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 m,sicologist Nikki Es hen, =ray Ra,(erson, and Morgan Woolsey4 Havin- 6onde%+,( +riends that I cou(d la,-h 6ith G 6hethe% it 6as d,rin- an advent,re 6ith Ji(( Rogers and a ',st of Beethoven painted to look like the Joker, o% ove% dinne% and 'oard games 6ith 0indsay Johnson G made the 6ritin- process easy4 Than5 you especially to Sam Baltimore, my dea% +riend, 6ith 6hom I have la,ghed so m,ch, over so many things4 May we a(6ays have Star Tre5 C(,'4 Than5 you to a(( of my m,si teache%s ove% the years, in (,din- Marlene Borsella, Nancy 0amont, and Jeanette Steeves, +or instillin- in me a love of son-4 I am parti ,larly grate+,( to my voice teachers at Wi(+rid 0a,rie% .niversity, 0a,ra &,d6e(( and Marianne Bindig, t6o +a',lous 6omen 6ho showed me how to sin- +rom my -,t, and ho6 to teach 6ith h,mor and grace4 Than5 you to 0a,rie% &rofessors &atricia Molloy, >evin S6inden, and xi >i%sten @ri, 6ho encouraged me to apply +or grad,ate school.