Listening to Resistance: The Walkman, Portable Music Technology, and the Soundscape of Urban Unrest in Post-1992 Los Angeles Literature

Abstract

Karen Tei Yamashita’s Tropic of Orange (1997) and Paul Beatty’s The White Boy Shuffle (1996) evoke the act of listening to music as a way to dismantle stereotypical representations of urban resistance and to paint a diverse picture of how communities throughout Los Angeles were impacted by unrest in 1992. From Yamashita’s Buzzworm, a character always tuned into the radio, to Beatty’s Nicholas Scoby, the protagonist’s best friend who is on a mission to listen to every jazz song ever made, these writers render secondary characters who are most concerned with the consumption of music and the act of listening as a form of culture sharing. In fact, these characters utilize portable devices, particularly the Walkman, to bring personal music and media consumption into public spaces. In this paper, I argue that characters like Buzzworm and Scoby facilitate the creation of specific sonic textures that allow authors to break down artificial barriers of racial representation in the aftermath of urban unrest. These writers highlight the act of listening in order to limn the cross-cultural impact that the 1992 unrest had throughout the Southern California region.