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Glam rock

June 09, 2023

Glam rock is a style of rock music that developed in the United Kingdom in the early 1970s and was performed by musicians who wore outrageous costumes, makeup, and hairstyles, particularly platform shoes and glitter.[1] Glam artists drew on diverse sources across music and throwaway pop culture,[2] ranging from bubblegum pop and 1950s rock and roll to cabaret, science fiction, and complex art rock.[3][4] The flamboyant clothing and visual styles of performers were often camp or androgynous, and have been described as playing with other gender roles.[5] Glitter rock was a more extreme version of glam rock.[6]

The UK charts were inundated with glam rock acts from 1971 to 1975.[7] The March 1971 appearance of T. Rex frontman Marc Bolan on the BBC's music show Top of the Pops, wearing glitter and satins, is often cited as the beginning of the movement. Other British glam rock artists included David Bowie, Mott the Hoople, Sweet, Slade, Mud, Roxy Music and Gary Glitter. Those not central to the genre, artists such as Elton John, Rod Stewart and Freddie Mercury of Queen, also adopted glam styles.[8] In the United States, the scene was much less prevalent, with Alice Cooper and Lou Reed the only American artists to score a hit in the UK.[7] Other American glam artists include New York Dolls, Sparks, Suzi Quatro, Iggy Pop and Jobriath. It declined after the mid-1970s, but influenced other musical genres including punk rock, glam metal, death rock and gothic rock. The New Romantic movement, which began as an underground fashion subculture movement in nightclubs in the late 1970s before becoming mainstream in the early 80s, was also inspired by the visuals of the glam rock era.

Characteristics

 
David Bowie as his alter-ego Ziggy Stardust during the 1972–73 Ziggy Stardust Tour

Glam rock can be seen as a fashion as well as musical subgenre.[9] Glam artists rejected the revolutionary rhetoric of the late 1960s rock scene, instead glorifying decadence, superficiality, and the simple structures of earlier pop music.[10][11] In response to these characteristics, scholars such as I.Taylor and D. Wall characterised glam rock as "offensive, commercial, and cultural emasculation".[12]

Artists drew on such musical influences as bubblegum pop, the brash guitar riffs of hard rock, stomping rhythms, and 1950s rock and roll, filtering them through the recording innovations of the late 1960s.[10][13][14] Ultimately, it became very diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art pop of Roxy Music.[9] In its beginning, however, it was a youth-orientated reaction to the creeping dominance of progressive rock and concept albums – what Bomp! called the "overall denim dullness" of "a deadly boring, prematurely matured music scene".[15]

Visually, it was a mesh of various styles, ranging from 1930s Hollywood glamour, through 1950s pin-up sex appeal, pre-war cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots.[4] Glam rock is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics.[16]

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. It suggested style, artifice and surface were equally as important as depth and substance. Time magazine noted Coward's 'sense of personal style, a combination of cheek and chic, pose and poise'. It reads like a glam manifesto."[17] Showmanship and gender identity manipulation acts included the Cockettes and Alice Cooper, the latter of which combined glam with shock rock.[18]

History

 
Marc Bolan of T. Rex performing on ABC's In Concert, 1973

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.[9] Its origins are associated with Marc Bolan, who had renamed his acoustic duo T. Rex and taken up electric instruments by the end of the 1960s.[15] Bolan was, in the words of music critic Ken Barnes, "the man who started it all".[15] 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".[19] The Independent states that Bolan's appearance on Top of the Pops "permitted a generation of teeny-boppers to begin playing with the idea of androgyny".[17] T. Rex's 1971 album Electric Warrior received critical acclaim as a pioneering glam rock album.[20] 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!"[21]

 
Noddy Holder (right) and Dave Hill (left) of Slade, near the height of their fame in 1973, showing some of the more extreme glam rock fashions

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.[8] 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".[22] Bolan and Bowie were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust.[8] The popularity of glam rock in the UK was such that three glam rock bands had major UK Christmas hit singles; "Merry Xmas Everybody" by Slade, "I Wish It Could Be Christmas Everyday" by Wizzard and "Lonely This Christmas" by Mud, all of which have remained hugely popular.[23][24] Glam was not only a highly successful trend in UK popular music, it became dominant in other aspects of British popular culture during the 1970s.[7]

