Freedom Girls: Voicing Femininity in 1960s British Pop shows how
the vocal performances of girl singers in 1960s Britain defined-and
sometimes defied-ideas about what it meant to be a young woman in
the 1960s British pop music scene. The singing and expressive
voices of Sandie Shaw, Cilla Black, Millie Small, Dusty
Springfield, Lulu, Marianne Faithfull, and P.P. Arnold, reveal how
vocal sound shapes access to social mobility, and consequently,
access to power and musical authority. The book examines how Sandie
Shaw and Cilla Black's ordinary girl personas were tied to
whiteness and, in Black's case, her Liverpool origins. It shows how
Dusty Springfield and Jamaican singer Millie Small engaged with the
transatlantic sounds of soul and and ska, respectively,
transforming ideas about musical genre, race, and gender. It
reveals how attitudes about sexuality and youth in rock culture
shaped the vocal performances of Lulu and Marianne Faithfull, and
how P.P. Arnold has re-narrated rock history to center Black
women's vocality. Freedom Girls draws on a broad array of archival
sources, including music magazines, fashion and entertainment
magazines produced for young women, biographies and interviews,
audience research reports, and others to inform analysis of musical
recordings (including such songs as "As Tears Go By," "Son of a
Preacher Man," and others) and performances on television programs
such as Ready Steady Go!, Shindig, and other 1960s music shows.
These performances reveal the historical and contemporary
connections between voice, social mobility, and musical authority,
and demonstrate how singers used voice to navigate the boundaries
of race, class, and gender.
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