Bio-Alice Cooper
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Decadence 1969-76 (These are excerpts from my book "A History of Rock and Dance Music") As usual, the "dark age" of the early 1970s, mainly characterized by a general re-alignment to the diktat of mainstream pop music, was breeding the symptoms of a new musical revolution. In 1971 Johnny Thunders formed the New York Dolls, a band of transvestites, and John Cale (of the Velvet Underground's fame) recorded Jonathan Richman's Modern Lovers, while Alice Cooper went on stage with his "horror shock" show. In London, Malcom McLaren opened a boutique that became a center for the non-conformist youth. The following year, 1972, was the year of David Bowie's glam-rock, but, more importantly, Tom Verlaine and Richard Hell formed the Neon Boys, while Big Star coined power-pop. Finally, unbeknownst to the masses, in august 1974 a new band debuted at the CBGB's in New York: the Ramones. The future was brewing, no matter how flat and bland the present looked. Decadence-rock 1969-75 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Rock'n'roll had always had an element of decadence, amorality and obscenity. In the 1950s it caused its collapse and quasi-extinction. -