The success of girl groups had much to do with the market. The post-war baby boom had produced more teenagers than ever before, and the 1950s brought the explosion of a new teen culture with its own music, clothes, movies and dancing. Teenage life became synonymous with pop culture, and with many of these teenagers having money to spend, the record market flourished.
Teenagers listening to popular music during this time heard songs with voices that sounded like their own. They watched performers on stage who were their age. For American girls to see female groups was something new. \"That really had never happened before and it really hasn't happened since,\" says Warwick. \"We get young teenage girls at front and center in mainstream pop culture.\"Crossing Color Lines
That isn't to say teenagers weren't also listening to the original Little Richard. But in Motown, Berry Gordy knew he could achieve both the musical and social aspect of crossover with well-groomed, sweet young girls.
Girl groups subject matter articulated a common teenage experience, regardless of race, even as the culture around them was slow to catch up. They sang to mixed audiences about courtship, boys, parties, parents and parents not letting them go to parties to court boys. But they also sang about love and crushes, mostly from the position of a patiently waiting, yearning girl. This seemingly passive attitude and general lack of depth in song subject matter makes it easy to dismiss girl groups music as trivial and, in contemporary terms, less than radical.
The only girl group able to compete with The Beatles on the American charts was The Supremes, who maintained popularity into the early 1970s, even though Diana Ross had left the group. Yet The Supremes aren't necessarily representative of the rest of girl group culture. Says Warwick, \"Even from the very beginning, their songs are a little more adult in the themes,\" such as in the songs \"Where Did Our love Go\" and \"Stop in the Name of Love.\" These grown-up themes contrast with The Shangri-Las singing healsongs about teenage drama. \"At Motown, The Marvelettes, The Velvelettes, groups like that, are much more clearly identified as teenagers,\" she says, \"and arguably that's why The Supremes had more longevity. They were able to transition into becoming adults with greater ease.\"
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Sony's low-budget hit Stomp the Yard spentanother weekend at the top of the charts grossing $12.3M dropping 44% inits sophomore frame, according to finalstudio data. The PG-13 hit showed a decent hold since most films cateringto teen and young adult audiences fall by steeper amounts on the secondweekend. After ten days, the $14M-budgeted pic has grossed a stellar $40.6Mand is on its way to reaching the vicinity of $65M. Stompaveraged a solid $5,991 from 2,051 theaters in its second step.
Showing that horror fans may be getting sick of Hollywood's endlessline of fright film remakes, The Hitcheropened to disappointing results in fourth place with only $7.8M. The redoof the 1986 Rutger Hauer flick averaged only $2,758 from a very wide 2,835theaters for Focus and its Rogue Pictures genre unit. The R-rated filmwas expected to perform better given that it was the only new choice forteens and young adults and the fact that it was given the widest bow incompany history for its distributor. The good hold for Stompthe Yard and the solid expansion of Pan'sLabyrinth which is pulling in fantasy and horror fans, may havecontributed to the soft bow.
Rather than scaring kids silly, these late-October parties engage young revelers in creative projects, hands-on crafts and educational programs. Though the themes are ghoulish, costumed kids need not be afraid of what goes bump in these nights (or days). However, for teens that crave an old-time fright, there are a couple of gorier events catering to them. And for trick-or-treaters young or old, here's hoping that a certain Halloween tradition stays the same: the sugary sweets.
Ever wonder if there's a teen idol in entertainment more interested in the arts than celebrity American audiences have found a true craftsman and art devotee in Toronto native Jake Epstein, currently starring as Melchior Gabor on the first U.S. national tour of Spring Awakening. Though he's now channeling the spirit of a rebel in turn-of-the-20th-century Germany, Epstein is best known for his role as Craig Manning in the award-winning teen drama series \"Degrassi,\" set in a contemporary high school. Just as edgy as the musical Spring Awakening, the Canadian television series has taken root in the U.S. and is now ...
West End stars Marisha Wallace, Wendy Mae Brown, Cavin Cornwall, Tyrone Huntley and Hugh Maynard have reunited with The British Theatre Academy Ensemble from their critically acclaimed production of \"The Color Purple in Concert\" to record the title number as a fundraiser.Check out the video below!The reunion video is being released to raise donations for the BTA, who offer free and affordable theatre opportunities for young performers. Donations will provide free bursary places at The British Theatre Academy, with an emphasis on bursaries young artists from Black, Asian or minority ethnic backgrounds, especially in cases where finance is a direct limitation to access to training.The original concert was produced at Cadogan Hall in 2017 by The British Theatre Academy and Tarento Productions, with direction by Danielle Tarento, musical direction by James Taylor, choreography by Mykal Rand and sound design by Andrew Johnson.
Director Thomas Carter just can't stop his toes a-tapping these days. Having directed Save the Last Dance, Carter is now prepping to helm teen dance movie Dream On for producer Laurence Mark (Dreamgirls). Based on a Jason Ubaldi screenplay, Carter's latest shoe-shuffler follows a 17-year-old girl who delves into the underground hip-hop scene in Atlanta after her dreams of becoming an Olympic gymnast are dashed by injury. 59ce067264