9780252084638 - rocking the closet: how little richard, johnnie ray, liberace, and johnny mathis queered pop music (new perspectives on gender in music) de stephens, vincent l (21 resultados)
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Condición: New. pp. 248.
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Paperback. Condición: new. Paperback. 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 artis…ts 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 assumebut not seetheir 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 closetboth coming out and staying inby 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. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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Librería: Kennys Bookstore, Olney, MD, Estados Unidos de AmericaKennys Bookstore
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Librería: Books Puddle, New York, NY, Estados Unidos de AmericaBooks Puddle
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Condición: New. pp. 248.
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Librería: AussieBookSeller, Truganina, VIC, AustraliaAussieBookSeller
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Paperback. Condición: new. Paperback. 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 artis…ts 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 assumebut not seetheir 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 closetboth coming out and staying inby 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. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Librería: preigu, Osnabrück, Alemaniapreigu
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Taschenbuch. Condición: Neu. Rocking the Closet | How Little Richard, Johnnie Ray, Liberace, and Johnny Mathis Queered Pop Music | Vincent L Stephens | Taschenbuch | Englisch | 2019 | University of Illinois Press | EAN 9780252084638 | Verantwortliche Person für die EU: Mare Nostrum Group B.V., Doelen 72, 4831 GR BREDA, NIEDERLAN…DE, gpsr[at]mare-nostrum[dot]co[dot]uk | Anbieter: preigu.
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Librería: BuchWeltWeit Ludwig Meier e.K., Bergisch Gladbach, AlemaniaBuchWeltWeit Ludwig Meier e.K.
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Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -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. 248 pp. Englisch.
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Librería: AHA-BUCH GmbH, Einbeck, AlemaniaAHA-BUCH GmbH
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Taschenbuch. Condición: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - 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 publ…ic 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.
