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Cock rock

From Wikipedia, the free encyclopedia

Genre of rock music
For other uses, seeCock rock (disambiguation).
Male cock-rocker displaying his bare chest
Robert Plant ofLed Zeppelin, considered one of the key acts in the development of cock rock, onstage in New York in 1973

Cock rock orbutt rock[1] is a description ofrock music that emphasizes an aggressive form ofmale sexuality. The style developed in the later 1950s, came to prominence in the 1960s and 1970s, and continues into the present day.

Characteristics

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Cock rock is amusical genre.[2][3][4] Philip Auslander usesSimon Frith's description of cock rock characteristics:

[C]ock-rock performance means an explicit, crude, 'masterful' expression of sexuality ... Cock-rock performers are aggressive, boastful, constantly drawing audience attention to their prowess and control. Their bodies are on display ...mikes and guitars arephallic symbols (or else caressed like female bodies), the music is loud, rhythmically insistent, built around techniques ofarousal and release. Lyrics are assertive and arrogant, but the exact words are less significant than the vocal styles involved, the shrill shouting andscreaming.[5]

Use of the term

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The meaning of the termcock rock has changed over time. It was first mentioned by an anonymous author in the New York–based undergroundfeminist publicationRat in 1970[6] to describe the male-dominated music industry, and became a synonym forhard rock, emphasizing the aggressive expression of male sexuality, oftenmisogynist lyrics and use ofphallic imagery.[7] The term was used by sociologistsSimon Frith andAngela McRobbie in 1978 to point to the contrast between the male-dominated subculture of cock rock which was "aggressive, dominating and boastful" and the more feminizedteenybop stars of pop music.[8]Led Zeppelin have been described as "the quintessential purveyors of 'cock rock'".[9] Other formative acts includethe Rolling Stones,the Who andJim Morrison ofthe Doors.[10]

In 1981, Frith described the characteristics of cock rock in a way that could apply to female performers, not just male ones.[5] In 2004, Auslander used this description of cock-rock characteristics to show thatSuzi Quatro (the first female bass player to become a major rockstar) is a female cock-rocker.[11]

Since the 1980s, the term has been sometimes interchangeable withhair metal orglam metal.[12] Examples of this genre include:Mötley Crüe,Ratt,Warrant,Extreme,Cinderella,Pretty Boy Floyd,Jackyl,L.A. Guns, andPoison.[13] Despite the name, many of these bands had or have large numbers of female fans.[14] The spoof documentaryThis Is Spinal Tap is an acclaimed parody of the genre.[15] In the 21st century, there was a revival of the genre with the sleaze metal movement in Sweden, with acts includingVains of Jenna.[16]

See also

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References

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  1. ^https://toiletovhell.com/toilet-radio-138-the-great-butt-rock-debate/
  2. ^Burton, Jack (Spring 2007)."Dude Looks Like A Lady: Straight Camp and the Homo-social World of Hard Rock".Forum, University of Edinburgh Postgraduate Journal of Culture & the Arts.04. University of Edinburgh: 10. RetrievedFebruary 9, 2014.
  3. ^DeLane Doktor, Stephanie (May 2008).Covering the tracks: exploring cross-gender covers of the Rolling Stones' 'Satisfaction'(PDF) (Thesis). University of Georgia. p. 24. RetrievedFebruary 9, 2014.{{cite thesis}}: CS1 maint: url-status (link)
  4. ^Ramirez, Michael (December 2007).Music, gender, and coming of age in the lives of indie rock performers(PDF) (Thesis). University of Georgia. p. 1. RetrievedFebruary 9, 2014.{{cite thesis}}: CS1 maint: url-status (link)
  5. ^abFrith, Simon (November 1981).Sound Effects: Youth, Leisure, and the Politics of Rock 'n' Roll. New York:Pantheon Books. p. 227.ISBN 978-0-394-50461-2.
    Cited inAuslander, Philip (January 28, 2004)."I Wanna Be Your Man: Suzi Quatro's musical androgyny"(PDF).Popular Music.23 (1). United Kingdom:Cambridge University Press: 2.doi:10.1017/S0261143004000030.S2CID 191508078. Archived fromthe original(PDF) on May 24, 2013. RetrievedJanuary 31, 2014.
  6. ^T. Cateforis,The Rock History Reader (CRC Press, 2007),ISBN 0-415-97501-8, p. 125.
  7. ^R. Shuker,Popular Music: the Key Concepts (Abingdon: Routledge, 2005, 2nd edn., 2005),ISBN 0-415-28425-2, pp. 130-1.
  8. ^M. Leonard,Gender in the Music Industry: Rock, Discourse and Girl Power (Aldershot: Ashgate Publishing, 2007),ISBN 0-7546-3862-6, pp. 24-6.
  9. ^S. Waksman,Instruments of Desire: the Electric Guitar and the Shaping of Musical Experience (Cambridge, MA: Harvard University Press, 2001),ISBN 0-674-00547-3, pp. 238-9.
  10. ^P. Auslander,Performing Glam Rock: Gender and Theatricality in Popular Music (University of Michigan Press, 2006),ISBN 0-472-06868-7, p. 201.
  11. ^Auslander, Philip (January 28, 2004)."I Wanna Be Your Man: Suzi Quatro's musical androgyny"(PDF).Popular Music.23 (1). United Kingdom:Cambridge University Press:1–16.doi:10.1017/S0261143004000030.S2CID 191508078. Archived fromthe original(PDF) on May 24, 2013. RetrievedFebruary 12, 2014.
  12. ^C. Klosterman,Fargo Rock City: a Heavy Metal Odyssey in Rural Nörth Daköta (Simon and Schuster, 2001),ISBN 0-7434-0656-7, pp. 100-1.
  13. ^"Hair metal",AllMusic retrieved December 30, 2010.
  14. ^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, pp. 109-110.
  15. ^J. Gottlieb and G. Wald, "Smells like teen spirit: riot girls, revolution and independent women in rock", in A. Ross and T. Rose, eds,Microphone Fiends: Youth Music & Youth Culture (London: Routledge, 1994),ISBN 0-415-90908-2, p. 259.
  16. ^M. Brown,"Vains of Jenna",Allmusic, retrieved June 19, 2010.

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