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	BBC - Radio 4 - Archers - Simon Frith
		Simon was born in Wotton-under-Edge and Mairi's father was the vicar of nearby (and wonderfully-named) Hawkesbury Upton, but the couple got together in Bristol.
		Simon was studying photography and sculpture and Mairi was training as a social worker (she now works as a mediator in divorce cases).
		Simon submitted a trial episode and in 1983 he was commissioned to write a week's worth of scripts, including one of the most memorable comic moments in Archers history - when Eddie Grundy was sick in the piano at The Bull.
	www.bbc.co.uk /radio4/archers/backstage/simon_frith.shtml (946 words)

	Simon Frith -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-29)
		Simon Frith is a former rock (Anyone who expresses a reasoned judgment of something) critic and a (A social scientist who studies the institutions and development of human society) sociologist who specializes in (Any genre of music having wide appeal (but usually only for a short time)) popular music culture.
		In The Sociology of Rock (1978) Frith examines the (The process of taking food into the body through the mouth (as by eating)) consumption, ((economics) manufacturing or mining or growing something (usually in large quantities) for sale) production, and (Imaginary or visionary theorization) ideology of rock.
		He argues that rock music is a mass cultural form which derives its meaning and relevance from being a (Transmissions that are disseminated widely to the public) mass medium.
	www.absoluteastronomy.com /encyclopedia/s/si/simon_frith.htm (193 words)

	Harvard University Press/Performing Rites/Reviews (Site not responding. Last check: 2007-10-29)
		Simon Frith, Professor of English at the University of Strathclyde, has written extensively on pop music and culture for the Village Voice and The Sunday Times of London.
		Frith has succeeded in organizing a huge terrain and makes valuable contributions to some of the most pressing current debates on popular music studies...I was rewarded with insights and clarifications that will be of continuing value in my own work.
		Frith casts a wide interdisciplinary net across a number of fields--sociology, anthropology, ethnomusicology, musicology, literary studies, cultural history and studies, and philosophy--and succeeds in drawing out a number of useful and illuminating parallels and intersections.
	www.hup.harvard.edu /reviews/FRIPER_R.html (1155 words)

	Simon Frith: Performing Rites (Site not responding. Last check: 2007-10-29)
		As a cultural theorist, Frith is fascinated by non-musical aspects of popular music culture - performance conventions, the role of intermediaries from producers to record shops, and so on.
		Considering his background, Frith's eventual conclusion is not a huge surprise: popular music, like other aspects of popular culture, is important to people because it confers identity, membership in a particular community.
		Frith identifies companionship in such a community - conversations and arguments about the merits of different artists in a pub, fanzines, ideas of authenticity (the subject of arguments even in such artificial genres as eurodisco), and so on - as one of the main pleasures of popular culture.
	www.geocities.com /Athens/Academy/6422/rev0167.html (410 words)

	Simon Frith - Wikipedia, the free encyclopedia
		Simon Frith is a former rock critic and a sociologist who specializes in popular music culture.
		He read PPE at Oxford and did a doctorate in Sociology at UC Berkeley.
		He explores rock as leisure, as youth culture, as a force for liberation or oppression, and as background music.
	en.wikipedia.org /wiki/Simon_Frith (185 words)

	Performing Rites (Site not responding. Last check: 2007-10-29)
		Frith is also an academic (Department of English, Strathclyde University), and Performing Rites is a deep-think analysis of pop music that, in its density and thematic reach, challenges even Frith's pal Greil Marcus (the dean of deep-think rock critics).
		When Frith goes over the top about the individual and social meaning of rock, he brings to mind Philip Roth's comment when asked by an interviewer what novels were intended to do.
		Frith can be heavy-going, but his argument -- and it is a real argument -- is shot through with brilliance and, ultimately, passion.
	www.bostonphoenix.com /alt1/archive/books/reviews/10-96/FRITH.html (759 words)

