Dada ( /ˈdɑːdɑː/) or Dadaism is a cultural movement that began in Zurich, Switzerland, during World War I and peaked from 1916 to 1922.^[1] To quote Dona Budd's The Language of Art Knowledge, "Dada was born out of negative reaction to the horrors of World War I. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zurich. Dada rejected reason and logic, prizing nonsense, irrationality and intuition. The origin of the name Dada is unclear; some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara and Marcel Janco's frequent use of the words da, da, meaning yes, yes in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to 'dada', a French word for 'hobbyhorse."^[2] The movement primarily involved visual arts, literature—poetry, art manifestoes, art theory—theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. Its purpose was to ridicule the meaninglessness of the modern world as its participants saw it. In addition to being anti-war, Dada was also anti-bourgeois and socialist in nature.

Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art and Fluxus.

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.

—Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, And Provocation

Overview[link]

This section's factual accuracy is disputed. Please help to ensure that disputed facts are reliably sourced. See the relevant discussion on the talk page.

Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity—in art and more broadly in society—that corresponded to the war.^[4]

Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction."^[5]

According to Hans Richter, Dada was not art, it was "anti-art."^[4] Everything for which art stood, Dada represented the opposite. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend. Through their rejection of traditional culture and aesthetics, the Dadaists hoped to destroy traditional culture and aesthetics.^{[citation needed]}

As Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true perception and criticism of the times we live in."^[6]

A reviewer from the American Art News stated at the time that "Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, a "reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide."^[7]

Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path. [It was] a systematic work of destruction and demoralization... In the end it became nothing but an act of sacrilege."^[7]

History[link]

Zurich[link]

In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it.

Some sources state that Dada coalesced on October 6 at the Cabaret Voltaire. Other sources state that Dada did not originate fully in a Zurich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe, particularly Romania, that transposed to Switzerland when a group of Jewish modernist artists (Tzara, Marcel & Iuliu Iancu, Arthur Segal, and others) settled in Zurich. In the years prior to World War I similar art had already risen in Bucharest and other Eastern European cities; it is likely that DADA's catalyst was the arrival in Zurich of artists like Tzara and Janco.^[8]

Having left Germany and Romania during World War I, the artists found themselves in Switzerland, a country recognized for its neutrality. Inside this space of political neutrality they decided to use abstraction to fight against the social, political, and cultural ideas of that time. The dadaists believed those ideas to be a byproduct of bourgeois society, a society so apathetic it would rather fight a war against itself than challenge the status quo.^[9]

Marcel Janco recalled,

We had lost confidence in our culture. Everything had to be demolished. We would begin again after the tabula rasa. At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order.

The Cabaret closed its doors in early July and then at the first public soiree at Waag Hall^[10] on July 14, 1916, Ball recited the first manifesto. In 1917, Tzara wrote a second Dada manifesto considered one of the most important Dada writings, which was published in 1918. Other manifestos followed.

A single issue of the magazine Cabaret Voltaire was the first publication to come out of the movement.

After the cabaret closed down, activities moved to a new gallery and Hugo Ball left for Bern. Tzara began a relentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.

Zurich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with five editions from Zurich and the final two from Paris.

When World War I ended in 1918, most of the Zurich Dadaists returned to their home countries, and some began Dada activities in other cities. Others, such as Swiss native Sophie Täuber, would remain in Zurich into the 1920s.

Berlin[link]

The groups in Germany were not as strongly anti-art as other groups. Their activity and art were more political and social, with corrosive manifestos and propaganda, satire, public demonstrations and overt political activities. It has been suggested that this is at least partially due to Berlin's proximity to the front, and that for an opposite effect, New York's geographic distance from the war spawned its more theoretically-driven, less political nature.[citation needed]

In February 1918, Huelsenbeck gave his first Dada speech in Berlin, and produced a Dada manifesto later in the year. Hannah Höch and George Grosz used Dada to express post-World War I communist sympathies. Grosz, together with John Heartfield, developed the technique of photomontage during this period. The artists published a series of short-lived political magazines, and held the First International Dada Fair, 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920.^[11] As well as the main members of Berlin Dada, Grosz, Raoul Hausmann, Höch, Johannes Baader, Huelsenbeck and Heartfield, the exhibition also included work by Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others.^[11] In all, over 200 works were exhibited, surrounded by incendiary slogans, some of which also ended up written on the walls of the Nazi's Entartete Kunst exhibition in 1937. Despite high ticket prices, the exhibition lost money, with only one recorded sale.^[12]

The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football, and Dada Almanach.

Cologne[link]

In Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsense and anti-bourgeois sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participants walk past urinals while being read lewd poetry by a woman in a communion dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.^[13]

Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz

New York[link]

Like Zurich, New York City was a refuge for writers and artists from World War I. Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the center of radical anti-art activities in the United States. American Beatrice Wood, who had been studying in France, soon joined them, along with Elsa von Freytag-Loringhoven. Arthur Cravan, fleeing conscription in France, was also present for a time. Much of their activity centered in Alfred Stieglitz's gallery, 291, and the home of Walter and Louise Arensberg.

The New Yorkers, though not particularly organized, called their activities Dada, but they did not issue manifestos. They issued challenges to art and culture through publications such as The Blind Man, Rongwrong, and New York Dada in which they criticized the traditionalist basis for museum art. New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor. In his book Adventures in the arts: informal chapters on painters, vaudeville and poets Marsden Hartley included an essay on "The Importance of Being 'Dada'".

Rose Sélavy, the alter ego of famed Dadaist Marcel Duchamp.

During this time Duchamp began exhibiting "readymades" (everyday objects found or purchased and declared art) such as a bottle rack, and was active in the Society of Independent Artists. In 1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to the Society of Independent Artists exhibition only to have the piece rejected. First an object of scorn within the arts community, the Fountain has since become almost canonized by some. The committee presiding over Britain's prestigious Turner Prize in 2004, for example, called it "the most influential work of modern art."^[14] As recent scholarship documents, the work is likely more collaborative than it has been given credit for in twentieth-century art history. Duchamp indicates in a 1917 letter to his sister that a female friend was centrally involved in the conception of this work. As he writes: "One of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture."^[15] The piece is more in line with the scatological aesthetics of Duchamp’s friend and neighbour, the Baroness Elsa von Freytag-Loringhoven, than Duchamp's.^[16] In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in The Fountain with a hammer in January 2006; he also urinated on it in 1993.

Picabia's travels tied New York, Zurich and Paris groups together during the Dadaist period. For seven years he also published the Dada periodical 391 in Barcelona, New York City, Zurich, and Paris from 1917 through 1924.

By 1921, most of the original players moved to Paris where Dada experienced its last major incarnation (see Neo-Dada for later activity).

Paris[link]

The French avant-garde kept abreast of Dada activities in Zurich with regular communications from Tristan Tzara (whose pseudonym means "sad in country," a name chosen to protest the treatment of Jews in his native Romania), who exchanged letters, poems, and magazines with Guillaume Apollinaire, André Breton, Max Jacob, Clément Pansaers, and other French writers, critics and artists.

Paris had arguably been the classical music capital of the world since the advent of musical Impressionism in the late 19th century. One of its practitioners, Erik Satie, collaborated with Picasso and Cocteau in a mad, scandalous ballet called Parade. First performed by the Ballets Russes in 1917, it succeeded in creating a scandal but in a different way than Stravinsky's Le Sacre du Printemps had done almost five years earlier. This was a ballet that was clearly parodying itself, something traditional ballet patrons would obviously have serious issues with.

Dada in Paris surged in 1920 when many of the originators converged there. Inspired by Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances and produced a number of journals (the final two editions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)^[17]

The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu. In the same year Tzara staged his Dadaist play The Gas Heart to howls of derision from the audience. When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by André Breton) that heralded the split within the movement that was to produce Surrealism. Tzara's last attempt at a Dadaist drama was his "ironic tragedy" Handkerchief of Clouds in 1924.

Netherlands[link]

In the Netherlands the Dada movement centered mainly around Theo van Doesburg, best known for establishing the De Stijl movement and magazine of the same name. Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg became a friend of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where Van Doesburg promoted a leaflet about Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszàr demonstrated a mechanical dancing doll and Nelly Van Doesburg (Theo's wife), played avant-garde compositions on piano.

Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was only revealed after his death in 1931. 'Together' with I.K. Bonset, he also published a short-lived Dutch Dada magazine called Mécano.

Georgia[link]

Although Dada itself was unknown in Georgia until at least 1920, from 1917-1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever) organized along Dadaist lines. The most important figure in this group was Iliazd, whose radical typographical designs visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaists on publications and events.

Yugoslavia[link]

In Yugoslavia there was heavy Dada activity between 1920 and 1922 run mainly by Dragan Aleksić and including Mihailo S. Petrov, Zenitist's two brothers Ljubomir Micić and Branko Ve Poljanski. Aleksić used the term "Yugo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.^[18]

Italy[link]

The Dada movement in Italy, based in Mantova, was met with distaste and failed to make a significant impact in the art world. They published a magazine for a short time and held an exhibit in Rome, featuring paintings, Tristan Tzara quotes, and original epigrams such as "True Dada is against Dada". The most notable member of this group was Julius Evola, who went on to become a preeminent occult scholar of the 20th century, as well as a right-wing philosopher and aide to Mussolini.

Tokyo[link]

A prominent Dada group in Japan was MAVO (JA), founded in July 1923 by Tomoyoshi Murayama and Masamu Yanase (DE, JA). Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi (JA) and Katsue Kitasono.

Poetry; music and sound[link]

Dada was not confined to the visual and literary arts; its influence reached into sound and music. Kurt Schwitters developed what he called sound poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada music performed at the Festival Dada in Paris on 26 May 1920. Other composers such as Erwin Schulhoff, Hans Heusser and Albert Savinio all wrote Dada music, while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings. Erik Satie also dabbled with Dadaist ideas during his career, although he is primarily associated with musical Impressionism.

In the very first Dada publication, Hugo Ball describes a "balalaika orchestra playing delightful folk-songs." African music and jazz was common at Dada gatherings, signaling a return to nature and naive primitivism.^{[citation needed]}

Legacy[link]

The Janco Dada Museum, named after Marcel Janco, in Ein Hod, Israel

While broad, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements, including surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.^[19]

By the dawn of World War II, many of the European Dadaists had emigrated to the United States. Some died in death camps under Adolf Hitler,^{[citation needed]} who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to new movements in art and literature.

Dada is a named influence and reference of various anti-art and political and cultural movements including the Situationist International and culture jamming groups like the Cacophony Society.

At the same time that the Zurich Dadaists made noise and spectacle at the Cabaret Voltaire, Vladimir Lenin wrote his revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. French writer Dominique Noguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).

The Cabaret Voltaire fell into disrepair until it was occupied from January to March, 2002, by a group proclaiming themselves Neo-Dadaists, led by Mark Divo.^[20] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee and Dan Jones. After their eviction the space became a museum dedicated to the history of Dada. The work of Lee and Jones remained on the walls of the museum.

Several notable retrospectives have examined the influence of Dada upon art and society. In 1967, a large Dada retrospective was held in Paris, France. In 2006, the Museum of Modern Art in New York City held a Dada exhibition in conjunction with the National Gallery of Art in Washington D.C. and the Centre Pompidou in Paris. The LTM label has released a large number of Dada-related sound recordings, including interviews with artists such as Tzara, Picabia, Schwitters, Arp and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia and Nelly van Doesburg.^[21]

Art techniques developed[link]

Collage[link]

The dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life.

Photomontage[link]

The Dadaists – the "monteurs" (mechanics) – used scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press. In Cologne, Max Ernst used images from World War I to illustrate messages of the destruction of war.^[22]

Assemblage[link]

The assemblages were three-dimensional variations of the collage – the assembly of everyday objects to produce meaningful or meaningless (relative to the war) pieces of work including war objects and trash. Objects were nailed, screwed or fastened together in different fashions. Assemblages could be seen in the round or could be hung on a wall.^[23]

Readymades[link]

Marcel Duchamp began to view the manufactured objects of his collection as objects of art, which he called "readymades". He would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades". Duchamp wrote: "One important characteristic was the short sentence which I occasionally inscribed on the 'readymade.' That sentence, instead of describing the object like a title, was meant to carry the mind of the spectator towards other regions more verbal. Sometimes I would add a graphic detail of presentation which in order to satisfy my craving for alliterations, would be called 'readymade aided.'" ^[24] One such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled "Fountain", and submitted to the Society of Independent Artists exhibition that year.^[9]

See also[link]

References[link]

Bibliography[link]

External links[link]

• Dada at the Open Directory Project
• Dada art - includes images showing the characteristics of Dada
• The International Dada Archive - includes scans of publications
• Dadart - includes history, bibliography, documents, and news
• Dada magazine translated into English and remastered for the internet.
• From Dada to surrealism review from The Guardian
• Dada audio recordings at LTM

Manifestos

• Text of Hugo Ball's 1916 Dada Manifesto
• Text of Tristan Tzara's 1918 Dada Manifesto
• Excerpts of Tristan Tzara's Dada Manifesto (1918) and Lecture on Dada (1922)

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Uwe Schmidt
Schmidt (left) with Thomas Fehlmann at MUTEK10, Montreal (2009)
Background information
Birth name	Uwe H. Schmidt
Born	August 27, 1968
Origin	Frankfurt am Main, Germany
Genres	Electronic music; Postmodern music; Glitch; IDM; Latin Dance; Techno; Experimental; Easy Listening
Occupations	composer, programmer, musician, producer, graphic designer
Years active	1990–present
Labels	Rather Interesting, Raster-Noton, Nacional Records
Associated acts	Pete Namlook
Website	www.atom-heart.com/ www.senor-coconut.com/

Uwe Schmidt (aka Atom Heart, Atom™, Señor Coconut; born August 27, 1968), is a German composer, musician and producer of electronic music. He is often regarded as the father of electrolatino, electrogospel and acitón (acid-reggaeton) music.

Career[link]

Schmidt was born in Frankfurt am Main, West Germany. During the early 1990s, he produced dance music under a number of monikers including Atom Heart. In 1994, Schmidt started his own label, Rather Interesting, with the aim of developing music that doesn't follow the "traditional paths of electronic music".

In 1996 he invented the Señor Coconut moniker, and released the album El Gran Baile in 1997, right after he had moved to Santiago, Chile, in order to detach from the European music scene.

His next release, in 2000, was El Baile Alemán, which featured several Kraftwerk classics reworked with Latin instrumentation and rhythms.

He has often stated Latin American, and particularly Brazilian, music as a big influence.^[1]

The album was credited to Señor Coconut y Su Conjunto, but the album was entirely the work of Schmidt on synthesizers and samplers, with the aid of three vocalists. It received just enough critical acclaim in the U.S. for Schmidt to put together a short headlining tour. In March 2001, Señor Coconut, complete with a seven-piece backing band, set off for North America, but visa problems with some of the Chilean musicians forced Schmidt to cancel the tour.

Aliases[link]

Partial discography[link]

As Lassigue Bendthaus[link]

• The Engineers Love (1988)
• Matter (1991)
• Cloned (1992)
• Cloned:Binary (1992)
• Overflow (1994; single)
• Render (1994)
• Render (U.S. Remixes) (1994)
• Pop Artificielle (2000; credited as LB)

As Atomu Shinzo[link]

• Act (1993)

As Atom Heart[link]

• Elektroniikkaa (1992; with Pink Elln)
• Coeur Atomique (1993)
• Orange (1994)
• Live at Sel I/S/C (1994)
• ex.s (1993) (with Victor Sol & Alain "Stocha" Baumann, credited as +N)
• plane (1994) (with Victor Sol, credited as +N)
• Second Nature (1994; with Tetsu Inoue and Bill Laswell, credited as Second Nature)
• Dots (1994; credited as Dots)
• Softcore (1994)
• Aerial Service Area (1994; with Victor Sol and Niko Heyduck, credited as Aerial Service Area)
• VSVN (1995; credited as VSVN)
• Mu (1995; credited as Masters of Psychedelic Ambience)
• Semiacoustic Nature (1995; credited as Semiacoustic Nature)
• Silver Sound 60 (1995; credited as Silver Sound)
• Binary Amplified Super Stereo (1995; credited as BASS)
• Real Intelligence (1995)
• Machine Paisley (1996; credited as Machine Paisley)
• Tokyo - Frankfurt - New York (1996; with Haruomi Hosono and Tetsu Inoue, credited as HAT)
• Brown (1996; credited as Brown)
• Apart (1996)
• Real Intelligence II (1996)
• built. (1996; Victor Sol, credited as +N)
• Digital Superimposing (1997; credited as Superficial Depth)
• Schnittstelle (1998; credited as Schnittstelle)
• DSP-Holiday (1998; with Haruomi Hosono and Tetsu Inoue, credited as HAT)
• Real Intelligence III (1998)
• Real Intelligence IV (2002)

