{"id":66,"date":"2018-12-03T01:23:15","date_gmt":"2018-12-03T06:23:15","guid":{"rendered":"http:\/\/blog.richmond.edu\/mus238-06\/?page_id=66"},"modified":"2018-12-14T12:37:00","modified_gmt":"2018-12-14T17:37:00","slug":"cheetah-girls","status":"publish","type":"page","link":"https:\/\/blog.richmond.edu\/mus238-06\/cheetah-girls\/","title":{"rendered":"Cheetah Girls"},"content":{"rendered":"

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A still photograph captured from the first Cheetah Girls film, “The Cheetah Girls” while the group is in their preshow huddle. They each are wearing some cheetah print as a tribute to their group name.1<\/span><\/sup><\/span><\/p>\n

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Cheetah Girls<\/h1>\n

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Galleria Garibaldi, Chanel Simmons, Dorinda Thomas, Aquanetta Walker \u00a0<\/span><\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”About Us ” _builder_version=”3.0.78″ custom_padding=”80px|0px|0|0px|false|false”][et_pb_row custom_padding=”25.28px|0px|0|0px|false|false” custom_margin=”|||” use_background_color_gradient_1=”off” use_background_color_gradient_2=”on” background_color_gradient_start_1=”#ff6a88″ background_color_gradient_start_2=”#9599e2″ background_color_gradient_end_1=”#ff99ac” background_color_gradient_end_2=”#8bc6ec” background_color_gradient_direction_1=”35deg” background_color_gradient_direction_2=”115deg” background_color_gradient_end_position_1=”100%” padding_right_1=”60px” _builder_version=”3.11″ module_alignment=”center”][et_pb_column type=”1_2″ _builder_version=”3.0.47″ padding_right=”60px” parallax=”off” parallax_method=”on” use_background_color_gradient=”off” background_color_gradient_start=”#ff6a88″ background_color_gradient_end=”#ff99ac” background_color_gradient_direction=”35deg” background_color_gradient_end_position=”100%”][et_pb_text _builder_version=”3.0.83″ text_font=”||||||||” header_font=”||||||||” header_text_align=”left” header_text_color=”#2b2b2b” header_line_height=”1.3em” header_2_font=”Playfair Display|700|||||||” header_2_text_align=”left” header_2_text_color=”#2b2b2b” header_2_font_size=”42px” header_2_line_height=”1.5em” text_orientation=”center” module_alignment=”center” custom_margin=”||10px|”]<\/p>\n

The Tween Market and Disney<\/h2>\n

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Despite their commercial success, the Spice Girls phenomena came to an end in December 2000, a year after Geri Halliway broke away from the group. This sudden departure from the market left their young fanbase reeled as they found no suitable replacements for the Spice Girls\u2019 girl power infused pop music. It was Disney that ultimately exploited this new \u201ctween\u201d girl market with its targeted TV programming. The concept of tweens refers to \u201cthe boundary between childhood innocence and adolescent or adult independence [that] is fraught with moral panic around sexuality.\u201d3<\/sup> Scholars agree that \u201cas a conglomerate that produces extremely popular media texts targeted to and featuring girls, Disney relies on the exploitation of girlhood to grow and sustain its position in the industry.\u201d4<\/sup><\/p>\n

In a departure from more traditional Disney animated, family-oriented movies like Lion King<\/em>, their TV programming, like Lizzie McGuire<\/em> began featuring female protagonists whose conflicts revolved around friendship, romance, and social standing. In one of Disney\u2019s most successful projects in the early 2000s, the Cheetah Girls emerged as a diverse group modeled off the Spice Girls and borrowing heavily from their \u201cgirl power\u201d.<\/p>\n

