In Only Entertainment, Richard Dyer argues, “because entertainment is a common-sense, ‘obvious’ idea, what is really meant and implied by it never gets discussed” (19). The same can be said for the category of the “Hollywood-song-and-dance man”—a male performer within the classical film musical paradigm—whose true complexity is often obscured by its tautological efficiency (i.e. he is a man who sings and dances within the world of the musical). However, any attempt to discuss the category’s more complex social, historical, or cinematic dimensions must wrestle with an inevitable obstacle – the pervasive visibility and powerful stardom of the two most well-known Hollywood song-and-dance men, Gene Kelly and Fred Astaire. Thus, in order to revitalize our definition of the cinematic category of the Hollywood-song-and-dance man and to broaden its dimensions to include other male musical stars, we must first deal with the specific discourses surrounding Kelly and Astaire’s stardom. Parallel to this is a discussion of YouTube, which allows us space to celebrate a more nuanced, inclusive, and multi-dimensional “Hollywoodsong-and-dance man” and the lesser-known performers who have contributed to the category’s popularity.