As Lisa Carbon ("& Friends" or "Trio")[link]

• Stereo Cocktail (1993; titled Experimental Post Techno Swing in the US)
• Polyester (1995)
• Trio de Janeiro (1997)
• Standards (2003)

As DATacide (with Tetsu Inoue)[link]

• DATacide (1993)
• DATacide II (1994)
• Flowerhead (1995)
• Ondas (1996)

As Flanger (with Bernd Friedmann)[link]

• Templates (1999)
• Midnight Sound (2000)
• Inner Spacesuit (2001; single)
• Outer Space / Inner Space (2001)
• Spirituals (2005)
• Nuclear Jazz (2007; compilation)

As Geeez 'N' Gosh[link]

• My Life with Jesus (2000)
• Nobody knows (2002)

As Bund Deutscher Programmierer[link]

• Stoffwechsel (2000)

As Señor Coconut ("y Su Conjunto", later "and his Orchestra")[link]

• El Gran Baile (1997)
• El Baile Alemán (2000)
• Fiesta Songs (2003)
• Señor Coconut presents Coconut FM (2005)
• Yellow Fever! (2006)
• Around the World with Señor Coconut (2008)

As The Disk Orchestra[link]

• [k] (2001)

As Midisport[link]

• 14 Footballers in Milkchocolate (2001)

As Dos Tracks[link]

• :) (2002)

As Atom™[link]

• CMYK (2005)
• iMix (2005)
• Re-invents the Wheel (2006)
• Son of a Glitch (2007)
• Liedgut (2009)
• Muster (2009)
• Music Is Better Than Pussy (2010)
• Winterreise (2012)

As Los Negritos[link]

• Speed-Merengue Mega-Mix 2005 (2005)

As Surtek Collective (with Original Hamster)[link]

• The Birth of Acitón (2007)

References[link]

External links[link]

Wikimedia Commons has media related to: Uwe Schmidt

• Atom™ news official site
• Atom™ fan site
• Senor Coconut official site
• A Is for Atom™ - photos from NYC show, April 2011
• Atom Heart discography
• Atom™ discography at Discogs
• Senor Coconut at RockEnEspanol.com
• Atom Heart RBMA lecture

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

Alice Cooper
Cooper at the Scream Awards, 2007
Background information
Birth name	Vincent Damon Furnier
Born	(1948-02-04) February 4, 1948 (age 64) Detroit, Michigan, United States
Genres	Rock, hard rock, heavy metal, shock rock
Occupations	Singer-songwriter, actor, DJ
Instruments	Vocals, harmonica, guitar
Years active	1964–present
Labels	Straight, Warner Bros., Atlantic, MCA, Epic, Spitfire, Eagle, New West
Website	www.alicecooper.com

Alice Cooper (born Vincent Damon Furnier; February 4, 1948)^[1] is an American rock singer, songwriter, and musician whose career spans more than four decades. With a stage show that features guillotines, electric chairs, fake blood, boa constrictors, and baby dolls, Cooper has drawn equally from horror movies, vaudeville, and garage rock to pioneer a grandly theatrical and violent brand of heavy metal designed to shock.^[2]

Originating in Detroit in the late 1960s, Alice Cooper was originally a band consisting of Furnier on vocals and harmonica, lead guitarist Glen Buxton, Michael Bruce on rhythm guitar, Dennis Dunaway on bass guitar, and drummer Neal Smith. The original Alice Cooper band broke into the international music mainstream with the 1971 hit "I'm Eighteen" from the album Love It to Death, which was followed by the even bigger single "School's Out" in 1972. The band reached their commercial peak with the 1973 album Billion Dollar Babies.

Furnier's solo career as Alice Cooper, adopting the band's name as his own name, began with the 1975 concept album Welcome to My Nightmare; in 2011 he released Welcome 2 My Nightmare, his 19th album as a solo artist, and his 26th album in total. Expanding from his Detroit rock roots, in his career Cooper has experimented with a number of musical styles, including conceptual rock, art rock, hard rock, New Wave, pop rock, experimental rock and industrial rock.

Alice Cooper is known for his social and witty persona offstage; The Rolling Stone Album Guide has called him the world's most "beloved heavy metal entertainer".^[3] Cooper is credited with helping to shape the sound and look of heavy metal, and he is regarded as being the artist who "first introduced horror imagery to rock'n'roll, and whose stagecraft and showmanship have permanently transformed the genre".^[4] Away from music, Cooper is a film actor, a golfing celebrity, a restaurateur and, since 2004, a popular radio DJ with his classic rock show Nights with Alice Cooper.

In 2011 the original Alice Cooper band was inducted into The Rock and Roll Hall of Fame.^[5]

Early life[link]

Cooper was born as Vincent Damon Furnier in Detroit, Michigan, the son of Ella Mae (née McCart) and Ether Moroni Furnier. His father was a lay preacher in the Church of Jesus Christ (also known as the Bickertonite Church) which, historically, is a branch of the Latter Day Saint movement.^[6] He has French Huguenot, Sioux Native American, English, Scottish, and Irish ancestry,^[7] and was named after one of his uncles (Vincent Collier Furnier) and the writer Damon Runyon.^[8] His paternal grandfather, Thurman Sylvester Furnier, was an apostle in the Church of Jesus Christ (Bickertonite). Vincent Furnier was active in his church at the ages of 11 and 12.^[9][10]

While growing up in Detroit, Furnier attended Washington Elementary School, then Nankin Mills Jr. High, now Lutheran High School Westland. Following a series of childhood illnesses, Furnier moved with his family to Phoenix, Arizona, where he attended Cortez High School in north Phoenix.^[11] Vincent had gained admission into the University of Arizona, University of Colorado and University of California-Davis – he declined all these offers.^{[citation needed]}

Recording career[link]

1960s[link]

In 1964 sixteen year-old Furnier was eager to take part in the local annual letterman's talent show, so he gathered fellow cross-country teammates to form a group for the show.^[12] They named themselves The Earwigs. Because they did not know how to play any instruments at the time, they dressed up like The Beatles and mimed their performance to Beatles songs. As a result of winning the talent show and loving the experience of being onstage, the group immediately proceeded to learn how to play instruments they acquired from a local pawn shop. They soon renamed themselves The Spiders, featuring Furnier on vocals, Glen Buxton on lead guitar, John Tatum on rhythm guitar, Dennis Dunaway on bass guitar and John Speer on drums.^{[citation needed]} Musically, the group was inspired by artists such as The Beatles, The Rolling Stones, The Who, The Kinks, The Doors and The Yardbirds. For the next year the band performed regularly around the Phoenix area with a huge black spider's web as their backdrop, the group's first stage prop. In 1965 they recorded their first single, "Why Don't You Love Me" (originally performed by The Blackwells), with Furnier learning the harmonica for the song.^{[citation needed]}

In 1966 The Spiders graduated from high school, and after North High School footballer Michael Bruce replaced John Tatum on rhythm guitar, the band scored a local No. 1 radio hit with "Don't Blow Your Mind", an original composition from their second single release. By 1967 the band had begun to make regular road trips to Los Angeles to play shows. They soon renamed themselves The Nazz and released the single "Wonder Who's Lovin' Her Now", backed with future Alice Cooper track "Lay Down And Die, Goodbye". At around this time drummer John Speer was replaced by Neal Smith. By the end of the year the band had relocated to Los Angeles.^{[citation needed]}

In 1968 upon learning that Todd Rundgren also had a band called Nazz, the band was again in need of another stage name. Believing that the group needed a gimmick to succeed, and that other bands were not exploiting the showmanship potential of the stage, Furnier chose "Alice Cooper" as the band's name and adopted this stage name as his own. Cooper later stated that the name change was one of his most important and successful career moves.^[13]

