1. Th e epigraphs to this chapter are from “Th ere Is No Color Line at Th is Coast Can-
teen,” Chicago Defender, January 30, 1943, 19; Ahmed, On Being Included, 49; the fi lm
Hollywood Canteen (1944).
2. See, for example, Stowe, Swing Changes, 162; Starr, Embattled Dreams, 159– 182;
Bogle, Bright Boulevards, 232– 234; Tyler, Harlem to Hollywood, 144, 151– 152.
3. Th is juxtaposition shows up in many places, but one example was the sequence of
photographs and museum cards that I saw in the hallway leading up to the Ameri-
can Sector restaurant in the National World War II Museum, New Orleans, on January
4. See, for example, Cappelletto, Memory and World War II, 9.
5. Maude Cheatham, “Hollywood Canteen Celebrates,” Screenland, November 1943,
n.p., Bette Davis Collection, box 382, scrapbook 45, Howard Gotlieb Archival Re-
search Center, Boston University.
6. Brokaw, Greatest Generation, 11.
7. “Hollywood Canteen All- Star Opening,” nbc radio broadcast, October 3, 1942, re-
issued in Th e Bette Davis Collection, cd, Radio Revisited, n.d., available from the
website, RadioRevisited .com/index.htm, accessed February 16, 2014.
8. Brooklyn’s speech resounds with the “pragmatic tolerance” model that Jane Mum-
mery criticizes in Richard Rorty’s formulation of demo cratic pro cess as an ongoing
conversation that “leads to increased understanding and inclusiveness.” For Mum-
mery, the fl aw is Rorty’s failure to defi ne the already included “we” or the eventually
included “they.” Mummery, “Rethinking the Demo cratic Project: Rorty, Mouff e,
Derrida, and Democracy to Come.” Borderlands 4, no. 1 (2005), available at www
.borderlands .net .au /v014n01_2005/mummery_rethinking.htm, accessed Decem-
ber 2, 2006. For analysis of continuing prevalence of this model, see Ahmed, Being
Included (from which the epigraph in this chapter from Ahmed has been taken), 9.