text:
Intermittent positive pressure breathing
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Intermittent positive pressure breathing (IPPB) is a respiratory therapy treatment for people who are hypoventilating. While not a preferred method due to cost,[1] IPPB is used to expand the lungs, deliver aerosol medications, and in some circumstances ventilate the patient.[2]
Indications[edit]
IPPB may be indicated for patients who are at risk for developing atelectasis and who are unable or unwilling to breathe deeply without assistance.[3] In patients with severe lung hyperinflation, IPPB may decrease dyspnea and discomfort during nebulized therapy.[4]
Contraindications[edit]
Most contraindications are relative, such as nausea, hemodynamic instability,[5] tracheal fistula, singulation and hemoptysis.[6] Untreated tension pneumothorax is an absolute contraindication.[7]
IMPLEMENTATION
When treating atelectasis -
Therapy should be volume-oriented
2. Tidal volumes(VT) must be measured
3. VT goals must be set
4. VT goal of 10-15mL/kg ofbody weight
5. Pressure can be increased to reach VT goal if tolerated by patient.
When treating atelectasis, IPPB is only useful in the treatment of atelectasis if the volume delivered exceeds those volumes achieved by the patient's spontaneous efforts.
References[edit]
Jump up ^ Thomas JA, McIntosh JM (1994). "Are incentive spirometry, intermittent positive pressure breathing, and deep breathing exercises effective in the prevention of postoperative pulmonary complications after upper abdominal surgery? A systematic overview and meta-analysis". Phys Ther. 74 (1): 3–16. PMID 8265725.
Jump up ^ Handelsman H (1991). "Intermittent positive pressure breathing (IPPB) therapy". Health Technology Assessment Reports (1): 1–9. PMID 1810351.
Jump up ^ Shelledy DC, Mikles SP (2001). "Patient assessment and respiratory care plan development.". In Mishoe SC, Welch MA Jr. Critical thinking in respiratory care. New York: McGraw-Hill. ISBN 978-0-07-134474-6. CS1 maint: Uses editors parameter (link)
Jump up ^ Janssens JP, de Muralt B, Titelion V; De Muralt; Titelion (2000). "Management of dyspnea in severe chronic obstructive pulmonary disease". J Pain Sympt Manage. 19 (5): 378–92. doi:10.1016/S0885-3924(00)00129-9. CS1 maint: Multiple names: authors list (link)
Jump up ^ Schilling JP, Kasik JE (1980). "Intermittent positive pressure breathing: a continuing controversy". J Iowa Med Soc. 70 (3): 99–100, 102–103.
Jump up ^ Shapiro BA, Peterson J, Carne RD (1982). "Complications of mechanical aids to intermittent lung inflation". Respir Care. 27 (4): 467–70.
Jump up ^ Scanlan CL, Wilkins RL, Stoller JK (1999). Egan’s fundamentals of respiratory care (7th ed.). St. Louis: Mosby. pp. 777–782.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Intermittent_positive_pressure_breathing&oldid=805518023"
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Respiratory therapy
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Collision Course (album)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Collision Course
EP and video album by Jay-Z and Linkin Park
Released
November 30, 2004
Recorded
July 16–19, 2004
Genre
Nu metal
rap rock
East Coast hip hop
alternative hip hop
rap metal
Length
21:18 (CD)
45:01 (DVD)
Label
Roc-A-Fella
Machine Shop
Warner Bros.
Def Jam
Producer
Mike Shinoda
Linkin Park (exec.)
Shawn Carter (exec.)
Linkin Park non-studio album chronology
Live in Texas
(2003) Collision Course
(2004) Road to Revolution: Live at Milton Keynes
(2008)
Jay-Z chronology
Unfinished Business
(2004) Collision Course
(2004) Kingdom Come
(2006)
Linkin Park Video video chronology
Breaking the Habit (DVD)
(2004) Collision Course
(2004) The Making of Minutes to Midnight
(2007)
Singles from Collision Course
"Numb/Encore"
Released: December 13, 2004
Collision Course is a collaborative EP from American rapper Jay-Z and nu metal band Linkin Park, released on November 30, 2004 by Roc-A-Fella, Machine Shop, Warner Bros. and Def Jam records.[1] Before the album, Jay-Z had released collaborations with The Roots and R. Kelly, and Linkin Park had collaborated with various artists on their remix album Reanimation. The album was inspired by The Grey Album by Danger Mouse, which was a mash-up album between Jay-Z and The Beatles. MTV had originally planned on mashing up only one or two songs, but the project was eventually expanded to a six-song EP. The album was mostly produced by Mike Shinoda and Jay-Z, and was recorded between July 16 and July 19.
