Name	Rock music
Color	white
Bgcolor	crimson
Stylistic origins	Rock and roll, electric blues, folk music, country, blues
Cultural origins	1950s and 1960s, United Kingdom, United States
Instruments	Vocals, electric guitar, bass guitar, drums, synthesizer, keyboards
Popularity	Extremely high worldwide, since 1950s
Derivatives	New Age Music – Synthpop
Subgenrelist	List of rock genres
Subgenres	Alternative rock – Art rock – Beat music – Britpop – Desert rock – Detroit rock – Emo – Experimental rock – Garage rock – Glam rock – Group Sounds – Grunge – Hard rock – Heartland rock – Heavy metal – Instrumental rock – Indie rock – Jangle pop – Krautrock – Madchester – Post-Britpop – Power pop – Progressive rock – Protopunk – Psychedelia – Punk rock – Rock noir – Soft rock – Southern rock – Surf – Symphonic rock
Fusiongenres	Aboriginal rock – Afro-rock – Anatolian rock – Bhangra rock – Blues-rock – Country rock – Flamenco-rock – Folk rock – Funk rock - Glam Punk – Indo-rock – Industrial rock – Jazz fusion – Pop rock - Punta rock – Raga rock – Raï rock – Rap rock – Rockabilly – Rockoson – Samba-rock – Space rock – Stoner rock – Sufi rock
Regional scenes	Argentina – Armenia – Australia – Belarus – Belgium – Bosnia and Herzegovina – Brazil – Canada – Chile – China – Cuba – Croatia – Denmark – Dominican Republic – Estonia – Finland – France – Greece – Germany – Hungary – Iceland – India – Indonesia – Ireland – Israel – Italy – Japan – Spanish-speaking world – Latvia – Lithuania – Malaysia – Mexico – Nepal – New Zealand – Norway – Pakistan – Peru – Philippines – Poland – Portugal – Russia – Serbia – Slovenia – Spain – Sweden – Switzerland – Tatar – Thailand – Turkey – Ukraine – United Kingdom – United States – Uruguay – SFR Yugoslavia – Zambia
Other topics	Backbeat – Rock opera – Rock band – Performers – Hall of Fame – Social impact – List of rock music terms}}

Rock music is a genre of popular music that entered the mainstream in the 1960s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music. The sound of rock often revolves around the electric guitar, bass guitar, drums, and keyboard instruments such as Hammond organ, piano, or, since the late 60s, synthesizers. Rock music typically uses simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Guitar solos feature prominently in rock music; however, keyboard, saxophone and blues-style harmonica are also sometimes used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody".

In the late 1960s and early 1970s, rock music developed different subgenres. When it was blended with folk music it created folk rock, with blues to create blues-rock and with jazz, to create jazz-rock fusion. In the 1970s, rock incorporated influences from soul, funk, and Latin music. Also in the 1970s, rock developed a large number of subgenres, such as soft rock, glam rock, heavy metal, hard rock, progressive rock, and punk rock. Rock subgenres that emerged in the 1980s included New Wave, hardcore punk and alternative rock. In the 1990s, rock subgenres included grunge, Britpop, indie rock, and nu metal.

A group of musicians specializing in rock music is called a rock band or rock group. Many rock groups consist of an electric guitarist, lead singer, bass guitarist, and a drummer, forming a quartet. Some groups omit one or more of these roles or utilize a lead singer who plays an instrument while singing, sometimes forming a trio or duo; others include additional musicians such as one or two rhythm guitarists or a keyboardist. Rock bands from some genres, particularly those related to rock's foundations in rock and roll, include a saxophone. More rarely, groups also utilize bowed stringed instruments such as violins or cellos, and brass instruments such as trumpets or trombones.

In the new millennium the term rock has been used as a blanket term including forms such as pop music, reggae music, soul music, and sometimes even hip hop, with which it has often been contrasted through much of its history.

Background (1950s-early 1960s)

Rock and roll

The foundations of rock music are in rock and roll, which originated in the United States during the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a mixing together of various black musical genres of the time, including rhythm and blues and gospel music; in addition to country and western. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, and is credited with first using the phrase "rock and roll" to describe the music.

There is much debate as to what should be considered the first rock and roll record. One contender is "Rocket 88" by Jackie Brenston and his Delta Cats (in fact, Ike Turner and his band The Kings of Rhythm), recorded by Sam Phillips for Sun Records in 1951. Four years later, Bill Haley's "Rock Around the Clock" (1955) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new wave of popular culture.

It has been argued that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record, but, at the same time, Big Joe Turner's "Shake, Rattle & Roll", later covered by Haley, was already at the top of the Billboard R&B; charts. Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent.

Rock and roll has been seen as leading to a number of distinct sub-genres, including rockabilly, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley. In contrast doo wop placed an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre later gained its name), which were usually supported with light instrumentation and had its origins in 1930s and 40s African American vocal groups. Acts like The Crows, The Penguins, The El Dorados and The Turbans all scored major hits, and groups like The Platters, with songs including "The Great Pretender" (1955), and The Coasters with humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the period.

In the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to Britain. Lonnie Donegan's 1955 hit "Rock Island Line" was a major influence and helped to develop the trend of skiffle music groups throughout the country, many of which, including John Lennon's The Quarrymen, moved on to play rock and roll.

Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s. By 1959, the death of Buddy Holly, The Big Bopper and Richie Valens in a plane crash, the departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of the payola scandal (which implicated major figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that the initial rock and roll era had come to an end.

The "in-between years"

in 2005]] The period of the later 1950s and early 1960s, between the end of the initial period of innovation and what became known in the USA as the "British Invasion", has traditionally been seen as an era of hiatus for rock and roll. More recently some authors have emphasised important innovations and trends in this period without which future developments would not have been possible. The rise of girl groups like The Chantels, The Shirelles and The Crystals placed an emphasis on harmonies and polished production that was in contrast to earlier rock and roll. Some of the most significant girl group hits were products of the Brill Building Sound, named after the block in New York where many songwriters were based, which included the number 1 hit for the Shirelles "Will You Love Me Tomorrow" in 1960, penned by the partnership of Gerry Goffin and Carole King.

Cliff Richard had the first British rock and roll hit with "Move It", effectively ushering in the sound of British rock. At the start of the 1960s, his backing group The Shadows was the most successful group recording instrumentals. While rock 'n' roll was fading into lightweight pop and ballads, British rock groups at clubs and local dances, heavily influenced by blues-rock pioneers like Alexis Korner, were starting to play with an intensity and drive seldom found in white American acts.

Also significant was the advent of soul music as a major commercial force. Developing out of rhythm and blues with a re-injection of gospel music and pop, led by pioneers like Ray Charles and Sam Cooke from the mid-1950s, by the early 60s figures like Marvin Gaye, James Brown, Aretha Franklin, Curtis Mayfield and Stevie Wonder were dominating the R&B; charts and breaking through into the main pop charts, helping to accelerate their desegregation, while Motown and Stax/Volt Records were becoming major forces in the record industry. All of these elements, including the close harmonies of doo wop and girl groups, the carefully crafted song-writing of the Brill Building Sound and the polished production values of soul, have been seen as influencing the Merseybeat sound, particularly the early work of The Beatles, and through them the form of later rock music. Some historians of music have also pointed to important and innovative technical developments that built on rock and roll in this period, including the electronic treatment of sound by such innovators as Joe Meek, and the elaborate production methods of the Wall of Sound pursued by Phil Spector.

Surf music

The instrumental rock and roll pioneered by performers such as Duane Eddy, Link Wray, and The Ventures was developed by Dick Dale who added distinctive "wet" reverb, rapid alternate picking, as well as Middle Eastern and Mexican influences, producing the regional hit "Let's Go Trippin'" in 1961 and launching the surf music craze. Like Dale and his Del-Tones, most early surf bands were formed in Southern California, including the Bel-Airs, the Challengers, and Eddie & the Showmen. The Chantays scored a top ten national hit with "Pipeline" in 1963 and probably the best known surf tune was 1963's "Wipe Out", by the Surfaris, which hit number 2 and number 10 on the Billboard charts in 1965.

' single "Here Today" (1966)]] The growing popularity of the genre led groups from other areas to try their hand. These included The Astronauts, from Boulder, Colorado, The Trashmen, from Minneapolis, Minnesota, who had a number 4 hit with "Surfin Bird" in 1964 and The Rivieras from South Bend, Indiana, who reached number 5 in 1964 with "California Sun". The Atlantics, from Sydney, Australia, made a significant contribution to the genre, with their hit "Bombora" (1963).

Surf music achieved its greatest commercial success as vocal music, particularly the work of the Beach Boys, formed in 1961 in Southern California. Their early albums included both instrumental surf rock (among them covers of music by Dick Dale) and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen. From 1963 the group began to leave surfing behind as subject matter as Brian Wilson became their major composer and producer, moving on to the more general themes of male adolescence including cars and girl in songs like "Fun, Fun, Fun" (1964) and "California Girls" (1965). initially reinterpreting standard American tunes and playing for dancers. Bands like The Animals from Newcastle and Them from Belfast, and particularly those from London like The Rolling Stones and The Yardbirds, were much more directly influenced by rhythm and blues and later blues music. Soon these groups were composing their own material, combining US forms of music and infusing it with a high energy beat. Beat bands tended towards "bouncy, irresistible melodies", while early British rhythm and blues acts tended towards less sexually innocent, aggressive songs, often adopting an anti-establishment stance. There was, however, particularly in the early stages, considerable musical crossover between the two tendencies.

In 1964 the Beatles achieved a breakthrough to mainstream popularity in the United States. "I Want to Hold Your Hand" was the band's first number 1 hit on the Billboard Hot 100, spending 7 weeks at the top and a total of 15 weeks on the chart. Their first appearance on the Ed Sullivan Show on 9 February, drawing an estimated 73 million viewers (at the time a record for an American television program) often is considered a milestone in American pop culture. The Beatles went on to become the biggest selling rock band of all time and they were followed into the US charts by numerous British bands. During the next two years British acts dominated their own and the US charts with Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan all having one or more number 1 singles.

