Friday, December 4, 2009

Beth Ditto: Rock and Vogue Personified

In this post, I salute Beth Ditto, lead singer of the soulful punk trio The Gossip and the most unlikely rising star of the fashion industry. Beth is an overweight lesbian from Arkansas who doesn't shave her armpits or wear deodorant, who often strips down to her underwear onstage, is a fierce supporter of feminism and DIY and has intimidating vocal chops.

The Gossip, a favorite band of mine, has received little recognition in the US (they're more successful in the UK) until tabloids and gossip bloggers got a look at Ditto: her experimental appearance is both shocking and intriguing. Basically, she declares herself a lover of fashion, REAL fashion, and at the same time denies the "rules" of the game: she's not interested in losing weight, she wears tight clothes that show off her form and likes to clash rather than blend in.

This video from a profile elaborates upon Ditto's unique rise to fame in the fashion and music world.

The reasons I admire Ditto are pointed out in this video. She fully appreciates the power and beauty of dressing oneself for fashion, that fashion is art, that the industry may be stereotyped as "shallow" but that doesn't make a lover of fashion so. I love that she isn't shamed because she doesn't fit the size 2 sample but IN FACT was mentored by super skinny supermodel Kate Moss and allowed to design her very line of clothing for British plus size boutique Evans. The clothes are outrageous and fun and punk and flashy and sexy. But they truly stand out because there are few outlets that allow women of a larger size wear such things.

Now she has become the rock star of "plus-sized fashion" a term that practically didn't exist, until now. She poses for magazine covers, flaunts her naked body and is chummy with the epically famous Chanel designer Karl Lagerfeld (left).

I truly admire Beth Ditto for her role in the fashion world because her genuine love of style and dressing for expression and fearlessness of fitting in has turned the industry's eyes on her; seemingly, body acceptance and a broader view of what can be in vogue and beautiful might be subject to change because of her.

When The Gossip was invited to play in Paris at Fashion Week for label Fendi, she was followed by another queer feminist, jouranlist Michelle Tea, who covered the experience for The Believer.
Tea writes:
"Even though I have been here all week, knowing that every moment was leading to this, watching Beth accosted by photographers and flattered by designers, I still cannot get over how this little band that I have known for so long, this indie queer feminist punk band, is the absolute star of the Fendi show. The reality is staggering. In many ways it shouldn't be a surprise — less-talented, less-interesting, less-charismatic artists get famous all the time. They just tend not to be so outspokenly queer, so flamboyantly fat, so poor in their roots, so disconnected from the music industry, with no secret dad producer or mom publicist. The Gossip got to this lit-up stage in Paris through the force of their own dogged dedication to their DIY garage-rock band. It makes my eyes fill with fucking tears."

I salute Beth Ditto and The Gossip -- true heros of fashion and rock music.

Beyond her role in fashion, Beth Ditto is just one cool bitch. She publicly bashed singer Katy Perry for her insanely popular song "I Kissed A Girl," which Ditto calls a "boner dyke anthem" for "straight girls who like to turn guys on by making out or like faking gay," among other valid disses.

And finally, but most importantly, The Gossip is a fuckin' rad band, in which Ditto sings with intense soul. The three-piece band is stripped down and garage-style, bassy, funky, danceable and lyrically divine.

I'm really happy for The Gossip and Beth Ditto. Enjoy the video for their song "Jealous Girls."

Tuesday, December 1, 2009

Branching Out: Punk's Assorted Sub-Genres: 4


ORIGINS:USA, West Coast, Late '70s
MEANING: Goth punk, sometimes called deathpunk, has its roots in early rock and roll from the 1950s and '60s, where some horror-themed acts romanticized death and monsters for novelty. Other influences were '70s camp acts like as Alice Cooper and KISS, whose quasi-evil personas were all part of the fun.

Horror movies (from the terrible ones to the best) were another direct influence, where bands drew from the spooky, epic and daunting power and themes the films possessed. Other influences were voodooism, Christianity, and surrealism. When it emerged in the late '70s as a legitimate punk offshoot, those who favored the dark and evil side of punk rock found a niche in Los Angeles, where the majority of the scene grew, and in New York where a smaller portion developed.

