Subcultures influenced by punk

Several subcultures started out closely related to the punk subculture but broke away, becoming distinct and separate cultures. Some of these groups have retained friendly and cooperative relations with punks, but others have developed a feeling of mutual animosity.

Interactions with other subcultures

The late-1960s skinhead subculture had largely died out by 1972, but was revived in the late 1970s, partly because of the influence of punk rock. This led to the development of the working class Oi! movement. Conversely, soul, ska and reggae, popular among traditionalist skinheads, have had an influence on punk music. Punks and skinheads have had both antagonistic and friendly relationships, depending on the social circumstances, time period and geographic location.

Punk and hip hop emerged around the same time in New York City, and there has been some interaction between the two subcultures. Some of the first hip hop MCs called themselves punk rockers, and some punk fashions have found their way into hip hop dress. Malcolm McLaren played roles in introducing both punk and hip hop to the United Kingdom. Hip hop has influenced some punk and hardcore bands, such as Blaggers I.T.A., Biohazard, The Transplants and Refused.

The punk and heavy metal subcultures have shared similarities since punk's inception. The early 1970s metal scene was instrumental in the development of protopunk. Glam rockers New York Dolls were massively influential on early punk fashion, and also influenced glam punk and glam metal. Alice Cooper was a forerunner of the fashion and music of both the punk and metal subcultures. Motцrhead, since their first album release in 1977, have had continued popularity in the punk scene, and singer Lemmy is a fan of punk rock. Punk-related genres such as metalcore, grindcore and crossover thrash were greatly influenced by heavy metal. The New Wave of British Heavy Metal influenced the UK 82 style, and hardcore punk was a primary influence on thrash metal bands such as Metallica and Slayer; and by proxy, was an influence on death metal and black metal. The grunge subculture was in large a fusion of punk and metal styles in the late 1980s. However, metal's mainstream incarnations have proven anathema to punk. Hardcore and grunge developed in part as reactions against the metal music popular during the 1980s. The industrial subculture also has several ties to punk, in terms of music, fashion and attitude.

In punk's heyday, punks faced harassment and violent attacks from the general public and from members of other subcultures. It has been reported that in the UK, punks were involved in brawls with Teddy Boys, greasers and bikers. There was also considerable enmity between positive punks and the New Romantics. In the United States, punks sometimes faced abuse from rednecks and other right-wing groups such as white power skinheads. In Sweden, the raggare have sometimes attacked punks.

Interactions with popular culture

Punk has influenced, and has been influenced by, popular culture in a number of ways. Since the beginning of the subculture, major label record labels, haute couture, and the mass media have attempted to use punk for profit. For the most part, punk has met this cultural appropriation with resistance, because of the punk ethic of musical integrity.

1.8 Emo

Emo is a style of rock music which describes several independent variations of music with common stylistic roots. As such, use of the term has been the subject of much debate. In the mid-1980s, the term emo described a subgenre of hardcore punk which originated in the Washington, DC music scene. In later years, the term emocore, short for "emotional hardcore", was also used to describe the emotional performances of bands in the Washington DC scene and some of the offshoot regional scenes such as Rites of Spring, Embrace, One Last Wish, Beefeater, Gray Matter, Fire Party, and later, Moss Icon. (In more recent years, the term "emotive hardcore" entered the lexicon to describe the period.)

Starting in the mid-1990s, the term emo began to refer to the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate and Texas Is the Reason had a more indie rock style of emo, more melodic and less chaotic. The so-called "indie emo" scene survived until the late 1990s, as many of the bands either disbanded or shifted to mainstream styles. As the remaining indie emo bands entered the mainstream, newer bands began to emulate the mainstream style. As a result, the term "emo" became a vaguely defined identifier rather than a specific genre of music.

History

First wave (1985-1994)

In 1985 in Washington, D.C., Ian MacKaye and Guy Picciotto, veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye's Embrace and Picciotto's Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (1984 album Zen Arcade is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as "Revolution Summer".

Where the term emo actually originated is uncertain, but members of Rites of Spring mentioned in a 1985 interview in Flipside Magazine that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as emo-core, though it's unclear when the term shifted.

Within a short time, the D.C. emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Soulside, Shudder To Think, Fire Party, Marginal Man, and Gray Matter, many of which were released on MacKaye's Dischord Records. The original wave of DC emo finally ended in late 1994 with the collapse of Hoover.

As the D.C. scene expanded, other scenes began to develop with a similar sound and DIY ethic. In San Diego in the early 1990s, Gravity Records released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common.

At the same time, in the New York/New Jersey area, bands such as Native Nod, Merel, 1.6 Band, Policy of 3, Rye Coalition, Iconoclast and Quicksand were feeling the same impulse. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed screamo.

