Glam differed from sixties rock in its parodic embrace of status signs

Evidence

Significantly, Highsmith wrote the first Ripley novel in 1955 and only returned to the character in 1970. Tom Ripley was not a character that could fit into the rock and roll era, with its emphasis on teen desire, social disruption and Dionysiac excess. But Ripley’s “hedonic conservatism”, his snobbery and his facility with masks and disguise, mean that he would be perfectly at home in the Marienbad-like country estate of glam. If Sixties rock was characterised, on the one hand, by appeals made to the big Other (demands for social change and/or more pleasure) and, on the other hand, by the denial of the existence of the Symbolic order as such (psychedelia), then glam was defined, initially, by a hyperbolic/parodic identification with the big Other — by the return of Signs and/of Status. — Mark Fisher (edited by Darren Ambrose), K-Punk, 238

Categorization

• DEFINE: Defines glam as hyperbolic identification with the big Other versus sixties rock’s appeals or denials.
• XREF: Fits the ADDENDUM on complaints about immodesty: glam’s return of status signs relates to dress and social position signaling. — connects to: Sixties mods embraced hyperartificiality while rockers posed as natural rebels — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 843

Broader Connections

• Sixties mods embraced hyperartificiality while rockers posed as natural rebels #qualifies (0.80) — Mark Fisher (edited by Darren Ambrose), K-Punk, 843