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100   $a20121012d2013      ub             0
101 0 $aeng
135   $aurcn|||||||||
181   $ctxt
182   $cc
183   $acr
200 14$aThe persistence of sentiment$b[electronic resource] $edisplay and feeling in popular music of the 1970s /$fMitchell Morris
210   $aBerkeley $cUniversity of California Press$d2013
215   $a1 online resource (259 p.)
300   $aDescription based upon print version of record.
311   $a0-520-24285-8 
311   $a0-520-27599-3 
320   $aIncludes bibliographical references and index.
327   $tFront matter --$tContents --$tAcknowledgments --$t1. Introduction --$t2. Black Masculinity and the Sound of Wealth --$t3. Transport and Interiority in Soft Soul --$t4. The Audience and Barry Manilow --$t5. The Voice of Karen Carpenter --$t6. Cher's "Dark Ladies" --$t7. Crossing Over with Dolly Parton --$tNotes --$tWorks Cited --$tIndex
330   $aHow can we account for the persistent appeal of glossy commercial pop music? Why do certain performers have such emotional power, even though their music is considered vulgar or second rate? In The Persistence of Sentiment, Mitchell Morris gives a critical account of a group of American popular music performers who have dedicated fan bases and considerable commercial success despite the critical disdain they have endured. Morris examines the specific musical features of some exemplary pop songs and draws attention to the social contexts that contributed to their popularity as well as their dismissal. These artists were all members of more or less disadvantaged social categories: members of racial or sexual minorities, victims of class and gender prejudices, advocates of populations excluded from the mainstream. The complicated commercial world of pop music in the 1970's allowed the greater promulgation of musical styles and idioms that spoke to and for exactly those stigmatized audiences. In more recent years, beginning with the "Seventies Revival" of the early 1990's, additional perspectives and layers of interpretation have allowed not only a deeper understanding of these songs' function than when they were first popular, but also an appreciation of how their significance has shifted for American listeners in the succeeding three decades.
606   $aPopular music$zUnited States$y1971-1980$xHistory and criticism
606   $aSingers$zUnited States
610   $a1970s.
610   $aamerican music.
610   $aamerican society.
610   $aclass issues.
610   $acommercial success.
610   $acommerical music.
610   $aemotional display.
610   $aentertainment industry.
610   $afeelings and emotions.
610   $agender issues.
610   $aminority appeal.
610   $aminority audiences.
610   $amusic and culture.
610   $amusic criticism.
610   $amusic critics.
610   $amusic historians.
610   $amusic history.
610   $amusic interpretation.
610   $amusic performers.
610   $amusic philosophy.
610   $amusical styles.
610   $amusicians.
610   $amusicology.
610   $apop music.
610   $apopular music.
610   $aprejudice.
610   $aracial minorities.
610   $asexual minorities.
610   $asocial contexts.
610   $aunited states.
615  0$aPopular music$xHistory and criticism.
615  0$aSingers
676   $a781.640973/09047
700   $aMorris$b Mitchell$f1961-$01540609
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910779651403321
996   $aThe persistence of sentiment$93792374
997   $aUNINA