Slang, youth subcultures and rock music (English WinWord) - (диплом)

Rock historians tend to arrange rock's past into a recurring pattern of emergence, appropriation, and decline. Thus, rock and roll emerged in the mid-1950s only to be appropriated by big business (for example, Presley's move from the Memphis label Sun to the national corporation RCA) and to decline into teen pop; the Beatles then emerged in the mid-1960s at the front of a British Invasion that led young Americans back to rock and roll's roots. But this notion is misleading. One reason for the Beatles' astonishing popularity by the end of the 1960s was precisely that they did not distinguish between the "authenticity" of, say, Chuck Berry and the "artifice" of the Marvelettes. In Britain, as in the rest of Europe, rock and roll had an immediate youth appeal--each country soon had its own Elvis Presley--but it made little impact on national music media, as broadcasting was still largely under state control. Local rock and rollers had to make the music onstage rather than on record. In the United Kingdom musicians followed the skiffle group model of the folk, jazz, and blues scenes, the only local sources of American music making. The Beatles were only one of many provincial British groups who from the late 1950s played American music for their friends, imitating all kinds of hit sounds--from Berry to the Shirelles, from Carl Perkins to the Isley Brothers--while using the basic skiffle format of rhythm section, guitar, and shouting to be heard in cheap, claustrophobic pubs and youth clubs. In this context a group's most important instruments were their voices--on the one hand, individual singers (such as John Lennon and Paul McCartney) developed a new harshness and attack; on the other hand, group voices (vocal harmonies) had to do the decorative work provided on the original records by producers in the studio. Either way, it was through their voices that British beat groups, covering the same songs with the same lineup of instruments, marked themselves off from each other, and it was through this emphasis on voice that vocal rhythm and blues made its mark on the tastes of "mod" culture (the "modernist" style-obsessed, consumption-driven youth culture that developed in Britain in the 1960s). Soul singers such as Ray Charles and Sam Cooke were the model for beat group vocals and by the mid-1960s were joined in the British charts by more intense African-American singers such as Aretha Franklin and Otis Redding. British guitarists were equally influenced by this expressive ideal, and the loose rhythm guitar playing of rock and roll and skiffle was gradually replaced by more ornate lead playing on electric guitar as local musicians such as Eric Clapton sought to emulate blues artists such as B. B. King. Clapton took the ideal of authentic performance from the British jazz scene, but his pursuit of originality--his homage to the blues originals and his search for his own guitar voice--also reflected his art-school education (Clapton was one of many British rock stars who engaged in music seriously while in art school). By the end of the 1960s, it was assumed that British rock groups wrote their own songs. What had once been a matter of necessity--there was a limit to the success of bands that played strictly cover versions, and Britain's professional songwriters had little understanding of these new forms of music--was now a matter of principle: self-expression onstage and in the studio was what distinguished these "rock" acts from pop "puppets" like Cliff Richard. (Groomed as Britain's Elvis Presley in the 1950s--moving with his band, the Shadows, from skiffle clubsskiffle clubs to television teen variety shows--Richard was by the end of the 1960s a family entertainer, his performing style and material hardly even marked by rock and roll. ) Folk rock, the hippie movement, and "the rock paradox"

