Mens in Fashion Clothing Men Squad in Formal

Subculture in England

Two mid-1960s mods on a customised Lambretta scooter

Mod is a subculture that began in London and spread throughout Bang-up U.k. and elsewhere, somewhen influencing fashions and trends in other countries,^[1] and continues today on a smaller scale. Focused on music and manner, the subculture has its roots in a small-scale group of stylish London-based immature men in the late 1950s who were termed modernists because they listened to modernistic jazz.^[ii] Elements of the mod subculture include fashion (oftentimes tailor-made suits); music (including soul, rhythm and blues, ska, jazz, and afterward splintering off into freakbeat); and motor scooters (unremarkably Lambretta or Vespa). In the mid-1960s, the subculture listened to power popular rock groups with modernistic following, such equally The Who and The Small Faces, subsequently the meridian Mod era. The original mod scene was associated with amphetamine-fuelled all-night dancing at clubs.^[3]

During the early to mid-1960s, as mod grew and spread throughout the UK, certain elements of the mod scene became engaged in well-publicised clashes with members of a rival subculture: rockers.^[four] The mods and rockers conflict led sociologist Stanley Cohen to use the term "moral panic" in his study most the two youth subcultures,^[v] which examined media coverage of the modernistic and rocker riots in the 1960s.^{[half dozen]}

Past 1965, conflicts betwixt mods and rockers began to subside and mods increasingly gravitated towards pop art and psychedelia. London became synonymous with fashion, music, and pop culture in these years, a flow often referred to every bit "Swinging London". During this fourth dimension, modern fashions spread to other countries and became popular in the United states of america and elsewhere—with mod now viewed less every bit an isolated subculture, merely allegorical of the larger youth culture of the era.

Equally modernistic became more cosmopolitan during the "Swinging London" menstruation, some working class "street mods" splintered off, forming other groups such as what eventually became known as skinheads. There was a mod revival in the United kingdom in the late 1970s, which attempted to replicate the "scooter" period look and styles of the early to mid-1960s. Information technology was followed past a like mod revival in North America in the early 1980s, peculiarly in southern California.^[7] ^[8]

Etymology and usage [edit]

The term mod derives from modernist, a term used in the 1950s to describe modern jazz musicians and fans.^[ix] This usage assorted with the term trad, which described traditional jazz players and fans. The 1959 novel Accented Beginners describes modernists equally young modernistic jazz fans who apparel in sharp modern Italian dress. The novel may be one of the earliest examples of the term existence written to describe immature British way-conscious modern jazz fans. This usage of the discussion modernist should non be dislocated with modernism in the context of literature, art, design and architecture. From the mid-to-late 1960s onwards, the mass media often used the term mod in a wider sense to describe anything that was believed to be popular, fashionable or mod.

Paul Jobling and David Crowley argued that the definition of modernistic can exist hard to pin down, because throughout the subculture's original era, it was "decumbent to continuous reinvention."^[x] They claimed that since the mod scene was so pluralist, the word mod was an umbrella term that covered several distinct sub-scenes. Terry Rawlings argued that mods are difficult to define because the subculture started out as a "mysterious semi-hush-hush world", which the Who's managing director Peter Meaden summarised as "make clean living under difficult circumstances."^[11]

History 1958–1969 [edit]

George Melly wrote that mods were initially a pocket-sized group of clothes-focused English working class young men insisting on clothes and shoes tailored to their manner, who emerged during the modern jazz boom of the belatedly 1950s.^[12] Early mods watched French and Italian fine art films and read Italian magazines to expect for style ideas.^[eleven] They normally held semi-skilled manual jobs or depression grade white-collar positions such every bit a clerk, messenger or office boy. Co-ordinate to Dick Hebdige, mods created a parody of the consumer club that they lived in.^[13]

Early 1960s [edit]

Quadrophenia exhibit at the Cotswold Motor Museum in Bourton-on-the-Water in 2007

According to Hebdige, by around 1963, the mod subculture had gradually accumulated the identifying symbols that later came to be associated with the scene, such as scooters, amphetamine pills and R&B music.^[fourteen] While wearing apparel were still of import at that time, they could be ready-made. Dick Hebdige wrote the term mod covered a number of styles including the emergence of Swinging London, though to him it divers Melly's working class clothes-conscious teenagers living in London and south England in the early to mid-1960s.^[14]

