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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 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.
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