Forty years after its peak, the most scandalous of musical movements is vindicated by the likes of the ubiquitous Lady Gaga . A recent book reveals that countless groups and artists tried to jump on the bandwagon of 'glam rock'.
The world has followed with amazement the ascension of Lady Gaga: a monster appears out of nowhere, but even the monsters have roots, influences, models: the impossible costumes, the theatrical sense and sexual ambiguity Stefani Angelina Joanne Germanotta us back to a unique moment in pop music. The glam rock, sometimes known as glitter rock, dominated the UK charts between 1971 and 1974, radiating to the rest of the planet.
Dave Thompson, the most prolific rock biographers, he prefers to extend that period. Just published a detailed catalog Children of the revolution, which covers every month from 1970 to 1975. There was a mass movement. Beneath the Stars - T. Rex, Slade, Sweet, Bowie ...- displayed hundreds of groups and soloists who simplified their music and turned to mascara. The theatrical release of Elton John and Freddie Mercury only be understood in the climate of tolerance generated by the glam rock, simplified in Spain and gay rock.
Until 1970, the popular music world homosexuality was the great taboo. British pop industry in the sixties was controlled in part by sodomites very cautious, not tolerating their wards to make the slightest concession. Not a chance! That would have been fatal to your career, assured: a minor incident had torpedoed the Johnnie Ray.
happened in 1970 that succeeded with Kinks Lola , the smiling story of a Soho innocent visit, he met a transvestite and discover happiness. Testimony to the ability of its leader, Ray Davies, is the fact that the BBC did not put stick to that argument ... Only forced to change a reference to Coca-Cola, recognized as surreptitious advertising. That same year, the hirsute Marc Bolan left the hippies, the group, Tyrannosaurus Rex, was transformed into T. Rex, while rock turned into a sticky, marked by the voice of sheep.
The formula took off. Bolan had discovered a huge hole. The music was marked by the progressive rock, elitist and difficult to hum, the prog rock was heard by a public university could hardly appeal to teenagers. For the gap T. Rex slipped strange animals, exhibiting tight pants, satin fabrics, platform boots, jewelry, makeup brazen glitter. Music was screaming, wet underwear, photos covering the walls of the bedroom. In short: the fans.
An explosion of fantasy and challenge a generation robbed. Many remember the impact of seeing David Bowie on TV beautiful as a god and exotic as an alien. Like Bolan, Bowie was standing on all sides possible: there was mod, hippy, folky, underground. But sexually experienced woman dressed languid for the 1971 LP, The man who sold the world. The following year was recycled in prototype rock star Ziggy Stardust . Cemented his reputation on stage as he knelt before Mick Ronson, guitarist, simulating fellatio through Gibson. Until then, Bowie confessed, had treated him "like a dumb blonde." Outposting
Bolan and Bowie can be misleading: they had a personal artistic vision. But most of the glam rock era music producers and composers. The team Nicky Chinn, Mike Chapman drew up hits for Sweet, Mud, Smokey and the rocker Suzi Quatro . The music was sticky and squeaky, sometimes with tribal rhythms based on mutations of rock and roll of the fifties. That allowed veterans such as Paul Raven and Shane Fenton reap success in the seventies, after renamed respectively as Gary Glitter and Alvin Stardust . In fact, this is a movement defined by its aesthetics than sound. had little to do with Roxy Music Slade . Some were cazurros who had tried everything before finding the formula sound, with titles making fun of English orthography. The other musicians representing more cultured.
glam letters tended to celebrate aggression, adolescent exuberance. Although adults are the work of composers, suggested the specter of a warlike youth and hormones. Among British biempensante society awakened a palpable fear, as Stanley Kubrick proved, after appearing imitators of Clockwork Orange violence. To silence criticism and threats, vetoed the exhibition of the film in the UK, a ban that lasted until his death.
The glam rock
cut the insurrectionary desire sixties. The closest thing to an anthem that had the glam was All the young dudes, David Bowie song of the group transferred in 1972 Mott the Hoople, who made explicit the generation gap: "My brother is at home / with his Beatles and his Stones / never inspired me the story of the revolution / what roll, too many complications. "
What was revolutionary about the glam rock would be found in the sexual liberation. The image of the groups could serve as a lever, as Sweet found his visit to the Franco TVE. When the musicians left their dressing rooms painted doors, someone decided they were too much for the viewer, although they were advertised on a program of the second string: "They're queer!". However, they were heterosexual.