Nonetheless, at the time Cooper and the band realized that the concept of a male playing the role of a villain, a woman killer, in tattered women's clothing and wearing make-up, would have the potential to cause considerable social controversy and grab headlines. In 2007 in his book Alice Cooper, Golf Monster Cooper stated that his look was inspired in part by film. One of the band's all-time favorite movies was What Ever Happened to Baby Jane starring Bette Davis. "In the movie, Bette wears disgusting caked makeup smeared on her face and underneath her eyes, with deep, dark, black eyeliner." Another movie the band watched over and over was Barbarella. "When I saw Anita Pallenberg playing the Great Tyrant in that movie in 1968, wearing long black leather gloves with switchblades coming out of them, I thought, 'That's what Alice should look like'. That, and a little bit of Emma Peel from The Avengers".^[14]

The classic Alice Cooper group line-up consisted of singer Alice Cooper (Vincent Furnier), lead guitarist Glen Buxton, rhythm guitarist Michael Bruce, bassist Dennis Dunaway and drummer Neal Smith. With the exception of Smith, who graduated from Camelback High School (which is referred to in the song "Alma Mater" on the album School's Out), all of the band members were on the Cortez High School cross-country team, and many of Cooper's stage effects were inspired by their cross-country coach, Emmett Smith^[15] (one of Smith's class projects was to build a working guillotine for slicing watermelons). Cooper, Buxton and Dunaway were also art students, and their admiration for the works of surrealist artists such as Salvador Dalí would further inspire their future stage antics.^{[citation needed]}

One night after an unsuccessful gig at the Cheetah club in Venice, California, where the band emptied the entire room of patrons after playing just ten minutes, they were approached and enlisted by music manager Shep Gordon, who ironically saw the band's negative impact that night as a force that could be turned in a more productive direction. Shep then arranged an audition for the band with composer and renowned record producer, Frank Zappa, who was looking to sign bizarre music acts to his new record label, Straight Records. For the audition Zappa told them to come to his house "at 7 o'clock." The band mistakenly assumed he meant 7 o'clock in the morning. Being woken up by a band willing to play that particular brand of psychedelic rock at seven in the morning impressed Zappa enough to sign them to a three-album deal. Another Zappa-signed act, the all-female GTOs, who liked to "dress the Cooper boys up like full size Barbie dolls," played a major role in developing the band's early onstage look.^[16][17]

Cooper's first album Pretties for You (released in 1969) had a slight psychedelic feel. Although it touched the US charts for one week at No. 193, it was ultimately a critical and commercial failure.

Alice Cooper's "shock rock" reputation apparently developed almost by accident at first. An unrehearsed stage routine involving Cooper, a feather pillow and a live chicken garnered attention from the press; the band decided to capitalize on the tabloid sensationalism, creating in the process a new subgenre, shock rock. Cooper claims that the infamous "Chicken Incident" at the Toronto Rock and Roll Revival concert in September 1969 was an accident. A chicken somehow made its way onto the stage into the feathers of a feather pillow they would open during Cooper's performance, and not having any experience around farm animals, Cooper presumed that, because the chicken had wings, it would be able to fly.^[18] He picked it up and threw it out over the crowd, expecting it to fly away. The chicken instead plummeted into the first few rows occupied by disabled people in wheelchairs, who reportedly proceeded to tear the bird to pieces.^[19]

The next day the incident made the front page of national newspapers, and Zappa phoned Cooper and asked if the story, which reported that he had bitten off the chicken's head and drunk its blood on stage, was true. Cooper denied the rumor, whereupon Zappa told him, "Well, whatever you do, don't tell anyone you didn't do it",^[20] obviously recognizing that such publicity would be priceless for the band.^[21]

The band have later claimed that this period was highly influenced by Pink Floyd, and especially the album Piper at the Gates of Dawn. Glen Buxton could listen to Syd Barrett's guitar for hours at a time.^[22]

1970s[link]

Despite the publicity from the Chicken Incident, the band's second album, Easy Action, released in June 1970, met with the same fate as its predecessor. At around this time the band, fed up with Californians' indifference to their act, relocated to Cooper's birthplace, Detroit, where their bizarre stage act was much better received by the crowds of the Midwest states who were accustomed to the similar hard rock styles of local bands such as The Stooges and The MC5. Despite this, Cooper still managed to receive a cream pie in the face when performing at the Cincinnati Pop Festival. Detroit would remain their steady home base until 1972. "L.A. just didn’t get it," Cooper stated. "They were all on the wrong drug for us. They were on acid and we were basically drinking beer. We fit much more in Detroit than we did anywhere else."^[23]

Alice Cooper appeared at the Woodstock-esque, Strawberry Fields Festival near Toronto, Ontario in August 1970. The band's mix of glam and increasingly violent stage theatrics stood out in stark contrast to the bearded, denim-clad hippie bands of the time.^[24] As Cooper himself stated: "We were into fun, sex, death and money when everybody was into peace and love. We wanted to see what was next. It turned out we were next, and we drove a stake through the heart of the Love Generation".^[25]

In autumn 1970 the Alice Cooper group teamed with producer Bob Ezrin for the recording of their third album Love It to Death. This was the final album in their Straight Records contract and the band's last chance to create a hit. That first success came with the single "I'm Eighteen", released in November 1970, which reached number 21 on the Billboard Hot 100 in early 1971. Not long after the album's release in January 1971 Warner Bros. Records purchased Alice Cooper's contract from Straight and re-issued the album, giving the group a higher level of promotion.^{[citation needed]}

Love It to Death proved to be their breakthrough album, reaching number 35 on the U.S. Billboard 200 album charts. It would be the first of eleven^[26] Alice Cooper group and solo albums produced by Ezrin, who is widely seen as being instrumental in helping to create and develop the band's definitive sound.^[27]

The group's 1971 tour featured a stage show involving mock fights and gothic torture modes being imposed on Cooper climaxing with a staged execution by electric chair, with the band sporting tight, sequined, and color-contrasting glam rock-style costumes made by prominent rock fashion designer Cindy Dunaway (sister of band member Neal Smith, and wife of band member Dennis Dunaway). Cooper's androgynous stage role had developed to present a villainous side, portraying a potential threat to modern society. The success of the band's single and album, and their tour of 1971, which included their first tour of Europe (audience members reportedly included Elton John and a pre-Ziggy David Bowie), provided enough encouragement for Warner Bros. to offer the band a new multi-album contract.

Their follow-up album Killer, released in late 1971, continued the commercial success of Love It to Death and included further single success with "Under My Wheels", "Be My Lover" in early 1972, and "Halo of Flies" which became a Top 10 hit in the Netherlands in 1972. Thematically, Killer expanded on the villainous side of Cooper's androgynous stage role, with its music becoming the soundtrack to the group's morality-based stage show, which by then featured a boa constrictor hugging Cooper on-stage, the murderous axe chopping of bloodied baby dolls, and execution by hanging at the gallows. Back then, the real criticism was aimed at questioning the artists' sexual ambiguity, rather than the stage gore.^{[citation needed]} In January 1972, Cooper was again asked about his peculiar name, and told talk show hostess Dinah Shore that he took the name from a "Mayberry RFD" character.^{[citation needed]}

The summer of 1972 saw the release of the single "School's Out". It went Top 10 in the US, was a No. 1 single in the UK, and remains a staple on classic rock radio to this day. The album School's Out reached No. 2 on the US charts and sold over a million copies. The band now relocated to their new mansion in Greenwich, Connecticut.^[28] With Cooper's on-stage androgynous persona completely replaced with brattiness and machismo, the band solidified their success with subsequent tours in the US and Europe, and won over devoted fans in droves while at the same time horrifying parents and outraging the social establishment.^{[citation needed]} In the United Kingdom, Mary Whitehouse, a well-known campaigner for values of morality and decency, succeeded in having the BBC ban the video for "School's Out"^{[citation needed]} and Member of Parliament Leo Abse petitioned Home Secretary Reginald Maudling to have the group banned altogether from performing in the country.^[29]

In February 1973 Billion Dollar Babies was released worldwide and became the band's most commercially successful album, reaching No. 1 in both the US and UK. "Elected", a late-1972 Top 10 UK hit from the album, which inspired one of the first MTV-style story-line promo videos ever made for a song (three years before Queen's promotional video for "Bohemian Rhapsody"), was followed by two more UK Top 10 singles, "Hello Hooray" and "No More Mr. Nice Guy", the latter of which was the last UK single from the album; it reached No. 25 in the US.^{[citation needed]} The title track, featuring guest vocals by Donovan, was also a US hit single. Around this time Glen Buxton left Alice Cooper briefly due to his waning health.

