SEARCH RESULTS FOR: futurism
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wearing eyeliner. Heavily influenced by Bowie and cult figure John Foxx (who had led proto-futurists Ultravox before Midge Ure remade them as teen pop), Numan signalled the popular embrace of futurism, which had nothing to do with the Italian art movement and everything to do with noises and images that played with the mystery of a future dominated by machines. ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Intent on representing the soul of the masses and the industrialized world, the first Futurist concert took place in Milan, Italy, in 1914. The driving concepts behind Futurism are still inherent in techno and electro, in which contemporary electronic styles try to define and capture the essence of the post-industrial world. By the 1920s, Leon Theremin ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

chord on alternate quavers and the pumping off-beat bassline. New wavers, however, brought chordal complexity and pop melodies. Introduction | Pop Styles & Forms | New Romantics & Futurism | Pop ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

of and experimentation with rhythm similarly altered its character. Music was also affected by profound changes in aesthetics and ideologies. New technology had its effect, not only aesthetically in Futurism, but also in the rise of electronically generated sounds. Key Events 1905 Bloody Sunday in Russia, storming of the Winter Palace 1907 Birth of Cubist style in art ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Futurism was an artistic movement of the early twentieth century. Its influences spread to all areas of the arts, including literature and the visual arts as well as music. The main force behind the movement was the Italian writer Filippo Marinetti, who published the definitive manifesto of the Futurists in 1909. With declared enthusiasm for modernity and new inventions ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Vocal/instrumental group, 1977–82) The charismatic Adam Ant (b. Stuart Goddard) was a prominent figure in the boutiques and clubs of the punk scene, appearing in Derek Jarman’s film Jubilee, and releasing Dirk Wears White Sox in 1979. After his backing band became Bow Wow Wow, he started from scratch, gaining huge fame with his follow-up – ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocal/instrumental group, 1982–86, 1998–99) The larger-than-life George O’Dowd is better known as Boy George. His smooth pop tenor, his outlandish get-up and the band’s catchy tunes made them unmissable. Roy Hay (guitar), Mikey Craig (bass) and Jon Moss (drums) provided the music for the lilting ‘Do You Really Want To Hurt Me’ which topped the UK chart in ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocal/instrumental group, 1978–present) The most glamorous of the new romantic bands, Birmingham’s Duran Duran (named after the evil scientist in the movie Barbarella) looked very good in the ambitious videos that accompanied their many Top 10 hits. These included ‘Girls On Film’ (1981), ‘Hungry Like The Wolf’, ‘Save A Prayer’ and ‘Rio’ (all 1982), ‘The Reflex’ and ‘Wild Boys’ ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocal/instrumental group, 1979–90, 2009) Tony Hadley (vocals), Gary Kemp (guitar), Steve Norman (saxophone), Martin Kemp (bass) and John Keeble (drums) enjoyed success with their amalgam of late 1960s orchestral pop and 1980s technology. Firmly at the forefront of new romantics, their hits included ‘Chant No 1 (Don’t Need This Pressure On)’, ‘Gold’ and ‘True’. The latter was a ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Vocal/instrumental group, 1981–91) Mark Hollis (vocals, keyboards, guitar), Paul Webb (bass, vocals) and Lee Harris (drums) were initially packaged as new romantics. They developed into a well-respected group in the mould of Roxy Music with It’s My Life (1984) and The Colour Of Spring (1986); venturing into jazz territory on Spirit Of Eden (1988) and Laughing Stock ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

This was a decade when the impact of dance culture on rock and vice versa sometimes led to exciting results: it opened with ‘Thriller’ and closed with the Madchester scene of Happy Mondays. Punk had subsided to become the less threatening new wave movement, which, along with the new romantics, dominated the early days of the decade. As ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley
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