The importance of subcultures in young people’s life
Acquaintance with history of the formation and development of subcultures: mod, skinhead, hippie, rocker, goth, motorcycle club, punk and emo. Research and characteristics of former subculture of the soviet union: young pioneer organization, komsomol.
| Рубрика | Социология и обществознание |
| Вид | дипломная работа |
| Язык | английский |
| Дата добавления | 24.10.2017 |
| Размер файла | 3,2 M |
Отправить свою хорошую работу в базу знаний просто. Используйте форму, расположенную ниже
Студенты, аспиранты, молодые ученые, использующие базу знаний в своей учебе и работе, будут вам очень благодарны.
When they returned to San Francisco, Red Dog participants Luria Castell, Ellen Harman and Alton Kelley created a collective called "The Family Dog." Modeled on their Red Dog experiences, on October 16, 1965, the Family Dog hosted "A Tribute to Dr. Strange" at Longshoreman's Hall. Attended by approximately 500 of the Bay Area's original "hippies", this was San Francisco's first psychedelic rock performance, costumed dance and light show, featuring Jefferson Airplane, The Great Society and The Marbles. Two other events followed before year's end, one at California Hall and one at the Matrix. After the first three Family Dog events, a much larger psychedelic event occurred at San Francisco's Longshoreman's Hall. Called "The Trips Festival", it took place on January 21-January 23, 1966, and was organized by Stewart Brand, Ken Kesey, Owsley Stanley and others. Ten thousand people attended this sold-out event, with a thousand more turned away each night. On Saturday January 22, the Grateful Dead and Big Brother and the Holding Company came on stage, and 6,000 people arrived to imbibe punch spiked with LSD and to witness one of the first fully-developed light shows of the era.
By February 1966, the Family Dog became Family Dog Productions under organizer Chet Helms, promoting happenings at the Avalon Ballroom and the Fillmore Auditorium in initial cooperation with Bill Graham. The Avalon Ballroom, the Fillmore Auditorium and other venues provided settings where participants could partake of the full psychedelic music experience. Bill Ham, who had pioneered the original Red Dog light shows, perfected his art of liquid light projection, which combined light shows and film projection and became synonymous with the San Francisco ballroom experience. The sense of style and costume that began at the Red Dog Saloon flourished when San Francisco's Fox Theater went out of business and hippies bought up its costume stock, reveling in the freedom to dress up for weekly musical performances at their favorite ballrooms. As San Francisco Chronicle music columnist Ralph J. Gleason put it, "They danced all night long, orgiastic, spontaneous and completely free form."
«It is nothing new. We have a private revolution going on. A revolution of individuality and diversity that can only be private. Upon becoming a group movement, such a revolution ends up with imitators rather than participants...It is essentially a striving for realization of one's relationship to life and other people... --Bob Stubbs, "Unicorn Philosophy"»
Some of the earliest San Francisco hippies were former students at San Francisco State College who became intrigued by the developing psychedelic hippie music scene. These students joined the bands they loved, living communally in the large, inexpensive Victorian apartments in the Haight-Ashbury. Young Americans around the country began moving to San Francisco, and by June 1966, around 15,000 hippies had moved into the Haight. The Charlatans, Jefferson Airplane, Big Brother and the Holding Company, and the Grateful Dead all moved to San Francisco's Haight-Ashbury neighborhood during this period. Activity centered round the Diggers, a guerrilla street theatre group that combined spontaneous street theatre, anarchistic action, and art happenings in their agenda to create a "free city." By late 1966, the Diggers opened free stores which simply gave away their stock, provided free food, distributed free drugs, gave away money, organized free music concerts, and performed works of political art.
On October 6, 1966, the state of California declared LSD a controlled substance, which made the drug illegal. In response to the criminalization of psychedelics, San Francisco hippies staged a gathering in the Golden Gate Park panhandle, called the Love Pageant Rally, attracting an estimated 700-800 people. As explained by Allan Cohen, co-founder of the San Francisco Oracle, the purpose of the rally was twofold -- to draw attention to the fact that LSD had just been made illegal, and to demonstrate that people who used LSD were not criminals, nor were they mentally ill. The Grateful Dead played, and some sources claim that LSD was consumed at the rally. According to Cohen, those who took LSD "were not guilty of using illegal substances...We were celebrating transcendental consciousness, the beauty of the universe, the beauty of being."
Summer of Love (1967)
On January 14, 1967, the outdoor Human Be-In in San Francisco popularized hippie culture across the United States, with 20,000 hippies gathering in Golden Gate Park. On March 26, Lou Reed, Edie Sedgwick and 10,000 hippies came together in Manhattan for the Central Park Be-In on Easter Sunday. The Monterey Pop Festival from June 16 to June 18 introduced the rock music of the counterculture to a wide audience and marked the start of the "Summer of Love." Scott McKenzie's rendition of John Phillips' song, "San Francisco", became a hit in the United States and Europe. The lyrics, "If you're going to San Francisco, be sure to wear some flowers in your hair", inspired thousands of young people from all over the world to travel to San Francisco, sometimes wearing flowers in their hair and distributing flowers to passersby, earning them the name, "Flower Children." Bands like the Grateful Dead, Big Brother and the Holding Company (with Janis Joplin), and Jefferson Airplane continued to live in the Haight, but by the end of the summer, the incessant media coverage led the Diggers to declare the "death" of the hippie with a parade. According to the late poet Stormi Chambless, the hippies buried an effigy of a hippie in the Panhandle to demonstrate the end of his/her reign.
