Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0002
A. Apolloni
{"title":"Chart Chicks and Gear Girls","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0002","url":null,"abstract":"This chapter situates the voices of 1960s young women pop singers in a broader landscape of representations of young, white femininity and the historiography of 1960s British pop, Swinging London, and British girlhood. Drawing primarily on music magazines and fashion and entertainment magazines produced for young women in the 1960s (including titles such as Boyfriend, Fabulous, Honey, Mirabelle, and Petticoat) it shows how music was construed as a key element of modern, youthful, white femininity and self-expression. The chapter connects stories told about girl pop singers and popular narratives about young women seeking independence and shows how these stories are ultimately about attaining access to voice. These narratives about young women’s voices shaped music industry attitudes toward young women as consumers and producers of music, in turn shaping the kinds of musical opportunities that were available to girl and young woman singers.","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130874933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0008
A. Apolloni
{"title":"Sex, Freedom, and Marianne Faithfull’s Voice in the Afterlight of the 1960s","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0008","url":null,"abstract":"At the outset of her career, Marianne Faithfull’s voice was a folky soprano, a sonic emblem of 1960s youthfulness. By the end of the decade, in the wake of scandal and drug use, it had transformed. This chapter examines these vocal changes in the context of changing rock culture’s gendered constructions of freedom. It looks at Faithfull’s performances—and public reactions to them—at three particular moments in her career: her early recordings of songs like “As Tears Go By,” which construe her as an ingenue; her late-1960s performances of “Sister Morphine,” which reveal how rock’s politics of authenticity proved exclusionary to women; and recent albums like Horses and High Heels (2011) and Negative Capability (2018). The chapter shows how her vocal performances of trauma become a means of asserting musical authenticity, both subverting and reinforcing the ideas of rock authenticity that shaped her early career.","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129037962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0004
A. Apolloni
{"title":"Sounding Like Liverpool","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0004","url":null,"abstract":"Cilla Black sang and spoke with a pronounced Liverpool accent. Despite attempts to eliminate it, this quality remained, ultimately becoming a point of identification for listeners. This chapter explores how Black’s voice defied class-marked notions of respectability. Her voice—and persona—were a problem for music critics. Unlike the cool ordinariness embodied by singers like Sandie Shaw, Black communicated a different ordinariness, one rooted in working-class identity, which complicated her position in hip, modern, Swinging London. Her first hit, “Anyone Who Had a Heart,” reveals how this plays out musically. The chapter considers Black in the context of Merseybeat and the ideology of authenticity that characterized rock and roll and places her performances in the context of the mid-1960s boom in popular linguistic and quasi-ethnographic publications purporting to document Liverpool culture. The chapter concludes with reflections on Black’s early TV career and considers how contemporary Liverpool musicians contend with her legacy.","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125551253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0006
A. Apolloni
{"title":"Race, Self-Invention, and Dusty Springfield’s Voice","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0006","url":null,"abstract":"In the 1960s, Dusty Springfield’s voice earned her frequent comparisons to African American vocalists. This chapter argues that Springfield’s vocal sound reveals how racialized listening processes operate. It shows how the historical reception of Black singers in Britain, assumptions about how white women sounded, and a pop music scene that cultivated excitement through engagement with racial otherness moved listeners to hear her voice in racialized terms. The chapter begins with discussion of how Springfield’s story of vocal transformation has been told by her biographers. Then, it consider two key collaborations between Springfield and Black artists: the “Sound of Motown,” a special episode of the TV program Ready Steady Go!, and her 1969 album, Dusty in Memphis. Although separated only by five years, the two performances in question construct Springfield’s relationship to race and identity much differently, responding, in part, to political, cultural, and musical changes that occurred during the intervening years.","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126642918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0003
A. Apolloni
{"title":"“A Girl in a Million, Just Like a Million”","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0003","url":null,"abstract":"Sandie Shaw’s singing was inconsistent: often breathy, out of tune, and uncertain. Reception of her performances reveals that, to listeners and critics, these qualities made her seem like an ordinary girl navigating the path to adulthood. For Shaw, ordinariness was a selling point, a crucial part of her performing persona. This chapter examines what it meant for Sandie Shaw to sound “ordinary,” and how the sound of ordinariness was part of a performance of whiteness. The chapter opens with discussion of the sound of Shaw’s voice in the context of adolescent vocal change and the conflicting implications of emotional expression. This discussion then informs readings of a series of episodes in Shaw’s career: her early career appearance on the TV program Shindig!, her 1967 Eurovision performances and the controversy regarding her respectability that informed them, her 1968 TV program The Sandie Shaw Supplement, and, finally, her 1969 self-produced cover record Reviewing the Situation.","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131059121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0007
A. Apolloni
{"title":"The Last Remaining Virgin in London","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0007","url":null,"abstract":"Lulu was fourteen when she released her first single, a virtuosic cover of the gospel-inspired “Shout.” This chapter connects Lulu’s use of vocal techniques with Black American origins to public perceptions of her youthfulness and to conversations about her sexuality. Lulu was barely out of childhood when she began her career and her youthful performances of respectability responded to racial anxiety. First, the chapter discusses Lulu’s rise in the Glasgow music scene; then, it examines media representation of Lulu’s virginal persona. This is followed by discussion of her voice in the context of anxiety over race, drawing examples from her performances in the films Gonks Go Beat and To Sir with Love. The chapter then explores Lulu’s efforts to reinvent herself in the late 1960s and closes with a postscript on Lulu’s recent concert performances.","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131361730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0005
A. Apolloni
{"title":"England Meets Jamaica’s Lollipop Girl","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0005","url":null,"abstract":"Black Jamaican singer Millie Small’s “My Boy Lollipop” was one of the first global pop hits with origins in Jamaican pop music. British commentators caricatured Small’s Jamaican background while construing her as the ideal ambassador to bring Jamaican pop to white British audiences. This chapter listens to Millie Small’s voice in this context. Despite attempts to diminish her accent, Small’s distinctive voice proved difficult to discipline and its reception reveals how ideas about sonic femininity collide with racist anxiety. The chapter closely attends to the way she sings “My Boy Lollipop,” and the way that Black and white audiences responded to her voice. It then discusses her performance on the iconic Around the Beatles TV special, which allows us to hear her voice in the context of competing discourses of modernity. The chapter concludes by reflecting on one of Small’s later recordings—the antiracist anthem “Enoch Power.”","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132529507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Freedom GirlsPub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0009
A. Apolloni
{"title":"Remembering Rock and Roll with P. P. Arnold","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780190879891.003.0009","url":null,"abstract":"This chapter asks how American singer P. P. Arnold’s vocal performances in the 1960s shaped British popular music production and how she renarrates rock history today. The story of Arnold’s music career reveals how the Black feminine vocality exemplified by Arnold’s style of singing shaped 1960s rock, and how Black women singers navigate experiences of marginalization and narratives of authenticity. Arnold’s recordings for Immediate Records and her work with the Small Faces on songs like “Tin Soldier” reveal how this dynamic manifests musically, while the story of her “lost” album The Turning Tide illustrates the effect that it had on her career. The chapter closes with a section on Arnold’s recent live performances, using Black feminist thought to understand the implications of Arnold’s engagement with 1960s stereotypes of rock authenticity and sexual expressivity in her new work.","PeriodicalId":235413,"journal":{"name":"Freedom Girls","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124620428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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