The group in 1973.

With a string of successful concept albums and several hit singles, the band continued their gruelling schedule and toured the US once again. Continued attempts by politicians and pressure groups to ban their shocking act only served to fuel the myth of Alice Cooper further and generate even greater public interest.^{[citation needed]} Their 1973 US tour broke box office records previously set by The Rolling Stones and raised rock theatrics to new heights; the multi-level stage show by then featured numerous special effects, including Billion Dollar Bills, decapitated baby dolls and mannequins, a dental psychosis scene complete with dancing teeth, and the ultimate execution prop and highlight of the show: the guillotine. The guillotine and other stage effects were designed for the band by magician James Randi, who appeared on stage during some of the shows as executioner. The Alice Cooper group had now reached its peak and it was among the most visible and successful acts in the industry. Beneath the surface, however, the repetitive schedule of recording and touring had begun to take its toll on the band, and Cooper, who was under the constant pressure of getting into character for that night's show, was consistently sighted nursing a can of beer.

Muscle of Love, released at the end of 1973, was to be the last studio album from the classic line-up, and marked Alice Cooper's last UK Top 20 single of the 1970s with "Teenage Lament '74". An unsolicited theme song was recorded for the James Bond movie The Man with the Golden Gun, but a different song of the same name by Lulu was chosen instead. By 1974, the Muscle of Love album had not matched the top-charting success of its predecessor, and the band began to have constant disagreements. For various reasons the band decided to take a hiatus.

During this time Cooper relocated back to Los Angeles and started appearing regularly on TV shows such as Hollywood Squares, and Warner Bros. released the Alice Cooper's Greatest Hits compilation album. It featured classic style artwork and reached the US Top 10, performing better than Muscle of Love. However, the band's 1974 feature film Good to See You Again, Alice Cooper (consisting mainly of 1973 concert footage with 'comedic' sketches woven throughout to a faint storyline), released on a minor theatrical run mostly to drive-in theaters, saw little box office success.

In 1975 Alice released his first solo album, Welcome to My Nightmare. To avoid legal complications over ownership of the group name, Alice Cooper had by then become the singer's new legal name. The success of the solo album marked the final break with the original members of the band with Cooper collaborating with their producer Bob Ezrin, who recruited Lou Reed's backing band, including guitarists Dick Wagner and Steve Hunter, to play on the album. Spearheaded by the US Top 20 hit ballad, "Only Women Bleed", the album was released by Atlantic Records in March of that year and became a Top 10 hit for Cooper. It was a concept album that was based on the nightmare of a child named Steven, featuring narration by classic horror movie film star Vincent Price (who several years after Welcome to My Nightmare guested on Michael Jackson's "Thriller"), and serving as the soundtrack to Cooper's new stage show, which now included more theatrics than ever (including an 8-foot-tall (2.4 m) furry Cyclops which Cooper decapitates and kills).

Cooper (second from right) laughs at Mae West's words after the opening of her last movie in 1978.

By this time, however, alcohol was clearly affecting Cooper's performances. During the Welcome to My Nightmare tour in Vancouver, and only a few songs into the routine, Cooper tripped over a foot-light, staggered a few paces, lost his bearings, and plunged head-first off the stage and onto the concrete floor of the Pacific Coliseum. Some fans, thinking it was all part of the act, reached through the barriers to pull at his blood-matted hair before bouncers could pull him away for help. He was taken to a local hospital, where medical staff stitched his head wound and provided him with a skullcap. Cooper returned to the venue a couple of hours later and tried to perform two more songs, but within minutes he had to call it a night.

Accompanying the album and stage show was the TV special The Nightmare, starring Cooper and Vincent Price, which aired on US prime-time TV in April 1975. The Nightmare (which was later released on home video in 1983 and gained a Grammy Awards nomination for Best Long Form Music Video) was regarded as another groundbreaking moment in rock history. Adding to all that, a concert film, also called Welcome to My Nightmare produced, directed and choreographed by the West Side Story cast member David Winters and filmed live at London's Wembley Arena in September 1975, was released to theaters in 1976.^[30][31] Though it failed at the box office, it later became a midnight movie favorite and a cult classic.

Such was the immense success of Cooper's solo project that he decided to continue alone as a solo artist, and the original band became officially defunct. It was also during this time that Cooper co-founded the legendary drinking club The Hollywood Vampires.

Cooper in 1978.

Following the 1976 US No. 12 ballad hit "I Never Cry";^[32] two albums, Alice Cooper Goes to Hell and Lace and Whiskey; and the 1977 US No. 9 ballad hit "You and Me", it became clear from many performances during his 1977 US tour that Cooper was in dire need of help with his alcoholism (at his alcoholic peak it was rumored that Cooper was consuming up to two cases of Budweiser and a bottle of whiskey a day). Following the tour, Cooper had himself hospitalized in a New York sanitarium for treatment, during which time the live album The Alice Cooper Show was released.

In 1978 a sobered Cooper used his experience in the sanitarium as the inspiration for the semi-autobiographical album From the Inside, which he co-wrote with Bernie Taupin. The release spawned another US Top 20 hit "How You Gonna See Me Now", yet another ballad. The subsequent tour's stage show was based inside an asylum, and was filmed for Cooper's first home video release, The Strange Case of Alice Cooper, in 1979. Around this time, Cooper performed "Welcome to My Nightmare", "You and Me" and "School's Out" on The Muppet Show (episode # 307) on March 28, 1978 (he played one of the devil's henchmen trying to dupe Kermit the Frog and Gonzo into selling their souls). He also appeared in an against-typecasting role as a piano-playing disco bellboy in Mae West's final film, Sextette, and as a villain in the film Sgt. Pepper's Lonely Hearts Club Band. Cooper also led celebrities in raising money to remodel the famous Hollywood Sign in California. Cooper himself contributed over $27,000 to the project, buying an O in the sign in memory of friend and comedian Groucho Marx.

1980s[link]

Cooper's albums from the beginning of the 1980s, Flush the Fashion, Special Forces, Zipper Catches Skin and DaDa, were not as commercially successful as his past releases. Flush the Fashion, produced by Queen producer Roy Thomas Baker, had a thick, edgy New Wave musical sound that baffled even long-time fans, though it still yielded the US Top 40 hit "(We're All) Clones". The album Special Forces featured a more aggressive but consistent form of New Wave style, and included a new version of "Generation Landslide". The following album, Zipper Catches Skin was a more power pop-oriented recording, with lots of quirky high-energy guitar-driven songs. While those three albums engaged the experimental New Wave sound with energetic results, 1983 marked the return collaboration of producer Bob Ezrin and guitarist Dick Wagner with the haunting epic DaDa, the final album in his Warner Bros. contract.

In 1983 after the recording of DaDa, Cooper was re-hospitalized for alcoholism. In a deathly state of health he moved back to Phoenix to save his marriage from collapse, and so that he could receive the support of family and friends. Cooper was finally clean and sober by the time DaDa and The Nightmare home video (of his 1975 TV Special) were released in the fall of that year; however, both releases performed below expectations. Even with The Nightmare scoring a nomination for 1984's Grammy Award for Best Long Form Music Video (he lost to Duran Duran), it was not enough for Warner Bros. to keep Cooper on their books, so in 1984 Cooper became a "free agent" for the first time in his career.

After over a year on hiatus, during which time he spent being a full-time father, perfecting his golf swing every day on the golf course, and finding time to star in the Spanish B-grade horror movie production Monster Dog, Cooper sought to pick up the pieces of his musical career. In 1985 he met and began writing songs with guitarist Kane Roberts. Cooper was subsequently signed to MCA Records, and appeared as guest vocalist on Twisted Sister's song "Be Chrool To Your Scuel". A video was made for the song, featuring Cooper donning his black snake-eyes make-up for the first time since 1979. But any publicity it may have generated toward Cooper's return to the music scene was cut short as the video was promptly banned because of its graphically gory make-up (by Tom Savini), and because of the innumerable zombies in the video and their insatiable appetite for gorging on human flesh.