The peculiarity of Britain's beat boom--in which would-be pop stars such as the Beatles turned arty while would-be blues musicians such as the Rolling Stones turned pop--had a dramatic effect in the United States, not only on consumers but also on musicians, on the generation who had grown up on rock and roll but grown out of it and into more serious sounds, such as urban folk. The Beatles' success suggested that it was possible to enjoy the commercial, mass-cultural power of rock and roll while remaining an artist. The immediate consequence was folk rock. Folk musicians, led by Bob Dylan, went electric, amplified their instruments, and sharpened their beat. Dylan in particular showed that a pop song could be both a means of social commentary (protest) and a form of self-expression (poetry). On both the East and West coasts, bohemia started to take an interest in youth music again. In San Francisco, for example, folk and blues musicians, artists, and poets came together in loose collectives (most prominently the Grateful Dead and the Jefferson Airplane) to make acid rock as an unfolding psychedelic experience, and rock became the musical soundtrack for a new youth culture, the hippies. The hippie movement of the late 1960s in the United States--tied up with Vietnam War service and anti-Vietnam War protests, the Civil Rights Movement, and sexual liberation--fed back into the British rock scene. British beat groups also defined their music as art, not commerce, and felt themselves to be constrained by technology rather than markets. The Beatles made the move from pop to rock on their 1967 album, Sgt. Pepper's Lonely Hearts Club Band, symbolically identifying with the new hippie era, while bands such as Pink Floyd and Cream (Clapton's band) set new standards of musical skill and technical imagination. This was the setting in which Hendrix became the rock musician's rock musician. He was a model not just in his virtuosity and inventiveness as a musician but also in his stardom and his commercial charisma. By the end of the 1960s the great paradox of rock had become apparent: rock musicians' commitment to artistic integrity--their disdain for chart popularity--was bringing them unprecedented wealth. Sales of rock albums and concert tickets reached levels never before seen in popular music. And, as the new musical ideology was being articulated in magazinesnew musical ideology was being articulated in magazines such as Rolling Stone, so it was being commercially packaged by emergent record companies such as Warner BrothersWarner Brothers in the United States and IslandIsland in Britain. Rock fed both off and into hippie rebellion (as celebrated by the Woodstock festival of 1969), and it fed both off and into a buoyant new music business (also celebrated by Woodstock). This music and audience were now where the money lay; the Woodstock musicians seemed to have tapped into an insatiable demand, whether for "progressive" rock and formal experiment, heavy metal and a bass-driven blast of high-volume blues, or singer-songwriters and sensitive self-exploration.

    4. Rock in the 1970s
    Corporate rock

The 1970s began as the decade of the rock superstar. Excess became the norm for bands such as the Rolling Stones, not just in terms of their private wealth and well-publicized decadence but also in terms of stage and studio effects and costs. The sheer scale of rock album sales gave musicians--and their ever-growing entourage of managers, lawyers, and accountants--the upper hand in negotiations with record companies, and for a moment it seemed that the greater the artistic self-indulgence the bigger the financial return. By the end of the decade, though, the 25-year growth in record sales had come to a halt, and a combination of economic recession and increasing competition for young people's leisure spending (notably from the makers of video games) brought the music industry, by this point based on rock, its first real crisis. The Anglo-American music market was consolidated into a shape that has not changed much since, while new sales opportunities beyond the established transatlantic route began to be pursued more intently. Challenges to mainstream rock

The 1970s, in short, was the decade in which a pattern of rock formats and functions was settled. The excesses of rock superstardom elicited both a return to DIY rock and roll (in the roots sounds of performers such as Bruce Springsteen and in the punk movement of British youth) and a self-consciously camp take on rock stardom itself (in the glam rock of the likes of Roxy Music, David Bowie, and Queen). The continuing needs of dancers were met by the disco movement (originally shaped by the twist phenomenon in the 1960s), which was briefly seized by the music industry as a new pop mainstream following the success of the film Saturday Night Fever in 1977. By the early 1980s, however, disco settled back into its own world of clubs, deejays, and recording studios and its own crosscurrents from African-American, Latin-American, and gay subcultures. African-American music developed in parallel to rock, drawing on rock technology sometimes to bridge black and white markets (as with Stevie Wonder) and sometimes to sharpen their differences (as in the case of funk). Rock, in other words, was routinized, as both a moneymaking and a music-making practice. This had two consequences that were to become clearer in the 1980s. First, the musical tension between the mainstream and the margins, which had originally given rock and roll its cultural dynamism, was now contained within rock itself. The new mainstream was personified by Elton John, who developed a style of soul-inflected rock ballad that over the next two decades became the dominant sound of global pop music. But the 1970s also gave rise to a clearly "alternative" rock ideology (most militantly articulated by British punk musicians), a music scene self-consciously developed on independent labels using "underground" media and committed to protecting the "essence" of rock and roll from commercial degradation. The alternative-mainstream, authentic-fake distinction crossed all rock genres and indicated how rock culture had come to be defined by its own contradictions. Second, sounds from outside the Anglo-American rock nexus began to make their mark on it (and in unexpected ways). In the 1970s, for example, Europop began to have an impact on the New York City dance scene via the clean, catchy Swedish sound of Abba, the electronic machine music of Kraftwerk, and the American-Italian collaboration (primarily in West Germany) of Donna Summer and Giorgio MoroderGiorgio Moroder. At the same time, Marley's success in applying a Jamaican sensibility to rock conventions meant that reggae became a new tool for rock musicians, whether established stars such as Clapton and the Rolling Stones' Keith Richards or young punks like the Clash, and played a significant role (via New York City's Jamaican sound-system deejays) in the emergence of hip-hop. 5. Rock in the 1980s and '90s