Regarding this period of history, the July 7, 1967, Time magazine featured a cover story entitled, "The Hippies: The Philosophy of a Subculture." The article described the guidelines of the hippie code: "Do your own thing, wherever you have to do it and whenever you want. Drop out. Leave society as you have known it. Leave it utterly. Blow the mind of every straight person you can reach. Turn them on, if not to drugs, then to beauty, love, honesty, fun." It is estimated that around 100,000 people traveled to San Francisco in the summer of 1967. The media was right behind them, casting a spotlight on the Haight-Ashbury district and popularizing the "hippie" label. With this increased attention, hippies found support for their ideals of love and peace but were also criticized for their anti-work, pro-drug, and permissive ethos. Misgivings about the hippie culture, particularly with regard to drug abuse and lenient morality, fueled the moral panics of the late 1960s.
Revolution (1968-1969)
In April 1969, the building of People's Park in Berkeley, California received international attention. The University of California, Berkeley had demolished all the buildings on a 2.8 acre parcel near campus, intending to use the land to build playing fields and a parking lot. After a long delay, during which the site became a dangerous eyesore, thousands of ordinary Berkeley citizens, merchants, students, and hippies took matters into their own hands, planting trees, shrubs, flowers and grass to convert the land into a park. A major confrontation ensued on May 15, 1969, and Governor Ronald Reagan ordered a two-week occupation of the city of Berkeley by the United States National Guard. Flower power came into its own during this occupation as hippies engaged in acts of civil disobedience to plant flowers in empty lots all over Berkeley under the slogan "Let a Thousand Parks Bloom."
In August 1969, the Woodstock Music and Art Festival took place in Bethel, New York, which for many, exemplified the best of hippie counterculture. Over 500,000 people arrived to hear the most notable musicians and bands of the era, among them Richie Havens, Joan Baez, Janis Joplin, The Grateful Dead, Creedence Clearwater Revival, Crosby, Stills, Nash & Young, Carlos Santana, The Who, Jefferson Airplane, and Jimi Hendrix. Wavy Gravy's Hog Farm provided security and attended to practical needs, and the hippie ideals of love and human fellowship seemed to have gained real-world expression.
In December 1969, a similar event took place in Altamont, California, about 30 miles (45 km) east of San Francisco. Initially billed as "Woodstock West", its official name was The Altamont Free Concert. About 300,000 people gathered to hear The Rolling Stones; Crosby, Stills, Nash and Young; Jefferson Airplane and other bands. The Hells Angels provided security that proved far less beneficent than the security provided at the Woodstock event: 18-year-old Meredith Hunter was stabbed and killed during The Rolling Stones performance.
By 1970, the 1960s zeitgeist that had spawned hippie culture seemed to be on the wane. The events at Altamont shocked many Americans, including those who had strongly identified with hippie culture. Another shock came in the form of the Sharon Tate and Leno and Rosemary LaBianca murders committed in August 1969 by Charles Manson and his "family" of followers. Nevertheless, the oppressive political atmosphere that featured the bombing of Cambodia and shootings by National Guardsmen at Jackson State University and Kent State University still brought people together. These shootings inspired the May 1970 song by Quicksilver Messenger Service "What About Me?", where they sang, "You keep adding to my numbers as you shoot my people down."
Much of hippie style had been integrated into mainstream American society by the early 1970s. Large rock concerts that originated with the 1967 Monterey Pop Festival and the 1968 Isle of Wight Festival became the norm. In the mid-1970s, with the end of the draft and the Vietnam War, and a renewal of patriotic sentiment associated with the approach of the United States Bicentennial, the mainstream media lost interest in the hippie counterculture. Acid rock gave way to heavy metal, disco, and punk rock. Hippies became targets for ridicule. While many hippies made a long-term commitment to the lifestyle, some younger people argue that hippies "sold out" during the 1980s and became part of the materialist, consumer culture.
Although not as visible as it once was, hippie culture has never died out completely: hippies and neo-hippies can still be found on college campuses, on communes, and at gatherings and festivals. Many embrace the hippie values of peace, love, and community, and hippies may still be found in bohemian enclaves around the world.
Ethos and characteristics
Hippies sought to free themselves from societal restrictions, choose their own ways, and find new meanings in life. One expression of hippie independence from societal norms was found in their standard of dress and grooming, which made hippies instantly recognizable to one another, and served as a visual symbol of their respect for individual rights. Through their appearance, hippies declared their willingness to question authority, and distanced themselves from the "square", or conformist, segments of society.
As in the beat movement preceding them, and the punk movement that followed soon after, hippie symbols and iconography were purposely borrowed from either "low" or "primitive" cultures, with hippie fashion reflecting a disorderly, often vagrant style. As with other adolescent, white middle-class movements, deviant behavior of the hippies involved challenging the prevailing gender differences of their time: both men and women in the hippie movement wore jeans and maintained long hair, and both genders wore sandals or went barefoot Men often wore beards, while women wore little or no makeup, with many going braless." Hippies often chose brightly colored clothing and wore unusual styles, such as bell-bottom pants, vests, tie-dyed garments, dashikis, peasant blouses, and long, full skirts; non-Western inspired clothing with Native American, African and Latin American motifs were also popular. Much of hippie clothing was self-made in defiance of corporate culture, and hippies often purchased their clothes from flea markets and second-hand shops. Favored accessories for both men and women included Native American jewelry, head scarves, headbands and long beaded necklaces. Hippie homes, vehicles and other possessions were often decorated with psychedelic art.
Travel, domestic and international, was a prominent feature of hippie culture, becoming (in this communal process) an extension of friendship. Schoolbusses similar to Ken Kesey's Furthur, or the iconic VW bus, were popular because groups of friends could travel on the cheap. The VW Bus became known as a counterculture and hippie symbol, and many buses were repainted with graphics and/or custom paint jobs--these were predecessors to the modern-day art car. A peace symbol often replaced the Volkswagen logo. Many hippies favored hitchhiking as a primary mode of transport because it was economical, environmentally friendly, and a way to meet new people.
