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Funk metal

Funk metal (also known as thrash-funk or punk-funk)  is a subgenre of funk rock and alternative metal that infuses heavy metal music (often thrash metal) with elements of funk and punk rock. Funk metal was part of the alternative metal movement, and has been described as a "brief but extremely media-hyped stylistic fad".

The funk metal scene formed in California during the mid-1980s with a group of bands who were initially playing a mix of funk, hard rock, hip hop and punk, and it quickly evolved to include elements of thrash metal.

Characteristics
Funk metal has also been called thrash-funk or punk-funk and was most prevalent in the American state of California, particularly in Los Angeles and San Francisco. According to AllMusic, funk metal "takes the loud guitars and riffs of heavy metal and melds them to the popping bass lines and syncopated rhythms of funk". They go on to state "funk metal evolved in the mid-'80s when alternative bands like the Red Hot Chili Peppers and Fishbone began playing the hybrid with a stronger funk underpinning than metal. The bands that followed relied more on metal than funk, though they retained the wild bass lines." Faith No More, another Californian alternative group who emerged in the mid-1980s, have been described as a funk metal band that also dabbled in rap metal. Rage Against the Machine's mix of funk and metal not only included rap, but also elements of hardcore. AllMusic formerly categorized funk metal as a style of alternative rock, in spite of the genre's name. The website currently categorizes it as a style of heavy metal.

Certain bands not from a punk/alternative background, such as glam metal groups Bang Tango and Extreme, have also frequently incorporated funk into their musical style. Bands such as Primus and Mordred emerged from the thrash metal underground.

In his book Know Your Enemy: The Story of Rage Against the Machine, Joel Mclver wrote that funk metal is "a slightly clumsy term applied in the late eighties to any rock band whose bass player used a slapping style." He goes on to write "The best known funk-metallers were the Red Hot Chili Peppers (who later achieved global success with a more pop-oriented approach) and Living Colour. Other funk-metallers ranged from the credible, such as Infectious Grooves (a side-project of crossover thrash band Suicidal Tendencies), to the relatively obscure, such as the Dan Reed Network."

Roy Shuker described the genre in his 1994 book Understanding Popular Music, writing: "the 'classic' distinction between rock and pop [runs] into some difficulties when we consider various forms of 'alternative' music, illustrating the difficulties of forcing genres into too rigid a typology. For example, where would we place the wild musical genre called 'thrash funk', a fusion of 1970s funk, punk rock, rap, California surf, skateboard and hippy cultures, which, according to press reports, swept San Francisco clubs in 1990." Shuker wrote about the genre again in the 2005 edition of his book Popular Music: The Key Concepts, calling it "less structured than earlier forms of metal, with the bass guitar relied on more than the lead."

The genre managed to gain some international popularity through foreign acts such as British groups Atom Seed and Scat Opera, as well as Super Junky Monkey, an all-female funk metal/avant-garde band from Japan. Although never breaking through in the United States, Swedish band Electric Boys attracted recognition throughout Europe, with AllMusic calling them one of the "most celebrated purveyors of the short-lived funk-metal phenomenon."

Funk metal's prevalence in the late 1980s and 1990–91 predated the rise of grunge music in late 1991, which hurt the popularity of more traditional forms of hard rock/metal. In a January 1991 Spin article, Electric Boys singer Conny Bloom claimed funk metal had become a trend since people thought other hard rock of that era was "boring".

Origins (early–mid 1980s)

The roots of funk metal can be traced back to the Atlanta band Mother's Finest. In the late 70's they were already trying to make the leap from the classic funk rock of their Epic Records label to a more powerful sound, as can be heard in the song "Hard Rock Lover", which features a heavier rhythm section made up of bassist Jerry "Wizzard" Seay and drummer "B.B. Queen" Borden. It would be in 1981 when they could finally make the complete transition in their album Iron Age, an authentic mixture of heavy rock and funk that establishes the elements of origin for funk metal. The decision to take that direction towards heavy metal had some consequences, such as the departure of keyboardist Michael Keck, who could not find a place in that new sound. The album was produced by Jeff Glixman, who also worked with bands like Black Sabbath (for whom Mother's Finest opened for on their Technical Ecstasy Tour), Saxon, Magnum or Kansas. According to Alex Henderson of AllMusic, "with the right promotion, Iron Age could have made MF a big hit with the Quiet Riot/Judas Priest/Scorpions crowd, but the album was a commercial flop instead of the big commercial breakthrough that it should have been".

The self-titled 1984 debut album from Los Angeles band Red Hot Chili Peppers has been cited by some as the first truly funk metal or punk-funk release. Unlike with earlier funk rock albums from the 1970s and the early 1980s, it included elements of both punk and hip hop. At that point, the band were already signed to the major label Capitol Records. Faith No More released their independent debut We Care a Lot the following year. Like with the Red Hot Chili Peppers' debut, it also mixed funk, hip hop and punk music. While Faith No More originated from San Francisco's punk scene of the early 1980s, their guitarist Jim Martin was connected to the city's thrash metal scene, adding heavier influences to the band's sound. According to Louder Sound, Faith No More, Fishbone and Red Hot Chili Peppers "pre-dated the funk metal gold rush" of the very late 1980s and early 1990s, when major labels began signing bands associated with the sound. In 1988, Neil Perry of Sounds Magazine referred to Faith No More's 1987 major label debut Introduce Yourself as "a breathtaking harmonisation of molten metal guitar, deadly dance rhythms and poignant, pointed lyrics". On the Red Hot Chili Peppers' album The Uplift Mofo Party Plan, released the same year, guitarist Hillel Slovak started to experiment with sounds other than punk rock/hard rock, including thrash metal. During late 1987, Faith No More and the Red Hot Chili Peppers toured together in support of these two albums. Martin recalled: "We were travelling in a box van with no windows. We drove all the way to the east coast for the first show. Flea asked me if we liked to smoke weed. I said: ‘Yes’ and he said: ‘We're going to get along just fine’. We did something like 52 dates in 56 days." Faith No More subsequently went on a solo tour of the United Kingdom in 1988. Following this tour, their singer Chuck Mosley was fired due to his increasingly erratic behavior.

New York band Living Colour, who entered the mainstream during the late 1980s, were named by Rolling Stone as "black funk metal pioneers." Ska-influenced Los Angeles band Fishbone are also noted for being an all-black group. They had ties with the Red Hot Chili Peppers and have been labelled as early leaders of the funk metal/punk-funk movement. The band got signed to the major label Columbia Records in 1983, releasing several albums through them, but never had a significant hit song. Entertainment Weekly noted in a May 1991 article that "despite the rise of black rockers like Living Colour, the American funk-metal scene is predominantly white." Many reviewers often cited Living Colour as having been a band that were directly inspired by the Red Hot Chili Peppers. The vocalist of the Red Hot Chili Peppers, Anthony Kiedis, played down similarities between the two bands. He stated at the time, "Living Colour to me sounds nothing like Red Hot Chili Peppers. But I have to deal with [this] on a daily basis: 'Wow, Living Colour's really biting your style. Y'ever see the guy on stage? He moves just like you.'" The A.V. Club later wrote in 2013 that, "Living Colour was boundary-breaking—and yet the group was given more boundaries right out of the gate. As funk-metal like that of Faith No More solidified into a subgenre with set rules and sounds, the last thing Living Colour wanted was to be called funk-metal."

Primus, a band with thrash metal origins formed in the mid-1980s, has been widely described as funk metal, though they have also crossed many other genres and bandleader/bassist Les Claypool dislikes the categorization. After getting signed to Interscope Records, Claypool remarked in 1991, "We've been lumped in with the funk metal thing just about everywhere. I guess people just have to categorise you". Claypool has mentioned being inspired by The Uplift Mofo Party Plan, comparing it to Led Zeppelin.

Popularity (late 1980s–early 1990s)
The success of Faith No More's 1989 song "Epic" helped heighten interest in the genre. Funk metal band Living Colour also achieved mainstream success with their song "Cult of Personality", which was a very popular hit and frequently played on MTV, helping the band's album Vivid go double-platinum. In the wake of Living Colour's success, another all-black funk metal band from New York called 24-7 Spyz gained popularity. Anthony Kiedis later claimed Faith No More's new singer, Mike Patton, had stolen his style, specifically in "Epic" and its popular music video. He said "I watched [their] 'Epic' video, and I see him jumping up and down, rapping, and it looked like I was looking in a mirror." Since the Red Hot Chili Peppers had not yet broken outside of America, he believed European audiences would view him as being an imitator of Patton. The LA Weekly state: "Faith No More, then led by vocalist Chuck Mosley, before Patton joined the band, used to open for the similarly progressive Peppers just as the funk-metal scene was gaining momentum. By 1989, as both bands were getting exceedingly popular, they both landed European tours, with Faith No More’s scheduled to begin a few months before RHCP's. This wasn’t an issue, until Kiedis saw the video for FNM’s 'Epic'". In an interview with Kerrang! Kiedis further said, "what a drag if people get the idea that I’m actually ripping him off. Especially in the UK where FNM is much better known than us. In America, it’s a different story, people are aware of the profound influence we had on them." He also threatened to "kidnap [Patton], shave his hair off and cut off one of his feet just so he'll be forced to find a style of his own."

Faith No More's keyboardist Roddy Bottum responded to Kiedis by saying in an interview, "to me, our band sounds nothing like Red Hot Chili Peppers. If you're talking about long hair, rapping with his shirt off, then yeah, I can see similarities [...] I haven't talked to them since this whole thing started." Patton addressed Kiedis' allegations in 1990 by saying to Faces Magazine that, "it just kind of came out of the blue. It doesn't bother me a bit. I got a real big kick out of it to tell you the truth. I mean, if he's gonna talk about me in interviews, that's fine - it's free press! Either he's feeling inadequate or old or I don't know, but I have no reason to talk shit about him." Kiedis and Patton were thought to have gotten on good terms with each other after face to face encounters in the 1990s, although the feud would eventually continue into the late 1990s and early 2000s with Patton's other funk metal band, Mr. Bungle, who were heavily inspired by the Red Hot Chili Peppers in their early days.

The movement had reached a critical and commercial peak in 1991, with albums such as Blood Sugar Sex Magik (by Red Hot Chili Peppers), Sailing the Seas of Cheese (by Primus) and Mr. Bungle's self-titled debut attaining acclaim from the music press. Blood Sugar Sex Magik eventually went 7× platinum in the United States. Mark Jenkins of The Washington Post claimed in a 1991 article that "much of it sounds like art rock". Mr. Bungle initially began as a death metal band in Eureka, California with their 1986 demo The Raging Wrath of the Easter Bunny. On their subsequent 1980s demos Bowel of Chiley, Goddamnit I Love America! and OU818 they shifted to a ska-influenced funk metal sound. They signed to Warner Bros. Records in 1990 on the back of singer Mike Patton's success with Faith No More, and by then had started mixing their ska/funk metal style with avant-garde sounds. Their 1991 debut on Warner Bros. has been labelled as "funk metal madness" and "an irresistibly vulgar fusion of jazz, funk, metal, and a great wealth of other things." Regarding Mr. Bungle's evolution during the 1980s and early 1990s, guitarist Trey Spruance said, "[we were interested in] Slayer and Mercyful Fate. Later it was The Specials and Fishbone. Then we moved to San Francisco and got all sophisticated. Now we are improv snobs who rule the avant-garde universe by night, and poor, fucked-up hipsters by day." Spruance has mentioned the first two Red Hot Chili Peppers albums as an influence, with Mr. Bungle even covering their song "Baby Appeal" at a high school talent show. However, bassist Trevor Dunn has since claimed that he wasn't as big a fan of them as other members in the band were, saying "I was way more into Fishbone and Bad Manners back in the day."

