Cyberpunk (album) - Knowledge

502: 1962:. "Even if his interest was originally piqued by the dollar signs that appear in front of his eyes whenever he encounters the magic rune p-u-n-k, that's the fate of any good idea—sooner or later it touches people who have no deep connection to it." However, unlike some critics who asserted Idol had no genuine interest in cyberculture, Christgau assumed he did and that this was to be expected, as many subcultures are eventually adopted by mainstream society. The problem, Christgau asserted, was that Idol had no genuine understanding of the concept, and that ultimately Idol could only " for, over, or with authenticity, a rock obsession always kept at arm's length and never escaped." 2000:, closely critiqued the concept of the supposed "cyberpunk movement". In an attempt to understand why members of the movement were so negative in reaction to attempts by the mainstream to investigate the cyberpunk meme, he directly investigated the criticism of Billy Idol on alt.cyberpunk. His interpretation of the discussions led him to dub the reactions of alt.cyberpunk the "Panic of '93". It was Wilbur's assertion that the lack of a cohesive understanding of what "cyberpunk" meant was the chief reason for a lack of critical thought displayed during discussions concerning its inspection or adoption by "outsiders". 1061:, including photos of Idol during acupuncture, himself at a spa, various LA landscapes, and imagery which referenced heroin use. An engineer on stage, whom Idol fashioned as another band member, would be charged with altering the images in rhythm with the music, as though it were also an instrument. Multiple engineers with video equipment would also roam the audience, beaming images of the crowd onto the screen as well, creating an interactive show. The tour took place in Europe, performing a total of 19 shows in 18 cities across 11 countries. It began on 18 August 1993 in 2710: 3226: 1878:, who was among the initial tech-experts Idol consulted, defended Idol's interest in cyberpunk. "Billy is genuinely interested in and excited by cyberculture, and like all the rest of us, wants to factor that interest into his work, which happens to be pop music. Whether presenting cyberculture in that forum is ultimately a good thing or not is beside the point of Billy's right to bring it to that forum. After all, access to information should be free and total, right? Or at least that's how the mythology goes." An update to Branwyn's 969:, one of the first magazines produced on floppy disk. Impressed by its contents, Idol set about contacting her for the job of producing the disk. Successfully under-bidding Branwyn, she was then given the job and a master tape of recorded songs – which were not yet compiled into CD format – for use in sampling. Levy was given permission to include whatever content she desired. Meeting Idol to find what he was interested in presenting in the disk, his only concern was that the whole cyberpunk genre be represented as much as possible. 878:." Some of the predictions Idol made for the future of the internet, computers, and musicians, was that it would allow for cheap and efficient recording from home; that musicians could record their music and send it to producers and fellow band members from great distances, perhaps while on tour; and that musicians would be able to directly communicate with their fans and critics. Idol also hoped that the rapid ability to do whatever he desired with the production would allow raw forms of rock music to remain relevant after the 613: 762:. "We'd just installed the computer in my music room, and there was a window above it overlooking the whole city. And there was a fire raging. There was smoke just pouring across the whole of LA. It was LA burning. And so I just straight quickly wrote the lyrics and sang them three times. What you're hearing on the single 'Shock to the System' is my news reportage of what I'm seeing." Idol recalled for a German broadcast. "We started the album with a riot. So that's really rock and roll." 1826: 1808: 1132: 775: 1172:.) It depicted an individual who records the Cyber-cops beating a man, only to be noticed and attacked himself. His camera is destroyed and the Cyber-cops leave him unconscious on the ground, as they are busy trying to put down a riot elsewhere in the city. Alone, his camera equipment lands on him and is absorbed into his body, causing him to dramatically morph into a cyborg. The cyborg then joins the riot, leading the rebels to victory. 1057:. The title of the tour came from a lyric in the album's first track, "Wasteland", which described a man travelling through a dystopia. In keeping with the album's theme, the performance stages were set to a computerised, high-tech aesthetic. Idol wished to use Blendo imagery on massive television screens behind the stage to rapidly shift in time with the music. Some of the video and photography was shot by Idol and 1652: 1647: 1642: 1578: 1573: 1568: 1563: 1637: 1632: 1558: 3212: 1157:, received the first music video put into MTV rotation. As Idol explained for MTV News, he had originally created the song with an entirely different set of lyrics, but upon witnessing the riots on television he immediately rewrote and recorded them that day. Idol explained that he was trying to capture the political and economic conflict that had created the LA Riots. Idol further felt that the 1921:, accepted that Idol was not well versed in computers, but considered it a non-issue. "I'm tempted to call him a computer 'poser' but that's not the point. He's not a poser. He's a fan of computers, and he doesn't claim to be more. He's not a fan of computers because he can write code, he's a fan because he knows that whatever is really happening nowadays is happening around computers." 1104:. Each used stock footage shot by Idol and Leonard, filmed personally and edited on Idol's computer. Idol did so with the intention of sending a "do-it-yourself" message that mocked and rejected the standards of MTV music video creation. "We did it all on camcorder and we sort of wanted to say you can make your own videos, and you don't always have to do it in a very 231: 477:" ethic. He felt that working through a team of producers and sound engineers cut into his personal vision for previous albums, and was interested in being more directly in control of his future work. Idol asked his producer, Robin Hancock, to educate himself and his guitarist, Mark Younger-Smith, on the use of software for musical production. 797:

that the performer's style was also presented by the technology. Its versatility also allowed him to switch roles with Mark Younger-Smith and Robin Hancock, allowing each to experiment with their different talents and blurring the lines of their specialised roles, leading Idol to repeatedly compare the production process to that of being in a

934: 2286:. Billy Idol's own official fansite was established in 1997. In 2010, Idol continued to pursue his early vision for the integration of his tours with technology by utilising his website to document a world tour through a blog and streaming video feed. "These days, sees his own website as his old vision of the future becoming reality." 1894:, Branwyn noticed how "cardboard cutout image" of Billy Idol and his motives forever changed his view of people in celebrities position and "how we and the media so harshly judge them and interpret their motives (seemingly always to default to the most nefarious ones) without knowing or caring about the truth". 821:. Karen Schoemer, of the New York Times, commented that "ith its booming techno beats, screeching guitar riffs, sampled computer voices and songs like 'Power Junkie' ('I feel tonight we're bought and sold/Ah yeah, I think I'll overload'), the album functions as Mr. Idol's interpretation of cyber culture." 1782:. Idol denied this, stating that his belief in the relevancy of cyberpunk culture was genuine, and that he didn't care what others thought of him. However, the reaction by the majority of the online community was openly hostile and suspicious of Idol's motives. It was reported that his e-mail account on 1734:

believed that the album is still "predominated" by the "same basic ingredients of mock rebel gesturing and fist-pumping melodrama" which Idol is known for. He felt it "just sounds more digital, shrink-wrapped and synthetic" than before, and added his belief that it would do well commercially for Idol

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album." Despite his negative comments, Gibson was bemused, rather than angered, by Idol's creation. Stating that he'd tried to withhold judgment before hearing the album, he eventually did and said "...I just don't get what he's on about. I don't see the connection. I had lunch with Billy years ago

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As one of the founders of the cyberpunk genre, William Gibson has repeatedly been asked for his opinion on the subject of the mainstreaming of cyberpunk, which has often brought up the topic of Idol's album. In a 1994 interview, Gibson said that he did not approve of the way the term "cyberpunk" was

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website notes, "... usual opinion is that Billy Idol's album is just commercialization and it has nothing to do with cyberpunk." The F.A.Q for alt.cyberpunk, mirrored on the website, rejects the notion that there is a "cyberpunk fashion". Of Billy Idol's attempts to base his fashion and music on it,

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wrote a more mixed review, praising some elements, such as the track "Shangrila", the use of sound space echo effects, and Idol's talent as a singer. However, Esparza felt that Idol attempted the same techniques across too many songs, and referred to the lyrics as " more sense than a monkey pounding

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As part of press junkets promoting the album, Idol reportedly insisted attending journalists be familiar with cyberpunk fiction. It was also revealed that Idol was not entirely as familiar with the genre as he had proclaimed. William Gibson reported in an interview, "A London journalist told me when

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custom stickered 3½" floppy disk, which was housed in a custom multi-coloured folder with artist and title logo on the front and contact information on the back. The pack included a 5-page version of the biography in the diskette, for the benefit of any journalist who lacked the equipment to operate

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is that it was supposed to be like a homemade record, much like these rap bands are doing, all made really on home equipment. But it was very hard to make people understand that I was sort of making an alternative record. They don't allow you to make an alternative record..." He then stated that he

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The first single, "Heroin", was accompanied with the most music videos, with a total of five for several different remixed versions of the cover. Each was a "Blendo" video which rapidly shifted random imagery and colours in time with the music. Four of the music videos for the song were directed by

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What the profusion, or lack, of cyberpunk definitions seems to suggest is that either individual cyberpunks have some fairly clear sense of why they are a participant in alt.cyberpunk, but cannot reach consensus, or that they do not have any clear idea, and are just riding a trend or looking for a

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community, and highlighted the perceived pointlessness of the conflict. "There are all these 16- and 17-year-old cyberpunks who are afraid that everybody's going to learn their secret handshake or something." Andy Hawks, original maintainer of the alt.cyberpunk Frequently Asked Questions list, and

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on 17 July 1993, and quickly plummeted to No. 192 in seven weeks before falling off the chart completely. The album saw slightly better chart placings in Europe, where it peaked at No. 5 in Austria, and No. 15 in Switzerland. By January 2002, the album had sold 164,000 copies in the United States,

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press kit entitled "Billy Idol's Cyberpunk", was an industry first. It included album clip art, sample sound bytes, a biography by Mark Frauenfelder, lyrics, and a cyberculture bibliography by Gareth Branwyn. Frauenfelder appeared on a segment of MTV News to describe the diskette's features. Plans

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aspects of the production process, Idol took only ten months to record the album, which he often contrasted with the combined period of eight years it took to create his two previous albums. Working with his computer over time also gave him the sense that the computer was itself an instrument, and

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polarised internet communities of the time, with detractors viewing it as an act of cooptation and opportunistic commercialisation. It was also seen as part of a process that saw the overuse of the term "cyberpunk" until it lost its original meaning. Alternatively, supporters saw Idol's efforts as

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had previously experimented with CD-ROMs, but it was hoped that if Idol's album had proved popular, it could have been reissued with CD-ROMs, catapulting the format into the music industry's mainstream. This never materialised due to the album's general failures. However, during the late '90s it

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album. While not distancing himself from the production, Idol stated he had no intentions of doing so immediately. Pointing out that he did wish to perform a mixture of new and older works, and would perhaps perform the music in the future, he intended to base his tour on "more guitar music" and

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Idol was also criticised for his use of the term "cyberpunk" for his album title, as detractors alleged that he had no claim to a title which belonged to the entire movement. Idol responded that he was not approaching the movement with a sense of entitlement. "I ain't no rock star. I'm an eager

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itself, Robbins wrote, was "the sound of science gone too far". The ideology of futurism Idol adopted was panned by Robbins, while the music itself was hardly different from his previous work. "For the most part, other than keyboards that add a pervasive nod to the jittering beat of techno-rave

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Idol was keen to share his ideas regarding the future of Cyberculture and its impact on the music industry, and was noted for his enthusiastic speculation in the future of computers throughout the promotion of the album. "You're using very sort of extreme and raw ideas, but with very high level

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When asked why he was pursuing such a shift in his musical style by adopting electronic music, Idol responded that he had attempted to incorporate technology in his older work, but found the equipment of the late '70s and early '80s too limiting and gave up. With the computers of the '90s, Idol

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Every counter-culture is, for a brief initial period, the sole domain of a handful of founding elites who inevitably find a certain sense of superiority in the exclusive nature of their undertaking. The 'cyberpunk' movement – term used as loosely as it was intended to be – takes a particularly

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considered the album a failed attempt by Idol to recast himself for the 1990s, and judged the content of the album as being mostly "padded with pretentious speeches, sampled dialog, and underdeveloped songs". He also referred to the cover of "Heroin" as "one of the worst covers ever recorded".

