To what extent were, say, the West Coast guys flying in the face of conformity during the Eisenhower Years? That's all I ever seem to read about in the 'official versions': grey, grey, monochrome, grey. Who were the true subversives?
This interests me immensely. That whole West Coast sound and scene: Mulligan, Chet, Pepper, Hawes and hanging around The Black Hawk or The Lighthouse. You just have to look at the Contemporary album covers to realise that California was where it was at.
And at the time, the best standard of living in the world was in California.
There were most definitely flying in the face of conformity, the best jazz, the best drugs and maybe the best broads.
The album cover and music of Lighthouse at Laguna (Contemporary C3509) recorded in December 1955 sums it up to me: the antithesis and antidote to grimy post-War Blighty.
This was America, but not the monotone tones of a Randolph Scott movie.
Sloane Wilson, was it, who wrote that well-known novel? I like the father in 'Ripley' who loathes jazz. What is it he calls it? An insolent noise? And I bet he was at least slightly Ivy League, too...
'The Man in The Gray Flannel Suit', I've seen the film, never read the book.
Clearly, the '50's were not the conformist times, some would have us believe.
Depends on where you were on the West Coast. Parts of San Francisco considered a man wearing pleats to be cause for arrest while others thought all clothing bourgeois and optional. In Los Angeles, always a company town, one company (movies) said and dressed one way on film and live quite another way of camera. The other company (war production) was pretty grey all the time, except in Pasadena, where colorful traditions from the east coast thrived. Both companies and their vendors were masters of propaganda, trying to promote the Eisenhower era and all this notion of conformity while working daily to either undermine it or see something else arise. Both were successful.