Goth punk has a very distinctive sound when compared to its other sube-genre brethren. Guitar chords were simple but echoey, with an emphasis on the bass and repetitive drumming. A spooky atmosphere was created with scratchy guitars and/or sinister synth sounds.

While the instruments' main purpose was to create eerie atmosphere, the singers (usually with gnarly voices) were left to create lyrics of diverse subject matter: some are lonesome, creepy and sad, while others were upbeat and tongue-in-cheek about cannibalism, murder and alien invasion.

Varied. Some bands, like LA's The Flesh Eaters, were merely black-clad and deviant-looking; others, like
Christian Death, above, took on a gothic, burlesque look with pale made-up faces and elements of lingerie. New York's The Cramps took musical cues from the early '60s rockabilly genre, and their look combined elements of 1960s kitsch and the kinky styles of bondage culture, seen below.

Basically, these bands aimed to look creepy, offbeat and wicked.

STARS: My pick for the biggest star in the goth punk genre are the self-proclaimed "horror punks" known as the Misfits. Musically, their early songs were short bursts of fury led by lead singer Glenn Danzig and his trademark howl. Song material was lifted straight out of B-rated horror films and even the Kennedy assassination.

They are iconic for their Fiend skull logo
, the "demon lock" hairstyle, and their constantly changing line-up since Danzig left the band in 1983. As the band re-formed, the musical style changed from furious punk jams to more lyrical and melodic rock -- all while keeping death and horror as their hallmark ethos.

How evil are the Misfits? Hell, these guys were once arrested for allegedly robbing the grave of a voodoo mistress in New Orleans, only to skip their court date to perform in Florida. I love this band, needless to say, and I saw them recently (with only one surviving original member) and they are as hard, fast, and evil as ever.

I couldn't find a video of the band actually performing that wasn't piss-poor quality, so here's a fan video with their horrific track "Last Caress" off their debut album
Static Age, aka the ONLY ALBUM THAT MATTERS.

Branching Out: Punk's Assorted Sub-Genres: 3


ORIGINS: United Kingdom, 1970s

Here we have what one could call the opposite of the art punks. Oi! punks were white working class fucks who were actually pissed (about not getting paid, being hassled by the police, unemployment, running out of booze), and were none too pleased with the "trendy university people using long words, trying to be artistic...and losing touch” in the words of Steve Kent, guitarist for Oi! punk band The Business.

The term "Oi!" is Cockney slang for "hey," and summarizes the meaning behind the movement: "Hey, stop talking, let's get fucked up."

SOUND: The sound of Oi! punk laid the format for most general "hardcore" punk music. It consists of ferocious drumming and explosive three-chord guitar riffs, often repetitive and varying slightly from song to song. Musicianship was NOT a major consideration for Oi! punks. Vocals were often shouted and usually hard to to discern to the untrained ear. It's common to hear a "shout and shout back" theme in their songs, in which the vocalist(s) are echoed by their audience or set up the crowd
for a response.

This is all part and parcel to the equality of the low-class nature of Oi! musicians and their fans. Oi! shows also set the standard that hardcore punks have adopted, where the stage is not elevated in the performance space so that the crowd and band are on the same (proverbial) level.

An Oi! punk's style is essential to their scene.
Note: There is some confusion and misinformation when it comes to "Oi!" punks and "Skinhead/Nazi" punks. Their looks are similar and some bands fall into both categories, but it is important to note that not all Oi! bands and fans are skinheads, Nazi's or sympathizers. It happens to be that the source of the Oi! movement also has roots in the skinhead/Nazi punk movement. While there are similarities, it's important to not lump them all in the same racist category, as many Oi! punks are strongly against racism or bigotry.

Many Oi! punks wore their hair short, mohawked or shaved completely. Tight jeans or camouflage pants were worn, sometimes bleach splattered and worn with suspenders. Oi! punks favored plain white shirts or band t shirts, bomber jackers, plain
vests and lots of tattoo ink. Footwear was almost solely high boots, from 14 to 20 eyes. The look presented unification among its (pretty much all male)members, a disregard for anything "fancy" and allowed the freedom to dive into a mosh pit without restraint.

