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Blues and Bobby Sox: Singing Black G...

St. Amand, Emmalouise,

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Blues and Bobby Sox: Singing Black Girlhood in New York City, 1950-1970 /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Blues and Bobby Sox: Singing Black Girlhood in New York City, 1950-1970 // Emmalouise St. Amand.
Author:	St. Amand, Emmalouise,
Description:	1 electronic resource (192 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-01, Section: B.
Contained By:	Dissertations Abstracts International86-01B.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31328267
ISBN:	9798383197790

Blues and Bobby Sox: Singing Black Girlhood in New York City, 1950-1970 /
St. Amand, Emmalouise,

Blues and Bobby Sox: Singing Black Girlhood in New York City, 1950-1970 /Emmalouise St. Amand. - 1 electronic resource (192 pages)

Source: Dissertations Abstracts International, Volume: 86-01, Section: B.

This dissertation examines the musical and social lives of Black teenage girl singers in 1950s and 1960s New York City. During this time, Black girls were celebrated performers in local Black music scenes, but their legal minority left them vulnerable to exploitation from both sides of the color line. I combine interviews with former girl group performers and evidence from 45rpm records, gossip columns, school yearbooks, and more to chart girls' professional networks and listen closely to their recorded voices. Looking beyond the famous girl groups who recorded in New York City's pop music factories, I center every day, working musicians. I demonstrate that Black girls were active members of New York's Black music scene, where they wrote and recorded original songs, wrote music criticism, and contributed to public discourses about music and sexuality. Ultimately, I argue that understanding girl's music requires reshaping theories of power and agency that rely on an assumption of legal adulthood.After an introduction that lays out the major themes and methodological orientation, Chapter One examines the scattered archive of a forgotten girl group called the Four Debs to show that girls belong to a tradition of Black music-making, despite their failure to conform to scholarly ideas of "authentic" Black sound. The second chapter concerns child performer Annette Swinson, who gained professional opportunities by continually transforming her vocal timbre. I suggest that tracing Swinson's plastic voice offers one method for recovering girls' musical agency within a system that did not recognize them as full subjects. Chapter three maps girls' interest in romance through a musical pleasure culture that comprised songwriting, music criticism, and listening practices. I show that girls' pleasure culture provided a fantasy realm through which girls imagined themselves outside the control of adults. Finally, the fourth chapter analyzes the work of groups like the Shockley Singers, who were successful both as gospel performers and as pop recording artists. I argue that girls challenge racialized categorizations of sound at midcentury. Throughout the dissertation, I demonstrate the alternative histories that emerge when we center the working musicians that create the everyday texture of musical life.

English

ISBN: 9798383197790Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Black girlhood

Blues and Bobby Sox: Singing Black Girlhood in New York City, 1950-1970 /
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520 $a This dissertation examines the musical and social lives of Black teenage girl singers in 1950s and 1960s New York City. During this time, Black girls were celebrated performers in local Black music scenes, but their legal minority left them vulnerable to exploitation from both sides of the color line. I combine interviews with former girl group performers and evidence from 45rpm records, gossip columns, school yearbooks, and more to chart girls' professional networks and listen closely to their recorded voices. Looking beyond the famous girl groups who recorded in New York City's pop music factories, I center every day, working musicians. I demonstrate that Black girls were active members of New York's Black music scene, where they wrote and recorded original songs, wrote music criticism, and contributed to public discourses about music and sexuality. Ultimately, I argue that understanding girl's music requires reshaping theories of power and agency that rely on an assumption of legal adulthood.After an introduction that lays out the major themes and methodological orientation, Chapter One examines the scattered archive of a forgotten girl group called the Four Debs to show that girls belong to a tradition of Black music-making, despite their failure to conform to scholarly ideas of "authentic" Black sound. The second chapter concerns child performer Annette Swinson, who gained professional opportunities by continually transforming her vocal timbre. I suggest that tracing Swinson's plastic voice offers one method for recovering girls' musical agency within a system that did not recognize them as full subjects. Chapter three maps girls' interest in romance through a musical pleasure culture that comprised songwriting, music criticism, and listening practices. I show that girls' pleasure culture provided a fantasy realm through which girls imagined themselves outside the control of adults. Finally, the fourth chapter analyzes the work of groups like the Shockley Singers, who were successful both as gospel performers and as pop recording artists. I argue that girls challenge racialized categorizations of sound at midcentury. Throughout the dissertation, I demonstrate the alternative histories that emerge when we center the working musicians that create the everyday texture of musical life.
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