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success. It dented the careers of established R&B; acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis. The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters.

Garage rock

Garage rock was a form of amateurish rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in a suburban family garage. Garage rock songs revolved around the traumas of high school life, with songs about "lying girls" being particularly common.

in 2008]] The style had been evolving from regional scenes as early as 1958. "Tall Cool One" (1959) by The Wailers and "Louie Louie" by The Kingsmen (1963) are mainstream examples of the genre in its formative stages. By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise), the Trashmen (Minneapolis) and the Rivieras (South Bend, Indiana). Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100. In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and frat rock, sometimes viewed as merely a sub-genre of garage rock.

The British Invasion of 1964–66 greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouraging many more groups to form. Examples include: "I Just Don't Care" by New York City's The D-Men (1965), "The Witch" by Tacoma's The Sonics (1965), "Where You Gonna Go" by Detroit's Unrelated Segments (1967), "Girl I Got News for You" by Miami's Birdwatchers (1966) and "1–2–5" by Montreal's The Haunted. Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966.

Pop rock

in 2006]] The term pop has been used since the early twentieth century to refer to popular music in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, often characterized as a softer alternative to rock and roll. In the aftermath of the British Invasion, from about 1967, it was increasingly used in opposition to the term rock music, to describe a form that was more commercial, ephemeral and accessible. In contrast rock music was seen as focusing on extended works, particularly albums, was often associated with particular sub-cultures (like the counter-culture), placed an emphasis on artistic values and "authenticity", stressed live performance and instrumental or vocal virtuosity and was often seen as encapsulating progressive developments rather than simply reflecting existing trends.

Nevertheless much pop and rock music has been very similar in sound, instrumentation and even lyrical content. The terms "pop-rock" and "power pop" have been used to describe more commercially successful music that uses elements from, or the form of, rock music. Pop-rock has been defined as an "upbeat variety of rock music represented by artists such as Elton John, Paul McCartney, The Everly Brothers, Rod Stewart, Chicago, and Peter Frampton." In contrast, music reviewer George Starostin defines it as a subgenre of pop music that uses catchy pop songs that are mostly guitar-based. Starostin argues that most of what is traditionally called "power pop" (a term coined by Pete Townshend of The Who in 1966, but not much used until it was applied to bands like Badfinger in the 1970s), falls into the pop rock subgenre and that the lyrical content of pop rock is "normally secondary to the music." Throughout its history there have been rock acts that have used elements of pop, and pop artists who have used rock music as a basis for their work, or striven for rock "authenticity".

Blues-rock

Although the first impact of the British Invasion on American popular music was through beat and R&B; based acts, the impetus was soon taken up by a second wave of bands that drew their inspiration more directly from American blues, including the Rolling Stones and the Yardbirds. British blues musicians of the late 1950s and early 60s had been inspired by the acoustic playing of figures such as Lead Belly, who was a major influence on the Skiffle craze, and Robert Johnson. Increasingly they adopted a loud amplified sound, often centred around the electric guitar, based on the Chicago blues, particularly after the tour of Britain by Muddy Waters in 1958, which prompted Cyril Davies and guitarist Alexis Korner to form the band Blues Incorporated.

performing in Barcelona in 1974]] The other key focus for British blues was around John Mayall who formed the Bluesbreakers, whose members included Eric Clapton (after his departure from The Yardbirds) and later Peter Green. Particularly significant was the release of Blues Breakers with Eric Clapton (Beano) album (1966), considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States. Eric Clapton went on to form supergroups Cream, Blind Faith and Derek and the Dominos, followed by an extensive solo career that helped bring blues-rock into the mainstream. but the genre began to take off in the mid-60s as acts developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band and Jimi Hendrix with his power trios, The Jimi Hendrix Experience and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade.

Early blues-rock bands often emulated jazz, playing long, involved improvisations, which would later be a major element of progressive rock. From about 1967 bands like Cream and The Jimi Hendrix Experience had begun to move away from purely blues-based music into psychedelia. The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers,

Folk rock

and Bob Dylan]] By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilising traditional music and new compositions in a traditional style, usually on acoustic instruments. In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics. Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to a wider public, but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.

Early attempts to combine elements of folk and rock included the Animals "House of the Rising Sun" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation and the Beatles "I'm a Loser" (1964), arguably the first Beatles song to be influenced directly by Dylan. The folk rock movement is usually thought to have taken off with The Byrds' recording of Dylan's "Mr. Tambourine Man" which topped the charts in 1965. This electric folk was taken up by bands including Pentangle, Steeleye Span and The Albion Band, which turn prompted Irish groups like Horslips and Scottish acts like the JSD Band, Spencer's Feat and later Five Hand Reel, to use their traditional music to create a brand of Celtic rock in the early 1970s.

Folk rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock. However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song and concepts of "authenticity".

Psychedelic rock

performing on Dutch TV in 1967]] Psychedelic music's LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues". The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album that made their direction clear, with The Psychedelic Sounds of the 13th Floor Elevators the following year.

Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965. From 1966 the UK underground scene based in North London, supported new acts including Pink Floyd, Traffic and Soft Machine. The same year saw Donovan's folk-influenced hit album Sunshine Superman, considered one of the first psychedelic pop records, as well as the débuts of blues rock bands Cream and The Jimi Hendrix Experience, whose extended guitar-heavy jams became a key feature of psychedelia. Key recordings included Jefferson Airplane's Surrealistic Pillow and The Doors' Strange Days. These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. Brian Jones of the Rolling Stones and Syd Barrett of Pink Floyd were early casualties, the Jimi Hendrix Experience and Cream broke up before the end of the decade and many surviving acts moved away from psychedelia into more back-to-basics "roots rock", the wider experimentation of progressive rock, or riff laden heavy rock. In 1966 Bob Dylan went to Nashville to record the album Blonde on Blonde. Other acts that followed the back-to-basics trend were the Canadian group The Band and the Californian-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk, country and blues, to be among the most successful and influential bands of the late 1960s. The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George, and influenced the work of established performers such as the Rolling Stones' Beggar's Banquet (1968) and the Beatles' Let It Be (1970). Later that year he joined the Byrds for Sweetheart of the Rodeo (1968), generally considered one of the most influential recordings in the genre. Some performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers; one-time teen idol Rick Nelson who became the frontman for the Stone Canyon Band; former Monkee Mike Nesmith who formed the First National Band; and Neil Young.

The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul, and country in the early 1970s. The most successful act to follow them were Lynyrd Skynyrd, who helped establish the "Good ol' boy" image of the sub-genre and the general shape of 1970s guitar rock. From the mid-1960s The Left Banke, The Beatles, The Rolling Stones and The Beach Boys, had pioneered the inclusion of harpsichords, wind and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum's "A Whiter Shade of Pale" (1967), with its Bach inspired introduction. The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesisers.

Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction. The Pretty Things' SF Sorrow (1968), The Who's Tommy (1969) and The Kinks' Arthur (Or the Decline and Fall of the British Empire) (1969) introduced the format of rock operas and opened the door to concept albums, often telling an epic story or tackling a grand overarching theme. King Crimson's 1969 début album, In the Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts. Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with Dark Side of the Moon (1973), seen as a masterpiece of the genre, becoming one of the best-selling albums of all time. There was an emphasis on instrumental virtuosity, with Yes showcasing the skills of both guitarist Steve Howe and keyboard player Rick Wakeman, while Emerson, Lake & Palmer were a supergroup who produced some of the genre's most technically demanding work. Renaissance, formed in 1969 by ex-Yardbirds Jim McCarty and Keith Relf, evolved into a high-concept band featuring the three-octave voice of Annie Haslam. Most British bands depended on a relatively small cult following, but a handful, including Pink Floyd, Genesis and Jethro Tull, managed to produce top ten singles at home and break the American market.

The American brand of prog rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat and Tears, to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey and Styx.

The instrumental strand of the genre resulted in albums like Mike Oldfield's Tubular Bells (1973), the first record, and worldwide hit, for the Virgin Records label, which became a mainstay of the genre. Their synthesiser-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent synth rock. Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours.

Glam rock

as The Thin White Duke at the O'Keefe Center in Toronto in 1976]] Glam rock emerged out of the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of, and reaction against, those trends. Visually it was a mesh of various styles, ranging from 1930s Hollywood glamor, through 1950s pin-up sex appeal, pre-war Cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots. Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics. It was prefigured by the showmanship and gender identity manipulation of American acts such as The Cockettes and Alice Cooper.

The origins of glam rock are associated with Marc Bolan, who had renamed his folk duo to T. Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the UK TV programme Top of the Pops in December 1970 wearing glitter, to perform what would be his first number 1 single "Ride a White Swan". From 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act. These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust. In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and his support musicians the Glitter Band, who between them achieved eighteen top ten singles in the UK between 1972 and 1976. A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, dominated the British single charts from about 1974 to 1976. and in R n' B crossover act Prince.

Soft rock, hard rock and early heavy metal

live at Chicago Stadium in January 1975]] From the late 1960s it became common to divide mainstream rock music into soft and hard rock. Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. It reached its commercial peak in the mid- to late- 70s with acts like Billy Joel, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best selling album of the decade. In contrast, hard rock was more often derived from blues-rock and was played louder and with more intensity. Hard rock-influenced bands that enjoyed international success in the later 1970s included Queen, Thin Lizzy, Aerosmith and AC/DC. The term was first used in music in Steppenwolf's "Born to be Wild" (1967) and began to be associated with pioneer bands like Boston's Blue Cheer and Michigan's Grand Funk Railroad. By 1970 three key British bands had developed the characteristic sounds and styles which would help shape the sub-genre. Led Zeppelin added elements of fantasy to their riff laden blues-rock, Deep Purple brought in symphonic and medieval interests from their progressive rock phrase and Black Sabbath introduced facets of the gothic and modal harmony, helping to produce a "darker" sound. These elements were taken up by a "second generation" of heavy metal bands into the late 1970s, including: Judas Priest, UFO, Motörhead and Rainbow from Britain; Kiss, Ted Nugent, and Blue Öyster Cult from the US; Rush from Canada and Scorpions from Germany, all marking the expansion in popularity of the sub-genre.

