St. James Encyclopedia of Popular Culture Vol. 4.pdf

ST.JAMES ENCYCLOPEDIA OF

POPULA CULTURE

ST.JAMES ENCYCLOPEDIA OF

POPULAR CULTURE

VOLUME 4:P-T

EDITORS: Tom Pendergast Sara Pendergast

with an introduction by Jim Cullen

Tom Pendergast, Sara Pendergast, Editors

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Library of Congress Cataloging-in-Publication Data

St. James Encyclopedia of Popular Culture / with an introduction by Jim Cullen; editors,

Tom Pendergast and Sara Pendergast.

p. cm.

Includes bibliographical references and index.

ISBN 1-558-62400-7 (set) — ISBN 1-558-62401-5 (v.1) — ISBN 1-558-62402-3 (v.2) —

ISBN 1-558-62403-1 (v.3) — ISBN 1-558-62404-x (v.4) — ISBN 1-558-62405-8 (v. 5)

1. United States—Civilization—20th century—Encyclopedias. 2. Popular culture—United

States—History—20th century—Encyclopedias. I. Pendergast, Tom. II. Pendergast, Sara.

E169.1.S764 1999

973.9 21—dc21

99-046540

Printed in the United States of America

St. James Press is an imprint of Gale Group

Gale Group and Design is a trademark used herein under license

10 9 8 7 6 5 4 3 2 1

CONTENTS

EDITORS’ NOTE

PAGE VII

INTRODUCTION

ADVISORS

CONTRIBUTORS

XVII

LIST OF ENTRIES

XXI

ENCYCLOPEDIA OF POPULAR CULTURE

VOLUME 1: A-D

VOLUME 2: E-J

VOLUME 3: K-O

VOLUME 4: P-T

VOLUME 5: U-Z, INDEXES

EDITOR’S NOTE

Thirty some years ago Ray Browne and several of his colleagues provided a forum for the academic study of popular culture by

forming ﬁrst the Journal of Popular Culture and later the Popular Culture Association and the Center for the Study of Popular

Culture at Bowling Green State University. Twenty some years ago Thomas Inge thought the ﬁeld of popular culture studies well

enough established to put together the ﬁrst edition of his Handbook of Popular Culture. In the years since, scholars and educators

from many disciplines have published enough books, gathered enough conferences, and gained enough institutional clout to make

popular culture studies one of the richest ﬁelds of academic study at the close of the twentieth century. Thirty, twenty, in some places

even ten years ago, to study popular culture was to be something of a pariah; today, the study of popular culture is accepted and even

respected in departments of history, literature, communications, sociology, ﬁlm studies, etc. throughout the United States and

throughout the world, and not only in universities, but in increasing numbers of high schools. Thomas Inge wrote in the introduction

to the second edition of his Handbook : “The serious and systematic study of popular culture may be the most signiﬁcant and

potentially useful of the trends in academic research and teaching in the last half of this century in the United States.” 2 It is to this

thriving ﬁeld of study that we hope to contribute with the St. James Encyclopedia of Popular Culture.

The St. James Encyclopedia of Popular Culture includes over 2,700 essays on all elements of popular culture in the United States in

the twentieth century. But what is “popular culture?” Academics have offered a number of answers over the years. Historians

Norman F. Cantor and Michael S. Werthman suggested that “popular culture may be seen as all those things man does and all those

artifacts he creates for their own sake, all that diverts his mind and body from the sad business of life.” 1 Michael Bell argues that:

At its simplest popular culture is the culture of mass appeal. A creation is popular when it is created to respond to the experiences and

values of the majority, when it is produced in such a way that the majority have easy access to it, and when it can be understood and

interpreted by that majority without the aid of special knowledge or experience. 3

While tremendously useful, both of these deﬁnitions tend to exclude more than they embrace. Was the hot dog created for its own

sake, as a diversion? Probably not, but we’ve included an essay on it in this collection. Were the works of Sigmund Freud in any way

shaped for the majority? No, but Freud’s ideas—borrowed, twisted, and reinterpreted—have shaped novels, ﬁlms, and common

speech in ways too diffuse to ignore. Thus we have included an essay on Freud’s impact on popular culture. Our desire to bring

together the greatest number of cultural phenomena impacting American culture in this century has led us to prefer Ray Browne’s

rather broader early deﬁnition of popular culture as “all the experiences in life shared by people in common, generally though not

necessarily disseminated by the mass media.” 4

Coverage

In order to amass a list of those cultural phenomena that were widely disseminated and experienced by people in relatively

unmediated form we asked a number of scholars, teachers, librarians, and archivists to serve as advisors. Each of our 20 advisors

provided us with a list of over 200 topics from their ﬁeld of specialty that they considered important enough to merit an essay;

several of our advisors provided us with lists much longer than that. Their collective lists numbered nearly 4,000 potential essay

topics, and we winnowed this list down to the number that is now gathered in this collection. We sought balance (but not equal

coverage) between the major areas of popular culture: ﬁlm; music; print culture; social life; sports; television and radio; and art and

perfomance (which includes theatre, dance, stand-up comedy, and other live performance). For those interested, the breakdown of

coverage is as follows: social life, 23 percent (a category which covers everything from foodways to fashion, holidays to hairstyles);

music, 16 percent; print culture, 16 percent; ﬁlm, 15 percent; television and radio, 14 percent; sports, 10 percent; and art and

performance, 6 percent. A variety of considerations led us to skew the coverage of the book in favor of the second half of the century.

The massive popularity of television and recorded music, the mass-marketing of popular ﬁction, and the national attention given to

professional sports are historical factors contributing to the emphasis on post-World War II culture, but we have also considered the

needs of high school and undergraduate users in distributing entries in this way.

The Entries

The entries in this volume vary in length from brief (75 to 150-word) introductions to the topic to in-depth 3,000-word explorations.

No matter the length, we have asked our contributors to do two things in each entry: to describe the topic and to analyze its

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