Mary Anne Long argued that "first hand accounts and contemporary theorists indicate to the Jewish upper-working or center-class of London's East End and suburbs."^[xv] Simon Frith asserted that the mod subculture had its roots in the 1950s beatnik coffee bar civilisation, which catered to art school students in the radical Bohemian scene in London.^[16] Steve Sparks, whose claim is to be one of the original mods, agrees that before mod became commercialised, it was essentially an extension of the beatnik civilisation: "It comes from 'modernist', it was to practice with modern jazz and to do with Sartre" and existentialism.^[xv] Sparks argued that "Mod has been much misunderstood ... as this working-grade, scooter-riding precursor of skinheads."

Java bars were attractive to British youth because, in contrast to typical pubs, which closed at almost 11pm, they were open until the early hours of the morning. Coffee bars had jukeboxes, which in some cases reserved space in the machines for the customers' own records. In the tardily 1950s, coffee bars were associated with jazz and dejection, just in the early 1960s, they began playing more R&B music. Frith noted that although coffee confined were originally aimed at middle-form fine art school students, they began to facilitate an intermixing of youth from dissimilar backgrounds and classes.^[17] At these venues, which Frith called the "start sign of the youth movement", young people met collectors of R&B and dejection records, who introduced them to new types of African-American music.^{[ citation needed ]}

As the modern subculture grew in London during the early-to-mid-1960s, tensions could arise between the mods, oftentimes riding highly decorated motor scooters, and their master rivals, the rockers, a British subculture who favoured rockabilly, early rock'n'curlicue, motorcycles and leather jackets, and considered the mods effeminate, considering of their interest in fashion.^[eighteen] Violent clashes could ensue betwixt the 2 groups.^[xviii] This period was later immortalised by songwriter Pete Townshend, in the Who's 1973 concept anthology, Quadrophenia.^[19]

However, subsequently 1964, clashes between the two groups largely subsided, as mod expanded and came to be accepted by the larger youth generation throughout the UK as a symbol of all that was new.^[20] ^[21] During this fourth dimension London became a mecca for stone music, with pop bands such equally The Who and The Pocket-size Faces highly-seasoned to a largely mod audience,^[22] besides equally the preponderance of hip fashions, in a menstruation ofttimes referred to equally Swinging London.

Mid-tardily 1960s [edit]

Swinging London [edit]

As numerous British rock bands of the mid-1960s began to adopt a mod wait and post-obit,^[22] the scope of the subculture grew across its original confines and the focus began to change. Past 1966, proletarian aspects of the scene in London had waned as fashion and popular-civilization elements continued to grow, not only in England, merely elsewhere.^[ane]

This period, portrayed by Alberto Sordi'due south film in Thank y'all very much, and in Michelangelo Antonioni's 1966 film Blowup, ^[23] was typified past pop art, Carnaby Street boutiques, live music, and discothèques. Many associate this era with manner model Twiggy, miniskirts, and bold geometrical patterns on brightly coloured apparel. During these years, it exerted a considerable influence on the worldwide spread of modernistic.^[1]

United States and elsewhere [edit]

Every bit mod was going through transformation in England, it became all the rage in the United states of america and effectually the world, as many immature people adopted its await.^[ane] However, the worldwide feel differed from that of the early on scene in London in that it was based mainly on the pop civilisation aspect, influenced by British rock musicians. By now, mod was thought of more every bit a general youth-civilization style rather than as a divide subgroup amongst different contentious factions.^[20] ^[21] ^[24]

American musicians, in the wake of the British Invasion, adopted the look of mod apparel, longer hairstyles, and Beatle boots.^[25] The exploitation documentary Mondo Mod provides a glimpse at mod'southward influence on the Sunset Strip and West Hollywood scene of belatedly 1966.^[26] Mod increasingly became associated with psychedelic rock and the early on hippie movement, and by 1967 more exotic looks, such as Nehru jackets and beloved beads came into faddy.^[27] ^[28] ^[29] Its trappings were reflected on popular American TV shows such as Laugh-In and The Mod Squad.^[thirty] ^[31] ^[32] ^[33]

Pass up [edit]

Dick Hebdige argued that the subculture lost its vitality when it became commercialised and stylised to the point that mod vesture styles were being created "from above" by clothing companies and by TV shows like Ready Steady Go!, rather than beingness adult by young people customising their clothes and combining different fashions.^[34]

Equally psychedelic rock and the hippie subculture grew more popular in the United kingdom, much of mod, for a time, seemed intertwined with those movements. However, after 1968 it dissipated, as tastes began to favor a less style-conscious, denim and tie-dyed look, along with a decreased interest in nightlife. Bands such as The Who and Small Faces began to change and, by the stop of the decade, moved abroad from modernistic. Additionally, the original mods of the early 1960s were coming to the age of marriage and child-rearing, which meant many of them no longer had the time or coin for their youthful pastimes of order-going, record-shopping, and buying wearing apparel.