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This is the Disney Channel logo that appears in the corner of the TV screen before a program begins.2<\/span><\/sup><\/span><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Collections” _builder_version=”3.0.78″ custom_padding=”0|0px|0|0px|false|false”][et_pb_row custom_padding=”0|0px|25.28px|0px|false|false” custom_margin=”||40px|” _builder_version=”3.0.84″][et_pb_column type=”4_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.0.83″ text_font=”||||||||” header_font=”||||||||” header_text_align=”left” header_text_color=”#2b2b2b” header_line_height=”1.3em” header_2_font=”Playfair Display|700|||||||” header_2_text_align=”left” header_2_text_color=”#2b2b2b” header_2_font_size=”42px” header_2_line_height=”1.5em” text_orientation=”center” module_alignment=”center” custom_margin=”||10px|” locked=”off”][\/et_pb_text][et_pb_divider color=”#f7d584″ divider_weight=”3px” height=”10px” disabled_on=”on|on|off” _builder_version=”3.2″ max_width=”80px” module_alignment=”left” custom_margin=”||20px|” animation_style=”slide” animation_direction=”bottom” saved_tabs=”all” locked=”off”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding=”0px||0px|” custom_margin=”||200px|” make_equal=”on” use_background_color_gradient_1=”on” background_color_gradient_start_1=”#ff6a88″ background_color_gradient_end_1=”#ff99ac” background_color_gradient_direction_1=”35deg” background_color_gradient_end_position_1=”100%” padding_top_2=”40px” padding_right_1=”5%” padding_right_2=”40px” padding_bottom_2=”40px” padding_left_1=”5%” padding_left_2=”40px” _builder_version=”3.0.84″ box_shadow_style=”preset3″ box_shadow_vertical=”40px” box_shadow_blur=”50px” box_shadow_color=”rgba(0,0,0,0.1)” module_alignment=”center”][et_pb_column type=”1_2″ _builder_version=”3.0.47″ padding_left=”5%” padding_right=”5%” parallax=”off” parallax_method=”on” use_background_color_gradient=”on” background_color_gradient_start=”#ff6a88″ background_color_gradient_end=”#ff99ac” background_color_gradient_direction=”35deg” background_color_gradient_end_position=”100%”][et_pb_image src=”http:\/\/blog.richmond.edu\/mus238-06\/files\/2018\/12\/image-10.png” align=”center” _builder_version=”3.11″ custom_margin=”-20px||-20px|” custom_padding=”|||” animation_style=”zoom” animation_direction=”left” animation_intensity_zoom=”10%” animation_starting_opacity=”100%”][\/et_pb_image][et_pb_text _builder_version=”3.11″]<\/p>\n

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A promotional photograph of the Cheetah Girls from a photoshoot.5<\/sup><\/p>\n

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Cheetah Girls<\/h3>\n

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Disney released three Cheetah Girls<\/em> films between 2003 and 2008 on TV all featuring the fictional characters. Building off the intersectionality of the Spice Girls, each member exhibited a distinct characterization. When asked about their success, the girls said \u201cYou can look at any one of us and see that we come from completely different backgrounds, and yet we accept each other.\u201d6<\/sup><\/span><\/p>\n

Raven Symone\u2019s Galleria is a curvy black teenager whose bold style demonstrates her confidence, and, at times, her cockiness. Adrienne Bailon depicts a Latina teenager, Chanel, whose outfits show her feistiness, and who struggles to handle living with a single mother. Sabrina Bryan\u2019s character, Dorinda, who lives in a foster home, struggles with her socioeconomic background. Finally, Kiely Williams plays Aquanetta, a black teenager, in an upper-middle class family, wearing sophisticated clothing. Each girl speaks to a specific demographic of fans allowing them to find success among Disney\u2019s diverse audience. The Cheetah Girls saw the Spice Girls as the \u201cbig sisters of girl power\u201d and an important musical influence.7<\/sup><\/span><\/p>\n

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“Cheetah Sisters”<\/h3>\n

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This can be seen in an analysis of \u201cCheetah Sisters\u201d a song from The Cheetah Girls. This song is performed at the end of the movie following a serious conflict between the members. They sing the song in a public square as both an apology and forgiveness to one another. As the song progresses, the members physically move closer to one another and eventually begin a clearly choreographed routine.<\/span><\/p>\n

Lyrically, the song emphasizes close female friendship, without any mention of romantic relationships. The chorus, \u201cWe make up one big family though we don\u2019t look the same \/ our spots are different,\u201d functions to accentuate the individual differences of each member while also including the fan base within this family. This occurs via the use of plural personal pronouns. The acceptance of others, despite differences, situates the Cheetah Girls within the context of intersectionality and \u201cgirl power.\u201d The confidence and pride within the lyrics, \u201cgot the brains, got the power and we speak the truth,\u201d elevates their agency over themselves and their lives as a central tenet of girl power.<\/span><\/p>\n

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 <\/p>\n

A still from the first Cheetah Girls movie, “The Cheetah Girls” after they perform on the streets of New York.<\/span>8\u00a0 <\/sup><\/span>To watch “Cheetah Sisters” which is analyzed to the left, click on this image.9 \u00a0<\/sup><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

<\/span><\/sup><\/p>\n

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A promotional photograph for the second Cheetah Girls film with coordinating outfits.10<\/sup><\/span><\/span><\/p>\n

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Musical Analysis<\/h3>\n

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A musical analysis furthers the argument that the Cheetah Girls can be read alongside the Spice Girls. \u201cCheetah Sisters\u201d begins with a slow tempo and a thin texture of only piano and vocals. An electric guitar solo, a rock music signifier, signals a change for the song by blending the genres of pop and rock. Following the solo, the music comes back with a faster tempo and a thicker texture. It undeniably becomes a pop dancing song that Cheetah Girls and Spice Girls fans were both familiar with. The form AABA follows this pattern as well. <\/span><\/p>\n

