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.
[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]
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]
^T. Cateforis,The Rock History Reader (CRC Press, 2007),ISBN0-415-97501-8, p. 125.
^R. Shuker,Popular Music: the Key Concepts (Abingdon: Routledge, 2005, 2nd edn., 2005),ISBN0-415-28425-2, pp. 130-1.
^M. Leonard,Gender in the Music Industry: Rock, Discourse and Girl Power (Aldershot: Ashgate Publishing, 2007),ISBN0-7546-3862-6, pp. 24-6.
^S. Waksman,Instruments of Desire: the Electric Guitar and the Shaping of Musical Experience (Cambridge, MA: Harvard University Press, 2001),ISBN0-674-00547-3, pp. 238-9.
^P. Auslander,Performing Glam Rock: Gender and Theatricality in Popular Music (University of Michigan Press, 2006),ISBN0-472-06868-7, p. 201.
^R. Moore,Sells Like Teen Spirit: Music, Youth Culture, and Social Crisis (New York, NY: New York University Press, 2009),ISBN0-8147-5748-0, pp. 109-110.
^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),ISBN0-415-90908-2, p. 259.