27 – GLITTER/GLAM AND ART ROCK

GLITTER/GLAM ROCK

Alice CooperBefore the birth of the so-called glitter or glam rock scene, rock had evolved essentially as a working class form of music, visually glorifying a distinct street style and attitude. Early rockers admired the biker or truck driver look. Elvis Presley had perfected the stereotypical rock and roll persona with his sneering, macho posturing and southern good ol' boy attitude. Later in the mid 1960's, rockers began displaying colourful attire and the flamboyant posturings common to the male of the species. This particular behaviour had been firmly suppressed during most of the twentieth century, but with the advent of glitter rock in the early 1970's, males were free to experiment with fashion and androgyny. Admittedly, there had always existed a certain femininity in the theatre - and to a certain extent, rock. After all, one of the basic features connected with showbusiness is dressing up. Teen rock fans had always gravitated somewhat to the pouting, posturing, long-haired musician and his androgynous characteristics. The pretty boy had always been assured popularity.

So what is glitter or glam rock? As a genre, it is definitely not connected with any specific sound or music style, although much of the music of some of its performers such as Gary Glitter and Slade shared a common flat, churning drum style. If it did have a connection with any previous styles, it would certainly be that of the mid 1960's garage bands.

By the beginning of the 1970's, various theatrical elements had begun to infiltrate rock. The "glitter rock" designation stuck after several of its more outré, gaudy exponents promoted the idea of pasting glitter on their clothing and skin.

Actually, the glitter/glam rock scene consisted of a hodgepodge of creative music styles combined with theatrics, glamour and high camp. Lyrics were sometimes futuristic, often spiced with bisexual references and double entendres. Staging and lighting could be as elaborate as any Broadway show. As in the case of David Bowie, each song could demand a complete new set with props, special effects, actors or dancers. Bowie also created several characters such as Ziggy Stardust and Aladin Sane in which he immersed himself.

Theatrical makeup and outrageous costuming were taken to the limit. Alice Cooper for instance, originally created an extreme drag/glam look, later taking the shock/rock route, combining music with horror and magic in a stage extravaganza unequalled in modern showbusiness. Even the fabulous Harry Houdini would not have dared to dream of the fantastic, expensive illusions presented by Cooper whose performances often featured macabre hangings and electric chair effects set to ghoulish rock music. The motto of the genre was "today's far out is tomorrow's ordinary."

The glitter/glam look generally consisted of eye catching flimsy clothing, tights, platform boots, tacky jewelry and heavy eye makeup. The more skin exposed - the better. The whole idea had started as a cult attraction, later building a huge following especially in Britain. In a sense, rock had finally succumbed to showbusiness.

As a craze, it was predictably short lived, being eclipsed by punk in the late 1970's. However, while it flourished, it certainly gave the older generations something to worry about. In fact, there was a precarious period where males and females were truly indistinguishable. An immensely popular cult film titled "The Rocky Horror Picture Show"(1975) spoofed the decadent glitter/glam scene to perfection. The wonderfully decadent Dr. Frank N. Furter role, played deliciously by Tim Curry incorporated almost every possible glam rock eccentricity into one finely crafted character.

One healthy element of the glitter scene was the return of showmanship. No more dull, drab bands standing apathetically in jeans churning out endless jams. Now there was something to watch. With the emergence of brilliant performers such as David Bowie and Alice Cooper, rock aspired to total theatre.

The so-called leather and lace pretty boy look has reappeared in several configurations, especially in heavy metal factions. Glitter also invaded punk, new wave and disco.

Please note that a great number of these artists were certainly not restricted to the glitter designation. It was often a starting point for various other musical and theatrical endeavours. Several mainstream artists such as Rod Stewart, Elton John and Bette Midler jumped on the glitter bandwagon when it was fashionable, quickly re-asserting their allegiances elsewhere when the trend waned.

DAVID BOWIE

ARTHUR BROWN

MOTT THE HOOPLE

T. REX

ALICE COOPER

SLADE

THE SWEET

QUEEN

KISS

SPARKS

GARY GLITTER

THE GLITTER BAND

THE NEW YORK DOLLS

SAILOR

STEVE HARLEY AND COCKNEY REBEL

DAVID ESSEX

ART ROCK

Although art rock often involved theatrics, the main emphasis was placed on lyrical content and attitude. Simply put, it was the beat generation meets avant-garde rock. It flourished in Britain and in the New York art community, beginning in the late 1960's as an alternative to the hippie/flower power movement of the period.

THE NEW YORK ART COMMUNITY

In 1967, the avant-garde set began frequenting a dingy Bowery club called CBGB's. The New York art community had been slow to embrace the West Coast hippie culture based on peace, love and flowers. An extremely urban intellectual clique, the New York bands reflected the violence of the streets - drug abuse, homosexuality, androgyny and S&M. Gritty, campy lyrics glamourized the seedy characters of the New York underground - the prostitutes, pimps, street toughs and pushers etc. Most of these topics, previously taboo in American pop music, possessed a certain amount of shock value, often titillating fans. Unfortunately, such disturbing ideas kept a great majority of the artists in the cult following bracket. The initial objectives of this rather select community, consisting mostly of art school graduates, were to create dark, disturbing, earthy scenarios as a setting for the new sounds.

The music itself was hard edged, minimalist and often quite abrasive, laying a foundation for seventies punk rock and its primal assault on the ears. In fact, many of the artists involved were the precursors of punk and new wave.

ANDY WARHOL

Warhol held court with an iron limp wrist over the so-called "in" crowd, influencing a great number of performers and the New York scene in general. The trashy stars of Warhol's underground films included Viva, Ultra Violet, Joe Dallesandro and Nico. Several were in residence at the notorious Albert Hotel in the East Village and all exerted considerable influence on the new rock scene.

In 1965, he formed "The Factory" and during 1966 and 1967, Warhol presided over The Exploding Plastic Inevitable, a group of assorted weirdos who travelled around entertaining in a sort of mixed media circus. It was this collection of characters who were responsible for creating the initial look and style of both the glitter and art rock movements.

THE VELVET UNDERGROUND

LOU REED

NICO

JOHN CALE

PATTI SMITH

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