Upon release, Collision Course reached #1 on the Billboard 200. As of August 2017, it was certified 2x Multi-Platinum by the RIAA.[2] The album spawned one single, Numb/Encore which eventually won Best Rap/Sung Collaboration at the 2006 Grammy Awards.
Contents
[hide]
1 Overview
2 Background and production
3 Critical reception
4 Track listing
4.1 Enhanced content on CD
4.2 DVD track listing
5 Personnel
5.1 DVD
6 Charts and certifications
6.1 Weekly charts
6.2 Certifications
7 References
Overview[edit]
Due to its short running time at 21:18, with six tracks in total included on the disc, the release has been identified as an EP. All of the tracks included are mashups combining songs by both artists.
The DVD contains behind-the-scenes new footage of the making of the album, as well as the second take of all of the Collision Course songs at The Roxy Theatre on July 18, 2004. Also included are the five scenes from the concert shown on MTV Ultimate Mash-Ups and a picture gallery.
The first single released from the EP, "Numb/Encore", achieved significant airplay on the charts, and stayed on 6 months after its release. "Points of Authority/99 Problems/One Step Closer" was also released to the radio in the US, but was never featured on the Billboard Charts – the videos for both that track and "Jigga What/Faint" were also seen on Kerrang! TV in the UK. "Izzo/In the End" was also heavily promoted on the official Linkin Park websites.
It is the second EP ever (after Alice in Chains' Jar of Flies in 1994) to top the Billboard 200, going on to sell over 300,000 copies in its first week.
Background and production[edit]
Mike Shinoda revealed in his 2004 Grammy acceptance speech that he would be mashing up with Jay-Z for a record under MTV's Mash Ups show.
The network allowed Jay-Z to choose a group or artist for the mash-up. Jay contacted Shinoda, who began experimenting with mixing the tracks before sending some examples to him. As a result, Jay-Z began working with Shinoda through email. The two decided that instead of combining the existing tracks for the live performance on MTV, they wanted to re-work and re-record parts of the songs to make them fit better. Shinoda explains, "Jay and I realized it's better to re-perform the rap vocals if you're gonna do it to a new beat because the vibe changes and you have to deliver your verse a little differently."[3] Shinoda asked his bandmates to re-record instrumental and vocal tracks as well, and ultimately both parties decided they wanted to release the studio tracks.[3] The entire album was put together within four days.[4]
Sometimes, behind-the-scenes audio can be heard within the album, such as Jay-Z saying "You're wasting your talent, Randy!" before "Big Pimpin'/Papercut", or Shinoda saying "This is fun" before "Izzo/In the End".
Collision Course was the first album of Linkin Park that contained a Parental Advisory sticker, since most of Jay-Z's verses contain profanity (although Shinoda and Chester Bennington are also heard swearing in the album). This album was also made in an edited/censored version. Linkin Park wouldn't use profanities themselves until Minutes to Midnight in 2007. However, the clean version of the album left the words "bitch", "ass", and "hoes" uncensored, which means that "Izzo/In the End" is the same on the clean and explicit versions.
A year after the release of Collision Course, Jay-Z was the executive producer on Mike Shinoda's solo effort Fort Minor's The Rising Tied. Also, the song "High Road" from the same record talks about how some critics negatively received Collision Course.
Critical reception[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [5]
Robert Christgau [6]
Entertainment Weekly C−[7]
HipHopDX [9]
NME (3/10)[10]
RapReviews (7.5/10)[11]
Rolling Stone [12]
Spin
Village Voice (unfavorable)[13]
Kriss Method
Critics gave mixed reviews to Collision Course. David Jeffries of AllMusic praised the album, calling it "awesomely fun".[5] K.B. Tindal of HipHopDX also equally praised the album, saying that the project "will open a passageway for artists who want to dare to be different as well as those who want to work hard to maintain that difference."[9] Steve Juon of RapReviews called the album "an experiment which bodes well since for the most part these two artists compliment each other."[11]
Meanwhile, Raymond Fiore of Entertainment Weekly, gave a negative review of the album, saying that the pairing of Linkin Park and Jay-Z "comes off like a sanitized nonevent."[7]
The song "Numb/Encore", a mash-up of "Numb" by Linkin Park and "Encore" by Jay-Z, won Best Rap/Sung Collaboration at the Grammy Awards of 2006.[14]
Track listing[edit]
No.
