Manuela Caiani is Associate Professor in Political Science at the Scuola Normale Superiore of Pisa, Italy.Enrico Padoan is a postdoctoral researcher at the Department of Social, Political and Cognitive Sciences (DISPOC) of the University of Siena, Italy.

• 1 Populism, Popular Culture and (Pop) Music: An Introduction.-  1.1 Why Study Populism and (Popular) Culture.-  1.2 Music and Politics.- 1.3 (Pop) Music and Populism: ‘Mind the Gap’.- 1.4 Populism, Populisms: A Definition (and Its Boundaries).- 1.5 Populism and (Pop) Music Between Opportunities and Resources: Research Design.- 1.6 Our Case: Italy.- 1.7 Data and Methods.- 1.8 The Content of the Volume.- References.- 2 Populism and (Pop) Music: Multiple Opportunity Structures in Italy.- 2.1 Music-Market Opportunity Structure in Italy.- 2.2 Political Opportunities.- 2.3 Discursive-Cultural Opportunities.- 2.4 Conclusions.- References.- 3 Pop Music and Populist Messages.- 3.1 A Surprising Populist Hype in Contemporary Italian Pop Music.- 3.2 Musicological Group Analysis: ‘Playing Italianness in Italian Pop Music’.- 3.3 Conclusions.- References.- 4 The Use of (Pop) Music by Populist Parties.- 4.1 Music at the Lega Events: Building a ‘Partisan Culture’ Through Music.- 4.2 Music atthe 5SM Events: A Different Process of Partisan Culture-Building.- 4.3 Conclusion: Different Populisms, Different Usages of Pop Music.- References.- 5 The Interactions Between Populist Actors and Popular Music in the Public Sphere.- 5.1 Average Italian Fan: Matteo Salvini and the Politicization of His Music Tastes.- 5.2 Salvini Versus Pop Artists: Flattering and Bullying.- 5.3 Pop Music Artists Versus Salvini: Reproducing the Populism/Anti-Populism Divide.- 5.4 Five Star Movement: Too Little Frivolous to Play Pop-Politics in a Credible Way.- 5.5 Between the Political Roles of Singers and Music Appropriation by Politicians: Voices from Experts.- 5.6 Conclusions.- References.- 6 Between Music and Politics: The Reception of (‘Populist’) Music by Fans and Citizens.- 6.1 ‘I Like Him Because He Got What He Wanted’: Authentic, Rebel, ‘Not Political’ (i.e. Not Ideological or Partisan).- 6.2 Pop Artists and Politics in Fans’ Daily Lives.- 6.3 Music as a Collective Ritual.- 6.4 “Populists Seek the Vote of Those Listening to This Kind of Music”: Cementing the Anti-Populist– Populist Divide Through Pop Music.- 6.5 Music, Politics and Audiences: Conclusion.- References.- 7 Conclusion: Challenges and Opportunities of (Pop) Music for Populism.- 7.1 Music ‘as Action’: Speaking Out Versus Speaking As.- 7.2 Music as Action: ‘Organizing’.- 7.3 Between Music and Politics (in Italy): Towards an Explanation?.- 7.4 Populism and Pop Music: Scientific Added Value and Some Normative Reflections.- References.

Manuela Caiani is Associate Professor in Political Science at the Scuola Normale Superiore of Pisa, Italy.Enrico Padoan is a postdoctoral researcher at the Department of Social, Political and Cognitive Sciences (DISPOC) of the University of Siena, Italy.