By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as Four Hundred Years and Yaphet Kotto. Also, a handful of modern bands continue to reflect emo's hardcore origins, including Circle Takes the Square, Hot Cross, City of Caterpillar, Funeral Diner, and A Day in Black and White.

Following the disbanding of Embrace in 1986, MacKaye established the influential group Fugazi, and was soon joined by Picciotto. While Fugazi itself is not typically categorized as emo, the band's music is cited as an influence by popular second-wave bands such as Sunny Day Real Estate, Braid, and Jimmy Eat World.

Early influence

In California - particularly in the Bay Area - bands such as Jawbreaker and Samiam began to incorporate influences from the "D.C. sound" into a poppier framework; The former's music was described by Andy Greenwald as "a sonic shot-gun marriage between the bristly heft of hardcore, the song-writing sensibility of Cali pop-punk, and the tortured artistry of D.C. emo". Other bands soon reflected the same sense of rough melody, including Still Life and Long Island's Garden Variety.

Also in the early 90s, bands like Lifetime reacted in their own way to the demise of youth crew styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be melodic hardcore. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime's sound, lyrics, and style were a virtual blueprint for later bands, including Saves the Day, Taking Back Sunday, and The Movielife.

Second wave (1994-2000)

As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the post-punk influences of Mission of Burma and Hьsker Dь, a new genre of emo emerged.

Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop's then-recent success with Nirvana and Soundgarden, the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in Rolling Stone. The heavier label support allowed the band to secure performances on TV shows, including The Jon Stewart Show. As a result, the album received widespread national attention.

As more and more people learned about the band, particularly via the fledgling World Wide Web, the band was given the tag emo. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more indie rock style of emo. It was not uncommon for Sunny Day and its peers to be labeled with the full "emo-core". However, when pressed to explain "emo", many fans split the genre into two brands: the "hardcore emo" practiced in the early days and the newer "indie emo".

In the years that followed, several major regions of "indie emo" emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as "Midwestern emo" given the geographic location of the bands, with several of the best-known bands hailing from the areas around Chicago, Kansas City, Omaha and Milwaukee. The initial bands in this category included Boy's Life and Cap'n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, Cursive, and The Get Up Kids emerged from the same scene and gained national attention.

The area around Phoenix, Arizona became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers Jimmy Eat World began stirring emo influences into their music, eventually releasing the album Static Prevails in 1996. The album was arguably the first emo record released by a major label, as the band had signed with Capitol Records in 1995.

Other bands that followed the "indie emo" model included Colorado's Christie Front Drive, New York's Texas Is the Reason and Rainer Maria, California's Knapsack and Sense Field, Baltimore's Cross My Heart, Austin's Mineral, and Boston's Piebald and Jejune.

As "indie emo" became more widespread, a number of acts who otherwise would not have been considered part of the "indie emo" scene began to be referred to as emo because of their similarity to the sound. The hallmark example was Weezer's 1996 album Pinkerton, which, years later, was considered one of the defining "emo" records of the 90s.

As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including Jade Tree Records, Saddle Creek, and Big Wheel Recreation. In 1997, California's Crank! Records released a compilation titled (Don't Forget to) Breathe, which featured tracks by notable indie emo bands such as The Promise Ring, Christie Front Drive, Mineral, Knapsack, and Arizona's Seven Storey Mountain. In 1998, Deep Elm Records released the first installment in a series of compilations called Emo Diaries, featuring tracks from Jimmy Eat World, Samiam, and Jejune. In 1999, famed 70s compilation label K-tel released an emo compilation titled Nowcore: The Punk Rock Evolution, which included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, Braid and At the Drive-In among others.

With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre's popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral.

By the end of the decade, the word emo cropped up in mainstream circles. In the summer of 1998, Teen People magazine ran an article declaring "emo" the newest "hip" style of music, with The Promise Ring a band worth watching. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums.

While "indie emo" almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hьsker Dь model, including Thursday, The Juliana Theory, and Sparta.

Third wave (2000-present)

At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World.

However, towards the end of the 1990s, Jimmy Eat World had begun to shift in a more mainstream direction. Where Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had downplayed its emo influences, releasing more pop-oriented singles such as "The Middle" and "Sweetness". As the public had become aware of the word emo and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an "emo" band, despite their objections. Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.

2003 saw the success of Chris Carrabba, the former singer of emo band Further Seems Forever, and his project Dashboard Confessional. Despite musically being more aligned to the singer songwriter school, Carraba found himself part of the emerging "popular" emo scene. Carrabba's music featured lyrics founded in deep diary-like outpourings of emotion. While certainly emotional, the new "emo" had a far greater appeal amongst adolescents than its earlier incarnations.