Christian rock

on stage in 1986]] Rock has been criticized by some Christian religious leaders, who have condemned it as immoral, anti-Christian and even demonic. However, Christian rock began to develop in the late 1960s, particularly out of the Jesus movement beginning in Southern California, and emerged as a sub-genre in the 1970s with artists like Larry Norman, usually seen as the first major "star" of Christian rock. The genre has been particularly popular in the United States. Many Christian rock performers have ties to the contemporary Christian music scene, while other bands and artists are closely linked to independent music. Since the 1980s Christian rock performers have gained mainstream success, including figures such as the American gospel-to-pop crossover artist Amy Grant and the British singer Cliff Richard. While these artists were largely acceptable in Christian communities the adoption of heavy rock and glam metal styles by bands like Petra and Stryper, who achieved considerable mainstream success in the 1980s, was more controversial. From the 1990s there were increasing numbers of acts who attempted to avoid the Christian band label, preferring to be seen as groups who were also Christians, including P.O.D and Collective Soul.

Punk and its aftermath (mid-1970s to the 1980s)

Punk rock

performing in 1980]] Punk rock was developed between 1974 and 1976 in the United States and the United Kingdom. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock. They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.

By late 1976, acts such as the Ramones and Patti Smith, in New York City, and the Sex Pistols and The Clash, in London, were recognized as the vanguard of a new musical movement.

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Since punk rock's initial popularity in the 1970s and the renewed interest created by the punk revival of the 1990s, punk rock continues to have a strong underground following. This has resulted in several evolved strains of hardcore punk, such as D-beat (a distortion-heavy subgenre influenced by the UK band Discharge), anarcho-punk (such as Crass), grindcore (such as Napalm Death), and crust punk. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to New Wave, post-punk and the alternative rock movement. or American radio airplay (as the radio scene continued to be dominated by mainstream formats such as disco and album-oriented rock). Punk rock had attracted devotees from the art and collegiate world and soon bands sporting a more literate, arty approach, such as Talking Heads, and Devo began to infiltrate the punk scene; in some quarters the description "New Wave" began to be used to differentiate these less overtly punk bands. Record executives, who had been mostly mystified by the punk movement, recognized the potential of the more accessible New Wave acts and began aggressively signing and marketing any band that could claim a remote connection to punk or New Wave. Many of these bands, such as The Cars, The Runaways and The Go-Go's can be seen as pop bands marketed as New Wave; other existing acts, including The Police, The Pretenders and Elvis Costello, used the New Wave movement as the springboard for relatively long and critically successful careers, while "skinny tie" bands exemplified by The Knack, or the photogenic Blondie, began as punk acts and moved into more commercial territory.

Between 1982 and 1985, influenced by Kraftwerk, David Bowie, and Gary Numan, British New Wave went in the direction of such New Romantics as Spandau Ballet, Ultravox, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments. This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synthpop, creating what has been characterised as a second British Invasion. Some more traditional rock bands adapted to the video age and profited from MTV's airplay, most obviously Dire Straits', whose "Money for Nothing" gently poked fun at the station, despite the fact that it had helped make them international stars, but in general guitar-oriented rock was commercially eclipsed.

Post-punk

performing at Madison Square Garden in November 2005]] If hardcore most directly pursued the stripped down aesthetic of punk, and New Wave came to represent its commercial wing, post-punk emerged in the later 1970s and early 80s as its more artistic and challenging side. Major influences beside punk bands were The Velvet Underground, The Who, Frank Zappa and Captain Beefheart, and the New York based no wave scene which placed an emphasis on performance, including bands such as James Chance and the Contortions, DNA and Sonic Youth. Similar emotional territory was pursued by Australian acts like The Birthday Party and Nick Cave. Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical other areas, but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement.

New waves and genres in heavy metal

, one of the central bands in the New Wave of British Heavy Metal]] Although many established bands continued to perform and record, heavy metal suffered a hiatus in the face of the punk movement in the mid-1970s. Part of the reaction saw the popularity of bands like Motörhead, who had adopted a punk sensibility, and Judas Priest, who created a stripped down sound, largely removing the remaining elements of blues music, from their 1978 album Stained Class. This change of direction was compared to punk and in the late 1970s became known as the New Wave of British Heavy Metal (NWOBHM). These bands were soon followed by acts including Iron Maiden, Vardis, Diamond Head, Saxon, Def Leppard and Venom, many of which began to enjoy considerable success in the USA.

Inspired by NWOBHM and Van Halen's success, a metal scene began to develop in Southern California from the late 1970s, based on the clubs of L.A.'s Sunset Strip and including such bands as Quiet Riot, Ratt, Mötley Crüe, and W.A.S.P., who, along with similarly styled acts such as New York's Twisted Sister, incorporated the theatrics (and sometimes makeup) of glam rock acts like Alice Cooper and Kiss. The lyrics of these glam metal bands characteristically emphasized hedonism and wild behavior and musically were distinguished by rapid-fire shred guitar solos, anthemic choruses, and a relatively melodic, pop-oriented approach.

In the late 1980s metal fragmented into several subgenres, including thrash metal, which developed in the US from the style known as speed metal, under the influence of hardcore punk, with low-register guitar riffs typically overlaid by shredding leads. Lyrics often expressed nihilistic views or deal with social issues using visceral, gory language. It was popularised by the "Big Four of Thrash": Metallica, Anthrax, Megadeth, and Slayer. Death metal developed out of thrash, particularly influenced by the bands Venom and Slayer. Florida's Death and the Bay Area's Possessed emphasized lyrical elements of blasphemy, diabolism and millenarianism, with vocals usually delivered as guttural "death growls," high-pitched screaming, complemented by downtuned, highly distorted guitars and extremely fast double bass percussion. Black metal, again influenced by Venom and pioneered by Denmark's Mercyful Fate, Switzerland's Hellhammer and Celtic Frost, and Sweden's Bathory, had many similarities in sound to death metal, but was often intentionally lo-fi in production and placed greater emphasis on satanic and pagan themes. Bathory were particularly important in inspiring the further sub-genres of Viking metal and folk metal. Power metal emerged in Europe in the late 1980s as a reaction to the harshness of death and black metal and was established by Germany's Helloween, who combined a melodic approach with thrash's speed and energy. Bands like Sweden's HammerFall, England's DragonForce, and Florida's Iced Earth have a sound indebted to NWOBHM, while acts such as Florida's Kamelot, Finland's Nightwish, Italy's Rhapsody of Fire, and Russia's Catharsis feature a keyboard-based "symphonic" sound, sometimes employing orchestras and opera singers. In contrast to other sub-genres Doom metal, influenced by Gothic rock, slowed down the music, with bands like England's Pagan Altar and Witchfinder General and the United States' Pentagram, Saint Vitus and Trouble, emphasizing melody, down-tuned guitars, a 'thicker' or 'heavier' sound and a sepulchral mood.

Heartland rock

performing in East Berlin in 1988]] American working-class oriented heartland rock, characterized by a straightforward musical style, and a concern with the lives of ordinary, blue collar American people, developed in the second half of the 1970s. The term heartland rock was first used to describe Midwestern arena rock groups like Kansas, REO Speedwagon and Styx, but which came to be associated with a more socially concerned form of roots rock more directly influenced by folk, country and rock and roll. It has been seen as an American Midwest and Rust Belt counterpart to West Coast country rock and the Southern rock of the American South. Led by figures who had initially been identified with punk and New Wave, it was most strongly influenced by acts such as Bob Dylan, The Byrds, Creedence Clearwater Revival and Van Morrison, and the basic rock of 60s garage and the Rolling Stones.

Exemplified by the commercial success of singer songwriters Bruce Springsteen, Bob Seger, and Tom Petty, along with less widely known acts such as Southside Johnny and the Asbury Jukes and Joe Grushecky and the Houserockers, it was partly a reaction to post-industrial urban decline in the East and Mid-West, often dwelling on issues of social disintegration and isolation, beside a form of good-time rock and roll revivalism. and Tracy Chapman.

Heartland rock faded away as a recognized genre by the early 1990s, as rock music in general, and blue collar and white working class themes in particular, lost influence with younger audiences, and as heartland's artists turned to more personal works.

The emergence of alternative rock

was a successful alternative rock band in the 1980s]] The term alternative rock was coined in the early 1980s to describe rock artists who didn't fit into the mainstream genres of the time. Bands dubbed "alternative" had no unified style, but were all seen as distinct from mainstream music. Alternative bands were linked by their collective debt to punk rock, through hardcore, New Wave or the post-punk movements. Important bands of the 1980s alternative movement in the US included R.E.M., Hüsker Dü, Jane's Addiction, Sonic Youth and the Pixies, and in the UK The Cure, New Order the Jesus and Mary Chain and The Smiths. Few of these bands, with the exceptions of R.E.M. and The Smiths, achieved mainstream success, but despite a lack of spectacular album sales, they exerted a considerable influence on the generation of musicians who came of age in the 80s and ended up breaking through to mainstream success in the 1990s. Styles of alternative rock in the U.S. during the 1980s included jangle pop, associated with the early recordings of R.E.M., which incorporated the ringing guitars of mid-1960s pop and rock, and college rock, used to describe alternative bands that began in the college circuit and college radio, including acts such as 10,000 Maniacs and The Feelies. The next decade would see the success of grunge in the United States and Britpop in the United Kingdom, bringing alternative rock into the mainstream.

