Heavy music and its subcultures have always been closely related to sex, decadence, and rebellion. Starting with pioneers as The Rolling Stones, Jimmy Hendrix and The Doors in the 1960s, Led Zeppelin, Aerosmith, AC/DC and KISS in the 1970s, they all have had the unifying pursuit of unattached love, musical success, and drugs, thus coining the timeless slogan “sex, drugs and rock ’n’ roll”. Nevertheless, while proclaiming values as personal freedom, sexual liberation, and open-mindedness, the heavy music stays to a greater extent conservative, when it comes to sex and gender issues. Hard rock and all of its forms are considered as “essentially a male form of expression”: there are hardly few women as Patti Smith and Janis Joplin who managed to become “one of the boys” and to reach a cult status in time. In fact, the male connotation in the genre is present over all: starting from the macho look, through the lyrics, actually, the whole rock star attitude.
A deviation from this norm embodies glam rock and later glam metal subgenres which beginnings in the 1970s are marked by David Bowie with his high theatricality, the glittering Marc Bolan from T. Rex in the UK and by the controversial Jobriath and New York Dolls, who appeared almost at the same time in the USA. This book analyses various questions, concerning sex, gender and performance in glam rock music using theories from the fields of gender studies, media studies, feminism, and psychoanalysis. The book also discusses the socio-cultural context in which glam rock was born and the colossal shift in sexual politics, which it has brought with itself. Furthermore, the relationship to historical events, postmodern values and consumerism are taken into consideration.
From the text:
- Glam Rock;
- Glam Trouble;
- Female and Male Objectification;
- Gender Studies;
- David Bowie
Table of Contents
1 Introduction
2 Theoretical background: Glam Trouble
3 All Dolled Up: Image that Matters
4 Ballrooms of Mars: Glam Aliens and Rock ´n´ Roll Fairies
5 Looks that Kill: Male and Female Objectification in Glam Rock
6 Conclusion
Works Cited
Objectives & Research Focus
This thesis investigates the relationship between gender performance and identity within the glam rock and glam metal genres, using a case study approach to examine how these artists deconstruct or reinforce traditional gender norms. The study specifically analyzes how performative aesthetics, stage personae, and lyrical content negotiate power relations and sexuality within the sociocultural context of the 1970s and 1980s.
- The role of "Camp" aesthetics and theatricality in gender-bending performances.
- The use of "Otherness," science fiction, and cosmic themes as tools for gender subversion.
- The paradox of male objectification and its function within a traditionally heteronormative rock culture.
- The analysis of female representation and the persistent influence of patriarchal power dynamics.
Excerpt from the Book
3 All Dolled Up: Image that Matters
Glam rock perfectly illustrates the convergence nature of postmodern culture. It embodies both the mix of genres and the fluidity of gender models. In this chapter I would like to investigate the visual aesthetics of glam rock, through which it constitutes itself. As Bryan Ferry from Roxy Music states in the quote above, glam has never been about everyday life, it rather has always emphasized the performance and the extraordinary. My following examination will have as focal point the questions: “What are the key aesthetics through which the genre achieves gender-bending?” and “Is gender fluidity in glam rock only a cheap trick to attract attention or is it expression of artists’ real sexuality?”.
As we have already seen, glam rock is a controversial genre. It puts all established rock and heavy music conventions about look, performance, lyrics, and attitude into question. The artists of the glam genre blur the boundaries between rock and pop music, art and commerce and sex and gender. In the 1970s and 1980s, the glam boys stirred up the fashion standards in rock: the everlasting classic rock fashion style of casual jeans and t-shirts was substituted for very tight pants and shirts, leather was combined with scarves, feathers and an abundance of jewelry. It is scholarly well known that clothes and fashion are a kind of language too (Frith 1998, 218). In this way of thinking, with all the sparkling costumes, glam rock clearly postulates its message: this genre will not be about everyday credibility of the working-class but it will be something fabulous, something to dream for. As Ryan Moore states in his book on music and youth culture Sells like teen spirit: “Glam rock presented the fantasy that one could transcend social class through music” (106). It escaped the rock norm of authenticity; it played with the idea to be someone else, to have masks and to perform. As already mentioned, under performance, one have to understand not only theatrical but gender performance as well. Glam rock achieves controversial gender performance by the theatricality of the Camp style and sensibility. Before all, Camp means to parody something ordinary and banal in a kitschy way in order to achieve a shocking effect (Kleinhans 160). Susan Sontag states further that Camp is simply to put the object “in quotation marks” (280).