Title
Writer(s)
Length
1. "Dirt off Your Shoulder/Lying from You"
Shawn Carter
Timothy Mosley
Linkin Park
4:04
2. "Big Pimpin'/Papercut"
J. Capeless
T. Mosley
K. Joshua
Linkin Park
2:36
3. "Jigga What/Faint"
S. Carter
Jonathan Burks
T. Mosley
Linkin Park
3:31
4. "Numb/Encore"
Linkin Park
S. Carter
Kanye West
3:25
5. "Izzo/In the End"
S. Carter
K. West
Berry Gordy
A. Mizell
F. Perren
D. Richards
Linkin Park
2:44
6. "Points of Authority/99 Problems/One Step Closer"
Linkin Park
S. Carter
Rick Rubin
N. Landsberg
Felix Pappalardi
J. Ventura
L. Weinstein
William Squier
T. Marrow
A. Henderson
4:55
Total length: 21:18
Enhanced content on CD[edit]
"Links to Bonus Content"
"Photos"
DVD track listing[edit]
Intro
In the Studio
Jay-Z Arrives
Rehearsal
Sound Check
Dirt Off Your Shoulder/Lying from You (Live)
Big Pimpin'/Papercut (Live)
Jigga What/Faint (Live)
Numb/Encore (Live)
Izzo/In the End (Live)
Points of Authority/99 Problems/One Step Closer (Live)
End Credits
"Special Features":
"MTV Ultimate Mash-Ups"
It's Goin' Down
Dirt Off You Shoulder/Lying from You
Jigga What/Faint
Numb/Encore
Points of Authority/99 Problems/One Step Closer
"Photo Gallery"
"5.1 Surround Sound"
Personnel[edit]
Chester Bennington – vocals
Rob Bourdon – drums
Brad Delson – lead guitar (on tracks 1, 3, 4 and 6)
Joseph Hahn – turntables, sampling, programming
Dave Farrell – bass
Mike Shinoda – vocals; rhythm guitar (on track 3), keyboard, piano (on track 4)
Jay-Z – vocals
Production
Produced and mixed by Mike Shinoda
Arranged by Brad Delson and Mike Shinoda
Engineered by Mike Shinoda, John Ewing and Mark Kiczula
Mastered by Brain "Big Bass" Gardner at Bernie Grundman Mastering
Executive producers: Shawn Carter and Linkin Park
A&R: Tom Whalley
A&R coordination for Warner Bros. Records: Marny Cameron
Marketing director: Peter Standish
A&R coordinator: Michael "Stick" Stefrin
Production coordinator: Ryan DeMarti
Sample clearance: Eric Weissman for Sample Clearance Limited
Executive producers: Rob McDermott and John Meneilly
Creative direction for Warner Bros. Records: Ellen Wakayama
Project art direction: THE FLEM and Mike Shinoda
Cover art direction and design: THE FLEM
Cover and all interior line art illustrations: David Choe
Digipak and booklet art direction and design: Lawrence Azerrad for LAD
Photography: Greg Watermann
DVD[edit]
Director: Kimo Proudfoot
Producer: Matt Caltabiano
Editor: Kevin McCullough
Live audio engineer: Guy Charbonneau
Live audio mix: Mike Shinoda
Executive producer: Janet Haase
Head of production: Joby Barnhart
Post production supervisor: Jason Cohon
For Sunset Editorial: Nazeli Kodjoian, Sin Halina Sy
Additional footage produced by Lenny Santiago
5.1 mixed of Roxy Performance
DVD post producer: David May
Associate producer: Raena Winscott
Menu design: Sean Donelly
5.1 mix producer: David May
5.1 mix engineer: Ted Hall
Assistant engineer: Bruce Balestier
Audio mix: Mix Magic
Colorist: Dave Hussey
Title graphics: Carlos
Authoring: Cinram
Live performance filmed July 18, 2004 at The Roxy Theatre, West Hollywood, CA
Original concept by Michele Megan Dix and Jesse Ignjatovic
Charts and certifications[edit]
Weekly charts[edit]
Charts (2004–05)
Peak
position
Australian Albums Chart[15] 8
Austrian Albums Chart[16] 5
Belgian Albums Chart (Flanders)[17] 19
Belgian Albums Chart (Wallonia)[18] 17
Canadian Albums Chart 6
Danish Albums Chart[19] 7
Dutch Albums Chart[20] 9
French Albums Chart[21] 20
Italian Albums Chart[22] 19
New Zealand Albums Chart[23] 4
Norwegian Albums Chart[24] 1
Portuguese Albums Chart[25] 4
Swedish Albums Chart 9
UK Albums Chart 15
U.S. Billboard 200 1
U.S. Billboard Top R&B/Hip-Hop Albums 3
U.S. Billboard Top Rap Albums 3
Chart (2017)
Peak
position
Australian Albums (ARIA)[26]
28

Certifications[edit]
Country
Certification
Australia Platinum[27]
Austria Gold[28]
Brasil Gold[29]
Canada 2× Platinum[30]
Denmark Gold[31]
France Gold[32]
Germany Gold[33]
Ireland 2× Platinum[34]
Italy Platinum[35]
New Zealand Platinum[36]
Switzerland Platinum[37]
United States 2× Platinum[38]
References[edit]
Jump up ^ "Collision Course (with DVD): Jay-Z, Linkin Park: Music". Amazon.com. Retrieved 2010-07-26.
