Ian Chapman – författare

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.

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.

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.

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.

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.

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.

David Bowie was one of the world’s most famous rock stars. But, as David Bowie FAQ shows, he was also far more than that. After spending the latter part of the 1960s searching for the best medium through which to express his artistic aspirations—and trying out several performing arts in the process—he experienced fleeting but significant success in music with the top-ten UK hit “Space Oddity,” released at the time of the successful Apollo 11 moon landing in 1969. Subsequently he achieved true international fame in the early 1970s through playing the role of the androgynous alien rock-star Ziggy Stardust. From here he went on to a career that spanned five decades, exploring numerous artistic disciplines, challenging societal mores and conventions, and building a platform of constant change and reinvention. Whereas most rock stars would find a winning formula and rigidly stick to it to avoid alienating their fans, David Bowie made stylistic variation his cornerstone—an entirely new and model for rock stardom. But David Bowie was more than a rock star. Reflecting an approach to art that knew no boundaries, he also made his mark in movie acting, legitimate stage acting, and more. There was a unifying factor in all of the roles he played, regardless of medium, because even from childhood he’d felt himself to be an outsider, alienated and estranged. Bowie’s fans quickly recognized this quality in him, and it created a bond that went far beyond the usual star-fan relationship. Through David Bowie, fans found themselves able to accept their sense of difference as a positive thing rather than a negative one. David Bowie didn’t simply entertain people—he empowered them.