STARS: There were many notable acts of the Oi! scene, from the beginning to recent days. Of the original crop, there were Cockney Rejects, Angelic Upstarts and the 4-Skins. A second wave brought bands like The Business, Cocksparrer, Peter and the Test Tube Babies and others.

Here's a video by the 4-Skins, one of the most popular bands in the scene and the one with the best name.

Branching Out: Punk's Assorted Sub-Genres: 2



Art punk was born from the minds of art school students, flavored with experimentation and the spirit of the avant-garde. Their performances were visually artistic and their audial projections were poetic, meaningful or otherwise crazy as hell.

From the spoken word musings of Patti Smith, to bands like Wire and The Ex who incorporated jazz, noise and ethnic sounds into their music, to the start/stop beats and irregular rhythms of Fugazi and the Talking Heads' whimsical, esoteric lyrics and various multimedia projects, to the countless other acts of similar and different veins, art punk is a diverse musical set.

Basically, as free as art itself can be, art punks absorbed the themes and theories of their artistic beliefs and fused them into their raging, rebellious sound.

Can you guess that art punks not only took their fashion sense as seriously as their music, but are as hard to categorize as a singular trend? Since the sounds and styles of art punk acts varied, their fashions were just as poignant.

One example: The Talking Heads (formed at RISD and once called "The Artistcs," legit), see image at top, were known to wear suits and trousers in a dazzling orgy of colors and prints. While not a reliable source, my ex-boyfriend and rabid Talking Heads fan told me he heard lead guitarist and vocalist David Byrne talk about trying to purposely make his head look small in contrast to his body by wearing super oversized suits. Why? It's art, baby.

As much as I'd like to delve into specifics of art punk fashion, it's hard enough to classify the genre (due to cross-over categorization) and the looks of each act vary in terms of the dramatic, the deliberate, the non-existent and beyond).

"The Only Band That Matters," The Clash, from England are my choice as the prototypical art punk performers. Straight from the source in England the the 1970s, the Clash fused sounds from around the world and posed passionate political statements in their lyrics, best exemplified by managing to get everyone dance on their track "Rock the Casabah" while sneaking in lyrics on the Iranian clampdown on imports of Western music. Without hatred or a contrived look, the Clash influenced thousands, broke the mold and made punk rock into art.

I'll also throw in a local act of whom I've had the pleasure to see and meet, Rhode Island's [The Viennagram]. Chock full of art, burlesque and kitchy influence, the Viennagram are a band that rattle the senses with visual and audible mayhem. Check them out at or just watch this video to get the idea

Monday, November 30, 2009

Branching Out: Punk's Assorted Sub-Genres: 1

So punk music has been born and the genre is full of culture, meaning and fabulous fashion. Over the years, groups from all over have sectioned off and branched out -- taking the spirit of punk and diversifying.

Where to begin?


ORIGIN: England, 1970s

Punk music that promotes anarchy, the abandonment of rules/government. Anarcho punks are anti- something (or everything), whether it be government, war, religion, or various cultural beliefs. Many participate in direct action and protest, such as refusal to work, squatting, dumpster diving, social disobedience, hacktivism, and sometimes violent practices of vandalism, property damage, rioting and overall fucking shit up.

Fast, message-centric songs, structure-be-damned. Essential anthem is the Sex Pistol's "Anarchy in the UK," which basically summed up the early sound. (Ironically, the Sex Pistols were
formed in some what of a present-day boy band style, i.e. selected based on their looks for the purpose of selling sex toys and bondage gear. Not very anarchist).

More contemporary anarcho punk bands are the Dead Kennedys, Fear, Crass, D.O.A. and Flux of Pink Indians, among others. Later anarcho punks made their music harder and angrier than earlier acts, as they discovered more things to piss them off.

The anarcho punk look was extreme: they made bold fashion choices that corresponded to their extreme political beliefs. Mohawks, facial piercings and leather jackets (with spikes, studs, etc.) were
staples of look. Crazy colored hair, dramatic make up on females and a hard, mean mug on one's face were often used to accessorize their looks. Doc Martins or Grinders steel-toe boots were preferred footwear, because an anarcho punk must dress as though there were about to dismantle the world at any moment.

DIY was crucial in achieving the look, as many punks worked hard to create their original adornments. Clothes were deliberately deconstructed as a "fuck you" to the proper way of dressing. The look of an anarcho punk was meant to represent anarchy -- no rules!