Alternative goes mainstream (the 1990s)

Grunge

in 1992. They popularized grunge worldwide]] By the early 1990s, rock was dominated by commercialized and highly produced pop, rock, and "hair metal" artists, while MTV had arrived and promoted a focus on image and style. Disaffected by this trend, in the mid-1980s, bands in Washington state (particularly in the Seattle area) formed a new style of rock which sharply contrasted with the mainstream music of the time. The developing genre came to be known as "grunge", a term descriptive of the dirty sound of the music and the unkempt appearance of most musicians, who actively rebelled against the over-groomed images of popular artists. Nevermind was more melodic than its predecessors, but the band refused to employ traditional corporate promotion and marketing mechanisms. During 1991 and 1992, other grunge albums such as Pearl Jam's Ten, Soundgarden's Badmotorfinger and Alice in Chains' Dirt, along with the Temple of the Dog album featuring members of Pearl Jam and Soundgarden, became among the 100 top selling albums. The popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool." Major record labels signed most of the remaining grunge bands in Seattle, while a second influx of acts moved to the city in the hope of success. However, with the death of Kurt Cobain and the subsequent break-up of Nirvana in 1994, touring problems for Pearl Jam and the departure of Alice in Chains' lead singer Layne Staley in 1996, the genre began to decline, partly to be overshadowed by Britpop and more commercial sounding post-grunge.

Britpop

performing in 2005]] Britpop emerged from the British alternative rock scene of the early 1990s and was characterised by bands particularly influenced by British guitar music of the 1960s and 1970s. The movement has been seen partly as a reaction against various U.S. based, musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon and as a reassertion of a British rock identity. It was launched around 1992 with releases by groups such as Suede and Blur, who were soon joined by others including Oasis, Pulp, Supergrass and Elastica, who produced a series of top ten albums and singles. Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia. Although its more popular bands, particularly Blur and Oasis, were able to spread their commercial success overseas, especially to the United States, the movement had largely fallen apart by the end of the decade. The term post-grunge was meant to be pejorative, suggesting that they were simply musically derivative, or a cynical response to an "authentic" rock movement.

Some post-grunge bands, like Candlebox, were from Seattle, but the sub-genre was marked by a broadening of the geographical base of grunge, with bands like Los Angeles' Audioslave, and Georgia's Collective Soul and beyond the US to Australia's Silverchair and Britain's Bush, who all cemented post-grunge as one of the most commercially viable sub-genres of the late 1990s. Bands like Creed and Nickelback took post-grunge into the 21st century with considerable commercial success, abandoning most of the angst and anger of the original movement for more conventional anthems, narratives and romantic songs, and were followed in this vein by new acts including Shinedown, Seether and 3 Doors Down.

Pop punk

performing in 2009]] The origins of 1990s punk pop can be seen in the more song-oriented bands of the 1970s punk movement like The Buzzcocks and The Clash, commercially successful New Wave acts such as The Jam and The Undertones, and the more hardcore-influenced elements of alternative rock in the 1980s. Pop-punk tends to use power-pop melodies and chord changes with speedy punk tempos and loud guitars. Punk music provided the inspiration for some California-based bands on independent labels in the early 1990s, including Rancid, Pennywise, Weezer and Green Day. This success opened the door for the multi-platinum sales of metallic punk band The Offspring with Smash (1994).

A second wave of punk pop was spearheaded by Blink-182, with their breakthrough album Enema of the State (1999), followed by bands such as Good Charlotte, Bowling for Soup and Sum 41, who made use of humour in their videos and had a more radio-friendly tone to their music, while retaining the speed, some of the attitude and even the look of 1970s punk. Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge influenced bands like The Cranberries and Superchunk, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown outside them.

By the end of the 1990s many recognisable sub-genres, most with their origins in the late 80s alternative movement, were included under the umbrella of indie. Lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by Beck, Sebadoh and Pavement. as well as leading to more dense and complex, guitar-based math rock, developed by acts like Polvo and Chavez. Space rock looked back to progressive roots, with drone heavy and minimalist acts like Spaceman 3, the two bands created out of its split, Spectrum and Spiritualized, and later groups including Flying Saucer Attack, Godspeed You Black Emperor! and Quickspace. In contrast, Sadcore emphasised pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like American Music Club and Red House Painters, while the revival of Baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like Arcade Fire, Belle and Sebastian and Rufus Wainright.

Alternative metal, rap rock and nu metal

performing in 2009]] Alternative metal emerged from the hardcore scene of alternative rock in the US in the later 1980s, but gained a wider audience after grunge broke into the mainstream in the early 1990s. Early alternative metal bands mixed a wide variety of genres with hardcore and heavy metal sensibilities, with acts like Jane's Addiction and Primus utilizing prog-rock, Soundgarden and Corrosion of Conformity using garage punk, The Jesus Lizard and Helmet mixing noise-rock, Ministry and Nine Inch Nails influenced by industrial music, Monster Magnet moving into psychedelia, Pantera, Sepultura and White Zombie creating groove metal, while Biohazard and Faith No More turned to hip hop and rap. Early crossover acts included Run DMC and the Beastie Boys. Detroit rapper Esham became known for his "acid rap" style, which fused rapping with a sound that was often based in rock and heavy metal. Rappers who sampled rock songs included Ice-T, The Fat Boys, LL Cool J, Public Enemy and Whodini. The mixing of thrash metal and rap was pioneered by Anthrax on their 1987 comedy-influenced single "I'm the Man". This paved the way for the success of existing bands like 24-7 Spyz and Living Colour, and new acts including Rage Against the Machine and Red Hot Chili Peppers, who all fused rock and hip hop among other influences. Bloodhound Gang, and Kid Rock. A more metallic sound - nu metal - was pursued by bands including Limp Bizkit, Korn and Slipknot. Later in the decade this style, which contained a mix of grunge, punk, metal, rap and turntable scratching, spawned a wave of successful bands like Linkin Park, P.O.D. and Staind, who were often classified as rap metal or nu metal, the first of which are the best-selling band of the genre.

In 2001, nu metal reached its peak with albums like Staind's Break the Cycle, P.O.D's Satellite, Slipknot's Iowa and Linkin Park's Hybrid Theory. New bands also emerged like Disturbed, post-grunge/hard rock band Godsmack and Papa Roach, whose major label début Infest became a platinum hit. However, by 2002 there were signs that nu metal's mainstream popularity was weakening. Since then, many bands have changed to a more conventional hard rock or heavy metal music sound. Many of these bands tended to mix elements of British traditional rock (or British trad rock), particularly the Beatles, Rolling Stones and Small Faces, with American influences, including post-grunge. Drawn from across the United Kingdom (with several important bands emerging from the north of England, Scotland, Wales and Northern Ireland), the themes of their music tended to be less parochially centred on British, English and London life and more introspective than had been the case with Britpop at its height. This, beside a greater willingness to engage with the American press and fans, may have helped some of them in achieving international success.

Post-Britpop bands have been seen as presenting the image of the rock star as an ordinary person and their increasingly melodic music was criticised for being bland or derivative. Post-Britpop bands like The Verve with Urban Hymns (1997), Radiohead from OK Computer (1997), Travis from The Man Who (1999), Stereophonics from Performance and Cocktails (1999), Feeder from Echo Park (2001) and particularly Coldplay from their debut album Parachutes (2000), achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s, arguably providing a launchpad for the subsequent garage rock or post-punk revival, which has also been seen as a reaction to their introspective brand of rock.

The new millennium (the 2000s)

Emo

performing in 2002]] Emo emerged from the hardcore scene in 1980s Washington, D.C., initially as "emocore", used as a term to describe bands who favored expressive vocals over the more common abrasive, barking style. The style was pioneered by bands Rites of Spring and Embrace, the last formed by Ian MacKaye, whose Dischord Records became a major centre for the emerging D.C. emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses and Fugazi. Only after the breakthrough of grunge and pop punk into the mainstream did emo come to wider attention with the success of Weezer's Pinkerton (1996) album, which utilised pop punk. The new emo had a far greater appeal amongst adolescents than its earlier incarnations. The term emo has been applied by critics and journalists to a variety of artists, including multi-platinum acts such as Fall Out Boy and My Chemical Romance and disparate groups such as Paramore even when they protest the label.

Garage rock/post-punk revival

performing in 2006]] In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock, emerged into the mainstream. They were variously characterised as part of a garage rock, post-punk or New Wave revival. Because the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed. There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s and by 2000 scenes had grown up in several countries. The Detroit rock scene included The Von Bondies, Electric Six, The Dirtbombs and The Detroit Cobras Elsewhere, other lesser-known acts such as Billy Childish and The Buff Medways from Britain, The (International) Noise Conspiracy from Sweden, The 5.6.7.8's from Japan, and the Oblivians from Memphis enjoyed underground, regional or national success.

The commercial breakthrough from these scenes was led by four bands: The Strokes, who emerged from the New York club scene with their début album Is This It (2001); The White Stripes, from Detroit, with their third album White Blood Cells (2001); The Hives from Sweden after their compilation album Your New Favourite Band (2001); and The Vines from Australia with Highly Evolved (2002). They were christened by the media as the "The" bands, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype. A second wave of bands that managed to gain international recognition as a result of the movement included Black Rebel Motorcycle Club, The Killers, Interpol and Kings of Leon from the US, The Libertines, Arctic Monkeys, Bloc Party, Editors, Franz Ferdinand and Placebo from the UK, Jet from Australia and The Datsuns and The D4 from New Zealand.

Metalcore and contemporary heavy metal

, performing at the 2007 Masters of Rock festival]] Metalcore, originally an American hybrid of thrash metal and hardcore punk, emerged as a commercial force in the mid-2000s. It was rooted in the crossover thrash style developed two decades earlier by bands such as Suicidal Tendencies, Dirty Rotten Imbeciles, and Stormtroopers of Death and remained an underground phenomenon through the 1990s. By 2004, melodic metalcore, influenced by melodic death metal, was sufficiently popular for Killswitch Engage's The End of Heartache and Shadows Fall's The War Within to debut at number 21 and number 20, respectively, on the Billboard album chart. Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and British charts with Scream Aim Fire (2008). Metalcore bands have received prominent slots at Ozzfest and the Download Festival. Lamb of God, with a related blend of metal styles, hit the number 2 spot on the Billboard charts in 2009 with Wrath. The success of these bands and others such as Trivium, who have released both metalcore and straight-ahead thrash albums, and Mastodon, who played in a progressive/sludge style, inspired claims of a metal revival in the United States, dubbed by some critics the "New Wave of American Heavy Metal".