In January 1991, Spin observed that major labels were seeking out bands with a "thrash-funk" or "funk metal" sound, and commented, "all of a sudden there's a virtual army of funk-metal bands, primarily centered in the San Francisco Bay Area. They range from thrashers, who lend an occasional funk edge to some of their material (Mordred and Death Angel) to straight-out funkers (Primus, Psychefunkapus and Limbomaniacs) to those who defy categorization (Faith No More)." Spin considered Limbomaniacs to be the most "rap-oriented" of the bands in the Bay Area scene. Trey Spruance notes that when living in San Francisco, Mr. Bungle played at "officially funk-metal functions" such as the Funk Fest, but he claims there wasn't as coherent a scene in the city as was being reported in the media. According to him, Mr. Bungle generally kept their separate ways from Faith No More, despite sharing the same singer, and neither Faith No More nor Mr. Bungle were particularly close with Primus.

The funk metal bands formed in the San Francisco Bay Area were influenced by the earlier, punk-oriented Los Angeles bands such as the Red Hot Chili Peppers and Fishbone, and there would be interaction between bands from both cities. Red Hot Chili Peppers drummer Chad Smith recalled in 2014 that, "the Red Hot Chili Peppers used to play with Primus. I remember when we would come up to the Bay Area—especially in the late 80s, they were a really popular band up there. People would say 'Oh, Primus is like the Bay Area Chili Peppers. You've got to hear them!'". Smith added that, "obviously, they were doing their own thing [it] was quirky and people just loved them. You could tell they had a real loyal rabid fanbase—real fans that really dug what they were into." According to Steev Esquivel of the band Skinlab, the prevalence of funk metal around this time hurt the popularity of thrash metal music in the San Francisco Bay Area. He said Primus and Faith No More "came in and shut down the metal scene single handedly", and that bands such as these attracted a large female demographic that had previously followed thrash metal. John Joseph, who left crossover thrash band Cro-Mags to form funk metal band Both Worlds, told Spin in 1991 that, "funk is fun music to play, and it's good to see girls having a good time up front, not just dudes with spikes on their arms."

The New Jersey band Mind Funk signed to Epic Records in 1990 shortly after forming, with Spin describing their sound as mixing "metal's wall-of-sound guitar firepower and funk rhymes." At first, they were widely associated with the movement as a result of their name, although they have also since come to be associated with the grunge and stoner rock genres. Vocalist Pat Dubar distanced Mind Funk from the more funk-oriented bands in the movement, saying in 1991 that, "everyone's jumping on that bandwagon. We may have funky parts in our songs, but as far as playing straight funk, forget it. We couldn't do it as well as the guys who originated it. We take a lot of different elements from rap to the Doors and jazz and mix them together."

Los Angeles band Rage Against the Machine signed to Epic Records in 1991, the year that they formed, and achieved mainstream fame in the 1990s with their albums going multi-platinum. Infectious Grooves, another Los Angeles band, also signed to Epic Records at the beginning of the 1990s. Infectious Grooves included vocalist Mike Muir and bassist Robert Trujillo, both of Suicidal Tendencies, a hardcore/crossover thrash band. Suicidal Tendencies themselves had signed to Epic in the late 1980s and already begun adding funk metal elements to their music on 1990's Lights...Camera...Revolution!. The drummer for Infectious Grooves was Stephen Perkins of Jane's Addiction, a band from the same scene as the Red Hot Chili Peppers who occasionally delved into funk metal. Muir gave Infectious Grooves equal status as Suicidal Tendencies, and the two bands often toured together, necessitating an exhausting two sets per night for Muir and Trujillo. They released three albums through Epic in the 1990s, The Plague That Makes Your Booty Move... It's the Infectious Grooves (1991), Sarsippius' Ark (1993) and Groove Family Cyco (1994). Groove Family Cyco included a diss track towards Rage Against the Machine called "Do What I Tell Ya!". The feud with Rage Against the Machine originated after their guitarist Tom Morello began speaking negatively about Suicidal Tendencies in public, leading Muir to point out the irony of Morello's band preaching anti-corporate values in their lyrics while being signed to Epic Records.

Neg Raggett of AllMusic claims that by 1992 "oodles of (mostly horribly bad) funk-metal acts were following in Faith No More and the Red Hot Chili Peppers' footsteps." In an interview from around this time, Flea spoke negatively about derivative acts that were inspired by Faith No More and Red Hot Chili Peppers. After a writer compared Red Hot Chili Peppers to the new funk metal band Ugly Kid Joe, he said "I just know where their music is coming from – copping us, copping Faith No More, copping Pop-Rock Band No. 17B. We're coming from listening to Miles Davis, Ornette Coleman, Defunkt, Funkadelic, the Meters, James Brown – the real shit. And it's coming from jamming and playing billions of hours of shit that no one will hear."

Guitar virtuoso Buckethead began releasing albums through avant-garde labels in the early 1990s, and many of them have been associated with funk metal. Additionally, Buckethead was in the experimental band Praxis with veteran funk musician Bootsy Collins and former Limbomaniacs drummer Brain (who later joined Primus). Their music has also been associated with funk metal, particularly their 1992 debut Transmutation (Mutatis Mutandis).

Decline (mid–late 1990s)
By the latter part of the 1990s, funk metal was considered to be represented by a smaller group of bands, including Incubus, Sugar Ray, Jimmie's Chicken Shack and 311. Incubus formed in 1991 at the height of the genre's popularity, and they were inspired by funk metal bands. Vocalist Brandon Boyd has mentioned being a fan of Mr. Bungle's debut when it was first released, and has also said "Primus was one of those bands that myself, José from our band, Mikey from our band, the three of us fully bonded over them. We would just crank their music in the car, outdoors." Their 1997 major label debut album S.C.I.E.N.C.E. has been labelled a "weed-and-mushrooms influenced funk/metal freakout", unlike with the band's prior releases Fungus Amongus (1995) and Enjoy Incubus (1997), it further incorporated elements of electronica into funk metal. Guitarist Mike Einziger said in 1997 that the band had set out to record an album that sounded like "weird science and energetic funk." At the time, they garnered heavy comparisons to Faith No More, Red Hot Chili Peppers and Primus, with critics noting similarities between the voices of singer Brandon Boyd and Mike Patton. Some of the band's later releases still retained elements of funk, but they were viewed as being more musically straightforward than before. In November 2001, Amy Sciarretto of CMJ New Music Report claimed that Incubus was "poised to be hard rock's bastard child of Faith No More and Primus thanks to its resident hottie Brandon Boyd's easy-on-the-ears emulation of Mike Patton and Dirk Lance's bass thwapping. But between 1997's S.C.I.E.N.C.E. and 1999's Make Yourself, the album that broke Incubus at rock radio, the band took a stylistic turn." Hoobastank, a band from the same Southern Californian neighborhood as Incubus, were also heavily inspired by Mike Patton and Faith No More/Mr. Bungle. Their early independent releases Muffins (1997) and They Don't Sure Don't Make Basketball Shorts Like They Used To (1998) contain elements of ska and funk metal. After signing to Island Records in the early 2000s, the band changed to a more mainstream sound, garnering comparisons to the style of music that Incubus was making in the early 2000s.

Initially beginning as a hardcore punk band in the 1980s, Sugar Ray's first two major label releases Lemonade and Brownies (1995) and Floored (1997) have been frequently labelled as funk metal  and punk-funk. Subsequent releases from Sugar Ray completely abandoned the sound of these albums in favor of a more mainstream approach, as they had gained massive popularity in 1997 with their pop/reggae single "Fly". Stephen Thomas Erlewine of AllMusic says that after the success of "Fly" they "no longer tried to ape the Red Hot Chili Peppers." In 1996, Australian band Regurgitator released a major label record in the country titled Tu-Plang, which has been associated with funk metal. The album would be given an American release the following year, although the band went on to explore other sounds.

Bands usually associated with other genres such as nu metal (Korn, Primer 55),  pop punk (Zebrahead) and comedy rock (Bloodhound Gang)  also incorporated elements of funk metal into their sound during the late 1990s and early 2000s. Snot's first and only full length release Get Some (1997) has been described by critics as not only a funk metal album, but also as a hardcore punk album and an early nu metal album. Korn, who are often credited with popularizing the nu metal sound on their 1994 debut, have named Faith No More and the Red Hot Chili Peppers as their two biggest musical influences, in addition to also citing 24-7 Spyz, Fishbone, Living Colour, Mr. Bungle, Primus and Rage Against the Machine as influences. AllMusic's Stephen Thomas Erlewine considers their debut to be "building on the funk-metal innovations of the late '80s/early '90s instead of merely replicating them." Some of the members of Korn were formerly in a funk metal band called L.A.P.D., who formed in 1989 and released their sole album Who's Laughing in 1992. Guitarist James 'Munky' Shaffer has still considered Korn to be funk metal, saying in 2014, "Korn began as, and has remained a funk-metal band." Their vocalist Jonathan Davis said in 2015, "I always thought of us as a funk band, that funky groovy shit. When they came out with that nu-metal shit, like, I’ve always been fighting that shit." The term nu metal was not yet in usage when albums such as Get Some were first released. Nu metal is generally considered to have entered the mainstream with Korn's 1998 album Follow the Leader, and the label was being used by the early 2000s. Critics have occasionally categorized Korn's work as funk metal, even after the nu metal label became prevalent. AllMusic described Korn's breakthrough 1997 single "A.D.I.D.A.S." as "a kinetic funk-metal track" in their retrospective review. While the more well-known work of Papa Roach has been described as nu metal, vocalist Jacoby Shaddix has noted that the band's independent releases from 1994–1997 had a more funk metal sound. He reflected, "if we go back and listen to the first P-Roach recordings, we sound like a cross between Mr. Bungle, Red Hot Chili Peppers and Primus. You know, that whole '90s scene that was funky and freaky - I even wore panty hose on my head." Mega!! Kung Fu Radio, the 1997 major label debut of Powerman 5000, showcased an aggressive form of funk metal, which the band themselves branded as "action-rock". All subsequent releases from Powerman 5000 moved towards an industrial metal/industrial rock sound. AllMusic suggests that funk metal was "played-out by the end of the decade".