In 1986 Alice Cooper officially returned to the music industry with the album Constrictor. The album spawned the hits "He's Back (The Man Behind the Mask)" (the theme song for the movie Friday the 13th Part VI: Jason Lives; in the video of the song Cooper was given a cameo role as a deranged psychiatrist) and the fan favorite "Teenage Frankenstein". The Constrictor album was a catalyst for Cooper to make (for the first time since the 1982 Special Forces tour) a triumphant return to the road, on a tour appropriately entitled The Nightmare Returns. The Detroit leg of this tour, which took place at the end of October 1986during Halloween, was captured on film as The Nightmare Returns, and is viewed by some as being the definitive Alice Cooper concert film.^[33] The concert, which received rave reviews in the rock music press,^[34] was also described by Rolling Stone magazine as bringing "Cooper's violent, twisted onstage fantasies to a new generation". The Constrictor album was followed by Raise Your Fist and Yell in 1987, which had an even rougher sound than its predecessor, as well as the Cooper classic "Freedom". The subsequent tour of Raise Your Fist and Yell, which was heavily inspired by the slasher horror movies of the time such as the Friday the 13th series and Nightmare on Elm Street, served up a shocking spectacle similar to its predecessor, and courted the kind of controversy, especially in Europe, that recalled the public outrage caused by Cooper's public performances in America in the early 1970s.

In Britain Labour M.P. David Blunkett called for the show to be banned, saying "I'm horrified by his behaviour – it goes beyond the bounds of entertainment" (even though Blunkett has been blind from birth).^[35] The controversy spilled over into the German segment of the tour, with the German government actually succeeding in having some of the gorier segments of the performance removed.^[36] It was also during the London leg of the tour that Cooper met with a near fatal accident during the hanging execution sequence at the end of the show.^[37]

Constrictor and Raise Your Fist and Yell were recorded with lead guitarist Kane Roberts and bassist Kip Winger, both of whom would leave the band by the end of 1988 (although Kane Roberts played guitar on "Bed of Nails" on 1989's album Trash).

In 1987 Cooper made a brief appearance as a vagrant in the horror movie Prince of Darkness, directed by John Carpenter. His role had no lines and consisted of generally menacing the protagonists before eventually impaling one of them with a bicycle frame. Cooper also appeared at WrestleMania III, escorting wrestler Jake 'The Snake' Roberts to the ring. After the match was over, Cooper got involved and threw Jake's snake Damien at The Honky Tonk Man's manager Jimmy Hart. Jake considered the involvement of Cooper to be an honor, as he had idolized Cooper in his youth and was still a huge fan.

In 1988, Cooper's contract with MCA Records expired and he signed with Epic Records. Then in 1989 his career finally experienced a legitimate revival with the Desmond Child produced and Grammy-nominated album Trash, which spawned a hit single "Poison", which reached No. 2 in the UK and No. 7 in the US, and a worldwide arena tour.

1990s[link]

1991 saw the release of Cooper's 19th studio album, Hey Stoopid, again featuring several of rock music’s glitterati guesting on the record. Released as glam metal's popularity was on the wane, and just before the explosion of grunge, it failed to have the same commercial impact as its predecessor. The same year also saw the release of the video Alice Cooper: Prime Cuts which chronicled his entire career using in depth interviews with Cooper himself, Bob Ezrin, and Shep Gordon. One critic has noted that Prime Cuts demonstrates how Cooper had used (in contrast to similar artists who succeeded him) themes of satire and moralisation to such good effect throughout his career.^[38] It was in the Prime Cuts video that Bob Ezrin delivered his own summation of the Alice Cooper persona: "He is the psycho killer in all of us. He's the axe murderer, he's the spoiled child, he's the abuser, he's the abused; he's the perpetrator, he's the victim, he's the gun slinger, and he's the guy lying dead in the middle of the street".^[39]

By the early 1990s Cooper had become a genuine cultural icon, guesting on records by the most successful bands of the time, such as the Guns N' Roses album Use Your Illusion I, on which he shared vocal duties with Axl Rose on the track "The Garden"; making a brief appearance as the abusive stepfather of Freddy Krueger in the Nightmare On Elm Street film Freddy's Dead: The Final Nightmare (1991).

Cooper made a famous cameo appearance in the 1992 hit comedy film Wayne's World. Cooper and his band first appear onstage performing "Feed My Frankenstein" from Hey Stoopid. Afterwards at a backstage party, the movie's main characters Wayne and Garth discover that when offstage Cooper is a calm, articulate intellectual when he and his band discuss the history of Milwaukee in surprising depth. In a now famous scene, Wayne and Garth respond to an invitation to hang out with Cooper by kneeling and bowing reverently before him while chanting "We're not worthy! We're not worthy!"

In 1994 Cooper released The Last Temptation, his first concept album since DaDa. The album deals with issues of faith, temptation, alienation and the frustrations of modern life, and has been described as "a young man's struggle to see the truth through the distractions of the 'Sideshow' of the modern world".^[40] Concurrent with the release of The Last Temptation was a three-part comic book series written by Neil Gaiman, fleshing out the album's story. This was to be Cooper’s last album with Epic Records, and his last studio release for six years, though during this period the live album A Fistful of Alice^[41] was released, and in 1997 he lent his voice to the first track of Insane Clown Posse's The Great Milenko. In 1999, the four-disc box set The Life and Crimes of Alice Cooper appeared, which contained an authorized biography of Cooper, Alcohol and Razor Blades, Poison and Needles: The Glorious Wretched Excess of Alice Cooper, All-American, written by Creem magazine editor Jeffrey Morgan.

During his absence from the recording studio, Cooper toured extensively every year throughout the latter part of the 1990s, including, in 1996, South America, which he had not visited since 1974. Also in 1996, Cooper sang the role of Herod on the London cast recording of the musical Jesus Christ Superstar.^[42]

He also made an appearance on an episode of That 70s Show, at the end of which he and two other (minor) guest characters parody Dungeons & Dragons.

2000s[link]

Cooper in 2004 on a film set in L.A.

The first decade of the 21st century saw a sustained period of activity from Alice Cooper. In the decade that he turned sixty, he toured extensively and released (after a significant break) a steady stream of studio albums to favorable critical acclaim. During this period Cooper was also recognized and awarded in various ways: he received a Rock Immortal award at the 2007 Scream Awards;^[43] was given a star on the Hollywood Walk of Fame in 2003;^[44] he received (in May 2004) an honorary doctoral degree from Grand Canyon University;^[45] was given (in May 2006) the key to the city of Alice, North Dakota;^[46] he won the living legend award at the 2006 Classic Rock Roll of Honour event;^[47] and he won the 2007 Mojo music magazine Hero Award.

The lengthy break between studio albums ended in 2000 with Brutal Planet, which was a return to horror-lined heavy metal, with industrial rock, and with subject matter thematically inspired by the brutality of the modern world, set in a dystopian post-apocalyptic future, and also inspired by a number of news stories that had recently appeared on the CNN news channel.^[48] The album was produced by Bob Marlett, with longtime Cooper production collaborator Bob Ezrin returning as executive producer. The accompanying world tour, which included Cooper's first concert in Russia, was a resounding success, introducing Alice Cooper to a new audience and producing the live home video, Brutally Live, in 2001. During one memorable episode in Brutally Live, Britney Spears (being played by Alice Cooper's real life daughter, Calico), and representing "everything that my audience hates – the softening of rock and roll...the sweetness of it" is executed by Cooper.

Brutal Planet was succeeded by the sonically similar and widely acclaimed sequel Dragontown, which saw Bob Ezrin back at the helm as producer. The album has been described as leading the listener down "a nightmarish path into the mind of rock's original conceptual storyteller"^[49] and by Cooper himself as being "the worst town on Brutal Planet". Like The Last Temptation, both Brutal Planet and Dragontown are albums which explore Cooper's personal faith perspective (born again Christianity). It is often cited in the music media that Dragontown forms the third chapter in a trilogy begun with The Last Temptation;^[50] however, Cooper has indicated that this in fact is not the case.^[51]

Cooper again adopted a leaner, cleaner sound for his critically acclaimed^[52] 2003 release The Eyes of Alice Cooper. Recognizing that many contemporary bands were having great success with his former sounds and styles, Cooper worked with a somewhat younger group of road and studio musicians who were very familiar with his oeuvre of old. However, instead of rehashing the old sounds, they updated them, often with surprisingly effective results. The resulting Bare Bones tour adopted a less-orchestrated performance style that had fewer theatrical flourishes and a greater emphasis on musicality. The success of this tour helped support the growing recognition that the classic Cooper songs were exceptionally clever, tuneful and unique.