A heavier variant of glam rock, emphasising guitar riff centric songs, driving rhythms and live performance with audience participation, were represented by bands like Slade and Mott the Hoople, with later followers such as Def Leppard, Cheap Trick, Poison, Kiss, and Quiet Riot, some of which either covered Slade compositions (such as "Cum On Feel the Noize" and "Mama Weer All Crazee Now") or composed new songs based on Slade templates.[25] While highly successful in the single charts in the UK (Slade for example had six number one singles), very few of these musicians were able to make a serious impact in the US; David Bowie was the major exception, becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed, Iggy Pop, New York Dolls and Jobriath, often known as "glitter rock" and with a darker lyrical content than their British counterparts.[26]

In the UK, the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and the independent band with whom he often performed known as the Glitter Band. The Glitter Band and Gary Glitter had between them eighteen top ten singles in the UK between 1972 and 1975.[6] 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.[8][27] Quatro directly inspired the pioneering Los Angeles based all-girl group The Runaways.[28] Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, The Rolling Stones.[8] After seeing Marc Bolan wearing Zandra Rhodes-designed outfits, Freddie Mercury enlisted Rhodes to design costumes for the next Queen tour in 1974.[29] Punk rock, in part 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,[30] helped end the fashion for glam from about 1976.[26]

Influence

 
A figure in the new romantic movement, Boy George of Culture Club (performing in 2001) was influenced by glam rock icons Bolan and Bowie.[31]

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.[32] Glam rock was a background influence for Richard O'Brien, writer of the 1973 London musical The Rocky Horror Show.[33] Although glam rock went into a steep decline in popularity in the UK in the second half of the 1970s, it had a direct influence on acts that rose to prominence later, including Kiss and American glam metal acts like Quiet Riot, W.A.S.P., Twisted Sister, Bon Jovi, Mötley Crüe and Ratt.[34]

New Romantic acts in the UK such as Adam and the Ants and A Flock of Seagulls extended glam, and its androgyny and sexual politics were picked up by acts including Culture Club, Bronski Beat and Frankie Goes to Hollywood.[35] Gothic rock was largely informed by the makeup, clothes, theatricality and sound of glam, and punk rock adopted some of the performance and persona-creating tendencies of glam, as well as the genre's emphasis on pop-art qualities and simple but powerful instrumentation.[26]

Glam rock has been influential around the world.[36] In Japan in the 1980s, visual kei was strongly influenced by glam rock aesthetics.[37] Glam rock has since enjoyed continued influence and sporadic modest revivals in R&B crossover act Prince,[38] bands such as Marilyn Manson, Suede, Placebo,[39] Chainsaw Kittens, Spacehog and the Darkness,[40] and has inspired pop artists such as Lady Gaga.[41]

Its self-conscious embrace of fame and ego continues to reverberate through pop music decades after the death of its prototypical superstar, Marc Bolan of T. Rex, in 1977. As an elastic concept rather than a fixed stratosphere of '70s personalities, it is even equipped to survive the loss of its most enduring artist, David Bowie.

— Judy Berman writing for Pitchfork in 2016, From Bowie to Gaga: How Glam Rock Lives On.[41]

Film

Movies that reflect glam rock aesthetics include:

