80 Glam Rock Fashion
Glam Rock Women's GR10184 Miami Collection Chronograph White Silicone Watch
Add an understated look to your outfit with this unique and detailed Glam Rock watch. This timepiece offers a white enamel dial in a rose gold tone ion plated stainless steel case with white ceramic cover.
Classic chronograph styling with a contemporary fashion sense, the Glam Rock Women's Miami Collection Watch is a versatile timepiece certain to pair well with virtually any formal or business ensemble. It features a rose gold ion-plated stainless steel case and white silicone band that closes with a traditional buckle. Also featured is a screw-down bezel and subdials on the white dial's three, six, and nine o'clock positions. The dial also boasts white jewels for hour markers and a date window at the four o'clock position. Additionally, the dial comes protected by a scratch-resistant sapphire crystal. Other features include reliable Swiss quartz movement, a white cabochon crown and pushers, and water resistance to 330 feet (100 meters).
Going to the Rock and Roll Hall of Fame Annex in New York City was a very media influenced and gendered experience. Surrounded by videos, photos, and the belongings of iconic stars with their music blaring in your ears, you are taking in the media and messages of the Rock world. Though we do not always think of it when we are listening to our favorite songs, there are definitely major gender divides in the world of music and Rock and Roll. However what I find most interesting is how in the world of Rock it becomes okay and almost encouraged to “transgress” or experiment with the accepted gender lines, at least when it comes to appearance. Rock and Roll has always been considered a rebellious style and kind of music so I suppose it is only natural that they rebel in this area as well.
When you walk into the museum you are given a small device that plays that adjusts to play the appropriate music as you are walking about the museum. So if you are looking at Michael Jackson’s leather jacket “Bad” will be ringing in your ears. As you walk about the museum you will find that the voices you hear are predominantly male. While Rock and Roll has certainly made a lot of progressive strides it still tends to be a male dominated style. Some of the sections are more overwhelming male than others. For example, the first females we saw were a few feet inside the exhibit and they were given their own section. They were the divas or the women famous for their big voices. People like Tina Turner and Aretha Franklin, who was actually named Rolling Stones best singer of all time. However, when you strolled over to the blues rock section with legendary bands like The Rolling Stones or Led Zeppelin there was not a woman in sight. Similarly in the hall dedicated to great guitarists, there were the likes of Hendrix and Eric Clapton but no females. And I must admit when it comes to rock music it is tough to think of an iconic female guitarist. However, when you look over the art inspired rock with the likes of Blondie and Coldplay things became much more gender neutral. There were lesser known female bands as well as some iconic female figures. The singer song writer section was similarly more balanced though still male dominated. Surprisingly the most gender neutral exhibit was the “icons“ exhibit with people who had changed the face of Rock Music. As it displayed images of the huge memorable names in music, there seemed to be just as many females as there were males. With the likes of Madonna, Janis Joplin, and Arehta next to Prince, Dylan and Michael Jackson.
There are all kinds of gender messages in the way these exhibits are set up and displayed. As there are very few female bands it seems to suggest that woman are more likely to or are more successful at performing solo. Also the lack of female guitarist compared to the exhibit dedicated to women just for their voices seems to suggest that women are better singers while men are better instrumentalists. However, when it comes to performers the museum suggests that women can put on a show just as well as a man can, if not better. Likewise in the people who have changed the face of rock and roll Madonna matches Michael step for step and it seems that although Rock is a male dominated genre it is one that has been clearly shaped by both genders.
Lastly what I found very interesting was the clothing and the style. Here Rock and Roll throws all gender expectations out the window and goes for the loudest, the brightest, and the wildest. Most of the early 1960’s clothing seems to be suits for men and dresses for women. While they are usually mod style suits or short dresses they are still relatively conservative. As the decade progressed into the 70’s and 80’s the fashion got really wild. Most notable has to be the long and big hair for men. Normally associated with women and not worn by anyone outside of the Rock and Roll world or those aiming to be a part of the subcultures, men proudly wore long hair in the 60’s and into the 70’s and had big tweezed out wild hair in the 80’s. In fact the bigger it was the better. As glam rock took center stage, men in rock began to break all preconceived and expected gender notions by wearing bright make up, tons of glitter and sparkles, and outfits that looked like they belonged on a wild woman. Walking around the museum it is almost hard to tell which gender the clothes were for. On of the guys from Cream has thigh high leopard print boots, while princes suit sets are tight flared pants and bedazzled cropped jackets, even Johnny Cash’s cow boy boots are black suede with flowers stitched up the sides. Most notably the Rolling Stones proudly wore one piece jump suits, low cut in the front and flared at the bottom that strongly resemble dresses. While most are bright and covered in sparkles one of Mick Jaggers is white with little blue flowers, it looks like a night dress a grandmother would wear but when Mick wears it, its Rock and Roll. Lik
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80 glam rock fashion
When it first appeared in the early 1970s, glam rock not only caused a stir among audiences and performers, it also stood counterculture and psychedelic rock on their heads. Glam rock was outrageous and overtly theatrical, and its unforgettable characters-adorned with flamboyant costumes and heavy makeup and accompanied by elaborately constructed sets-were personified by performers such as Marc Bolan, David Bowie, Bryan Ferry, and Suzi Quatro. A sea change in rock performance had occurred.
Yet glam was as much about substance as style, and Performing Glam Rock delves into the many ways glam paved the way for new explorations of identity in terms of gender, sexuality, and performance. Philip Auslander positions glam historically and examines it as a set of performance strategies, exploring the ways in which glam rock-while celebrating the showmanship of 1950s rock and roll-began to undermine rock's adherence to the ideology of authenticity in the late 1960s.
In this important study of a too-often-overlooked phenomenon, Auslander takes a fresh look at the genius of the glam movement and introduces glam to a new generation of performance enthusiasts and scholars alike.
Philip Auslander is Professor in the School of Literature, Communication, and Culture at the Georgia Institute of Technology and author of numerous books, including Liveness: Performance in a Mediatized Culture and Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance. He is editor of the major reference work Performance: Critical Concepts and coeditor, with Carrie Sandahl, of Bodies in Commotion: Disability and Performance.
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