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UCLA UCLA Electronic Theses and Dissertations Title Wishin' and Hopin': Femininity, Whiteness, and Voice in 1960s British Pop Permalink https://escholarship.org/uc/item/33m350nx Author Apolloni, Alexandra Marie Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Wishin’ and Hopin’: Feminini !" Whi eness" and Voice in 1%&'s B)i ish pop A disse) a ion s*+mi ed in pa) ial sa is,a# ion of the re-*iremen s for the degree Doc or of Philosoph! in Musicology +! Ale1andra Marie Apolloni 2'$3 ABSTRACT OF THE DISSERTATION Wishin’ and Hopin’: Femininity, Whiteness, and Voice in 1"#$s B%itish Pop 'y Ale)andra Marie Apolloni Doctor of Philosophy in Musicology .niversity of Cali+ornia, Los Angeles, 2$!2 &rofessor Tama%a Levit3, Chai% This dissertation e)p(ores pe%+ormances 'y British gi%( singers +rom the !"#$s to the present4 I a%-,e that /oca( pe%+ormances 'y singers s, h as Cilla Black, Sandie Sha6, D,sty Sprin-+ield, 0,(,, and Marianne Faith+,(( helped const%, t emergin- models of 6hite +emininity in the !"#$s that contin,e to resonate in pop voca( pe%+ormances today4 I show that, through voca( pe%+ormance, these singers en/oice limina( spaces at the 'oundaries of socia( categories s, h as race, gender, and class4 My +irst t6o chapte%s e)plore aspi%ationa( pe%+ormances of +emininity 'y Sha6, Black, and Sprin-+ield, +rom !"#27!"#"4 I show how Sha6 and Bla 5 positioned themselves as solo singe%s, and a%-,e that thei% voca( styles re+lected an emergin- li'era( mode( of +eminine independence that 6as at t,rns +reein- and regressive4 The +ollo6in- chapte% a%-,es that Sprin-+ield dre6 on colla'orations 6ith A+rican7American 6omen, s,ch as Martha Reeves, to vocali3e a di++e%ent kind of +eminine identity +or herse(+, one grounded in a sense of alterity, and to create a space +or racia( 8,stice ii that 6as ,ltimately limited 'y st%,ct,ra( ine9,alities4 The second pai% of chapters look 'a 5 at the !"#$s through contempora%y pe%+ormances4 I conside% the ,rrent 6ork of 0,(, and Faith+,(( as agin- singers, and a%-,e that they m,st ontend not only 6ith ,lt,ra( memories of thei% !"#$s girlhood, ',t also 6ith discourses of decline, and 6ith the physica( impact of agin- on the voice4 I close 6ith a chapte% a'out Candie &ayne, D,++y, and She('y 0ynne, contempora%y singers 6hose nostalgi ,se of !"#$s voca( techni9,es re7ima-ines mid7 cent,ry ideals of +emininity in the present4 My analyses are %ooted in +eminist theories of intersectionality and pe%+ormance, and methods +rom Voice St,dies4 I dra6 on a range of archiva( sources, in (,din- +ashion and m,si maga3ines, ne6spapers, memoi%s, and television footage4 iii The dissertation of Ale)andra Marie Apolloni is approved4 0,cy B,rns Nina Eidsheim Robert Fin5 Mitchell Morris Tamara Levit3, Committee Chai% .niversity of Cali+ornia, Los Angeles 1$!2 iv To girls who write and girls who sin-: to girls who read and girls who listen4 v Table of Contents Figures vii Acknowledgements ix Vita xii Introd,ction ;A voice that is clear, we((7+ormed, and attra tive< ! Chapter 1 Single Girls in the S6inging City: Kathy, Sandie, and Cilla take London " Chapter 1! Race, Se(+7Invention, and D,sty Sprin-+ield’s