Honors Contract Marketing Female Bands in the Sixties When looking back at music of the 1960s, the majority of what is remembered is male musicians, with a few bands of mixed genders. There were certainly female musicians that worked independently of menJoan Baez and Joni Mitchell are just two that first come to mindbut for the average person, the list of remembered female musicians is significantly shorter than the list of remembered male musicians. As making music is not a gender-specific occupation, the reasons for the lack of remembered female musicians must come down to one simple reason: they were not memorable. Of course, there are many factors as to why these musicians were not memorable to music lovers as the years went on, but there is one word to explain it all: marketing. It is no secret that marketing is a big part of the buying and selling of almost all products, including music albums. When consumers walked into the record store, the only thing their brains could register would be the album covers or promotional photos, as they most likely could not hear the music from the album yet. If they had heard some of the music, possibly on the radio or on the television on a program such as The Ed Sullivan Show, they probably hadnt heard all of the music from an artist in order to know they definitely wanted to buy a specific album. Therefore the album covers were extremely important when trying to get buyers to buy before theyd even heard the music inside. The problem, however, was that certain types of bandsnamely certain genderswere largely marketed in different ways than others in the sixties. Females were marketed as, of course, feminine, and exceedingly soshort dresses, low-cut tops, and alluring poses were just the beginning. When looking at largely male bands, album covers didnt even always include the band members. The Beach Boys Wild Honey album art featured an artistic rendering of flowers and a honeybee (Stiernberg). If album art did feature the artist, it usually consisted of the members looking at the camera, unsmiling, in some sort of artistic fashion. For example, The Kinks Are The Village Green Preservation Society consists of a multicolored overlay of concentric circles over the band members faces (Figure 1). One prominent group that formed in the early sixties was Peter, Paul, and Mary. This was a mixed gender group, but by being a non-gender specific band, the album covers are not branded as feminine simply because Mary Travers was a part of the group. The majority of their covers show them smiling together, just as friends do, not purposefully sexualizing any member of the band in any way (Albums). Another mixed gender group was The Mamas & The Papas. This band consisted of two men and two women, but Figure 2: The Mamas & The Papas album (Johns Music Boxes: The Albums) Figure 1: The Kinks' album (Stiernberg) when looking at their albums, such as their self-titled album in 1966, they just look like four friends not smiling for the camera. Cass Elliot, the woman in yellow, is certainly not posing in a conventionally attractive way in an attempt to look attractive to the average heterosexual maleinstead she is vaguely smirking (Figure 2) (Johns Music Boxes: The Albums). Therefore she is not marketing herself as an alluring woman for men to look at, she is simply marketing her music. All-female music groups had a much slower start than all-male groups. They were only just forming in the late twenties, and even then were usually only just around for other bands recordings. In the fifties, there were no white female rock- and-roll stars, only some black R&B singers, such as Etta James. Their songs were typically about love, but usually not in the first person. These black female groups were fashionably dressed just as the white women were dressed, with beehive hairstyles and fancy dresses, which helped break racial barriers (Campbell 134). As time progressed, naturally more female groups came onto the scene and more genres of music formed, and the fifties quickly became the sixties. One of the first all-female bands to be signed on to a major record label was Goldie & the Gingerbreads. They signed to Decca in 1963 and Atlantic in 1964, but they were formed in 1962 (Brightwell). They were certainly exploited for their femininity, seen as a novelty band who could do the whole thing, tits and ass, according to their guitarist, Carol MacDonald (Gaar 64). Though the Gingerbreads were previously performing songs like Harlem Shuffle, as they became more famous they were given more girly and lovestruck songs to record, including Cant You Hear My Heartbeat. Said MacDonald, I hated the song [T]hey give us this Every time I see you . . . dee de dee de dee. [] Its like we had to do everything they said or we were not going to be successful (Gaar 65). However much they didnt like this marketing tactic, this song made it to the British Top 10, but Hermans Hermits released the song in the United States two weeks before the Gingerbreads were able to, so they never charted in the U.S. (Gaar 65-66). The Tremolons, formed in 1963 in Michigan, recorded four songs for Dunwich Records (Brightwell). One of their albums, Whole Lotta Shakin Goin On as pictured (Figure 3), featured the four musicians posing with their instruments. The entire album is tinted pink to be more feminine, and the musicians are all posed with a slight bend in their front leg, as if they were models, not musicians. Unlike many male-only album covers, this band is seen as smiling happily. Though it is unclear what an album of The Beat-Chics looked like, promotional photos are also important parts of marketing and therefore are important to discuss. The Beat-Chics were a short-lived band, only Figure 4: The Beat-Chics promotional photo (Psychorizon) Figure 3: The