She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s MusicLaurie Stras She's So Fine explores the music, reception and cultural significance of 1960s girl singers and girl groups in the US and the UK. Using approaches from the fields of musicology, women's studies, film and media studies, and cultural studies, this volume is the first interdisciplinary work to link close musical readings with rigorous cultural analysis in the treatment of artists such as Martha and the Vandellas, The Crystals, The Blossoms, Brenda Lee, Dusty Springfield, Lulu, Tina Turner, and Marianne Faithfull. Currently available studies of 1960s girl groups/girl singers fall into one of three categories: industry-generated accounts of the music's production and sales, sociological commentaries, or omnibus chronologies/discographies. She's So Fine, by contrast, focuses on clearly defined themes via case studies of selected artists. Within this analytical rather than historically comprehensive framework, this book presents new research and original observations on the 60s girl group/girl singer phenomenon. |
Contents
Voice Body and Knowledge in the Prodigious | 57 |
Violence Masochism | 89 |
Dustys Hair | 113 |
Sandie Shaw and the Women of the British Invasion | 137 |
Mary Hopkin and the Deep Throat of Culture | 163 |
Whose Tears Go By? Marianne Faithfull at the Dawn | 183 |
The 60s Tina Signifies | 205 |
Response | 235 |
251 | |
Other editions - View all
Common terms and phrases
adolescence African American album anger artists audience backing singers Beatles black music body boys Brenda Lee Brit Girls British career charts child Cilla Black constructed contemporary cover versions critical doo-wop Dusty Springfield Dusty's early emotional essay Faithfull's fans female femininity feminist Figure gender genre girl group girl group music girl group songs girl singers guitar History Ibid Ike and Tina Ike's Jagger London Love Me Tomorrow Lulu mainstream male Marianne Faithfull Mary Hopkin masculinity masquerade mature melody Motown musicians Pavletich performance perhaps physical popular music produced race racial recording relationship released repertoire rhythm rock and roll rock culture rock music rockabilly role Rolling Stones Sandie Shaw sexual Shaw's Shirelles signifying singing social solo soul sound star story studio style suggests teenage girl television Tina Turner Tina's traditional vocal technique voice Welsh pop woman Women in Rock York young youth