Politics
Hippies were often pacifists and participated in non-violent political demonstrations, such as civil rights marches, the marches on Washington D.C., and anti-Vietnam War demonstrations, including draft card burnings and the 1968 Democratic National Convention protests. The degree of political involvement varied widely among hippies, from those who were active in peace demonstrations to the more anti-authority street theater and demonstrations of the Yippies, the most politically active hippie sub-group. Bobby Seale discussed the differences between Yippies and hippies with Jerry Rubin who told him that Yippies were the political wing of the hippie movement, as hippies have not "necessarily become political yet". Regarding the political activity of hippies, Rubin said, "They mostly prefer to be stoned, but most of them want peace, and they want an end to this stuff."
In addition to non-violent political demonstrations, hippie opposition to the Vietnam War included organizing political action groups to oppose the war, refusal to serve in the military and conducting "teach-ins" on college campuses that covered Vietnamese history and the larger political context of the war.
Scott McKenzie's 1967 rendition of John Phillips' song "San Francisco (Be Sure to Wear Flowers in Your Hair)", which helped inspire the hippie Summer of Love, became a homecoming song for all Vietnam veterans arriving in San Francisco from 1967 on. McKenzie has dedicated every American performance of "San Francisco" to Vietnam veterans, and he sang at the 2002 20th anniversary of the dedication of the Vietnam Veterans Memorial. "San Francisco" became a freedom song worldwide, especially in Eastern European nations that suffered under Soviet-imposed communism.
Hippie political expression often took the form of "dropping out" of society to implement the changes they sought. Politically motivated movements aided by hippies include the back to the land movement of the 1960s, cooperative business enterprises, alternative energy, the free press movement, and organic farming.
Drugs
Following in the well-worn footsteps of the Beats, the hippies also used cannabis (marijuana), considering it pleasurable and benign. They enlarged their spiritual pharmacopeia to include hallucinogens such as LSD, psilocybin and mescaline. On the East Coast of the United States, Harvard University professors Timothy Leary, Ralph Metzner and Richard Alpert (Ram Dass) advocated psychotropic drugs for psychotherapy, self-exploration, religious and spiritual use. In regards of LSD, Leary said, “Expand your consciousness and find ecstasy and revelation within.”
«According to the hippies, LSD was the glue that held the Haight together. It was the hippie sacrament, a mind detergent capable of washing away years of social programming, a re-imprinting device, a consciousness-expander, a tool that would push us up the evolutionary ladder. --Jay Stevens»
On the West Coast of the United States, Ken Kesey was an important figure in promoting the recreational use of psychotropic drugs, especially LSD, also known as "acid." By holding what he called "Acid Tests", and touring the country with his band of Merry Pranksters, Kesey became a magnet for media attention that drew many young people to the fledgling movement. The Grateful Dead (originally billed as "The Warlocks") played some of their first shows at the Acid Tests, often as high on LSD as their audiences. Kesey and the Pranksters had a "vision of turning on the world."
Harder drugs, such as amphetamines and the opiates, were also used in hippie settings; however, these drugs were disdained, even among those who used them, because they were recognized as harmful and addictive. Heroin, for example, was banned from the Stonehenge Free Festival.
Travel
Hippies tended to travel light and could pick up and go wherever the action was at any time; whether at a "love-in" on Mount Tamalpais near San Francisco, a demonstration against the Vietnam War in Berkeley, one of Ken Kesey's "Acid Tests", or if the "vibe" wasn't right and a change of scene was desired, hippies were mobile at a moment's notice. Pre-planning was eschewed as hippies were happy to put a few clothes in a backpack, stick out their thumbs and hitchhike anywhere. Hippies seldom worried whether they had money, hotel reservations or any of the other standard accoutrements of travel. Hippie households welcomed overnight guests on an impromptu basis, and the reciprocal nature of the lifestyle permitted freedom of movement. People generally cooperated to meet each other's needs in ways that became less common after the early 1970s." This way of life is still seen among the Rainbow Family groups, new age travellers and New Zealand's housetruckers. A derivative of this free-flow style of travel was hippie trucks and buses, hand-crafted mobile houses built on truck or bus chassis to facilitate a nomadic lifestyle. Some of these mobile gypsy houses were quite elaborate with beds, toilets, showers and cooking facilities.
On the West Coast, a unique lifestyle developed around the Renaissance Faires that Phyllis and Ron Patterson first organized in 1963.
During the summer and fall months, entire families traveled together in their trucks and buses, parked at Renaissance Pleasure Faire sites in Southern and Northern California, worked their crafts during the week, and donned Elizabethan costume for weekend performances and to attend booths where handmade goods were sold to the public.
The sheer number of young people living at the time made for unprecedented travel opportunities to special happenings. The peak experience of this type was the Woodstock Festival near Bethel, New York, from August 15 to 19, 1969, which drew over 500,000 people.
One travel experience, undertaken by hundreds of thousands of hippies in 1969-1971, was the "overland route to India". Carrying little or no luggage, and with small amounts of cash, almost all followed the same route, hitch-hiking across Europe to Athens and on to Istanbul, then by train through central Turkey via Erzurum, continuing by bus into Iran, via Tabriz and Tehran to Mashad, across the Afghan border into Herat, through southern Afghanistan via Kandahar to Kabul, over the Khyber Pass into Pakistan, via Rawalpindi and Lahore to the Indian frontier. Once in India, hippies went to many different destinations but gathered in large numbers on the beaches of Goa, or crossed the border into Nepal to spend months in Kathmandu. The length of stay in these places was usually between a few weeks and six months. A visa was required for a stay of more than six months in India.
Legacy
The legacy of the hippie movement continues to permeate society. Public political demonstrations are now considered legitimate expressions of free speech. Unmarried couples of all ages feel free to travel and live together without societal disapproval. Frankness regarding sexual matters has become the norm, and the rights of homosexual, bisexual and transsexual people have expanded. Religious and cultural diversity has gained greater acceptance. Co-operative business enterprises and creative community living arrangements are widely accepted. Interest in natural food, herbal remedies and vitamins is widespread, and the little hippie "health food stores" of the 1960s and 1970s are now large-scale, profitable businesses. In particular the development and popularization of the Internet finds its roots in the anti-authoritarian ethos promoted by hippie culture.
