Anthony J. Stanonis – författare

The Creole praline arrived in New Orleans with the migration of formerly enslaved people fleeing Louisiana plantations after the Civil War. Black women street vendors made a livelihood by selling a range of homemade foods, including pralines, to Black dockworkers and passersby. The praline offered a path to financial independence, and even its ingredients spoke of a history of Black ingenuity: an enslaved horticulturist played a key role in domesticating the pecan and creating the grafted tree that would form the basis of Louisiana's pecan orchards.By the 1880s, however, white New Orleans writers such as Grace King and Henry Castellanos had begun to recast the history of the praline in a nostalgic mode that harkened back to the prewar South. In their telling, the praline was brought to New Orleans by an aristocratic refugee of the French Revolution. Black street vendors were depicted not as innovative entrepreneurs but as loyal servants still faithful to their former enslavers. The rise of cultivated, shelled, and cheaply bought pecans as opposed to the foraged pecans that early praline sellers had depended on allowed better-resourced white women to move into the praline-selling market, especially as tourism emerged as a key New Orleans industry after the 1910s.Indeed, the praline became central to the marketing of New Orleans. Conventions often hired Black women to play the ""praline mammy"" role for out-of-towners, while stores sold pralines with mammy imagery, in boxes designed to look like cotton bales. After World War II, pralines went national with items like praline-flavored ice cream (1950s) and praline liqueur (1980s). Yet as the civil rights struggle persisted, the imagery of the praline mammy was recognized as an offensive caricature.As it uncovers the history of a sweet dessert made of sugar and pecans, New Orleans Pralines tells a fascinating story of Black entrepreneurship, toxic white nostalgia, and the rise of tourism in the Crescent City.

This collection of ten essays focuses on how southerners have marketed themselves to outsiders. The cultural ironies and contradictions that have arisen from southerners' efforts to commodify their identity reveal regional anxieties about consumerism, tourism, and memory.The book's first section looks at southern souvenirs as abstractions of regional culture. Essays on such topics as Confederate imagery on consumer goods and the tacky figurine known as the Horny Hillbilly unpack the often incongruous meanings bestowed on souvenirs by their owners. Locales like Branson, Missouri, and the South of the Border tourist complex in South Carolina are discussed in the second section's essays, which consider how tourist sites can both exploit and depend on local culture. Recognizing the deep cultural meanings associated with food and eating, the final group of essays looks at the Krispy Kreme doughnut franchise, the themed Baltimore eatery Café Hon, and other manifestations of southern foodways.Viewing a region often at odds with itself on matters like race and religion, Dixie Emporium identifies spaces, services, and products that construct various Souths that exaggerate, refute, or self-consciously safeguard elements of southernness.

While traditional industries like textile or lumber mills have received a majority of the scholarly attention devoted to southern economic development, Faith in Bikinis presents an untold story of the New South, one that explores how tourism played a central role in revitalizing the southern economy and transforming southern culture after the Civil War. Along the coast of the American South, a culture emerged that negotiated the more rigid religious, social, and racial practices of the inland cotton country and the more indulgent consumerism of vacationers, many from the North, who sought greater freedom to enjoy sex, gambling, alcohol, and other pleasures. On the shoreline, the Sunbelt South—the modern South—first emerged.This book examines those tensions and how coastal southerners managed to placate both. White supremacy was supported, but the resorts’ dependence on positive publicity gave African Americans leverage to pursue racial equality, including access to beaches often restored through the expenditure of federal tax dollars. Displays of women clad in scanty swimwear served to market resorts via pamphlets, newspaper promotions, and film. Yet such marketing of sexuality was couched in the form of carefully managed beauty contests and the language of Christian wholesomeness widely celebrated by resort boosters. Prohibition laws were openly flaunted in Galveston, Biloxi, Myrtle Beach, Virginia Beach, and elsewhere. Yet revenue from sales taxes made states reluctant to rein in resort activities. This revenue bridged the divide between the coastal resorts and agricultural interests, creating a space for the New South to come into being.

Between the World Wars, New Orleans transformed its image from that of a corrupt and sullied port of call into that of a national tourist destination. Anthony J. Stanonis tells how boosters and politicians reinvented the city to build a modern mass tourism industry and, along the way, fundamentally changed the city's cultural, economic, racial, and gender structure.Stanonis looks at the importance of urban development, historic preservation, taxation strategies, and convention marketing to New Orleans' makeover and chronicles the city's efforts to domesticate its jazz scene, "democratize" Mardi Gras, and stereotype local blacks into docile, servile roles. He also looks at depictions of the city in literature and film and gauges the impact on New Orleans of white middle-class America's growing prosperity, mobility, leisure time, and tolerance of women in public spaces once considered off-limits.Visitors go to New Orleans with expectations rooted in the city's "past": to revel with Mardi Gras maskers, soak up the romance of the French Quarter, and indulge in rich cuisine and hot music. Such a past has a basis in history, says Stanonis, but it has been carefully excised from its gritty context and scrubbed clean for mass consumption.