Girl Groups, Girl Culture: Popular Music and Identity in the 1960s

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Introduction
Part 1 Girl Talk
Chapter 1 The Emerging Girl Group Sound
Chapter 2 The Voice of the Girl
Part 2 A Brand New Dance Now
Chapter 3 Embodying Girlness
Chapter 4 Restraint and Violence
Chapter 5 Uniformity and Masquerade
Part 3 He Makes Me
Chapter 6 Record Producers and the Politics of Production
Chapter 7 Carole King and Ellie Greenwich
Chapter 8 Up against the Wall of Sound
Part 4 Look Here, Girls, and Take This Advice
Chapter 9 Respectability Versus RockaEURO (TM)naEURO (TM)Roll
Chapter 10 Motown and the Politics of Crossover Success
Chapter 11 Mothers and Daughters
Part 5 Out in the Streets
Chapter 12 Group Identity and Public Space
Chapter 13 Rebellion and Girldom
Chapter 14 Girl Groups, the Road, and Public Record

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Then He Kissed Me, He's A Rebel, Chains, Stop! In the Name of Love all these songs capture the spirit of an era and an image of "girlhood" in post-World War II America that still reverberates today.

While there were over 1500 girl groups recorded in the '60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address '60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation.

Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.

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Harp Magazine

[Warwick's] thoroughness lends the book-which flies in the face of the notion that producers are musical gods-a sense of much-needed authority. Through [her] Marxist feminist lens, even thin-voiced Diana Ross seems worthy of a little more R-E-S-P-E-C-T

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