Voice #? Chapter 1!! I Can’t Sing, b,t I’m Young: On Voice, Femininity, and Age "? Chapter 1/ Voicing Nostalgia: She('y, D,++y, and Candie !2A Con (,sion Sparkling birds, S6itched7on Dolls, and a Transatlantic Coda !A1 Bi'liography !AB Selected Filmography and Discography 1$A vi Figures Fi-,re 14!: “When Love Comes Along,< Boyfriend, Jan,ary 11 1"#2 1! Fi-,re 141: ;A Romance Has Been Arranged,< Mirabelle, March 1", 1"## 11 Fi-,re 142: “Steam Radio,< Mirabelle, C,ne, 1"#A 12 Fi-,re 14?: “0overs’ Leap,< Mirabelle, C,ne 1"#A 1? Fi-,re 14D: Radio Caroline mai(7in of+er for m,si 7themed je6elry, 2$ Boyfriend, Apri( 17, 1"#D Fi-,re 14#: The editri)es of Petticoat try to la,nch Radio Petticoat, 2$ Petticoat, April 2, 1"## Fi-,re 147: Peppi’s Pop Dance Page, Boyfriend, Fe'%,ary 21 and 2", 1"#? 2! Fi-,re 14A: Sandie Sha6 dispenses advice, Boyfriend, C,ne 11, 1"#D 21 Fi-,re 14": Like Helen hairspray promises a ticket to the top of the charts, 21 Boyfriend, Fe'%,ary 1, 1"#? Fi-,re 14!$: Sandie Sha6 in “E,i 5sand< ?B Fi-,re 14!!: Sandie behind the whee( ?A Fi-,re 14!1: T6o Sandies: one singing, one drivin- ?" Fi-,re 14!2: Sandie s,rrounded by dancing me hanics D! Fi-,re 14!?: Cilla and D,sty, trans+ormed #$ Fi-,re 14!D: Among the Breaka6ays, Cilla stands out #! Fi-,re 24!: Reeves and Sprin-+ield,;@ou gotta wear you% hair j,st for him< A$ Fi-,re 34!: Melancholy Marianne as every boy’s valentine, !$# Fabulous, Fe'%,ary 12 1"#D vii Fi-,re 341: Faith+,(( on Hullabaloo, !"#D !$" Fi-,re 342: 0,(, poses with kids’ toys in he% “'right and zany< room, !!D Petticoat, C,ly 2D, 1"## Fi-,re 44!: She('y Lynne channels D,sty Sprin-+ield !?" Fi-,re 441: A thought+,l D,++y on a train in the video for “Rockferry< !#! Fi-,re 442: Candie Payne appea%s f,rtive and isolated in a video for !B" ;I Wish I Could Have Loved You More< viii Acknowledgements I 6as a'le to omplete this project 6ith the +inancia( s,pport of the American *,sicologica( Society A(vin H4 Johnson AMS7D$ Fe((owship, the Jean Stone Dissetation Fellowship +rom the .C0A Cente% +or the St,dy of Women, and research +,nds +rom the American *,sicologica( Society Wolf F,nd +or E,ropean Resea% h, the .C0A He%' Alpert School of *,sic, the .niversity of Cali+ornia Cente% +or Ne6 Ra ia( St,dies, and the .C0A H,manities Division4 I could not have completed this dissertation 6ithout the s,pport of many +riends, +amily mem'ers, collea-,es, and teachers4 My advisor, Tama%a 0evit3 encouraged me to 6rite creatively, 6ith an eye to6ards narrative4 She a(6ays respected and t%,sted my intentions as a 6riter, and ,nde% he% -,idance, this proje t 'ecame more than 8,st a dissertation, ',t a story that I’m proud to have 6ritten4 Tama%a read my dra+ts 6ith a meti ,lous attention to detail, he(ped me +ind and arti ,late sometimes e(,sive a%-,mentative threads, and 6as a(6ays 9,i 5 to share my enth,siasm ove% +indin- 'ootle- clips of obs ,re !"