On the other hand, Judith Weisenfeld sees "Clean Pastures" as an explicit rejection of Connelly's fish fry. Instead, she argues that the short is a metaphor for the replacement of one generation of African American performers and stereotypes for a new one as the result of African Americans moving to urban areas. In contrast to "The Green Pastures" and its portrayal of rural black culture, the cartoon is set in a solidly urban framework. "Clean Pastures" replaces stereotypes of black watermelon eaters and chicken stealers with black dancers, drinkers, and gamblers. Old-style black stereotypes are represented by the Stepin Fetchit angel and his recruitment sign, which promises delights that only appeal to rural black stereotypes. Yet even Bill "Bojangles" Robinson and Al Jolson, who built their careers on blackface depictions of rural blacks, reject Fetchit's plea for souls and opt for the Kotton Klub nightclub. The angelic jazz performers represent new, urban black culture. Through their rendition of "Swing for Sale", the souls of the Harlemites are saved, and the cartoon makes the point that the African American culture of the period was increasingly urban culture, and by extension, that the black Heaven is an urban, Northern place. Lindvall and Fraser take a similar view, seeing the cartoon as part of the Warner directors' transition from stereotyping blacks as "rural bumpkins" to featuring them as "urban hepcat".