The term "retro-metal" has been applied to such bands as England's The Darkness and Australia's Wolfmother. The Darkness's Permission to Land (2003), described as an "eerily realistic simulation of '80s metal and '70s glam", Wolfmother's self-titled 2005 debut album combined elements of the sounds of Deep Purple and Led Zeppelin. The Swedish act In Flames took both Come Clarity (2006) and A Sense of Purpose (2008) to the top of the Swedish charts and number 6 in Germany.

Digital electronic rock

In the 2000s, as computer technology became more accessible and music software advanced, it became possible to create high quality music using little more than a single laptop computer. This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet, and new forms of performance such as laptronica These techniques also began to be used by existing bands, as with industrial rock act Nine Inch Nails' album Year Zero (2007), and by developing genres that mixed rock with digital techniques and sounds, including indie electronic, electroclash, dance-punk and new rave.

Indie electronic, which had begun in the early 90s with bands like Stereolab and Disco Inferno, took off in the new millennium as the new digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and The Postal Service, and Ratatat from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels. The Electroclash sub-genre began in New York at the end of the 1990s, combining synth pop, techno, punk and performance art. It was pioneered by I-F with their track "Space Invaders Are Smoking Grass" (1998), and pursued by artists including Felix da Housecat, Peaches, Chicks on Speed, and Ladytron. It gained international attention at the beginning of the new millennium and spread to scenes in London and Berlin, but rapidly faded as a recognisable genre. Dance-punk, mixing post-punk sounds with disco and funk, had developed in the 1980s, but it was revived among some bands of the garage rock/post-punk revival in the early years of the new millennium, particularly among New York acts such as Liars, The Rapture and Radio 4, joined by dance-oriented acts who adopted rock sounds such as Out Hud. In Britain the combination of indie with dance-punk was dubbed new rave in publicity for The Klaxons and the term was picked up and applied by the NME to bands including Trash Fashion, New Young Pony Club, Hadouken!, Late of the Pier, Test Icicles, and Shitdisco

Social impact

was seen as a celebration of the counter-cultural lifestyle]] The worldwide popularity of rock music meant that it became a major influence on culture, fashion and social attitudes. Different sub-genres of rock were adopted by, and became central to, the identity of a large number of sub-cultures. In the 1950s and 1960s, respectively, British youths adopted the Teddy Boy and Rockers subcultures, which revolved around US rock and roll The mid-1970s punk subculture began in the US, but it was given a distinctive look by British designer Vivian Westwood, a look which spread worldwide. Out of the punk scene, the Goth and Emo subcultures grew, both of which presented distinctive visual styles.

When an international rock culture developed, it was able to supplant cinema as the major sources of fashion influence. Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been seen as elevating image above substance. Rock has also been associated with various forms of drug use, including the stimulants taken by some mods in the early to mid-1960s, through the LSD linked with psychedelic rock in the late 1960s and early 1970s; and sometimes to cannabis, cocaine and heroin, all of which have been eulogised in song.

Rock has been credited with changing attitudes to race by opening up African-American culture to white audiences; but at the same time, rock has been accused of appropriating and exploiting that culture. While rock music has absorbed many influences and introduced Western audiences to different musical traditions, the global spread of rock music has been interpreted as a form of cultural imperialism. Rock music inherited the folk tradition of protest song, making political statements on subjects such as war, religion, poverty, civil rights, justice and the environment. Political activism reached a mainstream peak with the "Do They Know It's Christmas?" single (1984) and Live Aid concert for Ethiopia in 1985, which, while successfully raising awareness of world poverty and funds for aid, have also been criticised (along with similar events), for providing a stage for self-aggrandisement and increased profits for the rock stars involved.

Since its early development rock music has been associated with rebellion against social and political norms, most obviously in early rock and roll's rejection of an adult-dominated culture, the counter-culture's rejection of consumerism and conformity and punk's rejection of all forms of social convention, however, it can also be seen as providing a means of commercial exploitation of such ideas and of diverting youth away from political action.

See also

Hedonic music consumption model

Origins of rock and roll

Popular music pedagogy

Video History of Rock Music

Notes

External links

100 Great Rock Classics

Category:African American music Category:American styles of music Category:Culture of the Southern United States Category:20th-century music genres Category:21st-century music genres

Name	Howard Stern
Caption	Howard Stern in 1996.
Birth name	Howard Allan Stern
Birth date	January 12, 1954
Birth place	Jackson Heights, New York, U.S.
Occupation	Radio personality, humorist, television host, author, actor
Years active	1975–present
Spouse	Alison Berns (1978–2001; div.) Beth Ostrosky (2008–present)
Website	www.howardstern.com

Howard Allan Stern (born January 12, 1954) is an American radio personality, humorist, television host, author and actor, best known for his long-running radio show, The Howard Stern Show. He gained national recognition in the 1990s when he was labelled a "shock jock" for his outspoken and sometimes controversial style. Stern wished for a radio career since he was five; his father, a recording and radio engineer, being a big influence. While studying at Boston University, Stern worked at its campus station WTBU before making his professional début in 1975 at WNTN.

In 1977, Stern worked at WRNW in Briarcliff Manor, New York performing on-air, production and managerial duties. After his departure in 1979 he began to develop a more open personality working mornings at WCCC in Hartford, Connecticut. In 1980, he moved to WWWW in Detroit, Michigan, where he earned his first Billboard radio award. Stern relocated to WWDC in Washington, D.C. in 1981, where he was paired with current show newscaster and co-host Robin Quivers. He moved to WNBC in New York City to host afternoons until his firing in 1985. Stern returned to the city's airwaves on WXRK for the next 20 years until his move to Sirius XM in December 2005. In this time, The Howard Stern Show would be syndicated to 60 markets while reaching a peak audience of 20 million listeners. The show was the highest-rated morning program from 1994 to 2001 in the New York market. Stern is an eight-time winner of the Billboard Nationally Syndicated Air Personality of the Year award (1994–2002). He is the highest-paid radio figure, including the most fined, after a history with the Federal Communications Commission (FCC) over alleged indecency resulted in $2.5 million being issued to station owners that carried his show.

Stern describes himself as the "King of All Media" for his work outside radio. Since 1987, he has hosted numerous late night television shows, pay-per-view events and home video releases. His two books, Private Parts (1993) and Miss America (1995), spent 20 and 16 weeks respectively on The New York Times Best Seller list. The former was adapted into Private Parts (1997), a biographical comedy film starring Stern and his radio show staff as themselves, which made a domestic gross of $41.2 million. The film's topped the the Billboard 200 chart.

Early life and education

Stern was born into a Jewish family who resided in Jackson Heights, Queens in New York City. His parents Ben and Ray (née Schiffman) are children of Austro-Hungarian immigrants, and his sister Ellen is four years his senior.

Stern developed an interest in radio at the age of five. While Ray was a homemaker and later an inhalation therapist, Ben was a co-owner of Aura Recording, Inc., a recording studio in Manhattan where cartoons and commercials were produced. When he made visits with his father, Stern saw the likes of Wally Cox, Don Adams and Larry Storch voice his favourite cartoon characters, influencing the young Stern to talk on the air, rather than playing records. Ben was also an engineer at WHOM, a radio station in Manhattan. The family moved to nearby Rockville Centre in June 1969, and Stern was transferred to South Side High School. After his graduation in 1972, he began the first two of four years at Boston University in the College of Basic Studies. In 1973, he worked up the courage to work at WTBU, the campus radio station where he spun records, read the news and hosted interviews. Stern gained admission to the School of Public Communications in 1974. The diploma he earned in July 1975 at the Radio Engineering Institute of Electronics in Fredericksburg, Virginia, allowed him to apply for a first class FCC radio-telephone license. With the certificate, Stern made his professional debut at WNTN in Newton, Massachusetts, performing airshift, newscasting and production duties between August and December. Stern graduated magna cum laude in May 1976 with a Communications degree,

Career

Early professional radio career (1976–1981)

After graduating in May 1976, Stern declined an offer to work evenings at WRNW, a progressive rock station in the village of Briarcliff Manor in Westchester County, New York. He was unsure of his talent, and questioned his future in the professional industry. For a while, Stern took creative and media planning roles at Benton & Bowles, a New York advertising agency, followed by a job in trading radio advertising time. Realising his mistake in declining on-air work, Stern contacted WRNW a second time, agreeing to work midday cover shifts over the Christmas holiday period. He was soon hired full time, working a four-hour midday shift for six days for $96 a week.

In 1979, Stern spotted an advertisement for a "wild, fun morning guy" at WCCC, a rock station in Hartford, Connecticut. He showcased a more wild audition tape, playing Robert Klein and Cheech and Chong records mixed with flatulence routines and one-liners. Stern was hired with no change in salary, but a busier schedule. After four hours on the air, he voiced and produced commercials for another four. On Saturdays, following a six-hour show, he did production work for the next three. In addition, as the public affairs director, he hosted a Sunday morning talk show, which he favoured. Fred Norris, the overnight disc jockey, became Stern's producer and writer in late 1981. In the summer of the 1979 energy crisis, Stern held a two-day boycott of Shell Oil Company which attracted media attention. Stern left the station in early 1980 after he was declined a $25 weekly pay increase.

Management at rock outlet WWWW in Detroit, Michigan praised Stern's audition tape for a new morning man. Accepting a salary of $30,000, Stern began on April 21, 1980. He learned to become more open on the air. "I decided to cut down the barriers...strip down all the ego...and be totally honest", he later told Newsday. Stern's efforts earned him a Billboard award for "Album-Oriented Rock Personality of the Year For a Major Market" and the Drake-Chenault "Top Five Talent Search" title. The station however, was declining in listenership. A fall in Stern's Arbitron ratings, in addition to tough competition with other rock stations, led to WWWW switch to a country music format on January 18, 1981. Much to his dislike, Stern left the station soon after.