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subculture of the late 1980s and early 1990s. Heavily experimental in its style, the album was an attempt to take control of the creative process in the production of his albums, while simultaneously introducing Idol's fans and other musicians to the opportunities presented by digital media.

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However, he rejected the idea of referring to the music as "computerized", on the grounds that nothing was done for the album that couldn't have been done with standard recording equipment, and that the computer had simply sped up and simplified the creative process. Placing emphasis on the

31: 801:. Keyboards were also used to drive much of the music through the album. Together, the trio comprised what Idol considered to be the "core" production group, although a number of artists contributed to a various tracks. In particular, he credited his drummer Tal Bergman and bassist 1966:

being increasingly commercialised by popular culture, and that Idol had "turned it into something very silly". Gibson also said in another interview that to understand cyberpunk as a movement was "something of a joke, as wonderfully demonstrated, not too long ago, by Billy Idol's

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student," Idol wrote on a post to the WELL. Regarding his use of the "cyberpunk" moniker, Idol refuted claims that he had ever called himself one, and instead used the name as an ode to the subculture. "I was revved up by the DIY energy of Gibson and the high-tech underground."

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simulator. There he is treated to an ethereal water fantasy. Idol eventually rejects the fantasy, which is consumed in flames as, in the real world, his body violently convulses. The scientists end the experiment and Idol is brought back into reality, only to fall unconscious.

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In defending himself from what he believed was the elitism of his online critics, Idol admitted that he was still learning about computers, but compared it to the early punk ethic of simply trying your best as a musician, even if you had difficulty. He also pointed out that

2166:, weighed in. Though sympathetic to his former bandmate, he felt the stylistic change did not fit Idol. "Billy is always cool but he does Billy Idol rebel yellin the best, i felt cyberpunk was a wrong turning for him..he has his sound..stay great as u are Bill... [ 593:. Idol did so, discussing the album project online with WELL users, and creating a personal e-mail account which he released on printed advertisements for the upcoming album, so that fans could communicate with him. Idol also made occasional postings to alt.cyberpunk, a 851:, and had simply modified it digitally. Idol thus felt that the album could be best identified as a rock album, rather than a techno album. Idol later agreed with an interviewer who commented that the album's digital production and themes were ahead of their time. 999:

if the album was successful. As CD-ROMs were prohibitively expensive at the time of production, this was anticipated as a potential benchmark event for the music industry. However, this failed to materialise due to the critical and financial failure of the album.

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stack, a collection of essays based on fanzines, political tracts, conspiracy theories, and which referred to itself as "a do-it-yourself guide to the future." Idol proceeded to consult with various writers familiar with the computer related magazines, such as

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Sample of "Adam in Chains", the sixth track from the album. An ethereal song divided in two sections: the first part consists of a voice coaxing the listener through a hypnotic exercise; the remainder of the song consists of Idol singing in a melodious, slow

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reported, " demands recognition as a style setter, not for its musical content, but for the changes it may prompt in the ways recordings are made and marketed". Idol's early adoption of the internet to communicate with fans was broadened in the years after

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finally felt that the technology was able to quickly and easily make changes as he saw fit. Idol came to expound on his belief in their future importance for the music industry, and quoting Gareth Branwyn, referred to the computer as "the new cool tool".

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record just wasn't understood at the time." Tony Dimitriades, a prominent music industry producer and manager, interpreted Idol's response at the time. "He realized at that point, 'Well, if that's what people think, maybe I lost touch with my public.'"

903:. Idol modelled a leather jacket and pants, covered in black sunglasses, to the yet-unreleased song "Neuromancer". This coincided with Idol's decision to change his fashion style to match the cyberpunk aesthetic of the album. Idol changed his hair to 882:

swept America in the early 90s. " can do anything... If you want the music backwards, it can be backwards in a snap. This is in a way my sort of answer to grunge. I know there's a way of using this modern technology to bring a lot of rawness back."

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the floppy disk. Also included in the pack were three black-and-white publicity photographs. Two pictures of Idol were taken by Peter Gravelle and the other was a digitally edited image of Idol as he appeared in the blendo video, "Heroin".

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Sample of "Wasteland", the second track from the album. The lyrics of "Wasteland" reference computer hacking and high technology. The lyric "no religion at all" was later used as the title of Idol's 1993 European tour: the No Religion

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in Hollywood... and I thought he was a very likeable guy. He had a sense of humour about what he was doing that is not apparent in the product he puts out. If I run into him again, we can have a good laugh about what he's doing now!"

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album, Billy Idol did not produce another original album until 2005, 13 years later. However, this was not due to the failure of the album, but rather his dissatisfaction with his producers at Chrysalis Records. With the founding of

1469:...Anyway, they all did but when they met with Billy, the first thing that became really apparent was that Billy hadn't read it. So they called him on it, and he said he didn't need to..he just absorbed it through a kinda osmosis." 1041:, Idol conceived of using "Blendo" imagery throughout the promotion of the album. Six music videos were produced with the use of what Idol dubbed "Blendo" cinematography, five for "Heroin" and a final one for "Shock to the System". 960:

feature. Discussing the matter with Branwyn, Idol received an initial bid for the job of producing the disk from the writer. While this bid was under consideration by Idol's management company, Idol had purchased a book-on-disk by

786:, 11 February 2009. Billy Idol is joined by Timothy Leary and other musicians in the process of recording one of the many intermission tracks for the album. Leary's voice in this recording was later used for track number 15 segue. 653: 1084:, "so that you feel as if you're being talked to through images. I think you have to start looking to get to the future of what rock-and-roll concerts should be like. We're working; we're pushing the technology to the edge." 2242:

as No. 5 in their list of the 50 worst albums of all time. Said music critic Parke Puterbaugh, "To make that record in '93, it may have been a number of years ahead of its time actually, because it didn't do terribly well."

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was a departure from Idol's previous style of pop-rock music. Several spoken or sound-effect segues were placed between the album tracks to create a linear narrative. The effect of these segues caused the album to become a

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The single, "Shock to the System", and its accompanying music video were also heavily analysed for the overtones of racial, sexual, and physical trauma presented within them by Thomas Foster, associate professor at

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to antagonise him. Idol was also cast by many as a naive, tech-illiterate poseur. The charge of illiteracy was not entirely false, as at the time of the album's release, Idol was still typing using the

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I was really waiting for this to happen... Way back in the '90s. People didn't even think about computers back when I was a little kid. And now the whole world is a global village, for Christ's sake.

1958:, excoriated what he considered to be Idol's attempt to co-opt cyberpunk for commercial gain. In particular, he compared Idol's new interest in cyberpunk to the musician's previous co-optation of the 2187:

Idol briefly responded once more to the negative reception the album received on two occasions. In 1996, Idol gave an interview for his website in which he was asked if he'd pursue the style of

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mailing list, criticised what he perceived to be a double standard among Idol's critics in questioning his motivation behind creating the album and his choice of associating on internet forums.

921:. In the background, Idol stood amongst computers and chaotically strewn cables representing his home studio. Idol wore the same suit during the "Shock to the System" music video and the 1993 1195:, supervised and created the special effects for the video. The music video for "Shock to the System" was nominated for "Best Special Effects in a Video" and "Best Editing in a Video" at the 1940:

as "a bald-faced appropriation of every cyberpunk cliché that wasn't nailed down." In 1995, when writer Jack Boulware asked "When did cyberpunk die?" at a meeting of former staff members of

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hypocritical stance in this case since the principle messages of the movement have been aimed at a loosening, opening-up and liberating attitude toward information and the use of tech.

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was mostly received negatively by critics, with some stating that the album was pretentious and meandering. They said Idol sounded like a man desperate to keep up with current trends.

2022:" society felt in reaction to new technology. Wilbur also asserted that the storyline told by the music video neatly fit into the cyberpunk tradition of glorifying social resistance. 1739:

presented a favourable review of the album, giving it a "B+" rating and stating, "...this is old-fashioned glam-pop—as dumb, and occasionally glorious, as it gets." Two months later,

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counter culture. Idol saw the convergence of affordable technology with the music industry and anticipated its impact on a new era for DIY punk music. "It's 1993," Idol said during a

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He concluded, "senet's alt.cyberpunk is both a warning and a promise. It suggests the power of ideas to draw people together, even when they aren't quite sure what those ideas are."

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single, "Shock to the System", interpreting the song on multiple levels. These included the "shock" cyberpunk represented to established forms of science fiction, as well as the "

652: 629: 1179:, with Billy Idol moving in slow stages during points of the filming, allowing the make up effects to gradually cover more of his body to create the illusion of metamorphosis. 530:'s 1992 manifesto, "Is There a Cyberpunk Movement?", Idol resolved to base an opening sequence on Branwyn's essay, contacting the writer for permission. He also read Branwyn's 2231:

as the "Least Essential Concept Album" of the 1990s. An accompanying review stated, "The result is as laughably dated as it is difficult to endure in its entirety." In 2006,

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Billy and I were both really influenced by 'Neuromancer'... We both loved the ideas and the technology. Billy really wanted to create something that would parallel that world.

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With his increasing exposure to technology and science fiction, Idol decided to base his upcoming album on the cyberpunk genre, and quickly set about educating himself in

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influences. Despite its critical and commercial failure, Billy Idol set several precedents in the process of promoting the album. These included his use of the Internet,

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was one of the first albums to list the e-mail address of the artist in advertisements and within the album booklet. The address, idol@well.sf.ca.us, is now inactive.

1868:. "I don't know much about computers, but I have the desire to learn and I have a computer and a modem, so I go for it. Banging my head sometimes, but continuing on." 699: 1364:

played by Billy Idol in the "Shock to the System" music video, and included taglines that suggested a story of a dystopian world of high technology and rebellion.

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for their contributions to numerous tracks. Wimbish had recorded his work from a studio in New York City, and sent it to Los Angeles for use in the production.

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was met with a hailstorm of controversy on the Net, as young cyber-Turks whined about how he had ripped them off and destroyed their secret club." In his book

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As we get set to address a new millennium, science and technology are becoming the new weapons of change, and who better to arm you for the future battle than

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it states, "No matter how sincere his intentions might have been, scorn and charges of commercialization have been heaped upon him in this and other forums."

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singles were promoted by music videos: "Heroin", "Shock to the System", and "Adam in Chains". The fourth single, "Wasteland", did not receive a music video.

2733: 350:, it was inspired by his personal interest in technology and his first attempts to use computers in the creation of his music. Idol based the album on the 2802: 382:

software, each a first for a mainstream celebrity. Idol also based his fashion style, music videos, and stage shows on cyberpunk themes and aesthetics.

1214:. It depicted Billy Idol being bound into a chair as he is monitored by scientists. He struggles before being hypnotised, and is then inserted into a 1472:

Upon release, the album did not fare well, failing to make the top 20 in either the UK or United States. Instead, the album debuted at No. 48 on the

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July 1993 issue, highlighting Billy Idol's new "cyberpunk" aesthetic, Idol modelled in a distressed-velvet jacket and matching trousers designed by

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Billy did his 'Cyberpunk' press junket over there, he made it a condition of getting an interview with him, that every journalist had to have read

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film soundtracks and regularly wrote and performed new songs for several tours, but never attempted to experiment with the style he explored in

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contribution of the performers over the computer tools they used, Idol felt the album achieved a "garage band" spirit, that had captured the "

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computer and music software. The ability to personally produce music from his home, rather than at a professional studio, appealed to Idol's "

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had made inroads on to the internet, using official websites and blogs to directly advertise albums and tours to fans, as well as organizing

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for a future album. Idol addressed the question by first explaining his interpretation of the failure of the album. "You see the thing about

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to be included was a digital remaster of "Shock to the System". Idol achieved widespread commercial success with his greatest hits material;

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promoting the album, Idol expressed excitement over the medium. "This means I can be in touch with millions of people, but on my own terms."

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I threw off the shackles of the past... I was looking for a way to break the stalemate I'd gotten into, which was boring me to death, really.

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record people didn't get. I think I would be doing Billy and his fans a great disservice if I said that he needed me for his popularity."

