This book investigates the phenomenon of queering in popular music
and video, interpreting the music of numerous pop artists, styles,
and idioms. The focus falls on artists, such as Lady Gaga, Madonna,
Boy George, Diana Ross, Rufus Wainwright, David Bowie, Azealia
Banks, Zebra Katz, Freddie Mercury, the Pet Shop Boys, George
Michael, and many others. Hawkins builds his concept of queerness
upon existing theories of opacity and temporality, which involves a
creative interdisciplinary approach to musical interpretation. He
advocates a model of analysis that involves both temporal-specific
listening and biographic-oriented viewing. Music analysis is woven
into this, illuminating aspects of parody, nostalgia, camp,
naivety, masquerade, irony, and mimesis in pop music. One of the
principal aims is to uncover the subversive strategies of pop
artists through a wide range of audiovisual texts that situate the
debates on gender and sexuality within an aesthetic context that is
highly stylized and ritualized. Queerness in Pop Music also
addresses the playfulness of much pop music, offering insights into
how discourses of resistance are mediated through pleasure. Given
that pop artists, songwriters, producers, directors,
choreographers, and engineers all contribute to the final composite
of the pop recording, it is argued that the staging of any pop act
is a collective project. The implications of this are addressed
through structures of gender, ethnicity, nationality, class, and
sexuality. Ultimately, Hawkins contends that queerness is a
performative force that connotes futurity and utopian promise.
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