Later developments 1969–present [edit]

Offshoots [edit]

Some street-orientated mods, ordinarily of lesser means, sometimes referred to as hard mods, remained agile well into the tardily 1960s, merely tended to become increasingly discrete from the Swinging London scene and the burgeoning hippie movement.^[35] ^[36] By 1967, they considered most of the people in the Swinging London scene to be "soft mods" or "peacock mods", as styles, there, became increasingly extravagant, frequently featuring highly ruffled, brocaded, or laced fabrics in Twenty-four hour period-Glo colours.^[29] ^[35] ^[36]

Modern graffiti in Italian republic from 2007

Many of the difficult mods lived in the aforementioned economically depressed areas of South London as W Indian immigrants, so these mods favoured a different kind of attire, that emulated the rude boy look of Trilby hats and besides-brusk trousers.^[37] These "aspiring 'white negros'" listened to Jamaican ska and mingled with black rude boys at W Indian nightclubs similar Ram Jam, A-Train and Sloopy's.^[38] ^[39] ^[40] Hebdige claimed that the hard mods were drawn to black civilization and ska music in part because the educated, heart-grade hippie move'southward drug-orientated and intellectual music did non accept any relevance for them.^[41] He argued that the hard mods were attracted to ska because information technology was a hugger-mugger, underground, non-commercialised music that was disseminated through informal channels such every bit house parties and clubs.^[42]

By the finish of the 1960s, the difficult mods had become known as skinheads,^[43] who, in their early days, would be known for the same dear of soul, rocksteady and early reggae.^[44] ^[45] ^[46] Because of their fascination with black civilisation, the early skinheads were, except in isolated situations, largely devoid of the overt racism and fascism that would later on become associated with whole wings of the movement in the mid to late 1970s.^[47] The early on skinheads retained basic elements of mod fashion—such equally Fred Perry and Ben Sherman shirts, Sta-Prest trousers and Levi'due south jeans—but mixed them with working class-orientated accessories such equally braces and Dr. Martens work boots. Hebdige claimed that as early every bit the Margate and Brighton brawls between mods and rockers, some mods were seen wearing boots and braces and sporting close cropped haircuts (for applied reasons, equally long hair was a liability in industrial jobs and street fights).

Mods and ex-mods were also part of the early northern soul scene, a subculture based on obscure 1960s and 1970s American soul records. Some mods evolved into, or merged with, subcultures such as individualists, stylists, and scooterboys.^[xi]

Revivals and afterwards influences [edit]

A modern revival started in the late 1970s in the United Kingdom, with thousands of mod revivalists attention scooter rallies in locations such every bit Scarborough and the Isle of Wight. This revival was partly inspired by the 1979 picture show Quadrophenia, which explores the original 1960s movement, and by mod-influenced bands such as The Jam, Secret Affair, The Lambrettas, Royal Hearts, The Specials and The Chords, who drew on the energy of new wave music.

The British mod revival was followed by a revival in North America in the early 1980s, particularly in Southern California, led by bands such equally The Untouchables.^[seven] ^[8] The mod scene in Los Angeles and Orange County was partly influenced by the ii Tone ska revival in England, and was unique in its racial multifariousness, with blackness, white, Hispanic and Asian participants. The 1990s Britpop scene featured noticeable mod influences on bands such as Oasis, Blur, Ocean Colour Scene and The Bluetones. Pop 21st century musicians Miles Kane^[48] and Jake Bugg^[49] are also followers of the modernistic subculture.

Quadrophenia alley, June 2020.

