Drag, Camp and Gender Subversion in the Music and Videos of Annie Lennox Author(s): Gillian Rodger Source: Popular Music, Vol. 23, No. 1 (Jan., 2004), pp. 17-29 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3877623 . Accessed: 27/09/2011 18:03 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Popular Music. http://www.jstor.org Popular Music (2004) Volume 23/1. Copyright ? 2004 Cambridge University Press, pp. 17-29 DOI:10.1017/S0261143004000066 Printed in the United Kingdom Drag, camp and gender subversion in the music and videos of Annie Lennox GILLIAN RODGER Abstract In this article I examine Lennox's earliest performancestrategies, and her reasons for employingthem, as well as some of the reactionsto her adoptionof transvestismas a sartorial style. I discuss three videosfrom Lennox's 1988 LP Savage, which, in my view, markeda radicalshift in her approachto depictinggender throughperformance. I argue that Lennox may be more productivelyviewed by keeping in mind performanceideals of music hall and other popular musical theatre styles of the late nineteenth and early twentieth centuries.