The breakout stars of the scene are probably the least politically fueled and counter-intuitive of the genre, but they remain the Sex Pistols, because without them, anarchy might not have become the trend in punk music as it stands today.

Also, the film
SLC Punk! is a vibrant, funny and heartbreaking look into the lives of American anarcho punks that boasts a kick ASS soundtrack and tons of food for thought. HIGHLY RECOMMENDED.

Below is a fantastic scene from the film where the punk protagonist, Stevo, rants about anarchy in the UK, POSERZ and the origins of punk music.

Saturday, November 28, 2009

NYC: The Trunk of Punk


Trash culture + underground rock + New York City x n(significant artists) + 1 epic club = the birth of American punk rock.

Let's start with the basics. First, there's CBGB, the famous club that housed anyone who's anyone in music, and was the home base for NYC punk rockers. Located in the artistic haven of Greenwich Village, this outfit drew all the weirdos, crazies and performers.

In walks Richard Hell, bassist of CBGB's favorite band, Television, and later of Richard Hell and the Voidoids. He is credited as the inventor of the look of punk rock: his hair is cut short and spiky, his shirts are torn and
written upon. He uses safety pins to attach his homemade garments. He is also quite easy on the eyes (I think so, anyway). His band, the Voidoids, is also responsible for the quintessential punk rock anthem, "Blank Generation," seen below.

Hell and his comrades, including the eminent Patti Smith, Rhode Island's Talking Heads, Blondie and about 30 other acts performed in CBGB and drew the scene together. Lou Reed and Iggy Pop rounded out what had become the early punk scene.

And then there's the band everyone remembers, The Ramones. They
took all of the angst, the politics, the meaning and condensed it
into fast, sucker punch songs. While Hell and others poeticized,
the Ramones said point-blank and dimly "I Wanna Be Your Boyfriend"
and "I Don't Wanna Go Down to the Basement." They are known as the
first punk band, depending on who you ask.

Their album cover is a punk fashion standard, of which a component is... standardization. As a band, the Ramones decided on assuming the same pseudonym, just for the fun of it. They adopted a shared look -- long, black, shaggy hair that fell in front of their faces (some say this worked well because they were ugly), ripped, straight legged jeans, beat-up Converse sneakers, t-shirts and leather jackets, and of course, the bad ass sunglasses.

Their songs were fast and loud, usually starting with a "1 2 3 4 !" shout before they unleashed their music upon their New York audiences. Legs McNeil, who co-founded Punk magazine (which came out of the Greenwich Village scene around the same time) described the impact of the Ramones' first performance at CBGB: "They were all wearing these black leather jackets. And they counted off this song...and it was just this wall of noise.... They looked so striking. These guys were not hippies. This was something completely new."

Their iconic style and music is still significant today, if you
notice how many Ramones t-shirts and Chuck Taylor's
are still crisp and clean on the bodies of middle schoolers
everywhere. Check out one of their later performances at CBGB
of "Blitzkrieg Bop."

Proto-Punk: The Dirty Roots

1. The first wave : Protopunk

The early traces of the sound and look of punk rock came into play on the border of the 1960s and 1970s. The sound was bled from bits of early garage rock and experimental noise: The Stooges and The Velvet Underground, respectively, are notable influences/pioneers of punk rock. What set their sound apart from their guitar strumming contemporaries was an utter disregard for the rules of music -- many songs were disgruntled in their messages and in their delivery. Traditional melodies were
tossed in favor of noise. Instruments became weapons of sound-wave mutilation. Lyrics trashed politics and glorified getting fucked up.

The Velvets were an extension of the '60s psychedelia that came to bridge the gap into the madness of the punk explosion in the '70s. Style-wise, they were the epitome of New York Cool. Mods, as you could call them, The Velvet Underground's look was ultra-
hip and black, black, black (the official color of rock and roll). Not only was their crew decked in leather, dark shades and bed head, they had the most avant-garde artist of the times, Andy Warhol, managing their act. Lou Reed led the the band musically as they pushed artistic boundaries, especially their live performances which became explosive and unpredictable. Reed's monotone, sardonic singing voice left listeners chilled, and intrigued.