Chapter Summaries
1 Introduction: Provides an overview of the cultural and historical roots of glam rock, establishing the thesis that the genre represents masculinity in transition through a lens of performativity.
2 Theoretical background: Glam Trouble: Outlines the theoretical framework, specifically Judith Butler’s concepts of performativity, gender as a social construct, and the heterosexual matrix.
3 All Dolled Up: Image that Matters: Investigates how visual aesthetics, fashion, and Camp sensibilities contribute to the construction of glam rock’s identity and gender-bending practices.
4 Ballrooms of Mars: Glam Aliens and Rock ´n´ Roll Fairies: Explores the use of space-age, science fiction, and theatrical themes to create alternate stage personae that challenge fixed gender and social boundaries.
5 Looks that Kill: Male and Female Objectification in Glam Rock: Analyzes the power relations between the sexes, comparing male self-objectification with traditional female objectification within the genre.
6 Conclusion: Summarizes the key findings, reinforcing the notion that while glam rock challenges norms, it remains heavily embedded in patriarchal and consumerist structures.
Keywords
Glam rock, Gender performance, Performativity, Judith Butler, Androgyny, Drag, Camp, Masculinity, Heteronormativity, Objectification, Otherness, Glam metal, Visual aesthetics, Identity, Subculture.
Frequently Asked Questions
What is the core focus of this research?
The work explores how glam rock artists utilize theatricality, gender-bending aesthetics, and diverse stage personae to navigate and challenge conventional gender norms during the 1970s and 1980s.
Which specific musical subgenres are discussed?
The research focuses primarily on glam rock and its evolution into glam metal, analyzing bands such as New York Dolls, T.Rex, David Bowie, KISS, Mötley Crüe, and Poison.
What is the primary goal of the author?
The aim is to determine if the gender fluidity presented in glam rock is a genuine subversion of patriarchal norms or if it functions primarily as a performative "marketing" tool within a capitalist, consumer-oriented framework.
What methodology is applied in this study?
The author employs a qualitative analysis of gender studies, media studies, feminism, and psychoanalysis, applying theories—most notably from Judith Butler and Laura Mulvey—to interpret musical, visual, and lyrical content.
What is covered in the main body chapters?
The chapters examine the role of visual aesthetics and "Camp," the utilization of science fiction and alien personae, and a critical look at the power dynamics of male and female objectification.
Which key terminology defines the work?
Key terms include gender performativity, the "heterosexual matrix," gender dissonance, Camp, Otherness, and the "phallic woman" archetype.
How does the author interpret David Bowie's influence?
Bowie is analyzed as the seminal figure in glam rock, whose shifting stage personae—such as Ziggy Stardust and Alladin Sane—serve as primary examples of how performance art allows for multiple, ambiguous identities.
How does the thesis explain the "objectification" aspect of the genre?
The author argues that while glam rock appears to reject traditional roles, it often replicates patriarchal structures by objectifying women in lyrics and videos, and by leveraging "feminized" male imagery as a way to project hyper-heterosexual power.
- Quote paper
- Lilyana Sharlandzhieva (Author), 2016, Dudes Look like Ladies. Analyzing Sex and Gender Issues in Glam Rock, Munich, GRIN Verlag, https://www.grin.com/document/364581
