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"Your Ticket to Dreamsville": the Functions of 16 Magazine in American Girl Culture of the 1960S

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University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2014 "Your Ticket to Dreamsville": The uncF tions of 16 Magazine in American Girl Culture of the 1960s Diana L. Belscamper University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the United States History Commons, and the Women's Studies Commons Recommended Citation Belscamper, Diana L., ""Your Ticket to Dreamsville": The unctF ions of 16 Magazine in American Girl Culture of the 1960s" (2014). Theses and Dissertations. 663. https://dc.uwm.edu/etd/663 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “YOUR TICKET TO DREAMSVILLE” THE FUNCTIONS OF 16 MAGAZINE IN AMERICAN GIRL CULTURE OF THE 1960S by Diana L. Belscamper A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History at The University of Wisconsin-Milwaukee May 2014 ABSTRACT “YOUR TICKET TO DREAMSVILLE” THE FUNCTIONS OF 16 MAGAZINE IN AMERICAN GIRL CULTURE OF THE 1960S by Diana L. Belscamper The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Joe Austin This analysis reveals the ways in which 16 Magazine functioned in 1960s American girl culture, largely due to the influence of Gloria Stavers, the magazine’s editor. Stavers used the features in 16 Magazine to become an emulous mother who guided her readers through their private fantasy space, or “Dreamsville,” as well as the Cold War culture of the 1960s. 16 Magazine, the most popular youth culture magazine of the 1960s, incorporated dominant ideologies of Cold War anxieties and presented them in subtle, yet effective ways. Profiles of pop music and television stars, advice columns, beauty features, gossip columns, and “Your Ticket to Dreamsville” contests encouraged normative gender and consumer behavior for girls, yet broadened the definitions of “appropriate” behavior and style by incorporating countercultural signifiers, while the language throughout the magazine merged youth lingo with discourses of American patriotism. This project also reveals how the relationships between 16 Magazine and youth-oriented television programs functioned as entertainment ii narratives and models for the negotiations between the public and private spheres during the Cold War era and served as predecessors to contemporary cross-media texts, yet indicate their unique nature as non-corporate transmedia narratives, dependent upon fan participation and interaction while predating new media options for interactivity. This dissertation draws upon historical, cultural, and media theories, including those of Cold War domesticity, youth and girl culture, and transmedia convergence. The interdisciplinary analysis included herein is the first scholarly research that utilizes 16 Magazine as its primary source material. iii © Copyright by Diana L. Belscamper, 2014 All Rights Reserved iv TABLE OF CONTENTS I. Preliminary Pages ii-xii II. Introduction and Literature Review 1-32 III. Democracy, Duty, and Dreams: The Cultural Climate at 16 33-74 Magazine’s Inception IV. Gloria Stavers and “The Magazine for Smart Girls”: The 75-113 Distinctions of 16 Magazine, 1960-1963 V. Buying Into the British invasion: Using Pop Stars to Cultivate 114-162 Femininity and Consumer Behavior, 1964-1966 VI. “We’re the Young Generation and We’ve Got Something to Say”: 163-210 Emphasizing the Establishment in “Anti-Establishment,” 1967-1969 VII. Conclusion 211-224 VIII. Curriculum Vitae 225-228 v ACKNOWLEDGMENTS A project of this magnitude is not the result of one person’s efforts; to the contrary, countless individuals advanced its progress and completion. So many contributors, some of whom I never met in person, provided endless enthusiasm, motivation, and determination when my own wavered. And to those whose confidence in my completion of this project never abated, I owe my greatest gratitude. The spark for this project was fired nearly ten years ago in my first course with Joe Austin. Joe has been a tireless advisor, advocate, mentor, educator, and confidant. Always with a brilliant word of advice, patience beyond expectations, and a fabulous sense of humor, Joe let me work at my pace, knowing the end results would justify the erratic means. I truly cannot imagine a more complementary advisor and director for my work. Rachel Buff provided great insight and recommendations for areas of my general history edification that needed boosting. She targeted areas that needed explanation and allowed me to find my own way through them. Her suggestions and framing of the Cold War revitalized my enthusiasm for American history and its foibles. Tasha Oren provided me with an interdisciplinary scope that was essential to the foundation of this project, and without which my own expertise would be diminished greatly. Her advice and advocacy of my work, though not always in her scholarly niche, was essential to the multi-faceted analysis included herein. Carol Stabile