The concept of a "postracial" America -the dream of a nation beyond race - has attracted much attention over the course of the presidency of Barack Obama, suggesting that this idea is peculiar to the contemporary moment alone. Postracial America? An Interdisciplinary Study attempts to broaden the application of this idea by situating it in contexts that demonstrate how the idea of the postracial has been with America since its founding and will continue to be long after the Obama administration's term ends. The chapters in this volume explore the idea of the postracial in the United States through a variety of critical lenses, including film studies; literature; aesthetics and conceptual thinking; politics; media representations; race in relation to gender, identity, and sexuality; and personal experiences. Through this diverse interdisciplinary exploration, this collection skeptically weighs the implications of holding up a postracial culture as an admirable goal for the United States.

The all-embracing, "whaddya got?" nature of rebellion in Fifties America included pop music's unlikely challenge to entrenched notions of masculinity. Within that upheaval, four prominent artists dared to behave in ways that let the public assume-but not see-their queerness. That these artists cultivated ambiguous sexual personas often reflected an understandable fear, but also a struggle to fulfill personal and professional expectations.Vincent L. Stephens confronts notions of the closet-both coming out and staying in-by analyzing the careers of Liberace, Johnny Mathis, Johnnie Ray, and Little Richard. Appealing to audiences hungry for novelty and exoticism, the four pop icons used performance and queering techniques that ran the gamut. Liberace's flamboyance shared a spectrum with Mathis's intimate sensitivity while Ray's overwrought displays as "Mr. Emotion" seemed worlds apart from Little Richard's raise-the-roof joyousness. As Stephens shows, the quartet not only thrived in an era of gray flannel manhood, they pioneered the ways generations of later musicians would consciously adopt sexual mystery as an appealing and proven route to success.

The all-embracing, "whaddya got?" nature of rebellion in Fifties America included pop music's unlikely challenge to entrenched notions of masculinity. Within that upheaval, four prominent artists dared to behave in ways that let the public assume—but not see—their queerness. That these artists cultivated ambiguous sexual personas often reflected an understandable fear, but also a struggle to fulfill personal and professional expectations.Vincent L. Stephens confronts notions of the closet—both coming out and staying in—by analyzing the careers of Liberace, Johnny Mathis, Johnnie Ray, and Little Richard. Appealing to audiences hungry for novelty and exoticism, the four pop icons used performance and queering techniques that ran the gamut. Liberace's flamboyance shared a spectrum with Mathis's intimate sensitivity while Ray's overwrought displays as "Mr. Emotion" seemed worlds apart from Little Richard's raise-the-roof joyousness. As Stephens shows, the quartet not only thrived in an era of gray flannel manhood, they pioneered the ways generations of later musicians would consciously adopt sexual mystery as an appealing and proven route to success.