To quote,
"While the American west coast was undergoing the Summer of Love, andflower power, the typically east coast Velvets concerned themselves with darker subject matter: transvestites, heroin addiction, and sadomasochism. Also setting them apart from their contemporaries was their use of feedback and amplifier noise in a musical context, exemplified by the seventeen minute track “Sister Ray” from theirWhite Light/White Heat album." And so the tree grows from dirty roots.

Coming straight outta the nitty gritty Michigan exhaust pipe was Iggy Pop and the Stooges, a late '60s hard rock outfit that was the yin to the Velvet Underground's yang.

What I mean is, while Reed and Warhol were fucking
around with weird new sounds in New York, Iggy and his crew were thrashing around onstage screaming about being your dog, sent to search and destroy. The band is somehow known for playing to hostile audiences, prompting Iggy to perform outrageous acts of contortion and engaging violent banter and self-mutilation (above).

The Stooges are also known as pioneers of incorporating the vacuum cleaner, a household item, into their performances as an instrument. Iggy was known to smear hamburger meat upon his naked flesh and flash his genitals onstage. He also might have invented stage diving.

Their look evoked memories of glam rock, with the tight silver pants and impishly painted faces. However, their look lacked the fun
flamboyancy of the gender benders and instead packed a visceral punch to the gut -- as human blood and cow meat would.

With the Stooges, the clothes on their bodies meant little compared to the statements they made in their live performances and on their records. Iggy's sinewy, bare chest became their trademark.

The sound that inspired punk and still holds its own, here's the Velvet Underground with "Venus in Furs," a moody, groovy jam.

In this video of Iggy and The Stooges performing
"Sweet Sixteen," I see
Iggy as Mick Jagger if Mick
had been dropped on his head. This
performance is
definitely representative of the womb that birthed
modern punk rock.

P.S. Check out "Here Comes the Sun" by the Velvet Underground
and "The Passenger" by Iggy
Pop and the Stooges for additional

Friday, November 27, 2009

The Tree of Punk and Its Many (Rotten) Branches: An Introduction

Punk rock.
What these two words mean has been a debate in many circles-- from creaky 50 year olds in New York City to the skinny jeans-wearing 11 year old boys in basements of suburbia. Punk rock has mystified me, personally. It has inspired me, motivated me, and it has pissed me the fuck off. I've gotten into many arguments about punk rock, I've made some friends and enemies over punk rock, and have been made to feel pretty stupid at record stores -- because of punk rock.

"Punk" is a loaded word. In terms of rock music, it connotes aggression,
rough-ass-ness, and a disregard for composition and rules. It's tough and it's mean. I think it's safe to say that in its origins, punk rock was a way of saying "fuck you" to the then-contemporary rock scene. Punk = pissed off.

But punk was and is WAY more than music. Music is just a cog turning in the machine that is the punk movement, or the punk scene, or the punk manifesto. Fashion plays an epically huge role in these
aspects. I mean, sure, you can listen to Minor Threat or the Misfits or NOFX or the Ramones and feel like a bad-ass and hate your parents and want to light the world on fire, but how will people KNOW how you feel? How will the classmates/relatives/authoritative figures in your life realize that you are pissed off and a unique creature of rebellion (or rather, part of the movement? See? Got you there.)? Well, fuckface,

Simply, punk rock began with this:

This is a hefty genre to tackle, and despite punk's flair for defiance, punk fashion and music can be sub-catagorized. The posts that will precede this one will merely summarize what could likely fill dumpsters with knowledge, fact and opinion. So, forgive me for my brevity, but I shall attempt to analyze and report on one of the most expansive, stimulating and ever-evolving movements in rock and roll music.

Tuesday, September 29, 2009

Holy 80s! The Rise and Fall of Hair Metal

Once upon a time in the 1980s, a bunch of guys from Los Angeles' Sunset Strip put on some spandex, combed up their hair and picked up their guitars. What came of this was known as "glam metal," or the term I prefer,"hair metal," which MTV coined.

It's basically like this: at the dawn of the 1980's, hair metal emerged as cheapened and more commercially accessible brand of glam rock. Unlike the avant-garde rock music from the 1970s, the 80s incarnation relied on a mishmash of pop melodies, shred-heavy guitar solos and hard, spastic drumming.