Tremolons album (Whole Lotta Shakin Goin On) recording one cover single in November 1964, but the band certainly had a sense of style. This is clear in the bands title, with the use of the word chic, that fashion was certainly a priority. With big hair, shiny leggings, and equally shiny blouses, this British female band brought the chic to beat music if only for a short time (Figure 4). Many other bands promotional photos include their instruments, while The Beat-Chics photo does notthis suggests even more that they were marketed for womens fashion more than they were marketed for music. In 1964, a group of girls from Montral formed a band Les Beatlettes, riding the wave of The Beatles success. Their hairstyles were similar to The Beatles bowl haircuts, but much bigger. Just like The Beat-Chics, they had sparkly costumes (Figure 5). Their matching outfits were also fairly low-cut. Their only song was a cover, Ton amour a chang ma vie, or your love has changed my life, hereby keeping with the general notion that most of the girl bands played love songs. The band broke up when the lead guitarist died in a car accident, but a year later another band formed with their other guitarist. Les Guerrires were formed in 1965 and their image was even more sexualized (Figure 6). With low-cut dresses Figure 6: Les Guerrires (Brightwell) Figure 5: Les Beatlettes (Brightwell) and flip hairstyles, these girls were dressed to impress. In this photo, all five musicians are, in some way, bending forward showing their cleavage and curves. (Brightwell) There is no doubt that heterosexual males ogled at this sight. Another band that sang about lovewith A New Love Today and Love is Strangewas The Debutantes, started by fourteen-year-old singer Jan McClellan (Brightwell). As seen in their promotional photo (Figure 7), The Debutantes wore extremely short dresses with tights and go-go boots. Their legs are certainly accentuated by these matching outfits, as well as by the way all four musicians are posed in the photo. The Tokyo Happy Coats, formed in 1964, were clearly a talented group. They were comprised of five sisters and between them they could play 26 instruments. They released two albums and were even on The Ed Sullivan Show. Everyone in this band has a similar hairstyle to those of Les Beatlettes, and the girls all have very short dresses. They were obviously very talented as they could play so many instruments and made it to The Ed Sullivan Show, but they felt they needed to market themselves with short dresses and a cute pose for the camera (Figure 8). There were also a few topless female bands, namely The All Girl Topless Band, formed in 1967, and The Figure 7: The Debutantes (Bubblegum Soup) Figure 8: The Tokyo Happy Coats (Brightwell) Ladybirds, formed in 1968. These female musicians could not be any more sexualizedthe entire top half of their bodies were exposed for everyone to see, and this is exactly what they were marketed for (Brightwell). They did not write any songs, so they had no fanbase in their musicthey simply were the group to see if you were a typical heterosexual man in the sixties and watching naked female musicians was your cup of tea. Though there were plenty of girl groups that have been forgotten, a few have been widely remembered over the years. One such all-female musical group, The Supremes (also known as Diana Ross & The Supremes), was prominent throughout the sixties and well into the seventies. Part of Motown Records, The Supremes sang a mix of blues, R&B, and jazz. Much of their music was about love, like other female bandsStop! In the Name of Love, Baby Love, and Back In My Arms Again were three such love songs that became number one hits in their first year (Classic Motown). In almost all promotional photos for The Supremes, the three singers wore matching, usually tight-fitting, dresses to show off their curves. In fact, one albums cover, Touch, keeps the viewer guessing whether the three women are wearing any clothes at all, and the album title suggests possible promiscuity as a result (Figure 9). Figure 9: The Supremes' album ("Touch") Looking back at album covers of male and mixed gender bands, the first thing to notice is their prominent existence. The previous female bands album covers have mainly been lost or forgotten, so we are mostly only able to look at their marketing in terms of their promotional photos. The prominent and remembered girl groups such as The Supremesare not even bands, only vocal groups, so when it comes to actual female bands that play instruments other than their voices, we have next to nothing. This shows that peoplemostly the overpowering men in the music industrydidnt believe that women could be a band, and they could only sing. As Carol MacDonald of the Gingerbreads put it, Wed walk into a club with all our instruments and you could see the owner going Oh my God, these broads? They know how to play? They really know how to play? [] And by the time we went on and counted off the song, we were cookin. You could see the cigar drop and the guy had a heart attack We had fun with this (Gaar 64). And yet, since we still have the ability to look at so many all-male and mixed-gender band albums, it is clear that males are the musicians who have conquered the sixties. As the all-conquering Napolon Bonaparte once said, History is written by the winners. In the sixties, the male musicians were clearly the winners as the females were cast aside. But that is not to say that after the sixties women were never be recognized for musicas the years passed, women have been able to be more recognized and greatly remembered as musicians. It seems another of Napolons proverbs have also proven to be true: Let her sleep, for when she wakes, she will shake the world.
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