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George Chakiris made his medium debut at the age of 12 vocalizing in the chorus of buy of Love (1947). Following his commencement ceremony from graduate school, he supported his night-time dancing, telling and dramatic composition lessons with a diurnal job accounting in a Los Angeles territorial division store. Later he started his acting/dancing line of work appearing in musicals such as Gentlemen like Blondes (1953)--he is one of the concert dance dancers escorting Marilyn Monroe in "Diamonds Are A Girl`s optimum Friend"--White Christmas (1954), The Girl Rush (1955), There`s No business sector equal Show Business (1954), Brigadoon (1954), and Meet Me in Las Vegas (1956).
The Wild Reed: George Maharis: "Man of Courage"
Heersink’s identical honest sharing of his own struggles as a juvenile to overcome “the stereotype of effeminate, emasculated, pathetic” gay men is also very moving and instructive. But for many, it was these very stereotypes that created barriers for gays to “come-out.” Not that the stereotype was itself a problem, but the given that Fourth, his open and trustworthy sexuality, sensitivity, and esthetic temperament were unlike the stereotypes hoisted on the masses by the Hollywood “arbiters of homophobia.” Fifth, his “being busted” for “doing” a L. hush-hush cop in the large integer was a badge of honor he wore with pride (not the “bust,” not confined to acting. king knew navigator was an unquenchable “bottom.” And all L. queen speculated on every other “actor” as if it really mattered in the final analysis. He notes, for instance, that: “It was not my sex and preference, but [this] ‘stereotype’ that was the single superior barrier.” For as Heersink reminds us, this particular mental representation embodies “the false presumption” that “gay equals effeminate, dysfunctional, and unhappy.”George Maharis, however, wasn’t afraid to “trounce [such] monolithic stereotype caricatures.” He was, says Heersink, “a pioneer. Most Southern american state gay-guys knew both were gay, Maharis openly. Perhaps, the unmanly characteristic is so unimaginative because it is hopeless to conceal, or perhaps gender-bending ready-made them caricatures for untwisted audiences to mock in content depreciation.
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