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Creative Spaces: Urban Culture and Marginality is an interdisciplinary exploration of the different ways in which marginal urban spaces have become privileged locations for creativity in Latin America. The essays within the collection reassess dominant theoretical notions of ‘marginality’ in the region and argue that, in contemporary society, it invariably allows for (if not leads to) the production of the new. While Latin American cities have, since their foundation, always included marginal spaces (due, for example, to the segregation of indigenous groups), the massive expansion of informal housing constructed on occupied land in the second half of the twentieth century have brought them into the collective imaginary like never before. Originally viewed as spaces of deprivation, violence, and dangerous alterity, the urban margins were later romanticized as spaces of opportunity and popular empowerment. Instead, this volume analyses the production of new art forms, political organizations and subjectivities emerging from the urban margins in Latin America, neither condemning nor idealizing the effects they produce. To account for the complex nature of contemporary urban marginality, the volume draws on research from a wide spectrum of disciplines, ranging from cultural and urban studies to architecture and sociology. Thus the collection analyzes how these different conceptions of marginal spaces work together and contribute to the imagined and material reality of the wider city.

Stretching from the years during the Second World War when young couples jitterbugged across the dance floor at the Zenda Ballroom, through the early 1950s when honking tenor saxophones could be heard at the Angelus Hall, to the Spanish-language cosmopolitanism of the late 1950s and 1960s, Mexican American Mojo is a lively account of Mexican American urban culture in wartime and postwar Los Angeles as seen through the evolution of dance styles, nightlife, and, above all, popular music. Revealing the links between a vibrant Chicano music culture and postwar social and geographic mobility, Anthony Macías shows how by participating in jazz, the zoot suit phenomenon, car culture, rhythm and blues, rock and roll, and Latin music, Mexican Americans not only rejected second-class citizenship and demeaning stereotypes, but also transformed Los Angeles.

Macías conducted numerous interviews for Mexican American Mojo, and the voices of little-known artists and fans fill its pages. In addition, more famous musicians such as Ritchie Valens and Lalo Guerrero are considered anew in relation to their contemporaries and the city. Macías examines language, fashion, and subcultures to trace the history of hip and cool in Los Angeles as well as the Chicano influence on urban culture. He argues that a grass-roots “multicultural urban civility” that challenged the attempted containment of Mexican Americans and African Americans emerged in the neighborhoods, schools, nightclubs, dance halls, and auditoriums of mid-twentieth-century Los Angeles. So take a little trip with Macías, via streetcar or freeway, to a time when Los Angeles had advanced public high school music programs, segregated musicians’ union locals, a highbrow municipal Bureau of Music, independent R & B labels, and robust rock and roll and Latin music scenes.

In the 1800s, urban development efforts modernized Paris and encouraged the creation of brothels, boulevards, cafés, dancehalls, and even public urinals. However, complaints also arose regarding an apparent increase in public sexual activity, and the appearance of “individuals of both sexes with depraved morals” in these spaces. Andrew Israel Ross’s illuminating study, Public City/Public Sex, chronicles the tension between the embourgeoisement and democratization of urban culture in nineteenth-century Paris and the commercialization and commodification of a public sexual culture, the emergence of new sex districts, as well as the development of gay and lesbian subcultures. 

Public City/Public Sex examines how the notion that male sexual desire required suitable outlets shaped urban policing and development. Ross traces the struggle to control sex in public and argues that it was the very effort to police the city that created new opportunities for women who sold sex and men who sought sex with other men. Placing public sex at the center of urban history, Ross shows how those who used public spaces played a central role in defining the way the city was understood.