Washington and WNBC New York (1981–1985)

While considering offers at WXRT in Chicago and CHUM in Toronto, Stern moved to Washington, D.C. to host mornings at WWDC, starting on March 2, 1981. Stern, intent on developing his show further, realised the importance of news segments for satire and topical humor. He looked for a co-worker with a sense of humor to riff with on current events. The station paired Stern with Robin Quivers, a newscaster and consumer affairs reporter from WFBR in Baltimore. Though he felt restricted and controlled by management who enforced a strict format, Stern had the second highest rated morning show in January 1982. Impressed with his ratings success, Stern was approached by NBC with an offer to work afternoons at WNBC in New York City. In March 1982, after signing a five-year contract worth $1 million, Stern's relationship with WWDC management worsened. On June 25, 1982, Stern's contract was terminated indefinitely. He had more than tripled the station's morning ratings during his stay. Stern released 50 Ways to Rank Your Mother, a comedy album of his radio bits. The record was re-released as Unclean Beaver in November 1994.

On April 2, 1982, a news report by Douglas Kiker on raunch radio featuring Stern aired on NBC Magazine. The piece stimulated discussion among NBC management to withdraw Stern's contract. When he began his afternoon program in September, management closely monitored Stern, telling him to avoid talk of a sexual and religious nature. In his first month, Stern was suspended for several days for "Virgin Mary Kong", a segment featuring a video game where a group of men pursued the Virgin Mary around a singles bar in Jerusalem. On September 30, Stern and Quivers were fired for what management claimed were "conceptual differences." said program director John Hayes, who Stern nicknamed "The Incubus". In 1992, Stern believed Thornton Bradshaw, chairman of WNBC's owner RCA, heard his "Bestiality Dial-a-Date" segment ten days earlier and ordered his firing.

K-Rock, early television endeavors and Fartman (1985–1992)

Stern returned to afternoons on New York City rock station WXRK on November 18, 1985. On February 18, 1986, Stern moved to the morning shift and entered national syndication on August 18 when the show was simulcast on WYSP in Philadelphia. In the New York market, The Howard Stern Show was the highest-rated morning program from 1994 to 2001. In 1994, Billboard magazine added the "Nationally Syndicated Air Personality of the Year" category to its annual radio awards, based on entertainment value, creativity and ratings success. Stern was awarded the title from 1994 to 2002. Stern retained his morning position until December 16, 2005, where he began his contract at Sirius in 2006. In this 20-year period, he would be heard in over 60 markets across the United States and Canada while gaining a peak audience of around 20 million.

In May 1987, Stern recorded five television pilots of The Howard Stern Show for Fox when the network planned to replace The Late Show hosted by Joan Rivers. The series was never picked up; one executive having described the show as "poorly produced", "in poor taste" and "boring". Stern hosted his first pay-per-view event on February 27, 1988, Howard Stern's Negligeé and Underpants Party. On September 7, 1989, over 16,000 fans packed out Nassau Coliseum for Howard Stern's U.S. Open Sores, a live event that featured a tennis match between Stern and his radio show producer, Gary Dell'Abate. In February 1991, Stern released Crucified by the FCC, a collection of censored radio segments following the first fine issued to Infinity by the FCC. Stern released his third video tape, Butt Bongo Fiesta, in October 1992 that sold 260,000 copies.

Stern appeared at the 1992 MTV Video Music Awards as Fartman, a fictional superhero that first appeared in the National Lampoon magazine in the mid-1970s. He rejected multiple scripts for a proposed 1993 release of The Adventures of Fartman, until a verbal agreement was reached with New Line Cinema. Screenwriter J. F. Lawton had prepared a script before relations soured over the film's rating, content and merchandising rights. The project was then cancelled.

Private Parts, E! show and run for Governor (1993–1994)

In early 1993, Stern signed a $1 million advance contract with Simon & Schuster to publish his first book. Co-authored with Larry Sloman and edited by Judith Regan, Private Parts was released on October 7, 1993. The book sold its first printing of 225,000 copies within hours of going on sale. After five days, it became the fastest-selling title in Schuster's history. Two weeks later, in its eighth printing, over one million copies had been distributed. Sales were supported by Stern's book signing tour. His first at a Barnes & Noble store on Fifth Avenue attracted an estimated 10,000 fans. Around 400,000 households purchased Stern's event that grossed an estimated $16 million. In early 1994, the event was released on VHS as Howard Stern's New Year's Rotten Eve 1994. Between his book royalties and pay-per-view profits, Stern's earnings in the latter months of 1993 totalled around $7.5 million. In its 20th anniversary issue in 1993, Radio & Records named Stern the most influential air personality of the past two decades.

On March 21, 1994, Stern announced his candidacy for Governor of New York under the Libertarian Party ticket, challenging Mario Cuomo for re-election. He planned to reinstate the death penalty, stagger highway tolls to improve traffic flow, and limiting road work to night hours. At the party's nomination convention in Albany on April 23, Stern won the required two-thirds majority on the first ballot, receiving 287 of the 381 votes cast (75.33%). James Ostrowski finished second with 34 votes (8.92%). To place his name on the November ballot, Stern was obliged to state his home address and to complete a financial disclosure form under the Ethics in Government Act of 1987. Arguing the law violated his right to privacy and freedom of association, Stern was denied an injunction on August 2. He withdrew his candidacy two days later. Cuomo was defeated in the gubernatorial election on November 8 by George Pataki, whom Stern backed. In 1995, Pataki signed "The Howard Stern Bill" which limited construction on state roads to night hours in New York and Long Island.

In June 1994, six robot cameras were installed in Stern's radio show studio to film a condensed half-hour program on the E! network. Howard Stern ran for 11 years, until the last taped episode was broadcast on July 8, 2005. In conjunction with his move to Sirius, Stern launched Howard Stern on Demand, a subscription video-on-demand service, on November 18, 2005. The service was fully launched as Howard TV on March 16, 2006.

Miss America and Private Parts film (1995–1997)

On April 3, 1995, three days after the shooting of singer Selena, Stern's comments regarding her death and Mexican Americans caused an uproar in the Hispanic community. He criticized her music with added gunfire sound effects. "This music does absolutely nothing for me. Alvin and the Chipmunks have more soul...Spanish people have the worst taste in music. They have no depth". On April 6, Stern responded with a statement in Spanish, stressing his comments were made in satire and not intended to hurt those who loved her. A day later, Justice of the Peace Eloy Cano of Harlingen, Texas issued an arrest warrant on Stern for disorderly conduct.

Stern signed an advance contract with ReganBooks worth $3 million in 1995 to write his second biographical book, Miss America. Stern wrote about his cybersex experiences on the Prodigy service, a private meeting with Michael Jackson, and his past suffering with obsessive-compulsive disorder (OCD). The book sold 33,000 copies at Barnes & Noble stores on November 7, the day of its release, setting a new one-day record. Publishers Weekly reported over 1.39 million hardcover copies were sold by the end of 1995, ranking it the third best-seller of the year. Miss America spent a total of 16 weeks on The New York Times best-seller list. The film premiered at The Theatre at Madison Square Garden on February 27, 1997, where Stern performed "The Great American Nightmare" with Rob Zombie. Private Parts made its general release on March 7, 1997, where it topped the box office in its opening weekend with a gross of $14.6 million, and $41.2 million in total. Rotten Tomatoes gave the film a score of 79%. For his performance, Stern won a Blockbuster Entertainment Award for "Favorite Male Newcomer" and nominated for a Golden Satellite Award for "Best Performance by an Actor in a Motion Picture (Comedy)" and a Golden Raspberry Award for "Worst New Star".

On October 8, 1997, Stern filed a $1.5 million lawsuit against Ministry of Film Inc., claiming it recruited him for a film titled Jane starring Melanie Griffith, while knowing it had insufficient funds. Stern, who was unpaid when production ceased, accused the studio of breach of contract, fraud and negligent representation. A settlement was reached in 1999, with Stern receiving $50,000.

Return to Saturday night television and productions (1998–2004)

On April 1, 1998, Stern announced his return to Saturday night television with The Howard Stern Radio Show. Broadcast across the country on CBS affiliates, it featured radio show highlights along with material unseen in his nightly E! show. The show was a direct competitor with NBC's Saturday Night Live and Fox's MADtv for ratings. Concerned with its risqué content, the show began to lose affiliates after two episodes. Making its launch on 79 stations on August 22, 1998, this number was reduced to 55 by June 1999. A total of 84 episodes were broadcast. The final re-run aired on November 17, 2001, to around 30 markets.

In 1994, Stern launched the Howard Stern Production Company for original and joint production and development ventures. He intended to make a film adaptation of Brother Sam, the biography of the late comedian Sam Kinison. In September 1999, UPN announced the production of Doomsday, an animated science-fiction comedy series executively produced by Stern. Originally set for a 2000 release, Stern starred as Orinthal, a family dog. The project was eventually abandoned. From 2000 to 2002, Stern was the executive producer of Son of the Beach, a sitcom which ran for three seasons on FX. In late 2001, Howard Stern Productions was reportedly developing a new sitcom titled Kane. The pilot episode was never filmed. In 2002, Stern acquired the rights to comedy films Rock 'n' Roll High School (1979) and Porky's (1982). Neither has yet been re-made. In March 2003, Stern filed a $100 million lawsuit against ABC and the producers of Are You Hot?, claiming the series was based on a radio show segment known as "The Evaluators". A settlement was reached on August 7.

Stern announced in early 2004 of talks with ABC to host a prime time interview special, which never materialized. In August 2004, cable channel Spike picked up 13 episodes of Howard Stern: The High School Years, a second animated series Stern was to executive produce. On November 14, 2005, Stern announced the completion of episode scripts and 30 seconds of test animations. Stern eventually gave the project up. On September 10, 2007, he explained the episodes could have been produced "on the cheap" at $300,000 each, though the quality he demanded would have instead cost over $1 million. Actor Michael Cera was cast as the lead voice.