Characteristics [edit]

Dick Hebdige argued that when trying to understand 1960s modernistic civilization, one has to try and "penetrate and decipher the mythology of the mods".^[50] Terry Rawlings argued that the mod scene developed when British teenagers began to reject the "dull, timid, quondam-fashioned, and uninspired" British culture around them, with its repressed and course-obsessed mentality and its "naffness".^[11] Mods rejected the "faulty pap" of 1950s pop music and sappy love songs. They aimed at being "absurd, neat, sharp, hip, and smart" by embracing "all things sexy and streamlined", especially when they were new, heady, controversial or modernistic.^[11] Hebdige claimed that the mod subculture came near equally part of the participants' desire to sympathise the "mysterious complexity of the metropolis" and to get shut to black civilization of the Jamaican rude boy, because mods felt that black civilization "ruled the night hours" and that it had more than streetwise "savoir faire".^[50] Shari Benstock and Suzanne Ferriss argued that at the "core of the British Mod rebellion was a blatant fetishising of the American consumer culture" that had "eroded the moral fiber of England."^[51] In doing so, the mods "mocked the form system that had gotten their fathers nowhere" and created a "rebellion based on consuming pleasures".

The influence of British newspapers on creating the public perception of mods as having a leisure-filled society-going lifestyle tin can be seen in a 1964 article in the Dominicus Times. The newspaper interviewed a 17-year-old mod who went out clubbing seven nights a week and spent Sat afternoons shopping for clothes and records. However, few British teens and immature adults would have had the time and money to spend this much time going to nightclubs. Paul Jobling and David Crowley argued that most immature mods worked 9 to 5 at semi-skilled jobs, which meant that they had much less leisure time and merely a minor income to spend during their time off.^[52]

Mode [edit]

Paul Jobling and David Crowley chosen the mod subculture a "fashion-obsessed and hedonistic cult of the hyper-cool" young adults who lived in metropolitan London or the new towns of the south. Due to the increasing affluence of post-war Britain, the youths of the early 1960s were one of the beginning generations that did not have to contribute their money from after-school jobs to the family finances. As modern teens and young adults began using their disposable income to buy stylish clothes, the kickoff youth-targeted boutique habiliment stores opened in London in the Carnaby Street and King's Road districts.^[53] The streets' names became symbols of, ane mag later stated, "an endless frieze of mini-skirted, booted, fair-haired athwart angels".^[54] Newspaper accounts from the mid-1960s focussed on the mod obsession with clothes, often detailing the prices of the expensive suits worn by young mods, and seeking out farthermost cases such as a young mod who claimed that he would "go without nutrient to buy apparel".^[52]

Two youth subcultures helped pave the way for modernistic fashion by breaking new ground: the beatniks, with their Bohemian paradigm of berets and black turtlenecks, and the Teddy Boys, from whom modernistic mode inherited its "narcissistic and fastidious [manner] tendencies" and the immaculate keen await.^[55] The Teddy Boys paved the way for making male person involvement in fashion socially acceptable, because prior to the Teddy Boys, male involvement in fashion in United kingdom of great britain and northern ireland was mostly associated with the clandestine homosexual subculture'southward flamboyant dressing style.

Jobling and Crowley argued that for working class mods, the subculture's focus on mode and music was a release from the "humdrum of daily existence" at their jobs.^[52] Jobling and Crowley noted that while the subculture had stiff elements of consumerism and shopping, mods were not passive consumers; instead they were very self-witting and critical, customising "existing styles, symbols and artefacts" such every bit the Union flag and the Royal Air Forcefulness roundel, and putting them on their jackets in a pop art-style, and putting their personal signatures on their way.^[x] Mods adopted new Italian and French styles in part as a reaction to the rural and pocket-size-town rockers, with their 1950s-mode leather motorcycle clothes and American greaser await.^{[ commendation needed ]}

Male mods adopted a smooth, sophisticated expect that included tailor-fabricated suits with narrow lapels (sometimes made of mohair), sparse ties, push button-down collar shirts, wool or cashmere jumpers (crewneck or V-neck), Chelsea or Beatle boots, loafers, Clarks desert boots, bowling shoes, and hairstyles that imitated the expect of French Nouvelle Vague motion-picture show actors.^[56] A few male mods went against gender norms by using eye shadow, eye-pencil or fifty-fifty lipstick.^[56] Mods chose scooters over motorbikes partly because they were a symbol of Italian style and because their body panels concealed moving parts and made them less likely to stain clothes with oil or road grit. Many mods wore ex-war machine parkas while driving scooters in order to continue their clothes clean.

