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Review of:

Crossroads: American Popular Culture and the Vietnam Generation by Mitchell K. Hall
Rowan & Littlefield Publishers Inc., New York, 2005

Reviewed By: Kenneth J. Bindas
Reviewed in: Peace & Change
Date accepted online: 02/11/2007
Published in print: Volume 32, Issue 2, Pages 221-242
See all reviews for this journal

Book Reviews

In the years after 1945, American society underwent many transformations and the increasingly powerful cultural industries reflected and documented these changes. In Crossroads, Mitchell K. Hall tries to rein in as many of these cultural manifestations as possible in order to connect to the historical events that dominated the discourse of the Vietnam generation. The result is a potpourri of music, film, sports, and television that outlines how, at the very moment of American involvement in Southeast Asia, "popular culture provided both a measurement of and a stimulant to larger social and political changes" (ix).

One thing is certain when reading the work-there is a lot to cover! The emergence and proliferation of the entertainment industry is the underlying theme of Crossroads. Beginning in the early 1950s, Hall outlines an industry on the verge of escalation, like its Vietnam counterpart. A reeling film industry found itself beset with charges of harboring fellow travelers, suburban sprawl, and competition from the upstart television networks, adding up to dramatic economic losses where 25 percent of the movie houses shut their doors. Popular music also faced declining revenue in the early part of the 1950s, as music reflected the desire for security that was so much a part of the postwar consensus. While baseball continued to be America's game, football, basketball, and women's athletics languished. Television, while novel and popular, suffered from a lack of clear programming innovation. All of this was to change.

"People could feel the tremors of change in the mid-1950s" (p. 37), argues Hall, and television would play a central role. Not only would it find its programming focus (youth) with the appearance of Elvis Presley on Ed Sullivan and the debut of Davy Crockett on ABC, but television would also assist the emergence of rock music, professional sports, and by its popularity, the resurgence of the film industry. Television's golden age was filled with both success and scandal, but pointed to its growing social and economic influence. Writers, actors, and even film studios slowly began to produce shows for the small screen, and an intersection between the two media increased. While movies continued to struggle, they began to cater more directly to the youth market and slowly built costumer loyalty that would allow the film industry to reap rewards by the early 1970s. Football, first professional and later college, seemed perfectly suited for television, and by the late 1950s became a growing staple of programming that would mushroom during the Vietnam era. Its success would encourage other sports-professional and amateur-to be featured on television, giving both increased exposure and profit. By the early 1980s, the proliferation of television sports meant that all regions would be part of the sports network, and the revenues generated would make sport an important part of the nation's economy.

Other cultural products also underwent fundamental changes. Rock and roll music began with smaller record labels catering to the emerging baby boom market in urban areas. By the end of the 1950s the major labels, which initially ignored it, began to actively promote and disseminate this youth music. Rocked by the payola scandal, they consolidated power and brought the emerging genre under their control. At the same time, the influence of American folk and the British invasion allowed for tremendous lyrical and musical creativity. By the end of the Vietnam era, rock music had become the music of its generation and a major social and economic force in American society. The movie industry continued to redefine itself as it lost market share to the proliferation of leisure time competitors like television, sports, and music. Struggling to find identity and an audience, the industry challenged the morality codes from earlier eras and by the end of the 1960s introduced the current rating system to allow for more diverse and adult films. A renaissance of sorts began and in the seventies the blockbuster approach, multiplex development, and the multiple merchandising tie-ins signaled the arrival of the modern movie industry. Professional sports continued to emerge as a major component of the culture industry, as baseball, football, basketball, and even hockey enjoyed increased popularity largely as a result of increased television coverage and the marketing of "events" like the Super Bowl in football. The increased exposure and national popularity of professional sports helped to promote amateur athletics, whether the Olympic games, college sports, or the inclusion of women as a result of Title IX.

Mitchell Hall deserves high praise for Crossroads, not because it challenges any assumptions or introduces some new way of seeing the era, but simply for the breadth of the analysis. So many movies, songs, players, actors, television shows, musicians, sports teams, and others are mentioned that at times the work becomes a massive list of everything popular. This approaches overkill, as the desire to mention so many examples means that there is less room for a more detailed analysis of what it all means, or to compare and contrast similar developments between these popular art forms. Also, using the list approach allows the reader to ask why this movie and not that one, or why wasn't this song listed, or perhaps more specifically, why was country music ignored? However, Crossroads does fill a gap in the historical analysis and provides students, teachers, and interested persons with an impressive overview of the culture of the Vietnam era.