The East Side Revue, 40 Hits by East Los Angeles Most Popular Groups!” The Boys in the Band and the Girls Who Were Their Fans

  • Keta Miranda


The early 1960s East Los Angeles music scene—garage bands, rock and roll shows, car club sponsored dances, cruising down Whittier Blvd., Mod style and original dance steps—was a synergetic public space of cultural hybridity.1 An artifact of the period between 1963 and 1968 is the recording and album cover of the “East Side Revue: 40 Hits by East Los Angeles Most Popular Groups!” The two record set album’s first release was in 1966 and reissued in 1969 to commemorate LA’s East Side Sound—in clear wax for audiophiles. In each release the album cover remained constant [see figure 1.1].2 There are twenty photos of the garage bands that participated in the recording effort; the photo-graphs are publicity shots produced in photography studios. In the majority of twenty, the band members are professionally positioned for the group shot. The studio photos of the band members align along the edges of the album cover create a frame, encasing the album title and the larger, center picture.3 In this center photo there are women stand-ing, dancing, arms waving in the air, with their mouths wide open—screaming. These girl fans evoke the “mania” of the early 1960s—the uncontrollable idolization of stars and fandom gone rampant. In most accounts of rock and roll, fandom (mania) is isolated from the musi-cology and from the musician’s personal-career history.


East Side Musical Style Liner Note Band Member Consumptive Practice 
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    See Emma Pérez, The Decolonial Imaginary: Writing Chicanas into History ( Bloomington: Indiana University Press, 1999 ).Google Scholar
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    See Roland Barthes, “Rhetoric of the Image” in Image, Music, Text (essays selected and translated by Stephen Heath NY: Hill and Wang, 1988 (1994)).Google Scholar
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    See Thomas Holt, The Problem of Race in the Twenty-First Century (Cambridge, MA: Harvard University Press, 2000), on race making at the everyday level of peoples lives that links national and local.Google Scholar
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    See Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cambridge, MA: Harvard University Press, 1993), who discusses the hybrid-ity of music and the ineffaceable essential meaning of Black music.Google Scholar
  5. See Susan Douglas, Where the Girls Are: Growing Up Female with the Mass Media (New York: Times Books; Random House, 1994 (1995)).Google Scholar
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    Donald Lowe, The Body in Late Capitalism (Durham, NC: Duke University Press, 1995: 12), discusses the perceptual revolution that began in 1905–1915 and fully developed in the second half of this century. New epistemes emerged where representations of identity and difference were ordered in spatial terms.CrossRefGoogle Scholar
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    Malcolm W. Klein presents the subcategories found among Mexican American youth in Street Gangs and Street Workers ( Englewood Cliffs, NJ: Prentice-Hall, 1971 ).Google Scholar

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© Neferti X. M. Tadiar and Angela Y. Davis 2005

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  • Keta Miranda

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