See also

References

  1. ^ . Encarta. Archived from the original on 28 August 2009. Retrieved 21 December 2008.
  2. ^ Lester, Paul (11 June 2015). "Franz and Sparks: this town is big enough for both of us". The Guardian.
  3. ^ "Glam Rock | Significant Albums, Artists and Songs". AllMusic. Retrieved 11 November 2013.
  4. ^ a b P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-472-06868-7, pp. 57, 63, 87 and 141.
  5. ^ Reynolds, Simon (1995). The Sex Revolts: Gender, Rebellion, and Rock n' Roll. London: Serpents Tail. p. xiii.
  6. ^ a b V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, p. 466.
  7. ^ a b c Auslander, Philip (2006). Performing Glam Rock: Gender and Theatricality in Popular Music. University of Michigan Press. p. 49.
  8. ^ a b c d e P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, 3 July 1973" in I. Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-472-06868-7, p. 72.
  9. ^ a b c R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, pp. 124-5.
  10. ^ a b Reynolds, Simon. "Simon Reynolds Speaks at Fordham on History of Glam Rock". Fordham English. Retrieved 12 November 2016.
  11. ^ "Glam Rock". Britannica. Retrieved 12 November 2016.
  12. ^ Gregory, Georgina (2002). "Masculinity, Sexuality, and the Visual Culture of Glam Rock" (PDF). Culture and Communication - University of Central Lancashire. 5: 37. Archived (PDF) from the original on 9 October 2022.
  13. ^ Erlewine, Stephen Thomas (2001). All Music Guide: The Definitive Guide to Popular Music. Hal Leonard Corporation. p. 3.
  14. ^ Farber, Jim (3 November 2016). "Growing Up Gay to a Glam Rock Soundtrack". The New York Times. Retrieved 11 November 2016.
  15. ^ a b c Barnes, Ken (March 1978). "The Glitter Era: Teenage Rampage". Bomp!. Retrieved 26 January 2019 – via Rock's Backpages.
  16. ^ "Glam rock", AllMusic. Retrieved 26 June 2009.
  17. ^ a b "Box-set billed as the definitive guide to Seventies music genre has further ostracised its disgraced former star". The Independent. Retrieved 15 September 2017
  18. ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-472-06868-7, p. 34.
  19. ^ Mark Paytress, Bolan – The Rise And Fall of a 20th Century Superstar (Omnibus Press 2002) ISBN 0-7119-9293-2, pp. 180–181.
  20. ^ Huey, Steve. "Electric Warrior – T. Rex | Songs, Reviews, Credits, Awards | AllMusic". AllMusic. Retrieved 29 December 2014.
  21. ^ Bolan, Marc (16 June 1973). . Melody Maker. Archived from the original on 2 January 2014. Retrieved 4 January 2014.
  22. ^ "David Bowie is the Newest Rock Star Imported From England". Nashua Telegraph. Associated Press. 4 November 1972. p. 14. Retrieved 11 November 2013.
  23. ^ "UK's most popular Christmas song revealed". NME. Retrieved 12 December 2017.
  24. ^ ""PRS for Music announces top 50 Christmas Songs (United Kingdom)". 14 December 2012 PRS press release.
  25. ^ "Kiss Founder Gene Simmons Says Band's 'Heart and Soul Lies in England'". Ultimate Classic Rock. 8 January 2021.
  26. ^ a b c P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in Ian Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-472-06868-7, p. 80.
  27. ^ Rhodes, Lisa (2005). Ladyland: Women and Rock Culture. Philadelphia: University of Pennsylvania Press. p. 35.
  28. ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, pp. 222-3.
  29. ^ Blake, Mark (2010). Is This the Real Life?: The Untold Story of Queen. Aurum.
  30. ^ S. Frith and A. Goodwin, On Record: Rock, Pop, and the Written Word (Pantheon Books, 1990), ISBN 0-394-56475-8, p. 88.
  31. ^ Murray, Robin (30 October 2013), "Boy George: How To Make A Pop Idol", Clash, retrieved 6 November 2021
  32. ^ Wells, Steven (14 October 2008). "Why Americans don't get glam rock". The Guardian.
  33. ^ Reynolds, Simon (2016). Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century. Faber & Faber.
  34. ^ R. Moore, Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis (New York, NY: New York University Press, 2009), ISBN 0-8147-5748-0, p. 105.
  35. ^ P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in I. Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-7546-4057-4, p. 79.
  36. ^ Chapman, Ian and Johnson, Henry (2016). Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. New York: Routledge. ISBN 9781138821767.
  37. ^ I. Condry, Hip-hop Japan: Rap and the Paths of Cultural Globalization (Duke University Press, 2006), ISBN 0-8223-3892-0, p. 28.
  38. ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 227.
  39. ^ P. Buckley, The Rough Guide to Rock (London: Rough Guides, 3rd edn., 2003), ISBN 1-84353-105-4, p. 796.
  40. ^ R. Huq, Beyond Subculture: Pop, Youth and Identity in a Postcolonial World (Abingdon: Routledge, 2006), ISBN 0-415-27815-5, p. 161.
  41. ^ a b "From Bowie to Gaga: How Glam Rock Lives On". Pitchfork. Retrieved 2 January 2020.
  42. ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 81.
  43. ^ a b P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 63.
  44. ^ International Who's Who in Popular Music 2002 Europa International Who's Who in Popular Music (Abingdon: Routledge, 4th edn., 2002), ISBN 1-85743-161-8, p. 194.
  45. ^ "On The Film Programme this week". The Film Programme. BBC Radio 4. 6 April 2007. Retrieved 12 February 2010.
  46. ^ L. Hunt, British Low Culture: From Safari suits to Sexploitation (Abdindon: Routledge, 1998), ISBN 0415151821, p. 163.
  47. ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 55.
  48. ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 228.
  49. ^ Holden, Stephen (20 July 2001). "FILM REVIEW; Betwixt, Between on a Glam Frontier". The New York Times. Retrieved 11 November 2013.
  50. ^ Emerson, Jim (3 August 2001). "Hedwig and the Angry Inch Movie Review (2001)". Roger Ebert. Retrieved 11 November 2013.
  51. ^ Travers, Peter (20 July 2001). "Hedwig and the Angry Inch | Movie Reviews". Rolling Stone. Retrieved 11 November 2013.
  52. ^ Turner, Kieran (19 July 2012). "Jobriath A.D.: His Time Has Come". Huffington Post. Retrieved 20 September 2012.