Many female person mods dressed androgynously, with short haircuts, men's trousers or shirts, flat shoes, and niggling makeup — often just pale foundation, dark-brown eye shadow, white or pale lipstick and false eyelashes.^[57] Miniskirts became progressively shorter between the early and mid-1960s. As female modern way became more mainstream, slender models like Jean Shrimpton and Twiggy began to exemplify the modern look. Maverick style designers emerged, such as Mary Quant, who was known for her mini-skirt designs, and John Stephen, who sold a line named "His Apparel" and whose clients included bands such as Small-scale Faces.^[56] The television program Ready Steady Become! helped spread awareness of mod fashions to a larger audience. Mod-culture continues to influence fashion, with the ongoing trend for modernistic-inspired styles such equally 3-button suits, Chelsea boots and mini dresses. The Mod Revival of the 1980s and 1990s led to a new era of modern-inspired manner, driven by bands such equally Madness, The Specials and Oasis. The popularity of the This Is England film and TV series also kept mod fashion in the public eye. Today's mod icons include Miles Kane (frontman of the Last Shadow Puppets), cyclist Bradley Wiggins and Paul Weller, 'The ModFather'.

Music [edit]

The early mods listened to the "sophisticated smoother mod jazz" of musicians such every bit Miles Davis, Charlie Parker, Dave Brubeck and the Modern Jazz Quartet, besides as the American rhythm and dejection (R&B) of artists such every bit Bo Diddley and Muddy Waters. The music scene of the Mods was a mix of modern jazz, R&B, psychedelic stone and soul.^[58] Terry Rawlings wrote that mods became "dedicated to R&B and their own dances."^[11] Blackness American servicemen, stationed in Britain during the early office of the Common cold War, brought over R&B and soul records that were unavailable in United kingdom of great britain and northern ireland, and they frequently sold these to young people in London.^[59] Starting around 1960, mods embraced the off-beat, Jamaican ska music of artists such as the Skatalites, Owen Gray, Derrick Morgan and Prince Buster on record labels such as Melodisc, Starlite and Bluebeat.^[threescore]

The original mods gathered at all-night clubs such as The Flamingo and The Marquee in London to hear the latest records and show off their dance moves. As the mod subculture spread across the Great britain, other clubs became popular, including Twisted Wheel Club in Manchester.^[61]

The British R&B/rock bands The Rolling Stones, The Yardbirds and The Kinks all had modern followings, and other bands emerged that were specifically modernistic-orientated.^[22] These included The Who, Small Faces, The Cosmos, The Action, The Smoke and John'south Children.^[22] The Who's early on promotional material tagged them as playing "maximum rhythm and blues", and a proper noun change in 1964 from The Who to The High Numbers was an endeavour to cater even more to the mod market. After the commercial failure of the single "Zoot Suit/I'm the Face", the ring changed its proper noun back to The Who.^[22] Although The Beatles dressed similar mods for a while (after dressing like rockers earlier), their beat music was not as pop as British R&B amid mods.^[62]

The late 1970s saw an explosive mod revival in England due to the popularity of new wave mod band The Jam and the success of the picture show Quadrophenia in 1979. The Jam were fronted past Paul Weller who became known equally 'The Modfather'. Other mod revival bands that emerged at this time were The Chords, Purple Hearts, Hugger-mugger Affair, The Merton Parkas and The Lambrettas.

Amphetamines [edit]

A notable role of the mod subculture was recreational amphetamine use, which was used to fuel all-night dances at clubs. Newspaper reports described dancers emerging from clubs at five a.m. with dilated pupils.^[3] Some mods consumed a combined amphetamine/barbiturate chosen Drinamyl, nicknamed "purple hearts".^[63] Due to this association with amphetamines, Pete Meaden'due south "clean living" aphorism about the mod subculture may seem contradictory, but the drug was still legal in U.k. in the early 1960s, and mods used the drug for stimulation and alertness, which they viewed as different from the intoxication caused by booze and other drugs.^[3] Andrew Wilson argued that for a significant minority, "amphetamines symbolised the smart, on-the-ball, absurd image" and that they sought "stimulation not intoxication ... greater awareness, not escape" and "confidence and articulacy" rather than the "drunken rowdiness of previous generations."^[3]

Wilson argued that the significance of amphetamines to the modernistic culture was similar to that of LSD and cannabis within the subsequent hippie counterculture. Dick Hebdige argued that mods used amphetamines to extend their leisure time into the early hours of the morning and as a way of bridging the gap between their hostile and daunting everyday work lives and the "inner world" of dancing and dressing upwardly in their off-hours.^[64]

Scooters [edit]

Many mods drove motor scooters, usually Vespas or Lambrettas.^[65] Scooters were a applied and affordable form of transportation for 1960s teens, since until the early 1970s, public send stopped relatively early on in the dark. For teens with low-paying jobs, scooters were cheaper and easier to park than cars, and they could be bought through newly available rent purchase plans.

