Advanced searches left 3/3
Search only database of 8 mil and more summaries

Arena rock

Summarized by PlexPage
Last Updated: 28 November 2020

* If you want to update the article please login/register

General | Latest Info

Arena rock

Cultural origins1960s to mid-1970s
Other namesAlbum-oriented rock , anthem rock, corporate rock, dad rock, melodic rock, pomp rock, stadium rock
Stylistic originsHard rock, pop rock, heavy metal
Coffee Shop Arena Rock 09 08 2018 -7 (43778450505).jpg "Coffee Shop Arena Rock 09 08 2018 -7 (43778450505).jpg", by Justin Higuchi from Los Angeles, CA, USA, licensed under CC BY 2.0

Although rock groups had been filling some of the largest venues in the world since the Beatles played at Shea Stadium in the 1960s, this subgenre of Rock Music began to develop in the mid-1970s. Also know as adult-orient Rock, pomp Rock, melodic Rock, anthem Rock, or Stadium Rock, main exponents of style were pop-Rock bands that write songs specifically to appeal to large crowds, to perform in big stadiums in front of big audiences. Since bands of any genre can fill ARENA if they're popular enough, ARENA Rock has several additional characteristics to differentiate it from other Rock subgenres. Guitar pyrotechnics and mass vocal harmonies performed by the whole band were very common, as were Audience Participation Songs with big, anthemic choruses. Most singers had cleaner-sounding vocals than lot of other Hard Rock or Heavy Metal groups of the time and often performed with operatic flair. Lyrically, most ARENA Rock songs were pretty simple, with many straightforward Power Ballads for audiences to sing along with. And recordings were characterized by a slick, radio-friendly production sheen, which make the genre a perfect complement for the emergent AOR format on the FM dial. This was the dominant commercial style of Rock music for about ten years, starting in 1976 when Boston released their first album and Peter Frampton released Frampton come Alive!, And more or less ending in 1986 when Journey released their last album for ten years and Bon Jovi's Slippery When Wet put Hair Metal on top of mainstream Rock pile at same Time Alternative Rock acts Like U2, REM, Cure and INXS start to cross over onto album Rock stations that had been ARENA Rock's bread and butter, setting stage for Alternative Rock's mainstream breakthrough with Nirvana's Nevermind in 1991. Listen to any classical Rock radio station nowadays, and chances are ARENA Rock Is genre you'll hear most of. Although the spectacle and accessibility of ARENA Rock has pretty much always been popular enough with the public, it isn't always treated as kindly by music critics, many of whom seem to regard it as either Hair Metal without any make-Up, Progressive Rock without complexity or Heartland Rock without heart. Epithet corporate Rock was originally applied to this type of music, with Dad Rock also popping up sometime around late '90s, due to the genre's popularity among aging Baby Boomers. It's worth noting that the sort of Stadium Rock played by bands like U2, INXS, Simple Minds or Police doesn't necessarily come under this heading; their sound was typically more influenced by Post-Punk and Alternative Rock.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

Related video

30 June 2018That Arena Rock Show performing "Welcome To The Jungle" by Guns N Roses

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Development and popularity

As rock music popularity rise, rock bands begin to need to perform in larger venues to play concerts in order to meet the demand of fans who want to see artists perform live in concert. All of a sudden, Beatles were performing in athletic stadiums across the United States during their last tour in 1966. And, they were followed by Rolling Stones, Lead Zeppelin, Pink Floyd and Eagles, who were all selling out large arenas throughout the world in the Seventies. Suddenly, musicians had the ability to make larger amounts of money when they tour larger and larger venues. The next big development that happened was the Rock festival, which quickly rise and burn out in the States. At the same time, these multiple artist, multiple - day outdoor gatherings were pulling in hundreds of thousands of young people. Yet, there was major drawback to these huge venues, and that was the ability to reach people who seemed to be miles away from the stage. Bands like Grateful Dead were sonically innovate as their sound engineers were able to bring their fans top end sound, which left fans visually in wont. Then, in the Eighties, acts such as the Rolling Stones and Bruce Springsteen, worked to bring stage antics to masses way back to those in crappy seats with the development of large video screens. Those screens were used to great success to bring intimacy back to concerts in huge venues. Now, huge high definition screens to bring the visual side of the concert to the masses. Now, concert attendees can enjoy the concert. Those two technological advancements in sight and sound would allow festival planners to flourish here in the States, in addition to improving the whole experience for attendees. As Rock fans demand to see their heroes in a live setting, it has become necessary to streamline their music for optimum effect. All of a sudden, whole scene of artist whose music could artistically fill stadiums with quality sound and bombast. And, thus, enter group of musicians who were able to straddle these new requirements artistically, much to the chagrin of Rock music critics. But, these people were filling needs within the industry, and these artists are finally receiving their due, as Journey, Boston, Foreigner and Styx become not only big sellers of albums but also of tickets for each of their tours. A whole new paradigm has been invented in rock music, which has evolved from auditoriums to arenas. Stadiums, race tracks, and other large acreage farmland being used for Rock Concert. So, today, I bring 20 more artists who are unsung heroes of this very influential genre. So, let get this countdown going.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Critical perspectives

Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might say to be-in its melding of concert and gathering, in its evolving relationship with Digital and Social Media, in its delivery of Event, Experience, Technology and star-art form of the 21st century. This volume offers interviews with key designers, discussions of practicalities of mounting Arena Concerts, mixing and Performing Live to Mass Audience, recollections of giants of late twentieth century Music in performance, and critiques of latter-day pretenders to the throne. Authors track the evolution of the Arena Concert, consider design and architecture, celebrity and fashion, and turn to Feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the Arena Concert. Arena Concert becomes the real time centre of the global Digital network, and gig-goer pay not only for immersion in its spectacular nature, but also for close encounter with performers, in this contain and exalt space. The spectacular nature of Arena Concert raises challenges that have yet to be fully technologically overcome, and has given rise to reinvention of what Live Music actually mean. Love it or loathe it, Arena Concert is a major presence in the cultural landscape of the 21st century. This volume find out why. Acknowledgements Contributors Introduction: Stately Pleasure-Dome? Robert Edgar, Kirsty Fairclough-Isaacs, Benjamin Halligan and Nicola Spelman Part One: Prehistories 1: From Mach Schau to Mock Show: Beatles, Shea Stadium, and Rock Spectacle Jeffrey Roessner 2. Beyond Beatlemania: Shea Stadium Concert as Discursive Construct Mark Duffett 3: Through Lens Darkly: Changing Performer-Audience Dynamic as document by Four Progressive Rock Concert Films Kevin Holm-Hudson 4: Evolutions of Wall: 1979-2013 Kimi Karki Part Two: Arena Concerts Now 5: From Shed to Venue: Arena Concert Event Space Robert Kronenburg 6: Constructing Cosmopolitan Arena Concert Lukasz Swiatek 7: Roll Up and Shine: Case Study of Stereophonics at Glasgow's SECC Arena Emma Webster 8: Being There: Encounters with Space and Affective Dimension of Arena Spectacle Alice o'grady Part Three: Perspectives-Personal and Professional 9: Hello Cleveland.!: View From Stage Jon Stewart 10: Illuminating Arenas: Towards Ultimate Multimedia Experience Jon Stewart and Benjamin Halligan 11: Personal History of UK Arena Concerts: Reflections on Gigs over the Past Forty Years Peter Smith 12: Rocking Around Watford: Trying to Find What I Was Looking For Robert Edgar, with Julia and Evan Shelton Part Four: Arena Media 13: Aesthetics of Arena: Live and record Robert Edgar 14: We make this Together: How Awesome; I Fuckin' Shot That!

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

History

Fifty years ago this month, Beatles played just 37 minutes at Shea Stadium, and they could barely hear themselves with all the teenagers screaming in the audience, but they kicked off concert business money machine that would eventually reach millions of fans. The Beatles' show raised $304 000; last year, according to Pollstar, One Direction's tour of mostly stadiums grossed more than $6 million per concert. Before the Beatles played Shea, rock artists were limited to performing in much smaller venues-indoor arenas, clubs or movie theatres. But the Beatles' performance show that large-capacity stadiums could become legitimate places for bands to play-even if the Fab Four look like ants to spectators sitting on upper deck. SHARE: Boomtown Rats' Bob Geldof takes Stadium rock to its highest level for live Aid, charity event for Ethiopian famine relief. Concerts pack London's Wembley Stadium and Philadelphia's JFK Stadium simultaneously with 70 superstar bands, from U2's breakthrough performance to lead Zeppelin reunion to Bob Dylan crooning with Rolling Stones' Keith Richards and Ron Wood. The event attracted 162 000 fans and 1. 5 billion worldwide TV viewers.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Journey

Journey first became eligible for the Rock and Roll Hall of Fame in 2000, 25 years after the release of their debut album, yet in the 16 years since they became eligible, Journey have never been considered for induction-until now. With over 48 million albums sold in the United States alone, Journey more than meets the required criteria according to Rock and Roll Hall of Fame rules for consideration: with just weeks to go before the Class of 2017 is announced and Journeys fate decide, here are 5 compelling reasons as to why Journey deserve to be in Rock and Roll Hall of Fame-and why they should have been induct years ago!

