A Glam Man In A Dandy World

This book is a description of the people that had created the 'Dandy Movement' as a free expression of human's feeling against any common moral law of their time and present time.

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.

PART ONE. THE HOMELESSNESS OF MAN I. THE MEDICAL MISTAKE II. WANTED, AN UNPRACTICAL MAN III. THE NEW HYPOCRITE IV. THE FEAR OF THE PAST V. THE UNFINISHED TEMPLE VI. THE ENEMIES OF PROPERTY VII. THE FREE FAMILY VIII. THE WILDNESS OF DOMESTICITY IX. HISTORY OF HUDGE AND GUDGE X. OPPRESSION BY OPTIMISM XI. THE HOMELESSNESS OF JONES PART TWO. IMPERIALISM, OR THE MISTAKE ABOUT MAN I. THE CHARM OF JINGOISM II. WISDOM AND THE WEATHER III. THE COMMON VISION IV. THE INSANE NECESSITY PART THREE. FEMINISM, OR THE MISTAKE ABOUT WOMAN I. THE UNMILITARY SUFFRAGETTE II. THE UNIVERSAL STICK III. THE EMANCIPATION OF DOMESTICITY IV. THE ROMANCE OF THRIFT V. THE COLDNESS OF CHLOE VI. THE PEDANT AND THE SAVAGE VII. THE MODERN SURRENDER OF WOMAN VIII. THE BRAND OF THE FLEUR-DE-LIS IX. SINCERITY AND THE GALLOWS X. THE HIGHER ANARCHY XI. THE QUEEN AND THE SUFFRAGETTES XII. THE MODERN SLAVE PART FOUR. EDUCATION: OR THE MISTAKE ABOUT THE CHILD I. THE CALVINISM OF TO-DAY II. THE TRIBAL TERROR III. THE TRICKS OF ENVIRONMENT IV. THE TRUTH ABOUT EDUCATION V. AN EVIL CRY VI. AUTHORITY THE UNAVOIDABLE VII. THE HUMILITY OF MRS. GRUNDY VIII. THE BROKEN RAINBOW IX. THE NEED FOR NARROWNESS X. THE CASE FOR THE PUBLIC SCHOOLS XI. THE SCHOOL FOR HYPOCRITES XII. THE STALENESS OF THE NEW SCHOOLS XIII. THE OUTLAWED PARENT XIV. FOLLY AND FEMALE EDUCATION PART FIVE. THE HOME OF MAN I. THE EMPIRE OF THE INSECT II. THE FALLACY OF THE UMBRELLA STAND III. THE DREADFUL DUTY OF GUDGE IV. A LAST INSTANCE V. CONCLUSION THREE NOTES I. ON FEMALE SUFFRAGE II. ON CLEANLINESS IN EDUCATION III. ON PEASANT PROPRIETORSHIP

Discusses the history of rock and roll music in the comic book industry.

A history of glamour examines the phenemenon from its appearance in Paris in the final decades of the eighteenth century through today, discussing the nature of the magical allure, where it comes from, and what exactly is its magical elements.

Who are pop dandies? Why are stars like David Bowie, Jarvis Cocker, Pete Doherty and Robbie Williams so dandified? Taking up a wide range of British pop stars, Hawkins seeks to find out why so many have cast themselves in roles that often take style to absurd extremes. In this study, male pop artists are mapped against a cultural and historical background through a genealogy of personalities, such as Oscar Wilde, W.H. Auden, Andy Warhol, No?Coward, Derek Jarmen, David Beckham and countless others. A critical analysis of issues and approaches to musical performance through masculinity becomes the focal point of this fascinating study. Ranging from the sixties to beyond the twentieth century, The British Pop Dandy considers the construction of the male pop icon through the spectacle of videos, live concerts and films. Why do we derive pleasure from the performing body, and how is entertainment linked to categories of gender and sexuality? The author insists that pop performances can be understood through human characteristics that relate to the particulars of dandyism, camp and glamour, and this he theorizes through the work of Charles Baudelaire. One of the political objectives of the dandy is to liberate himself through a denial of the structures that assume fixed identity. Not least, it is acts of queering in pop music that characterize entire generations of male artists in the UK. Setting out to discover what distinguishes the British pop dandy, Hawkins considers the role of music and performance in the articulation of hyperbolic display. It is argued that the recorded voice is a construction that idealizes self-representation, and absorbs the listener's attention. Particularly, camp address in singing practice is taken up in conjunction with a discussion of intimacy, which forms part of the strategy of the performer. In a range of songs and videos selected for music analysis, Hawkins points to the uniqueness of the voice as it expresses a transgressive quali

Iain Topliss presents a scholarly study of the drawings by Peter Arno, William Steig, Charles Addams & Saul Steinberg that have graced the pages of the New Yorker magazine.

Manoel de Oliveira is the only filmmaker whose career spans from the silent era to the digital age, and yet there is little written in English about his extensive filmography. This volume, the first to discuss Oliveira's later works in English, fills this incredible gap in scholarship on the director with fresh and original analysis of over 50 of Oliveira's films, ranging from 1963's Rite of Spring to 2009's Eccentricities of a Blonde-haired Girl. Organized by tropes and topics, rather than chronological order of release, The Cinema of Manoel de Oliveira creates a unique lens through which to consider the director and the ways in which his work links cinema, literature, and other artforms. Hajnal Király sheds new light on Oliveira's filmography with new readings of his work in relation to 20th and 21st century history.