Newcomers to the Internet are often startled to discover themselves not so much in some soulless colony of technocrats as in a kind of cultural Brigadoon - a flowering remnant of the '60s, when hippie communalism and libertarian politics formed the roots of the modern cyberrevolution. ... --Stewart Brand, "We Owe It All To The Hippies".
Fashion was one of the immediate legacies of the hippies. During the 1960s, mustaches, beards and long hair became commonplace and colorful, while multi-ethnic clothing dominated the fashion world. Since that time, a wide range of personal appearance options and clothing styles have become acceptable, all of which were uncommon before the hippie era. Hippies inspired many other changes--the decline in popularity of the necktie which had been everyday wear during the 1950s and early 1960s; in literature, books like The Electric Kool-Aid Acid Test; in music, the blending of folk rock into newer forms including acid rock and heavy metal; and in television and film, far greater visibility and influence, with some films depicting the hippie ethos and lifestyle, such as Woodstock, Easy Rider, Hair, The Doors, and Crumb.
The tradition of hippie festivals began in the United States in 1965 with Ken Kesey's Acid Tests, where the Grateful Dead played stoned on LSD and initiated psychedelic jamming. For the next several decades, many hippies and neo-hippies became part of the Deadhead and Phish Head communities, attending music and art festivals held around the country. The Grateful Dead toured continuously, with few interruptions between 1965 and 1995. Phish toured continuously between 1983 and 2004. Today, many of the bands performing at hippie festivals and their derivatives are called jam bands, since they play songs that contain long instrumentals similar to the original hippie bands of the 1960s. Psychedelic trance or "psytrance", a type of techno music influenced by 60s psychedelic rock and hippie culture is also popular among neo-hippies worldwide. Psytrance hippies usually attend separate festivals where only electronic music is played.
With the demise of the Grateful Dead and Phish, nomadic touring hippies attend a growing series of summer festivals, the largest of which is called the Bonnaroo Music & Arts Festival, which premiered in 2002. The Oregon Country Fair is a three-day festival featuring hand-made crafts, educational displays and costumed entertainment. The annual Starwood Festival, founded in 1981, is a six-day event indicative of the spiritual quest of hippies through an exploration of non-mainstream religions and world-views, and has offered performances and classes by a variety of hippy and counter-culture icons.
The Burning Man festival began in 1986 at a San Francisco beach party and is now held in the Black Rock Desert northeast of Reno, Nevada. Though few participants would accept the "hippie" label, Burning Man is a contemporary expression of alternative community in the same spirit as early hippie events. The gathering becomes a temporary city (36,500 occupants in 2005), with elaborate encampments, displays and many art cars.
There are even more local and regional festivals, as well as underground and public gatherings, that enjoy a large attendance. The Rainbow Family Gatherings, Community Peace Festivals, Woodstock Festivals and others have helped perpetuate and continue the culture as well as creating an environment of peace and networking for the greater good.
In the UK, there are many new age travellers who are known as hippies to outsiders, but prefer to call themselves the Peace Convoy. They started the Stonehenge Free Festival in 1974, especially Wally Hope, until the English Heritage legally banned the festival, resulting in the Battle of the Beanfield in 1985. With Stonehenge banned as a festival site new age travellers gather at the annual Glastonbury Festival to see hundreds of live dance, comedy, theatre, circus, cabaret and other performances. Between 1976 and 1981, hippie music festivals were held on large farms around Waihi and Waikino in New Zealand. Named Nambassa, the festivals focused on peace, love, and a balanced lifestyle, featuring workshops and displays advocating alternative lifestyles, clean and sustainable energy, and unadulterated foods.
1.4 Rocker
Rockers are members of a subculture that started in the United Kingdom in the 1960s among motorcycle riding youths. Before that time, young motorcyclists had not been grouped together and labelled as such. The term was originally applied in a derogatory manner, but was later adopted by those same youths.
Rockers are different from greasers, rockabillies, Teddy Boys, psychobillies and punks. However, rockers in the 1960s were commonly referred to as greasers or grease as an insult by mods and skinheads, and today the British use of the terms greasers and rockers are fairly interchangeable.
Origins and characteristics
The rocker subculture came about due to factors such as the end of Post-World War II rationing in the UK and a general rise in prosperity for working class youths, the recent availability of credit and financing for young people, the influence of American popular music and film, the construction of race track-like new arterial ring roads around British cities, and the development of transport cafes (pronounced "caffs" by rockers of that period) that became their natural haunts. These factors coincided with a peak in British motorcycle engineering. Although rocker-style youths existed in the 1950s, they were known as the Ton up Boys because ton-up was English slang for driving 100 mph (160 km/h). It wasn't until the 1960s that they became known as rockers and they were immersed into rockabilly music and fashions and began to be known as much for their devotion to rock and roll music as they were for their motorcycles.
Rockers generally bought standard factory-made motorcycles and stripped them down, tuned them up and modified them to appear like racing bikes. They raced them on public roads and travelled to cafes such as The Ace Cafe, Chelsea Bridge tea stall, Ace of Spades, Busy Bee and Johnsons. Largely due to their clothing styles and dirtiness, the rockers were not widely welcomed by venues such as pubs and dance halls. This attitude remained prevalent in the UK until the early 1990s, when there was a notable change in the demographics of motorcycle riders in the country. Rockers were generally reviled by the British motorcycle industry and general enthusiasts as being bad for the industry and the sport. Originally, many rockers opposed recreational drug use, and according to Johnny Stuart,
[t]hey had no knowledge of the different sorts of drugs. To them amphetamines, cannabis, heroin and other drugs were something to be hated. Their ritual hatred of Mods and other sub-cultures was based in part on the fact that these people were believed to take drugs and were therefore regarded as sissies. Their dislike of anyone connected with drugs was intense.