Further reading

  • Chapman, Ian and Johnson, Henry. (eds) Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. New York: Routledge, 2016 ISBN 9781138821767
  • Rock, Mick, Glam! An Eyewitness Account Omnibus Press, 2005 ISBN 1-84609-149-7
  • Reynolds, Simon Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century Day Street Press, 2016 ISBN 978-0062279804

External links

  • A Biased History of UK Glam Rock

June 09, 2023
glam, rock, style, rock, music, that, developed, united, kingdom, early, 1970s, performed, musicians, wore, outrageous, costumes, makeup, hairstyles, particularly, platform, shoes, glitter, glam, artists, drew, diverse, sources, across, music, throwaway, cultu. Glam rock is a style of rock music that developed in the United Kingdom in the early 1970s and was performed by musicians who wore outrageous costumes makeup and hairstyles particularly platform shoes and glitter 1 Glam artists drew on diverse sources across music and throwaway pop culture 2 ranging from bubblegum pop and 1950s rock and roll to cabaret science fiction and complex art rock 3 4 The flamboyant clothing and visual styles of performers were often camp or androgynous and have been described as playing with other gender roles 5 Glitter rock was a more extreme version of glam rock 6 Glam rockStylistic originsRock and rollbubblegum popart rockhard rockcabaret1950s poppsychedelic rockscience fictionCultural originsEarly 1970s United KingdomDerivative formsPunk rockgothic rocksynth popNew Romanticpost punkBritpopFusion genresGlam metalglam punkOther topicsMake up arena rock scene subculture visual keiThe UK charts were inundated with glam rock acts from 1971 to 1975 7 The March 1971 appearance of T Rex frontman Marc Bolan on the BBC s music show Top of the Pops wearing glitter and satins is often cited as the beginning of the movement Other British glam rock artists included David Bowie Mott the Hoople Sweet Slade Mud Roxy Music and Gary Glitter Those not central to the genre artists such as Elton John Rod Stewart and Freddie Mercury of Queen also adopted glam styles 8 In the United States the scene was much less prevalent with Alice Cooper and Lou Reed the only American artists to score a hit in the UK 7 Other American glam artists include New York Dolls Sparks Suzi Quatro Iggy Pop and Jobriath It declined after the mid 1970s but influenced other musical genres including punk rock glam metal death rock and gothic rock The New Romantic movement which began as an underground fashion subculture movement in nightclubs in the late 1970s before becoming mainstream in the early 80s was also inspired by the visuals of the glam rock era Contents 1 Characteristics 2 History 3 Influence 4 Film 5 See also 6 References 7 Further reading 8 External linksCharacteristics Edit David Bowie as his alter ego Ziggy Stardust during the 1972 73 Ziggy Stardust Tour Glam rock can be seen as a fashion as well as musical subgenre 9 Glam artists rejected the revolutionary rhetoric of the late 1960s rock scene instead glorifying decadence superficiality and the simple structures of earlier pop music 10 11 In response to these characteristics scholars such as I Taylor and D Wall characterised glam rock as offensive commercial and cultural emasculation 12 Artists drew on such musical influences as bubblegum pop the brash guitar riffs of hard rock stomping rhythms and 1950s rock and roll filtering them through the recording innovations of the late 1960s 10 13 14 Ultimately it became very diverse varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art pop of Roxy Music 9 In its beginning however it was a youth orientated reaction to the creeping dominance of progressive rock and concept albums what Bomp called the overall denim dullness of a deadly boring prematurely matured music scene 15 Visually it was a mesh of various styles ranging from 1930s Hollywood glamour through 1950s pin up sex appeal pre war cabaret theatrics Victorian literary and symbolist styles science fiction to ancient and occult mysticism and mythology manifesting itself in outrageous clothes makeup hairstyles and platform soled boots 4 Glam rock is most noted for its sexual and gender ambiguity