After the release of Sailing the Seas of Cheese in 1991, Primus's subsequent albums started to delve into more experimental sounds, while still retaining a prominent funk influence. Les Claypool claimed that Primus's 1997 album Brown Album was a return to the aggressive sound of their earlier material, although critics labelled it as  "flat-sounding" and as moving "even further into progressive and jazz-rock territory." Primus's next studio album Antipop (1999) was co-produced by Fred Durst of the band Limp Bizkit. Durst has cited Primus as a major influence, and he encouraged them to return to the aggressive sound of their earlier material. Mike Wolf of CMJ New Music Monthly called the album "ozzfest funk metal" in his 1999 review, and compared it not only to Limp Bizkit but also Korn. Later in 1999, Primus went on tour with Incubus, another artist who cite them as an influence. The band entered a hiatus the following year, and would not release another full length album until 2011.

Other influential 80s and early 90s acts such as Faith No More, Mr. Bungle and Red Hot Chili Peppers had largely abandoned the sound in favor of other styles by the latter part of the 90s. Faith No More's bassist Billy Gould claimed he was "sick" of the genre as early as 1992, though the band's 1992 album Angel Dust has been described as having some funk metal characteristics. In 1995, he said: "we were perceived as a gimmick: a mixture of metal and funk and we had this pretty-boy singer. We found it really repulsive. We started getting tapes from bands who were heavy metal funk bands and they were saying we were their main influence, it was horrible. Angel Dust was a way for us to stretch our arms out and hold on to our identity, [Mike] Patton cut his hair and changed how he looked." Spin wrote in 1992 that Angel Dust had "slow, scary songs, and not as much funk-metal thrash as the average fan would expect." In 2003, Brad Filicky of CMJ New Music Report claimed that after the success of their previous album The Real Thing (1989), they "grew tired of the trappings and limitations of the genre [so] rather than release that era's equivalent of Significant Other, the band flipped the script entirely and dropped an experimental bombshell on the scene." Faith No More would eventually announce their initial split on April 20, 1998. The band's final two albums in the 1990s, King for a Day... Fool for a Lifetime (1995) and Album of the Year (1997), have usually been considered alternative metal albums rather than funk metal albums, although Rolling Stone still referred to Faith No More as a funk metal band when announcing their split in April 1998. Red Hot Chili Peppers' 1995 album One Hot Minute was still considered to have elements of their early funk metal/punk-funk sound, however, beginning with 1999's Californication, they began heading towards a more mainstream funk-influenced pop rock direction. According to The Washington Post in 1999, acts such as Korn and Limp Bizkit built on the "funk/metal/rap hybrid" of Red Hot Chili Peppers during the four year interval between One Hot Minute and Californication. Anthony Kiedis stated in 2002, "I don't think any of those conservative, ultra-aggro, rap metal bands had the funk influence or punk-rock energy that we had."

The feud between Kiedis and Patton was re-ignited in 1999 when Mr. Bungle's album California was pushed back by their label Warner Bros. Records as not to coincide with the similarly titled Californication, which was to be released on the same day by Warner Bros. Following the album release date conflict, Kiedis had Mr. Bungle removed from a number of European summer festivals that the Red Hot Chili Peppers were set to perform at. As a result of the concert removals, Mr. Bungle parodied the Red Hot Chili Peppers on Halloween 1999, in Pontiac, Michigan (the home state of Kiedis). Patton introduced each Mr. Bungle band member with the name of one of the Red Hot Chili Peppers, before covering the songs "Give It Away", "Around the World", "Under the Bridge" and "Scar Tissue", with Patton deliberately using incorrect lyrics, such as "Sometimes I feel like I'm on heroin" and "Sometimes I feel like a fucking junkie" on "Under the Bridge". Patton impersonated Kiedis by wearing a blonde wig, and while pretending to be Kiedis, mockingly said to the crowd: "Don't you call me Mike, my name is Anthony. How dare you make that mistake. Mike has been ripping me off for many years." His bandmates also mocked the heroin overdose death of former Red Hot Chili Peppers guitarist Hillel Slovak. Kiedis heard about the show and responded by having Mr. Bungle removed from the 2000 Big Day Out Festival in Australia. Regarding the concert removals, Mr. Bungle's guitarist Trey Spruance said, "It was pretty weird, having been fans of the first two RHCP albums, realizing that somehow something personal had gone amiss somewhere. So amiss that a decade and a half after we’d liked this now hugely popular band’s music (and hadn't thought much about since), we'd be dealing with the fact that they were unmistakably trying to bury us." Mr. Bungle ceased being active in late 2000. Some of their last shows were with Incubus in 2000 at the SnoCore Tour. By then, Mr. Bungle had stopped playing music from their first album, instead playing their avant-garde/experimental rock songs from Disco Volante (1995) and California. The only songs from their first album to be played during the California tour were "Travolta" (also known as "Quote Unquote") and "My Ass is on Fire", which was re-worked to have electronic elements. In late 2000, Rage Against the Machine also split.

Later years and legacy (2000s onward)
During 2001, Alien Ant Farm released a hugely successful funk metal cover of Michael Jackson's "Smooth Criminal", an electro funk song.

Bands formed in the 2000s and 2010s that have been described as funk metal include Psychostick, Twelve Foot Ninja and Prophets of Rage (a supergroup featuring members of Cypress Hill, Public Enemy and Rage Against the Machine).

In 2016, Vice referred to funk metal as "a mostly-forgotten and occasionally-maligned genre". Trey Spruance mentioned his fondness for the genre in a 2007 interview. When asked if he thought it would make a comeback, he stated "Fuckin' revisionists probably won't think its cool enough... they'll go straight for the flannels and heroin." In 2022, Blabbermouth.net labelled the genre as "absurdly entertaining and considerably more inventive than many of the cross-pollinated subgenres that came later", further adding that "obviously, funk-metal was not built to last and both grunge and nu-metal were far bigger commercial propositions in the years that followed."

Fox News host Greg Gutfeld injected himself into the Kiedis-Patton feud in 2016, calling Red Hot Chili Peppers "the worst band in the universe" and "poor man's Faith No More." In 2020, Mr. Bungle reunited as a thrash metal band, with the band's earlier funk metal material not being performed live. German band Slope's 2024 album Freak Dreams, released on Century Media, was widely described as funk metal upon release.

title: Funk metal


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Small Soldiers

Small Soldiers is a 1998 American action comedy film directed by Joe Dante. It stars Kirsten Dunst and Gregory Smith, along with the voices of Frank Langella and Tommy Lee Jones. It depicts two factions of toys which turn sentient after mistakenly being installed with a military microprocessor, in turn putting two families in danger when one faction turns lethal.

The film was theatrically released on July 10, 1998 to mixed reviews and grossed $71.8 million against a $40 million budget. Small Soldiers marks the last on-screen film role of Phil Hartman, who was murdered two months before the film's premiere; the film is dedicated in his memory. It was also Clint Walker's final film role, prior to his retirement from acting in 1998 and death in 2018.

Plot
When top defense contractor GloboTech Industries acquires the Heartland Toy Company, CEO Gil Mars commissions toy designers Larry Benson and Irwin Wayfair to develop toys capable of "playing back". Mars selects Larry's "Commando Elite" action figures for the project, with Irwin's "Gorgonites" — peaceful monsters intended to be educational toys — as their enemies. Facing a tight deadline of three months to get the toys ready for shipment, Larry unwittingly equips the toys with GloboTech's X1000 microprocessor, which he later learns was meant for the Department of Defense.

Working at his family's toy store, teenager Alan Abernathy persuades delivery driver Joe to give him a set of the new GloboTech toys, activating Major Chip Hazard, head of the Commando Elite, and Archer, the Gorgonites' leader. Alan develops a crush on his neighbor Christy Fimple, and returns home to discover Archer in his backpack, realizing the toys are essentially self-aware and capable of learning. That night, Chip Hazard activates his comrades to attack the Gorgonites, and Alan finds the store in disarray and the new toys missing. Christy helps clean up, and Alan calls GloboTech's customer service line to file a complaint. Larry and Irwin hear his message, and discover the X1000 is a military-grade artificial intelligence chip, susceptible to EMPs.

Following Alan home, the Commando Elite interrogate Archer, but Alan intervenes and is wounded by Nick Nitro, whom he partially destroys in the garbage disposal. His parents hear the commotion, but refuse to believe his explanation about the toys. Alan and Archer find the Gorgonites hiding in the store's dumpster; unlike the militant Commando Elite, the Gorgonites were programmed with Irwin's original friendly and inquisitive personalities, and merely seek their home, which they believe to be in Yosemite National Park after seeing an image on Alan's computer. Tapping the Abernathys' phone line, the Commando Elite learn of Alan's interest in Christy. Infiltrating her house, they capture her younger brother Timmy, sedate their parents, and use Nick Nitro's AI chip to transform Christy's "Gwendy" fashion dolls into reinforcements. Taking Christy hostage, they demand that Alan surrender the Gorgonites.

Alan and Archer sneak into the Fimples' house and rescue Christy. The Commando Elite pursue them with improvised vehicles built in the Fimples' garage, but are destroyed in a fiery crash; only Chip Hazard survives. At the Abernathys' house, Alan, Christy, and the Gorgonites try to convince their families of the truth about the toys, and Irwin and Larry arrive to talk to Alan about his voicemail. Chip Hazard arrives with a new army of Commando Elite and more improvised vehicles and weapons, having hijacked a recall shipment driven by Joe, and lays siege to the house, cutting off the electricity. When Irwin suggests an EMP, the group realizes they can overload the nearby power lines. Christy, Irwin, and Larry make their way to the Fimples' house to ensure a larger surge, and the Gorgonites emerge and fight back against the Commando Elite. Climbing the utility pole, Alan is attacked by Chip Hazard, who battles and defeats Archer, but Alan thrusts him into the power transformers as Larry and Irwin wedge open the breakers, triggering the EMP blast and destroying the toys.

In the morning, as the authorities clean up, Mars arrives and pays off Joe and both families for the damage. He then instructs Larry and Irwin to repurpose the Commando Elite for military use. Alan and Christy start a relationship, and he discovers the Gorgonites survived the EMP underneath the Fimples' satellite dish. Alan brings the Gorgonites to Yosemite, sharing a goodbye before sending them off in his father's toy boat to find their home.

Cast

 * Kirsten Dunst as Christy Fimple
 * Gregory Smith as Alan Abernathy
 * Jay Mohr as Larry Benson
 * Phil Hartman as Phil Fimple
 * Kevin Dunn as Stuart Abernathy
 * David Cross as Irwin Wayfair
 * Ann Magnuson as Irene Abernathy
 * Denis Leary as Gil Mars
 * Dick Miller as Joe
 * Wendy Schaal as Marion Fimple
 * Robert Picardo as Ralph Quist
 * Jacob Smith as Timmy Fimple
 * Alexandra Wilson as Ms. Kegel
 * Jonathan Bouck as Brad
 * Belinda Balaski as Neighbor
 * Rance Howard as Husband
 * Jackie Joseph as Wife

Small Soldiers was Hartman's last on-screen role before his death. The film is dedicated to his memory.

