Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics. It was prefigured by the flamboyant English composer Noël Coward, especially his 1931 song "Mad Dogs and Englishmen", with music writer Daryl Easlea stating, "Noël Coward's influence on people like Bowie, Roxy Music and Cockney Rebel was absolutely immense.
Glam artists drew on diverse sources across music and throwaway pop culture, ranging from bubblegum pop and 1950s rock and roll to cabaret, science fiction, and complex art rock.
Wall characterized Glam rock as "offensive, commercial, and cultural emasculation". Artists drew on such musical influences as bubblegum pop, the brash guitar riffs of [rock], stomping rhythms, and 1950s rock and roll, filtering them through the recording innovations of the late 1960s.
Glam artists rejected the revolutionary rhetoric of the late 1960s rock scene, instead glorifying decadence, superficiality, and the simple structures of earlier pop music.
Wall characterized Glam rock as "offensive, commercial, and cultural emasculation". Artists drew on such musical influences as bubblegum pop, the brash guitar riffs of [rock], stomping rhythms, and 1950s rock and roll, filtering them through the recording innovations of the late 1960s.
It reads like a glam manifesto." Showmanship and gender identity manipulation acts included the Cockettes and Alice Cooper, the latter of which combined glam with shock rock. ==History== Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of, and a reaction against, those trends.
Rex and taken up electric instruments by the end of the 1960s.
Glam rock is a style of rock music that developed in the United Kingdom in the early 1970s performed by musicians who wore outrageous costumes, makeup, and hairstyles, particularly platform shoes and glitter.
(eds) Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s.
Glitter rock was a more extreme version of glam. The UK charts were inundated with glam rock acts from 1971 to 1975.
The March 1971 appearance of T.
Often cited as the moment of inception is Bolan's appearance on the BBC music show Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit (and first UK Number 1 hit), "Hot Love".
Rex's 1971 album Electric Warrior received critical acclaim as a pioneering glam rock album.
In 1973, a few months after the release of the album Tanx, Bolan captured the front cover of Melody Maker magazine with the declaration "Glam rock is dead!" From late 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional makeup, mime and performance into his act.
Bowie, in a 1972 interview in which he noted that other artists described as glam rock were doing different work, said "I think glam rock is a lovely way to categorize me and it's even nicer to be one of the leaders of it".
The Glitter Band and Gary Glitter had between them eighteen top ten singles in the UK between 1972 and 1975.
In 1973, a few months after the release of the album Tanx, Bolan captured the front cover of Melody Maker magazine with the declaration "Glam rock is dead!" From late 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional makeup, mime and performance into his act.
A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, had hits on the British single charts in 1973 and 1974.
Glam rock was a background influence for Richard O'Brien, writer of the 1973 London musical The Rocky Horror Show.
A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, had hits on the British single charts in 1973 and 1974.
After seeing Marc Bolan wearing Zandra Rhodes-designed outfits, Freddie Mercury enlisted Rhodes to design costumes for the next Queen tour in 1974.
Glitter rock was a more extreme version of glam. The UK charts were inundated with glam rock acts from 1971 to 1975.
The Glitter Band and Gary Glitter had between them eighteen top ten singles in the UK between 1972 and 1975.
Punk rock, often seen as a reaction to the artifice of glam rock, but using some elements of the genre, including makeup and involving cover versions of glam rock records, helped end the fashion for glam from about 1976. ==Influence== While glam rock was exclusively a British cultural phenomenon, with Steven Wells in The Guardian writing "Americans only got glam second hand via the posh Bowie version", covers of British glam rock classics are now piped-muzak staples at US sporting events.
In Japan in the 1980s, visual kei was strongly influenced by glam rock aesthetics.
(eds) Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s.
New York: Routledge, 2016 Rock, Mick, Glam! An Eyewitness Account Omnibus Press, 2005 Reynolds, Simon Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century Day Street Press, 2016 ==External links== A Biased History of UK Glam Rock English styles of music Androgyny 1970s in British music British rock music genres
New York: Routledge, 2016 Rock, Mick, Glam! An Eyewitness Account Omnibus Press, 2005 Reynolds, Simon Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century Day Street Press, 2016 ==External links== A Biased History of UK Glam Rock English styles of music Androgyny 1970s in British music British rock music genres
All text is taken from Wikipedia. Text is available under the Creative Commons Attribution-ShareAlike License .
Page generated on 2021-08-05