While screeching vocals were often heard from the balls crazy lead singers, we owe this genre credit for inventing the "power ballad" (and yes, I mean that sarcastically). You know what the
power ballad is about: super cheesy lyrics, heartfelt, passionate singing from the huge-haired singer, and the slow building pace until the MEGA DRAMATIC CRESCENDO WALL OF SOUND that tops it off at the end.

Note: I am sure you can tell that I'm not a fan of this style of music. So I plan on making the best of it by analyzing the trends while making fun of them, which will be enjoyable for all of us.

Hair metal rose to fame in Los Angeles, California-- the land of all the glitters. The Sunset Strip is an epicenter scene-making
and glamour in LA, where many popular boutiques, rock clubs and nightclubs are located.
It was there where bands like Mötley Crüe (above) were drinking,
snorting and boning their way
to rock star status.

As I said earlier, the hair metal look was an evolved form of the glam rock aesthetic, zeroing in on the gaudiness and flamboyancy of acts like New York Dolls and Queen. However, what set them apart was the excessive nature of the decade and therefore nothing was too much: outrageously tight clothes, spandex and acid wash jeans, shrunken leather, animal print, rainbow color palettes and metal-studded everything. Bare chests were a must. Accessories were piled on, like scarves and chains. I can't imagine anything being "too wild" in their dressing rooms. Their costumes were the stuff Halloween dreams are made of. I truly wish I could interview Bret Michaels about the appeal of this fashion (and notice how his former glam looks are currently degrading into something icky).

Besides styling their bodies, hair metal acts took great care in dressing up their heads. In my research, I found no real explanation as to why the hair was so fucking huge. I asked my mom how and why she succumbed to the sky-high hair trends and her only response was "It seeps into society," with a shudder and a frown. I do love her response, though. Huge hair was in vogue for men and women alike. The wearers of metal hair made a bold statement, a statement of confidence, wildness and an aversion to wind, rain, snow, helmets and hats.
I don't know who are pictured on the left, but I think some of them are women. I'm honestly not sure, and I think that's hilarious.

The make up is downright baffling to me. I'm so perplexed! Unlike
Ziggy Stardust, who sculpted his fair face with makeup to create a futuristic, martian image, these "dudes" caked on the foundation, plastered their pouty lips with lipstick and liner and rouged up their cheeks with hot
pink blushes. Their eyes were not only lined but shadowed, usually in purples and blues. They. Looked. Like. Women. (right). And the women? They fucking loved it! These men were the epitome of sexy to many ladies in the 80s. What is sexy about sharing your expensive hairspray with your boyfriend, or envying his long lashes as you watch him whip your tube of Great Lash across his eyes? I really don't know. Thankfully I wasn't around to find out.

A source of their popularity must be traced back to MTV, which my mom reminded me was only created in 1981, right before the hair metal craze hit. MTV is certainly responsible for putting their music videos into heavy rotation, spreading the glittery vibes across the country and poisoning young girls with the songs of bands like Poison. The music videos showcased ultra-extravagant images of hot chicks, booze guzzling and wild partying. Except for the power ballad videos, which showed the guy throwing his bottle of booze because all of his wild partying led his hot chick to leave him, so he's sad and sings a song about it in a dimly lit room.

Note: What is "metal" about these bands? I think of metal and I think Metallica, Black Sabbath, Slayer, those crazies in Scandinavia, even 80s metal contemporaries Guns 'n Roses. But metal is hard, evil, trashing and face-melting. Alas, maybe I am missing the point. The huge hair stands alone.

Thankfully, it's gone now. Kurt Cobain killed it. Not intentionally, but an odd thing happened at the dawn of the 1990s. Something drastically opposite from hair metal came into fame, and the people responded. Hair metal was buried in its own shiny grave.

RIP Hair Metal.

Here's a song of Motley Crue's that I don't hate called Kickstart My Heart

I found this video in my research. I forgot how the US Senate became involved with lyrical obscenity in the 1980s and held trials enforcing censorship. Dee Snider, front man of Twisted Sister, was asked to speak. As someone who doesn't really enjoy the hair metal music, I can totally appreciate their rock and roll spirit and their "fuck you" attitude. I really respect Dee Snider for standing up against censorship.
Finally, here's a video of a British kid giving a tutorial on how to get glam metal hair. Enjoy!