Satellite radio and CBS lawsuit (2004–present)

On October 6, 2004, Stern announced his contract with Sirius Satellite Radio, a medium free of FCC regulations, starting from January 2006. The move followed a crackdown on perceived indecency in broadcasting that occurred following the controversy surrounding the Super Bowl XXXVIII halftime show in February. The incident prompted tighter control over content by station owners and managers, leading to Stern feeling "dead inside" creatively. The five-year deal allows Stern to produce up to three channels on Sirius with a $100 million per year budget for all production, staff and programming costs including the construction of a dedicated studio. On January 9, 2006, the day of his first broadcast, Sirius issued 34.3 million shares of stock worth $218 million to Stern and his agent for exceeding a subscriber target set in 2004. A second stock incentive was paid on January 9, 2007, with Stern earning 22 million shares worth $82.9 million. Following his move, Time magazine included Stern in the Time 100 list in May 2006. He also ranked seventh in Forbes' "World's Most Powerful Celebrities" list a month later.

On February 28, 2006, CBS Radio (formerly Infinity Broadcasting) filed a 43-page lawsuit against Stern, his agent and Sirius. The suit claimed Stern had misused CBS broadcast time to promote Sirius for unjust enrichment during his last 14 months on terrestrial airwaves. In a press conference held hours before the suit was filed, Stern said it was nothing more than a "personal vendetta" against him by CBS president Leslie Moonves. A settlement was reached on May 25, with Sirius paying $2 million to CBS for control of Stern's broadcast archives since 1985.

On December 9, 2010, Stern announced the signing of a new five-year contract with Sirius which ends in 2015.

FCC fines

From 1990 to 2004, the Federal Communications Commission (FCC) has fined owners of radio stations that carried The Howard Stern Show a total of $2.5 million for indecent programming.

Personal life

Stern married Alison Berns on June 4, 1978 at Temple Ohabei Shalom in Brookline, Massachusetts, both 24 years old. They have three daughters – Emily Beth (b. 1983), Debra Jennifer (b. 1986) and Ashley Jade (b. 1993). On October 22, 1999, Stern announced their decision to separate. The marriage ended in 2001 with an amicable divorce and settlement. Stern began a period of single living, dating actresses Angie Everhart and Robin Givens. In 2000, Stern began to date model Beth Ostrosky, co-host of Casino Cinema from 2004 to 2007. She also frequently appeared in the American edition of FHM. On February 14, 2007, after seven years, Stern announced their engagement.

While attending Boston University, Stern developed an interest in Transcendental Meditation, which he practices to this day. He credits it with aiding him in quitting smoking and achieving his goals in radio. Stern has interviewed Maharishi Mahesh Yogi, the founder of the technique, twice in his career. Stern also plays on the Internet Chess Club, and has taken lessons from Dan Heisman, a chess master from Philadelphia.

Filmography

Films

{|class="wikitable" style="font-size: 90%;" border="2" cellpadding="4" background: #f9f9f9; |- align="center" ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Film ! style="background:#B0C4DE;" | Role ! style="background:#B0C4DE;" | Notes |- | 1986 | Ryder, P.I. | Ben Wah | |- | 1997 | Private Parts | Himself | Blockbuster Entertainment Award for "Favourite Male Newcomer" (1998)
Nominated – Golden Raspberry Award for "Worst New Star" (1998)
Nominated – Golden Satellite Award for "Best Male Actor Performance in a Comedy or Musical" (1998) |}

Home video releases

{|class="wikitable" style="font-size: 90%;" border="2" cellpadding="4" background: #f9f9f9; |- align="center" ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Title ! style="background:#B0C4DE;" | Role ! style="background:#B0C4DE;" | Notes |- | 1988 | Howard Stern's Negligeé and Underpants Party | rowspan="4"| Himself/Host |- | 1989 | Howard Stern's U.S. Open Sores | |- | 1992 | Butt Bongo Fiesta | |- | 1994 | Howard Stern's New Year's Rotten Eve 1994 | |}

Television

{|class="wikitable" style="font-size: 90%;" border="2" cellpadding="4" background: #f9f9f9; |- align="center" ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Title ! style="background:#B0C4DE;" | Role ! style="background:#B0C4DE;" | Notes |- | 1981 | Petey Greene's Washington | Himself | |- | 1987 | Nightlife | Himself | |- | 1987 | The Howard Stern Show | Himself - Host | Series of 5 pilot episodes that never aired |- | 1988 | The New Hollywood Squares | Announcer - Guest | |- | 1990–1992 | The Howard Stern Show | Himself - Host | |- | 1992 | 1992 MTV Video Music Awards | Fartman | |- | 1992–1993 | The Howard Stern "Interview" | Himself - Host | |- | 1993 | The Larry Sanders Show | Himself | Season 2, episode 18 |- | 1993 | The John Stewart Show | Himself | Season 1, episode 1 |- | 1994–2005 | Howard Stern | Himself - Host | |- | 1997 | Saturday Night Live | Himself | Season 22, episode 14 |- | 1998 | The Magic Hour | Himself | |- | 1998 | The Roseanne Show | Himself | Season 1, episode 54 |- | 1998–2001 | The Howard Stern Radio Show | Himself - Host |- | 2001 | The Concert for New York City | Himself |- | 2004 | Extra | Himself | |- | 2005–present | Howard Stern On Demand | Himself - Host | Known as Howard TV since March 2006 |}

Discography

{|class="wikitable" style="font-size: 90%;" border="2" cellpadding="4" background: #f9f9f9; |- align="center" ! style="background:#B0C4DE;" | Year ! style="background:#B0C4DE;" | Album ! style="background:#B0C4DE;" | Label ! style="background:#B0C4DE;" | Notes |- | 1982 | 50 Ways to Rank Your Mother | Wren Records | Re-released as Unclean Beaver (1994) on Ichiban and Citizen X labels |- | 1991 | Crucified By the FCC | Infinity Broadcasting | |- | 1997 | | Warner Brothers | Billboard 200 Number-one album from March 15–21, 1997 |}

Bibliography

Notes

References

External links

The Howard Stern Show">The Howard Stern Show on Sirius XM

The Howard Stern Show and Howard Stern Official Site">The Howard Stern Show and Howard Stern Official Site

Category:1954 births Category:Actors from New York City Category:American actor-politicians Category:American comedians Category:American actors Category:American Jews Category:American libertarians Category:American radio personalities Category:American talk radio hosts Category:American television personalities Category:American television producers Category:American television talk show hosts Category:American writers Category:Free speech activists Category:Boston University alumni Category:Jewish comedians Category:Jewish comedy and humor Category:Living people Category:Obscenity controversies Category:People from Jackson Heights, Queens Category:People from Nassau County, New York Category:People from New York City Category:Radio personalities from New York City Category:Sirius Satellite Radio Category:Transcendental Meditation practitioners

Name	Joe Jonas
Birth name	Joseph Adam Jonas
Background	solo_singer
Born	August 15, 1989 Casa Grande, Arizona, U.S.
Origin	Wyckoff, New Jersey, U.S.
Instrument	Vocals, Keyboards, guitars
Genre	Teen pop, pop rock, Christian rock
Occupation	Singer-songwriter, musician, actor, dancer
Years active	2005–present
Label	Hollywood, Columbia
Associated acts	Jonas Brothers, Jordin Sparks, Demi Lovato, Taylor Swift, Miley Cyrus

Joseph Adam "Joe" Jonas (born August 15, 1989) is an American singer, musician, actor and dancer. He shares the lead singer role with his younger brother Nick of the Jonas Brothers, a pop-rock band made up of him and his two brothers, Nick and Kevin. He starred as Joseph Lucas in the Disney Channel original series Jonas.

Early life

Joseph Adam Jonas was born in Casa Grande, Arizona, the son of Denise, a former sign language teacher and singer, and Paul Kevin Jonas, Sr., a songwriter, musician and former ordained minister at an Assemblies of God church. He is of Irish (from his maternal grandfather), Cherokee, Italian, and German descent.

Music career

Jonas Brothers

In early 2005, Columbia Records' new president, Steve Greenberg, listened to Nick's record. While Greenberg did not like the album, he did like Nick's voice. After hearing the song, "Please Be Mine", written and performed by all the brothers, Daylight/Columbia Records decided to sign the three as a group act. After being signed to Columbia, the brothers considered naming their group "Sons of Jonas" before settling on the name "Jonas Brothers".

It's About Time, the brothers' first album, was released on August 8, 2006. According to the band's manager, it was only a "limited release" of a little over 50,000 copies. Because Sony was not interested in further promoting the band, the Jonas Brothers then considered switching labels. The band was ultimately dropped by Columbia Records in early 2007.

After shortly being without a label, the Jonas Brothers signed with Hollywood Records in February 2007. Around the same time, the brothers began appearing in GAP commercials for Baby Bottle Pops, singing the jingle. It reached number five on the Billboard Hot 200 chart in its first week.

The Jonas Brothers' third studio album, A Little Bit Longer, was released in the United States on August 12, 2008 and peaked at #1 on the Billboard 200.

On June 16, 2009 The Jonas Brothers's 4 studio album, and third release under Hollywood Records entitled Lines, Vines, and Trying Times was released. The album peaked at number 1 on the Billboard 200 with 247,000 copies sold.

Solo artist

After months of speculation it was revealed on May 19, 2010 that Joe Jonas planned on releasing a solo album. This would be Jonas' first album separate from the Jonas Brothers. About the album, Jonas says exclusively to JustJared.com, "Yeah, there’s nothing to hide... We’re just waiting for the right timing. There’s a lot of Jonas stuff going on this year, so once there’s a place for that record, we’ll release it."

Jonas talked about his experience working with producer Frankmusik, "Frank is really cool and talented... We met a couple months ago and when we first met, it didn’t go as planned. We weren’t sure if we were gonna work together. His background is very electropop, dance music but now, that’s pretty much the direction."

