Popular Musicology and Identity

Kai Arne Hansen is Associate Professor of Music at the Department of Arts and Cultural Studies, Inland Norway University of Applied Sciences.Eirik Askerøi is Associate Professor of Music at the Department of Arts and Cultural Studies, Inland Norway University of Applied Sciences.Freya Jarman is Reader in Music at the Department of Music, University of Liverpool.

• Introduction: a musicology of popular music and identityKAI ARNE HANSEN, EIRIK ASKERØI, AND FREYA JARMAN1 The British dandy on the popular musical stage (1866–1915)DEREK B. SCOTT2 ‘She Said She Said’: the influence of feminine ‘voices’ on John Lennon’s music 32MATTHEW BANNISTER AND MEGAN ROGERSON-BERRY3 The classical closetSUSAN MCCLARY4 Perfect duet? Paradoxes of gender representation and mixedgender collaborations on the Billboard charts from 1955 to 2017BARBARA BRADBY5 The pleasure(s) of the pop text: subversion and theatricality in Cloroform and Tove LoJON MIKKEL BROCH ÅLVIK6 ‘Everyone is a little bit gay’: LGBTIQ activism in Finnish pop music of the 21st century SUSANNAVÄLIMÄKI7 ‘Keeping it real’, ‘Keeping it dandy’? Male blackness and the popular music mainstreamANNE DANIELSEN8 Global success, identitarian performance, and Canadian popular musicWILL STRAW9 ‘Very’ British: a pop musicological approach to the Pet Shop Boys’ ‘Always on My Mind’SHARA RAMBARRAN10 Pulp: a paradigm for perversion in pornosonic popKENNETH SMITH11 Regina Spektor’s Small Bill$: the cute and the manic-zany as body-political strategiesJOHN RICHARDSON AND ANNA-ELENA PÄÄKKÖLÄ12 Masculinity and the illness narrative in Pain of Salvation’s In the Passing Light of DayLORI BURNS

Popular Musicology and Identity attests to Stan Hawkins’s visionary approach in collaborating and bonding with today’s and tomorrow’s leading voices on matters popular. This volume is required reading for anyone interested in how gender, sexuality, class, and identity are expressed through – and manipulated by – popular music’s tools, artists, and audiences. Nina Eidsheim (UCLA Herb Alpert School of Music)Over the last 25 years Stan Hawkins' subtly subversive musicology has revealed a rich new pop world of sexual show-offs and dandies. This collection of essays is an affectionate and instructive exploration of that world, a celebration of the fluidity of the borderlands between art and entertainment, surface and depth, truth and invention, and the look and the sound of music. Simon Frith (University of Edinburgh)From nineteenth-century British music hall through Nordic cool to cultural celebrity in Canada, this is a fitting tribute to Stan Hawkins’s pioneering musicological imagination; linking pop sounds to the multiple identities and varied voices of its performers. It is a compelling compendium; evidence of Hawkins’s major contribution to Northern European and Transatlantic music scholarship.Keith Negus (Goldsmiths, University of London)