Sex, violence and a bit of a giggle: Notes on the novelty song

References

1. Adorno, Theodor (1988), ‘On popular music’, in J. Story (ed.), Cultural Theory and Popular Culture, Athens, GA: University of Georgia Press, pp. 197–209.
   [Google Scholar]
2. Alvarez, Ariel (2022), ‘Dada and music: Tackling musical conventions’, Journal of Comparative Literature and Aesthetics, 45:2, pp. 54–66.
   [Google Scholar]
3. Andreica, Oana (ed.) (2022), Music as Cultural Heritage and Novelty, Numanities: Arts and Humanities in Progress, vol. 24, Cham: Springer.
   [Google Scholar]
4. Bestley, Russell (2013), ‘“I tried to make him laugh, he didn’t get the joke...”: Taking punk humour seriously’, Punk & Post-Punk, 2:2, pp. 119–45.
   [Google Scholar]
5. Boxman-Shabtai, Lillian (2018), ‘Reframing the popular: A new approach to parody’, Poetics, 67, pp. 1–12.
   [Google Scholar]
6. Boyd, Jimmy (1952), ‘I Saw Mommy Kissing Santa Claus’, 7” single, New York: Columbia.
   [Google Scholar]
7. Bragg, Billy (2017), Roots, Rockers, and Radicals: How Skiffle Changed the World, London: Faber & Faber.
   [Google Scholar]
8. Chaotic Dischord (1983), ‘Fuck Religion, Fuck Politics, Fuck the Lot of You!’, Fuck Religion, Fuck Politics, Fuck the Lot of You!, vinyl album, Bristol: Riot City Records.
   [Google Scholar]
9. Chumbawamba (1985), ‘Adversity’, Revolution, 7” EP, Leeds: Agit Prop.
   [Google Scholar]
10. Chumbawamba (1997), ‘Tubthumping’, 7” single, London: EMI.
    [Google Scholar]
11. Corbett, John (1994), ‘Bleep this, motherf*!#er: The semiotics of profanity in popular music’, in J. Corbett (ed.), Extended Play: Sounding Off from John Cage to Dr. Funkenstein, Durham, NC: Duke University Press, pp. 68–73.
    [Google Scholar]
12. Davies, Caroline (2009), ‘“Agadoo”, voted the worst song in pop history, is back’, The Guardian, 21 March, https://www.theguardian.com/theobserver/2009/mar/21/agadoo-black-lace. Accessed 17 May 2023.
    [Google Scholar]
13. Donegan, Lonnie (1955), ‘My Old Man’s a Dustman’, London: Decca.
    [Google Scholar]
14. Douglas, Malcolm (2015), ‘“Myriad subtleties”: Subverting racism through irony in the music of Duke Ellington and Dizzy Gillespie’, Black Music Research Journal, 35:2, pp. 185–227.
    [Google Scholar]
15. Eagleton, Terry (2004), After Theory, London: Penguin.
    [Google Scholar]
16. Eno, Brian (2005), ‘The studio as compositional tool’, in C. Cox and D. Warner (eds), Audio Culture: Readings in Modern Music, New York: Continuum, pp. 127–30.
    [Google Scholar]
17. Faulk, Barry J. (2001), ‘Modernism and the popular: Eliot’s music halls’, Modernism/Modernity, 8:4, pp. 603–21.
    [Google Scholar]
18. Frank, Thomas (1990), ‘Why Johnny can’t dissent’, in S. Frith and A. Goodwin (eds), On Record: Rock, Pop, and the Written Word, London: Routledge, pp. 316–27.
    [Google Scholar]
19. Frith, Simon (1996), Performing Rites: On the Value of Popular Music, Cambridge, MA: Harvard University Press.
    [Google Scholar]
20. Frith, Simon and Goodwin, Andrew (eds) (1990), On Record: Rock, Pop, and the Written Word, London: Routledge.
    [Google Scholar]
21. Frith, Simon and Goodwin, Andrew (1990), ‘Groundworks’, in S. Frith and A. Goodwin (eds), On Record: Rock, Pop, and the Written Word, London: Routledge, pp. 1–2.
    [Google Scholar]
22. Frow, Gerald (1985), ‘Oh, Yes it is!’: A History of Pantomime, London: BBC.
    [Google Scholar]
23. Gioia, Ted (2011), The History of Jazz, 2nd ed., Oxford: Oxford University Press.
    [Google Scholar]
24. Gioia, Ted (2019), Music: A Subversive History, New York: Basic Books.
    [Google Scholar]
25. Glasper, Ian (2014), Burning Britain: The History of UK Punk 1980–1984, Oakland, CA: PM Press.
    [Google Scholar]
26. Greenberg, Clement (1989), Art and Culture: Critical Essays, Boston: Beacon Press, pp. 3–21.
    [Google Scholar]
27. Hamm, Charles (1979), Yesterdays: Popular Song in America, New York: W. W. Norton.
    [Google Scholar]
28. Hargrove, Nancy D. (2018), ‘T. S. Eliot and popular music: Ragtime, music-hall songs, Bawdy Ballads, and all that jazz’, South Atlantic Review, 83:2, pp. 16–28.