With Dashboard Confessional and Jimmy Eat World's success, major labels began seeking out similar sounding bands. Just as many bands of the early-to-mid 1990s were unwillingly lumped under the umbrella of "grunge", some record labels wanted to be able to market a new sound under the word emo.

At the same time, use of the term "emo" expanded beyond the musical genre, which added to the confusion surrounding the term. The word "emo" became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar "emo" bands also began to be referred to as "emo". As a result, bands that were loosely associated with "emo" trends or simply demonstrated emotion began to be referred to as emo.

In an even more expanded way than in the 90s, emo has come to encompass an extremely wide variety of bands, many of whom have very little in common. The term has become so broad that it has become nearly impossible to describe what exactly qualifies as "emo".

Appropriately or not, emo has been used to describe such bands as AFI, Alexisonfire, Brand New, Coheed and Cambria, Fall Out Boy, From First to Last, Funeral for a Friend, Hawthorne Heights, My Chemical Romance, Panic! at the Disco, The Red Jumpsuit Apparatus, Senses Fail, Something Corporate, The Starting Line, Story of the Year, Taking Back Sunday, Thursday, The Used, and Underoath.

The classification of bands as "emo" is often controversial. Fans of several of the listed bands have recoiled at the use of the "emo" tag, and have gone to great lengths to explain why they don't qualify as "emo". In many cases, the term has simply been attached to them because of musical similarities, a common fashion sense, or because of the band's popularity within the "emo" scene, not because the band adheres to emo as a music genre.

As a result of the continuing shift of "emo" over the years, a serious schism has emerged between those who relate to particular eras of "emo". Those who were closely attached to the hardcore origins recoil when another type of music is called "emo". Many involved in the independent nature of both 80s and 90s emo are upset at the perceived hijacking of the word emo to sell a new generation of major label music. Regardless, popular culture appears to have embraced the terms of "emo" far beyond its original intentions.

In a strange twist, screamo, a sub-genre of the new emo, has found greater popularity in recent years through bands such as Thrice and Glassjaw. The term screamo, however, was used to describe an entirely different genre in the early 1990s, and the new screamo bands more resemble the emo of the early 1990s. Complicating matters further is that several small scenes devoted to original screamo still exist in the underground. However, the new use of "screamo" demonstrates how the shift in terms connected to "emo" has made the varying genres difficult to categorize.

The difficulty in defining "emo" as a genre may have started at the very beginning. In a 2003 interview by Mark Prindle, Guy Picciotto of Fugazi and Rites of Spring was asked how he felt about "being the creator of the emo genre". He responded: "I don't recognize that attribution. I've never recognized 'emo' as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it's so stupid is that - what, like the Bad Brains weren't emotional? What - they were robots or something? It just doesn't make any sense to me."

Fashion and stereotype

Emo is also oftenly associated with a certain fashion. The term "emo" is sometimes stereotyped with tight jeans on males and females alike, long fringe (bangs) brushed to one side of the face or over one or both eyes, dyed black, straight hair, tight t-shirts (sometimes with short-sleves) which often bear the names of rock bands (or other designed shirts), studded belts, belt buckles, canvas sneakers or skate shoes or other black shoes (often old and beaten up) and thick, black horn-rimmed glasses. Emo fashion has changed with time. Early trends included straight, unparted hair (similar to that of Romulans and Vulcans in Star Trek), tightly fitting sweaters, button-down shirts, and work jackets. This fashion has at times been characterized as a fad.

Another example of hair characteristic of emo

In recent years the popular media has associated emo with a stereotype that includes being emotional, sensitive, shy, introverted, or angsty. It is also associated with depression, self-injury, and suicide.

Criticism

As certain fashion trends and attitudes began to be associated with "emo", stereotypes emerged that created a specific target for criticism. In the early years of the "third wave", the criticism was relatively light-hearted and self-effacing. In ensuing years, the derision increased dramatically. Male fans of emo found themselves hit with homosexual slurs, largely a reflection of the style of dress popular within the "emo scene" and the purported displays of emotion common in the scene. Complaints pointed to the histrionic manner in which the emotions were expressed.

In October of 2003, Punk Planet contributor Jessica Hopper leveled the charge that the "third wave" era of emo was sexist. Hopper argued that where bands such as Jawbox, Jawbreaker and Sunny Day Real Estate had characterized women in such a way that they were not "exclusively defined by their absence or lensed through romantic-specter", contemporary bands approached relationship issues by "damning the girl on the other side ... its woman-induced misery has gone from being descriptive to being prescriptive". Regarding the position of women listening to emo, Hopper went on to note that the music had become "just another forum where women were locked in a stasis of outside observation, observing themselves through the eyes of others".