and representations of androgyny beside extensive use of theatrics 16 It was prefigured by the flamboyant English composer Noel Coward especially his 1931 song Mad Dogs and Englishmen with music writer Daryl Easlea stating Noel Coward s influence on people like Bowie Roxy Music and Cockney Rebel was absolutely immense It suggested style artifice and surface were equally as important as depth and substance Time magazine noted Coward s sense of personal style a combination of cheek and chic pose and poise It reads like a glam manifesto 17 Showmanship and gender identity manipulation acts included the Cockettes and Alice Cooper the latter of which combined glam with shock rock 18 History Edit Marc Bolan of T Rex performing on ABC s In Concert 1973 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 9 Its origins are associated with Marc Bolan who had renamed his acoustic duo T Rex and taken up electric instruments by the end of the 1960s 15 Bolan was in the words of music critic Ken Barnes the man who started it all 15 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 19 The Independent states that Bolan s appearance on Top of the Pops permitted a generation of teeny boppers to begin playing with the idea of androgyny 17 T Rex s 1971 album Electric Warrior received critical acclaim as a pioneering glam rock album 20 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 21 Noddy Holder right and Dave Hill left of Slade near the height of their fame in 1973 showing some of the more extreme glam rock fashions 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 8 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 22 Bolan and Bowie were soon followed in the style by acts including Roxy Music Sweet Slade Mott the Hoople Mud and Alvin Stardust 8 The popularity of glam rock in the UK was such that three glam rock bands had major UK Christmas hit singles Merry Xmas Everybody by Slade I Wish It Could Be Christmas Everyday by Wizzard and Lonely This Christmas by Mud all of which have remained hugely popular 23 24 Glam was not only a highly successful trend in UK popular music it became dominant in other aspects of British popular culture during the 1970s 7 A heavier variant of glam rock emphasising guitar riff centric songs driving rhythms and live performance with audience participation were represented by bands like Slade and Mott the Hoople with later followers such as Def Leppard Cheap Trick Poison Kiss and Quiet Riot some of which either covered Slade compositions such as Cum On Feel the Noize and Mama Weer All Crazee Now or composed new songs based on Slade templates 25 While highly successful in the single charts in the UK Slade for example had six number one singles very few of these musicians were able to make a serious impact in the US David Bowie was the major exception becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed Iggy Pop New York Dolls and Jobriath often known as glitter rock and with a darker lyrical content than their British counterparts 26 In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and the independent band with whom he often performed known as the Glitter Band The Glitter Band and Gary Glitter had between them eighteen top ten singles in the UK between 1972 and 1975 6 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 8 27 Quatro directly inspired the pioneering Los Angeles based all girl group The Runaways 28 Existing acts some not usually considered central to the genre also adopted glam styles including Rod Stewart Elton John Queen and for a time The Rolling Stones 8 After seeing Marc Bolan wearing Zandra Rhodes designed outfits Freddie Mercury enlisted Rhodes to design costumes for the next Queen tour in 1974 29 Punk rock in part 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 30 helped end the fashion for glam from about 1976 26 Influence Edit A figure in the new romantic movement Boy George of Culture Club performing in 2001 was influenced by glam rock icons Bolan and Bowie 31 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 32 Glam rock was a background influence for Richard O Brien writer of the 1973 London musical The Rocky Horror Show 33 Although glam rock went