Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-18T15:23:49.966Z Has data issue: false hasContentIssue false
  • English
  • Français

Songs from the bell jar: autonomy and resistance in the music of The Bangles

Published online by Cambridge University Press:  11 November 2008

Peter Mercer-Taylor
Get access Rights & Permissions [Opens in a new window]

Extract

The two passages that follow appeared within a few weeks of each other in 1963. At a glance they have little to do with one another:

Between them The Beatles adopt a do-it-yourself approach from the very beginning. They write their own lyrics, design and eventually build their own instrumental backdrops and work out their own vocal arrangements. Their music is wild, pungent, hard-hitting, uninhibited…and personal. The do-it-yourself angle ensures complete originality at all stages of the production. (Barrow 1963)

Type
Articles
Information
Popular Music , Volume 17 , Issue 2 , May 1998 , pp. 187 - 204
Copyright
Copyright © Cambridge University Press 1998

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Arnold, M. C. 1851. ‘Dover Beach’, in The Norton Anthology of English Literature, vol. 2, ed. Abrams, M. H. (New York, 1968), pp. 1039–40Google Scholar
Barrow, T. 1963. Please Please Me (album by The Beatles, back cover), EMI Electrola, LC1074Google Scholar
Bradby, B. 1990. ‘Do-talk and don't-talk: the division of the subject in girl-group music’, in On Record: Pop, Rock and the Written Word, eds Frith, S. and Goodwin, A. (New York), pp. 341–67Google Scholar
Brandt, P. 1982. ‘At last … enough women rockers to pick and choose’, Ms., September, pp. 110–16Google Scholar
Christgau, G. 1978. ‘The girls can't help it’, The Village Voice, 30 10; reprinted in Rock She Wrote: Women Write About Rock, Pop, and Rap, eds McDonnell, E. and Powers, A. (New York, 1995), pp. 47–56Google Scholar
Eliot, T. S. 1917. ‘The love song of J. Alfred Prufrock’, T. S. Eliot: The Complete Poems and Plays, 1909–1950 (New York, 1952), pp. 3–7Google Scholar
Fissinger, L. 1986. ‘Bangles Lore: Different Light’, Rolling Stone, 469, 13 03, pp. 47–8Google Scholar
FitzGerald, H. 1986. ‘Take 4 girls’, Melody Maker, 61, 15 02, p. 14Google Scholar
Frith, S. and McRobbie, A. 1979. ‘Rock and sexuality’, Screen Education, 29, pp. 3–28; reprinted in On Record: Pop, Rock and the Written Word, eds Frith, S. and Goodwin, A. (New York, 1990), pp. 371–89Google Scholar
Gaar, G. 1992. She's a Rebel: The History of Women in Rock & Roll (Seattle)Google Scholar
Goldberg, M. 1984. ‘Bangles: A female fab four?’, Rolling Stone, 430, 13 09, p. 42Google Scholar
Kaplan, E. A. 1983. Women and Film: Both Sides of the Camera (New York)CrossRefGoogle Scholar
Kozak, R. 1983. ‘Three new acts offer view from distaff side’, Billboard, 95, 18 06, p. 46Google Scholar
Lewis, L. 1993. ‘Being discovered: the emergence of female address on MTV’, in Sound and Vision: The Music Video Reader, eds Frith, S., Goodwin, A., and Grossberg, L. (New York), pp. 129–51Google Scholar
Love, C. 1995. ‘Lollapallooza 95: The Hole Truth’, Spin, 11, 12, pp. 62–75Google Scholar
McClary, S. 1991. Feminine Endings: Music, Gender, and Sexuality (Minnesota)Google Scholar
Mifflin, M. 1990. ‘The fallacy of feminism in rock’, Keyboard, 04; reprinted in Rock She Wrote: Women Write About Rock, Pop, and Rap, ed. McDonnell, E. and Powers, A. (New York, 1995), pp. 76–9Google Scholar
Miller, J., McGuigan, C., Vehling, M., Huck, J., and McAlevey, P. et al. 1985. ‘Rock's new women’, Newsweek, 4 March, pp. 48–57Google Scholar
Morris, C. 1988. ‘The Bangles clink with change’, Billboard, 100, 22 10, pp. 45, 84Google Scholar
Mulvey, L. 1975. ‘Visual pleasure and narrative cinema’, Screen, 16, pp. 6–18CrossRefGoogle Scholar
Orlean, S. 1987. ‘California girls’, Rolling Stone, 496, 2603, pp. 62–4, 162–4Google Scholar
Plath, S. 1971. The Bell Jar, first American edition (New York)Google Scholar
Puterbaugh, P. 1984. ‘All Over the Place: The Bangles’, Rolling Stone, 428, 16 08, p. 38Google Scholar
Reynolds, S. and Press, J. 1996. The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll (Cambridge, MA)Google Scholar
Smith, M. 1986. ‘Pretty vacant: The Bangles, Town And Country Club’, Melody Maker, 61, 15 03, p. 17Google Scholar
Sullivan, C. 1986. ‘The Bangles: Town And Country Club’, Melody Maker, 61, 12 07, p. 17Google Scholar
Sutherland, S. 1985. ‘Party four: Bangles All Over the Place’, Melody Maker, 60, 9 03, p. 24Google Scholar
Sweeting, A. 1986. ‘The Bangles: Different Light’, Melody Maker, 61, 8 03, p. 33Google Scholar
Walser, R. 1993. Running With the Devil: Power, Gender, and Madness in Heavy Metal Music (Hanover, NH)Google Scholar