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Open from 1942 until 1945, the Hollywood Canteen was the most famous of the patriotic home front nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations. Since the opening night, when the crowds were so thick that Bette Davis had to enter through the bathroom window to give her welcome speech, the storied dance floor where movie stars danced with soldiers has been the subject of much U.S. nostalgia about the "Greatest Generation." Drawing from oral histories with civilian volunteers and military guests who danced at the wartime nightclub, Sherrie Tucker explores how jitterbugging swing culture has come to represent the war in U.S. national memory. Yet her interviewees' varied experiences and recollections belie the possibility of any singular historical narrative. Some recall racism, sexism, and inequality on the nightclub's dance floor and in Los Angeles neighborhoods, dynamics at odds with the U.S. democratic, egalitarian ideals associated with the Hollywood Canteen and the "Good War" in popular culture narratives. For Tucker, swing dancing's torque—bodies sharing weight, velocity, and turning power without guaranteed outcomes—is an apt metaphor for the jostling narratives, different perspectives, unsteady memories, and quotidian acts that comprise social history.

Death of the Moguls is a detailed assessment of the last days of the “rulers of film.” Wheeler Winston Dixon examines the careers of such moguls as  Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios’ collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn’t reign supreme.

Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.

Complemented by rare, behind-the-scenes stills, Death of the Moguls is a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film.

As international travel became cheaper and national economies grew more connected over the past thirty years, millions of people from the Third World emigrated to richer countries. A tenth of the population of Mexico relocated to the United States between 1980 and 2000. Globalization theorists claimed that reception cities could do nothing about this trend, since nations make immigration policy, not cities. In Deflecting Immigration, sociologist Ivan Light shows how Los Angeles reduced the sustained, high-volume influx of poor Latinos who settled there by deflecting a portion of the migration to other cities in the United States. In this manner, Los Angeles tamed globalization's local impact, and helped to nationalize what had been a regional immigration issue. Los Angeles deflected immigration elsewhere in two ways. First, the protracted network-driven settlement of Mexicans naturally drove up rents in Mexican neighborhoods while reducing immigrants' wages, rendering Los Angeles a less attractive place to settle. Second, as migration outstripped the city's capacity to absorb newcomers, Los Angeles gradually became poverty-intolerant. By enforcing existing industrial, occupational, and housing ordinances, Los Angeles shut down some unwanted sweatshops and reduced slums. Their loss reduced the metropolitan region's accessibility to poor immigrants without reducing its attractiveness to wealthier immigrants. Additionally, ordinances mandating that homes be built on minimum-sized plots of land with attached garages made home ownership in L.A.'s suburbs unaffordable for poor immigrants and prevented low-cost rental housing from being built. Local rules concerning home occupancy and yard maintenance also prevented poor immigrants from crowding together to share housing costs. Unable to find affordable housing or low-wage jobs, approximately one million Latinos were deflected from Los Angeles between 1980 and 2000. The realities of a new global economy are still unfolding, with uncertain consequences for the future of advanced societies, but mass migration from the Third World is unlikely to stop in the next generation. Deflecting Immigration offers a shrewd analysis of how America's largest immigrant destination independently managed the challenges posed by millions of poor immigrants and, in the process, helped focus attention on immigration as an issue of national importance.

Two brothers bury a statue of Saint Jude for their grieving nana. A Griffith Park astronomer makes his own discovery at an East L.A. wedding. A young man springs his Cherokee-obsessed grandfather from the confines of senility. The common thread? Each is weaving their way through the challenging field of play that is living and loving in Los Angeles.

In Dodger Blue Will Fill Your Soul, Bryan Allen Fierro brings to life the people and places that form the fragile heart of the East Los Angeles community. In the title story, a father’s love of Dodger baseball is matched only by the disconnect he must bridge with his young son. In another story, a young widower remembers his wedding day with his father-in-law. The boys and men in this collection challenge masculine stereotypes, while the girls and women defy gender roles. Hope and faith in their own community defines the characters, and propels them toward an awareness of their own personal responsibility to themselves and to their families, even as they eschew those closest to them in pursuit of a different future.

Dodger Blue Will Fill Your Soul is a tour de force—the first collection of an authentic new voice examining community with humor, hope, and brutal honesty.

In Domestic Economies, Susanna Rosenbaum examines how two groups of women—Mexican and Central American domestic workers and the predominantly white, middle-class women who employ them—seek to achieve the "American Dream." By juxtaposing their understandings and experiences, she illustrates how immigrant and native-born women strive to reach that ideal, how each group is indispensable to the other's quest, and what a vital role reproductive labor plays in this pursuit. Through in-depth ethnographic research with these women at work, at home, and in the urban spaces of Los Angeles, Rosenbaum positions domestic service as an intimate relationship that reveals two versions of female personhood. Throughout, Rosenbaum underscores the extent to which the ideology of the American Dream is racialized and gendered, exposing how the struggle for personal worth and social recognition is shaped at the intersection of motherhood and paid employment.

Los Angeles, California, and Berlin, Germany, have been dubbed "homeless capitals" for having the largest homeless populations of their respective countries. In Down and Out in Los Angeles and Berlin, Jürgen von Mahs provides an illuminating comparative analysis of the impact of social welfare policy on homelessness in these cities. He addresses the opportunity of people to overcome--or "exit"--homelessness and shows how Berlin, with its considerable social and economic investment for assisting its homeless has been as unsuccessful as Los Angeles.

Drawing on fascinating ethnographic insights, von Mahs shows how homeless people in both cities face sociospatial exclusion-legal displacement for criminal activities, poor shelters in impoverished neighborhoods, as well as market barriers that restrict reintegration. Providing a necessary wake-up call, Down and Out in Los Angeles and Berlin addresses the critical public policy issues that can produce effective services to improve homeless people's chances for a lasting exit.

Copublished with the National Gallery of Art in celebration of Virginia Dwan’s gift to the Gallery of her extraordinary personal collection, Dwan Gallery explores her remarkable career. Dwan is one of the most influential figures in the history of twentieth-century American art. Her eponymously named galleries, the first established in a Los Angeles storefront in 1959, followed by a second in New York in 1965, became a beacon for influential postwar American and European artists. She sponsored the debut show for Yves Klein in the United States, and she championed such artists as Franz Kline, Robert Rauschenberg, Claes Oldenburg, Sol LeWitt, and Ad Reinhardt. Her Los Angeles gallery featured abstract expressionism, neo-Dada, and pop, while the New York branch became associated with the emerging movements of minimalism and conceptualism. At the same time, the gallery’s influence expanded to remote locations in Nevada, Utah, and Arizona, where Dwan sponsored such iconic earthworks as Robert Smithson’s Spiral Jetty, Michael Heizer’s Double Negative, and Walter De Maria’s Lightning Field. Though Dwan was a major force in the art world of the sixties and seventies, her story and the history of her gallery have been largely unexplored—until now.

Alongside lush full-color images of one hundred leading artworks, the book deepens our understanding of the artistic exchanges Dwan facilitated during this age of mobility, when air travel and the interstate highway system linked the two coasts and transformed the making of art and the sites of its exhibition. James Meyer, the curator of the exhibition and the foremost authority on minimal art, contributes an essay that is a sophisticated and broad-ranging analysis of Dwan’s legacy.

Honoring Dwan’s significant influence and impact on postwar art, Dwan Gallery is a rich and informative collection that will be treasured by fans of contemporary art.