encouraged my ventures into media theory and the vi application of media studies methodologies, specifically regarding mass-market magazines, to my research in girl culture and 16 Magazine in particular. Her enthusiasm and guidance helped me see the viability of my research across disciplines. Merry Wiesner-Hanks has been a bolstering source of support and enthusiasm for my work, both in the discipline and in the classroom. Her recommendations and advice never fail me, and her gracious consideration of my work is always deeply appreciated. Special thanks go to David Hoeveler and Aims McGuinness, for their encouragement, advice, humor, and wisdom along the way, as well as Phillip Naylor, Steven Avella, and Athan Theoharis for encouraging me to pursue my Ph.D. in history after years away from the discipline. The Department of History at UW-Milwaukee generously awarded me funding through the David S. Buck Honorary Dissertation Research Grant, Lucetta Bissell Memorial Fellowship, Department of History Graduate Research Grant, and Chancellor’s Graduate Student Award, which allowed me to amass an archive of teen magazines rivaling that of any academic institution. My heartfelt gratitude is extended to Professor David Buck and the Awards Committee for their generosity and enthusiasm for my research. The Graduate School at UW- Milwaukee graciously awarded me the Graduate School Fellowship and the Graduate School Dissertation Fellowship, which gave me the freedom to work as a part-time instructor and project assistant while completing this project. In addition, I thank the editors of the Encyclopedia of Milwaukee, especially Amanda Seligman and Jim Marten, who provided me with an assistantship that vii allowed me to continue working on my dissertation at full speed while working as a local cultural historian as well. My year of alternating research on Milwaukee sports with 16 Magazine’s “fave raves” was immensely enjoyable. My research could not have been completed without the generosity of the UCLA Film and Television Archive’s Research and Study Center. Being awarded their Visiting Scholar Research Grant allowed me access to their astonishing collection of youth-oriented television shows I could not access anywhere else. My viewing of episodes of Shindig, Hullabaloo, Malibu U, American Bandstand, and Where the Action Is! restructured how I conceived of this project, and made my interpretations and arguments immeasurably stronger. Mark Quigley and Silvia Chilin’s enthusiasm and assistance during my weeklong visit to their archive receive my unqualified appreciation. My collection of primary source material for this project began as a hobby more than 20 years ago. However, as I realized what exactly I had in my collection and the need to acquire a much broader sample, I turned to the Internet, eBay.com in particular. I offer my gratitude and appreciation to the countless vendors and collectors who provided the vast majority of my collection. In addition, appreciation goes to Musical Memories in Milwaukee, whose variety of vintage music magazines is always eclectic, but never lacking for something I need. On the personal side, my debts are great to so very many people – for knowledge, camaraderie, inspiration, and strength when I needed it most. viii My earliest and most integral attraction to this time period and its music was fostered by the joy and knowledge shared every morning by John Gardner on WEMP-AM 1250 in Milwaukee. His voice still permeates my thoughts and recollections of eras past. Gregory Jon ably followed in John’s footsteps during the resurgence of the Mighty 92, and continues to provide me with humor and valued contacts. To Bob Newhart and Dennis Miller, I owe perhaps my most eccentric, yet necessary, thanks. Their comedic work led me to discover Vance Packard and Betty Betz, the writings of whom provided valuable content and essential context for my analysis. To the multitudes of Gloria Stavers “ravers” I’ve met online, I extend my appreciation and gratitude. Their personal stories, insights, and memories reinforced my confidence in the validity of my research, as well as the endless influence Miss Stavers continues to have on American women. Karen Steele’s devotion to Miss Stavers’s life and legacy on her website, gloriastavers.com, gave me essential connections to both content and contacts. Special mention must be given to Mimi Gitterman Menendez and Nola Leone, whose own careers were enhanced by their relationships with Miss Stavers and who both assured me my reading of Miss Stavers’s agenda with 16 Magazine was right on point. The wit, whimsy, and sheer devotion to their crafts exhibited by many of the pop stars discussed herein continue to entertain and inspire multitudes of fans. To Mark and Deb Lindsay, Phil Volk and Tina Mason, Peter Noone, Jim Valley, Paul Petersen, Billy Hinsche, and Don Grady, I owe my thanks for their ix online commentaries and interviews, photos, and accounts of their experiences as idols, then and now.
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