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would not be pursuing the same style with any future album. In a 2005 interview, Idol simply stated "the idea that I was trying to do an

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commented on the mainstreaming of the cyberpunk subculture. He viewed Idol as representing some of the worst abuses this took, deriding

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technology... it's probably whats going to be happening—or in fact, it is what is happening now—because that's how we made this album,

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In the years following the album's release, musicians who had worked with Idol in the past were asked to comment on the failure of

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A press pack was distributed to the media prior to its release to promote the album. The centerpiece of the pack was a copy of the

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s keyboard-driven music was not going to be featured. Idol has performed "Shock to the System" in subsequent live performances.

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Prior to the album's release, Idol was asked if he feared his new interest in technology would be seen as an attempt to co-opt

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CD-ROM, which allows computers to supersede compact disc players, is the next step for savvy musicians on the cutting edge.

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series. The reissued album did not include the special edition multimedia of the original, but did include new cover art.

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stack, which included collections of essays on cyberpunk culture, inspired Idol to include similar material within the

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s article on the increasing use of interactive media by musicians in the early 1990s. Briefly mentions Billy Idol's

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was sceptical. " is hardly obvious in his work." Though if his early work had been mild attempts to use technology,

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in the design of artwork associated with the album. This included its use for the album and singles' cover art, the

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I was always very interested in the Internet... It was really all about the effects the Internet would have on us.

202: 4004: 1523:" and "Wasteland", both failed to achieve any chart ratings within the United States, but did in other countries. 501: 5511: 5325: 1843: 622: 400: 184: 2301:

s multimedia features, but were too expensive at the time of production, and so floppy disks were used instead.

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by stating that there are "more than enough chant-along hits to keep him on MTV for another couple of years".

1080:. "Part of the idea is to create an element of visible language," Idol explained during an interview with the 706:

Sample of "Heroin", the eleventh track from the album. Idol's high-tempo, dance interpretation of the song by

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Sample of "Shock to the System", the fourth track from the album. The sample illustrates the influence of the

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Romandetta, Julie (25 June 1993). "Cyber Sound: Old Fashioned Rock Gets a Future Shock from New Technology".

2900: 2082: 1838: 1661: 1587: 1360:, having already directed the "Shock to the System" music video. Its cover art featured images of the cyborg 918: 409: 4216: 2289:

The inclusion of multimedia software as a special feature was a novelty when Chrysalis Records released the

1108:

way." None were released for rotation on television; instead, one was included in the video album release,

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The album was prescient for its early advocacy of the use of the internet and software to market albums.

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The music video was set in a dystopian future controlled by Cyber-cops (referred to as such by director

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Taking note of Idol's assertion that he had attempted to use technology in creating his early music,

1154: 660: 5178: 4426: 3376: 1165:– was a "potent way of conveying ideas" and an important metaphor for technology used in rebellion. 5874: 5804: 5422: 5083: 3059: 2717:

with contributing to a large number of tracks, despite not being a "core" member of the production.

1488: 1037: 758:. Idol later recalled that the beginning of the recording sessions coincided with the onset of the 570: 274: 5217: 3581: 1946:, a response was "1993. The release of the Billy Idol record." In a section on "cyberpunk music", 5790: 5182: 3254: 3136: 3029: 1677: 5194: 4471: 2364:, edited with additions by Idol, used under license from "Is There a Cyberpunk Movement?" (1992) 2180:

was related to their split. Stevens rejected the idea, saying of the failed album, "I think the

404:, Idol suffered a broken leg in a motorcycle accident. While in recovery, he was interviewed by 5828: 5811: 5132:

Select "Album" in the "Tipo" field, type "Billy Idol" in the "Artista" field and press "cerca".

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as a "third-rate self-parody... that trusses him up in sci-fi lingo and futurist mumbo jumbo."

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were considered by EMI/Chrysalis to re-release the album in the following fall with an updated

759: 707: 4744: 4612: 4202: 4170: 2147: 2123:, "Shock to the System", was included in the collection. In 2008, another compilation album, 1743:

included Idol on a list of "surprise losers", following the album's ranking of No. 48 on the

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on the lyrics. A sound clip of an electric current is used as a play on the phrase "shock".

240: 4451:“The Internet is Punk Rock!” The Story Behind Billy Idol’s 1993 Cyberpunk Album #cyberpunk 2992: 2709: 2204:

While embarking upon a 2010 tour, Idol was asked if he intended to perform music from the

230: 8: 5833: 5720: 5657: 5415: 5304: 4246: 4148: 3551: 3524: 3018: 2163: 2151: 1993: 1500: 1140: 441: 5741: 5664: 4643: 2929:– consultation, graphic design (cover art and logo for album, singles, and VHS cassette) 490:

interview. "I better wake up and be part of it. I'm sitting there, a 1977 punk watching

416:

qualities of his appearance. This led to Idol taking a serious interest in the works of

390:

harmless and well-intentioned, and were encouraged by his new interest in cyberculture.

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A "blendo" video was also produced for "Shock to the System", being included in the

5734: 5309: 5028: 4862: 4321: 3520: 3452: 3447: 3316: 3034: 2890: 2265: 2105: 1955: 1848: 1712: 363: 895:. The event, entitled the "Jean Paul Gaultier in L.A.", was a fashion benefit for 5671: 5117: 4383: 3411: 3231: 3132: 3121: 3084: 2756: 1959: 1361: 1215: 1024: 908: 844: 469:. Rabin introduced Idol to his home studio, which was centralised around Rabin's 431: 367: 161: 97: 5385: 940:

was the first multimedia floppy disk included as a special feature for an album.

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at a Los Angeles bookstore. At the time, Levy was the author and publisher of

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computer and accompanying software. Programs used in the production included

565: 549: 491: 347: 5359:. Was updated in '93 with new material, including an updated article on the 5285: 5037: 2314:

to include CD-ROMs, evolving by the early 2000s into the inclusion of DVDs.

1348:

included a director's cut version of the "Shock to the System" music video;

5564: 4914: 4887: 3965:. Brett Leonard. Billy Idol. ERG Video & Chrysalis Group. 29 June 1993 3711: 3619: 3264: 2823: 2796: 2765: 2714: 2232: 2091: 2073: 2019: 1917: 1786:

received mail from angry computer users, and was occasionally flooded with

1779: 1295: 1180: 1077: 802: 578: 557: 466: 462: 149: 5053:

Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972

4702: 2293:

diskette. This was also widely adopted by the music industry years later.

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During the intermittent years between albums, Idol created music for the

2007: 1864: 1270: 1258: 1237: 1176: 1162: 1009: 987: 798: 711: 544: 422: 405: 124: 102: 90: 4578: 1982:

prepackaged image. Undoubtedly, there are alt.cyberpunks of both types.

426:

in the mid-'80s. In the following months, Idol continued to investigate

5600: 5438: 4605:"Running Down the Meme: Cyberpunk, alt.cyberpunk, and the Panic of '93" 4551: 2938: 2727: 2324: 1942: 1787: 1307: 1265: 1242: 1069: 962: 904: 755: 727: 553: 522: 513: 481: 436: 379: 351: 339: 335: 171: 43: 2923:– consultation, lyrics (Untitled (Opening Manifesto)), text (diskette) 1831:

Timothy Leary Interviews Billy Idol – In Concert with The Ramones

5352: 3839:. Ed. Annabel Martin, et al. New York, NY: DK Publishing, Inc., 1996. 2783: 2275: 2159: 2155: 2087: 1933: 1344:

A supplementary VHS cassette was also produced to promote the album.

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was created in Idol's home studio in Los Angeles, centred around his

534: 470: 427: 359: 119: 108: 30: 4298:

Robbins, Ira (27 June 1993). "Recordings: Idol Science Needs Work".

1882:

hyper-card stack included a new introduction, which referred to the

1153:

The second single, "Shock to the System", which was inspired by the

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is still seen as having been an act of hyped commercialisation. In

1901: 1783: 1764: 1681: 1550: 907:, and wore sleek, futuristic clothing by New York fashion designer 598: 586: 2094:

sound similar to Idol's 80s style, and received middling reviews.

1892:

Borg Like Me: & Other Tales of Art, Eros, and Embedded Systems

891:

On 24 September 1992, Idol took part in a benefit fashion show by

465:

to create his music, having parted ways with his former producer,

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stack that inspired the creation of the "Billy Idol's Cyberpunk"

5340: 4300: 4007:(Interview). Interviewed by Marisa Golini. Ottawa. Archived from 2311: 2279: 1694: 957: 4726:. Rolling Stone (24 March 2005). Retrieved on 27 September 2013. 1886:

controversy, frankly stating "The release of Billy Idol's album

5247:. Electronic Mediations Series. Vol. 13 (First ed.). 4669:. Electronic Mediations Series. Vol. 13 (First ed.). 2730:– vocals, keyboards, programming, swarm camcorder, arrangements 2294: 2076:

Idol felt positive about, and the formation of a new band with

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on Idol's leg and referred to him as a "cyberpunk", citing the

548:. Idol also hosted a "cyber-meeting" attended by the likes of 5407: 3326: 2737: 896: 371: 38: 4937: 3975: 3929: 2176:

was asked if Idol's declining popularity and the failure of

944:

During his initial research into cyberculture, Idol ordered

577:

Asked by Idol about how he could become further involved in

4866:(Television production). New York City: VH1. 18 April 2001. 5188: 4636:""Cyberpunks" to Synners: Toward a Feminist Posthumanism?" 4405:

Ehrman, Mark (8 August 1993). "Hack Attack Flaming Idol".

2857:– mastering at Precision Mastering (Hollywood, California) 1900:

also defended Idol, pointing out the elitist hypocrisy of

1356:

and "Shock to the System". The production was directed by

1020:

floppy disk, and in the press pack released to the media.

5245:

The Souls of Cyberfolk: Posthumanism as Vernacular Theory

5160: 5001: 4667:

The Souls of Cyberfolk: Posthumanism as Vernacular Theory

3450:(19 May 1993). "Billy Idol turns 'Cyberpunk' on new CD". 2787: 2168: 1730: 1611: 1210:

The final music video, "Adam in Chains", was directed by

3874:(Interview). Interviewed by Kevin Walker. Archived from 5032:. Vol. 10, no. 30. 24 July 1993. p. 18. 4955: 3623:. Vol. 6, no. 12. p. 506. Archived from 1930:

Escape Velocity: Cyberculture at the End of the Century

5073: 3325:(Television production) (in German). Munich, Germany: 2935:– consultation, spoken word (album track No. 15 segue) 461:

At approximately the same time, he began to work with

4967: 2246: 1795:" system, and needed notes to log onto the internet. 5148: 5136: 4193: 4191: 3207: 2310:

became increasingly common for some limited edition

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Billy Idol: The Charmed Life and Other Vital Videos