Jump up ^ "Gold & Platinum - RIAA". RIAA. Retrieved 2017-08-17.
^ Jump up to: a b Wiederhorn, Jon (2004-10-28). "Jay-Z And Linkin Park Show Danger Mouse How It's Done – News Story | Music, Celebrity, Artist News | MTV News". Mtv.com. Retrieved 2010-07-26.
Jump up ^ Making of Collision Course
^ Jump up to: a b Jeffries, David. "Collision Course". allmusic. allmusic. Retrieved 2011-07-25.
Jump up ^ Christgau, Robert. "Jay-Z/Linkin Park Extended Discography". Robert Christgau. Retrieved 2011-07-25.
^ Jump up to: a b Fiore, Raymond (3 December 2004). "MTV Ultimate Mash-Ups Presents— Jay-Z/Linkin Park: Collision Course (2004)". Entertainment Weekly. CNN. Retrieved 2011-07-25.
Jump up ^ Lynskey, Dorian (26 November 2004). "Jay-Z/Linkin Park, Collision Course". The Guardian.
^ Jump up to: a b Tindal, K.B. (15 December 2004). "Jay-Z/Linkin Park Collision Course Review". HipHopDX. HipHopDX. Retrieved 2011-07-25.
Jump up ^ Long, Pat (11 December 2004). "Jay-Z/Linkin Park: Collision Course". NME. NME. Retrieved 2011-07-22.
^ Jump up to: a b Joun, Steve (7 December 2004). "Jay-Z/Linkin Park :: Collision Course :: Warner Bros. Records". RapReviews. Retrieved 2011-07-22.
Jump up ^ Hoard, Christian (9 December 2004). "Collision Course review". Rolling Stone. Rolling Stone. Retrieved 2011-07-22.
Jump up ^ Sylvester, Nick (4 January 2005). "Rap-Metal in the Winter Sky, and 99 Dead Problems Go By". Village Voice. Archived from the original on 24 August 2011. Retrieved 2011-07-22.
Jump up ^ Lipshutz, Jason (February 4, 2015). "Top 10 Biggest GRAMMY Upsets Of The Past 10 Years". Billboard. Prometheus Global Media.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". australian-charts.com. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". austriancharts.at. Retrieved 2012-02-10.
Jump up ^ "Jay-Z / Linkin Park – Collision Course". ultratop.be. Retrieved 2012-02-10.
Jump up ^ "Jay-Z / Linkin Park – Collision Course". ultratop.be. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". danishcharts.com. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". dutchcharts.nl. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". lescharts.com. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". italiancharts.com. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". charts.org.nz. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". norwegiancharts.com. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "Jay-Z / Linkin Park – Collision Course". portuguesecharts.com. Retrieved 2012-02-10.
Jump up ^ "Australian Albums Chart: 31 July 2017". Australian Recording Industry Association. Retrieved July 30, 2017.
Jump up ^ "ARIA Charts - Accreditations - 2004 Albums". Aria.com.au. Archived from the original on 2012-01-25. Retrieved 2012-02-10.
Jump up ^ "IFPI Austria – Verband der Österreichischen Musikwirtschaft" (in German). Ifpi.at. Archived from the original on 2010-02-01. Retrieved 2012-02-10.
Jump up ^ "Associayco Brasileira de Produtores de Disco". ABPD. 2012-01-19. Archived from the original on 2011-09-28. Retrieved 2012-02-10.
Jump up ^ "Canadian Recording Industry Association (CRIA): Gold & Platinum - February 2005". Cria.ca. Archived from the original on 2011-07-17. Retrieved 2012-02-10.