The syncopated beat adds a funk element that encourages dancing but the melody is relatively simple, drawing emphasis to the lyrics. These musical elements mirror the Spice Girls sound from the 1990s which serves to make \u201cgirl power\u201d accessible to a larger base through Disney Channel. The Cheetah Girls\u2019 close vocal harmonies, similar sounds, and choreographed routine complicate their standing as individuals, but the familial relations attached to the song\u2019s title can ease this issue. As sisters within a family, they are similar, and working in harmony, but only to better support one another as individuals.<\/span><\/p>\n

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    \n
  1. Ilana Gelfand, \u201cWhy the Cheetah Girls Have Great Style,\u201d 2016.<\/span><\/span><\/li>\n
  2. \u201c21 Shows <\/span><\/span>From Your Childhood That You Almost Forgot About,\u201d 2017.<\/span><\/span><\/li>\n
  3. Tyler Bickford, \u201cTween Intimacy and the Problem of Public Life in Children\u2019s Media: \u2018Having It All\u2019 on the Disney Channel\u2019s Hannah Montana,\u201d 2015, 66.<\/span><\/span><\/span><\/li>\n
  4. Morgan Genevieve Blue, \u201cThe Best of Both Worlds?: Youth, Gender, and a Post-Feminist Sensibility in Disney\u2019s Hannah Montana,\u201d 2013, 6.<\/span><\/span><\/li>\n
  5. Victoria McNally, \u201c<\/span>The Definitive Ranking Of ‘Cheetah Girls’ Movie Songs,\u201d 2015.<\/span><\/span><\/li>\n
  6. David Caplan et. al, \u201cThe Cheetah Girls.\u201d 2007, 32.<\/span><\/span><\/li>\n
  7. Marco R. Cava, \u201cCheetahs vs. Spice: A Girl Power Overload,\u201d 2007, 1. <\/span><\/span><\/li>\n
  8. \u201cDisney Channel Original Movies.\u201d<\/span><\/span><\/span><\/li>\n
  9. The Cheetah Girls, \u201cCheetah Sisters,\u201d 2004.<\/span><\/span><\/li>\n
  10. \u201cAdrienne Bailon.\u201d <\/span><\/span><\/span><\/li>\n<\/ol>\n

    <\/span><\/p>\n

    [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

    A still photograph captured from the first Cheetah Girls film, “The Cheetah Girls” while the group is in their preshow huddle. They each are wearing some cheetah print as a tribute to their group name.1Cheetah GirlsGalleria Garibaldi, Chanel Simmons, Dorinda Thomas, Aquanetta Walker \u00a0The Tween Market and DisneyDespite their commercial success, the Spice Girls phenomena […]<\/p>\n","protected":false},"author":3778,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

    The passion of young female fans for the Beatles in the 1960s was so concerning to adults that the craze was labeled \u201cBeatlemania.\u201d\u00b9 Much of the discomfort surrounding these young girls related to the sexual innuendo inherent in their fandom. The fervor and passion of young female fans has continuously troubled others. How seriously should these fans and the subjects of their fandom be taken? This question existed within the context of Third Wave feminist discourse that sought simultaneously to diversify perspectives while struggling to find merit in women and girls within popular culture.<\/p>\r\n

    The Spice Girls\u2019 1996 single \u201cWannabe\u201d combines a traditional pop music form with hip hop and an upbeat tempo to produce an accessible entry to the 1990s Third Wave feminism through \u201cgirl power\u201d which lyrically calls for female empowerment. The Spice Girls\u2019 success among young female fans explains the rise of a tween market for commercial successes like Disney\u2019s Cheetah Girls in the early 2000s, whose song \u201cCheetah Sisters\u201d replicates \u201cgirl power\u201d through the use of similar musical elements.<\/strong><\/p>","_et_gb_content_width":"","footnotes":""},"class_list":["post-66","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blog.richmond.edu\/mus238-06\/wp-json\/wp\/v2\/pages\/66","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.richmond.edu\/mus238-06\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blog.richmond.edu\/mus238-06\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/mus238-06\/wp-json\/wp\/v2\/users\/3778"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/mus238-06\/wp-json\/wp\/v2\/comments?post=66"}],"version-history":[{"count":0,"href":"https:\/\/blog.richmond.edu\/mus238-06\/wp-json\/wp\/v2\/pages\/66\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.richmond.edu\/mus238-06\/wp-json\/wp\/v2\/media?parent=66"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}