4554:(Interview). Interviewed by Giuseppe Salza. Cannes 4464:"Face without Eyes: Thoughts on Idol & alt.cp" 4382:. No. 185–186. 27 August 1993. Archived from 4188: 3319:(host), Billy Idol (interviewee) (16 June 1993). 2258:Billy Idol, "Billy Idol Goes Back To the Future". 1717:away on a typewriter". The "Billy Idol" entry on 1707:sounds pretty much like every other Idol album." 1393:Shockumentary: The Making of Shock to the System 1222: 868:Billy Idol, "Billy Idol Goes Back To the Future". 5846: 4976:(in German). Hung Medien. Retrieved 8 May 2021. 4851: 3362: 3360: 3358: 3356: 1065:, and concluded on 20 September 1993 in London. 5010:(in Dutch). Hung Medien. Retrieved 8 May 2021. 4962:"Australiancharts.com – Billy Idol – Cyberpunk" 4572: 3895: 3893: 3547: 3545: 3354: 3352: 3350: 3348: 3346: 3344: 3342: 3340: 3338: 3336: 2129:, was released. Once again, the only song from 1008:After reading the work of Mark Frauenfelder on 780:A Creative Moment with Tim Leary and Billy Idol 5143:"Norwegiancharts.com – Billy Idol – Cyberpunk" 5080:"Offiziellecharts.de – Billy Idol – Cyberpunk" 2113:. In 2001, Idol released a compilation album, 1487:The first two singles fared slightly better. " 1100:Brett Leonard, with a fifth being credited to 516:print culture tapped by Idol for consultation. 5640:The Very Best of Billy Idol: Idolize Yourself 5622:The Very Best of Billy Idol: Idolize Yourself 5423: 4317:"No Idle Sounds in billy's New Techno Tracks" 4163: 3899: 3781: 3779: 3777: 2126:The Very Best of Billy Idol: Idolize Yourself 5155:"Swedishcharts.com – Billy Idol – Cyberpunk" 4974:"Austriancharts.at – Billy Idol – Cyberpunk" 3890: 3801: 3799: 3797: 3542: 3333: 2042:The album was reissued on 22 August 2006 by 1629: 1555: 5089: 4108: 3733: 3731: 3729: 3658: 3656: 3654: 3652: 3650: 3648: 3646: 3644: 3642: 3515: 3513: 928: 5430: 5416: 5167:"Swisscharts.com – Billy Idol – Cyberpunk" 5096:"Album Top 40 slágerlista – 1993. 40. hét" 3785: 3774: 3605: 3603: 3442: 3440: 3438: 3436: 3434: 3311: 3309: 3307: 3305: 2836:Robin Hancock – producer, engineer, mixing 2327:and Mark Younger-Smith, except where noted 2297:were initially considered as a medium for 1175:The make-up effects were achieved through 1003: 229: 29: 5008:"Dutchcharts.nl – Billy Idol – Cyberpunk" 4633: 4602: 4598: 4596: 4573:Joisten, Bernard; Lum, Ken (April 1995). 4244:Dee, Johnny (26 June 1993). "Long Play". 4023: 3998: 3996: 3924: 3922: 3794: 3697: 3695: 3693: 3691: 3689: 3687: 3572: 3570: 3568: 3566: 3564: 3562: 3560: 3552:alt.cyberpunk: Frequently Asked Questions 3519: 2851:(Hollywood, California) – mixing location 1987:Shawn P. Wilbur, "Running Down the Meme". 1750: 420:for the first time, although he had read 5050: 4492: 3726: 3662: 3639: 3609: 3510: 3479: 3477: 3475: 3473: 3471: 3469: 3467: 3465: 3463: 3446: 3400: 3398: 3396: 3394: 2708: 1161:– as displayed in the witnessing of the 1044: 932: 500: 498:talk about punk, and this is my reply." 5172: 5055:(in Finnish) (1st ed.). Helsinki: 4826: 4421: 4314: 4297: 4260: 4083: 3750: 3748: 3746: 3600: 3576: 3431: 3366: 3302: 2869:Billy Idol – cover concept, logo design 5847: 5242: 4979: 4765: 4664: 4593: 4549: 4404: 4398: 4239: 4237: 4002: 3993: 3958: 3956: 3954: 3952: 3950: 3919: 3702:Gordon, Keith A. (15 September 1993). 3701: 3684: 3557: 3483: 3404: 2746:– keyboards, programming, arrangements 2677: 2650: 2636: 2622: 2608: 2594: 2580: 2566: 2552: 2532: 2518: 2508:"Untitled (That Which Beareth Thorns)" 2058: 1862:was computer illiterate when he wrote 1833:" (1993), an interview discussing the 512:(right) were two consultants from the 73:Billy Idol's home studio (Los Angeles) 5540:Kings & Queens of the Underground 5411: 5169:. Hung Medien. Retrieved 8 May 2021. 5157:. Hung Medien. Retrieved 8 May 2021. 5145:. Hung Medien. Retrieved 8 May 2021. 4964:. Hung Medien. Retrieved 8 May 2021. 4461: 4214: 4003:Gibson, William (23 September 1993). 3835:Crampton, Luke, et al. "BILLY IDOL". 3738:MTV News: Billy Idol "Cyberpunk" Disk 3498:from the original on 25 December 2014 3460: 3391: 2691: 2504: 2490: 2458: 2431: 2417: 2399: 2385: 2371: 2354: 2086:. Idol's later album featured a more 1536: 1526: 1385:Shock to the System (Director's Cut) 597:newsgroup. Later in an interview for 430:fiction and technology. He also read 334:is the fifth studio album by English 5266:Weisbard, Eric; Craig Marks (1995). 4878:"Least Essential Albums of the '90s" 4282: 4217:"Consumer Guide Reviews: Billy Idol" 3865: 3859: 3754: 3743: 3407:"Billy Idol Goes Back To the Future" 3405:Downes, Catherine (19 August 2010). 2950: 2839:Ross Donaldson – additional engineer 1974: 5218:"Top 100 Album-Jahrescharts – 1993" 4243: 4234: 4171:"Artist Chart History – Billy Idol" 3947: 3740:(VIDEO). CABLE TV: MTV. May 1993. 3186:German Albums (Offizielle Top 100) 2736:– keyboards, programming, guitars, 1183:, who had previously worked on the 13: 5236: 4804:. 12 December 1996. Archived from 4724:Devil's Playground | Album Reviews 3282: 3164: 2872:"Sweet" Briar Ludwig – logo design 2845:Ed Korengo – mixing, mix assistant 2274:s release. By the late '90s, many 2247:Music industry's use of technology 2216: 1996:academic then associated with the 726:Problems playing these files? See 611: 14: 5901: 5341:Beyond Cyberpunk!:The Web Version 5293: 4695:"liveDaily Interview: Billy Idol" 4288:Weisbard & Marks, 1995. p.191 3817:from the original on 22 June 2013 3710:. Keith A. Gordon. Archived from 3663:Schoemer, Karen (8 August 1993). 2808:The Shartse Monks – excerpts (13) 1631: 1557: 5860:Albums recorded in a home studio 5040:– via World Radio History. 4315:Ezparza, Manuel (29 July 1993). 4067:. 28 August 1993. Archived from 3813:. No. 139. 9 October 1992. 3224: 3210: 2955: 2793:Robert Farago – spoken words (6) 2317: 1824: 1806: 1650: 1645: 1640: 1635: 1630: 1576: 1571: 1566: 1561: 1556: 1130: 911:. In a photo shoot published in 773: 696: 674: 649: 627: 5351:1990) An online version of the 5332:. (1993) An archived review of 5210: 5179:"Official Albums Chart Top 100" 5105: 5044: 5013: 4930: 4910:"Q – The 50 Worst Albums Ever!" 4902: 4870: 4820: 4790: 4759: 4743:. 17 March 1998. Archived from 4729: 4717: 4687: 4658: 4627: 4566: 4552:"Interview with Giuseppe Salza" 4543: 4517: 4486: 4455: 4444: 4415: 4368: 4341: 4308: 4291: 4254: 4208: 4141:"Sludge Scans For January 2002" 4133: 4053: 3968: 3842: 3829: 3757:"Billy Idol still going strong" 3755:Hauk, Hunter (19 August 2010). 3615:"Billy Idol – Learning to Type" 3170:Year-end chart performance for 2842:Mike Baumgartner –mix assistant 1087: 16:1993 studio album by Billy Idol 5885:Science fiction concept albums 5437: 5220:(in German). GfK Entertainment 4829:"Billy Idol: Rebel Yell Redux" 4827:Kaufman, Gil (19 April 2005). 4701:. 2 March 2005. Archived from 4462:Hawks, Andy (16 August 1993). 4261:Coleman, Mark (17 July 1997). 4197:Erlewine, Stephen Thomas. 4037:. 17 July 1993. Archived from 4005:"Interview with Marisa Golini" 3963:Cyberpunk: Shock to the System 3283: 3240:List of cyberpunk works: Music 2860:Chris Rugolo – band technician 2799:– excerpts (between 7 & 8) 2358:"Untitled (Opening Manifesto)" 2339: 1998:Bowling Green State University 1519:chart. The last two singles, " 1517:Bubbling Under Hot 100 Singles 1409:Shock to the System: "Blendo" 1371:Cyberpunk: Shock to the System 1346:Cyberpunk: Shock to the System 1328:Cyberpunk: Shock to the System 1232:Cyberpunk: Shock to the System 1224:Cyberpunk: Shock to the System 1117:Cyberpunk: Shock to the System 1110:Cyberpunk: Shock to the System 1068:Idol hoped to advance the way 385:Released to negative reviews, 362:-styled narrative, as well as 342:, released on 29 June 1993 by 1: 5268:Spin Alternative Record Guide 5249:University of Minnesota Press 5243:Foster, Thomas (1 May 2005). 4886:. 8 June 2008. Archived from 4671:University of Minnesota Press 4665:Foster, Thomas (1 May 2005). 3868:"Interview with Kevin Walker" 3554:. project.cyberpunk.ru (2004) 3295: 2961:Weekly chart performance for 2863:Henry Marquez – art direction 2830: 2162:band, and former bassist for 2037: 2014:, Wilbur also referenced the 1662:Spin Alternative Record Guide 854: 552:, famed counterculture guru; 398:During the release of 1990's 393: 5890:Works about computer hacking 4986:"Top RPM Albums: Issue 2199" 4634:Wilbur, Shawn P. (c. 1995). 4603:Wilbur, Shawn P. (c. 1994). 4550:Gibson, William (May 1994). 3866:Levy, Jaime (January 1994). 3494:. No. 178. p. 24. 3486:"A Star Is Virtually Reborn" 3270: 3155: 3141: 3126: 3114: 3102: 3076: 3064: 3023: 3011: 2997: 2985: 2881:Peter Graville – photography 2713:Billy Idol credited bassist 2704: 1813:Tim Leary and the Cyberpunks 604: 410:electronic muscle stimulator 7: 5880:Non-fiction Cyberpunk media 5798:Don't You (Forget About Me) 5195:"Billy Idol Chart History ( 4998:. Retrieved 1 August 2021. 