Each day men sell little pieces of themselves in order to try to buy them back each night and week end with the coin of ‘fun.’ With amusement, with love, with movies, with vicarious intimacy, they pull themselves into some sort of whole again, and now they are different men.
Thus, they cycle of work and leisure gives rise to two quite different images of self: the everyday image, based upon work, and the holiday image, based upon leisure. The holiday image is often heavily tinged with aspired-to and dreamed-of features and is, of course, fed by mass-media personalities and happenings. ‘The rhythm of the week end, with its birth, its planned gaieties, and its announced end,’ Scott Fitzgerald wrote, ‘followed the rhythm of life and was a substitute for it.’
The week end, having nothing in common with the working week, lifts men and women out of the grey level tone of everyday work life, and forms a standard with which the working life is contrasted.
Mills, C. Wright. White Collar: The American Middle Classes. New York: Oxford University Press, 1953. 237. Print.