Rockers became defined as the antitheses of their scooter-riding contemporaries, the mods. The mods and rockers conflict attracted attention in 1964 because of sensationalistic media coverage of fights between the two groups. Mods and rockers became known for Bank Holiday clashes in the southern English holiday resorts of Clacton, Margate and Brighton.
Fashion and music
The first rockers were primarily known for their motorcycles, but by the 1960s, their subculture became associated with a specific music genre and clothing style. Many rockers mostly favored 1950s and early-1960s rock and roll by artists such as Gene Vincent, Eddie Cochran, Chuck Berry and Elvis Presley.
The rocker fashion style was born out of necessity and practicality. They wore heavily-decorated leather motorcycle jackets; often adorned with metal studs, patches, pin badges, and sometimes an ESSO gas man trinket. When they rode their motorcycles, they usually also wore a classic open-face helmet, aviator goggles, and a white silk scarf (to protect them from the elements). Other common items included: leather caps called Kagneys, Levi's jeans, leather trousers, tall motorcycle boots (often made by Lewis Leathers), engineer boots, brothel creepers, T-shirts and Daddy-O-style shirts. Also popular was a patch declaring membership to the 59 Club of England, a church-based youth organization that later formed into a genuine motorcycle club with members all over the world. The rocker hairstyle, kept in place with Brylcreem pomade, was usually a tame or exaggerated pompadour hairstyle; as was popular with some 1950s rock 'n' roll musicians.
Cafe Racers
The term originated in the 1950s and 1960s, when Rockers often frequented cafe's, using them as starting and finishing points for daring road races. A cafe racer is a motorcycle that has been modified for speed and good handling rather than for comfort. Features include a single racing seat, low handle bars (such as ace bars or one-sided clip-ons mounted directly onto the front forks for control and aerodynamics), half or full race fairings, large racing petrol tanks (often left unpainted), swept-back exhaust pipes, and rearset footpegs (to give better clearance while cornering at high speeds). These motorcycles were lean, light and handled various road surfaces well. The most defining machine of the rocker heyday was the the Triton, which was a custom motorcycle made of a Norton Featherbed frame and a Triumph Bonneville engine. It used the most common and fastest racing engine combined with the best handling frame of its day.
The term cafe racer is now also used to describe motorcycle riders who prefer vintage British, Italian or Japanese motorbikes from the 1950s to late 1970s. These individuals don't resemble the rockers of earlier decades, and they dress in a more modern and comfortable style; with only a hint of likeness to the rocker style. Levi's jeans, generic motorcycle jackets and modern helmets are the norm, instead of the specific brand names and styles favoured by 1960s rockers. These cafe racers have taken elements of American greaser, British rocker and modern motorcycle rider styles to create a look of their own.
The term cafe racer also refers to a specific lightweight leather motorcycle jacket that originated in the 1950s and that may have been designed as more casual non-biking wear, such as the cafe racer jacket by Schott.
1970s revival
In the early 1970s, the British rocker and hardcore motorcycle scene fractured and evolved under new influences coming in from California; the hippies and the Hells Angels. The remaining rockers became known as greasers, and the scene had all but died out in form, but not in spirit. However, in the early 1980s, The Rocker Reunion Club was started by Len Paterson and a handful of original Chelsea Bridge Boys who held nostalgic rocker reunion dances and motorcycle runs to historic destinations such as Brighton Beach. Within a few years, these attracted 10,000 to 12,000 revivalists, and gained widespread media attention and new converts until Paterson sold his rights to the name. The rockers' look and attitude was adopted by many street gangs and crews such as The Savage Nomads, The Skulls, and The Seven Immortals, in New York City and other large cities and rough neighborhoods across the country. It was also worn by punk rock bands and fans in the late 1970s. In the 2000s, the rocker subculture is an influence on the rockabilly revival and punkabilly scenes. The modern-day rocker-style has followings all over the world, especially in Japan (where it was originally led by Koji Baba, who attended the rocker reunions), and also in the United States and Australia.
2000s revivals
In the 2000s, many rockers still wear engineer boots or full-length motorcycle boots, but Winkle Pickers (sharp pointed shoes) are no longer common. Some rockers in the 2000s wear Dr. Martens boots, brothel creepers (originally worn by Teddy Boys), or military combat boots. Rockers have continued to wear motorcycle jackets, leather trousers and white silk scarves while riding their bikes. Leather caps adorned with metal studs and chains, common among rockers in the 1950s and 1960s, are rarely ever seen any more. In its place, some contemporary rockers wear a classic wool English driving cap. Rockers in the 2000s tend to ride classic British motorcycles such as a Triumph, Norton, or Triton motorcycle hybrid of the two. Other popular motorcycle brands include BSA, Royal Enfield and Matchless from the 1960s. Classically-styled European cafe racers are now also seen; sometimes using Moto Guzzi, Ducati or classic Japanese engines with British-made frames, such as those made by Rickman.
Other uses of the term rocker
The term rocker is also used more generically in the North America to describe rock music musicians or fans. In Jamaica, the term rocker is used to describe a devotee of 1970s-era reggae music. In Germany, the term rocker has been used to describe members of specific cult-like backpatch motorcycle clubs. Interpol used the term rocker as a code word during a widescale investigation into outlaw biker gangs.
1.5 Goth
The Goth subculture is a contemporary subculture found in many countries. It began in the United Kingdom during the early 1980s in the gothic rock scene, an offshoot of the post-punk genre. The Goth subculture has survived much longer than others of the same era, and has continued to diversify. Its imagery and cultural proclivities indicate influences from nineteenth century Gothic literature along with horror movies and to a lesser extent, - according to Cйsar Fuentes Rodrнguez and Carol Siegel - the BDSM culture.