Gorgonites

 * Frank Langella as Archer
 * Christopher Guest as Slamfist/Scratch-It
 * Michael McKean as Insaniac/Troglokhan
 * Harry Shearer as Punch-It
 * Jim Cummings as Ocula
 * Michael McKean as Freakenstein

Commando Elite

 * Tommy Lee Jones as Major Chip Hazard, the Platoon Leader
 * George Kennedy as Brick Bazooka, the artillery and ammunition expert
 * Jim Brown as Butch Meathook, the Sniper
 * Ernest Borgnine as Kip Killigan, the assassinating covert operations expert
 * Clint Walker as Nick Nitro, the Demolitions specialist
 * Bruce Dern as Link Static, the Communications expert

Others
Excluding Jones and Dern, the Commando Elite are voiced by cast members from the 1967 film The Dirty Dozen. Dern replaced The Dirty Dozen actor Richard Jaeckel, who died before shooting began. Excluding Langella and Cummings, the Gorgonites are voiced by cast members from the 1984 film This Is Spinal Tap. The film was the last role for Walker before his retirement from acting.
 * Sarah Michelle Gellar and Christina Ricci as Gwendy Dolls

Production
On making the film, director Joe Dante recalled, "Originally I was told to make an edgy picture for teenagers, but when the sponsor tie-ins came in the new mandate was to soften it up as a kiddie movie. Too late, as it turned out, and there are elements of both approaches in there. Just before release it was purged of a lot of action and explosions." As an example of the deleted content, he mentioned that at the end of the movie, the Commandos explode the Abernathy's house, but the studio did not want to show the explosion on-screen. Dante believes that the studio had hopes that Small Soldiers would be the start of a film series.

For the film's effects shots, Dante stated that the original idea was to use mostly puppetry, using puppets provided by Stan Winston. However, Dante said that while shooting, it was "much simpler and cheaper" to use computer-generated imagery (CGI) after the scenes had been shot, so the film is "one-third puppetry and the rest CGI."

Box office
Small Soldiers opened in 2,539 theaters and earned $14 million on its opening weekend. At the end of its theatrical run, the film grossed $55.1 million in the United States and Canada and $16.6 million internationally, totaling in a $71.8 million cume.

Critical response
On review aggregator Rotten Tomatoes, the film has an approval rating of 49% based on 47 reviews, with an average rating of 6.10/10. The site's critical consensus reads, "Small Soldiers has plenty of visual razzle-dazzle, but the rote story proves disappointingly deficient in director Joe Dante's trademark anarchic spirit." Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Siskel & Ebert gave it Two Thumbs Down. Roger Ebert gave the film 2.5 out of 4 stars, saying: "The toys are presented as individuals who can think for themselves, and there are believable heroes and villains among them. For smaller children, this could be a terrifying experience." Caroline Westbrook of Empire gave the film 3 out of 5 stars and said: "It's Gremlins with toy soldiers, except not quite as dark or funny."

Lawsuit
In 2000, Filmmaker Gregory P. Grant filed a suit against Steven Spielberg, DreamWorks Pictures and Universal Pictures, alleging that they had infringed on the copyright of his 1990 short film Ode to GI Joe. Grant claimed that he had met with Amblin Entertainment in 1991 to discuss the potential to expand his short film into a full feature. The project went as far as commissioning a treatment from Grant and a 16mm copy of the short film at Spielberg's request but, according to Grant, Amblin dropped the project. However, Grant added that Amblin pushed another film, at the time titled Toy Soldiers, into development nearly a month after Grant's project was passed on. Grant's attorneys stressed that several scenes and ideas from Small Soldiers were too similar and taken outright from Grant's short film and treatment.

Merchandise
A soundtrack containing classic rock blended with hip hop was released on July 7, 1998, by DreamWorks Records. It peaked at 103 on the Billboard 200. The film score was composed and conducted by veteran composer Jerry Goldsmith. In addition, a video game based on the film was developed by DreamWorks Interactive and released by Electronic Arts on September 30, 1998. Kenner Products (a subsidiary of Hasbro) produced a line of toys, which featured the Gorgonites and the Commando Elite.

The 2020 shooter game Hypercharge: Unboxed, developed by Digital Cybercherries, drew inspiration from Small Soldiers. The development team conceived the game's idea while watching the movie on television.

Video games
Four video games were released in 1998:

 * Small Soldiers - PlayStation (Electronic Arts/ DreamWorks Interactive)
 * Small Soldiers: Squad Commander - PC (Hasbro Interactive/ DreamWorks Interactive)
 * Small Soldiers - Game Boy (THQ/ Tiertex Design Studios/ DreamWorks Interactive)
 * Small Soldiers: Globotech Design Lab - PC (Hasbro Interactive)

Film rating controversy
Burger King created a line of kids' meal toys to promote Small Soldiers. They were met with some controversy after the film received a PG-13 rating from the Motion Picture Association of America (MPAA). Burger King executives claimed this caught the company by surprise as they were led to believe the film would receive no higher than a PG rating. According to Joe Dante, the MPAA gave the film a PG-13 rating due to the scene in which the Commandos put drugs in Phil and Marion's drink. The pamphlet accompanying the toys included the disclaimer "While toys are suitable for children of all ages, the movie Small Soldiers may contain material that is inappropriate for younger children." Some restaurants accepted an exchange for Mr. Potato Head toys.

Cancelled remake
A remake of Small Soldiers was in development by 20th Century Fox called Toymageddon. The script was purchased in January 2014, and director Justin Lin was set to produce the film. The story was described to be set in a "toy factory that begins to run amok." At that time it was not explicitly stated to be a remake of Small Soldiers.

Due to the acquisition of 21st Century Fox by Disney on March 20, 2019, Disney later in August cancelled the film along with over 200 other projects, which revealed the film was intended as a remake of Small Soldiers.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Small Soldiers


text:
1894 in music

Events in the year 1894 in music.

Specific locations

 * 1894 in Norwegian music

Events

 * March 14 – Johan Svendsen conducts the world premiere of Carl Nielsen's Symphony No. 1 in Copenhagen.
 * April 19 – Jules Massenet's opera "Werther" is staged in New York City.
 * September 22 – Opening of the Teatro Lirico Internazionale in Milan.
 * December 22 – Claude Debussy's Prélude à l'après-midi d'un faune is premiered in Paris
 * Enrico Caruso makes his operatic debut.
 * The National College of Music, London, was formed by the Moss Family. The college still exists today as an examination board for music and drama.
 * George H. Thomas develops the first illustrated song to promote The Little Lost Child, which goes on to sell more than two million copies of its sheet music nationwide.

Published popular music

 * "Airy, Fairy Lillian" w. Tony Raymond m. Maurice Levi
 * "And Her Golden Hair Was Hanging Down Her Back" w. Monroe H. Rosenfeld m. Felix McGlennon
 * "At Trinity Church I Met My Doom" w.m. Fred Gilbert
 * "Don't Be Cross" by Karl Zeller from the operetta Der Obersteiger
 * "Forgotten" w. Flora Wulschner m. Eugene Cowles
 * "He's Got To Keep A-Movin'" w.m. T. W. Connor
 * "His Last Thoughts Were Of You" w. Edward B. Marks m. Joseph W. Stern
 * "The Honeymoon" m. George Rosey
 * "I Don't Want To Play In Your Yard" w. Philip Wingate m. Henry W. Petrie
 * "If It Wasn't For The 'Ouses In Between" w. Edgar Bateman m. George Le Brunn
 * "I'll Be True To My Honey Boy" w.m. George Evans
 * "I've Been Working on the Railroad" w.m. trad (first copyright 1894)
 * "I Can't Change It!" w.m. T.W. Connor
 * "Kathleen" w.m. Helene Mora
 * "Little Kinkies" w.m. M. Tobias
 * "The Little Lost Child" w. Edward B. Marks m. Joseph W. Stern
 * "Long Ago In Alcala" w. Frederick Edward Weatherley & Adrian Ross m. André Messager
 * "My Friend The Major" w.m. E. W. Rogers
 * "My Pearl Is A Bowery Girl" w. William Jerome m. Andrew Mack
 * "Oh! That Gorgonzola Cheese" w. Fred W. Leigh m. Harry Champion
 * "The Owls Serenade" w. Arthur J. Lamb, m. H.W. Petrie
 * "She Is More To Be Pitied Than Censured" w.m. William B. Gray
 * "She May Have Seen Better Days" w.m. James Thornton
 * "Sweet Bunch of Daisies" w.m. Anita Owen
 * "The Sidewalks of New York" w.m. Charles B. Lawlor & James W. Blake
 * "Why Did Nellie Leave Home?" by George M. Cohan
 * "Yale Society Two-Step" by C. VanBaar
 * "You've Been A Good Old Wagon But You've Done Broke Down" by Ben Harney

Recorded popular music

 * "And Her Golden Hair was Hanging Down Her Back" – Dan W. Quinn (Berliner Records)
 * "Daisy Bell" – Edward M. Favor (Edison Records)
 * "Keep Movin'" – Standard Quartette (Columbia Records)
 * "The Liberty Bell (march)" – United States Marine Band (Columbia Records)
 * ”Marc Anthony's Curse” - David C. Bangs (Berliner Records)
 * "My Pearl is a Bowery Girl" – Dan W. Quinn (Berliner Records)
 * "The Black Knights Templar" – George J. Gaskin (Berliner Records)
 * ”The Sword of Bunker Hill” – Samuel Ross (Berliner Records)
 * ”The Village Blacksmith” – David C. Bangs (Berliner Records)
 * "Yankee Doodle" – Vess Ossman (Edison Records)

Classical music

 * Anton Arensky – Piano Trio No. 1 in D minor, Op. 32
 * Agathe Backer-Grøndahl
 * Norske Folkeviser og Folkedanse, Op.33
 * Norwegian Folk Songs, Op.34
 * 3 Claverstykker, Op.35
 * Johannes Brahms – Two Clarinet Sonatas, Op. 120
 * Claude Debussy
 * Prélude à l'après-midi d'un faune
 * Proses lyriques
 * Antonín Dvořák
 * Biblical Songs, Op.99
 * Humoresques (Dvořák) Op. 101 (B. 187) for piano
 * American Suite for piano (orchestrated a year later)
 * Robert Fuchs – Serenade No. 5 in D, Op. 53
 * Alexander Gretchaninov – String Quartet no 1 (2?) in G major, Op. 2
 * Edvard Grieg
 * 5 Songs of Norway, Op.58
 * 5 Songs, Op.60
 * Victor Herbert – Concerto for Cello no 2 in E minor
 * Mikhail Ippolitov-Ivanov – Caucasian Sketches
 * Joseph Jongen – Quartet for Strings no 1 in C minor, op. 3
 * August Klughardt – String Quintet, Op.62
 * Alexander Kopylov – String Quartet no 2 in F major, op. 23
 * Theodor Leschetizky – 2 Pieces, Op.43
 * Gustav Mahler – Symphony No. 2
 * Carl Nielsen
 * Symphony No. 1 in G minor
 * Snefrid, CNW 4
 * Symfonisk Suite for piano, FS 19
 * Josef Rheinberger – Sonata for Horn and Piano in E-flat major
 * Nikolay Rimsky-Korsakov – 2 Pieces, Op.38
 * Adolphe Samuel – Symphony No. 7 Opus 48
 * Alexander Scriabin – 12 Études, Op. 8
 * Charles Villiers Stanford – 6 Elizabethan Pastorals, Op.53
 * Wilhelm Stenhammar
 * Piano Concerto No.1, Op.1, premiered March 17 in Stockholm
 * String Quartet No. 1 in C major, Op. 2
 * Sigismond Stojowski – 2 Orientales, Op.10
 * Louis Vierne – String Quartet in D minor, Op. 12 (c. 1894)