4996:Library and Archives Canada 4205:. Retrieved 11 August 2011. 3484:Appelo, Tim (9 June 1993). 3203: 1499:", peaked at No. 16 on the 1197:1993 MTV Video Music Awards 956:album as a special edition 585:advised him to investigate 10: 5906: 5608:Idol Songs: 11 of the Best 5102:. Retrieved 31 July 2021. 4798:"The interview with Billy" 4766:Wright, Jeb (April 2001). 4575:"William Gibson interview" 3837:Encyclopedia of Rock Stars 2598:"Untitled (Galaxy Within)" 2323:All tracks are written by 2080:, Idol decided to produce 1588:Christgau's Consumer Guide 1509:Hot Mainstream Rock Tracks 1428: 1049:To promote the release of 886: 494:talk about punk, watching 5821: 5649: 5631: 5592: 5574: 5549: 5482: 5445: 5313:, 1.03. (Jul/Aug 1993). 5057:Kustannusosakeyhtiö Otava 5021:"European Top 100 Albums" 4640:libertarian-labyrinth.org 4609:libertarian-labyrinth.org 4263:"Cyberpunk by Billy Idol" 4091:"Austrian Chart Archives" 3849:"Billy Idol photoshoot". 3185: 3180: 3177: 3146: 3131: 3119: 3107: 3095: 3081: 3069: 3057: 3045: 3028: 3016: 3002: 2990: 2978: 2971: 2968: 2945: 2349: 2346: 2343: 2338: 2053: 1954:Well known music critic, 1823: 1805: 1800: 1544: 1541: 1507:" peaked at No. 7 on the 1369: 1314: 1306: 1294: 1278: 1257: 1249: 1236: 1231: 1155:Los Angeles riots of 1992 1129: 1124: 1023:Frauenfelder worked with 948:from Gareth Branwyn. The 808: 772: 767: 661:Los Angeles riots of 1992 323: 267: 256: 252: 228: 224: 219: 215: 178: 170: 160: 148: 132: 89: 66: 62:April 1992 – January 1993 58: 50: 37: 28: 23: 5870:Chrysalis Records albums 5207:. Retrieved 8 May 2021. 5185:. Retrieved 8 May 2021. 5086:. Retrieved 8 May 2021. 5084:GfK Entertainment Charts 4918:. No. 238. May 2006 2640:"Untitled (Before Dawn)" 1012:, Idol hired him to use 929:Special edition software 306:Released: September 1993 5183:Official Charts Company 5051:Pennanen, Timo (2006). 4589:– via adaweb.com. 4493:Boulware, Jack (1995). 3976:"1993 No Religion Tour" 3704:"Billy Idol: Cyberpunk" 3255:Interactive advertising 3048:Suomen virallinen lista 3003:Canada Top Albums/CDs ( 1915:, then a columnist for 1678:Stephen Thomas Erlewine 1199:, losing both times to 1031:"Blendo" cinematography 1004:Computer graphic design 5334:Billy Idol's Cyberpunk 5326:Cyberpunk: A Biography 4737:"Tony James interview" 4116:"Swiss Chart Archives" 3373:Chaos Control Digizine 2941:– interactive producer 2866:Michael Diehl – design 2718: 2626:"Then the Night Comes" 2556:"Untitled (Injection)" 2389:"Untitled (Pre-Shock)" 2291:Billy Idol's Cyberpunk 2255: 2198:overground-underground 2032:The Souls of Cyberfolk 1984: 1760: 1751:Cyberculture reception 1513:Hot Modern Rock Tracks 1493:The Velvet Underground 1449: 1435:Billy Idol's Cyberpunk 1053:, Idol began the 1993 1018:Billy Idol's Cyberpunk 978: 941: 938:Billy Idol's Cyberpunk 899:AIDS research, at the 865: 830: 760:1992 Los Angeles riots 710:includes a lyric from 708:The Velvet Underground 616: 517: 453: 315:Released: January 1994 5301:I Want My Desktop MTV 4529:The Cyberpunk Project 3367:Gourley, Bob (1993). 2826:– backing vocals (17) 2820:– backing vocals (17) 2814:– backing vocals (17) 2712: 2251: 2119:. Only one song from 1979: 1948:The Cyberpunk Project 1755: 1511:chart, No. 23 on the 1441: 1045:1993 No Religion Tour 972: 936: 923:Billboard Music Award 859: 824: 714:'s cover version of " 615: 504: 447: 408:. McNeil noticed the 358:The album featured a 293:Released: 8 June 1993 4890:on 22 September 2008 4747:on 15 September 2007 4505:on 24 September 2008 4380:Entertainment Weekly 3811:Entertainment Weekly 3491:Entertainment Weekly 2751:Additional personnel 2048:Priceless Collection 2044:Collectables Records 2030:, in his 2005 book, 1737:Entertainment Weekly 1600:Entertainment Weekly 1532:Professional ratings 1515:chart, and No. 5 on 986:The special edition 967:Electronic Hollywood 589:, one of the oldest 280:Released: 4 May 1993 245:Priceless Collection 241:Collectables Records 235:The 2006 reissue of 5812:Can't Break Me Down 5777:Shock to the System 5693:Eyes Without a Face 5658:Dancing with Myself 4808:on 18 November 2007 4646:on 20 November 2008 4615:on 20 November 2008 4581:on 17 February 2007 4386:on 15 February 2009 4247:New Musical Express 4221:Robertchristgau.com 4215:Christgau, Robert. 4061:"The Billboard 200" 4031:"The Billboard 200" 3902:"Mark Frauenfelder" 3900:Mark Frauenfelder. 3807:"They Wear It Well" 3714:on 10 December 2007 3174: 3122:Schweizer Hitparade 2979:Australian Albums ( 2965: 2405:Shock to the System 2335: 2152:Sigue Sigue Sputnik 2059:Billy Idol's career 1992:Shawn P. Wilbur, a 1533: 1505:Shock to the System 1501:Hot Dance Club Play 1417:Total running time 1163:Rodney King beating 1141:EMI America Records 1137:Shock to the System 925:presentation spot. 645:Shock to the System 442:Robert Anton Wilson 376:virtual communities 288:Shock to the System 5526:Devil's Playground 5404:(list of releases) 4938:"Latest News 2008" 4474:on 2 December 2008 4376:"Who Do You Love?" 4349:"Billy Idol entry" 3670:The New York Times 3588:. The Computer Lab 3523:(10 August 1993). 3419:on 19 October 2012 3260:Internet marketing 3169: 3096:Norwegian Albums ( 3070:Hungarian Albums ( 3060:Offizielle Top 100 2960: 2734:Mark Younger-Smith 2719: 2584:"Concrete Kingdom" 2330: 2083:Devil's Playground 2028:Indiana University 1815:", Allan Lundell, 1767:and alt.cyberpunk, 1710:Manuel Esparza of 1531: 1527:Critical reception 1253:29 June 1993 (VHS) 942: 893:Jean-Paul Gaultier 833:Mark Younger-Smith 782:", Allan Lundell, 617: 591:online communities 518: 364:synthesised vocals 5865:Billy Idol albums 5842: 5841: 5700:Flesh for Fantasy 5330:Mark Frauenfelder 5270:. Vintage Books. 5066:978-951-1-21053-5 5029:Music & Media 4525:"Cyberpunk Music" 4468:Evolutionzone.com 4431:Beyond Cyberpunk! 4408:Los Angeles Times 4329:on 8 January 2009 4199:Chrysalis Records 4095:austriancharts.at 3878:on 5 October 2007 3665:"Seriously Wired" 3613:(December 1993). 3586:Beyond Cyberpunk! 3521:Christgau, Robert 3448:Saunders, Michael 3379:on 9 October 2007 3218:Rock music portal 3200: 3199: 3193: 3192: 3160: 3159: 3110:Sverigetopplistan 3035:Music & Media 2991:Austrian Albums ( 2927:Mark Frauenfelder 2855:Stephen Marcussen 2803:London Jo Henwood 2701: 2700: 2522:"Love Labours On" 2421:"Tomorrow People" 2209:pointed out that 2072:, an independent 2070:Sanctuary Records 1975:Academic analysis 1898:Mark Frauenfelder 1880:Beyond Cyberpunk! 1855: 1854: 1841:television show, 1671: 1670: 1482:Nielsen SoundScan 1457:Chrysalis Records 1426: 1425: 1401:Heroin: "Blendo" 1342: 1341: 1338: 1337: 1151: 1150: 1038:The Lawnmower Man 1014:graphics software 946:Beyond Cyberpunk! 901:Shrine Auditorium 790: 789: 701: 679: 654: 632: 583:Mark Frauenfelder 571:The Lawnmower Man 532:Beyond Cyberpunk! 510:Mark Frauenfelder 344:Chrysalis Records 327: 326: 211: 210: 82:Golgotha (Hawaii) 5897: 5822:Related articles 5735:Soul Standing By 5721:Don't Need a Gun 5583:VH1 Storytellers 5432: 5425: 5418: 5409: 5408: 5289: 5262: 5230: 5229: 5227: 5225: 5214: 5208: 5192: 5186: 5176: 5170: 5164: 5158: 5152: 5146: 5140: 5134: 5130: 5128: 5126: 5109: 5103: 5098:(in Hungarian). 5093: 5087: 5077: 5071: 5070: 5048: 5042: 5041: 5025: 5017: 5011: 5005: 4999: 4983: 4977: 4971: 4965: 4959: 4953: 4952: 4950: 4948: 4934: 4928: 4927: 4925: 4923: 4906: 4900: 4899: 4897: 4895: 4874: 4868: 4867: 4863:Behind the Music 4858: 4849: 4848: 4846: 4844: 4839:on 11 March 2008 4835:. Archived from 4824: 4818: 4817: 4815: 4813: 4794: 4788: 4787: 4785: 4783: 4778:on 13 April 2008 4774:. Archived from 4772:SteveStevens.net 4763: 4757: 4756: 4754: 4752: 4733: 4727: 4721: 4715: 4714: 4712: 4710: 4691: 4685: 4684: 4662: 4656: 4655: 4653: 4651: 4642:. Archived from 4631: 4625: 4624: 4622: 4620: 4611:. Archived from 4600: 4591: 4590: 4588: 4586: 4577:. Archived from 4570: 4564: 4563: 4561: 4559: 4547: 4541: 4540: 4538: 4536: 4521: 4515: 4514: 4512: 4510: 4501:. Archived from 4490: 4484: 4483: 4481: 4479: 4470:. Archived from 4459: 4453: 4448: 4442: 4441: 4439: 4437: 4419: 4413: 4412: 4402: 4396: 4395: 4393: 4391: 4372: 4366: 4365: 4363: 4361: 4345: 4339: 4338: 4336: 4334: 4325:. Archived from 4322:The Daily Cougar 4312: 4306: 4305: 4295: 4289: 4286: 4280: 4279: 4277: 4275: 4258: 4252: 4251: 4241: 4232: 4231: 4229: 4227: 4212: 4206: 4195: 4186: 4185: 4183: 4181: 4167: 4161: 4160: 4158: 4156: 4147:. Archived from 4137: 4131: 4130: 4128: 4126: 4112: 4106: 4105: 4103: 4101: 4087: 4081: 4080: 4078: 