Monday, September 28, 2009

Ziggy Stardust and the Gender Benders

Let me start with some pictures.

These pretty faces belong to David Bowie, in his character known as Ziggy Stardust.

The things I could write about David Bowie, even confined to the topic of rock and roll fashion, could probably sink a ship. He is a majestic and brilliant star in rock music and popular culture. He is one of my all time favorite artists.

That being said, I am here to write about this Ziggy Stardust character, a conceptual creation borne from Bowie's thoughts and ambitions. He first appeared in 1972 with the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Here we met Ziggy, an alien in human form from outer space, who was sent to Earth to attain rock and roll glory and teach humans about love and hope before the approaching apocalypse. Mr. Stardust is promiscuous, wild and full of drugs -- which lead to his tragic demise.

Bowie, who had attained modest success with his (fucking great) single "Space Oddity" in 1969, took an opportunity to musically and physically reinvent himself at the dawn of the 1970s.

Bowie made Ziggy into a splashy, colorful and oddly feminine character. His hair was a fiery red mullet, his face was made angular with extravagant neon makeup, his clothes bizarre and skin tight.

This trend in rock music became popular as "glam rock," a campy and flamboyant sense of humor never before seen in rock and roll. Some say that these glitter kids were distinguishing against the earthy hippy movement that had come to an end with the 1960s.

In the UK and America, Bowie, along with musical acts like Queen, New York Dolls (below), Gary Glitter, T. Rex and visual artist Andy Warhol became provocateurs of the ultra sexed and delightfully scandalous scene. Androgyny became vogue -- Ziggy was a sex symbol to all, Warhol's muse Edie Sedgwick boyish styling was devilish and captivating.

Bending gender was offensive and obscene to much of the general public, so naturally playing up the taboo sexuality was
part of the fun for the artists. Bowie infamously told
British media is 1972 that was was bisexual, which resulted in an uproar for the straight-laced masses. (Bowie admitted, perhaps 20 years later, that he was a
closet heterosexual and was more caught up in the fascination of bisexuality at the time.)
Ziggy Stardust and his male contemporaries reveled in transgender fashions: glitter, sequins, platform boots and feminine attire that often left little to the imagination (see left). Live performances were animated, hard-rocking, danceable and often times quite vulgar.

Ziggy and the gender benders also drew upon science fiction, futuristic, space age themes in their style of dress as well as in their musical material. In Bowie's case, his character literally fell to earth from outer space and often referenced his alien status in songs like "Starman" and "Moonage Daydream," to name a few.

Today, glam rock fashion still shines on. While the look isn't as in vogue as it once was, there is still a place for silver pants, platforms and bright orange eyeshadow. On the streets of big cities or the basement parties of small towns, girls and boys and aliens are still toying with the androgyny and fabulousness Ziggy and others made so scandalously chic back in the '70s.
Current scenesters embracing the glam rock look are many electro pop musicians and most famously, pop puff du jour Lady Gaga(right). While she is in no way a rock and roller, the Lady seems to channel Ziggy's other-worldly fashion sense with the same fearlessness.
Notable glam rockers keeping the spirit alive are Juliette Lewis and the band The Darkness, once thought to be revivers of glam rock in the 2000s with their 2003 album Permission to Land and their huge hit single I Believe in a Thing Called Love. The instantly classic music video hits upon almost every benchmark in the glam rock Bible, if there ever was such a thing.

The music of Bowie's Ziggy Stardust era is fantastic and memorable, but my dear readers, trust me -- Bowie is nothing if not a chameleon and a genius. Listen to as much of his diverse music as you can. He's a magical talent.

I'll leave you with two videos. The first is my favorite Bowie song from his Ziggy Stardust days, maybe even one of my most favorite songs in general: Rock 'n Roll Suicide, with a video of clips of Mr. Stardust at his best.

The second is a newsreel I found online chronicling the Ziggy madness in England in 1973. The sound quality is poor, but it's a fantastic glimpse at what this massive glam fashion phenomena was really like.

p.s. I'd most definitely be one of those screaming, crying girls if I had been there.