Vespa with characteristic collection of mirrors

Mods also treated scooters as a fashion accessory. Italian scooters were preferred due to their make clean-lined, curving shapes and gleaming chrome, with sales driven by shut associations between dealerships and clubs, such as the Ace of Herts.^{[ citation needed ]}

For young mods, Italian scooters were the "embodiment of continental style and a way to escape the working-class row houses of their upbringing".^[66] Mods customised their scooters past painting them in "two-tone and candyflake and overaccessorized [them] with luggage racks, crash bars, and scores of mirrors and fog lights".^[66] Some mods added 4, ten, or as many every bit xxx mirrors to their scooters. They often put their names on the small windscreen. They sometimes took their engine side panels and front bumpers to electroplating shops to get them covered in highly reflective chrome.

Hard mods (who subsequently evolved into the skinheads) began riding scooters more for practical reasons. Their scooters were either unmodified or cutdown, which was nicknamed a "skelly".^[67] Lambrettas were cutdown to the bare frame, and the unibody (monocoque)-design Vespas had their torso panels slimmed down or reshaped.

After the seaside resort brawls, the media began to associate Italian scooters with vehement mods. Much later, writers described groups of mods riding scooters together as a "menacing symbol of grouping solidarity" that was "converted into a weapon".^[68] ^[69] With events like the 6 Nov 1966, "scooter charge" on Buckingham Palace, the scooter, along with the mods' short hair and suits, began to be seen as a symbol of subversion.^[70]

Gender roles [edit]

Stuart Hall and Tony Jefferson argued in 1993 that compared to other youth subcultures, the modernistic scene gave young women loftier visibility and relative autonomy.^[71] They wrote that this status may have been related both to the attitudes of the modernistic young men, who accustomed the idea that a young adult female did non have to be attached to a man, and to the development of new occupations for young women, which gave them an income and made them more contained. Hall and Jefferson noted the increasing number of jobs in boutiques and women's article of clothing stores, which, while poorly paid and lacking opportunities for advancement, gave young women dispensable income, status and a glamorous sense of dressing upwards and going into town to piece of work.^[72]

Hall and Jefferson argued that the presentable paradigm of female mod fashions meant information technology was easier for young mod women to integrate with the not-subculture aspects of their lives (home, school and piece of work) than for members of other subcultures.^[72] The emphasis on article of clothing and a stylised wait for women demonstrated the "same fussiness for item in clothes" equally their male mod counterparts.^[72]

Shari Benstock and Suzanne Ferriss claimed that the emphasis in the modernistic subculture on consumerism and shopping was the "ultimate affront to male working-class traditions" in the United Kingdom, because in the working-class tradition, shopping was commonly done by women.^[51] They argued that British mods were "worshipping leisure and money ... scorning the masculine world of hard piece of work and honest labour" by spending their time listening to music, collecting records, socialising, and dancing at all-nighttime clubs.^[51]

Conflicts with rockers [edit]

In early on-1960s U.k., the 2 primary youth subcultures were mods and rockers. Mods were described in 2012 as "effeminate, stuck-up, emulating the centre classes, aspiring to a competitive sophistication, snobbish, [and] phony", and rockers equally "hopelessly naive, loutish, [and] scruffy", emulating the motorcycle gang members in the moving picture The Wild One, by wearing leather jackets and riding motorcycles.^[4] ^[73] Dick Hebdige claimed in 2006 that the "mods rejected the rocker's crude formulation of masculinity, the transparency of his motivations, his clumsiness"; the rockers viewed the vanity and obsession with clothes of the mods equally immasculine.^[14]

Scholars contend how much contact the 2 subcultures had during the 1960s. Hebdige argued that mods and rockers had little contact with each other considering they tended to come from different regions of England (mods from London and rockers from rural areas), and considering they had "totally disparate goals and lifestyles".^[fifty] Mark Gilman, however, claimed that both mods and rockers could be seen at football matches.^[74]