The Goth subculture has associated tastes in music, aesthetics, and fashion, whether or not all individuals who share those tastes are in fact members of the goth subculture. Gothic music encompasses a number of different styles. Common to all is a tendency towards a lugubrious, mystical sound and outlook. Styles of dress within the subculture range from deathrock, punk, androgynous, medieval, some Renaissance and Victorian style clothes, or combinations of the above, most often with black attire, makeup and hair.
Origins and development
By the late 1970s, there were a few post-punk bands in the United Kingdom labeled "gothic." However, it was not until the early 1980s that gothic rock became its own subgenre within post-punk, and that followers of these bands started to come together as a distinctly recognizable movement. The scene appears to have taken its name from an article published in UK rock weekly Sounds: `The face of Punk Gothique', written by Steve Keaton and published on February 21 1981. The opening of the Batcave in London's Soho in July 1982 provided a prominent meeting point for the emerging scene, which had briefly been labeled positive punk by the New Musical Express. The term "Batcaver" was later used to describe old-school goths.
Independent of the British scene, the late 1970s and early 1980s saw death rock branch off from American punk. In 1980s and early 1990s, members of an emerging subculture in Germany were called Grufti[e]s (English "vault creatures" or "tomb creatures"); they generally followed a fusion of the gothic and new wave with an influence of new romantic, and formed the early stages of the "dark culture" (formerly called "dark wave culture").
After post-punk
After the waning in popularity of post-punk, the subculture diversified both musically and visually. This caused variations in style ("types" of goth). Usually, the appearance of each of the "types" of Goth reflects a certain mindset, although not necessarily. Local scenes also contributed to this variation. By the 1990s, Victorian fashion saw a renewed popularity in the goth scene, drawing on the mid-19th century gothic revival and the more morbid aspects of Victorian culture.
Current subcultural boundaries
By the 1990s, the term "goth" and the boundaries of the associated subculture had become more contentious. New subcultures emerged, or became more popular, some of them being conflated with the Goth subculture by the general public and the popular media. This conflation was primarily owing to similarities of appearance, social customs, and the fashions of the subcultures, rather than the musical genres of the bands associated with them. As time went on, the term was extended further in popular usage, sometimes to define groups that had neither musical nor fashion similarities to the original gothic subculture.
This has led to the introduction of Goth slang terms that some goths and others use to sort and label members of loosely related or at times unrelated subcultures. These include but are not limited to mallgoths in the US, dark in Latin America and Italy, hackians in New Zealand and spooky kids, moshers or mini moshers in the UK. More positive terms, such as mini-goths or baby bats, are also used by some older goths to refer to youths whom they see as exhibiting potential for growth into mature goths later on. The prevalence of internet-based information regarding Goth has resulted in a distorted and overstated perception of varying slang terms as used in reality and offline, particularly with regard to those terms allegedly used outside of the UK and US.
The response of these newer groups to the older subculture varies. Some of them express offense at being called "Goth" in the first place, while others choose to join the existing subculture on its own terms. Still others have simply ignored its existence, and decided to appropriate the term "goth" themselves, and redefine the idea in their own image. Even within the original subculture, changing trends have added to the complexity of attempting to define precise boundaries.
The Goth scene
The bands that began the gothic rock and death rock scene were limited in number, and included Bauhaus, Specimen, Siouxsie & the Banshees,The Damned, Southern Death Cult, Ausgang, Sex Gang Children, 45 Grave, UK Decay, The Virgin Prunes, Kommunity FK, Alien Sex Fiend and Christian Death. Gloria Mundi, Joy Division, The Cure, Dead Can Dance, early Adam and the Ants and Killing Joke have also been associated.
By the mid-eighties, the number of bands began proliferating and became increasingly popular, including The Sisters of Mercy, The Mission (known as The Mission UK in the US), Xmal Deutschland, The Bolshoi and Fields of the Nephilim. The nineties saw the further growth of eighties bands and emergence of many new bands. Factory Records, 4AD Records, and Beggars Banquet Records released much of this music in Europe, while Cleopatra Records among others released much of this music in the United States, where the subculture grew especially in New York, Los Angeles, and Orange County, California, with many nightclubs featuring "gothic/industrial" nights. The popularity of 4AD bands resulted in the creation of a similar US label called Projekt Records. This produces what is colloquially termed ethereal wave, a subgenre of dark wave music.
By the mid-1990s, styles of music that were heard in venues that goths attended ranged from gothic rock, death rock, industrial music, EBM, ambient, experimental, synthpop, shoegazing, punk rock, 1970s glam rock, indie rock, to 1980s dance music. This variety was a result of the eclectic tastes of the members of the subculture.
Bauhaus - Live in concert, February 3, 2006
Recent years have seen some kind of resurgence in the early positive punk and death rock sound, in reaction to aggrotech, futurepop, and synthpop, which had taken over many Goth clubs. Bands with an earlier Goth sound like Cinema Strange, Bloody Dead And Sexy, Black Ice, and Antiworld are becoming very popular. Nights like Ghoul School and Release “The Bats” promote death rock heavily, and the Drop Dead Festival brings in death rock fans from all over the world. Goth and death rock magazines like Drop Dead Magazine (a companion to Drop Dead Festival) also help spread its popularity.
Today, the goth music scene thrives in Western Europe, especially Germany, with large festivals such as Wave-Gotik-Treffen, M'era Luna and others drawing tens of thousands of fans from all over the world. However, North America still sees large scale events, most recently, Chamber's Dark Art & Music Festival.
Historical and cultural influences
Origins of the term
The original Goths were an Eastern Germanic tribe who played an important role in the fall of the Western Roman Empire. In some circles, the name "goth" later became pejorative: synonymous with "barbarian" and the uncultured due to the then-contemporary view of the fall of Rome and depictions of the pagan Gothic tribes during and after the process of Christianization of Europe. During the Renaissance period in Europe, medieval architecture was retroactively labeled gothic architecture, and was considered unfashionable in contrast to the then-modern lines of classical architecture.