4076: 4057: 4051: 4050: 4048: 4046: 4027: 4021: 4020: 4018: 4016: 4011:on 14 April 2013 4000: 3991: 3990: 3988: 3986: 3972: 3966: 3960: 3945: 3944: 3942: 3940: 3926: 3917: 3916: 3914: 3912: 3897: 3888: 3887: 3885: 3883: 3863: 3857: 3856: 3846: 3840: 3833: 3827: 3826: 3824: 3822: 3803: 3792: 3791: 3783: 3772: 3771: 3769: 3767: 3752: 3741: 3735: 3724: 3723: 3721: 3719: 3699: 3682: 3681: 3679: 3677: 3660: 3637: 3636: 3634: 3632: 3627:on 26 March 2003 3607: 3598: 3597: 3595: 3593: 3574: 3555: 3549: 3540: 3539: 3537: 3535: 3517: 3508: 3507: 3505: 3503: 3481: 3458: 3457: 3453:The Boston Globe 3444: 3429: 3428: 3426: 3424: 3415:. Archived from 3402: 3389: 3388: 3386: 3384: 3375:. Archived from 3364: 3331: 3330: 3317:Kristiane Backer 3313: 3287: 3279: 3234: 3229: 3228: 3220: 3215: 3214: 3213: 3175: 3168: 3108:Swedish Albums ( 3082:Italian Albums ( 3046:Finnish Albums ( 2966: 2959: 2951: 2891:Elisabeth Sunday 2805:– sexy voice (6) 2722:"Core" personnel 2694: 2477:Ace Mackay-Smith 2341: 2336: 2329: 2266:The Boston Globe 2259: 2106:Heavy Metal 2000 2006:While examining 1994:left-libertarian 1988: 1956:Robert Christgau 1849:Internet Archive 1847:, hosted by the 1828: 1827: 1810: 1809: 1798: 1797: 1774: 1719:TrouserPress.com 1713:The Daily Cougar 1655: 1654: 1653: 1649: 1648: 1644: 1643: 1639: 1638: 1634: 1633: 1581: 1580: 1579: 1575: 1574: 1570: 1569: 1565: 1564: 1560: 1559: 1534: 1530: 1460: 1367: 1366: 1355: 1316: 1315: 1290: 1289: 1285: 1229: 1228: 1134: 1133: 1122: 1121: 1055:No Religion Tour 982: 981:Julie Romandetta 869: 834: 777: 776: 765: 764: 703: 702: 681: 680: 656: 655: 634: 633: 614: 560:, co-founder of 457: 316: 313: 307: 304: 294: 291: 281: 278: 239:was included in 233: 180: 179: 144: 143: 139: 111: 33: 21: 20: 5905: 5904: 5900: 5899: 5898: 5896: 5895: 5894: 5875:Cyberpunk music 5845: 5844: 5843: 5838: 5817: 5672:Hot in the City 5645: 5627: 5588: 5570: 5545: 5478: 5464:Stephen McGrath 5441: 5436: 5296: 5278: 5259: 5239: 5237:Further reading 5234: 5233: 5223: 5221: 5216: 5215: 5211: 5193: 5189: 5177: 5173: 5165: 5161: 5153: 5149: 5141: 5137: 5124: 5122: 5118:Musica e dischi 5111: 5110: 5106: 5094: 5090: 5078: 5074: 5067: 5049: 5045: 5023: 5019: 5018: 5014: 5006: 5002: 4984: 4980: 4972: 4968: 4960: 4956: 4946: 4944: 4936: 4935: 4931: 4921: 4919: 4908: 4907: 4903: 4893: 4891: 4876: 4875: 4871: 4860: 4859: 4852: 4842: 4840: 4825: 4821: 4811: 4809: 4796: 4795: 4791: 4781: 4779: 4768:"Steve Stevens" 4764: 4760: 4750: 4748: 4735: 4734: 4730: 4722: 4718: 4708: 4706: 4705:on 9 April 2005 4693: 4692: 4688: 4681: 4663: 4659: 4649: 4647: 4632: 4628: 4618: 4616: 4601: 4594: 4584: 4582: 4571: 4567: 4557: 4555: 4548: 4544: 4534: 4532: 4523: 4522: 4518: 4508: 4506: 4491: 4487: 4477: 4475: 4460: 4456: 4449: 4445: 4435: 4433: 4423:Branwyn, Gareth 4420: 4416: 4403: 4399: 4389: 4387: 4374: 4373: 4369: 4359: 4357: 4347: 4346: 4342: 4332: 4330: 4313: 4309: 4296: 4292: 4287: 4283: 4273: 4271: 4259: 4255: 4242: 4235: 4225: 4223: 4213: 4209: 4196: 4189: 4179: 4177: 4169: 4168: 4164: 4154: 4152: 4139: 4138: 4134: 4124: 4122: 4114: 4113: 4109: 4099: 4097: 4089: 4088: 4084: 4074: 4072: 4071:on 30 June 2013 4059: 4058: 4054: 4044: 4042: 4041:on 30 June 2013 4029: 4028: 4024: 4014: 4012: 4001: 3994: 3984: 3982: 3974: 3973: 3969: 3961: 3948: 3938: 3936: 3928: 3927: 3920: 3910: 3908: 3898: 3891: 3881: 3879: 3864: 3860: 3848: 3847: 3843: 3834: 3830: 3820: 3818: 3805: 3804: 3795: 3784: 3775: 3765: 3763: 3753: 3744: 3736: 3727: 3717: 3715: 3700: 3685: 3675: 3673: 3661: 3640: 3630: 3628: 3608: 3601: 3591: 3589: 3578:Branwyn, Gareth 3575: 3558: 3550: 3543: 3533: 3531: 3518: 3511: 3501: 3499: 3482: 3461: 3445: 3432: 3422: 3420: 3412:Dallas Observer 3403: 3392: 3382: 3380: 3365: 3334: 3315: 3314: 3303: 3298: 3293: 3277: 3273: 3232:Internet portal 3230: 3223: 3216: 3211: 3209: 3206: 3201: 3167: 3165:Year-end charts 3085:Musica e dischi 3058:German Albums ( 3030:European Albums 2973: 2958: 2948: 2849:A&M Studios 2833: 2757:Jamie Muhoberac 2707: 2702: 2692: 2670: 2483: 2451: 2320: 2261: 2257: 2249: 2219: 2217:Critical legacy 2172:]" In 2001 2139:went platinum. 2061: 2056: 2046:as part of its 2040: 2010:'s 1991 novel, 1990: 1986: 1977: 1960:punk subculture 1905:founder of the 1825: 1807: 1801:External videos 1776: 1768: 1762: 1753: 1651: 1646: 1641: 1636: 1577: 1572: 1567: 1562: 1529: 1462: 1455:press release, 1451: 1431: 1362:freedom fighter 1354:(Overlords mix) 1353: 1331: 1322: 1287: 1283: 1282: 1245: 1227: 1216:virtual reality 1147:, 9 March 2009. 1131: 1125:External videos 1090: 1047: 1033: 1025:Adobe Photoshop 1006: 984: 980: 931: 909:Stephen Sprouse 889: 880:Grunge movement 871: 867: 857: 845:Sturm und Drang 836: 832: 811: 792:Excited by the 774: 768:External videos 733: 732: 724: 722: 721: 720: 719: 704: 697: 694: 688: 687: 686: 682: 675: 672: 666: 665: 664: 657: 650: 647: 641: 640: 639: 635: 628: 625: 618: 612: 607: 459: 455: 432:Neal Stephenson 396: 319: 314: 311: 310: 305: 298: 297: 292: 285: 284: 279: 272: 271: 248: 220:2006 re-release 206: 197: 188: 141: 137: 136: 107: 98:Electronic rock 85: 46: 17: 12: 11: 5: 5903: 5893: 5892: 5887: 5882: 5877: 5872: 5867: 5862: 5857: 5840: 5839: 5837: 5836: 5831: 5825: 5823: 5819: 5818: 5816: 5815: 5808: 5801: 5794: 5787: 5784:Adam in Chains 5780: 5773: 5766: 5763:Prodigal Blues 5759: 5752: 5749:Cradle of Love 5745: 5738: 5731: 5724: 5717: 5710: 5703: 5696: 5689: 5682: 5675: 5668: 5661: 5653: 5651: 5647: 5646: 5644: 5643: 5635: 5633: 5629: 5628: 5626: 5625: 5618: 5611: 5604: 5596: 5594: 5590: 5589: 5587: 5586: 5578: 5576: 5572: 5571: 5569: 5568: 5561: 5553: 5551: 5547: 5546: 5544: 5543: 5536: 5533:Happy Holidays 5529: 5522: 5515: 5508: 5505:Whiplash Smile 5501: 5494: 5486: 5484: 5480: 5479: 5477: 5476: 5471: 5466: 5461: 5458:Billy Morrison 5454: 5446: 5443: 5442: 5435: 5434: 5427: 5420: 5412: 5406: 5405: 5393: 5382: 5365: 5364: 5345:Gareth Branwyn 5337: 5322: 5295: 5294:External links 5292: 5291: 5290: 5276: 5263: 5257: 5238: 5235: 5232: 5231: 5209: 5187: 5171: 5159: 5147: 5135: 5104: 5088: 5072: 5065: 5043: 5012: 5000: 4978: 4966: 4954: 4929: 4901: 4869: 4850: 4819: 4789: 4758: 4728: 4716: 4686: 4679: 4657: 4626: 4592: 4565: 4542: 4516: 4485: 4454: 4443: 4414: 4397: 4367: 4340: 4307: 4290: 4281: 4253: 4233: 4207: 4187: 4162: 4151:on 8 June 2002 4132: 4107: 4082: 4052: 4022: 3992: 3967: 3946: 3918: 3906:designboom.com 3889: 3858: 3841: 3828: 3793: 3773: 3742: 3725: 3708:R.A.D! ON-LINE 3683: 3638: 3611:Jillette, Penn 3599: 3556: 3541: 3509: 3459: 3430: 3390: 3332: 3300: 3299: 3297: 3294: 3274: 3272: 3269: 3268: 3267: 3262: 3257: 3243: 3242: 3236: 3235: 3221: 3205: 3202: 3198: 3197: 3191: 3190: 3187: 3183: 3182: 3179: 3166: 3163: 3161: 3158: 3157: 3154: 3144: 3143: 3140: 3129: 3128: 3125: 3120:Swiss Albums ( 3117: 3116: 3113: 3105: 3104: 3101: 3093: 3092: 3089: 3079: 3078: 3075: 3067: 3066: 3063: 3055: 3054: 3051: 3043: 3042: 3039: 3026: 3025: 3022: 3017:Dutch Albums ( 3014: 3013: 3010: 3000: 2999: 2996: 2988: 2987: 2984: 2976: 2975: 2970: 2957: 2954: 2949: 2947: 2944: 2943: 2942: 2936: 2930: 2924: 2921:Gareth Branwyn 2912: 2911: 2909: 2903: 2894: 2888: 2882: 2879: 2873: 2870: 2867: 2864: 2861: 2858: 2852: 2846: 2843: 2840: 2837: 2832: 2829: 2828: 2827: 2821: 2815: 2809: 2806: 2800: 2794: 2791: 2781: 2775: 2769: 2763: 2748: 2747: 2741: 2740:, arrangements 2731: 2706: 2703: 2699: 2698: 2695: 2689: 2688: 2685: 2682: 2679: 2675: 2674: 2671: 2669: 2668: 2663: 2657: 2655: 2652: 2648: 2647: 2644: 2641: 2638: 2634: 2633: 2630: 2627: 2624: 2620: 2619: 2616: 2613: 2610: 2606: 2605: 2602: 2599: 2596: 2592: 2591: 2588: 2585: 2582: 2578: 2577: 2574: 2571: 2568: 2564: 2563: 2560: 2557: 2554: 2550: 2549: 2546: 2541: 2534: 2530: 2529: 2526: 2523: 2520: 2516: 2515: 2512: 2509: 2506: 2502: 2501: 2498: 2495: 2494:"Power Junkie" 2492: 2488: 2487: 2484: 2482: 2481: 2478: 2475: 2472: 2469: 2465: 2463: 2460: 2456: 2455: 2452: 2450: 2449: 2446: 2442: 2440: 2437:Adam in Chains 2433: 2429: 2428: 2425: 2422: 2419: 2415: 2414: 2411: 2408: 2401: 2397: 2396: 2393: 2390: 2387: 2383: 2382: 2379: 2376: 2373: 2369: 2368: 2365: 2362:Gareth Branwyn 2359: 2356: 2352: 2351: 2348: 2345: 2342: 2321: 2319: 2316: 2250: 2248: 2245: 2218: 2215: 2063:Following the 2060: 2057: 2055: 2052: 2039: 2036: 1978: 1976: 1973: 1907:Future Culture 1876:Gareth Branwyn 1860:William Gibson 1853: 1852: 1837:album for the 1821: 1820: 1803: 1802: 1771:Gareth Branwyn 1754: 1752: 1749: 1728:Johnny Dee of 1669: 1668: 1665: 1657: 1656: 1627: 1619: 1618: 1615: 1607: 1606: 1603: 1595: 1594: 1591: 1583: 1582: 1553: 1547: 1546: 1543: 1539: 1538: 1528: 1525: 1521:Adam in Chains 1491:", a cover of 1440: 1430: 1427: 1424: 1423: 1418: 1414: 1413: 1410: 1406: 1405: 1402: 1398: 1397: 1394: 1390: 1389: 1386: 1382: 1381: 1378: 1374: 1373: 1340: 1339: 1336: 1335: 1333: 1324: 1312: 1311: 1304: 1303: 1298: 1292: 1291: 1280: 1276: 1275: 1274: 1273: 1268: 1261: 1255: 1254: 1251: 1247: 1246: 1241: 1234: 1233: 1226: 1221: 1203:'s video for " 1149: 1148: 1127: 1126: 1119:VHS cassette. 