John Covach wrote that in the United Kingdom, rockers were often engaged in brawls with mods.^[4] BBC News stories from May 1964 stated that mods and rockers were jailed after riots in seaside resort towns on the south and due east coasts of England, such as Margate, Brighton, Bournemouth and Clacton.^[75] The "mods and rockers" disharmonize was explored every bit an instance of "moral panic" past sociologist Stanley Cohen in his study Folk Devils and Moral Panics,^[five] which examined media coverage of the mod and rocker riots in the 1960s.^[vi] Although Cohen acknowledged that mods and rockers had some fights in the mid-1960s, he argued that they were no unlike from the evening brawls that occurred between non-modern and not-rocker youths throughout the 1950s and early 1960s, both at seaside resorts and later football games.^[76]

Newspapers of the time were eager to depict the modernistic and rocker clashes as being of "disastrous proportions", and labelled mods and rockers as "sawdust Caesars", "vermin" and "louts".^[5] Newspaper editorials fanned the flames of hysteria, such as a Birmingham Post editorial in May 1964 which warned that mods and rockers were "internal enemies" in the United kingdom who would "bring about disintegration of a nation's grapheme". The magazine Law Review argued that the mods and rockers' purported lack of respect for police and order could cause violence to "surge and flame like a forest fire".^[5] Every bit a result of this media coverage, two British Members of Parliament travelled to the seaside areas to survey the damage, and MP Harold Gurden called for a resolution for intensified measures to control youth hooliganism. One of the prosecutors in the trial of some of the Clacton brawlers argued that mods and rockers were youths with no serious views, who lacked respect for law and gild.

References [edit]

^ ^a ^b ^c ^d Grossman, Henry; Spencer, Terrance; Saton, Ernest (13 May 1966). "Revolution in Men's Clothes: Mod Fashions from Britain are Making a Blast in the U.S." Life. pp. 82–88.
^ Oonagh Jaquest (May 2003). "Jeff Noon on The Modernists". BBC. Archived from the original on 11 Jan 2009. Retrieved 11 Oct 2008.
^ ^a ^b ^c ^d Dr. Andrew Wilson (2008). "Mixing the Medicine: The Unintended Issue of Amphetamine Command on the Northern Soul Scene" (PDF). Net Journal of Criminology. Archived from the original (PDF) on 13 July 2011. Retrieved 11 Oct 2008.
^ ^a ^b ^c Covach, John; Flory, Andrew (2012), "Chapter 4: 1964-1966 The Beatles and the british invasion | XII Other important British dejection revival groups | East. The Who", in Covach, John; Flory, Andrew (eds.), What's that sound?: an introduction to stone and its history , New York: Norton, ISBN9780393912043, 6. The Rockers emulated Marlon Brando'due south motorcycle gang leader character in "The Wild One" motion-picture show (a) wore leather wearing apparel; (b) rode motorcycles; and (c) often engaged in brawls with the Mods Book preview. Archived 22 April 2016 at the Wayback Machine
^ ^a ^b ^c ^d Cohen, Stanley (2002). Folk devils and moral panics: the creation of the Mods and Rockers. Abingdon, England: Routledge. ISBN9780415267120.
^ ^a ^b British Film Commission (BFC) (PDF), Film Education, archived from the original (PDF) on 4 July 2008
^ ^a ^b Folio, Michael (2006). "A rather disjointed narrative of the California mod scene(s) 1980–1983". california-mod-scene.com. Archived from the original on 20 June 2009. Retrieved 11 October 2008.
^ ^a ^b Artavia, Mario (2006). "SoCal Mods". Southward Bay Scooter Club. Archived from the original on 9 December 2008. Retrieved 11 October 2008.
^ Mods!, Richard Barnes. Eel Pie (1979), ISBN 0-85965-173-8; Accented Beginners, Colin MacInnes
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External links [edit]

Revolution in Men' due south Dress: Mod Fashions from Britain are Making a Smash in the U.Southward., Life Magazine, xiii May. 1966, pg. 82-ninety - Cover story almost modern boom in America
OnThisDay four April 1964 BBC Panorama Reported on Mods and Rockers. Tin't we all just get along
Mod Subculture at Curlie