If something catches the attention of the glam rock of the seventies is precisely its normal letters on the erotic. The only hit song is really explicit Walk in the wild side, describing the crowd polysexuality orbiting around Andy Warhol. Its author, Lou Reed, was grouped with the troops briefly glam, due to its creative relationship with Bowie and some minimal concessions to the gay bohemian New York. Clearly
apolitical, glam rock did not produce a single singer can claim homosexuality. It was not until 1977, when, taking advantage of the changing of the guard caused by the punk-appeared Tom Robinson, an artist identified with the Gay Liberation Front. That was taken as a pose. London boutiques abundant clothing and footwear provided for those who were playing bold misleading, as Mick Jagger or Rod Stewart.
In the United States had it harder. Identified with the glam rock groups in anything apart from conventional sexuality, as Alice Cooper or Kiss . Although the guidance of Dave Thompson rescue forgotten glam sound American groups from Milk 'N' Cookies up Hollywood Brats, most striking contribution was U.S. Jobriath, a Bowie impersonator who got an advance then astronomical-half million dollars in return for joining the Elektra label. It was a pitch full of whims: Jobriath's agent gave the interviews, rather than the singer: "He has so much talent that behaves like Greta Garbo." Very
film, although there is a crowd to make films about the glam, after the failure of Velvet Goldmine in 1998, a story written and directed by Todd Haynes, based on the legend of Ziggy Stardust, with biographical elements borrowed from Iggy Pop, Marc Bolan and Lou Reed. The character disappeared after a concert was magnificent and a journalist investigating the mystery.
The glam rock did not end so dramatically. Was the starting point for intelligent artists, but it was the end for minor talents. As a music for mass audiences, was reduced to formulas chicleteras as those used by the Rubettes or Bay City Rollers . His brave listeners spent making music with such popular bands as the Smiths. Their lead singer, Morrissey, evoked the hurricane: "As a kid I wanted to be anything but ordinary. Until the seventies, the pop charts containing music could like your parents and even your grandparents. People suddenly appeared as subversive as Marc Bolan. Now they can be accepted, but then considered that corrupted the morals of youth. I thought it was fantastic, I wanted to be corrupted. "Lady Gaga could understand.
Diego A. Manrique
The Country
April 17, 2011
http://www. youtube.com / watch? v = _h_uSbsUSSM
***
The world has followed with amazement the ascension of Lady Gaga: a monster appears out of nowhere, but even the monsters have roots, influences, models: the impossible costumes, the theatrical sense and sexual ambiguity Stefani Angelina Joanne Germanotta us back to a unique moment in pop music. The glam rock, sometimes known as glitter rock, dominated the UK charts between 1971 and 1974, radiating to the rest of the planet.
Dave Thompson, the most prolific rock biographers, he prefers to extend that period. Just published a detailed catalog Children of the revolution, which covers every month from 1970 to 1975. There was a mass movement. Beneath the Stars - T. Rex, Slade, Sweet, Bowie ...- displayed hundreds of groups and soloists who simplified their music and turned to mascara. The theatrical release of Elton John and Freddie Mercury only be understood in the climate of tolerance generated by the glam rock, simplified in Spain and gay rock.
Until 1970, the popular music world homosexuality was the great taboo. British pop industry in the sixties was controlled in part by sodomites very cautious, not tolerating their wards to make the slightest concession. Not a chance! That would have been fatal to your career, assured: a minor incident had torpedoed the Johnnie Ray.
happened in 1970 that succeeded with Kinks Lola , the smiling story of a Soho innocent visit, he met a transvestite and discover happiness. Testimony to the ability of its leader, Ray Davies, is the fact that the BBC did not put stick to that argument ... Only forced to change a reference to Coca-Cola, recognized as surreptitious advertising. That same year, the hirsute Marc Bolan left the hippies, the group, Tyrannosaurus Rex, was transformed into T. Rex, while rock turned into a sticky, marked by the voice of sheep.
The formula took off. Bolan had discovered a huge hole. The music was marked by the progressive rock, elitist and difficult to hum, the prog rock was heard by a public university could hardly appeal to teenagers. For the gap T. Rex slipped strange animals, exhibiting tight pants, satin fabrics, platform boots, jewelry, makeup brazen glitter. Music was screaming, wet underwear, photos covering the walls of the bedroom. In short: the fans.
