Cool Cars High Art The Rise Of Kustum Kulture

Along with the Harley-Davidson motorcycle, hot rods and custom cars are powerful symbols of resistance, rebellion, and the high-octane lifestyle. Since the 1950s, these flashy restyled automobiles have occupied a unique place in American popular mythology. Cool Cars, High Art: The Rise of Kustom Kulture checks out this particularly male subculture with an up-close look at customized car art and the artists who create it. Through amazing technical mastery, coupled with a uniquely American imagination, these motorheads transform mass-produced products of industry into unique hand-crafted pieces of art called "rods" and "customs." This first full-length study to focus on the practice of hot rodding and car customizing argues not only that this "kustom kulture" deserves consideration as a source of legitimate art forms but also that the rise of American car customizing reflects the attitudes and ideas of the teen culture that emerged in the 1950s. While tracing the evolution of styles, this book examines specific cars and the progression of car culture through the 1990s. Cool Cars, High Art: The Rise of Kustom Kulture argues moreover that in this car art the theories of modernism meld with popular culture. In their beauty, in the sophistication of their designs, and in their formal play, these transformed, re-imagined cars parallel the ideas, techniques, and achievement of high-art modernists. And as high art progresses into postmodernism, so too does customized car culture. Despite the longevity and the magnitude of Kustom Kulture, this far-reaching contribution to American art has largely been ignored by mainstream critics. While postulating the cause of this anomaly, this book questions what is meant by art and how preconceived notions of gender, race, and class often prevent the recognition of creativity in places where imagination is not anticipated. John F. DeWitt, an associate professor of English and the acting director of the liberal arts program at the University of the Arts in Philadelphia, is the author of several books of poetry. He has been published in The New American Review and New Geography of American Poets.

This anthology of hot rod writings and excerpts chronicles the joys of hot rodding, the historical circumstances of its creation, and the major events, people, cars, and builders who brought hot rods to the national stage. From popular writers of the era to those covering today’s cutting edge innovators, this collection explores various themes within hot rodding through news articles, essays, fiction, interviews, and more, with more than 60 color and black-and-white illustrations and photographs to illuminate each excerpt and story. Writers include Gray Baskerville, Ed Roth, Wally Parks, Dean Batchelor, Robert E. Petersen, Tom Wolfe, LeRoi "Tex" Smith, and many more.

Born in Los Angeles and raised in the epicentre of the California hot rod explosion, Ed Roth created automotive forms purely from his own imagination. He transformed car design, reinvented American hot rod culture and put Detroit on notice. Each of his creations transcended function and form to turn the American automobile into rolling sculpture.

Repair, reuse and disposal are closely interlinked phenomena related to the service lives and persistence of technologies. When technical artefacts become old and worn out, decisions have to be taken: is it necessary, worthwhile or even possible to maintain and repair, reuse or dismantle them - or must they be discarded? These decisions depend on factors such as the availability of second-hand markets, repair infrastructures and dismantling or disposal facilities. In telling the stories of China's power grid, Canadian telephones, German automobiles and India's shipbreaking business, among others, the contributions in this volume highlight the persistence of technologies and show that maintenance and repair are not obsolete in modern industries and consumer societies.

Soon after the first automobiles were introduced in the United States, auto racing became a reality. Since that time, motorsports have expanded to include drag racing, open wheel racing, rallying, demolition derbies, stock car racing, and more. Motorsports have grown to such an extent that NASCAR is now the second most watched professional sport in America, behind only football. But motorsports are about much more than going fast and finishing first. These events also reflect our culture, our society, our values, and our history. In Motorsports and American Culture: From Demolition Derbies to NASCAR, Mark D. Howell and John D. Miller bring together essays that examine the relevancy of motorsports to American culture and history, from the late nineteenth century to the present. Addressing a wide spectrum of motorsports—such as stock car racing, demolition derbies, land speed record pursuits, and even staged train wrecks—the essays highlight the social and cultural implications of contemporary and historical moments in these sports. Topics covered include gender roles in motorsports, hot rods and the creation of fan and participant identities, the appeal of demolition derbies, the globalization of motorsports, the role of moonshine in stock car history, the economic relationship between NASCAR and its corporate sponsors, and more. Offering the most thorough study of motorsports to date from a diverse pool of disciplines and subjects, Motorsports and American Culture will appeal to motorsports and automobile enthusiasts, as well as those interested in American history, popular culture, sports history, and gender studies.

Vocals tinged with pain and desperation. The deep thuds of an upright bass. Women with short bangs and men in cuffed jeans. These elements and others are the unmistakable signatures of rockabilly, a musical genre normally associated with white male musicians of the 1950s. But in Los Angeles today, rockabilly's primary producers and consumers are Latinos and Latinas. Why are these "Razabillies" partaking in a visibly "un-Latino" subculture that's thought of as a white person's fixation everywhere else? As a Los Angeles Rockabilly insider, Nicholas F. Centino is the right person to answer this question. Pairing a decade of participant observation with interviews and historical research, Centino explores the reasons behind a Rockabilly renaissance in 1990s Los Angeles and demonstrates how, as a form of working-class leisure, this scene provides Razabillies with spaces of respite and conviviality within the alienating landscape of the urban metropolis. A nuanced account revealing how and why Los Angeles Latinas/os have turned to and transformed the music and aesthetic style of 1950s rockabilly, Razabilly offers rare insight into this musical subculture, its place in rock and roll history, and its passionate practitioners.

Black and Brown in Los Angeles is a timely and wide-ranging, interdisciplinary foray into the complicated world of multiethnic Los Angeles. The first book to focus exclusively on the range of relationships and interactions between Latinas/os and African Americans in one of the most diverse cities in the United States, the book delivers supporting evidence that Los Angeles is a key place to study racial politics while also providing the basis for broader discussions of multiethnic America. Students, faculty, and interested readers will gain an understanding of the different forms of cultural borrowing and exchange that have shaped a terrain through which African Americans and Latinas/os cross paths, intersect, move in parallel tracks, and engage with a whole range of aspects of urban living. Tensions and shared intimacies are recurrent themes that emerge as the contributors seek to integrate artistic and cultural constructs with politics and economics in their goal of extending simple paradigms of conflict, cooperation, or coalition. The book features essays by historians, economists, and cultural and ethnic studies scholars, alongside contributions by photographers and journalists working in Los Angeles.