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Foreigner

Having already established itself as one of the leading bands of album-orient rock radio during the late '70s, Foreigner transformed itself from an outfit that erred on the side of rocking guitar anthems in its early days to one specializing in keyboard-driven, somewhat neutered pop ballads as years wore on. This isn't necessarily criticism, As I Want To Know It Love Is still epitomizes pop songcraft perfection despite its notable lack of guitar punch. Like Journey, foreigners appeal to the universality of power ballad instead of trying merely to maintain a modest fan base of dudes partial to rock guitars. Best Arena Rock bands learnt quickly that attracting women to their shows was key to true superstardom.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

REO Speedwagon

If for no other reason than to prove that REO Speedwagon was still a rock and roll band by 1984, this tune belongs on the best-of list for this perfectly competent but less often distinctive band from the American heartland. That praise is actually more faint than it should be, as this is a thoroughly enjoyable romp that does a decent job of crystallizing REO's harder-rocking '70s sound into a new era. As I said before, this is a band that didn't exactly enjoy a surplus of serious or important album cuts, but it would be inaccurate not to acknowledge that quintet had its moments worth celebrating beyond Top 10 pop ballads. Despite their status as one of so-call faceless bands of album-orient rock, REO could display nose for fun.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Loverboy

Unlike many of Its more experienced contemporaries, Canada's Loverboy simply didn't know any better than to try and pursue simultaneous success in the typically oppositional worlds of hard rock, pop and the emerging sound of new wave. Few other bands try this impressive stunt, much less accomplish it, but for the first few years of the '80s, Loverboy reigned supreme as an arena rock band, consistently casting the widest net into the raging waters of the music business. Fierce guitar-keyboard attack play major role in Loverboy's best tunes, but frontman Mike Reno and company also understand with uncanny precision that power ballads could not only be key to a young girl's heart but also season pass into her boyfriend's wallet.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Heart

Although it took a glossy metamorphosis of this band's harder-edge '70s sound to achieve '80s superstardom, Heart undoubtedly became one of arena rock's core artists of the era on the strength of amped-up pop sensibility. Sisters Ann and Nancy Wilson surrender some of the songwriting and guitar-centered aspects of the group they built from scratch, but songs like never and what About Love? Epitomize this popular style and lent it much of its shape. Ann Wilson was, is and perhaps will forever be one of pop / rock's most powerful vocalists and, along with her guitarist sister, helped make a significant dent in male gender's general dominion over arena rock and its other forms of accessible hard rock derivatives.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Pat Benatar

'80s hard rock and arena rock most certainly exhibit rather typical male domination, but the decade also featured its fair share of heavy-hitting female rockers. Joan Jett, Chrissie Hynde, and Patty Smyth may not quite make the cut for this particular list, but that's only because Pat Benatar unleashed such an impressive stream of driving stadium rock specimens. Treat Me Right, heartbreaker and Hit Me With Your Best Shot practically invent the sound of arena rock: muscular riffs, sparkling melodies, and kick-ass vocals. Most successful arena rock artists find way to overlap into as many pop / rock genres as possible, for obvious commercial reasons. But Benatar never seems to be faking it with her sensitive but tough persona.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Sources

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

logo

Plex.page is an Online Knowledge, where all the summaries are written by a machine. We aim to collect all the knowledge the World Wide Web has to offer.

Partners:
Nvidia inception logo

© All rights reserved
2021 made by Algoritmi Vision Inc.

If you believe that any of the summaries on our website lead to misinformation, don't hesitate to contact us. We will immediately review it and remove the summaries if necessary.

If your domain is listed as one of the sources on any summary, you can consider participating in the "Online Knowledge" program, if you want to proceed, please follow these instructions to apply.
However, if you still want us to remove all links leading to your domain from Plex.page and never use your website as a source, please follow these instructions.