Opera

 * Granville Bantock – The Pearl of Iran
 * Julius Bechgaard – Frau Inge
 * Herman Bemberg – Cleopatra
 * Frederick Delius – The Magic Fountain
 * Charles-Édouard Lefebvre – Djelma premiered on May 25 at the Théâtre de l'Opéra in Paris
 * Hamish MacCunn – Jeanie Deans
 * Jules Massenet
 * La Navarraise
 * Le portrait de Manon
 * Thaïs (opera) 16 March at the Opéra Garnier
 * Emile Pessard – Le muet
 * Emil Nikolaus von Reznicek – Donna Diana
 * Sergei Taneyev – Oresteia (completed 1894, premiered 1895)

Musical theater

 * A Gaiety Girl – Broadway production opened at Daly's Theatre on September 17 and ran for 81 performances
 * The Mine Foreman – Austrian production opened at the Theater an der Wien on January 5
 * The Passing Show – Broadway production opened at the Casino Theatre on May 5
 * Rob Roy, premiered in Detroit on October 1; Broadway production opened at the Herald Square Theatre on October 29 and ran for 168 performances
 * The Shop Girl – London production opened at the Gaiety Theatre on November 24 and ran for 546 performances
 * A Trip To Chinatown – London production opened at Toole's Theatre on September 29 and ran for 125 performances

Births

 * January 3 – Benito Canónico, Venezuelan composer (d. 1971)
 * January 31 – Isham Jones, American bandleader and composer (d. 1956)
 * February 1 – James P. Johnson, American jazz pianist and composer.
 * February 11 – Alfonso Leng, Chilean dentist and part-time classical composer (d. 1974)
 * February 20 – Jimmy Yancey, American jazz pianist
 * April 3 – Dooley Wilson, African American pianist and singer (d. 1953)
 * April 15 – Bessie Smith, American blues singer (d. 1937)
 * April 27 – Nicolas Slonimsky, Russian-born American conductor and composer (d. 1995)
 * May 10 – Dimitri Tiomkin, Russian-born American film music composer, pianist and conductor (d. 1979)
 * May 29 – Beatrice Lillie, Canadian actress and singer (d. 1989)
 * June 1 – Percival Mackey, English pianist, film music composer and bandleader (d. 1950)
 * June 4 – La Bolduc (Mary Travers), Québécois singer (d. 1941)
 * June 10 – Punch Miller, American Dixieland jazz trumpeter (d. 1971)
 * July 10 – Jimmy McHugh, American songwriter and pianist (d. 1969)
 * August 15 – Harry Akst, American songwriter and pianist (d. 1963)
 * August 26 – Arthur Loesser, pianist and musicologist (died 1969)
 * September 3 – Marie Dubas, French music-hall singer (d. 1972)
 * September 18 – Willard Robison, American songwriter and bandleader (d. 1968)
 * September 25 – J. Mayo Williams, African American blues music producer (d. 1980)
 * September 26 – Vaughn De Leath, American crooner, "The Original Radio Girl" (d. 1943)
 * December 31 – Ernest John Moeran, British composer (d. 1950)

Deaths

 * January 13 – Nadezhda von Meck, patron of Tchaikovsky (b. 1831)
 * January 21 – Guillaume Lekeu, composer (b. 1870) (typhoid)
 * January 24 - Laura Schirmer Mapleson, American opera singer (b. 1862)
 * January 30 – Giovanni Masutto, Italian musicologist and flautist (b. 1830)
 * February 4
 * Louis Lewandowski, composer (b. 1821)
 * Adolphe Sax, Belgian instrument maker, inventor of the saxophone (b. 1814)
 * February 11 – Emilio Arrieta, composer (b. 1823)
 * February 12 – Hans von Bülow, pianist, conductor and composer (b. 1830)
 * February 18 – Camillo Sivori, violinist and composer (b. 1815)
 * March 21 – Jakob Rosenhain, pianist and composer (b. 1813)
 * April 12 – Ludwig Pfau, lyricist and revolutionary (born 1821)
 * April 13
 * Marie Carandini, opera singer (b. 1826)
 * Philipp Spitta, musicologist and biographer of Bach (b. 1841)
 * June 5 – Marcelina Czartoryska, pianist and aristocrat (born 1817)
 * June 9 – Juventino Rosas, violinist and composer (b. 1868)
 * June 23 – Marietta Alboni, operatic contralto (b. 1826)
 * July 17 – Leconte de Lisle, lyricist (born 1818)
 * July 26 – Eduard Tauwitz, composer (b. 1812)
 * September 13 – Emmanuel Chabrier, composer (b. 1841)
 * September 21 – Emma Fursch-Madi, operatic soprano (b. 1847)
 * October 16 – Johanna Jachmann-Wagner, opera singer, actress and music teacher (b. 1826)
 * October 27 – Carl Ploug, Danish lyricist, song writer, editor, and politician (born 1813)
 * October 28 – Rudolf Hildebrand, historian of the German folk song (b. 1824)
 * November 4 – Eugène Oudin, composer (b. 1858)
 * November 20 – Anton Rubinstein, pianist and composer (b. 1829)

title: 1894 in music


text:
User talk:Gojomo

Hi.

Signpost
Hi, just a little heads-up that I did a write-up of your Thunkpedia talk for this week's edition of the Wikipedia Signpost, quickly gleaned from the YouTube recording and the slides. Hope it's accurate; you're welcome to leave a remark on the talk page if otherwise. Regards, HaeB (talk) 11:12, 8 November 2011 (UTC)

Reply
Hi, thanks for message. The general sanctions notification isn't necessarily to do with this specific article, it's being applied to all blockchain and cryptocurrency articles due to the deluge of cryptospam we have been subjected to. It's basically to make it easier for admins to block editors transgressing in this area. I posted the link so that you are aware that this is a problematic area. If you do decide to go ahead, do so as a draft. In view of your comments, I looked at your version of the article before other editors posted. Comments below relate to that version.
 * it did not provide adequate independent verifiable sources to enable us to verify the facts and show that it meets the notability guidelines. Sources that are not acceptable include those linked to the organisation, press releases, YouTube, IMDB, social media and other sites that can be self-edited, blogs, websites of unknown or non-reliable provenance, and sites that are just reporting what the company claims or interviewing its management. None of your text after the lead paragraph had any references at all, and of the references you did give, apart from the Wired article, all were sourced to the company itself, their press releases or Twitter, not independent third-party sources
 * The notability guidelines for organisations and companies have been updated. The primary criteria has five components that must be evaluated separately and independently to determine if it is met:
 * significant coverage in
 * independent,
 * multiple,
 * reliable,
 * secondary sources.
 * Note that an individual source must meet all four criteria to be counted towards notability. With only one proper ref, which doesn't support most of the supposed facts in your article, there is nothing in what you wrote to show how this meets the linked notability criteria. The only actual verifiable fact apart from the largely irrelevant design section is the $232 million offering, but as you will see, one verifiable fact sourced to only one real reference doesn't meet the notability criteria.

Given that it's mostly unsourced spam, I'm not prepared to restore the text. I note that you also made this edit to your talk page removing speedy deletion notifications, a warning about removing SD tags, and a previous general sanction warning from, which does not, of course, invalidate that warning. You are entitled to do pretty much what you like with your talk page, but that edit does not inspire confidence. The previous SD nominator asked that the article be protected from future recreation, which I declined this time, but this is effectively your last chance, should you decide to proceed. Jimfbleak - talk to me?  15:17, 13 November 2018 (UTC)
 * it was written in a promotional tone. Articles must be neutral and encyclopaedic. We get of to a great start with the unattributed quote the world’s first 'self-amending' cryptocurrency prior to any actual facts, Other examples of unsourced or self-sourced claims presented as fact include: the largest for such an offering to that date... generic and self-amending crypto-ledger which can instantiate any blockchain based ledger... Most importantly... Its proof-of-stake approach is novel... It has therefore been called "liquid" proof-of-stake by some... a powerful functional... an unambiguous syntax and semantics... a good candidate— just cryptospam.
 * You have declared a conflict of interest when editing this article, thank you for that. Since you work directly or indirectly for the organisation, or otherwise are acting on its behalf, you are very strongly discouraged from attempting to write an article at all. At best, any proposed article creation should be submitted through the articles for creation process, rather than directly. Having made the declaration, of course, doesn't mean you can write what you like, it just means that you aren't blocked for not doing so.

 * (re: general sanction) But that sanction suggests actions against editors, doesn't it? I didn't see anything in it suggesting blanket-deletions to articles with some good info about notable subjects. --Gojomo (talk) 19:58, 13 November 2018 (UTC)
 * (re: inadequate sources) Restore the history and we'll be able to discuss what sources I used. IIRC, it was a Wired cover story and a Bloomberg news report that I chose (out of dozens of other major-media alternatives). Not any of the flaky sources you're inaccurately and unfairly implying. --Gojomo (talk) 19:58, 13 November 2018 (UTC)
 * (re: notability) Restore the history and you'll see all the text I wrote was clearly sourced from more than one major media organization, and easily meeting the 4 (or is it 5?) components. --Gojomo (talk) 19:58, 13 November 2018 (UTC)
 * (re: examples of promotional tone) I wrote none of this text. (Have your negative experiences with other crypto topics turned off a normal competency in reading the history?) Take it up with the person who wrote it, applying editor sanctions there if necessary. I moved this text to a separate 'Design' section *because* it was problematic – to quarantine it from the well-sourced intro – in the hopes it could get fixed up there. (IMO, although this text-by-someone-else is not in a proper encyclopedic tone, and insufficiently sourced, it's more-or-less true, so I was hoping it could be cured not wiped. But its defects don't justify wiping other nearby true/sourced/NPOV/notable reference info.) --Gojomo (talk) 19:58, 13 November 2018 (UTC)
 * (re: conflict-of-interest) I neither work for nor on behalf of the organization. I own a tiny amount of their units and added the declaration in an abundance of caution. My edits stand on their own. --Gojomo (talk) 19:58, 13 November 2018 (UTC)
 * (re: "it's mostly unsourced spam") Then delete what you see as spam (or move it to the article talk for fix-up), and leave the meat. --Gojomo (talk) 19:58, 13 November 2018 (UTC)
 * (re: accusation of removing notices from my talk page) That's not me, so you've made an derogatory false accusation here. Could you be more careful in the future? --Gojomo (talk) 19:58, 13 November 2018 (UTC)
 * (re: recreation-protection & 'last chance') Who asked, and where did they ask, do you have a link? The topic easily meets notability guidelines given extensive media coverage. If there was something wrong with the stub I created, describe that – don't make it about me with a "your last chance" threat based on misattributed text/actions, hidden histories, & secret administrative standards. --Gojomo (talk) 19:58, 13 November 2018 (UTC)

More
Firstly, note that it is unacceptable to modify other editor's comments. You should not intersperse your commentary into my remarks, if you want to comment on individual statements, copy them into your response. I realise you may not have been aware of this, but it upsets people.
 * I've already mentioned the paid editor issue on my talk page. I accept that it's not the best term, but you do have a declared financial interest, of unknown size, so I think it's reasonable to discourage you from writing on this topic
 * I thought I'd made it clear that the general sanctions warning is just that, and is posted on most new articles that are subject to those sanctions. As you say, it's not a reason for deletion as such, nor was it in my deletion summary
 * I accept that the comment on your talk page deletion was incorrect, I was mislead by the similar name
 * I don't think I claimed that you wrote all the promotional text, I was responding to your claim that it was a neutral, well-sourced article, which it clearly isn't
 * I think the "last chance" comment is not unreasonable. If articles keep getting deleted, it's normal practice to protect the name space so that they can't be tendentiously recreated without admin intervention. Jytdog said when nominating for deletion This is a recreation of a page that was previously speedied; please salt You can't see that because it's on the deleted page, but in any case I don't personally salt deleted titles until the third attempt.
 * I think you overstate the secrecy here. You can see every edit that I, on any other editor makes. The only thing you can't see is deleted articles, which is the whole point of deletion.

