Abstract
This essay explores the projection and reception of masculinity in the revival of Joe Dolan’s singing career in Ireland from the mid-1990s. The discussion examines diverse cultural performances up to his unexpected death in 2007 and the contexts in which his success continued postmortem. Following a discussion of Joe’s early career, I consider Dolan’s late album releases, which coincided with the emergence of the Celtic Tiger. The intersection between a changed national cultural space and Dolan’s revitalized popularity sheds light on the reconfiguration of the past executed in the present. My second point of critical engagement develops these ideas further, looking at the use of the Dolan hit ‘You’re Such a Good Looking Woman’ in the 2007 Meteor phone campaign and offers an opportunity to explore the transformation of his celebrity status within a culture of zealous Tiger consumption. This campaign was significant in acknowledging and consolidating Joe’s place within the wider sphere of popular culture in Ireland to both older and newer fan bases. Finally, I discuss how, since his demise on St Stephen’s Day (26 December) 2007, Dolan’s persona continues to be drawn upon in a variety of contexts including The Joe Dolan Reunion Tour and the theatre production, The Night Joe Dolan’s Car Broke Down. Collectively, these performative moments are identified as key points in an Irish cultural soundtrack during the period 1990 to 2010, offering a window on Joe Dolan, masculinity and popular music in Ireland.
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Notes
For further information on showbands see Vincent Power, Send ‘Em Home Sweatin’ (Dublin: Kildanore Press, 1990); Finbar O’Keefe, Goodnight, God Bless
and Safe Home (Dublin: O’Brien Press, 2002); and Gerry Smyth, ‘Showband dreams’ in Noisy Island: a Short History of Irish Popular Music (Cork: Cork University Press, 2005), 11–24.
For a complete record of Dolan’s Top Ten hits in Ireland to 1979 see Eddie Kelly, The Complete Guide to Ireland’s Top Ten Hits (Dublin: Original Writing, 2009), 113–14.
Smyth, Noisy Island: a Short History of Irish Popular Music (Cork: Cork University Press, 2005), 12.
Richard Middleton (ed.), Reading Pop: Approaches to Textual Analysis in Popular Music (London: Oxford, 2000), 233.
Simon Frith, Performing Rites: Evaluating Popular Music (London: Oxford, 1996), 195.
Sheila Whiteley, ‘Little red rooster v. honky tonk woman: Mick Jagger, sexuality, style and image’ in Sheila Whiteley (ed.), Sexing the Groove: Popular Music and Gender (London: Routledge, 1997), 92.
Noel McLaughlin and Martin McCloone, Rock and Popular Music in Ireland: Before and After U2 (Dublin: Irish Academic Press, 2012), 25.
Elms, ‘Pogue in the eye’, The Face, March 1985, 30–1, quoted in Sean Campbell, Irish Blood English Heart; Second Generation Irish Musicians in England (Cork: Cork University Press, 2011), 76.
Danial Cavicchi, Tramps Like Us: Music and Meaning Among Springsteen Fans (USA: OUP, 1998), 110.
Martin McCloone, Film, Media and Popular Culture in Ireland: Cityscapes, Landscapes, Soundscapes (Dublin: Irish Academic Press, 2008), 166. Dolan’s most memorable exception to this is ‘The Westmeath Bachelor’ (Pye Records, 1968).
Donal Lynch, ‘Face that launched a thousand hips’, Sunday Independent, 4 February 2007, 1.
Moynagh Sullivan, ‘Boys to men: Irish boy bands and mothering the nation’, in Balzano et al. (eds), Irish Postmodernisms and Popular Culture (London: Palgrave Macmillan, 2007), 187.
See Breandán Ó Madagáin, Caointe agus Seancheolta Eile (Gaillimh: CIC, 2005), 81–8.
Lori Burns and Melissa Lafrance, Disruptive Divas: Feminism, Identity and Popular Music (London: Routledge, 2002), 29.
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© 2014 Méabh Ní Fhuartháin
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Fhuartháin, M.N. (2014). ‘Oh Me, Oh My’: Masculinity, Popular Music and Reviving Joe Dolan. In: Holohan, C., Tracy, T. (eds) Masculinity and Irish Popular Culture. Palgrave Macmillan, London. https://doi.org/10.1057/9781137300249_7
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DOI: https://doi.org/10.1057/9781137300249_7
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