Cooper's radio show, Nights with Alice Cooper, began airing on January 26, 2004 in several US cities. The program showcases classic rock, Cooper's personal stories about his life as a rock icon and interviews with prominent rock artists. The show is broadcast on nearly 100 stations in the US and Canada,^[53] and has also been broadcast all over the world. In 2005 Alice Cooper was inducted into the Michigan Rock and Roll Legends online Hall of Fame.^[54] Two of the hit recordings of the original Alice Cooper band have been voted Legendary Michigan Songs: "Eighteen" in 2008, and "School's Out" in 2009.^[55]

A continuation of the songwriting approach adopted on The Eyes of Alice Cooper was again adopted by Cooper for his 24th studio album, Dirty Diamonds, released in 2005. Dirty Diamonds became Cooper's highest charting album since 1994's The Last Temptation.^[56] The Dirty Diamonds tour launched in America in August 2005 after several European concerts, including a performance at the Montreux Jazz Festival in Switzerland on July 12. Cooper and his band, including Kiss drummer Eric Singer, were filmed for a DVD released as Alice Cooper: Live at Montreux 2005. One critic, in a review of the Montreux release, commented that Cooper was to be applauded for "still mining pretty much the same territory of teenage angst and rebellion" as he had done more than thirty years previously.^[57]

In December 2006 the original Alice Cooper band reunited to perform six classic Alice Cooper songs at Cooper's annual charity event in Phoenix, entitled "Christmas Pudding".^[58]

On July 1, 2007 Cooper performed a duet with Marilyn Manson at the B'Estival event in Bucharest, Romania.^[59] The performance represented a reconciliation between the two artists; Cooper had previously taken issue with Manson over his overtly anti-Christian on-stage antics and had sarcastically made reference to the originality of Manson's choosing a female name and dressing in women's clothing.^[48] Cooper and Manson have been the subject of an academic paper on the significance of adolescent antiheroes.^[60]

In January 2008 he was one of the guest singers on the new Avantasia album The Scarecrow, singing the 7th track, "The Toy Master". In July 2008, after lengthy delays, Cooper released Along Came a Spider, his 25th studio album. It was Cooper's highest charting album since 1991's Hey Stoopid, reaching No. 53 in the US and No. 31 in the UK. The album, visiting similar territory explored in 1987's Raise Your Fist and Yell, deals with the nefarious antics of a deranged serial killer named "Spider" who is on a quest to use the limbs of his victims to create a human spider. The album generally received positive reviews from music critics, though Rolling Stone magazine opined that the music on the record sorely missed Bob Ezrin's production values.^[61] The resulting Theatre of Death tour of the album (during which Cooper is executed on four separate occasions) was described in a long November 2009 article about Cooper in The Times as "epic" and featuring "enough fake blood to remake Saving Private Ryan".

2010s[link]

In January 2010, it was announced that Alice would be touring with Rob Zombie on the "Gruesome Twosome" tour.^[62] In May 2010, Cooper made an appearance during the beginning of the season finale of the reality-show American Idol, in which he sang "School's Out".^[63]

With his daughter and former band member Dick Wagner, Cooper scored the music for the indie horror flick Silas Gore.^[64]

During 2010, Cooper began working on a new album, dubbed Welcome 2 My Nightmare, a sequel to the original Welcome to My Nightmare.^[65] In a Radio Metal interview, he said that "We'll put some of the original people on it and add some new people [...] I'm very happy with working with Bob (Ezrin) again."^[65]

On December 15, 2010, it was announced Cooper and his former band would be inducted into the Rock and Roll Hall of Fame. The official Rock and Roll Hall of Fame induction ceremony took place March 14, 2011 where Cooper was inducted by fellow horror-rocker Rob Zombie. Original members Bruce, Cooper, Dunaway, and Smith all made brief acceptance speeches and performed "I'm Eighteen" and "School's Out" live together, with Steve Hunter filling in for the late Glen Buxton. Alice showed up for the event wearing a (presumably fake) blood-splattered shirt and had a live giant albino boa snake wrapped around his neck.^[5][66] Cooper told Rolling Stone magazine that he was "elated" by the news and that the nomination had been made for the original band, as "We all did go to the same high school together, and we were all on the track team, and it was pretty cool that guys that knew each other before the band ended up going that far".^[67]

On March 10, 2011, Jackson Browne, David Crosby, Graham Nash, Alice Cooper, Jennifer Warnes and others performed at a benefit concert in Tucson, Arizona benefiting The Fund for Civility, Respect and Understanding, a foundation that raises awareness about and provides medical prevention and treatment services to people with mental disorders.^[68] In June 2011 Cooper took his place in the Reasonably Priced Car at the BBC auto show Top Gear.^[69]

Cooper supported Iron Maiden on tour from June to July 21.^[70]

Style and influences[link]

During an interview for the program Entertainment USA in 1986 Cooper stunned interviewer Jonathan King by stating that The Yardbirds were his favorite band of all time.^[71] Perhaps King should not have been so taken aback, as Cooper had as far back as 1969 said that it was music from the mid-sixties, and particularly from British bands The Beatles, The Who, and The Rolling Stones, as well as The Yardbirds, that had the greatest influence on him.^[72] Cooper would later pay homage to The Who by singing "I'm A Boy" for A Celebration: The Music of Pete Townshend and The Who in 1994 at Carnegie Hall in New York, and performing a cover of "My Generation" on the Brutal Planet tour of 2000.

During an interview with Ozzy Osbourne from radio program Nights with Alice Cooper on May 22, 2007, Cooper again affirmed his debt of gratitude to these bands, and to The Beatles in particular. During their discussion, Cooper and Osbourne bemoaned the often inferior quality of songwriting coming from contemporary rock artists. Cooper stated that in his opinion the cause of the problem was that certain modern bands "had forgotten to listen to The Beatles".

On the 25th anniversary DVD of Cabaret, Liza Minnelli stated that Cooper had told her that his whole career was based on the movie Cabaret.^{[citation needed]}

Evidence of Cooper's eclectic tastes in classic and contemporary rock music can be seen in the track listings of his radio show; in addition, when he appeared on the BBC Radio 2 program Tracks of My Years in September 2007, he listed his favorite tracks of all time as being: "19th Nervous Breakdown" (1966) by The Rolling Stones; "Turning Japanese" (1980) by The Vapors; "My Sharona" (1979) by The Knack; "Beds Are Burning" (1987) by Midnight Oil; "My Generation" (1965) by The Who; "Welcome to the Jungle" (1987) by Guns N' Roses; "Rebel Rebel" (1974) by David Bowie; "Over Under Sideways Down" (1966) by The Yardbirds; "Are You Gonna Be My Girl" (2003) by Jet; and "A Hard Day's Night" (1964) by The Beatles,^[73] and when he appeared on Desert Island Discs in 2010 he chose the songs "Happenings Ten Years Time Ago" by The Yardbirds; "I Get Around" by The Beach Boys; "I'm a Boy" by The Who; "Timer" by Laura Nyro; "21st Century Schizoid Man" by King Crimson; "Been Caught Stealing" by Jane's Addiction; "Work Song" by The Paul Butterfield Blues Band and "Ballad of a Thin Man" by Bob Dylan.^[74]

Rob Zombie, former front man of White Zombie, claims his first "metal moment" was seeing Alice Cooper on Don Kirshner's Rock Concert.^[75] Zombie has also claimed to have been heavily influenced by Cooper's costumes.^[76]

In a 1978 interview with Rolling Stone, Bob Dylan stated, "I think Alice Cooper is an overlooked songwriter".^[77]

In the foreword to Alice Cooper's CD retrospective box set The Life and Crimes of Alice Cooper, John Lydon of The Sex Pistols pronounced Killer as the greatest rock album of all time, and in 2002 Lydon presented his own tribute program to Cooper on BBC radio. Lydon told the BBC that "I know the words to every Alice Cooper song. The fact is, if you can call what I have a musical career, it all started with me miming to I'm Eighteen on a jukebox".^[78][79]

The Flaming Lips are longtime Alice Cooper fans and used the bass line from "Levity Ball" (an early song from the 1969 release Pretties for You) for their song "The Ceiling Is Bending". They also covered "Sun Arise" for an Alice Cooper tribute album. (Cooper's version, which closes the album Love It to Death, was itself a cover of a Rolf Harris song.)