In the United Kingdom, by the late 1700s, however, nostalgia for the medieval period led people to become fascinated with medieval gothic ruins. This fascination was often combined with an interest in medieval romances, Roman Catholic religion and the supernatural. Enthusiasts for gothic revival architecture in the United Kingdom were led by Horace Walpole, and were sometimes nicknamed "goths", the first positive use of the term in the modern period.
The gothic novel of the late eighteenth century, a genre founded by Horace Walpole with the 1764 publication of The Castle of Otranto, was accountable for the more modern connotations of the term gothic. He originally claimed that the book was a real medieval romance he had discovered and republished. Thus was born the gothic novel's association with fake documentation to increase its effect. Henceforth, the term was associated with a mood of horror, morbidity, darkness and the supernatural as well as camp and self-parody. The gothic novel established much of the iconography of later horror literature and cinema, such as graveyards, ruined castles or churches, ghosts, vampires, nightmares, cursed families, being buried alive and melodramatic plots. An additional notable element was the brooding figure of the gothic villain, which developed into the Byronic hero. The most famous gothic villain is the vampire, Dracula, originally depicted in a novel by Bram Stoker, then made more famous through the medium of horror movies.
The powerful imagery of horror movies began in German expressionist cinema in the twenties then passed onto the Universal Studios films of the thirties, then to camp horror B films such as Plan 9 From Outer Space and then to Hammer Horror films. By the 1960s, TV series, such as The Addams Family and The Munsters, used these stereotypes for camp comedy.
Certain elements in the dark, atmospheric music and dress of the post punk scene were clearly gothic in this sense. The use of gothic as an adjective in describing this music and its followers led to the term Goth.
20th century influences
The influence of the gothic novel on the Goth subculture can be seen in numerous examples of the subculture's poetry and music, though this influence sometimes came second hand, through the popular imagery of horror films and television. The Byronic hero, in particular, was a key precursor to the male Goth image, while Dracula's iconic portrayal by Bela Lugosi appealed powerfully to early goths. They were attracted by Lugosi's aura of camp menace, elegance and mystique. Some people even credit the band Bauhaus' first single "Bela Lugosi's Dead", released August 1979, with the start of the Goth subculture, though many prior art house movements also influenced gothic fashion and style. Notable early examples include Siouxsie Sioux of the musical group Siouxsie and the Banshees, and Dave Vanian of the band The Damned. Some members of Bauhaus were themselves fine art students and/or active artists.
Some of the early gothic rock and death rock artists adopted traditional horror movie images, and also drew on horror movie soundtracks for inspiration. Their audiences responded in kind by further adopting appropriate dress and props. Use of standard horror film props like swirling smoke, rubber bats, and cobwebs were used as gothic club dйcor from the beginning in The Batcave. Such references in their music and image were originally tongue-in-cheek, but as time went on, bands and members of the subculture took the connection more seriously. As a result, morbid, supernatural, and occult themes became a more noticeably serious element in the subculture. The interconnection between horror and Goth was highlighted in its early days by The Hunger, a 1983 vampire film, which starred David Bowie, Catherine Deneuve, and Susan Sarandon. The movie featured gothic rock group Bauhaus performing "Bela Lugosi's dead" in a nightclub. In 1993, Whitby became the location for what became the UK's biggest Goth festival as a direct result of being featured in Bram Stoker's Dracula.
The Revolutionary War-era "American Gothic" story of the Headless Horseman, immortalized in Washington Irving's story "The Legend of Sleepy Hollow" (published in book form in 1820 along with Irving's equally fantastic "Rip Van Winkle") marked the arrival in the New World of dark, romantic story-telling. The tale was composed by Irving while he was living in England, and was based (as was its companion piece) on popular tales told by colonial Dutch settlers of New York's Hudson River valley. Although the first film adaptation was made in 1922, with Will Rogers as a silent and monochromatic Ichabod Crane, the tale solidly entered 20th century pop culture when Disney included it in the 1949 animated omnibus movie The Adventures of Ichabod and Mr. Toad. Nine years later it was separated from its Wind in the Willows partner, and as The Legend of Sleepy Hollow became a favorite on Disney's Sunday-night show on NBC, usually as a Halloween-week special.
Although another live-action film was shot in 1980 (starring Jeff Goldblum), the story found its richest treatment yet in Tim Burton's 1999 film Sleepy Hollow. Burton, already famous through his films Edward Scissorhands, Beetlejuice and Batman as producing a unique blend of myth, magic and the macabre, brought his full powers to bear on the story, creating a storybook atmosphere that nevertheless was filled with darkness and shadow. Burton's biggest departure from the admittedly dumbed-down Disney version was in giving equal weight to the stories of both Crane and the Horseman. As in Irving's original tale, the headless rider (Christopher Walken) is an undead Hessian mercenary, but Burton uses a whole raft of traditionally gothic, horrific, medieval and Inquisitional imagery in bringing his version alive.
Throughout the evolution of Goth subculture, classic romantic, gothic and horror literature has played a significant role. Keats, Poe, Baudelaire and other tragic and romantic writers have become as emblematic of the subculture as has using dark eyeliner or dressing in black. Baudelaire, in fact, in his preface to Les Fleurs du Mal (Flowers of Evil) penned lines that as much as anything can serve as a sort of Goth malediction:
C'est l'Ennui! --l'њil chargй d'un pleur involontaire,
Il rкve d'йchafauds en fumant son houka.
Tu le connais, lecteur, ce monstre dйlicat,
--Hypocrite lecteur,--mon semblable,--mon frиre!
It is ennui! -- an eye brimming with an involuntary tear,
He dreams of the gallows in the fumes of his water-pipe.
You apprehend, reader, this fragile monster,
--hypocrite reader,--my mirror,--my brother!