1092:Three of four 1089: 1086: 1082:New York Times 1046: 1043: 1032: 1029: 1005: 1002: 971: 930: 927: 888: 885: 858: 856: 853: 847:" he found in 823: 810: 807: 788: 787: 770: 769: 748:Opcode Systems 723: 705: 695: 690: 689: 683: 673: 670:Adam in Chains 668: 667: 658: 648: 643: 642: 636: 626: 621: 620: 619: 610: 609: 608: 606: 603: 581:, Branwyn and 568:, director of 528:Gareth Branwyn 506:Gareth Branwyn 487:New York Times 475:do it yourself 446: 444:, and others. 418:William Gibson 395: 392: 325: 324: 321: 320: 318: 317: 308: 301:Adam in Chains 295: 282: 268: 265: 264: 254: 253: 250: 249: 234: 226: 225: 222: 221: 217: 216: 213: 212: 209: 208: 199: 190: 176: 175: 168: 167: 164: 158: 157: 152: 146: 145: 134: 130: 129: 128: 127: 122: 117: 112: 105: 100: 93: 87: 86: 84: 83: 80: 74: 70: 68: 64: 63: 60: 56: 55: 52: 48: 47: 42: 35: 34: 26: 25: 15: 9: 6: 4: 3: 2: 5902: 5891: 5888: 5886: 5883: 5881: 5878: 5876: 5873: 5871: 5868: 5866: 5863: 5861: 5858: 5856: 5853: 5852: 5850: 5835: 5832: 5830: 5827: 5826: 5824: 5820: 5813: 5809: 5806: 5802: 5799: 5795: 5792: 5788: 5785: 5781: 5778: 5774: 5771: 5767: 5764: 5760: 5757: 5753: 5750: 5746: 5743: 5739: 5736: 5732: 5729: 5728:Sweet Sixteen 5725: 5722: 5718: 5715: 5714:To Be a Lover 5711: 5708: 5707:Catch My Fall 5704: 5701: 5697: 5694: 5690: 5687: 5683: 5680: 5679:White Wedding 5676: 5673: 5669: 5666: 5662: 5659: 5655: 5654: 5652: 5648: 5642: 5641: 5637: 5636: 5634: 5630: 5624: 5623: 5619: 5617: 5616: 5615:Greatest Hits 5612: 5610: 5609: 5605: 5603: 5602: 5598: 5597: 5595: 5591: 5585: 5584: 5580: 5579: 5577: 5573: 5567: 5566: 5562: 5560: 5559: 5555: 5554: 5552: 5548: 5542: 5541: 5537: 5535: 5534: 5530: 5528: 5527: 5523: 5521: 5520: 5516: 5514: 5513: 5509: 5507: 5506: 5502: 5500: 5499: 5495: 5493: 5492: 5488: 5487: 5485: 5483:Studio albums 5481: 5475: 5474:Erik Eldenius 5472: 5470: 5467: 5465: 5462: 5460: 5459: 5455: 5453: 5452: 5451:Steve Stevens 5448: 5447: 5444: 5440: 5433: 5428: 5426: 5421: 5419: 5414: 5413: 5410: 5403: 5399: 5398: 5394: 5392: 5388: 5387: 5383: 5381: 5377: 5376: 5372: 5371: 5370: 5369: 5368:Album indexes 5362: 5358: 5354: 5350: 5346: 5342: 5338: 5335: 5331: 5327: 5323: 5320: 5316: 5312: 5311: 5306: 5302: 5298: 5297: 5287: 5283: 5279: 5277:0-679-75574-8 5273: 5269: 5264: 5260: 5258:0-8166-3406-8 5254: 5250: 5246: 5241: 5240: 5219: 5213: 5206: 5205: 5200: 5198: 5191: 5184: 5180: 5175: 5168: 5163: 5156: 5151: 5144: 5139: 5133: 5120: 5119: 5114: 5113:"Classifiche" 5108: 5101: 5097: 5092: 5085: 5082:(in German). 5081: 5076: 5068: 5062: 5058: 5054: 5047: 5039: 5035: 5031: 5030: 5022: 5016: 5009: 5004: 4997: 4993: 4992: 4987: 4982: 4975: 4970: 4963: 4958: 4943: 4942:Billyidol.com 4939: 4933: 4917: 4916: 4911: 4905: 4889: 4885: 4884: 4883:The A.V. Club 4879: 4873: 4865: 4864: 4857: 4855: 4838: 4834: 4830: 4823: 4807: 4803: 4802:Billyidol.com 4799: 4793: 4777: 4773: 4769: 4762: 4746: 4742: 4738: 4732: 4725: 4720: 4704: 4700: 4699:LiveDaily.com 4696: 4690: 4682: 4680:0-8166-3406-8 4676: 4672: 4668: 4661: 4645: 4641: 4637: 4630: 4614: 4610: 4606: 4599: 4597: 4580: 4576: 4569: 4553: 4546: 4530: 4526: 4520: 4504: 4500: 4496: 4489: 4473: 4469: 4465: 4458: 4452: 4447: 4432: 4428: 4424: 4418: 4410: 4409: 4401: 4385: 4381: 4377: 4371: 4356: 4355: 4354:Trouser Press 4350: 4344: 4328: 4324: 4323: 4318: 4311: 4303: 4302: 4294: 4285: 4270: 4269: 4268:Rolling Stone 4264: 4257: 4250:. p. 37. 4249: 4248: 4240: 4238: 4222: 4218: 4211: 4204: 4200: 4194: 4192: 4176: 4175:Billboard.com 4172: 4166: 4150: 4146: 4142: 4136: 4121: 4117: 4111: 4096: 4092: 4086: 4070: 4066: 4065:Billboard.com 4062: 4056: 4040: 4036: 4035:Billboard.com 4032: 4026: 4010: 4006: 3999: 3997: 3981: 3980:Billyidol.com 3977: 3971: 3964: 3959: 3957: 3955: 3953: 3951: 3935: 3934:Billyidol.com 3931: 3925: 3923: 3907: 3903: 3896: 3894: 3877: 3873: 3872:Interface NYC 3869: 3862: 3854: 3853: 3845: 3838: 3832: 3816: 3812: 3808: 3802: 3800: 3798: 3789: 3788:Boston Herald 3782: 3780: 3778: 3762: 3758: 3751: 3749: 3747: 3739: 3734: 3732: 3730: 3713: 3709: 3705: 3698: 3696: 3694: 3692: 3690: 3688: 3672: 3671: 3666: 3659: 3657: 3655: 3653: 3651: 3649: 3647: 3645: 3643: 3626: 3622: 3621: 3616: 3612: 3606: 3604: 3587: 3583: 3579: 3573: 3571: 3569: 3567: 3565: 3563: 3561: 3553: 3548: 3546: 3530: 3529:Village Voice 3526: 3525:"Virtual Hep" 3522: 3516: 3514: 3497: 3493: 3492: 3487: 3480: 3478: 3476: 3474: 3472: 3470: 3468: 3466: 3464: 3455: 3454: 3449: 3443: 3441: 3439: 3437: 3435: 3418: 3414: 3413: 3408: 3401: 3399: 3397: 3395: 3378: 3374: 3370: 3363: 3361: 3359: 3357: 3355: 3353: 3351: 3349: 3347: 3345: 3343: 3341: 3339: 3337: 3328: 3324: 3323: 3318: 3312: 3310: 3308: 3306: 3301: 3292: 3290: 3286: 3285: 3281: 3266: 3263: 3261: 3258: 3256: 3253: 3252: 3251: 3250: 3248: 3241: 3238: 3237: 3233: 3227: 3222: 3219: 3208: 3196: 3188: 3184: 3178:Chart (1993) 3176: 3173: 3162: 3153: 3151: 3145: 3138: 3134: 3130: 3123: 3118: 3111: 3106: 3099: 3094: 3090: 3087: 3086: 3080: 3073: 3068: 3061: 3056: 3052: 3049: 3044: 3040: 3037: 3036: 3031: 3027: 3020: 3019:Album Top 100 3015: 3008: 3007: 3001: 2994: 2989: 2982: 2977: 2969:Chart (1993) 2967: 2964: 2956:Weekly charts 2953: 2952: 2940: 2937: 2934: 2933:Timothy Leary 2931: 2928: 2925: 2922: 2919: 2918: 2917: 2916: 2910: 2907: 2906:Scott Hampton 2904: 2902: 2898: 2895: 2893:– photography 2892: 2889: 2887:– photography 2886: 2885:Brett Leonard 2883: 2880: 2878:– photography 2877: 2874: 2871: 2868: 2865: 2862: 2859: 2856: 2853: 2850: 2847: 2844: 2841: 2838: 2835: 2834: 2825: 2822: 2819: 2818:Carnie Wilson 2816: 2813: 2812:Durga McBroom 2810: 2807: 2804: 2801: 2798: 2795: 2792: 2789: 2785: 2782: 2779: 2776: 2773: 2772:Larry Seymour 2770: 2767: 2764: 2762: 2759:– keyboards, 2758: 2755: 2754: 2753: 2752: 2745: 2744:Robin Hancock 2742: 2739: 2735: 2732: 2729: 2726: 2725: 2724: 2723: 2716: 2711: 2696: 2693:Total length: 2690: 2686: 2683: 2680: 2676: 2672: 2667: 2666:Martin Glover 2664: 2662: 2661:Durga McBroom 2659: 2658: 2656: 2654:"Mother Dawn" 2653: 2649: 2645: 2642: 2639: 2635: 2631: 2628: 2625: 2621: 2617: 2614: 2611: 2607: 2603: 2600: 2597: 2593: 2589: 2586: 2583: 2579: 2575: 2572: 2569: 2565: 2561: 2558: 2555: 2551: 2547: 2545: 2542: 2539: 2535: 2531: 2527: 2524: 2521: 2517: 2513: 2510: 2507: 2503: 2499: 2496: 2493: 2489: 2485: 2479: 2476: 2473: 2471:Younger-Smith 2470: 2467: 2466: 2464: 2462:"Neuromancer" 2461: 2457: 2453: 2448:Robin Hancock 2447: 2444: 2443: 2441: 2438: 2434: 2430: 2426: 2423: 2420: 2416: 2412: 2409: 2406: 2402: 2398: 2394: 2391: 2388: 2384: 2380: 2377: 2374: 2370: 2366: 2363: 2360: 2357: 2353: 2337: 2334:track listing 2333: 2328: 2326: 2318:Track listing 2315: 2313: 2308: 2307:Todd Rundgren 2304: 2303:Peter Gabriel 2300: 2296: 2292: 2287: 2285: 2282:for official 2281: 2277: 2273: 2268: 2267: 2260: 2254: 2244: 2241: 2237: 2235: 2230: 2226: 2225: 2224:The A.V. Club 2214: 2212: 2207: 2202: 2199: 2194: 2190: 2185: 2183: 2179: 2175: 2174:Steve Stevens 2171: 2170: 2165: 2161: 2157: 2153: 2149: 2145: 2140: 2138: 2137: 2136:Greatest Hits 2132: 2128: 2127: 2122: 2118: 2117: 2116:Greatest Hits 2112: 2108: 2107: 2102: 2101: 2095: 2093: 2089: 2085: 2084: 2079: 2078:Steve Stevens 2075: 2071: 2066: 2051: 2049: 2045: 2035: 2033: 2029: 2023: 2021: 2017: 2013: 2009: 2004: 2001: 1999: 1995: 1989: 1983: 1972: 1969: 1963: 1961: 1957: 1952: 1949: 1945: 1944: 1939: 1935: 1931: 1927: 1922: 1920: 1919: 1914: 1913:Penn Jillette 1910: 1908: 1903: 1899: 1895: 1893: 1889: 1885: 1881: 1877: 1873: 1869: 1867: 1866: 1861: 1850: 1846: 1845: 1840: 1836: 1832: 1822: 1818: 1814: 1804: 1799: 1796: 1794: 1793:hunt and peck 1789: 1785: 1781: 1775: 1772: 1766: 1759: 1748: 1746: 1742: 1738: 1733: 1732: 1726: 1724: 1720: 1715: 1714: 1708: 1706: 1701: 1697: 1696: 1691: 1686: 1683: 1679: 1675: 1666: 1664: 1663: 1659: 1658: 1628: 1626: 1625: 1624:Rolling Stone 1621: 1620: 1616: 1614: 1613: 1609: 1608: 1604: 1602: 1601: 1597: 1596: 1592: 1590: 1589: 1585: 1584: 1554: 1552: 1549: 1548: 1540: 1537:Review scores 1535: 1524: 1522: 1518: 1514: 1510: 1506: 1502: 1498: 1494: 1490: 1485: 1483: 1480:according to 1478: 1476: 1470: 1468: 1461: 1458: 1454: 1448: 1446: 1439: 1436: 1422: 1419: 1416: 1415: 1411: 1408: 1407: 1403: 1400: 1399: 1395: 1392: 1391: 1387: 1384: 1383: 1379: 1376: 1375: 1372: 1368: 1365: 1363: 