In the danse macabre tradition of the late middle ages, the inevitability of death was celebrated as a unifying aspect of human existence. This gave rise to countless artistic renditions in various mediums of skeletons united in dance, often seen playing instruments. In “Where Are You Going, Where Have You Been?”, Oates investigates the regalia, rituals, and power of music on youth culture, framing the clothes associated with the movement as uniforms and its fans as disciples. At the drive-in restaurant, the music is the soundtrack of the moment and a signal to intruding surrealism, “the music was always in the background, like music at a church service, it was something to depend on” (251). As the radio lulls Connie to sleep, she examines her recent romantic conquests in the context of music: “[H]er mind slipped over onto thoughts of the boy she had been with the night before and how nice he had been, how sweet it always was [...] the way it was in movies and promised in songs” (253). These instances frame the narrative’s central arc which plays out in the story’s conclusion.

Music seems to conspire against Connie in its apparent allegiance to

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