Critics of modern emo have argued that there is a tendency toward increasingly generic and homogenized style. Many popular bands have attempted to disassociate themselves with the "emo" tag; some have adopted the genre designation post-hardcore. Despite the criticism, the modern version of emo has maintained mainstream popularity. However, given the disfavor of the term "emo", the future of the genre remains unclear.

In September 2006, emo music was criticised by Tom Meighan lead singer of rock band Kasabian, who complained about the depressing nature of the lyrics and its lack of positives.

2. Subcultures in Russia

2.1 Former subculture of the Soviet Union

Young Pioneer organization of the Soviet Union

Emblem of the Young Pioneer organization of the Soviet Union

The Young Pioneer Organization of the Soviet Union, also Lenin All-Union Pioneer Organization (Russian: Всесоюмзная пионемрская организамция иммени В. И. Лемнина; tr.:Vsesoyuznaya pionerskaya organizatsiya imeni V. I. Lenina), was a mass youth organization of the USSR for children of age 10-15, that existed in the Soviet Union between 1922 and 1991.

History

After the October Revolution of 1917, some Scouts took the Bolsheviks' side, which would later lead to the establishment of ideologically-altered Scoutlike organizations, such as ЮК (Юные Коммунисты, or young communists; pronounced as yook) and others.

50 years, Stamp, 1972

During the Russian Civil War from 1917 to 1921, most of the Scoutmasters and many Scouts fought in the ranks of the White Army and interventionists against the Red Army.

Those Scouts who did not wish to accept the new Soviet system either left Russia for good (like Oleg Pantyukhov and others) or went underground.

However, clandestine Scouting did not last long. Komsomol persistently fought with the remnants of the Scout movement. Between 1918 and 1920, the second, third, and fourth All-Russian Congresses of the Russian Union of the Communist Youth (Российский коммунистический союз молодёжи, or Rossiyski kommunisticheskiy soyuz molodyozhi) decided to eradicate the Scout movement and create an organization of the communist type that would take Soviet youth under its umbrella.

Nadezhda Krupskaya (Vladimir Lenin's wife) was one of the chief contributors to the cause of the Pioneer movement. In 1922, she wrote an essay called Russian Union of the Communist Youth and boy-Scoutism, which fully renounced the values of the original Scout movement and advertised a communist approach to teenagers. Combined with the ideological coloring, sports, games, tourism, and surviving skills played a significant role in the upbringing of the Pioneers.

On May 19, 1922 the second All-Russian Komsomol Conference decided to create pioneer units all over the country. This day is considered the birthday of the All-Union Pioneer Organization (Всесоюзная пионерская организация, or Vsesoyuznaya pionerskaya organizatsiya). By October 1922 pioneer units were united to form an organization Spartak Young Pioneers (Russian: Юные пионеры имени Спартака), which was named after V. I. Lenin by a decision of the Central Committee of Komsomol of January 21, 1924. Since March 1926 it bore the name Lenin All-Union Pioneer Organization.

By the middle of 1923 it had 75 thousand members. Among other activities, Young Pioneer units, helped by Komsomol, played a great role in the eradication of illiteracy (Likbez policy) since 1923. Membership was at 161 thousand in the beginning of 1924, 2 million in 1926, 13.9 million in 1940, and 25 million in 1974. Many Young Pioneer Palaces were built, which served as community centers for the children, with rooms dedicated to various clubs, such as crafts or sports. Thousands of Young Pioneer camps were set up where children went during summer vacation and winter holidays. All of them were free of charge, sponsored by the government and Trade Unions.

Soviet Young Pioneers in 1983 in the Zeravshan Mountains of the Tajik SSR.

Main goals and requirements of membership

The main goals and duties of Young Pioneers and requirements of membership were specified by the Regulations of the Young Pioneer organization of the Soviet Union; by the Solemn Promise (given by each Young Pioneer joining the organization); by the Rules of the Young Pioneers; and by the Young Pioneer Motto, всегда готов! (vsegda gotov, Always Prepared). There were two major revisions of them: in 1967 and 1986.

Although membership was theoretically optional, almost all the children in the Soviet Union belonged to the organization; it was a natural part of growing up.

Symbols, attributes, rituals and traditions

3. The importence of subcultures in young people's life

To meet the aims of the essay a kind of a research into the theme was made. The knowledge of senior class school students of the gymnasium was on the agenda. All the students took an active part in interviewing. Moreover, when the results of the survey were made public the students took great interest in them, and, above all, they wanted to know what their schoolmates thought on the problem. Most of the interviewed were almost unaware of the number and the variety of subcultures existing in the world.

