Each city is an archetype rather than a prototype, an exaggerated example from which to derive lessons for the typical. Each city vividly superimposes elements of a supranational scale on the local fabric: churches in the religious capital, casinos in the entertainment capital. These cause violent juxtapositions of use and scale in both cities. Rome’s churches, off streets and piazzas, are open to the public; the pilgrim, religious or architectural, can walk from church to church. The gambler or architect in Las Vegas can similarly take in a variety of casinos along the Strip. The casinos and lobbies of Las Vegas are ornamental and monumental and open to the promenading public.
Venturi, Robert (architect)
“From Rome to Las Vegas”
Las Vegas has become, just as Bugsy Siegel dreamed, the American Monte Carlo—without any of the inevitable upper-class baggage of the Riviera casinos. At Monte Carlo there is still the plush mustiness of the nineteenth century noble lions.... There are still Wrong Forks, Deficient Accents, Poor Tailoring, Gauche Displays, Nouveau Richness, Cultural Aridity—concepts unknown in Las Vegas. For the grand debut of Monte Carlo as a resort in 1879 the architect Charles Garnier designed an opera house for the Place du Casino; and Sarah Bernhardt read a symbolic poem. For the debut of Las Vegas as a resort in 1946 Bugsy Siegel hired Abbot and Costello, and there, in a way, you have it all.
Wolfe, Tom (novelist)
Kandy-Kolored Tangerine-Flake Streamline Baby
2006-08-03 22:02:31
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answer #1
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answered by galaxiquestar 4
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"Whatever your intentions, whatever your desires, Las Vegas will do you good." Ricky J. Fico (linkinlasvegas.com)
2006-08-04 12:26:44
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answer #4
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answered by rickjfico 2
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wat happens in vegas, stays in vegas
2006-08-04 10:02:23
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answer #5
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answered by cvhiew8873 3
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