I've had a second look, and I'll recreate as a draft and de-spam the text, but you will still need to fix the other issues. I'll do that later today Jimfbleak - talk to me?  07:33, 15 November 2018 (UTC)
 * Restored at Draft:Tezos, I've removed the entirely unsourced and promotional "Design section" Jimfbleak - talk to me?  13:34, 15 November 2018 (UTC)
 * I've corrected the interspersed replies. I would never change your words, but I thought I had seen such a reply-style here before. Also, I had just seen you change the reply-level of my comment on your talk page, leading me to believe an editor might choose their own preferences for clarity on their own talk page. I also wanted my refutations of multiple specific inaccuracies about what was in my articles edits, or the sources used by my edits, or my prior Talk page edits, to appear as close as possible to your bullets. But I apologize for not following the local convention.
 * * You absolutely called text that had not been added by me "your text". You claimed your assessment was of "your version of the article before other editors posted". Neither of these were true, even though you had access to the deleted history, and I had to work from memory. Also, I never claimed "that it was a neutral, well-sourced article". You can look back at my initial post-speedy-deletion comments on your talk page – which I was writing blind without access to the latest version of the article. I allowed for the possibility it may have developed problems, but I asserted that the initial contributions I had made months earlier were of high quality.
 * * There are surely legitimate reasons to hide history for many deletions – such as copyrighted or defamatory material – but none of those were alleged here. In any case, the 'secrecy' of which I was concerned was using hidden evidence to make negative implications about the quality of my edits that I had no power to refute. And, hints of other sword-of-damocles ("your last chance") remedies being discussed somewhere unspecified that I can't even see.
 * All that said, I thank you for the draft-restoration & cleanup. You've removed exactly the other-editor material I thought was iffy, too – indeed it's anon-editor material that had [|clobbered] my original sourced text. (I considered deleting it myself, but prefer giving people/text a chance to improve their work, and didn't want to start anything like an adversarial revert battle.)
 * As it stands, the draft looks fine to me, except that the spam-notice at the top is now out-of-date, since it was referring to problematic text now gone. What other issues do you see that would need fixing before it becomes a non-draft article? --Gojomo (talk) 04:19, 17 November 2018 (UTC)
 * Well, when I said "your version of the article before other editors posted", I was picking up on your claim that the junk had been added after you had edited, I didn't think I was implying that you were the only editor at that point, although I can see why you think that I may have been. The history of an extant article is always fully available, except for copyrighted or defamatory material which have been hidden by an admin. That doesn't apply here. It's obvious that the history of a deleted article can't be seen, otherwise it's not been deleted in any real sense. I can see why that makes it harder to contest, but there is no logical way around that, and in practice many articles, like this, are eventually restored in some form.
 * The issue is still the referencing. If you look at the current notability definition, the sources should be independent. One of you refs is to the Tezos foundation itself, another seems to be based on a Tezos press release and quotes Ryan Jesperson. Although there is some commentary, I don't know if whether Coindesk would be considered a reliable source. You should try to find independent third-party references, particularly to replave the foundation link. If nobody else has mentioned the fact sourced there, it's difficult to see why it's significant Jimfbleak - talk to me?  06:39, 17 November 2018 (UTC)

Notification of general sanctions on cryptocurrencies and blockchain
Jytdog (talk) 17:08, 15 November 2018 (UTC)

Detail
Following on from the above, you may want to read Jytdog's very clear explanation here of why this area is subject to general sanctions and why involved editors are notified Jimfbleak - talk to me?  06:33, 16 November 2018 (UTC)

title: User talk:Gojomo


text:
1891 in music

Events in the year 1891 in music.

Specific locations

 * 1891 in Norwegian music

Events

 * February 23 – Fourteen-year-old cellist Pablo Casals gives a solo recital in Barcelona.
 * March 16 – A performance of the Budapest Opera is interrupted by a spontaneous demonstration in support of musical director Gustav Mahler, at the time in conflict with intendant Géza Zichy and already negotiating for a position elsewhere.
 * May 5 – The Music Hall in New York City (which becomes Carnegie Hall) has its grand opening and first public performance, with Peter Ilyich Tchaikovsky guest-conducting his own work.
 * May 10 – Danish classical composer Carl Nielsen marries his compatriot, the sculptor Anne Marie Brodersen, in St Mark's English Church, Florence, Italy, the couple having first met on March 2 in Paris.
 * June 24 - Pyotr Ilyich Tchaikovsky finished his ballet The Nutcracker
 * October 16 – The Chicago Symphony Orchestra gives its inaugural concert.
 * The Peabody Mason Concerts are inaugurated with a performance by Ferruccio Busoni.
 * The ensemble attached to the Glasgow Choral Union is formally recognised as the Scottish Orchestra, predecessor of the Royal Scottish National Orchestra.

Published popular music

 * "Actions Speak Louder Than Words" w. George Horncastle m. Felix McGlennon
 * "Don't mind, my Darling!" w.m. Paul Steinmark
 * "Hey, Rube!" w. J. Sherrie Matthews m. Harry Bulger
 * "High School Cadets March" m. John Philip Sousa
 * "Little Boy Blue" w. Eugene Field m. Ethelbert Nevin
 * "The Man Who Broke The Bank At Monte Carlo" w.m. Fred Gilbert
 * "The Miner's Dream Of Home" w.m. Will Godwin & Leo Dryden
 * "Molly O!" w.m. William J. Scanlan
 * "Narcissus" m. Ethelbert Nevin
 * "The Pardon Came Too Late" w.m. Paul Dresser
 * "The Picture That's Turned To The Wall" w.m. Charles Graham
 * "Reuben And Cynthia" w.m. Percy Gaunt
 * "Ta-ra-ra-boom-de-ay" w.m. Henry J. Sayers
 * "Wot Cher! Knocked 'em in the Old Kent Road" w. Albert Chevalier m. Charles Ingle

Recorded popular music

 * "Bell Buoy" – J. W. Myers
 * "The Cobbler" – George J. Gaskin
 * "College Songs" – Gilmore's Band
 * "Dance of the Owls" – A. T. Van Winkle (Xylophone) & Edward Issler (Piano)
 * "Drill, Ye Tarriers, Drill" – George J. Gaskin
 * "Five Minutes With The Minstrels" – Voss' First Regiment Band
 * "Home, Sweet, Home" – John York AtLee
 * "The Laughing Song" – George W. Johnson
 * "Little 'Liza Loves You" – Len Spencer
 * "Michael Casey as a Physician" – Russell Hunting
 * "Nannon Waltz" – Issler's Orchestra
 * "One Minute Too Late" – Voss' First Regiment Band
 * "Paddy's Wedding" – Dan Kelly
 * "Pat Brady as a Police Justice" – Dan Kelly
 * "Pat Brady on a Spree" – Dan Kelly
 * "The Picture Turned to the Wall" – George J. Gaskin
 * "The Picture Turned to the Wall" – Manhansett Quartette
 * "Rocked in the Cradle of the Deep" – Holding's Parlor Orchestra
 * "Sally in Our Alley" – Manhansett Quartette '
 * "Saving Them All for Mary" – Al Reeves
 * "Sweet Marie" – George J. Gaskin
 * "Turkey in the Straw" – Billy Golden
 * "Uncle Jefferson – Billy Golden
 * "Vienna Dudes March" – Duffy and Imgrund's Fifth Regiment Band
 * "The Whistling Coon" – George W. Johnson

Classical music

 * Anton Arensky – Cantata on the 10th Anniversary of the Coronation
 * Claude Debussy – Two Arabesques
 * Johannes Brahms – Clarinet Quintet in B Minor, Op. 115
 * Max Bruch – Concerto for Violin No. 3
 * Heinrich von Herzogenberg – Requiem, Op. 72
 * Carl Nielsen – Fantasy Pieces for Oboe and Piano
 * Ethelbert Nevin – Water Scenes
 * Camille Saint-Saëns – Africa, Op. 89
 * Erik Satie – 6 Gnossiennes for piano
 * Alphons Czibulka – Wintermärchen Waltzes Op. 366 (source of Hearts and Flowers)

Opera

 * Frederick Delius – Irmelin
 * Robert Fuchs – Die Teufelsglocke
 * Miguel Marqués – El monaguillo (libretto by Emilio Sánchez Pastor, premiered in Madrid)
 * Pietro Mascagni – L'amico Fritz
 * Emile Pessard – Les folies amoureuses premiered on April 15 at the Théâtre de l'Opéra-Comique, Paris

Musical theater

 * Robin Hood, Broadway production
 * The Tyrolean, Broadway production
 * Der Vogelhändler (The Tyrolean), Vienna production

Births

 * January 25 – Wellman Braud, jazz musician (died 1966)
 * February 5 – Dino Borgioli, operatic tenor (died 1960)
 * March 22 – Alexis Roland-Manuel, French composer and critic (died 1966)
 * March 28 – Leah Frances Russell, Australian opera singer (died 1983)
 * April 2 – Jack Buchanan, Scottish singer, actor, dancer and director (died 1957)
 * April 15 – Väinö Raitio, Finnish composer (died 1945)
 * April 23 – Sergei Prokofiev, Russian composer (died 1953)
 * May 16 – Richard Tauber, Austrian singer (died 1948)
 * May 26 – Mamie Smith, blues singer (died 1946)
 * May 30 – Ben Bernie, US bandleader (died 1943)
 * June 3 – Georges Guibourg, French singer, actor and writer (died 1970)
 * June 9 – Cole Porter, songwriter (died 1964)
 * June 10 – Al Dubin, Swiss-born American lyricist (died 1945)
 * June 21 – Hermann Scherchen, German conductor (died 1966)
 * July 14 – Fréhel, French singer and actress (died 1951)
 * July 16 – Blossom Seeley, US singer and vaudeville performer (died 1974)
 * August 2 – Arthur Bliss, composer (died 1975)
 * September 11 – Noël Gallon, French composer and music educator (died 1966)
 * September 14 – Czesław Marek, Polish composer, pianist, and piano teacher (died 1985)
 * September 16 – Milton Schwarzwald, American film director and composer (died 1950)
 * September 26 – Charles Munch, Alsatian symphonic conductor and violinist (died 1968)
 * October 1 – Morfydd Llwyn Owen, Welsh singer and composer (died 1918)
 * October 29 – Fanny Brice, US actress, comedian and singer (died 1951)
 * November 27 – Giovanni Breviario, operatic tenor (died 1982)
 * date unknown
 * Charles McCarron, composer and lyricist (died 1919)
 * Margaret Morris, dancer and choreographer (died 1980)

