{"title":"Sounding Like Liverpool","authors":"A. Apolloni","doi":"10.1093/oso/9780190879891.003.0004","DOIUrl":null,"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":0.0000,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Freedom Girls","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190879891.003.0004","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
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.
希拉·布莱克唱歌和说话都带有明显的利物浦口音。尽管试图消除它,但这种品质仍然存在,最终成为听众的一个识别点。这一章探讨了布莱克的声音是如何蔑视阶级标记的体面观念的。她的声音和她的性格对音乐评论家来说是个问题。与桑迪·肖(Sandie Shaw)等歌手所体现的酷的平凡不同,布莱克传达了一种不同的平凡,一种植根于工人阶级身份的平凡,这使她在时髦、现代、摇摆的伦敦的地位变得复杂。她的第一首热门歌曲《有心的人》(Anyone Who Had a Heart)揭示了这种情况如何在音乐上发挥作用。这一章将布莱克置于默西贝特的背景下,以及摇滚的真实性意识形态,并将她的表演置于20世纪60年代中期流行语言和准民族志出版物的背景下,这些出版物旨在记录利物浦文化。这一章的结尾是对布莱克早期电视生涯的反思,并思考当代利物浦音乐家如何与她的遗产相抗衡。