In an interview Joe said: "I've been writing and recording a lot of music on my own, so we'll see where it goes. I'm looking forward to the future."

Acting career

On August 17, 2007, Joe, along with his brothers, guest starred in an episode of Hannah Montana. The episode debuted alongside High School Musical 2 and a sneak peek of the new Disney Channel show Phineas and Ferb. The episode broke basic cable records with a record 10.7 million viewers and became basic cable's most watched series telecast ever.

Joe and his brothers filmed a Disney Channel Original Movie called Camp Rock where they play a band called "Connect Three." Joe plays the lead male role and lead singer "Shane Gray"; Nick plays the role of "Nate," a guitarist and drummer; and Kevin plays the role of "Jason," also a guitarist. The film's soundtrack was released on June 17, 2008. The movie premiered on June 20, 2008 in the USA on Disney Channel, and Canada on Family. He reprised his role of Shane in the sequel, . The film premiered on September 3, 2010. The was released on August 10, 2010.

The reality short series, , premiered on Disney Channel on May 16, 2008. The first season, which ran until September 5, 2008, documented the brothers' lives on the Look Me In The Eyes Tour. The name was inspired by the band's hit song "When You Look Me in the Eyes". The series was renewed for a second season that premiered on March 21, 2010. The second season follows the band on the European leg of their World Tour 2009.

Joe, along with his three brothers Kevin, Nick and Frankie also star in their own Disney Channel Original Series, called JONAS. In the series the Jonas Brothers portray a pop band attempting to live a normal life. The first season premiered on May 2, 2009. Filming for the second season began in February 2010.

Jonas guest judged on an episode of American Idol during the auditions in Dallas. In February 2010, Jonas made a cameo appearance in Vampire Weekend's music video for "Giving Up the Gun" along with Jake Gyllenhaal, Lil Jon, and RZA.

Joe Jonas guest starred on TV Land’s Hot In Cleveland show which stars Betty White. Joe appeared in an August episode as 'Will,' Valerie Bertinelli's son in an episode. In the episode, Will Moretti comes to Cleveland to visit his mother Melanie. The episode aired August 11 and was taped in front of a live studio audience July 17.

Personal life

In 2006, Jonas dated AJ Michalka of pop-duo 78violet (formerly Aly & AJ), as confirmed by Michalka on her MySpace blog.

In 2008, Jonas was in a high-profile relationship with country pop singer Taylor Swift. On November 11, 2008, in an interview on The Ellen DeGeneres Show, Swift claimed that Jonas broke up with her in a 27-second phone call. In explanation, Jonas wrote on his MySpace blog (in a post that has since been removed): "I called to discuss feelings with the other person, and obviously these feelings were not well received. I did not end the phone call. Someone else ended it for me. Phone calls only last as long as the person on the other end is willing to talk." Furthermore, Jonas says that he has tried to call her since the breakup, in an attempt at reconciliation, but received no response. During the same interview with Ellen DeGeneres, Swift revealed that the heartbreak song, "Forever & Always", on her album Fearless, recorded in late September 2008, was inspired by Jonas.

Jonas began a relationship with Camilla Belle after she starred in the band's music video for the song "Lovebug". After almost a year together, it was announced the couple had split.

On March 12, 2010, Demi Lovato, Jonas's co-star in Camp Rock and Camp Rock 2, confirmed that she and Jonas had started dating. On May 24, 2010, Lovato announced via her official Twitter that she and Jonas were no longer together.

Jonas is currently dating actress Ashley Greene.

Discography

Other Singles

{| class="wikitable" style="text-align:center;" |- ! rowspan="2"| Year ! rowspan="2"| Single ! colspan="7"| Peak chart positions ! rowspan="2"| Album |- style="font-size:smaller;" ! width="30"| US ! width="30"| CAN ! width="30"| US
Pop ! width="30"| US Digital ! width="30"| AUS ! width="30"| UK ! width="30"| GER |- | style="text-align:center;" rowspan="3"| 2008 |align="left"|"We Rock" (With the Cast of Camp Rock) | 30 | 41 | — | 16 | 70 | 100 | — | style="text-align:center;" rowspan="3"| Camp Rock |- |align="left"|"This Is Me" (With Demi Lovato) | 9 | 2 | 1 | 16 | 33 | 46 | 85 |- |align="left"|"Gotta Find You" | 20 | 26 | — | 13 | 82 | 70 | — |- | style="text-align:center;"|2009 |align="left"|"Send It On (song)"(with Demi Lovato, Selena Gomez, Miley Cyrus) | 20 | 94 | — | 9 | — | — | — | style="text-align:center;" rowspan="3"| Non Album Song |- | style="text-align:center;" rowspan="3"|2010 |align="left"|"We Are the World 25 for Haiti" (with Various Artists) | 2 | 7 | — | — | 18 | 50 | — |- | style="text-align:left;"| "Make A Wave" (with Demi Lovato) | 84 | — | — | — | — | — | — |- | style="text-align:left;"| "Wouldn't Change A Thing" (with Demi Lovato)" | — | 90 | — | — | — | 71 | — | style="text-align:center;" rowspan="1"| |- | colspan="16" style="font-size:8pt"| "—" denotes releases that did not chart |}

Other appearances

{| class="wikitable" |- ! Year ! Song ! Album |- | rowspan="8"| 2010 |"Things Will Never Be The Same" | rowspan="3"|JONAS L.A. |- |"Summer Rain" |- |"Make It Right" |- |"What We Came Here For" (with Demi Lovato, Nick Jonas, Alyson Stoner) | rowspan="5"| |- |"This Is Our Song" (with Demi Lovato, Nick Jonas, Alyson Stoner) |- |"Heart and Soul" (with Nick Jonas, Kevin Jonas) |- | "Nada Vou Mudar" (with Mia Rose)" |- | "Eu Não Mudaria Nada Em Você" (with Jullie) |}

Music Videos

{| class="wikitable" !Year !Title !Album |- |rowspan="3"| 2008 |align="left"|"We Rock" (With the Cast of Camp Rock) |rowspan="3"| Camp Rock |- |align="left"|"This Is Me" (With Demi Lovato) |- |align="left"|"Gotta Find You" |- |rowspan="1"| 2009 |"Send It On" (featuring Miley Cyrus, Selena Gomez and Demi Lovato) |Non-album single promoting Disney's Friends for Change |- |rowspan="5"| 2010 |"Make It Right" |rowspan="2"|JONAS L.A. |- |"Things Will Never Be the Same" |- |"Make a Wave" (Joe Jonas and Demi Lovato) |Non-album song |- |"Nada Vou Mudar" (Mia Rose featuring Joe Jonas) |rowspan="1"|Camp Rock 2: The Final Jam |- |}

Filmography

{| class="wikitable" |- style="background:#ccc; text-align:center;" ! colspan="4" style="background: LightSteelBlue;" | Film |- style="background:#ccc; text-align:center;" ! Year ! Film ! Role ! Notes |- | rowspan=2 | 2008 | | Himself | 3D Concert film |- | Camp Rock | Shane Gray | Disney Channel Original Movie |- | rowspan=3 | 2009 | | Himself | 3D Concert film |- | Band in a Bus | Himself | Reality DVD |- | | Cherub | Film |- || 2010 | |Shane Gray |- | 2011 | Jonas Brothers: The Journey | Himself | (Unauthorized Documentary) |- style="background:#ccc; text-align:center;" ! colspan="4" style="background: LightSteelBlue;" | Television |- style="background:#ccc; text-align:center;" ! Year ! Series ! Role ! Notes |- | 2007 | Hannah Montana | Himself | "Me and Mr. Jonas and Mr. Jonas and Mr. Jonas" (Season 2, Episode 17) |- | 2008,2010 | | Himself | Reality series |- | 2009–2010 | JONAS L.A. | Joe Lucas | Disney Channel Original Series |- | rowspan=3 | 2010 | Hot in Cleveland | Will Moretti |- | 90210 | Himself | November, 2010 episode |- style="background:#ccc; text-align:center;" ! colspan="4" style="background: LightSteelBlue;" | Guest appearances |- style="background:#ccc; text-align:center;" ! Year !! Title !! Role !! Notes |- | rowspan=4| 2008 | Disney Channel Games 2008 | Himself | Third annual |- | | Himself | Second show |- | | Himself | "The Akers Family" (Season 6, Episode 2) |- | Disney Channel's Totally New Year 2008 | Himself | Disney Channel special New Years event |- | 2009 | Saturday Night Live | Himself | February 14, 2009 episode |- | rowspan=4 | 2010 | American Idol | Himself as Judge | January 27, 2010 episode |- | | Himself | "The Heathcock Family" (Season 7, Episode 17) |- | Daily 10 | Himself (Host) | July 27, 2010 episode |- | Top Chef | Himself | "Night At The Museum" December 8, 2010 episode |- style="text-align:center;" ! colspan=4 style="background:#B0C4DE;" | Music video |- style="text-align:center;" ! style="background:#ccc;"| Year ! style="background:#ccc;"| Title ! style="background:#ccc;"| Artist ! style="background:#ccc;"| Role |- |2010 |Giving Up the Gun |Vampire Weekend |Tennis player, cameo |- style="text-align:center;" ! colspan=4 style="background:#B0C4DE;" | Musicals |- style="text-align:center;" ! style="background:#ccc;"| Year ! style="background:#ccc;"| Musical ! style="background:#ccc;"| Role ! style="background:#ccc;"| Note |- |2004 |La bohème | | |}

References

External links

http://www.people.com/people/article/0,,20351501,00.html

Category:1989 births Category:2000s singers Category:2010s singers Category:Actors from New Jersey Category:American Christians Category:American film actors Category:American singer-songwriters Category:American television actors Category:Jonas Brothers members

Category:Living people Category:American people of Italian descent Category:American people of Irish descent Category:Native American people Category:American people of German descent Category:American musicians of Italian descent Category:Musicians from New Jersey Category:People from Wyckoff, New Jersey