into a steep decline in popularity in the UK in the second half of the 1970s it had a direct influence on acts that rose to prominence later including Kiss and American glam metal acts like Quiet Riot W A S P Twisted Sister Bon Jovi Motley Crue and Ratt 34 New Romantic acts in the UK such as Adam and the Ants and A Flock of Seagulls extended glam and its androgyny and sexual politics were picked up by acts including Culture Club Bronski Beat and Frankie Goes to Hollywood 35 Gothic rock was largely informed by the makeup clothes theatricality and sound of glam and punk rock adopted some of the performance and persona creating tendencies of glam as well as the genre s emphasis on pop art qualities and simple but powerful instrumentation 26 Glam rock has been influential around the world 36 In Japan in the 1980s visual kei was strongly influenced by glam rock aesthetics 37 Glam rock has since enjoyed continued influence and sporadic modest revivals in R amp B crossover act Prince 38 bands such as Marilyn Manson Suede Placebo 39 Chainsaw Kittens Spacehog and the Darkness 40 and has inspired pop artists such as Lady Gaga 41 Its self conscious embrace of fame and ego continues to reverberate through pop music decades after the death of its prototypical superstar Marc Bolan of T Rex in 1977 As an elastic concept rather than a fixed stratosphere of 70s personalities it is even equipped to survive the loss of its most enduring artist David Bowie Judy Berman writing for Pitchfork in 2016 From Bowie to Gaga How Glam Rock Lives On 41 Film EditMovies that reflect glam rock aesthetics include T Rex s documentary Born to Boogie 1972 42 Brian De Palma s Phantom of the Paradise 1974 43 Gary Glitter s Remember Me This Way 1974 44 The Rocky Horror Picture Show 1975 43 Slade s Slade in Flame 1975 45 Never Too Young to Rock 1975 46 Bruce Beresford s Side by Side 1975 David Bowie s Ziggy Stardust and the Spiders from Mars The Motion Picture 1979 47 Todd Haynes s Velvet Goldmine 1998 48 John Cameron Mitchell s Hedwig and the Angry Inch 2001 49 50 51 Kieran Turner s Jobriath A D 2012 52 See also EditList of glam rock artistsReferences Edit Glam Rock Encarta Archived from the original on 28 August 2009 Retrieved 21 December 2008 Lester Paul 11 June 2015 Franz and Sparks this town is big enough for both of us The Guardian Glam Rock Significant Albums Artists and Songs AllMusic Retrieved 11 November 2013 a b P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 472 06868 7 pp 57 63 87 and 141 Reynolds Simon 1995 The Sex Revolts Gender Rebellion and Rock n Roll London Serpents Tail p xiii a b V Bogdanov C Woodstra and S T Erlewine All Music Guide to Rock the Definitive Guide to Rock Pop and Soul Milwaukee WI Backbeat Books 3rd edn 2002 ISBN 0 87930 653 X p 466 a b c Auslander Philip 2006 Performing Glam Rock Gender and Theatricality in Popular Music University of Michigan Press p 49 a b c d e P Auslander Watch that man David Bowie Hammersmith Odeon London 3 July 1973 in I Inglis ed Performance and Popular Music History Place and Time Aldershot Ashgate 2006 ISBN 0 472 06868 7 p 72 a b c R Shuker Popular Music the Key Concepts Abingdon Routledge 2nd edn 2005 ISBN 0 415 34770 X pp 124 5 a b Reynolds Simon Simon Reynolds Speaks at Fordham on History of Glam Rock Fordham English Retrieved 12 November 2016 Glam Rock Britannica Retrieved 12 November 2016 Gregory Georgina 2002 Masculinity Sexuality and the Visual Culture of Glam Rock PDF Culture and Communication University of Central Lancashire 5 37 Archived PDF from the original on 9 October 2022 Erlewine Stephen Thomas 2001 All Music Guide The Definitive Guide to Popular Music Hal Leonard Corporation p 3 Farber Jim 3 November 2016 Growing Up Gay to a Glam Rock Soundtrack The New York Times Retrieved 11 November 2016 a b c Barnes Ken March 1978 The Glitter Era Teenage Rampage Bomp Retrieved 26 January 2019 via Rock s Backpages Glam rock AllMusic Retrieved 26 June 2009 a b Box set billed as the definitive guide to Seventies music genre has further ostracised its disgraced former star The Independent Retrieved 15 September 2017 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 472 06868 7 p 34 Mark Paytress