Subcultures Survey

1. Why do subcultures come to life?

2. What subcultures do you know?

3. Do subcultures have the right to live?

4. Why are some subcultures aggressive?

5. Would you like to become a member of any subculture? Why? Why not?

The results of the survey showed that 98% of senior school students are aware of what subcultures are.

The most popular subcultures are:

Emo

Skinheads

Punks

Goths

Hippies

Bikers

Rockers

Rappers

Our teens understand that other subcultures,are like mods or metallists, less popular, because their clothes and jewellery are expensive and the young people don't have enough money for it.

50% of interviewed think, that subcultures have the right to live. 25% consider thay subcultures must not be aggressive.

Most of the students wouldn't become members of any subculture, because it is abnormal. They prefer their lifestyle. But somebody's said that they would like to be punk or emo.

Question #1 showed that many students have humble opinion about subculture's origin:

Ш For self- assertion (30%)

Ш To find like- minded people (25%)

Ш Because of boredom (20%), problems with family and friends (15%), fashion (5%).

Conclusion

I think, people, actually teenagers, must know anything about subcultures, because people usually meet them on streets, public places, everywhere.

Taking into account all the above mentioned facts I deem it necessary to conclude that nowadays if you want to be a sief sufficient personality you hsve to learn as much as possible and to make sure of what you learn.

Young people have a particular relationship with the world. There are many groupings (subcultures) that have interests different from those of the mainstream culture. A particular cultural grouping is a way for young people to express their individuality. By the mid-60s, teenagers had begun to form distinct cultural groupings. Most young people in the world follow some kind of youth culture.

a) Mods developed their own style distinct from others. A person has college-style hair, a neat white shirt, a short jacket, or a short blazer jacket, and narrow trousers. The clothes are Italian by choice. They have a very pale face, plenty of make-up. Scooters are the preferred means of transportation. He or she prefers soul music.

b) Punks dress in a shocking way to express his or her identity. He or she has brightly coloured hair and wears metal chains. The person is thought to rebel against the society. The music is aggressive. They reject everything.

c) Rockers wear a leather jacket, army boots and a cowboy hat just to show off. He is associated with something rebellious.

d) Hippies like drug users and rock and roll fans, since their behaviours differ from social norms. They don't conform to society's standards and support a liberal attitude and lifestyle. They always want to change the world to the best.

e) Hackers are the `wizards' of the computer community; people with a deep understanding of how their computers work, and can do things with them that seem `magical'. They do not protest against their parents.

f) Ravers are the folks who use computer-made synthesized music and drugs to creative massive all-night dance parties in empty warehouses. They like to be in a collective. They want to try out all sorts of options and are thought to be violent.

g) Goths wear the blackest black, with a lot of silver jewellery and have very black hair and look as thin and pale as possible. The members gather together to read Bram Stoker and talk about being vampires, and about the end of the world.

h) Bikers ride 2 or sometimes 3 wheeled motorized vehicles and identify themselves with a particular subculture.

i) Skinheads cut their hair shorter than others do. The majority of them are working class, patriotic, reggae and football fanatics, and very uninterested in politics. Most wear tight trousers and heavy boots and are usually regarded as violent and aggressive.

Nowdays school students don't read good resource books that much. Having personal computers at their disposal they prefer to click on “Search” and to find the necessary into the line as soon as possible not going deep into details.

Nowadays living in such a great stream of information is not that easy. As a matter on fact people must spend a lot of time to find the info they need. You take great risk to get drowned in a lot of junky info that mass media and different publications are full of.

Bibliographical list

1. www.wikipedia.com

2. Johnsrude, Larry, "Goths say Medicine Hat killings give them bad name"

3. [http://www.nriinternet.com/NRI_Murdered/CANADA/Montreal/Kimveer_Gill/index.htm

4. Radin, Andy. What the heck *is* emo, anyway?. Retrieved on July 17, 2005.

5. Andersen, Mark (2001). Dance Of Days, Two Decades of Punk In The Nations Capitol. Soft Skull Press. ISBN 1-887128-49-2.

6. Willoughby Sharp Joseph Nechvatal, Machine Language Books, 1984, 74 pages

7. Alan Moore and Marc Miller, eds., ABC No Rio Dinero: The Story of a Lower East Side Art Gallery (Colab, i.e. Collaborative Projects, NY, 1985)

8. Marty Munsch All Grown Up the Movie, 2006, 2.2 Hrs

Appendix

The importance of subcultures in yong people`s life

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