Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0002
A. Apolloni
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.
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Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0008
A. Apolloni
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.
在事业之初，玛丽安·费斯福的声音是民谣女高音，是20世纪60年代青春的声音象征。到90年代末，在丑闻和吸毒事件之后，它发生了变化。这一章在摇滚文化对自由的性别建构不断变化的背景下考察这些声音上的变化。它考察了Faithfull在她职业生涯中的三个特殊时刻的表演和公众对表演的反应:她早期录制的歌曲，如“As Tears Go By”，将她解释为一个天真的人;她在20世纪60年代末的演出《吗啡妹妹》(Sister吗啡)揭示了摇滚的真实性政治是如何被女性排斥在外的;最近的专辑有《马和高跟鞋》(2011年)和《消极能力》(2018年)。这一章展示了她对创伤的声乐表演如何成为一种维护音乐真实性的手段，既颠覆又强化了塑造她早期职业生涯的摇滚真实性的观念。
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Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0004
A. Apolloni
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。
{"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}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0006
A. Apolloni
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.
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Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0003
A. Apolloni
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.
桑迪·肖的歌声前后不一:经常喘不过气来，跑调，不稳定。观众对她表演的评价表明，在听众和评论家看来，这些品质使她看起来像一个正在走向成年的普通女孩。对萧伯纳来说，平凡是她的卖点，是她表演个性的关键部分。本章探讨了对桑迪·肖来说，“普通”的声音意味着什么，以及“普通”的声音如何成为白人表演的一部分。这一章以讨论萧伯纳的声音在青少年声音变化和情感表达的矛盾含义的背景下的声音开始。这一讨论为阅读邵逸夫职业生涯中的一系列情节提供了依据:她早期在电视节目《Shindig!》1968年的电视节目《桑迪·肖副刊》(the sandy Shaw Supplement)，最后是1969年她自己制作的封面唱片《回顾形势》(review the Situation)。
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Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0007
A. Apolloni
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.
露露14岁时发行了她的第一首单曲，这是一首受福音启发的“呐喊”的精湛翻唱。这一章将露露使用的美国黑人出身的声乐技巧与公众对她年轻的看法以及对她性取向的讨论联系起来。露露刚走出童年就开始了她的演艺生涯，她年轻时的体面表演回应了种族焦虑。首先，本章讨论了露露在格拉斯哥音乐界的崛起;然后，它考察了露露处女形象的媒体表现。接下来，我们讨论了她在种族焦虑背景下的声音，并以她在电影《Gonks Go Beat》和《To Sir with Love》中的表演为例。然后，这一章探讨了露露在20世纪60年代末重塑自我的努力，并以露露最近的音乐会表演的附言结束。
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Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0005
A. Apolloni
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.”
牙买加黑人歌手米莉·斯莫尔的《My Boy Lollipop》是最早起源于牙买加流行音乐的全球流行歌曲之一。英国评论员讽刺斯莫尔的牙买加背景，同时将她视为将牙买加流行音乐带给英国白人观众的理想大使。本章倾听米莉·斯莫尔在此背景下的声音。尽管人们试图淡化斯莫尔的口音，但事实证明，她独特的嗓音很难控制，人们对她的接受表明，关于声音女性气质的想法是如何与种族主义焦虑相冲突的。这一章密切关注她唱“我的男孩棒棒糖”的方式，以及黑人和白人观众对她的声音的反应。然后讨论了她在标志性的“围绕披头士”电视特别节目中的表演，这让我们能够在现代性竞争话语的背景下听到她的声音。本章最后回顾了斯莫尔后来的一首反种族主义歌曲《以诺的力量》。
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Pub Date : 2021-11-18DOI: 10.1093/oso/9780190879891.003.0009
A. Apolloni
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.
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