 |
| Dr. Jacqueline Warwick and her infant son. (Abriel photo) |
Is this a lasting treasure
Or just a moment's pleasure?
Can I belie-e-eve
The magic of your sighs?
Will you still love me tomorrow?
Almost 50 years later, it sounds quaint Ñ a sweet, pop confection. But in 1960 when Shirley Alston, lead singer of the Shirelles, sang Will You Still Love Me Tomorrow?, teenage girls didnÕt speak so frankly about sex Ñ much less on the radio.
ÒItÕs groundbreaking to hear that question,” says Jacqueline Warwick, assistant professor of music at Dalhousie University, whose book, Girl Groups, Girl Culture, has just been published. ÒThese were not raunchy blues queens. These were nice suburban girls and essentially theyÕre asking, ÔIf I sleep with you, if I give up my virginity, will you still be around?Õ”
In her book, Dr. Warwick posits that the early 1960s was a time when teenage girls emerged front and centre in mainstream culture. Groups who enjoyed enormous success, like the Shirelles, the Ronettes, the Crystals, the Shangri-Las, the Chantels and the Dixie Cups, were comprised of girls Ñ some as young as 11 and 12. That phenomenon hasnÕt been repeated until recently with the rise of Avril Lavigne, Britney Spears, Hilary Duff, Keshia ChantŽ and other solo artists.
ÔGirlyÕ concerns
But itÕs not only that they were girls, itÕs that they sounded like girls and sang of girly concerns Ñ of boys, first kisses, strict parents and the fantasy of happily ever after.
ÒWhen people talk about the Õ60s, itÕs as if it started with the Beatles and ended with Woodstock. But that view misses out on this whole fascinating chapter,” she says.
In the Õ50s and Õ60s, the whole idea of the Òteenager” Ñ a stage when children transition into adults Ñ was relatively new. But postwar, there were just so many of them. And, as a group, they werenÕt content to listen to their parentsÕ music anymore, they were discovering their own sound and look.
About the same time, black artists were finding it tough to cross over to bigger audiences. Their music didnÕt have the same problem however. Little Richard, for example, had his songs such as Tutti Frutti and Long Tall Sally re-recorded in tamer, white-bread versions by
Pat Boone, and others.
Boundaries dissolve
But music producers such as Motown founder Berry Gordy understood that girl groups Ñ with their matching dresses and hairstyles and beautiful harmonies Ñ could go places that black male artists could not, says Warwick.
ÒThe teenage girl is a symbol of respectability, demureness, propriety É In their way, they can say things that would be much more provocative coming from someone else. With girl groups, things have gotten that much easier. Rigid boundaries have started to dissolve and theyÕre able to gain wider acceptance.”
In the recent movie Dreamgirls Ð a Òfiction” inspired by the beginnings of the Supremes Ñ this theme is played out when Eddie MurphyÕs James ÒThunder” EarlyÕs characterÕs electrifying appearance at a supper club has its well-heeled members leaving in droves. Then the Dreamettes take the stage.
But before the group can firmly grasp success, their lead singer Ñ the curvaceous and big-voiced Effie (Jennifer Hudson) Ñ is replaced by prettier, thinner and more malleable Deena (Beyonce Knowles).
ÒThey got a lot of stuff right,” says Dr. Warwick, who cheered Jennifer HudsonÕs Oscar win for best supporting actress. ÒThey really did.”
|
Ò(Flo) Ballard was officially expelled from the Supremes in 1967 for missing a concert date at the Hollywood Bowl and a subsequent run at the Flamingo Hotel in Las Vegas, but it is clear from all accounts that her troubles with Motown had earlier origins. Physically, Ballard did not conform to the image of upwardly mobile blackness that Berry Gordy preferred; she was a voluptuous woman who struggled to control her weight and could not achieve the chic slimness of Diana Ross or Martha Reeves. Possessed of a sharp tongue and a fine sense of comic timing, she famously responded Ñ during SupremesÕ stage patter Ñ to RossÕs rehearsed Òthin is in” line with a sassy, ad-libbed Òthin may be in, but honey, fat is where itÕs at!” that delighted audiencesÉ But I believe that it was BallardÕs soulful, bluesy voice above all that doomed her from the start.”