|
Showing 1 - 9 of
9 matches in All Departments
This book is the first to explore style and spectacle in glam
popular music performance from the 1970s to the present day, and
from an international perspective. Focus is given to a number of
representative artists, bands, and movements, as well as national,
regional, and cultural contexts from around the globe. Approaching
glam music performance and style broadly, and using the
glam/glitter rock genre of the early 1970s as a foundation for case
studies and comparisons, the volume engages with subjects that help
in defining the glam phenomenon in its many manifestations and
contexts. Glam rock, in its original, term-defining inception, had
its birth in the UK in 1970/71, and featured at its forefront acts
such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter
rock" in the US, stateside artists included Alice Cooper, Suzi
Quatro, The New York Dolls, and Kiss. In a global context, glam is
represented in many other cultures, where the influences of early
glam rock can be seen clearly. In this book, glam exists at the
intersections of glam rock and other styles (e.g., punk, metal,
disco, goth). Its performers are characterized by their flamboyant
and theatrical appearance (clothes, costumes, makeup, hairstyles),
they often challenge gender stereotypes and sexuality (androgyny),
and they create spectacle in popular music performance, fandom, and
fashion. The essays in this collection comprise
theoretically-informed contributions that address the diversity of
the world's popular music via artists, bands, and movements, with
special attention given to the ways glam has been influential not
only as a music genre, but also in fashion, design, and other
visual culture.
Alastair Riddell's band Space Waltz was a short-lived one-album New
Zealand rock act who hit gold with a #1 hit single in October 1974
with the song 'Out On The Street' but thereafter failed to achieve
anything even close to that feat. While relegated to one-hit-wonder
status in the eyes of many, to this day Riddell and Space Waltz
epitomize the mid-1970s heyday of glam rock in New Zealand. But in
truth their impact went far beyond this. Their generationally
divisive nation-wide debut on the hugely popular MOR television
talent quest Studio One/New Faces demonstrated the power of mass
media exposure - they were instantly signed to a record deal with
industry giant EMI - while Riddell's controversial gender-bending
image provided a cultural crossroads that greatly impacted the
wider youth culture of Aotearoa New Zealand. In addition, while the
album's most famous track, 'Out On The Street,' is rightly regarded
as New Zealand's glam rock anthem, the wider album demonstrates a
compositional and musical depth that goes far beyond glam rock and
into the realm of sophisticated progressive rock, ultimately
providing an unlikely and highly unique musical amalgam.
This book is the first to explore style and spectacle in glam
popular music performance from the 1970s to the present day, and
from an international perspective. Focus is given to a number of
representative artists, bands, and movements, as well as national,
regional, and cultural contexts from around the globe. Approaching
glam music performance and style broadly, and using the
glam/glitter rock genre of the early 1970s as a foundation for case
studies and comparisons, the volume engages with subjects that help
in defining the glam phenomenon in its many manifestations and
contexts. Glam rock, in its original, term-defining inception, had
its birth in the UK in 1970/71, and featured at its forefront acts
such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter
rock" in the US, stateside artists included Alice Cooper, Suzi
Quatro, The New York Dolls, and Kiss. In a global context, glam is
represented in many other cultures, where the influences of early
glam rock can be seen clearly. In this book, glam exists at the
intersections of glam rock and other styles (e.g., punk, metal,
disco, goth). Its performers are characterized by their flamboyant
and theatrical appearance (clothes, costumes, makeup, hairstyles),
they often challenge gender stereotypes and sexuality (androgyny),
and they create spectacle in popular music performance, fandom, and
fashion. The essays in this collection comprise
theoretically-informed contributions that address the diversity of
the world's popular music via artists, bands, and movements, with
special attention given to the ways glam has been influential not
only as a music genre, but also in fashion, design, and other
visual culture.