An explosion of fantasy and challenge a generation robbed. Many remember the impact of seeing David Bowie on TV beautiful as a god and exotic as an alien. Like Bolan, Bowie was standing on all sides possible: there was mod, hippy, folky, underground. But sexually experienced woman dressed languid for the 1971 LP, The man who sold the world. The following year was recycled in prototype rock star Ziggy Stardust . Cemented his reputation on stage as he knelt before Mick Ronson, guitarist, simulating fellatio through Gibson. Until then, Bowie confessed, had treated him "like a dumb blonde." Outposting
Bolan and Bowie can be misleading: they had a personal artistic vision. But most of the glam rock era music producers and composers. The team Nicky Chinn, Mike Chapman drew up hits for Sweet, Mud, Smokey and the rocker Suzi Quatro . The music was sticky and squeaky, sometimes with tribal rhythms based on mutations of rock and roll of the fifties. That allowed veterans such as Paul Raven and Shane Fenton reap success in the seventies, after renamed respectively as Gary Glitter and Alvin Stardust . In fact, this is a movement defined by its aesthetics than sound. had little to do with Roxy Music Slade . Some were cazurros who had tried everything before finding the formula sound, with titles making fun of English orthography. The other musicians representing more cultured.
glam letters tended to celebrate aggression, adolescent exuberance. Although adults are the work of composers, suggested the specter of a warlike youth and hormones. Among British biempensante society awakened a palpable fear, as Stanley Kubrick proved, after appearing imitators of Clockwork Orange violence. To silence criticism and threats, vetoed the exhibition of the film in the UK, a ban that lasted until his death.
The glam rock
cut the insurrectionary desire sixties. The closest thing to an anthem that had the glam was All the young dudes, David Bowie song of the group transferred in 1972 Mott the Hoople, who made explicit the generation gap: "My brother is at home / with his Beatles and his Stones / never inspired me the story of the revolution / what roll, too many complications. "
What was revolutionary about the glam rock would be found in the sexual liberation. The image of the groups could serve as a lever, as Sweet found his visit to the Franco TVE. When the musicians left their dressing rooms painted doors, someone decided they were too much for the viewer, although they were advertised on a program of the second string: "They're queer!". However, they were heterosexual.
If something catches the attention of the glam rock of the seventies is precisely its normal letters on the erotic. The only hit song is really explicit Walk in the wild side, describing the crowd polysexuality orbiting around Andy Warhol. Its author, Lou Reed, was grouped with the troops briefly glam, due to its creative relationship with Bowie and some minimal concessions to the gay bohemian New York. Clearly
apolitical, glam rock did not produce a single singer can claim homosexuality. It was not until 1977, when, taking advantage of the changing of the guard caused by the punk-appeared Tom Robinson, an artist identified with the Gay Liberation Front. That was taken as a pose. London boutiques abundant clothing and footwear provided for those who were playing bold misleading, as Mick Jagger or Rod Stewart.
In the United States had it harder. Identified with the glam rock groups in anything apart from conventional sexuality, as Alice Cooper or Kiss . Although the guidance of Dave Thompson rescue forgotten glam sound American groups from Milk 'N' Cookies up Hollywood Brats, most striking contribution was U.S. Jobriath, a Bowie impersonator who got an advance then astronomical-half million dollars in return for joining the Elektra label. It was a pitch full of whims: Jobriath's agent gave the interviews, rather than the singer: "He has so much talent that behaves like Greta Garbo." Very
film, although there is a crowd to make films about the glam, after the failure of Velvet Goldmine in 1998, a story written and directed by Todd Haynes, based on the legend of Ziggy Stardust, with biographical elements borrowed from Iggy Pop, Marc Bolan and Lou Reed. The character disappeared after a concert was magnificent and a journalist investigating the mystery.
The glam rock did not end so dramatically. Was the starting point for intelligent artists, but it was the end for minor talents. As a music for mass audiences, was reduced to formulas chicleteras as those used by the Rubettes or Bay City Rollers . His brave listeners spent making music with such popular bands as the Smiths. Their lead singer, Morrissey, evoked the hurricane: "As a kid I wanted to be anything but ordinary. Until the seventies, the pop charts containing music could like your parents and even your grandparents. People suddenly appeared as subversive as Marc Bolan. Now they can be accepted, but then considered that corrupted the morals of youth. I thought it was fantastic, I wanted to be corrupted. "Lady Gaga could understand.
Diego A. Manrique
The Country
April 17, 2011
http://www. youtube.com / watch? v = _h_uSbsUSSM
***
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