Mens Hats

DigiCat Publishing presents to you this special edition of "Men's Sewed Straw Hats" (Report of the United Stated Tariff Commission to the President of the United States (1926)) by United States Tariff Commission. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

A Chinese boy grows enormous and floats across the ocean to old Hawai'i in this new legend about the origin of Chinaman's Hat islet in Kane'ohe Bay.

Everywhere you look in 1970s American cinema, you find white working-class men. They bring a violent conclusion to Easy Rider, murdering the film's representatives of countercultural alienation and disaffection. They lurk in the Georgia woods of Deliverance, attacking outsiders in a manner that evokes the South's recent history of racial violence and upheaval. They haunt the singles nightclubs of Looking for Mr. Goodbar, threatening the film's newly liberated heroine with patriarchal violence. They strut through the disco clubs of Saturday Night Fever, dancing to music whose roots in post-Stonewall homosexuality invite ambiguity that the men ignore. Hard Hats, Rednecks, and Macho Men argues that the persistent appearance of working-class characters in these and other films of the 1970s reveals the powerful role class played in the key social and political developments of the decade, such as the decline of the New Left and counterculture, the re-emergence of the South as the Sunbelt, and the rise of the women's and gay liberation movements. Examining the "youth cult" film, the neo-Western "southern," and the "new nightlife" film, Nystrom shows how these cinematic renderings of white working-class masculinity actually tell us more about the crises facing the middle class during the 1970s than about working-class experience itself. Hard Hats thus demonstrates how these representations of the working class serve as fantasies about a class Other-fantasies that offer imaginary resolutions to middle-class anxieties provoked by the decade's upheavals. Drawing on examples of iconic films from the era-Saturday Night Fever, Cruising, Five Easy Pieces, and Walking Tall, among others-Nystrom presents an incisive, evocative study of class and American cinema during one of the nation's most tumultuous decades.