Jump up ^ "Hitlisten.NU". Hitlisterne.dk. Retrieved 2012-02-10.
Jump up ^ "Disque en France". Disque en France. Archived from the original on 2011-08-29. Retrieved 2012-02-10.
Jump up ^ "Bundesverband Musikindustrie: Gold-/Platin-Datenbank". Musikindustrie.de. Retrieved 2012-02-10.
Jump up ^ Jaclyn Ward (1962-10-01). "The Irish Charts – All there is to know". Irishcharts.ie. Archived from the original on 2009-06-04. Retrieved 2012-02-10.
Jump up ^ "FIMI – Federazione Industria Musicale Italiana". Fimi.it. Retrieved 2012-02-10.
Jump up ^ "The Official New Zealand Music Chart". Rianz.org.nz. Archived from the original on 2008-12-16. Retrieved 2012-02-10.
Jump up ^ Steffen Hung. "The Official Swiss Charts and Music Community". Swisscharts.com. Archived from the original on 2011-05-15. Retrieved 2012-02-10.
Jump up ^ "American album certifications – Jay Z – Collision Course". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
Preceded by
How to Dismantle an Atomic Bomb by U2 Billboard 200 number-one album
December 12–18, 2004 Succeeded by
The Red Light District by Ludacris
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Glam rock
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Glam rock
Stylistic origins
Rock and roll
bubblegum pop
art rock
hard rock
cabaret
1950s pop
psychedelic rock
science-fiction
Cultural origins
Early 1970s, United Kingdom
Derivative forms
Punk rock
gothic rock
synthpop
New Romantic
post-punk
Oi!
Britpop
new wave
Fusion genres
Glam metal
glam punk
Other topics
Androgyny
Visual kei
Glam rock is a style of rock that developed in the United Kingdom in the early 1970s performed by musicians who wore outrageous costumes, makeup, and hairstyles, particularly platform shoes and glitter.[1] Glam artists drew on diverse sources across music and throwaway pop culture,[2] ranging from bubblegum pop and '50s rock and roll to cabaret, science fiction, and complex art rock.[3][4] The flamboyant clothing and visual styles of performers were often camp or androgynous, and have been described as playing with nontraditional gender roles.[5] "Glitter rock" was another term used to refer to a more extreme version of glam.[6]
The UK charts were inundated with glam rock acts from 1971 to 1975, with glam also manifesting in all areas of British popular culture during this period.[7] The March 1971 appearance of T. Rex frontman Marc Bolan on the BBC's music show Top of the Pops, wearing glitter and satins, is often cited as the beginning of the movement. Other British glam rock artists include David Bowie, Mott the Hoople, Sweet, Slade, Mud, Roxy Music and Gary Glitter. In the US the scene was much less prevalent, with Alice Cooper and Lou Reed the only American artists to score a hit.[7] Other US glam artists include New York Dolls, Iggy Pop and Jobriath. It declined after the mid-1970s, but influenced other musical genres including punk rock, glam metal, New Romantic, and gothic rock and has sporadically revived since the 1990s.
Contents
[hide]
1 Characteristics
2 History
3 Influence
4 Film
5 See also
6 References
7 Further reading
8 External links
Characteristics[edit]
David Bowie during the Ziggy Stardust and the Spiders Tour.