    [Google Scholar]
29. Hebdige, Dick (1979), Subculture: The Meaning of Style, London: Routledge.
    [Google Scholar]
30. Horrall, Andrew (2001), Popular Culture in London c. 1890–1918: The Transformation of Entertainment, Manchester: Manchester University Press.
    [Google Scholar]
31. Keightley, Keir (2010), ‘Taking popular music (and Tin Pan Alley and jazz) seriously’, Journal of Popular Music Studies, 22:1, pp. 90–97.
    [Google Scholar]
32. Kostka, Linda (2016), ‘Linda Hutcheon’s theory of parody and its application to postmodern music’, Avant, 7:1, pp. 67–73.
    [Google Scholar]
33. Lennon, John (1978), ‘The goon show scripts’, New York Times, 30 September, https://web.archive.org/web/20120218185620/http://www.telegoons.org/famous_fans.htm. Accessed 17 May 2023.
    [Google Scholar]
34. Marshall, Kingsley and Loydell, Rupert (2016), ‘Control and surrender: Eno remixed – Collaboration and Oblique Strategies’, in S. Albiez and D. Pattie (eds), Brian Eno: Oblique Music, London: Bloomsbury, pp. 175–92.
    [Google Scholar]
35. Medhurst, Andy (2007), A National Joke: Popular Comedy and English Cultural Identities, London: Routledge.
    [Google Scholar]
36. Moore, Allan (2002), ‘Authenticity as authentication’, Popular Music, 21:2, pp. 209–23.
    [Google Scholar]
37. Old Man’s Mettle (2021), ‘Kaos of CHAOS UK, THE WAZZUKS and FEAR OF THE KNOWN on: Punk rock, hot sauce, the WURZELS, drugs, Br*x*t, Bristol now and then, his upcoming book, and Clive, his cat’, Old Man’s Mettle, 23 June, https://oldmansmettle.com/2021/06/23/kaos-of-chaos-uk-the-wazzuks-and-fear-of-the-known-on-punk-rock-hot-sauce-the-wurzels-drugs-brxt-bristol-now-and-then-his-upcoming-book-and-clive-his-cat/. Accessed 17 May 2023.
38. Pattie, David (2016), ‘Taking the studio by strategy’, in S. Albiez and D. Pattie (eds), Brian Eno: Oblique Music, London: Bloomsbury, pp. 49–68.
    [Google Scholar]
39. Reynolds, Simon (2011), Retromania: Pop Culture’s Addiction to Its Own Past, New York: Faber & Faber.
    [Google Scholar]
40. Rice, Jonathan, Rice, Tim, Gambaccini, Paul and Read, Mike (eds) (1982), The Guinness Book of 500 Number One Hits, London: Guinness Superlatives.
    [Google Scholar]
41. Rosenberg, Tiina (2020), ‘Rising like the Eurovision song contest: On kitsch, camp, and queer culture’, Lambda Nordica, 25:2, pp. 93–113.
    [Google Scholar]
42. Roxy Music (1974), ‘Roxy Music “All I Want Is You” HQ TOTP 4 10 1974’, YouTube, https://www.youtube.com/watch?v=OqDBkTJzTH4. Accessed 17 May 2023.
43. Savage, Jon (1991), England’s Dreaming. Anarchy, Sex Pistols, Punk Rock and Beyond, New York: St. Martin’s Press.
    [Google Scholar]
44. Sex Pistols (1976), ‘Anarchy in the UK’, 7” single, London: EMI.
    [Google Scholar]
45. Sex Pistols (1977), Never Mind the Bollocks Here’s the Sex Pistols, vinyl album, London: Virgin.
    [Google Scholar]
46. Turner, Katherine L. (2015), ‘“Strange Fruit”: Cognitive linguistics and pragmatics of ironic comprehension’, in K. Tuner (ed.), This Is the Sound of Irony: Music, Politics and Popular Culture, London: Routledge, pp. 45–58.
    [Google Scholar]
47. Wolf, Ian (2020), ‘Kunt’s Boris song in Christmas chart race despite Radio 1 censorship’, British Comedy Guide, 21 December, https://www.comedy.co.uk/people/news/6136/kunt-boris-song/. Accessed 17 May 2023.
48. The Wombles (1974),  ‘Minuetto Allegretto’, Top Of The Pops 04-10-1974 ‘Minuetto Alegretto’, YouTube, https://www.youtube.com/watch?v=kxF0yci7rGA. Accessed 17 May 2023.
    [Google Scholar]
49. Word in Your Ear (n.d.), ‘Underground, overground… Mike Batt: “Fun is often uncool”’, YouTube, https://www.youtube.com/watch?v=5JUqyAp7H2U&list=WL&index=35&t=1045s. Accessed 17 May 2023.
50. The Wurzels (1966), ‘Drink Up Thy Zider’, 7” single, London: Columbia.
    [Google Scholar]
51. The Wurzels (1975), The Wurzels Are Scrumptious, vinyl album, London: One Up.
    [Google Scholar]