	Popular Music and Society: Performing Rites: On the Value of Popular Music - Review
		This is where Frith has always excelled, in examining the social intercourse mediated by the discussion of music, which leads smoothly into the middle, largest part of the book.
		In discussing the value of pop, Frith sets himself up to be disparaged by both "sides" of the academic divide by circumventing cultural studies' fastidious refusal to engage with questions of value, and by proposing to musicology that pop has value--although the monolithic, elitist musicology he envisions is rapidly disintegrating.
		Frith does engage with timbre (although almost exclusively as a quality of the human voice--only one element of a typical example of popular music), rhythm (primarily the historical discourse around it), and the nuances of performance.
	www.findarticles.com /p/articles/mi_m2822/is_2_22/ai_54504612 (996 words)

	Art world - Wikipedia, the free encyclopedia
		Howard S. Becker coined the term, and describes it as "the network of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produce(s) the kind of art works that art world is noted for." (Becker, 1982, p.
		Simon Frith (1996) describes three art worlds present in the music industry: the art music world, the folk music world, and the commercial music world.
		Timothy Taylor (2004) associates these worlds with three popular music genres: rock and roll, hip-hop music, and pop music, respectively.
	en.wikipedia.org /wiki/Art_world (165 words)

	Richard Williams: Out Of His Pen (Site not responding. Last check: 2007-10-29)
		Simon: I suppose around that time Melody Maker was described as "the musos' journal," it had a particular character, a particular style.
		Simon: In the early 1970s there was an interesting development as NME did find its credibility with its various changes; Sounds was also on board.
		Simon: The fact that you were both owned by IPC was a bizarre element in the story.
	www.rockcritics.com /interview/richardwilliams.html (3285 words)

	Amazon.ca: Books: Performing Rites: On the Value of Popular Music (Site not responding. Last check: 2007-10-29)
		These and the other high-minded questions Frith examines don't necessarily find their final answer here, but the process is more fulfilling than the slick music magazines flooding the newsstand.
		In the second section, Frith contends that popular lyrics only have meaning as part of the musical experience and cannot be considered poetic texts.
		Frith takes a subject, pop/rock music, which offers so much joy, inspiration and pleasure then systematically removes all the fun with an over-educated academic hodge-podge of verbiage which should never have seen the light of day - let alone been put between the covers of a book.
	www.amazon.ca /exec/obidos/ASIN/0674661966 (598 words)

	Reviews
		Simon Frith, Will Straw and John Street have joined efforts to produce The Cambridge Companion to Pop and Rock.
		Frith, of course, is well-known by every Cultural Studies specialist, having published landmarks such as Music for Pleasure: Essays in the Sociology of Pop (1988) and more recently Performing Rites: On the Value of Popular Music (1996).
		Simon Frith's essay on the popular music industry unquestionably rounds off the vital aspects of popular music as something that can / must be sold.
	www.cercles.com /review/r6/frith.html (1231 words)

	Performing Rites by Simon Frith (Site not responding. Last check: 2007-10-29)
		Simon Frith quotes Nicholas Cook saying, "What I find perplexing, and stimulating, about music is the way that people - most people - can gain intense enjoyment from it even though they know little or nothing about it in technical terms"
		Frith looks at different classes of music contrasting traditional folk music, classical music and pop music and the world views that go with each.
		Frith frequently refers to Theodor W. Adorno who was writing about music in the 1920's and seems to agree that "...the artist merely offers him a substitute for the sounding image of his own person which he would like to safeguard as a possesion."
	www1.dragonet.es /users/markbcki/frith.htm (509 words)

	4:Frith2 (Site not responding. Last check: 2007-10-29)
		Frith argues that pop performance works in two ways.
		Frith approaches the study of pop artists by drawing on high culture theory and comparing pop performers to performance
		Frith probes into the the role of the body in our understanding of musical performance and musical response.
	www.wam.umd.edu /~vvicente/worksheet4X.html (297 words)

	with a mallet!! (Site not responding. Last check: 2007-10-29)
		I was just a kid at the time, sitting there looking star struck as two people who seemed to know all about the music business, Simon Frith and Courtney Love began discussing their visions of the music industry.
		Frith sat their quietly as Love spit out more and more figures before quietly making his contribution, " The question is: What do such sale figures mean?" Again, Frith appears to being much more interested in records as a mass medium rather than the money behind them.
		Frith continued but it seemed all he did was ask questions with little to no answers.
	www.wam.umd.edu /~jackieru/paper2.html (776 words)