Glam rock can be seen as a fashion as well as musical subgenre.[8] Glam artists rejected the revolutionary rhetoric of the late 1960s rock scene, instead glorifying decadence, superficiality, and the simple structures of earlier pop music.[9][10] Musically it was very diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music.[8] Artists drew on such musical influences as bubblegum pop, the brash guitar riffs of hard rock, stomping rhythms, and '50s rock 'n roll, filtering them through the recording innovations of the late 1960s.[9][11][12]
Visually it was a mesh of various styles, ranging from 1930s Hollywood glamour, through 1950s pin-up sex appeal, pre-war cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots.[4] Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics.[13]
It was prefigured by the flamboyant English composer Noël Coward, especially his 1931 song “Mad Dogs and Englishmen”, with music writer Daryl Easlea stating, "Noël Coward’s influence on people like Bowie, Roxy Music and Cockney Rebel was absolutely immense. It suggested style, artifice and surface were equally as important as depth and substance. Time magazine noted Coward’s ‘sense of personal style, a combination of cheek and chic, pose and poise’. It reads like a glam manifesto.”[14] Showmanship and gender identity manipulation acts included the Cockettes and Alice Cooper, the latter of which combined glam with shock rock.[15]
History[edit]
Marc Bolan of T. Rex performing on ABC's In Concert, 1973
Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of, and a reaction against, those trends.[8] Its origins are associated with Marc Bolan, who had renamed his folk duo T. Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit (and first UK Number 1 hit), "Hot Love".[16] The Independent states that Bolan's appearance on Top of the Pops “permitted a generation of teeny-boppers to begin playing with the idea of androgyny”.[14] T. Rex's 1971 album Electric Warrior received critical acclaim as a pioneering glam rock album.[17] In 1973, a few months after the release of the album Tanx, Bolan captured the front cover of Melody Maker magazine with the declaration "Glam rock is dead!".[18]
Noddy Holder (right) and Dave Hill (left) of Slade, near the height of their fame in 1973, showing some of the more extreme glam rock fashions
From late 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional makeup, mime and performance into his act.[19] Bowie, in a 1972 interview in which he noted that other artists described as glam rock were doing different work, said "I think glam rock is a lovely way to categorize me and it's even nicer to be one of the leaders of it".[20] Bolan and Bowie were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust.[19] The popularity of glam rock in the UK was such that three glam rock bands had major UK Christmas hit singles; "Merry Xmas Everybody" by Slade, "I Wish It Could Be Christmas Everyday" by Wizzard and "Lonely This Christmas" by Mud, all of which have remained hugely popular.[21][22] Glam was not only a highly successful trend in UK popular music, it became dominant in all other aspects of British popular culture during the 1970s.[7]
Mott the Hoople, c. 1974
A heavier variant of glam rock, emphasising guitar riff centric songs, driving rhythms and live performance with audience participation, were represented by bands like Slade and Mott the Hoople, with later followers such as Def Leppard, Cheap Trick, Poison, Kiss, Bon Jovi, Quiet Riot and Oasis, some of which either covered Slade compositions, or composed new songs based on Slade templates. While highly successful in the single charts in the UK, very few of these musicians were able to make a serious impact in the US; David Bowie was the major exception, becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed, Iggy Pop, New York Dolls and Jobriath, often known as "glitter rock" and with a darker lyrical content than their British counterparts.[23]
In the UK, the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and the independent band with whom he often performed known as the Glitter Band. The Glitter Band and Gary Glitter had between them eighteen top ten singles in the UK between 1972 and 1975.[6] A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, had hits on the British single charts in 1973 and 1974.[19][24] Quatro directly inspired the pioneering Los Angeles based all-girl group The Runaways.[25] Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, The Rolling Stones.[19] Punk rock, often seen as a reaction to the artifice of glam rock, but using some elements of the genre, including makeup and involving cover versions of glam rock records,[26] helped end the fashion for glam from about 1976.[23]
Influence[edit]
Kiss on stage in 2013
While glam rock was exclusively a British cultural phenomenon, with Steven Wells in The Guardian writing "Americans only got glam second hand via the posh Bowie version", covers of British glam rock classics are now piped-muzak staples at US sporting events.[27] Although glam rock went into a steep decline in popularity in the UK in the second half of the 1970s, it had a direct influence on acts that rose to prominence later, including Kiss and American glam metal acts like Quiet Riot, W.A.S.P., Twisted Sister and Mötley Crüe.[28] It was a major influence on the New Romantics in the UK; acts like Adam Ant and Flock of Seagulls extended it, and its androgyny and sexual politics were picked up by acts including Culture Club, Bronski Beat and Frankie Goes to Hollywood.[29] It also had an influence on the formation of gothic rock, which was completely informed by the makeup, clothes, theatricality and sound, and even on punk rock, which adopted some of the performance and persona-creating tendencies of the genre, as well as the genre's emphasis on pop-art qualities and simple but powerful instrumentation.[23] In Japan in the 1980s, visual kei was strongly influenced by glam rock aesthetics.[30] Glam has since enjoyed continued influence and sporadic modest revivals in R&B crossover act Prince,[31] and bands such as Marilyn Manson, Suede, Placebo,[32] Chainsaw Kittens, Spacehog and the Darkness.[33]
Film[edit]
Movies that reflect glam rock aesthetics include:
T. Rex's documentary Born to Boogie (1972)[34]
David Bowie's Ziggy Stardust and the Spiders from Mars: The Motion Picture (1973)[35]
Brian De Palma's Phantom of the Paradise (1974)[36]
Gary Glitter's Remember Me This Way (1974)[37]
The Rocky Horror Picture Show (1975)[36]
Slade's Slade in Flame (1975)[38]
Never too Young to Rock (1975)[39]
Todd Haynes's Velvet Goldmine (1998)[40]
John Cameron Mitchell's Hedwig and the Angry Inch (2001)[41][42][43]
Kieran Turner's Jobriath A.D. (2012)[44]
See also[edit]
List of glam rock artists
Glam punk
References[edit]
Jump up ^ "Glam Rock". Encarta. Archived from the original on 31 October 2009. Retrieved 21 December 2008.