Bolan The Rise And Fall of a 20th Century Superstar Omnibus Press 2002 ISBN 0 7119 9293 2 pp 180 181 Huey Steve Electric Warrior T Rex Songs Reviews Credits Awards AllMusic AllMusic Retrieved 29 December 2014 Bolan Marc 16 June 1973 Glam Rock is Dead Melody Maker Archived from the original on 2 January 2014 Retrieved 4 January 2014 David Bowie is the Newest Rock Star Imported From England Nashua Telegraph Associated Press 4 November 1972 p 14 Retrieved 11 November 2013 UK s most popular Christmas song revealed NME Retrieved 12 December 2017 PRS for Music announces top 50 Christmas Songs United Kingdom 14 December 2012 PRS press release Kiss Founder Gene Simmons Says Band s Heart and Soul Lies in England Ultimate Classic Rock 8 January 2021 a b c P Auslander Watch that man David Bowie Hammersmith Odeon London July 3 1973 in Ian Inglis ed Performance and Popular Music History Place and Time Aldershot Ashgate 2006 ISBN 0 472 06868 7 p 80 Rhodes Lisa 2005 Ladyland Women and Rock Culture Philadelphia University of Pennsylvania Press p 35 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 pp 222 3 Blake Mark 2010 Is This the Real Life The Untold Story of Queen Aurum S Frith and A Goodwin On Record Rock Pop and the Written Word Pantheon Books 1990 ISBN 0 394 56475 8 p 88 Murray Robin 30 October 2013 Boy George How To Make A Pop Idol Clash retrieved 6 November 2021 Wells Steven 14 October 2008 Why Americans don t get glam rock The Guardian Reynolds Simon 2016 Shock and Awe Glam Rock and Its Legacy from the Seventies to the Twenty First Century Faber amp Faber R Moore Sells Like Teen Spirit Music Youth Culture and Social Crisis New York NY New York University Press 2009 ISBN 0 8147 5748 0 p 105 P Auslander Watch that man David Bowie Hammersmith Odeon London July 3 1973 in I Inglis ed Performance and Popular Music History Place and Time Aldershot Ashgate 2006 ISBN 0 7546 4057 4 p 79 Chapman Ian and Johnson Henry 2016 Global Glam and Popular Music Style and Spectacle from the 1970s to the 2000s New York Routledge ISBN 9781138821767 I Condry Hip hop Japan Rap and the Paths of Cultural Globalization Duke University Press 2006 ISBN 0 8223 3892 0 p 28 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 p 227 P Buckley The Rough Guide to Rock London Rough Guides 3rd edn 2003 ISBN 1 84353 105 4 p 796 R Huq Beyond Subculture Pop Youth and Identity in a Postcolonial World Abingdon Routledge 2006 ISBN 0 415 27815 5 p 161 a b From Bowie to Gaga How Glam Rock Lives On Pitchfork Retrieved 2 January 2020 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 p 81 a b P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 p 63 International Who s Who in Popular Music 2002 Europa International Who s Who in Popular Music Abingdon Routledge 4th edn 2002 ISBN 1 85743 161 8 p 194 On The Film Programme this week The Film Programme BBC Radio 4 6 April 2007 Retrieved 12 February 2010 L Hunt British Low Culture From Safari suits to Sexploitation Abdindon Routledge 1998 ISBN 0415151821 p 163 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 p 55 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 p 228 Holden Stephen 20 July 2001 FILM REVIEW Betwixt Between on a Glam Frontier The New York Times Retrieved 11 November 2013 Emerson Jim 3 August 2001 Hedwig and the Angry Inch Movie Review 2001 Roger Ebert Retrieved 11 November 2013 Travers Peter 20 July 2001 Hedwig and the Angry Inch Movie Reviews Rolling Stone Retrieved 11 November 2013 Turner Kieran 19 July 2012 Jobriath A D His Time Has Come Huffington Post Retrieved 20 September 2012 Further reading EditChapman Ian and Johnson Henry eds Global Glam and Popular Music Style and Spectacle from the 1970s to the 2000s New York Routledge 2016 ISBN 9781138821767 Rock Mick Glam An Eyewitness Account Omnibus Press 2005 ISBN 1 84609 149 7 Reynolds Simon Shock and Awe Glam Rock and Its Legacy from the Seventies to the Twenty first Century Day Street Press 2016 ISBN 978 0062279804External links EditA Biased History of UK Glam Rock Retrieved from https en wikipedia org w index php title Glam rock amp oldid 1158644210, wikipedia, wiki, book, books, library,

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