• 1 Populism, Popular Culture and (Pop) Music: An Introduction.-  1.1 Why Study Populism and (Popular) Culture.-  1.2 Music and Politics.- 1.3 (Pop) Music and Populism: ‘Mind the Gap’.- 1.4 Populism, Populisms: A Definition (and Its Boundaries).- 1.5 Populism and (Pop) Music Between Opportunities and Resources: Research Design.- 1.6 Our Case: Italy.- 1.7 Data and Methods.- 1.8 The Content of the Volume.- References.- 2 Populism and (Pop) Music: Multiple Opportunity Structures in Italy.- 2.1 Music-Market Opportunity Structure in Italy.- 2.2 Political Opportunities.- 2.3 Discursive-Cultural Opportunities.- 2.4 Conclusions.- References.- 3 Pop Music and Populist Messages.- 3.1 A Surprising Populist Hype in Contemporary Italian Pop Music.- 3.2 Musicological Group Analysis: ‘Playing Italianness in Italian Pop Music’.- 3.3 Conclusions.- References.- 4 The Use of (Pop) Music by Populist Parties.- 4.1 Music at the Lega Events: Building a ‘Partisan Culture’ Through Music.- 4.2 Music atthe 5SM Events: A Different Process of Partisan Culture-Building.- 4.3 Conclusion: Different Populisms, Different Usages of Pop Music.- References.- 5 The Interactions Between Populist Actors and Popular Music in the Public Sphere.- 5.1 Average Italian Fan: Matteo Salvini and the Politicization of His Music Tastes.- 5.2 Salvini Versus Pop Artists: Flattering and Bullying.- 5.3 Pop Music Artists Versus Salvini: Reproducing the Populism/Anti-Populism Divide.- 5.4 Five Star Movement: Too Little Frivolous to Play Pop-Politics in a Credible Way.- 5.5 Between the Political Roles of Singers and Music Appropriation by Politicians: Voices from Experts.- 5.6 Conclusions.- References.- 6 Between Music and Politics: The Reception of (‘Populist’) Music by Fans and Citizens.- 6.1 ‘I Like Him Because He Got What He Wanted’: Authentic, Rebel, ‘Not Political’ (i.e. Not Ideological or Partisan).- 6.2 Pop Artists and Politics in Fans’ Daily Lives.- 6.3 Music as a Collective Ritual.- 6.4 “Populists Seek the Vote of Those Listening to This Kind of Music”: Cementing the Anti-Populist– Populist Divide Through Pop Music.- 6.5 Music, Politics and Audiences: Conclusion.- References.- 7 Conclusion: Challenges and Opportunities of (Pop) Music for Populism.- 7.1 Music ‘as Action’: Speaking Out Versus Speaking As.- 7.2 Music as Action: ‘Organizing’.- 7.3 Between Music and Politics (in Italy): Towards an Explanation?.- 7.4 Populism and Pop Music: Scientific Added Value and Some Normative Reflections.- References.

Manuela Caiani is Associate Professor in Political Science at the Scuola Normale Superiore of Pisa, Italy.Enrico Padoan is a postdoctoral researcher at the Department of Social, Political and Cognitive Sciences (DISPOC) of the University of Siena, Italy.

• 1 Populism, Popular Culture and (Pop) Music: An Introduction.-  1.1 Why Study Populism and (Popular) Culture.-  1.2 Music and Politics.- 1.3 (Pop) Music and Populism: ‘Mind the Gap’.- 1.4 Populism, Populisms: A Definition (and Its Boundaries).- 1.5 Populism and (Pop) Music Between Opportunities and Resources: Research Design.- 1.6 Our Case: Italy.- 1.7 Data and Methods.- 1.8 The Content of the Volume.- References.- 2 Populism and (Pop) Music: Multiple Opportunity Structures in Italy.- 2.1 Music-Market Opportunity Structure in Italy.- 2.2 Political Opportunities.- 2.3 Discursive-Cultural Opportunities.- 2.4 Conclusions.- References.- 3 Pop Music and Populist Messages.- 3.1 A Surprising Populist Hype in Contemporary Italian Pop Music.- 3.2 Musicological Group Analysis: ‘Playing Italianness in Italian Pop Music’.- 3.3 Conclusions.- References.- 4 The Use of (Pop) Music by Populist Parties.- 4.1 Music at the Lega Events: Building a ‘Partisan Culture’ Through Music.- 4.2 Music atthe 5SM Events: A Different Process of Partisan Culture-Building.- 4.3 Conclusion: Different Populisms, Different Usages of Pop Music.- References.- 5 The Interactions Between Populist Actors and Popular Music in the Public Sphere.- 5.1 Average Italian Fan: Matteo Salvini and the Politicization of His Music Tastes.- 5.2 Salvini Versus Pop Artists: Flattering and Bullying.- 5.3 Pop Music Artists Versus Salvini: Reproducing the Populism/Anti-Populism Divide.- 5.4 Five Star Movement: Too Little Frivolous to Play Pop-Politics in a Credible Way.- 5.5 Between the Political Roles of Singers and Music Appropriation by Politicians: Voices from Experts.- 5.6 Conclusions.- References.- 6 Between Music and Politics: The Reception of (‘Populist’) Music by Fans and Citizens.- 6.1 ‘I Like Him Because He Got What He Wanted’: Authentic, Rebel, ‘Not Political’ (i.e. Not Ideological or Partisan).- 6.2 Pop Artists and Politics in Fans’ Daily Lives.- 6.3 Music as a Collective Ritual.- 6.4 “Populists Seek the Vote of Those Listening to This Kind of Music”: Cementing the Anti-Populist– Populist Divide Through Pop Music.- 6.5 Music, Politics and Audiences: Conclusion.- References.- 7 Conclusion: Challenges and Opportunities of (Pop) Music for Populism.- 7.1 Music ‘as Action’: Speaking Out Versus Speaking As.- 7.2 Music as Action: ‘Organizing’.- 7.3 Between Music and Politics (in Italy): Towards an Explanation?.- 7.4 Populism and Pop Music: Scientific Added Value and Some Normative Reflections.- References.