By Philip Auslander
While it first seemed within the early Seventies, glam rock not just prompted a stir between audiences and performers, it additionally stood counterculture and psychedelic rock on their heads. Glam rock used to be outrageous and brazenly theatrical, and its unforgettable characters-adorned with flamboyant costumes and heavy make-up and observed by means of elaborately developed sets-were personified by way of performers akin to Marc Bolan, David Bowie, Bryan Ferry, and Suzi Quatro. A sea swap in rock functionality had occurred.
Yet glam was once as a lot approximately substance as type, and acting Glam Rock delves into the numerous methods glam lead the way for brand spanking new explorations of identification when it comes to gender, sexuality, and function. Philip Auslander positions glam traditionally and examines it as a suite of functionality options, exploring the ways that glam rock-while celebrating the showmanship of Nineteen Fifties rock and roll-began to undermine rock's adherence to the ideology of authenticity within the past due 1960s.
In this significant examine of a too-often-overlooked phenomenon, Auslander takes a clean examine the genius of the glam stream and introduces glam to a brand new iteration of functionality lovers and students alike.
Philip Auslander is Professor within the college of Literature, conversation, and tradition on the Georgia Institute of expertise and writer of diverse books, together with Liveness: functionality in a Mediatized tradition and Presence and Resistance: Postmodernism and Cultural Politics in modern American functionality. he's editor of the most important reference paintings functionality: serious techniques and coeditor, with Carrie Sandahl, of our bodies in Commotion: incapacity and function.
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Com. 25 ï»¿performing glam rock 26 down toward his guitar with his eyes closed, moving his head in rhythm. In an apparent act of self-censorship, Lennon reined in his rock-and-roll enthusiasm in favor of presenting the serious, musi- cianly image favored by psychedelic rockers. The Plastic Ono Band came on at the end of a daylong bill that also featured such veteran 1950s rock and rollers as Bo Diddley, Chuck Berry, Jerry Lee Lewis, and Little Richard (all of whom are also included in Pennebaker's film).
Theirs was, deliberately, a music of nonsignificance, a break from the moral and political freight that rock was bearing. Though it took nearly a decade for them to translate their live popularity to the real stardom that came when they began a syndicated TV show, they planted the seeds of rock's rejection at the site of its greatest triumph. (433) possible that the early avatars of glam and punk took notice. In 1969, the same year that Sha Na Na was formed, Alice Cooper, another American group of similar premonitory importance that had existed in one form or another since the early 196os, began to find its niche.
I refer to them in the past here because I am focusing on their appearance at Woodstock. 17. In fact, Bauman (who joined the group after their appearance at Woodstock) and Bowzer were originally presented as different people. ) Neither the greaser outfit nor the gold lame suit has any specific relationship to the doo-wop that makes up the largest part of Sha Na Na's reper- toire since doo-wop singers, both black and white, generally wore evening wear when performing. 20 Unlike Lennon, Sha Na Na never suggested that they chose these images because they corre- sponded to their own social or cultural identities.