147 Race and Social and Cultural Anxieties
The lines of race and class and culture ruptured American life throughout the 1970s. Americans grew disenchanted with the pace of social change: it was insufficient, some said; it was excessive, said others. The idealism of the 1960s died. Alienation took its place.
As the monolith of American culture shattered—a monolith pilloried in the fifties and sixties as exclusively white, male-dominated, conservative, and stifling—the culture seemed to fracture and Americans retreated into tribal subcultures. Mass culture became segmented. Marketers targeted particular products to ever smaller pieces of the population, including previously neglected groups such as African Americans, who, despite continuing inequality, acquired more disposable income. Subcultures often revolved around certain musical styles, whether pop, disco, hard rock, punk rock, country, or hip-hop. Styles of dress and physical appearance likewise aligned with cultures of choice.
If the popular rock acts of the sixties appealed to a new counterculture, the seventies witnessed the resurgence of cultural forms that appealed to a white working class confronting the social and political upheavals of the 1960s. Country hits such as Merle Haggard’s “Okie from Muskogee” evoked simpler times and places where people “still wave Old Glory down at the courthouse” and they “don’t let our hair grow long and shaggy like the hippies out in San Francisco.” A popular television sitcom, All in the Family, became an unexpected hit among “middle America” The main character Archie Bunker was designed to mock reactionary middle-aged white men. “Isn’t anyone interested in upholding standards?” he lamented in an episode dealing with housing integration. “Our world is coming crumbling down. The coons are coming!”
As Bunker knew, African-Americans were becoming much more visible in American culture. While black cultural forms had been prominent throughout American history, they assumed new popular forms in the 1970s. Disco offered a new, optimistic, racially integrated pop music. Behind the scenes, African American religious styles became an outsized influence on pop music. Musicians like Aretha Franklin, Andre Crouch, and “fifth Beatle” Billy Collins brought their background in church performance to their own recordings as well as to the work of white artists like the Rolling Stones, with whom they collaborated. And by the end of the decade African American musical artists had introduced American society to one of the most significant musical innovations in decades: the Sugarhill Gang’s 1979 record, Rapper’s Delight. A lengthy paean to black machismo, it became the first rap single to reach the top 40.
Just as rap represented a hyper-masculine black cultural form, Hollywood popularized its white equivalent. Films such as 1971’s Dirty Harrycaptured a darker side of the national mood. Clint Eastwood’s titular character exacted violent justice on clear villains, working