Abstract

Musicologists question whether 1960s girl group music is “fluff or an incubator for radical ferment,” and fans question what to do with the music’s sexism, heteronormativity, and racism (McClary and Warwick 232). This article argues that 1960s girl group songs have much to teach us about a spectrum of agencies available within cultural scripts of the 1960s U.S. teen romance myth as represented in music. It also argues that being ever-attentive-in-order-to-interrupt is a feminist tactic for understanding and dealing with these songs as well as their contemporary traces within #MeToo moments.