Jump up ^ Lester, Paul (11 June 2015). "Franz and Sparks: this town is big enough for both of us". The Guardian.
Jump up ^ "Glam Rock | Significant Albums, Artists and Songs". AllMusic. Retrieved 11 November 2013.
^ Jump up to: a b P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-472-06868-7, pp. 57, 63, 87 and 141.
Jump up ^ Reynolds, Simon (1995). The Sex Revolts: Gender, Rebellion, and Rock 'N' Roll. London: Serpents Tail. p. xiii.
^ Jump up to: a b V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, p. 466.
^ Jump up to: a b c Auslander, Philip (2006). Performing Glam Rock: Gender and Theatricality in Popular Music. University of Michigan Press. p. 49.
^ Jump up to: a b c R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, pp. 124-5.
^ Jump up to: a b Reynolds, Simon. "Simon Reynolds Speaks at Fordham on History of Glam Rock". Fordham English. Retrieved 12 November 2016.
Jump up ^ "Glam Rock". Britannica. Retrieved 12 November 2016.
Jump up ^ Erlewine, Stephen Thomas (2001). All Music Guide: The Definitive Guide to Popular Music. Hal Leonard Corporation. p. 3.
Jump up ^ Farber, Jim. "Growing Up Gay to a Glam Rock Soundtrack". New York Times. Retrieved 11 November 2016.
Jump up ^ "Glam rock", AllMusic. Retrieved 26 June 2009.
^ Jump up to: a b "Box-set billed as the definitive guide to Seventies music genre has further ostracised its disgraced former star". The Independent. Retrieved 15 September 2017
Jump up ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-472-06868-7, p. 34.
Jump up ^ Mark Paytress, Bolan – The Rise And Fall Of A 20th Century Superstar (Omnibus Press 2002) ISBN 0-7119-9293-2, pp 180-181
Jump up ^ Huey, Steve. "Electric Warrior – T. Rex | Songs, Reviews, Credits, Awards | AllMusic". AllMusic. Retrieved 29 December 2014.
Jump up ^ Bolan, Marc (16 June 1973). "Glam Rock is Dead!". Melody Maker. Retrieved 4 January 2014.
^ Jump up to: a b c d P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in I. Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-472-06868-7, p. 72.
Jump up ^ "David Bowie is the Newest Rock Star Imported From England". Nashua Telegraph. Associated Press. 4 November 1972. Retrieved 11 November 2013.
Jump up ^ "UK's most popular Christmas song revealed". Nme.Com. Retrieved 12 December 2017.
Jump up ^ ""PRS for Music announces top 50 Christmas Songs (United Kimgdom)". 14 December 2012 PRS press release.
^ Jump up to: a b c P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in Ian Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-472-06868-7, p. 80.
Jump up ^ Rhodes, Lisa (2005). Ladyland: Women and Rock Culture. Philadelphia: University of Pennsylvania Press. p. 35.
Jump up ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, pp. 222-3.
Jump up ^ S. Frith and A. Goodwin, On Record: Rock, Pop, and the Written Word (Pantheon Books, 1990), ISBN 0-394-56475-8, p. 88.
Jump up ^ Wells, Steven (14 October 2008). "Why Americans don't get glam rock". The Guardian.
Jump up ^ R. Moore, Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis (New York, NY: New York University Press, 2009), ISBN 0-8147-5748-0, p. 105.
Jump up ^ P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in I. Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-7546-4057-4, p. 79.
Jump up ^ I. Condry, Hip-hop Japan: Rap and the Paths of Cultural Globalization (Duke University Press, 2006), ISBN 0-8223-3892-0, p. 28.
Jump up ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 227.
Jump up ^ P. Buckley, The Rough Guide to Rock (London: Rough Guides, 3rd edn., 2003), ISBN 1-84353-105-4, p. 796.
Jump up ^ R. Huq, Beyond Subculture: Pop, Youth and Identity in a Postcolonial World (Abingdon: Routledge, 2006), ISBN 0-415-27815-5, p. 161.
Jump up ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 81.
Jump up ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 55.
^ Jump up to: a b P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 63.
