Atomic Ranch is an in-depth exploration of post-World War II residential architecture in America. Mid-century ranches (1946-1970) range from the decidedly modern gable-roofed Joseph Eichler tracts in the San Francisco Bay area and butterfly wing houses in Palm Springs; Florida; to the unassuming brick or stucco L-shaped ranches and split-levels so common throughout the United States. Authors Michelle Gringeri-Brown and Jim Brown; founders and publishers of the popular quarterly Atomic Ranch magazine; extol the virtues of the tract; split-level; rambler home and its many unique qualities: private front facades; open floor plans; secluded bedroom wings; walls of glass; and an easy-living lifestyle. From updated homes with high-end Italian kitchens; terrazzo floors; and modern furniture to affordable homeowner renovations with eclectic thrift-store furnishings; Atomic Ranch presents twenty-five homes showcasing inspiring examples of stylish living through beautiful color photographs; including before and after shots; design-tip sidebars; and a thorough resource index.
#4637341 in eBooks 2012-11-27 2012-11-27File Name: B00AEB78F0
Review
2 of 3 people found the following review helpful. ALMOST REQUIRED READINGBy Larry FinebergProfessor Crespy has used an unpublished autobiography by one of Broadways great producers as the basis for his book. He is a great enthusiast; and its cetainly important to have a record of what Broadway was like when it still flourished; allowing Barr himself to contribute some of the amazing plays and one superior musical he helped nurture. But Crespy is not linguistically at home with the exuberance of Barrs personality; or his vivid enthusiasms; and so this necessary work often seems like a small plane trying to reach an altitude just beyond its reach. The journey is worth taking; but Barrs own words might have been more vivid; dangerous; and enthralling. This volume seems cloaked in caution; but as its likely to be the only record well have of an extraordinary career; if you are interested in the period and the playwrights youll want to read it. Just know that no seat belt will be required for this gentle version of what was a brave and dangerous journey by a unique personality4 of 5 people found the following review helpful. Richard Barr the book for theater goersBy Carolb FischerThis will be a prejudiced review since Richards my brother but I admire the research done by Crespy and I found it to be fascinating for theater lovers.As the sister of Richard Barr Im admitting to a biased review;nevertheless this is a hurrah by David Crespy;the author.He shows how the modern theater was changed by a theatrical group from the former formality of the stage to a lively modern agent that went in all directions.My brother was an outstanding member of this group according to the author.As for the biographical parts;they ring true.4 of 6 people found the following review helpful. You Have To Hock Your House...By J. Faulk...is the title of the unpublished autobiography of Richard Barr (1917-Jan. 1989)--and indeed Richard did hock it a time or two to help finance Broadway productions in his latter career. Even in his earlier; Off Broadway years; the modest sums required to produce kept him scurrying--thus his partnering with Clinton Wilder; Edward Albee; and later Charles Woodward.David Crespy quotes only phrases from the autobio; but obviously it was an invaluable resource. Plus; Barrs archived papers are extensive. Plus; the 33 pages of Notes ending Crespys book indicate the thoroughness of his research.Crespys bio concentrates on the professional career of Barr; certainly not devoid of emotional conflicts. But Richards gay personal life is pretty much passed over.RICHARDS LIFERichard graduated from Princeton (where he acted) in 1938; and soon got into a nitty gritty job with Orson Welles and the Mercury Theatre. In 1941-1945 he served in the U.S. Air Force. After the war he developed his directing skills in stock; on Broadway; and at New York City Center; then advanced to producing.In the 1950s the Off Broadway movement attracted Barr. He applied the respectful idea that the playwright should have primacy; and the producer and director should adhere to the writers intentions. Success came when Theatre 1960 (Barr with two coproducers) presented Albees Zoo Story and Becketts Krapps Last Tape.Eventually Albarwild was formed as a producing entity; giving Albee unusual clout as both writer and producer. The newly formed Playwrights Unit was quite active in presenting the works of fledgling dramatists.In 1962 came the big score on Broadway: Whos Afraid of Virginia Woolf. The coming years somewhat alienated Barr and Albee; as Richard habitually indulged in Sardis lunches with multiple drinks and exhibited some afternoon dysfunction. One dispute was Barrs choice to produce The Boys in the Band (1968); which Albee opposed as a stereotyped effort. Two other major credits for Barr are Albees A Delicate Balance (1966) and Stephen Sondheims Sweeney Todd (1979).COLD CHAPTER 10Crespys concluding Chapter 10 is Brightening Broadways Lights: Barrs Legacy to the American Theatre. Notable is Barrs long tenure as president of the League of American Theatres and Producers (1967 to his death). Curiously; these 26 pages veer off into various facets of Broadway business and practice; and Richard Barr and his AIDS-related death seem lost in the shuffle. On the last two pages a producer referring to the deceased does the ungracious; avoided heretofore in the biography: she thrice calls him "Dick" ! Also; Edward Albees Foreword and Afterword are brief--maybe he phoned them in.In addition to the Notes; there is a Bibliography (including Interviews) and Index.14 pages of b/w photos.