Deaths

 * January 5 – Emma Abbott, singer (born 1850)
 * January 8 – Fredrik Pacius, composer and conductor (born 1809)
 * January 17 – Johannes Verhulst, conductor and composer (born 1816)
 * January 16 – Léo Delibes, composer (born 1836)
 * January 21 – Calixa Lavallée, composer (born 1842)
 * May 23 – Ignace Leybach, pianist, organist and composer (born 1817)
 * June 14 – Count Nicolò Gabrielli, Italian opera composer (born 1814
 * July 3 – Stefano Golinelli, pianist and composer (born 1818)
 * July 21 – Franco Faccio, composer and conductor (born 1840)
 * August 5/6 – Henry Litolff, keyboard virtuoso and composer (born 1818)
 * September 2 – Ferdinand Praeger, composer, music teacher, pianist and writer (b. 1815)
 * October 27
 * Charles Constantin, conductor (born 1835)
 * Johann Dubez, Viennese violinist and composer (born 1828)
 * November 9 – Frederick Mathushek, piano maker (born 1814)
 * November 20 – Franz Hitz, Swiss pianist and composer (born 1828)
 * December 28 – Alfred Cellier, composer (born 1844)
 * date unknown
 * Harvey B. Dodworth, bandmaster and conductor (born 1822)
 * Fanny Salvini-Donatelli, operatic soprano (born c.1815)

title: 1891 in music


text:
Glam metal

Glam metal (also known as hair metal or pop metal) is a subgenre of heavy metal that features pop-influenced hooks and guitar riffs, upbeat rock anthems, and slow power ballads. It borrows heavily from the fashion and image of 1970s glam rock.

Early glam metal evolved directly from the glam rock movement of the 1970s, as visual elements taken from acts such as T. Rex, the New York Dolls, and David Bowie (and to a lesser extent, the punk and new wave movements taking place concurrently in New York City) were fused with the decidedly more heavy metal leaning and theatrical acts such as Alice Cooper and Kiss. The first examples of this fusion began appearing in the late 1970s and early 1980s in the United States, particularly on the Los Angeles Sunset Strip music scene. Early glam metal bands include Mötley Crüe, Hanoi Rocks, Night Ranger, Ratt, Quiet Riot, Twisted Sister, Bon Jovi, and Dokken. Glam metal achieved significant commercial success from approximately 1983 to 1991, bringing to prominence bands such as Poison, Skid Row, Cinderella and Warrant. From a strictly visual perspective, glam metal is defined by flashy and tight-fitting clothing, makeup, and an overall androgynous aesthetic in which the traditional "denim & leather" aspect of heavy metal culture is replaced by spandex, lace, and usually heavy use of bright colours.

Glam metal suffered a decline in popularity in the early-mid 1990s, as the grunge and alternative phenomena revolutionized hard rock, and fans' tastes moved toward a more natural and stripped-down aesthetic and a rejection of the glam metal visual style. During this period, many of the most successful acts of the genre's 1980s pinnacle suddenly found themselves facing disbandment as their audiences moved in another direction. Glam metal has experienced a resurgence since the late 1990s, with successful reunion tours of many popular acts from the genre's 1980s heyday, as well as the emergence of new, predominantly European bands, including the Darkness, Crashdiet, Reckless Love, and American band Steel Panther.

Characteristics, fashion, and terminology
Musically, glam metal combines a traditional heavy metal sound with elements of hard rock and punk rock, adding pop-influenced catchy hooks and guitar riffs. Like other heavy metal songs of the 1980s (most notably thrash metal songs), they often feature shred guitar solos. They also include extensive use of harmonies, particularly in the characteristic power ballads – slow, emotional songs that gradually build to a strong finale. These were among the most commercially successful singles in the genre and opened it up to a wider audience that would otherwise not have been attracted to traditional heavy metal. Lyrical themes often deal with love and lust, with songs often directed at a particular woman.

Aesthetically glam metal draws heavily on the glam rock or glitter rock of the 1970s, often with very long backcombed hair, use of hair spray, use of make-up, gaudy clothing and accessories (chiefly consisting of tight denim or leather jeans, spandex, and headbands). The visual aspects of glam metal appealed to music television producers, particularly MTV, whose establishment coincided with the rise of the genre. Glam metal performers became infamous for their debauched lifestyles of drugs, strippers and late-night parties, which were widely covered in the tabloid press.

Sociologist Deena Weinstein points to the large number of terms used to describe more commercial forms of heavy metal, which she groups together as lite metal. These include, beside glam metal: melodic metal, false metal, poodle bands, nerf metal, pop metal or metal pop, the last of which was coined by critic Philip Bashe in 1983 to describe bands such as Van Halen and Def Leppard. AllMusic employs the umbrella term "pop metal", which refers a late-1980s variation of pop metal characterized by flashy clothing and heavy makeup influenced by glam rock (as embodied by Poison and Mötley Crüe). Use of the derogatory term "hair metal" started in the early 1990s, as grunge gained popularity at the expense of 1980s metal. In the "definitive metal family tree" of his documentary Metal: A Headbanger's Journey, anthropologist Sam Dunn differentiates pop metal, which includes bands like Def Leppard, Europe, and Whitesnake, from glam metal bands such as Mötley Crüe and Poison.

Predecessors
Music journalist Stephen Davis claims the influences of the style can be traced back to acts like the New York Dolls, Aerosmith, KISS, Cheap Trick, Boston. Sweet and to a lesser extent Alice Cooper, were influences on the genre too. Finnish band Hanoi Rocks, heavily influenced themselves by the New York Dolls, have been credited with setting a blueprint for the look of hair metal.

Van Halen has been seen as highly influential on the movement, emerging in 1978 from the Los Angeles music scene on Sunset Strip, with a sound based around the lead guitar skills of Eddie Van Halen. He popularized a playing technique of two-handed hammer-ons and pull-offs called tapping, showcased on the song "Eruption" from the album Van Halen. This sound, and lead singer David Lee Roth's stage antics, would be highly influential on glam metal.

First wave (1981–1986)
Def Leppard, often categorized with the New Wave of British heavy metal, mixed glam rock with heavy metal, helping to define the sound of hard rock for the 1980s decade. In March 1980, Def Leppard released their initial album On Through the Night, its first song "Rock Brigade" provided a hint of this future sound style. In July 1981, Def Leppard released their second album High 'n' Dry, which contained the songs "Bringin' On The Heartbreak" (power ballad) and "Switch 625" (instrumental), examples of their signature sound style prevalent in their next album (Pyromania). The High 'n' Dry album stayed on the Billboard 200 chart for 123 weeks.

Bands from across the United States began to move towards what would become the glam metal sound. In the fall of 1981, Mötley Crüe (from Los Angeles) released their first album Too Fast for Love, Kix (from western Maryland) released their first album Kix, and Dokken (from Los Angeles) released their first album Breaking the Chains in Europe (later remixed for September 1983 re-release in USA). In November 1982, Night Ranger (from San Francisco) released their initial album Dawn Patrol which reached the top 40 in the United States.

1983 was the breakout year for glam metal: Def Leppard released its third album Pyromania on January 20, and was the first glam metal album to reach top ten in the Billboard charts on March 12, later it peaked at number two on May 14, then staying in the top ten albums until it dropped to eleventh place on November 26, eventually falling off the Billboard 200 chart after 123 weeks. Quiet Riot's Metal Health was released on March 11, then marched upwards until it reached number one on November 26, eventually falling off the Billboard 200 chart after 81 weeks. The success of Def Leppard and Quiet Riot paved the way for many heavy metal acts, both glam and otherwise, as the decade progressed. That same year saw a larger wave of heavy metal albums achieve previously-unheard-of commercial success. All of the following were released in September: Mötley Crüe releasing its second album Shout at the Devil, Kiss releasing Lick It Up, and Dokken re-released their first album Breaking the Chains in the USA.

Def Leppard's Pyromania, later certified diamond by the Recording Industry Association of America (RIAA), reached number two on the Billboard 200. The singles "Foolin'", "Photograph", and "Rock of Ages", helped by the emergence of MTV, reached the Top 40. Pyromania's style was widely emulated, particularly by the emerging Californian scene. However, remarked Leppard's Joe Elliott, "I don't know how anybody could confuse us with that lot. We weren't even around when all those so-called glam bands came up. We were in fuckin' Holland making Hysteria. While they were out banging chicks or whatever, we were looking at windmills and playing pool on a table without any pockets. We were as far away from LA as any band could be."

The most active glam metal scene was starting to appear in clubs on the Sunset Strip in Los Angeles, including The Trip, the Whisky a Go Go, and the Starwood. These clubs refrained from booking punk rock bands because of fears of violence and began booking many metal bands instead, usually on a "pay to play" basis, thus creating a vibrant scene for hard rock music. An increasing number of metal bands were able to produce debut albums in 1984, including Ratt (from Los Angeles) with its breakthrough album Out of the Cellar, Bon Jovi (from New Jersey) with its debut Bon Jovi, Great White with Great White, Black 'n Blue (from Portland, Oregon) with Black 'n Blue, Autograph with its first album Sign In Please, and W.A.S.P. with its self-titled debut album.

All these bands played a part in developing the overall look and sound of glam metal during the early 1980s. In 1985, many more commercially successful glam metal albums began to appear, including Mötley Crüe's third album Theatre of Pain, Ratt's second album Invasion of Your Privacy, Dokken's third album Under Lock and Key, Stryper's first release Soldiers Under Command, Bon Jovi's second release , and Autograph's second album That's The Stuff. Los Angeles continued to foster the most important scene around the Sunset Strip, with groups like London, which had originally formed as a glam rock band in the 1970s, and had seen future members of Mötley Crüe, Cinderella and Guns N' Roses pass through its ranks, finally releasing their début album Non Stop Rock in 1985 as well.

Second wave (1986–1991)
By the mid-late 1980s, glam metal had begun to achieve major mainstream success in America with many of these bands' music videos appearing on heavy rotation on MTV, often at the top of the channel's daily dial countdown, and some of the bands appeared on the channel's shows such as Headbangers Ball, which became one of the most popular programs with over 1.3 million views a week. The groups also received heavy rotation on radio stations such as KNAC in Los Angeles.

