Pity Peggy Sue
Bibliographic Data
| ID | 4305315 |
|---|---|
| Authors | Barbara Bradby, Brian Torode |
| Year | 1984 |
| Volume | 4 |
| Pages | 183-205 |
| Publication date | 1984-01-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Popular Music (JOURNAL) |
| Journal identifiers | ISSN: 0261-1430 • E-ISSN: 1474-0095 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s026114300000622x |
| OpenAlex | W2153365869 |
| Language | EN |
| Citations received | 6 |
| References cited | 7 |
The sociologist Simon Frith identifies rock and roll as a hybrid music, which emerged in the American South of the mid-1950s as a grafting of puritanical 'white' country and western lyrics on to sexually explicit 'black' blues rhythms. While acknowledging cross-fertilisation between black and white music 'since at least the middle of the nineteenth century', he states that since the Second World War,It is as dance music that black music has developed its meanings for white users. The most obvious feature of dancing as an activity is its sexuality.... Whereas Western dance forms control sexuality with formal rhythms... black music celebrates sex with a directly physical beat and an intense, emotional sound. It makes obvious the potential anarchy of sexual feeling.(Frith 1978, p. 180)Frith appeals to an age-old metaphor: black nature is seen as fundamentally threatening to white culture. In modern popular music, this conflict is played out in terms of the liberation or the repression of sexuality
Art · Art history · Blues · Dance · Frith · Human sexuality · Literature · Lyrics · Popular music · Sociology · White (mutation · Gender Studies · History · Music History and Culture · Philosophy · Race, History, and American Society · Theater, Performance, and Music History
| Unique citing works | 6 |
|---|---|
| Citations per year | 0,18 |
| Citation span | 1992 - 2014 (23) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 6 |