A newer literary influence on the gothic scene was Anne Rice's re-imagining of the idea of the vampire. Rice's characters were depicted as struggling with eternity and loneliness. This was their ambivalent or tragic sexuality had deep attractions for many Goth readers, making her works very popular in the eighties through the nineties. Movies based on her books have been filmed in recent years -- notably Interview with the Vampire, in which goths appear directly and indirectly.
Later media influences
As the subculture became well-established, the connection between Goth and horror fiction became almost a clichй, with Goths quite likely to appear as characters in horror novels and film. For example, The Crow drew directly on Goth music and style. Neil Gaiman's acclaimed graphic novel series The Sandman influenced Goths with characters like the dark, brooding Dream and his sister Death. Anne Rice's book series The Vampire Chronicles and the popular World of Darkness roleplaying games, especially Vampire: the Masquerade, also referred directly to gothic music and culture and encouraged an interest in the scene. Influences from anime, cyberpunk fiction such as The Matrix and Shadowrun have increased interest in the goth scene although unrelated, adding to Cyber subculture, or Industrial/goth fusion; and the popularity of Industrial music.
...Подобные документы
Study the opinion of elderly people and young people about youth culture. Subculture as a group of people with the same interests and views on life. Passion for today's youth to heavy music, computers, dance parties and special styles of clothing.
презентация [654,6 K], добавлен 28.10.2014Problems in school and with parents. Friendship and love. Education as a great figure in our society. The structure of employed young people in Russia. Taking drugs and smoking as the first serious and actual problem. Informal movements or subcultures.
контрольная работа [178,7 K], добавлен 31.08.2014What’s a hippie? What’s the difference between an old hippie and a new hippie? Once a hippie, always a hippie? These and similar questions are the source of much debate today.
реферат [384,2 K], добавлен 03.02.2004Корпоративна культура "Ернст енд Янг". Розвиток бренду роботодавця. Стратегічне партнерство з провідними вищими навчальними закладами та молодіжними організаціями. Програма підтримки працюючих мам, професійного та кар’єрного розвитку персоналу компанії.
доклад [429,6 K], добавлен 16.05.2015The essence of social research communities and their development and functioning. Basic social theory of the XIX century. The main idea of Spencer. The index measuring inequality in income distribution Pareto. The principle of social action for Weber.
реферат [32,5 K], добавлен 09.12.2008The nature and content of the concept of "migration". The main causes and consequences of migration processes in the modern world. Countries to which most people are emigrating from around the world. TThe conditions for obtaining the status of "migrant".
презентация [4,8 M], добавлен 22.03.2015Migration policies: The legal framework. The evolution of migration flows. Percentage of Portuguese emigration by district. Key migrant characteristics. Characteristics of legal migrants. Return migration. Portuguese emigration by destination, 1950-1988.
реферат [65,6 K], добавлен 25.06.2010The concept, definition, typology, characteristics of social institute. The functions of social institution: overt and latent. The main institution of society: structural elements. Social institutions of policy, economy, science and education, religion.
курсовая работа [22,2 K], добавлен 21.04.2014Teenagers have a particular relationship with the world. They always try to express their individuality. Popular way of expressing the individuality. Teenagers join the group. The reasons of the problems. But are there only problems in teens life?
презентация [1,1 M], добавлен 26.05.2014The interpretations of cybernetics. The term "cybernetics" has been associated with many stimulating conferences, yet cybernetics has not thrived as an organized scientific field within American universities. Questions about the history of cybernetics.
реферат [58,5 K], добавлен 24.06.2010The study of human populations. Demographic prognoses. The contemplation about future social developments. The population increase. Life expectancy. The international migration. The return migration of highly skilled workers to their home countries.
реферат [20,6 K], добавлен 24.07.2014American marriage pattern, its types, statistics and trends among different social groups and ages. The reasons of marriage and divorce and analyzing the statistics of divorce and it’s impact on people. The position of children in American family.
курсовая работа [48,3 K], добавлен 23.08.2013The concept and sex, and especially his studies in psychology and sociology at the present stage. The history of the study of the concepts of masculinity and femininity. Gender issues in Russian society. Gender identity and the role of women in America.
дипломная работа [73,0 K], добавлен 11.11.2013Description situation of the drugs in the world. Factors and tendencies of development of drugs business. Analysis kinds of drugs, their stages of manufacture and territory of sale. Interrelation of drugs business with other global problems of mankind.
курсовая работа [38,9 K], добавлен 13.09.2010Four common social classes. Karl Marx's social theory of class. Analysis the nature of class relations. The conflict as the key driving force of history and the main determinant of social trajectories. Today’s social classes. Postindustrial societies.
презентация [718,4 K], добавлен 05.04.2014Global Feminist Revolution. Women’s Emancipation Movement. Feminism in International Relations and Discrimination. Gender discrimination. Women in the History of International Relations. Women Officials in the contemporary International Relations.
реферат [22,6 K], добавлен 21.11.2012Rockers have emerged as a subculture in the fifties- sixties, in the era of rock'n'roll. Features of clothes style, a hairdress also are necessary attributes of the real rocker. Rockers wear leather motorcycle jacket adorned with an abundance of buttons.
презентация [10,8 M], добавлен 21.03.2012Beliebte Musikgenres derzeit in Russland. Untrennbar aus den Genres der Rockmusik Subkultur: rocker, hippie, punk, metaller, goth, emo. Das Thema und die Inhalte der Lieder, ihre tiefe und philosophische Bedeutung. Russische Musik: Künstler, Gruppen.
презентация [2,9 M], добавлен 17.04.2016A particular cultural grouping is a way for young people to express their individuality. Bikers movements in the USA, Europe and Russia. Symbolism and closes of bikers. Night Wolves - is Russia's first biker club. The most popular groups among bikers.
презентация [1,5 M], добавлен 12.03.2013The development of painting in the USA. The Colonial Period. The First American Revolution and the young republic. The Era of Jacksonian Democracy. The main genres of painting and their representatives. Landscape painting, still life and history painting.
курсовая работа [80,2 K], добавлен 15.02.2014