	Everyday I Write the Book: D-G (Site not responding. Last check: 2007-10-29)
		Tony Bennett, Simon Frith, Lawrence Grossberg, John Shepherd, and Graeme Turner, 249-265.
		Frith, Simon, Andrew Goodwin, and Lawrence Grossberg, ed.
		Henry A. Giroux and Roger I. Simon, 91-115.
	www.cas.usf.edu /communication/rodman/biblio/biblio-dg.html (4738 words)

	[No title] (Site not responding. Last check: 2007-10-29)
		Simon Frith once said: ‘Pop songs are open to appropriation for personal use in a way that other popular cultural forms.
		It is therefore with good reason that Frith argues that ‘rather than agreeing, then, as a sociologist, that, of course, musicologists understand music and I do not.
		It is for this reason that Frith is correct to argue that ‘the industrialization of music cannot be understood as something that happens to music, but describes a process in which music is made - the process, that is, which fuses (and confuses) capital, technical and musical arguments’ (Frith, 1987a, p.
	www.utexas.edu /cofa/music/erlmannseries/Shepherd.htm (5663 words)

	Amazon.ca: Books: Facing the Music (Site not responding. Last check: 2007-10-29)
		Frith's ambitious but often unfocused "Video Pop: Picking Up the Pieces" studies the implications of media entertainment conglomerates' intense packaging and marketing.
		Steve Perry's "Crossover Politics: Ain't No Mountain High Enough," a history of fl popular music and a support of fl crossover into white-dominated territory, is a welcome contrast to the other essays' cynical tone and focus on white musicians.
		If not as controversial as Frith aggrandizingly proclaims it to be, his volume is, for the most part, lively and challenging.
	www.amazon.ca /exec/obidos/ASIN/0394558499 (299 words)

	ACJ Review: On Record (Site not responding. Last check: 2007-10-29)
		Editors Simon Frith and Andrew Goodwin, popular music writers and university instructors, have gathered forty years of writing about pop and rock music that goes beyond history to theory and analysis.
		Each selection is justified by Frith and Goodwin, and the editors themselves turn up as authors in several sections.
		Frith and Goodwin point out that Riesman "asked what became the basic sociological rock question: What is the relation between commerce and youth?
	acjournal.org /holdings/vol4/iss3/reviews/hatcher.htm (640 words)

	Simon Frith
		Simon Frith Andrew Goodwin - On Record: Rock, Pop, and the Written Word - 0415053064
		Simon Heneage Sidney Herbert Sime Henry Ford - Sidney Sime: Master of the Mysterious - 0500271542
		This artikel Simon_Frith is licensed under the GNU free Documentation License.
	isbnbookssearch.com /884161_simon-frith_0521553695cambridgecompanion... (604 words)

	Clicks and Klangs - Gender and the Avant Garde part 4 and Bibliography
		Simon Frith, The Sociology Of Rock, Constable and Company Ltd, London, 1978.
		Simon Frith and Andrew Goodman (eds), On Record, Routledge, London, 1998.
		Simon Frith and Angela McRobbie, Rock and Sexuality, from Simon Frith and Andrew Goodman (eds), On Record, Routledge, London, 1998.
	www.beefheart.com /zine/001/gendergj4.htm (892 words)

	Harvard University Press/Performing Rites
		Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject--and discloses their place at the very center of the aesthetics that structure our culture and color our lives.
		How we nod our heads or tap our feet, grin or grimace or flip the dial; how we determine what's sublime and what's "for real"--these are part of the way we construct our social identities, and an essential response to the performance of all music.
		Frith argues that listening itself is a performance, both social gesture and bodily response.
	www.hup.harvard.edu /catalog/FRIPER.html (305 words)

