220 records matched your query
04124aam a2200397 i 4500 001 5DC966B4BC2911EAAC3CDF0297128E48 003 SILO 005 20200702010020 008 191027t20202020ncua b 001 0 eng 010 $a 2019043399 020 $a 1478008199 020 $a 9781478008194 020 $a 1478006854 020 $a 9781478006855 035 $a (OCoLC)1121603112 040 $a NcD/DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d YDX $d GZN $d SILO 042 $a pcc 050 00 $a ML3918 P67 T725 2020 100 1 $a Bickford, Tyler $e author. 245 10 $a Tween pop : $b children's music and public culture / $c Tyler Bickford. 264 1 $a Durham : $b Duke University Press, $c 2020. 300 $a x, 229 pages : $b illustrations ; $c 24 cm 504 $a Includes bibliographical references (pages 187-220) and index. 505 0 $a Introduction: The tween moment -- Singing along -- Music television -- "Having it all" -- The whiteness of tween innocence -- The tween prodigy at home and online -- Conclusion: After the tween moment. 520 $a "TWEEN POP examines the creation of the "tween" in the early 2000s as a gendered and raced consumer audience. The tween, aged nine to twelve, and usually thought of as a white girl, occupies a temporality between childhood and adolescence: she has aged out of children's products but is too young to fully engage in marketing directed at teenagers. But, as Tyler Bickford argues, this seemingly narrow market grew to broadly include four to fifteen year olds, with producers and marketers pulling upwards and downwards by creating material that would attract younger viewers and teenagers, thereby creating a demographic that expanded, rather than limited, the traditional reach of child and teenage markets. According to Bickford, the key to this expansion was pop music, as it provided an intensity of experience that mirrored childhood in its investments in emotional authenticity, cultural value, and relational intimacies. In other words, pop music needed to be both intimate and public--a tension that Bickford argues defined the tween's positionality as well--and tween pop did so by pairing the mainstream pop of adulthood with images and lyrics suitable for younger audiences. Throughout the book, Bickford reveals how childhood's status as a private domestic position outside of politics was not a hindrance to the cultivation of children as a mass audience but rather was the very foundation of that project. By creating an intimate public of tween pop, the tween music industry was able to position tweens as still within the private domestic sphere of family life, but connected in a broader public of other tween-pop-listening tweens. Chapter 1 looks at Kidz Bop music videos to argue that the tween music industry framed childhood domesticity as complementary to participation in a public culture. Chapter 2 focuses on Disney Channel's popular music programs' efforts to engage older children, particularly older girls, in their marketing tactics. Chapter 3 analyzes the Disney Channel show Hannah Montana and its foregrounding of tensions between girlhood, public culture, and family. Chapter 4 attends to how whiteness served as central to the tween construction of innocence and childhood. Bickford concludes the book by periodizing the tween moment as the decade from 2001 to 2011, and then outlines the developments in popular culture for children since that time. This book will be of interest to students and scholars of ethnomusicology, feminism and gender studies, and cultural studies"-- $c Provided by publisher. 650 0 $a Preteens. 650 0 $a Music and teenagers. 650 0 $a Music and children. 650 0 $a Popular music $x Social aspects. 650 0 $a Identity (Philosophical concept) 776 08 $i Online version: $a Bickford, Tyler, 1981- $t Tween pop $d Durham : Duke University Press, 2020. $z 9781478009177 $w (DLC) 2019043400 941 $a 2 952 $l UNUX074 $d 20210701010801.0 952 $l USUX851 $d 20200702012309.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=5DC966B4BC2911EAAC3CDF0297128E48 994 $a C0 $b IWAInitiate Another SILO Locator Search