Alastair Riddell's band Space Waltz was a short-lived one-album New
Zealand rock act who hit gold with a #1 hit single in October 1974
with the song 'Out On The Street' but thereafter failed to achieve
anything even close to that feat. While relegated to one-hit-wonder
status in the eyes of many, to this day Riddell and Space Waltz
epitomize the mid-1970s heyday of glam rock in New Zealand. But in
truth their impact went far beyond this. Their generationally
divisive nation-wide debut on the hugely popular MOR television
talent quest Studio One/New Faces demonstrated the power of mass
media exposure - they were instantly signed to a record deal with
industry giant EMI - while Riddell's controversial gender-bending
image provided a cultural crossroads that greatly impacted the
wider youth culture of Aotearoa New Zealand. In addition, while the
album's most famous track, 'Out On The Street,' is rightly regarded
as New Zealand's glam rock anthem, the wider album demonstrates a
compositional and musical depth that goes far beyond glam rock and
into the realm of sophisticated progressive rock, ultimately
providing an unlikely and highly unique musical amalgam.
Experiencing Alice Cooper: A Listener's Companion takes a long
overdue look at the music and stage act of rock music's self-styled
arch-villain. A provocateur from the very start of his career in
the mid-1960s, Alice Cooper, aka Vince Furnier, son of a lay
preacher in the Church of Jesus Christ, carved a unique path
through five decades of rock'n'roll. Despite a longevity that only
a handful of other artists and acts can match, Alice Cooper remains
a difficult act and artist to pin down and categorize. During the
last years of the 1960s and the heydays of commercial success in
the 1970s, Cooper's groundbreaking theatricality, calculated
offensiveness, and evident disregard for the conventions of rock
protocols sowed confusion among his critics and evoked outrage from
the public. Society's watchdogs demanded his head, and Cooper
willingly obliged at the end of each performance with his on-stage
self-guillotining. But as youth anthem after youth anthem - "I'm
Eighteen," "School's Out," "Elected," "Department of Youth"-rang
out in his arena concerts the world over and across airwaves, fans
flocked to experience Cooper's unique brand of rock. Critics
searched for proper descriptions: "pantomime," "vaudeville,"
"retch-rock," "Grand Guignol." In 1973 Cooper headlined in Time
magazine as "Schlock Rock's Godzilla." In Experiencing Alice
Cooper: A Listener's Companion, Ian Chapman surveys Cooper's career
through his twenty-seven studio albums (1969-2017). While those who
have written about Cooper have traditionally kept their focus on
the stage spectacle, too little attention has been paid to Cooper's
recordings. Throughout, Chapman argues that while Cooper may have
been rock's most accomplished showman, he is first and foremost a
musician, with his share of gold and platinum albums to vouch for
his qualifications as a musical artist.
In Experiencing David Bowie: A Listener's Companion, musicologist,
writer, and musician Ian Chapman unravels the extraordinary
marriage of sound and visual effect that lies at the heart of the
work of one of the most complex and enduring performers in popular
music. Still active in a career now well into its fifth decade,
Bowie's influence on music and popular culture is vast. At the
height of the "glam rock" era, Bowie stood head and shoulders above
his peers. His influence, however, would extend far beyond glam
through successive changes of musical style and stage work that
impacted upon wider popular culture through fashion, film, gender
studies, theatre, and performing arts. As Chapman suggests, Bowie
recognized early on that in a post-war consumer culture that
continued the cross-pollination of media platforms, the line
between musician and actor was an ever-thinning one. Opposing
romantic notions of authenticity in rock, Bowie wore many faces,
challenging listeners who consider his large body of work with a
bewildering array of musical styles, covering everything from
classic vaudeville to heavy metal, glam rock to soul and funk,
electronic music to popular disco. In Experiencing David Bowie,
Chapman serves as tour guide through this vast musical landscape,
tracing his development as a musical artist through twenty-seven
studio albums he generated. Pivotal songs anchor Chapman's
no-nonsense look at Bowie's work, alerting listeners to his
innovations as composer and performer. Moreover, through a close
look at Bowie's "visuals"-in particular his album covers, Chapman
draws the lines of connection between Bowie the musician and Bowie
the visual stage artist, illuminating the broad nature of his art.
This work will appeal to not only fans of David Bowie, but anyone
interested in the history of modern popular music, fashion, stage
and cinema, and modern art.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|