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Part II - Women in Popular Music

Published online by Cambridge University Press:  17 April 2021

Edited by
Laura Hamer
Laura Hamer
Affiliation:
The Open University, Milton Keynes
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The Cambridge Companion to Women in Music since 1900 , pp. 101 - 196
Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Taylor, Jeffrey. ‘With Lovie and Lil: Rediscovered Two Chicago Pianists of the 1920s’, in Rustin, Nichole T. and Tucker, Sherrie (eds.), Big Ears: Listening for Gender in Jazz Studies (Durham and London: Duke University Press, 2008), 48–63.Google Scholar
Tucker, Sherrie. ‘Nobody’s Sweethearts: Gender, Race, Jazz, and the Darlings of Rhythm.’ American Music, vol. 16, no. 3 (Autumn 1998), 255–88.Google Scholar
Tucker, Sherrie. Swing Shift: ‘All-Girl’ Bands of the 1940s (Durham and London: Duke University Press, 2001).Google Scholar
Tucker, Sherrie. ‘Telling Performances: Jazz History Remembered and Remade by the Women in the Band’, The Oral History Review, vol. 26, no. 1 (Winter–Spring 1999), 67–84.Google Scholar

Further Reading

Gaunt, Kyra. The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip Hop (New York: New York University Press, 2006).Google Scholar
McRobbie, Angela. Feminism and Youth Culture: From ‘Jackie’ to ‘Just Seventeen’ (London: Macmillan, 1991).Google Scholar
Stras, Laurie (ed.). She’s So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music (Farnham: Ashgate, 2010).Google Scholar
Warwick, Jacqueline. Girl Groups, Girl Culture: Popular Music and Identity in the 1960s (New York: Routledge, 2007).Google Scholar

Further Reading

Mahon, Maureen. Black Diamond Queens: African American Women and Rock and Roll (Durham, NC: Duke University Press, 2020).Google Scholar
McDonnell, Evelyn (ed.). Women Who Rock: Bessie to Beyoncé, Girl Groups to Riot Grrrl (New York, NY: Black Dog & Leventhal, 2018).Google Scholar

Further Reading

Covach, John and Flory, Andy. What’s That Sound? An Introduction to Popular Music and Its History, 3rd ed. (New York and London: W. W. Norton and Company, 2012).Google Scholar
O’Brien, Lucy. She-Bop: The Definitive History of Women in Pop, Rock & Soul (London: Penguin Books, 1995).Google Scholar
Williams, Katherine and Williams, Justin A.. The Cambridge Companion to the Singer-Songwriter (Cambridge: Cambridge University Press, 2016).Google Scholar

Further Reading

Brocken, Michael. The British Folk Revival 1944–2002 (Aldershot: Ashgate, 2003).Google Scholar
Finnegan, Ruth. The Hidden Musicians: Music-Making in an English Town (Cambridge: Cambridge University Press, 1989).Google Scholar

Further Reading

Coates, Norma. ‘Moms Don’t Rock: The Popular Demonisation of Courtney Love’, in Ladd-Taylor, M. & Umansky, L. (eds.), Bad Mothers: The Politics of Blame in Twentieth-Century America (New York: New York University Press, 1998).Google Scholar
Gaar, Gillian G. She’s a Rebel: The History of Women in Rock & Roll, 2nd ed. (New York: Seal Press, 2002).Google Scholar
Lieb, Kristin J. Gender, Branding, and the Modern Music Industry: The Social Construction of Female Popular Music Stars, 2nd ed. (New York: Routledge, 2018).Google Scholar
O’Brien, Lucy. She Bop: The Definitive History of Women in Popular Music, 3rd ed. (London: Continuum, 2012).Google Scholar

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