By Eric Avila
La pulsed with financial energy and demographic development within the a long time following global warfare II. This vividly precise cultural historical past of L.A. from 1940 to 1970 lines the increase of a brand new suburban cognizance followed by way of a new release of migrants who deserted older American towns for Southern California's booming city sector. Eric Avila explores expressions of this new "white identity" in pop culture with provocative discussions of Hollywood and picture noir, Dodger Stadium, Disneyland, and L.A.'s well known freeways. those associations not just reflected this new tradition of suburban whiteness and contributed to shaping it, but in addition, as Avila argues, show the profound dating among the more and more fragmented city panorama of la and the increase of a brand new political outlook that confounded the tenets of recent Deal liberalism and expected the emergence of the hot Right.
Avila examines disparate manifestations of pop culture in structure, paintings, tune, and extra to demonstrate the unfolding city dynamics of postwar l. a.. He additionally synthesizes very important currents of latest examine in city heritage, cultural reports, and significant race thought, weaving a textured narrative in regards to the interaction of house, cultural illustration, and id amid the westward shift of capital and tradition in postwar the US.
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Extra resources for Popular Culture in the Age of White Flight: Fear and Fantasy in Suburban Los Angeles (American Crossroads)
During the 1930s and 1940s, the reigning Swing Era sheltered a scattered array of racially integrated music venues. Along the coast, the Venice Pier and the Santa Monica Ballroom attracted working-class youths who sought a moment’s release from the demands of work. In Long Beach, the Nu Pike Amusement Park drew crowds from all parts of the city. Downtown, Duke Ellington performed “Jump for Joy,” an all-black musical revue, before integrated audiences at the Mayan Theater, and at Shep’s Playhouse in Little Tokyo, Gerald Wilson, Coleman Hawkins, and other jazz greats performed before audiences of black and white war workers.
Of course, he upheld dominant racial hierarchies through his savage, subservient, or otherwise inferior representation, and his presence in Southern California’s new “new mass culture” recalled the myriad ethnic notions that white Americans have adopted in their claim to whiteness. He did more than that, however. A new generation of race-conscious cultural historians has begun to illuminate the ways in which images of the Other helped to resolve some of the ideological dilemmas that accompanied the process of becoming white.
30 Both perspectives entail their own pitfalls, yet both convey some important truths about Los Angeles and its culture that make their way into the 14 / Chapter One following chapters. Overemphasizing capitalist hegemony ignores the participatory process by which consumers shape the production of culture through the very act of consumption and negates the possibilities for resistance to and the refashioning of mass-produced objects. 31 The mass cultural landscapes explored in the following chapters reveal popular values, attitudes, and reactions, and their very popularity suggests a shared set of assumptions among producers and consumers about the identity of the city and its public.