In 1999 Cleopatra Records released Humanary Stew: A Tribute to Alice Cooper featuring a number of contributions from rock and metal all-star collaborations, including Dave Mustaine, Roger Daltrey, Ronnie James Dio, Slash, Bruce Dickinson, and Steve Jones.^[80] The album was notable for the fact that it was possible to assemble a different supergroup for each cover version on the record, which gave an indication of the depth of esteem in which Cooper is held by other eminent musicians within the music industry.

A song by alternative rock group They Might Be Giants from their 1994 album John Henry entitled "Why Must I Be Sad?" mentions 13 Cooper songs, and has been described as being "from the perspective of a kid who hears all of his unspoken sadness given voice in the music of Alice Cooper; Alice says everything the kid has been wishing he could say about his alienated, frustrated, teenage world".^[81]

Such unlikely non-musician fans of Cooper included Groucho Marx and Mae West, who both reportedly saw the early shows as a form of vaudeville revue,^[82] and artist Salvador Dalí, who on attending a show in 1973 described it as being surreal, and made a hologram, First Cylindric Chromo-Hologram Portrait of Alice Cooper's Brain.^[83][84]

Personal life[link]

Cooper, a huge fan of The Simpsons, was asked to contribute a storyline for the September 2004 edition of Bongo Comics's Bart Simpson's Treehouse of Horror, a special Monsters of Rock issue that also included stories plotted by Gene Simmons, Rob Zombie and Pat Boone.^[85] Cooper's story featured Homer Simpson being a Jason Voorhees, Friday the 13th style killer and Alice and the citizens of Springfield are being stalked by Homer.

On June 20, 2005, ahead of his June–July 2005 tour, Cooper had a wide-ranging interview with interviewer of celebrities Andrew Denton for the Australian ABC Television's Enough Rope. Cooper discussed various issues during a revealing and frank talk, including the horrors of acute alcoholism and his subsequent cure, being a Christian, and his social and work relationship with his family.^[86] During the interview, Cooper remarked "I look at Mick Jagger and he's on an 18-month tour and he's six [sic] years older than me, so I figure, when he retires, I have six more years. I will not let him beat me when it comes to longevity."^[87]

The actual ownership of the Alice Cooper name is an example of the value of a single copyright or trademark. Since "Alice Cooper" was originally the name of the band, and not the lead singer (cf. Uriah Heep, Jethro Tull, Amy Meredith, etc.), and it was actually owned by the band as whole, Cooper paid, and continues to pay, a yearly royalty to his original bandmates for the right to use the name commercially.

Cooper is a fan of the NHL Phoenix Coyotes.^[88] On February 18, 2012 the Coyotes gave away his bobblehead in a promotion for the first 10,000 fans for a game with the Dallas Stars.^[89]

Relationships and family[link]

In the period when the Alice Cooper group was signed to Frank Zappa's Straight label, Miss Christine of the GTOs became Cooper's girlfriend. Miss Christine (real name: Christine Frka), who had actually recommended Zappa to the group, died on November 5, 1972 of an overdose.^[90]

Another long-time girlfriend of Cooper's was Cindy Lang, with whom he lived for several years. They separated in 1975. Lang sued Cooper for palimony, and they eventually settled out of court in the early 1980s.^[91][92]

After his separation from Lang, Cooper was briefly linked with actress Raquel Welch.^[93] Cooper then reportedly left Welch, however, to marry, on March 20, 1976, ballerina instructor/choreographer Sheryl Goddard, who performed in the Alice Cooper show from 1975 to 1982. In November 1983, at the height of Cooper's alcoholism, Sheryl filed for divorce, but by mid-1984, she and Cooper had reconciled.^[94] The couple has remained together since. In a 2002 television interview, Cooper claimed that he had "never cheated" on his wife in all the time they had been together. In the same interview, he also claimed that the secret to a lasting and successful relationship is to continue going out on dates with your partner.^[95] The couple have three children: elder daughter Calico Cooper (born 1981), an actress and singer who has been performing in the Alice Cooper show since 2000; son Dash (b. 1985), a student at Arizona State University, and also plays in a band called Runaway Phoenix; and younger daughter Sonora Rose (b. 1993).

Drug recovery[link]

In 1986, Megadeth was asked to open for Cooper for dates on his US Constrictor tour. After noticing the hardcore abuse of alcohol and other drugs in the band, Cooper personally approached the band members to try to help them control their abuse, and he has stayed close to front man Dave Mustaine, who considers Cooper to be his "godfather".^[96] Since overcoming his own addiction to alcohol in the mid-1980s, Cooper has continued to help and counsel other rock musicians with addiction problems. "I've made myself very available to friends of mine – they're people who would call me late at night and say, 'Between you and me, I've got a problem.'"^[97] In recognition of the work he has done in helping other addicts in the recovery process, Cooper received in 2008 the Stevie Ray Vaughan Award at the fourth annual MusiCares MAP Fund benefit concert in Los Angeles.^[98]

Religion and politics[link]

Although he originally tended to shy away from speaking publicly about his religious beliefs, Cooper has in recent years been vocal about his faith as a born-again Christian.^[99]

Throughout his career, Cooper's philosophy regarding politics is that politics should not be mixed with rock music. He has usually kept his political views to himself, and in 2010 said "I am extremely non-political. I go out of my way to be non-political. I'm probably the biggest moderate you know. When John Lennon and Harry Nilsson used to argue politics, I was sitting right in the middle of them, and I was the guy who was going 'I don't care.' When my parents would start talking politics, I would go in my room and put on The Rolling Stones or The Who on as long as I could to avoid politics. And I still feel that way".^[67] On occasion he has spoken out against musicians who promote or opine on politics; for example, in the run-up to the 2004 presidential election, he told the Canadian Press that the then crop of rock stars campaigning for and touring on behalf of Democratic candidate John Kerry were committing "treason against rock n' roll". He also added that upon seeing the list of musicians who supported Kerry, "if I wasn't already a Bush supporter, I would have immediately switched. Linda Ronstadt? Don Henley? Geez, that's a good reason right there to vote for Bush."^[100]

Love of golf[link]

Cooper has on several occasions credited golf as having played a major role in helping him to overcome his addiction to alcohol,^[101] and has even gone as far to say that when he took up golf, it was a case of replacing one addiction with another.^[102][103] The importance that the game has had in his life is also reflected in the title to his 2007 autobiography, Alice Cooper, Golf Monster.^[104] Cooper, who has participated in a number of Pro-Am competitions,^[105] plays the game six days a week, off a handicap of two.^[74] Since 1997 he has hosted an annual golf competition, the Alice Cooper Celebrity AM Golf Tournament, all proceeds from which go to his charity, the Solid Rock Foundation. In 2005 while playing with manager Shep Gordon on The Champion Course in Palm Beach Gardens, Florida, Cooper recorded an impressive round of two-over par 74 on the world-class course. Cooper has also appeared in commercials for Callaway Golf equipment, was a guest of veteran British player and broadcaster Peter Alliss on A Golfer's Travels.^[106] He wrote the foreword to the Gary McCord book "Ryder Cup" and participated in the second All*Star Cup in South Wales.^[107] In an interview with VH1, friend and fellow golfer Pat Boone said that Cooper was "'this close' to being a pro".

Discography[link]

See: Alice Cooper discography

Awards and nominations[link]

Grammy Awards

Filmography[link]

See: Alice Cooper filmography

List of Alice Cooper band personnel[link]

Current

• Alice Cooper – vocals, guitar, harmonica (1963–present)
• Chuck Garric – bass guitar, vocals (2002–present)
• Ryan Roxie – guitar, vocals (1996–2006, 2012-presemt)
• Tommy Henriksen – guitar, vocals (2011–present)
• Orianthi – guitar, vocals (2011–present)
• Glen Sobel – drums, percussion (2011–present)

Past

Notes[link]