#$s m,si television shows on @out,'e4 Workin- with Tamara has been an utterly joy+,( e)perience, and I than5 he% +or he% patience, +or he% wisdom, and for the hou%s she spent reading and ma%5ing up my dra+ts4 I +ee( privileged to have 6orked 6ith a(( of the mem'ers of my dissertation committee: a(( are e)amples of the kind of schola% and teache% that I hope to 'ecome4 Nina Eidsheim a(6ays p,shed me to try creative approaches 'eyond my range of e)perience4 She has an almost ,ncanny a'ility to +ind the path6ays onne tin- seemingly dispa%ate ideas: on ix more than one occasion, I came to he% 6ith the preliminary ideas that I 6anted to ',ild into a chapter, and she helped me to map them out into a ogent a%-,ment4 He% 6ork on voice and vocality has had an enormous in+(,ence on my research, and he% assistance 6ith myriad +ellowship applications and cove% letters has 'een inva(,a'le4 Robert Fink’s e)pertise analy3in- the nitty7gritty, ne%dy details of pop songs in+ormed my o6n interest in capt,rin- soni detai( in 6ritin-4 As his teachin- assistant +or the =enera( Ed,cation C(,ste% ourse, America in the !"#$s, I 6atched him regale ,ndergrad,ates 6ith presentations a'out !"#$s pop that 6ere more like m,lti7media storytelling e)ercises than they 6ere le t,res, and these inspi%ed me to 'e inventive and darin- in my teachin- and 6ritin-4 Walkin- into a conversation 6ith Mitche(( Morris is like 6alkin- into a li'rary that ontains every 'ook eve% 6ritten4 I than5 him +or sendin- me on a(6ays7+%,it+,( resea% h 9,ests, +or 'ein- s,ch a generous interlocutor, and +or armin- me 6ith piles of ne6 'ooks to read and ne6 m,si to listen to every time 6e met4 0,cy B,rns’ +a%7rangin- knowledge of theories of +eminism and pe%+ormance 'rought an inva(,a'le pe%spective to my 6ork, and, in o,% meetings, she a(6ays asked me provocative 9,estions that led me to thin5 of the materia( I 6as st,dyin- in ne6 6ays4 I 5ne6 +or certain that 0,cy 6as the right outside committee mem'e% +or me the day that 6e commise%ated ove% the 6orst part of dissertation 6riting: 'ein- holed ,p 6ritin- at home, which meant that one neve% had an e) ,se to go out wearing great shoes4 A(( of the professors that I have 6orked 6ith at .C0A shaped this project, and my development as a resea% he% and teache%4 I than5 them all, and in parti ,lar, O(ivia Bloechl, Elisa'eth 0e=,in, and Ray >napp, +or thei% -,idance and mentorship ove% these past +e6 yea%s4 x Ba%'ara Van Nostrand and I started o,t in .C0A *,sicology in Fa(( of 1$$7, I as a grad st,dent, she as the St,dent A++airs O++ice%4 She has helped me in so many 6ays in the intervening years, both as an academi advisor, and as a friend4 I than5 he% +or a(6ays lookin- out for me, and for her e)cellent matchmaking int,ition4 My grad,ate school collea-,es have 'een a tremendous source of s,pport and +riendship4 Than5 you to those 6ho gave me thought+,( and incisive +eed'a 5 on this 6ork in ou% dissertation seminar, parti ,larly Natalia Bieletto, Hy,n Chang, Ross Fenimore, Des Harmon, &ete% 0a6son, Joanna 0ove, Jeremy Mi5,sh, and 0indsey Strand7&olya54 >elsey Cowger, >ariann =oldschmitt, Stephan &ennington, Marcie Ray, and Marianna Ritchey helped me navigate the +i%st +e6 years of grad,ate school, 6hile &ete Broad6e(( and Eri Wan- helped me re+ine my editoria( chops through ou% 6ork on Ec o! Than5 you to my 'ad sci7+i76atchin- compatriots, Farah Erso++, honorary
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  • The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.