By Harvey H. Jackson III
The upward push and Decline of the Redneck Riviera lines the advance of the Florida-Alabama coast as a vacationer vacation spot from the overdue Nineteen Twenties and early Nineteen Thirties, while it used to be moderately populated with “small fishing villages,” via to the tragic and devastating BP/Deepwater Horizon oil spill of 2010.
Harvey H. Jackson III specializes in the stretch of coast from cellular Bay and Gulf seashores, Alabama, east to Panama urban, Florida—an sector often called the “Redneck Riviera.” Jackson explores the increase of this zone as a holiday vacation spot for the decrease South’s center- and working-class households following global battle II, the construction growth of the Nineteen Fifties and Nineteen Sixties, and the emergence of the Spring holiday “season.”
From the past due sixties via 1979, serious hurricanes destroyed many small resorts, cafes, bars, and early cottages that gave the small seashore cities their crucial personality. A moment construction growth ensued within the Eighties ruled via high-rise condominiums and massive lodge inns. Jackson strains the tensions surrounding the gentrification of the past due Eighties and Nineteen Nineties and the cave in of the housing marketplace in 2008.
While his significant concentration is at the social, cultural, and monetary improvement, he additionally files the environmental and monetary affects of typical mess ups and the politics of seashore entry and dune and sea turtle protection.
The upward thrust and Decline of the Redneck Riviera is the end result of 16 years of study drawn from neighborhood newspapers, interviews, documentaries, group histories, and a number of other scholarly stories that experience addressed elements of this region’s historical past. From his 1950s-built family members holiday cottage in Seagrove seashore, Florida, and on common journeys to the Alabama coast, Jackson witnessed the adjustments that experience come to the world and has recorded them in a private, in-depth examine the historical past and tradition of the coast.
Read Online or Download The Rise and Decline of the Redneck Riviera: An Insider's History of the Florida-Alabama Coast PDF
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Extra resources for The Rise and Decline of the Redneck Riviera: An Insider's History of the Florida-Alabama Coast
From Capra’s Why We Fight series—supported by the government’s Office of War Information—to Wellman’s The Story of G. I. Joe, these films, and scores of others like them, depicted the invincible American hero fighting a just war in order to maintain America’s democratic stability and religious freedom (see: War Film, The). Although there were non-genre war films released at this time, such as Michael Curtiz’s Casablanca (1942) and William Wyler’s The Best Years of Our Lives (1946), that were more narratively complex, almost without exception formulaic, prowar combat films, set in Europe and the Pacific, and to a lesser extent in Korea, would continue to be made until Americans grew tired of war and its brutal xl Introduction effects after the nation suffered its first military defeat in Vietnam in the mid-1970s (see: Casablanca and Best Years of Our Lives, The).
Pickford’s seemingly perpetual girlishness was the polar opposite of Theda Bara’s wickedly erotic vamp persona. The first example of a star who was created by a studio, Bara was born Theodosia Goodman in Ohio. ), and after exotic stories were concocted about her being the daughter of a sheik and an Arabian princess who was involved in the “black arts,” she became notorious for playing the “vamp”—a vampiress whom men could not resist. The studio released incredibly provocative publicity photos of Bara, and she did her part on screen playing vamps that exist only to seduce and destroy powerful men (Sklar, 2008; Lewis, 2002).
The Be Carefuls were especially concerned with depictions of crime—theft, robbery, safecracking, arson, smuggling, and rape—that might prove to be “potentially informative” to members of the lower classes who might be tempted to cross over legal lines (Pramaggiore and Wallis, 2005). Although Hays’s lists were well intentioned, they had little effect on the way that motion pictures were made, as most studios simply ignored the MPPDA regulations. Now convinced that the industry could not—or would not—regulate itself, churchrelated and public organizations—Mothers of Minnesota, Combat, the NAACP, the Catholic War Veterans, the Parent Teacher Association—pooled their efforts in an attempt to force studios to produce more appropriate material.
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