Read Girl Groups, Girl Culture: Popular Music and Identity in the 1960s by Jacqueline Warwick Online
* Girl Groups, Girl Culture: Popular Music and Identity in the 1960s Ý PDF Download by # Jacqueline Warwick eBook or Kindle ePUB Online free. Girl Groups, Girl Culture: Popular Music and Identity in the 1960s It promises to be a classic work in American musicology and cultural studies.. Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. Warwick is the first writer to address '60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generati
| Title | : | Girl Groups, Girl Culture: Popular Music and Identity in the 1960s |
| Author | : | |
| Rating | : | 4.70 (907 Votes) |
| Asin | : | 0415971136 |
| Format Type | : | paperback |
| Number of Pages | : | 286 Pages |
| Publish Date | : | 2014-01-30 |
| Language | : | English |
Laira said Just as described.. I borrowed this book from a friend and decided I needed to buy it so I could make my own notes. Minus a few highlighted sentences, the book is in great conditions. The item did describe this, so I am not displeased.. not rock criticism, but an academic study of the girl groups An excellent book, provided you realize what it is and what it's not. It is by a college professor and it is published by an academic publisher. It's an academic study. There are lots of footnotes.So it is not for everyone. It is not INTENDED for everyone.Warwick argues that the girl groups weren't just disposable pop music. They were a very prominent and important dimension of 1960s feminism. They were also an important elem. Interesting Take On Impact of Girl Group Sound of the 1960s Jacqueline Warwick has written a thesis-like revisionist take on the girl group sound of the 1960s, focusing on the messages and impact of The Shangri-Las, Chantels, Ronettes, Marvelettes and their ilk. At times relying heavily on earlier tomes, Warwick nevertheless argues convincingly that teenage girls lip-syncing and singing along with these records and adopting different poses were an important aspect of the womens' movem
She is an active member of the International Association for the Study of Popular Music, and has presented papers at numerous conferences in North America and Europe. Jacqueline Warwick is Associate Professor in the Department of Music at Dalhousie University, Canada, where she specializes in music history and popular music.
It promises to be a classic work in American musicology and cultural studies.. Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. Warwick is the first writer to address '60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation. Then He Kissed Me, He's A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today.While there were over 1500 girl groups recorded in the '60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear
"…Warwick’s thoroughness lends the bookwhich flies in the face of the notion that producers are musical godsa sense of much-needed authority. Through her Marxist feminist lens, even thin-voiced Diana Ross seems worthy of a little more R-E-S-P-E-C-T." --Harp Magazine"This eminently readable and groundbreaking book is a must for all girl group fans, and anyone interested in the social history of music and culture during the 1960s." --Readings, Australia"Warwick is on solid ground with her arguments, and this book makes strong contributions to popular musicology. Her work on female identity in a popular-music context is particularly innovative.&n
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