America

By Deva Woodly 

An Obama supporter holds up a “Yes We Can” sign as President-elect Barack Obama gives his victory speech during a 2008 election night gathering in Grant Park. Courtesy of Getty Images.

I was in my final year of graduate school, writing a dissertation on the place of persuasion in the success of contemporary American social movements, when the nearly two-year-long campaign for the American president who would succeed George W. Bush began. As a student of politics, it was impossible not to be transfixed by the epic discursive battle being waged, first in the hard- fought democratic primary between Hillary Clinton and Barack Obama and finally during the general election campaign in which, Obama, having won against his formidable Democratic rival, entered a political contest with veteran politician John McCain. For the American public, this contest was the most closely followed election in decades. A Gallup poll taken in June 2008, early summer, when political attention is usually at its nadir, found that nearly two-thirds of Americans described the 2008 campaign as “exciting.” By September, Gallup found that a record 87 percent, almost nine in ten Americans, reported that they were following national politics closely. The astonished poll takers wrote, in the summary of their results, “This significantly exceeds anything Gallup has measured since it began asking this question in 1995.”*

By Jessica Ellen Sewell 

Image from Pillow Talk (1959). Split screen heightens the contrast between the feminine apartment of Jan Morrow (Doris Day) and Brad Allen (Rock Hudson)’s bachelor pad. (© Universal Studios)

The mid-1950s saw the invention of a new, highly mythologized housing type, the bachelor pad, articulated most fully in the pages of Playboy and in films. The bachelor pad is an apartment for a single professional man, organized for entertaining and pleasure, and displaying tasteful consumption. The bachelor pad was culturally salient at this particular historical moment because it linked a culture increasingly focused on consumption and what sociologists and cultural commentators in the late 1950s argued was a “crisis in masculinity.” The bachelor pad provided a compelling fantasy of individual consumption and economic and sexual power to counter that crisis, but at the same time, helped to produce the masculinity crisis by problematizing straight male domesticity.

As described in Playboy, the pad “is, or should be, the outward reflection of his [the bachelor’s] inner self—a comfortable, livable, and yet exciting expression of the person he is and the life he leads.”¹ It is precisely this inner self that was seen to be in crisis in the late 1950s: men’s sense of themselves as individuals had been stripped away, a state that was blamed partly on the conformity of corporate America and partly on women.