In this Book

Music & Camp
summary
This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp’s presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture.

Table of Contents

  1. Cover
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  1. Title Page, Copyright Page
  2. pp. i-iv
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  1. Contents
  2. pp. v-vi
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  1. Acknowledgments
  2. pp. vii-viii
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  1. Introduction
  2. Christopher Moore and Philip Purvis
  3. pp. ix-xvi
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  1. Part One: The Saccharine and the Sacred
  2. pp. 1-2
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  1. 1. On Fairies (and Mothers): Beatrice Lillie Sings
  2. Mitchell Morris
  3. pp. 3-15
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  1. 2. The Uses of Extravagance in the Hollywood Musical
  2. Lloyd Whitesell
  3. pp. 16-30
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  1. 3. Musical Camp: Conrad Salinger and the Performance of Gayness in The Pirate
  2. Stephen Pysnik
  3. pp. 31-48
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  1. 4. The Camp Sincerity of Christmas Carols
  2. Ivan Raykoff
  3. pp. 49-72
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  1. 5. Camping the Sacred: Homosexuality and Religion in the Works of Poulenc and Bernstein
  2. Christopher Moore
  3. pp. 73-92
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  1. Part Two: Flaming Lips and Flaming Hips
  2. pp. 93-94
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  1. 6. Watch My Lips: The Limits of Camp in Lip-Syncing Scenes
  2. Freya Jarman
  3. pp. 95-117
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  1. 7. Camping Out: Queer Communities and Public Sing-Alongs
  2. Sam Baltimore
  3. pp. 118-136
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  1. 8. “The Booty Don’t Lie” and Other Camp Truths in the Performances of Janelle Monáe
  2. Francesca T. Royster
  3. pp. 137-156
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  1. Part Three: Gender and Genitals
  2. pp. 157-158
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  1. 9. Strauss as the Pervert? Gendered Subjectivity, Ambiguous Meaning
  2. Peter Franklin
  3. pp. 159-180
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  1. 10. Poulenc’s (Sub)urban Camp: L’Embarquement pour Cythère
  2. Philip Purvis
  3. pp. 181-199
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  1. 11. The Straight Bookends to Camp’s Gay Golden Age: From Gilbert and Sullivan to Roger Vadim and Mel Brooks
  2. Raymond Knapp
  3. pp. 200-219
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  1. 12. The Dark Side of Camp: Making Sense of Violence against Men in Christina Aguilera’s “Your Body”
  2. Marc Lafrance and Lori Burns
  3. pp. 220-240
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  1. Bibliography
  2. pp. 241-252
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  1. About the Contributors
  2. pp. 253-256
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  1. Index
  2. pp. 257-272
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