification, vacillating between poverty and newly discovered hubs of urban authenticity. Presenting Howard and Jacobs within a psychocultural context, The Urban Archetypes of Jane Jacobs and Ebenezer Howard addresses our urban crisis in the recognition that "city form" is a gendered, allegorical medium expressing femininity and masculinity within two founding features of the built environment: void and volume. Both founding contrasts bring tensions, but also the opportunities of fusion between pairs of urban polarities: human scale against superscale, gait against speed, and spontaneity against surveillance. Jacobs and Howard, in their respective attitudes, have come to embrace the two ancient archetypes, the Garden and the Citadel, leaving it to future generations to blend their two contrarian stances.

In the early years of the 20th century, Queens County underwent an enormous transformation. The Queensboro Bridge of 1909 forever changed the landscape of this primarily rural area into the urban metropolis it is today. Forgotten Queens shows New York's largest borough between the years 1920 and 1950, when it was adorned with some of the finest model housing and planned communities anywhere in the country. Victorian mansions, cookie-cutter row houses, fishing shacks, and beachside bungalows all coexisted next to workplaces and commercial areas. Beckoning with the torch of the new century and a bright promise for those who dared to pioneer its urban wilderness, Queens flourished as a community. Through vintage photographs being seen by the public for the first time, the five wards of Queens are highlighted for their unique character and history.

'Shooting live music performances is something few photographers do really well. I just happened to discover one day that I was pretty good at it.' Neal Preston is one of the greatest rock photographers of all time. Exhilarated and Exhausted is a no-holds-barred complete retrospective of his more than 40-year career. Produced in collaboration with Neal, it is introduced by a foreword by Neal's close friend, the renowned writer and director Cameron Crowe, and an introduction by photo editor Dave Brolan. Neal's photographs vibrate with a palpable and inimitable intensity. As Crowe observes, 'You can feel the music, the audience, the desperate need to find a place in the world, all of it, in these photos because they were curated by the guy who felt it all when he pressed the button on the camera. They're snapshots of what's most elusive - truth and fun and for that one moment, on that one night, the thrill of belonging.' This exceptional volume is a who's who of rock royalty. Neal was

Meet Carmen! She LOVES the spotlight and applause. She's an actress, a singer, a dancer—a one-girl sensación! She exhausts her parents with her nightly performances and completely overshadows Eduardo, her adoring little brother. But when Eduardo shows his big sister how much he loves her in a way even Carmen can’t ignore, will Carmen realize that the stage is big enough for two? Exuberant illustrations by Lorena Alvarez Gómez offer the perfect complement to Anika Denise’s warm, Spanish-sprinkled text in this celebration of theater, family, and imagination.