	Corgito ergo sum the one (Site not responding. Last check: 2007-10-29)
		Her interpretation of a person who is hurt by the departure of a lover comes off convincingly from her torching singing as termed by Simon Frith (1996, p.
		Her vocals closely resembles a sharp cry when she executes a glottal attack on the word ‘can’t’, notably in the second and subsequent choruses of the song.
		It is ok if there are no fancy stage decors, it is ok if the lights are going to be down, and it is fine if the musicians are going to be sick, for all I wanted to hear, is just her voice.
	corgitoergosumtheone.blogspot.com /2002_04_01_corgitoergosumtheone_archive.html (2974 words)

	[No title]
		One might argue that Frith, in an attempt to familiarize the reader with what was occurring before the invasion of rock music, was merely describing the society to which rock ‘n’ roll would eventually introduce itself.
		Indeed, Frith, himself, might state that he was simply attempting to address the issue from an entirely historical perspective, but it would have been beneficial to his article to include solid, inarguable evidence that it was, indeed, rock music which was bringing about these changes he so adamantly spoke of.
		Regardless, whether one finds Frith’s article well or poorly written, the fact that rock music (and, indeed, all forms of music) influence society and actively contribute to its views and ideologies concerning all things, including sexuality, is hard to dispute.
	www.ar.cc.mn.us /bean/english1121/PopularMusicUnit/stsamplemusicah.htm (1367 words)

	Archers Addicts
		Simon studied Philosophy at York University followed by Art School in Bristol.
		Simon's listened to The Archers for as long as he can remember.
		While I’m not old enough to remember Grace dying, along with Bill and Ben, Walter Gabriel is a part of my childhood mythology.
	www.thearchers.co.uk /archers/DesktopDefault.aspx?tabid=119&ItemID=1663&tabIndex=0 (342 words)

	Simon Frith's "Performing Rites : On the Value of Popular Music " (Site not responding. Last check: 2007-10-29)
		Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, he takes these forms of engagement as his subject - and discloses their place at the very centre of the aesthetics that structure our culture and colour our lives.
		Frith's first two paragraphs do better because words like "flirt" and "fight" are better able to carry their social life with them when they go into abstract usage.
		One of Frith's concerns here is this: cultural-studies nerds try to figure out what audiences are like by analyzing the texts and songs that the audiences consume without taking into account how the audiences actually use those texts and songs.
	ilx.wh3rd.net /thread.php?msgid=2221544 (3787 words)

	Alibris: Simon Frith
		Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement...
		Simon Frith and Andrew Goodwin, both writers and teachers of popular music, have compiled the first comprehensive survey of critical approaches to pop music.
		The first collection of classic essays in the serious study of popular music is full of the famous, hard-to-find, off-beat, and influential articles that have shaped rock cultural studies.
	www.alibris.com /search/books/author/Simon_Frith (496 words)

	What's the Story, Sound and Fury? (Site not responding. Last check: 2007-10-29)
		Book publishers, however, were slow to see the link between the rising album culture, the dedicated aficionado and the possibility that book titles might reflect the maturing concerns of a generation, hungry to not only listen to but read about this sociological tornado, winging its way from Merseyside to Haight Ashbury, London to Los Angeles.
		When Charlie Gillett (later to be joined by Simon Frith) launched the series called Rock File in 1972, there was just a hint that these sounds were finally earning an overdue assessment on the bookshop shelves.
		Simon Warner is a writer and lecturer who teaches courses on rock journalism at the University of Leeds in the UK.
	www.rockcritics.com /features/soundandfury.html (1022 words)

	MHM 306 Listening Guide
		The purpose of this tape is to ask you to investigate the social function and implications of the most common genre of popular song, the love song.
		Simon Frith claims that one of the most important functions of song is to make emotions available to the listener.
		After the 1970 breakup of the 60s folk rock ensemble of Simon and Garfunkel, Paul Simon went on to a successful career as a songwriter and performer.
	www-personal.umich.edu /~claguem/courses/MHM408508/listguide_5a.htm (1488 words)

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