By Mina Carson, Tisa Lewis, Susan M. Shaw
With a foreword by way of Jennifer Baumgardner and Amy Richards
Girls Rock! explores the numerous methods girls have outlined themselves as rock musicians in an as soon as ruled and regulated by means of males. Integrating heritage, feminist research, and developmental thought, the authors describe how and why girls became rock musicians―what evokes them to play and practice, how they write, what their tune potential to them, and what they wish their song potential to listeners. As those musicians inform their tales, issues emerge that light up broader developments in rock's historical past. From Wanda Jackson's progressive act of settling on up a guitar to the present luck of autonomous artists equivalent to Ani DiFranco, Girls Rock! examines the shared threads of those performers' lives and the evolution of women's roles in rock song for the reason that its beginnings within the Fifties. This provocative research of ladies in rock relies on a variety of interviews with a huge spectrum of girls performers―those who've completed status and people simply beginning bands, these taking part in at neighborhood coffeehouses and people promoting out large arenas. ladies Rock! celebrates what lady musicians need to train approximately their reports as ladies, artists, and rock musicians.
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Extra resources for Girls Rock!: Fifty Years of Women Making Music
To return to the road-veterans of the black girl groups tell depressingly similar touring stories, stories that echo the tales of itinerant blues players and jazz bands of earlier years. Shirley Alston Reeves recalls The Shirelles' early touring, sometimes with the Dick Clark Caravan of Stars and sometimes on their own. The stars of Florence Greenberg's Scepter Records, based in New Jersey, The Shirelles had a couple of big hits with Luther Dixon songs (including "Tonight's the Night:' written by Shirley Owens-later Shirley Alston Reeves-and arranged by Dixon), and then in 1960 went over the top with the Gerry Goffin/Carole King song "Will You Still Love Me Tomorrow:' Even after charting with "Mama Said:' "Baby It's You:' and "Soldier Boy:' they continued to play out-of-the-way Southern venues hosted by college kids.
Rock was also, ironically, white terrain-ironically because, of course, the musical and lyrical languages of rock were those of the rebel and the outsider, and the building blocks of rock 'n' roll were jazz, blues, and gospel 21 22 Girls Rock! music-all written in the syntax of black American experience. While dominant social groups may appropriate, recombine, and redefine cultural expressions like jazz and blues music, subordinate groups-and this is somewhat odd-find themselves assigned the cultural task of carrying certain attributes that are in fact logically, and by definition, universal.
Even 16 Girls Rock! more remarkably, when a drum set happened into her life (a friend stored it in their apartment), her mother encouraged her to play. "My mom is pretty tolerant, and she was just happy that 1 was doing something musical or creative, and 1 was excited about it and 1 was sort of self-motivated:' The neighbors too refrained from complaining. Soundproofing helped, as did the local ambience. "It was kind of a funky, artsy building, and everybody ... you know, thought it was cute:' 67 Mary Wilson of the Supremes remembers her stepfather as her first musical educator.
Girls Rock!: Fifty Years of Women Making Music by Mina Carson, Tisa Lewis, Susan M. Shaw