1986 was a significant year for glam metal music as Bon Jovi put out one of the most commercially significant releases of the era, Slippery When Wet which mixed metal with a pop sensibility and spent a total of eight weeks atop the Billboard 200 album chart, selling over 12 million copies in the United States. It became the first hard rock album to spawn three top ten singles, two of which reached number one. The album has been credited with widening the audience for the genre, particularly by appealing to women as well as the traditional male dominated audience, and opening the door to MTV and commercial success for other bands at the end of the decade.

The Swedish band Europe released the anthemic album The Final Countdown which reached the top ten in several countries, including the U.S., and the album's title single reached number one in 26 countries. Stryper made their mainstream breakthrough in 1986 with the release of their platinum album To Hell with the Devil and brought Christian lyrics to their hard rock music style and glam metal looks. Two Pennsylvania bands, with Harrisburg's Poison and Philadelphia's Cinderella released multi-platinum début albums, respectively Look What the Cat Dragged In and Night Songs in 1986. Van Halen released 5150 their first album with Sammy Hagar on lead vocals, which was number one in the U.S. for three weeks and sold over six million copies. Additionally, some established hard rock and heavy metal bands of the era such as Scorpions, Whitesnake, Dio, Aerosmith, Kiss, Alice Cooper, Ozzy Osbourne, Judas Priest, Saxon and Accept began incorporating hair metal elements into their sounds and images, as the genre's popularity skyrocketed in 1985–1986.

Glam metal bands continued their run of commercial success in 1987 with Mötley Crüe releasing Girls, Girls, Girls, White Lion releasing Pride, and Def Leppard releasing Hysteria producing a hard rock record of seven hit singles and stayed on the Billboard 200 chart for 136 weeks. Another of the greatest successes of the era was Guns N' Roses, originally formed from a fusion of bands L.A. Guns and Hollywood Rose, who released the best-selling debut of all time, Appetite for Destruction. With a "grittier" and "rawer" sound than most glam metal, incorporating elements of punk and blues, Appetite for Destruction produced three top 10 hits, including the number one "Sweet Child O' Mine". In the wake of Guns N' Roses's commercial success, other similarly rawer glam metal bands began to gain popularity like L.A. Guns and Faster Pussycat. Critics eventually termed this style sleaze rock or sleaze metal to differentiate it from the perceived increasing commerciality of other glam metal bands. Such was the dominance of the style that Californian hardcore punk band T.S.O.L. moved towards a glam metal sound in this period.

In the last years of the decade the most notable successes were New Jersey (1988) by Bon Jovi, OU812 (1988) by Van Halen, while Open Up and Say... Ahh! (1988) by Poison, spawned number one hit single "Every Rose Has Its Thorn", and eventually sold eight million copies worldwide. Britny Fox from Philadelphia and Winger from New York released their eponymous débuts in 1988. In 1989 Mötley Crüe produced their most commercially successful album, the multi-platinum number one Dr. Feelgood. In the same year eponymous débuts included Danger Danger from New York, Dangerous Toys from Austin, Texas, who provided more of a Southern rock tone to the genre, Enuff Z'Nuff from Chicago who provided an element of psychedelia to their sound and visual style, and Tora Tora from Memphis, Tennessee, who incorporated elements of blues rock into their music. L.A. débuts included Warrant with Dirty Rotten Filthy Stinking Rich (1989), and Skid Row with their eponymous album (1989), which reached number six in the Billboard 200, but they were to be one of the last major bands that emerged in the glam metal era.

Glam metal entered the 1990s as one of the major commercial genres of popular music, but such success would not continue for long; in 1990, débuts for Slaughter, from Las Vegas with Stick It to Ya and FireHouse, from North Carolina, with their eponymous album reached number 18 and number 21 on the Billboard 200 respectively, but it would be the peak of their commercial achievement. Y&T released their last album "Ten" before the band went on hiatus from a few years.

Decline (1991–1997)
The 1988 film The Decline of Western Civilization Part II: The Metal Years captured the Los Angeles scene of successful and aspiring bands. It also highlighted the excesses of glam metal, particularly the scene in which W.A.S.P. guitarist Chris Holmes was interviewed while drinking vodka on a floating chair in a swimming pool as his mother watched. As a result, it has been seen as helping to create a backlash against the genre. In the early 1990s glam metal's popularity rapidly declined after nearly a decade of success. Successful bands lost members that were key to their songwriting and/or live performances, such as Mötley Crue's frontman Vince Neil, Poison guitarist C.C. DeVille, Def Leppard guitarist Steve Clark and Guns N' Roses guitarist Izzy Stradlin. Several music writers and musicians began to deride glam metal acts as "hair farmers", hinting at the soon-to-be-popularized term "hair metal". Another reason for the decline in popularity of the style may have been the declining popularity of the power ballad. While its use, especially after a hard-rocking anthem, was initially a successful formula, in the early 1990s audiences lost interest in this approach.

The rise of alternative rock
By far and away the most significant factor in the decline of glam metal was the rise of alternative rock and grunge music. This included a wave of grunge bands from Seattle, such as Nirvana, Alice in Chains, Pearl Jam and Soundgarden. Other alternative bands such as R.E.M., Radiohead, Stone Temple Pilots, and the Smashing Pumpkins achieved mainstream success in the wake of glam's decline. The decline was particularly obvious after the success of both R.E.M.'s Out of Time (1991) and Nirvana's Nevermind (1991), the latter of which combined elements of hardcore punk and heavy metal into a dirty sound that made use of heavy guitar distortion, fuzz and feedback, along with darker lyrical themes, a stripped-down aesthetic and a complete rejection of the glam metal visual style and performance. The success of bands like R.E.M. and Nirvana gave rise to a more "stripped down" musical style that was more personal and vulnerable. Many major labels felt they had been caught off-guard by the surprise success of alternative music and began turning over their personnel in favor of younger staffers more versed in the new scene. Glam acts such as Guns N' Roses and Bon Jovi attempted to adjust their sound to the changing times, whereas bands like Skid Row ended up fading away into irrelevance. As MTV shifted its attention to alternative music, glam metal bands found themselves relegated increasingly to late night airplay, and Headbangers Ball was cancelled at the end of 1994, while KNAC went over to Spanish programming. Given glam metal's lack of a major format presence on radio, bands were left without a clear way to reach their audience. Other L.A. alternative rock bands like the Red Hot Chili Peppers and Jane's Addiction also helped supplant the popularity of the genre.

Changing sound
Some artists tried to alter their sound, while others struggled on with their original format. In 1995, Van Halen released Balance, a multi-platinum seller that would be the band's last with Sammy Hagar on vocals. In 1996, David Lee Roth returned briefly and his replacement, former Extreme singer Gary Cherone, left the band soon after the release of the commercially unsuccessful 1998 album Van Halen III. Van Halen would not tour or record again until 2004. Welsh rock band Manic Street Preachers' 1992 debut album Generation Terrorists featured a glam metal sound. The album reached No. 1 in the UK Rock Chart, but failed to chart in the United States.

Meanwhile, Guns N' Roses' classic-lineup was whittled away throughout the decade. Drummer Steven Adler was fired in 1990, guitarist Izzy Stradlin left in late 1991 after recording Use Your Illusion I and II with the band. Tensions between the other band members and lead singer Axl Rose continued after the release of the 1993 punk rock covers album "The Spaghetti Incident?". Guitarist Slash left in 1996, followed by bassist Duff McKagan in 1998. Axl Rose, the only remaining member from the classic lineup at that point, worked with several lineups of the band to record Chinese Democracy – an album that would take over ten years to complete.

Revivals (1997–present)
During the late 1990s and 2000s, glam metal began to have a revival. Some established acts who had managed to weather the storm enjoyed renewed popularity, others reformed and new bands emerged to emulate the glam metal style. Bon Jovi were still able to achieve a commercial hit with "It's My Life" (2000). They branched into country music with a version of their 2005 song "Who Says You Can't Go Home", which reached No. 1 on the Hot Country Singles chart in 2006 and the rock/country album Lost Highway which reached No. 1 in 2007. In 2009, Bon Jovi released The Circle, which marked a return to their hard rock sound and reached No. 1 on the Billboard 200. Mötley Crüe reunited with Vince Neil to record the 1997 album Generation Swine and Poison reunited with guitarist C.C. DeVille in 1999, producing the mostly live Power to the People (2000); both bands began to tour extensively. There were reunions and subsequent tours from Van Halen (with Hagar in 2004 and then Roth in 2007). The long-awaited Guns N' Roses album Chinese Democracy was finally released in 2008, but only went platinum in the US, produced no hit singles, and failed to come close to the success of the band's late 1980s and early 1990s material. Europe's "Final Countdown" enjoyed a new lease of popularity as the millennium drew to a close and the band reformed. Other acts to reform included Ratt, Britny Fox, Stryper (annually), and Skid Row.

Beginning in 1999, Monster Ballads, a series of compilation albums that feature popular power ballads, usually from the glam metal genre, capitalized on the nostalgia, with the first volume going platinum. The VH1 sponsored Rock Never Stops Tour, beginning in 1998, has seen many glam metal bands take to the stage again, including on the inaugural tour: Warrant, Slaughter, Quiet Riot, FireHouse, and L.A. Guns. Slaughter also took part in the 1999 version with Ted Nugent, Night Ranger, and Quiet Riot. Poison and Cinderella toured together in 2000 and 2002, and in 2005 Cinderella headlined the Rock Never Stops Tour, with support from Ratt, Quiet Riot, and FireHouse. In 2007 the four-day-long Rocklahoma festival held in Oklahoma included glam metal bands Poison, Ratt and Twisted Sister. Warrant and Cinderella co-headlined the festival in 2008. Nostalgia for the genre was evidenced in the production of the glam metal themed musical Rock of Ages, which ran in Los Angeles in 2006 and in New York in 2008. It was made into a film released in 2012.

The Darkness's Permission to Land (2003), described as an "eerily realistic simulation of '80s metal and '70s glam", topped the UK charts, going quintuple platinum. One Way Ticket to Hell... and Back (2005) reached number 11. The band broke up in 2006, but reunited in 2011, releasing the album Hot Cakes the following year.

In the mid-to late 2000s, there was a minor sleaze rock revival with groups like Hinder and Buckcherry. The latter's breakthrough album 15 (2006) went platinum in the U.S. and spawned the single "Sorry" (2007), which made the top 10 of the Billboard Hot 100. Additionally, a subset of scene bands embraced elements of glam metal. This began with Blessed by a Broken Heart and subsequently popularised by the success of Black Veil Brides, Escape the Fate and Falling in Reverse. Avenged Sevenfold's 2005 album City of Evil also promoted a similar influence, seeing the band depart from their metalcore sound in favour of one indebted to glam metal. At the same time, in Sweden there was a sleaze metal movement attempting to revive the genre, with bands including Vains of Jenna, Crashdïet and H.E.A.T, as well as the Finnish band Reckless Love.

Los Angeles band Steel Panther managed to gain a following by playing 1980s style glam metal.

General bibliography

 * Auslander, P., Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4.
 * Batchelor, R., and Stoddart, S., The 1980s (London: Greenwood Publishing Group, 2007), ISBN 0-313-33000-X.
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title: Glam metal