1359: 1358:Brett Leonard 1351: 1350:Shockumentary 1347: 1334: 1330: 1329: 1325: 1321: 1318: 1317: 1313: 1309: 1305: 1302: 1299: 1297: 1293: 1281: 1277: 1272: 1269: 1267: 1264: 1263: 1262: 1260: 1256: 1252: 1248: 1244: 1239: 1235: 1230: 1225: 1220: 1217: 1213: 1212:Julien Temple 1208: 1206: 1202: 1201:Peter Gabriel 1198: 1194: 1193: 1192:Jurassic Park 1188: 1187: 1182: 1178: 1173: 1171: 1170:Brett Leonard 1166: 1164: 1160: 1156: 1146: 1142: 1138: 1128: 1123: 1120: 1118: 1113: 1111: 1107: 1103: 1102:Howard Deutch 1097: 1095: 1085: 1083: 1079: 1078:rock concerts 1076:were used at 1075: 1071: 1066: 1064: 1060: 1059:Brett Leonard 1056: 1052: 1042: 1040: 1039: 1028: 1026: 1021: 1019: 1015: 1011: 1001: 998: 993: 989: 983: 977: 976: 970: 968: 964: 959: 955: 951: 947: 939: 935: 926: 924: 920: 916: 915: 910: 906: 902: 898: 894: 884: 881: 877: 870: 864: 863: 852: 850: 849:rock and roll 846: 840: 835: 829: 828: 822: 820: 819:concept album 815: 806: 804: 800: 795: 785: 781: 771: 766: 763: 761: 757: 753: 749: 745: 744:Studio Vision 741: 737: 731: 729: 717: 713: 709: 693: 671: 662: 646: 624: 602: 600: 596: 592: 588: 584: 580: 575: 573: 572: 567: 566:Brett Leonard 563: 559: 555: 551: 550:Timothy Leary 547: 546: 541: 536: 533: 529: 525: 524: 515: 511: 507: 503: 499: 497: 493: 492:Courtney Love 489: 488: 483: 478: 476: 472: 468: 464: 458: 452: 451: 445: 443: 439: 438: 433: 429: 425: 424: 419: 415: 411: 407: 403: 402: 391: 388: 383: 381: 377: 373: 369: 365: 361: 356: 353: 349: 348:concept album 345: 341: 337: 333: 332: 322: 309: 302: 296: 289: 283: 276: 270: 269: 266: 263: 259: 255: 251: 246: 242: 238: 232: 227: 223: 218: 214: 205: 204: 203:Greatest Hits 200: 196: 195: 191: 187: 186: 182: 181: 177: 173: 169: 166:Robin Hancock 165: 163: 159: 156: 153: 151: 147: 135: 131: 126: 123: 121: 118: 116: 113: 110: 106: 104: 101: 99: 96: 95: 94: 92: 88: 81: 78: 75: 72: 71: 69: 65: 61: 57: 53: 49: 45: 40: 36: 32: 27: 22: 19: 5834:Generation X 5638: 5632:Video albums 5620: 5613: 5606: 5599: 5593:Compilations 5581: 5565:The Roadside 5563: 5556: 5538: 5531: 5524: 5518: 5517: 5512:Charmed Life 5510: 5503: 5496: 5489: 5473: 5469:Paul Trudeau 5468: 5463: 5456: 5449: 5396: 5384: 5373: 5367: 5366: 5360: 5348: 5333: 5318: 5314: 5308: 5267: 5244: 5222:. Retrieved 5212: 5203: 5196: 5190: 5174: 5162: 5150: 5138: 5131: 5123:. Retrieved 5121:(in Italian) 5116: 5107: 5091: 5075: 5052: 5046: 5027: 5015: 5003: 4989: 4981: 4969: 4957: 4945:. Retrieved 4941: 4932: 4920:. Retrieved 4913: 4904: 4892:. Retrieved 4888:the original 4881: 4872: 4861: 4841:. Retrieved 4837:the original 4832: 4822: 4810:. Retrieved 4806:the original 4801: 4792: 4780:. Retrieved 4776:the original 4771: 4761: 4749:. Retrieved 4745:the original 4740: 4731: 4719: 4709:19 September 4707:. Retrieved 4703:the original 4698: 4689: 4666: 4660: 4648:. Retrieved 4644:the original 4639: 4629: 4617:. Retrieved 4613:the original 4608: 4583:. Retrieved 4579:the original 4568: 4556:. Retrieved 4545: 4533:. Retrieved 4528: 4519: 4507:. Retrieved 4503:the original 4498: 4495:"Mondo 1995" 4488: 4476:. Retrieved 4472:the original 4467: 4457: 4446: 4434:. Retrieved 4430: 4427:"Idol 'ware" 4417: 4406: 4400: 4390:13 September 4388:. 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Retrieved 3417:the original 3410: 3381:. Retrieved 3377:the original 3372: 3369:"Billy Idol" 3320: 3288: 3284: 3276: 3275: 3265:Social media 3246: 3245: 3244: 3194: 3171: 3149: 3083: 3033: 3004: 2962: 2914: 2913: 2824:Wendy Wilson 2797:Muhammad Ali 2766:Doug Wimbish 2750: 2749: 2721: 2720: 2715:Doug Wimbish 2331: 2322: 2298: 2290: 2288: 2271: 2264: 2262: 2256: 2252: 2239: 2233: 2228: 2222: 2220: 2210: 2205: 2203: 2192: 2188: 2186: 2181: 2177: 2167: 2164:Generation X 2143: 2141: 2134: 2130: 2124: 2120: 2114: 2110: 2104: 2098: 2096: 2092:classic rock 2081: 2074:record label 2064: 2062: 2047: 2041: 2031: 2024: 2020:future shock 2015: 2011: 2005: 2002: 1991: 1985: 1980: 1967: 1964: 1953: 1947: 1941: 1937: 1929: 1925: 1924:Regardless, 1923: 1918:PC/Computing 1916: 1911: 1896: 1891: 1887: 1883: 1879: 1874: 1870: 1863: 1856: 1842: 1834: 1816: 1780:cyberculture 1777: 1761: 1756: 1744: 1740: 1736: 1729: 1727: 1722: 1711: 1709: 1704: 1699: 1693: 1687: 1673: 1672: 1660: 1622: 1610: 1598: 1586: 1486: 1474: 1471: 1466: 1463: 1452: 1450: 1444: 1442: 1434: 1432: 1420: 1370: 1349: 1345: 1343: 1327: 1326: 1319: 1223: 1209: 1190: 1184: 1181:Stan Winston 1174: 1167: 1152: 1144: 1116: 1114: 1109: 1105: 1098: 1093: 1091: 1088:Music videos 1081: 1067: 1054: 1050: 1048: 1036: 1035:Inspired by 1034: 1022: 1017: 1007: 985: 979: 974: 973: 966: 953: 945: 943: 937: 912: 890: 875: 872: 866: 861: 860: 841: 837: 831: 826: 825: 813: 812: 803:Doug Wimbish 791: 783: 743: 735: 734: 725: 579:cyberculture 576: 569: 561: 558:R. U. Sirius 543: 539: 531: 521: 519: 485: 479: 467:Keith Forsey 463:Trevor Rabin 460: 454: 449: 448: 435: 421: 401:Charmed Life 399: 397: 386: 384: 357: 330: 329: 328: 261: 244: 236: 201: 193: 192: 185:Charmed Life 183: 54:29 June 1993 39:Studio album 18: 5855:1993 albums 5829:Discography 5575:Live albums 5402:MusicBrainz 5357:floppy disk 4741:Headcleaner 3766:26 February 3534:11 November 3423:26 February 2908:– rendering 2897:Gwen Mullen 2876:Greg Gorman 2784:David Weiss 2778:Tal Bergman 2774:– bass (10) 2570:"Shangrila" 2375:"Wasteland" 2276:celebrities 2008:Pat Cadigan 1865:Neuromancer 1788:e-mail spam 1690:Ira Robbins 1467:Neuromancer 1271:electronica 1189:series and 1177:stop motion 1010:Boing Boing 799:garage band 712:Patti Smith 545:Boing Boing 508:(left) and 440:, works by 423:Neuromancer 406:Legs McNeil 312:"Wasteland" 103:electronica 79:(Hollywood) 5849:Categories 5756:L.A. Woman 5686:Rebel Yell 5601:Vital Idol 5558:Don't Stop 5498:Rebel Yell 5491:Billy Idol 5439:Billy Idol 5305:Fred Davis 4915:Q Magazine 4558:28 October 4015:28 October 3882:28 October 3296:References 2993:Ö3 Austria 2939:Jaime Levy 2915:Uncredited 2831:Production 2728:Billy Idol 2480:Greg Stump 2325:Billy Idol 2299:Cyberpunk' 2272:Cyberpunk' 2211:Cyberpunk' 2148:Tony James 2038:Re-release 1943:Mondo 2000 1844:In Concert 1769:quoted by 1763:A post to 1445:BILLY IDOL 1310:chronology 1308:Billy Idol 1243:Billy Idol 1186:Terminator 1070:stagecraft 963:Jaime Levy 919:Paul Smith 905:dreadlocks 855:Technology 756:Digidesign 728:media help 562:Mondo 2000 554:Jaime Levy 540:Mondo 2000 523:Mondo 2000 514:cyberdelic 482:Cyberdelic 456:Billy Idol 437:Snow Crash 394:Background 380:multimedia 368:industrial 352:cyberdelic 340:Billy Idol 262:Cyberpunk 174:chronology 172:Billy Idol 44:Billy Idol 5742:Mony Mony 5665:Mony Mony 5519:Cyberpunk 5397:Cyberpunk 5386:Cyberpunk 5375:Cyberpunk 5361:Cyberpunk 5353:HyperCard 5319:Cyberpunk 5204:Billboard 5197:Billboard 4947:12 August 4922:13 August 4894:13 August 4843:13 August 4812:13 August 4782:13 August 4751:13 August 4650:15 August 4619:15 August 4585:13 August 4535:13 August 4509:13 August 4499:SF Weekly 4478:13 August 4436:12 August 4333:13 August 4274:10 August 4226:10 August 4180:12 August 4075:12 August 4045:12 August 3985:12 August 3939:12 August 3911:12 August 3718:12 August 3676:12 August 3631:12 August 3592:12 August 3502:12 August 3383:12 August 3289:Cyberpunk 3271:Footnotes 3249:promotion 3247:Cyberpunk 3181:Position 3172:Cyberpunk 3150:Billboard 3133:UK Albums 2974:position 2963:Cyberpunk 2901:rendering 2705:Personnel 2347:Writer(s) 2332:Cyberpunk 2284:fan clubs 2240:Cyberpunk 2229:Cyberpunk 2221:In 1999, 2206:Cyberpunk 2193:Cyberpunk 2189:Cyberpunk 2182:Cyberpunk 2178:Cyberpunk 2160:cyberpunk 2144:Cyberpunk 2131:Cyberpunk 2121:Cyberpunk 2111:Cyberpunk 2088:power pop 2065:Cyberpunk 2016:Cyberpunk 1968:Cyberpunk 1938:Cyberpunk 1934:Mark Dery 1926:Cyberpunk 1888:Cyberpunk 1884:Cyberpunk 1835:Cyberpunk 1745:Billboard 1723:Cyberpunk 1721:skewered 1705:Cyberpunk 1700:Cyberpunk 1674:Cyberpunk 1475:Billboard 1453:Cyberpunk 1301:Chrysalis 1159:camcorder 1094:Cyberpunk 1051:Cyberpunk 992:Macintosh 954:Cyberpunk 950:HyperCard 876:Cyberpunk 814:Cyberpunk 752:Pro Tools 740:Macintosh 736:Cyberpunk 623:Wasteland 605:Recording 535:HyperCard 471:Macintosh 428:cyberpunk 387:Cyberpunk 360:cyberpunk 338:musician 331:Cyberpunk 237:Cyberpunk 194:Cyberpunk 155:Chrysalis 120:post-punk 109:hard rock 77:Ameraycan 24:Cyberpunk 5286:32508105 5038:29800226 4425:(1998). 4203:AllMusic 3815:Archived 3761:QuickDFW 3580:(1998). 3496:Archived 3322:Bravo TV 3204:See also 3098:VG-lista 2544:Lou Reed 2312:digipaks 2280:fansites 2236:magazine 2227:awarded 1902:the WELL 1784:the WELL 1765:The WELL 1747:charts. 1682:AllMusic 1551:AllMusic 1503:chart. 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