Jump up ^ International Who's Who in Popular Music 2002 Europa International Who's Who in Popular Music (Abingdon: Routledge, 4th edn., 2002), ISBN 1-85743-161-8, p. 194.
Jump up ^ "On The Film Programme this week". The Film Programme. BBC Radio 4. 6 April 2007. Retrieved 12 February 2010.
Jump up ^ L. Hunt, British Low Culture: From Safari suits to Sexploitation (Abdindon: Routledge, 1998), ISBN 0415151821, p. 163.
Jump up ^ P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 228.
Jump up ^ Holden, Stephen (20 July 2001). "FILM REVIEW; Betwixt, Between On a Glam Frontier". The New York Times. Retrieved 11 November 2013.
Jump up ^ Emerson, Jim (3 August 2001). "Hedwig and the Angry Inch Movie Review (2001)". Roger Ebert. Retrieved 11 November 2013.
Jump up ^ Travers, Peter (20 July 2001). "Hedwig and the Angry Inch | Movie Reviews". Rolling Stone. Retrieved 11 November 2013.
Jump up ^ Turner, Kieran. "Jobriath A.D.: His Time Has Come". Huffington Post. Retrieved 20 September 2012.
Further reading[edit]
Philip Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music Ann Arbor, University of Michigan Press, 2006 ISBN 0-472-06868-7
Rock, Mick, Glam! An Eyewitness Account Omnibus Press, 2005 ISBN 1-84609-149-7
Reynolds, Simon Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century Day Street Press, 2016 ISBN 978-0062279804
External links[edit]
A Biased History of UK Glam Rock
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http://www.doremi.co.uk/glam/
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Anatolian rock

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https://az.wikipedia.org/wiki/Glam_rock
Glam rock – Azerbaijani
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https://ca.wikipedia.org/wiki/Glam_rock
Glam rock – Catalan
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https://cs.wikipedia.org/wiki/Glam_rock
Glam rock – Czech
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https://da.wikipedia.org/wiki/Glam_rock
Glam rock – Danish
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https://de.wikipedia.org/wiki/Glam_Rock
Glam Rock – German
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https://es.wikipedia.org/wiki/Glam_rock
Glam rock – Spanish
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https://eu.wikipedia.org/wiki/Glam_rock
Glam rock – Basque
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values: گلم راک – Persian

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https://fr.wikipedia.org/wiki/Glam_rock
Glam rock – French
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https://gl.wikipedia.org/wiki/Glam_rock
Glam rock – Galician
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https://hr.wikipedia.org/wiki/Glam_rock
Glam rock – Croatian
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https://id.wikipedia.org/wiki/Glam_rock
Glam rock – Indonesian
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https://is.wikipedia.org/wiki/Glysrokk
Glysrokk – Icelandic
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https://it.wikipedia.org/wiki/Glam_rock
Glam rock – Italian
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values: גלאם רוק – Hebrew

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https://lv.wikipedia.org/wiki/Glemroks
Glemroks – Latvian
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https://lt.wikipedia.org/wiki/Glamrokas
Glamrokas – Lithuanian
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https://hu.wikipedia.org/wiki/Glam_rock
Glam rock – Hungarian
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https://nl.wikipedia.org/wiki/Glamrock
Glamrock – Dutch
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https://no.wikipedia.org/wiki/Glamrock
Glamrock – Norwegian
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no
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https://nn.wikipedia.org/wiki/Glamrock
Glamrock – Norwegian Nynorsk
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https://uz.wikipedia.org/wiki/Glam_rock
Glam rock – Uzbek
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https://pl.wikipedia.org/wiki/Glam_rock
Glam rock – Polish
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https://pt.wikipedia.org/wiki/Glam_rock
Glam rock – Portuguese
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https://ro.wikipedia.org/wiki/Glam_rock
Glam rock – Romanian
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values: Глэм-рок – Russian

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https://sk.wikipedia.org/wiki/Glam_rock
Glam rock – Slovak
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https://sl.wikipedia.org/wiki/Glam_rock
Glam rock – Slovenian
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values: Глам рок – Serbian

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https://sh.wikipedia.org/wiki/Glam_rock
Glam rock – Serbo-Croatian
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https://fi.wikipedia.org/wiki/Glam_rock
Glam rock – Finnish
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https://sv.wikipedia.org/wiki/Glamrock
Glamrock – Swedish
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values: แกลมร็อก – Thai

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https://tr.wikipedia.org/wiki/Glam_rock
Glam rock – Turkish
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