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The years Lola spent in California, 1853 to 1855, coincided with a period of transformation in the Gold Rush ethos, and her megastar status reflects how she, perhaps unwittingly, poised herself to take advantage of this; I understand her performance as occupying a liminal space during the shift that occurred in 1853 away from male-centered leisure and towards more respectable theatre and family-friendly amusements. This change in popular culture was concomitant with and largely a product of urbanization and a new sense of social and economic stability that San Francisco residents experienced. A constant throughout this first decade of major Anglo settlement in California was internationalism, an aspect of society that was reflected in popular culture but also extended into labor life. Large populations of individuals of Latin American and Spanish descent characterized the multiethnic setting of California, and Lola’s constructed identity as a “Spanish dancer” played into this contested status of race, as Anglo Americans in California oscillated between appreciating and rejecting aspects of non-white cultures.
Note: this is the introduction to a short series on Lola Montez. Read the next two articles, “The Showgirl ‘Full of Sin’ or ‘Respectable Theatre’?” and “Lola Montez Denies Conventions in Her Image”. “Feel the fire where she walks Lola Montez so beautiful Shady and a tempered dame Blinding your eyes with her Spider Dance –… MORE
In the last year, the Washington Redskins lost their logo copyright on the grounds that it was slur to Native Americans. This made many football fans irate, including Washington Redskin’s owner Daniel Snyder who claims that the team name is a term of honor and respect. Why is this a big deal? What does it… MORE