"After World War II, the American public made two momentous and related decisions. First was the decision to resume the project of suburbanization [that was] begun in the 1920s and halted by the Great Depression and war. By the 1950s, the prevailing image of city life was Ralph Kramden’s squalid tenement apartment on television’s The Honeymooners show. Suburbia was the prescribed antidote to the dreariness of the hypertrophied industrial city—and most American cities had never been anything but that. They were short on amenities, overcrowded, and artless. Americans were sick of them and saw no way to improve them. Historically, a powerful sentimental bias for country life ruled the national imagination. As late as 1900, most U.S. citizens had lived on farms, and American culture was still imbued with rural values. As far as many Americans were concerned in the 1950s, suburbia was country living. There was plenty of cheap, open rural land to build on outside the cities, and as soon as mass-production house builders like William Fevitt demonstrated how it might be done, suburbia would be thoroughly democratized—country living for everyone. That suburbia turned out to be a disappointing cartoon of country living rather than the real thing was a tragic unanticipated consequence…"