    Digital technology and alternatives to adult-oriented rock

The music industry was rescued from its economic crisis by the development in the 1980s of a new technology, digital recording. Vinyl records were replaced by the compact disc (CD), a technological revolution that immediately had a conservative effect. By this point the most affluent record buyers had grown up on rock; they were encouraged to replace their records, to listen to the same music on a superior sound system. Rock became adult music; youthful fads continued to appear and disappear, but these were no longer seen as central to the rock process, and, if rock's 1970s superstars could no longer match the sales of their old records with their new releases, they continued to sell out stadium concerts that became nostalgic rituals (most unexpectedly for the Grateful Dead). For new white acts the industry had to turn to alternative rock. A new pattern emerged--most successfully in the 1980s for R. E. M. and in the '90s for Nirvana--in which independent labels, college radio stationscollege radio stations, and local retailers developed a cult audience for acts that were then signed and mass-marketed by a major label. Local record companies became, in effect, research and development divisions of the multinationals. The radical development of digital technology occurred elsewhere, in the new devices for sampling and manipulating sound, used by dance music engineers who had already been exploring the rhythmic and sonic possibilities of electronic instruments and blurring the distinctions between live and recorded music. Over the next decade the uses of digital equipment pioneered on the dance scene fed into all forms of rock music making. For a rap act such as Public Enemy, what mattered was not just a new palette of "pure" sound but also a means of putting reality--the actual voices of the powerful and powerless--into the music. Rap, as was quickly understood by young disaffected groups around the world, made it possible to talk back to the media. The global market and fragmentation

The regeneration of DIY paralleled the development of new means of global music marketing. The 1985 Live Aid event, in which live television broadcasts of charity concerts taking place on both sides of the Atlantic were shown worldwide, not only put on public display the rock establishment and its variety of sounds but also made clear television's potential as a marketing tool. MTV, the American cable company that had adopted the Top 40 radio format and made video clips as vital a promotional tool as singles, looked to satellite technology to spread its message: "One world, one music. " And the most successful acts of the 1980s, Madonna and Michael Jackson (whose 1982 album, Thriller, became the best-selling album of all time by crossing rock's internal divides), were the first video acts, using MTV brilliantly to sell themselves as stars while being used, in turn, as global icons in the advertising strategies of companies such as Pepsi-Cola. The problem with this pursuit of a single market for a single music was that rock culture was fragmenting. The 1990s had no unifying stars (the biggest sensation, the Spice Girls, were never really taken seriously). The attempt to market a global music was met by the rise of world music, an ever-increasing number of voices drawing on local traditions and local concerns to absorb rock rather than be absorbed by it. Tellingly, the biggest corporate star of the 1990s, the Quebecois Cйline Dion, started out in the French-language market. By the end of the 20th century, hybridity meant musicians playing up divisions within rock rather than forging new alliances. In Britain the rave scene (fueled by dance music such as house and techno, which arrived from Chicago and Detroit via Ibiza, Spainvia Ibiza, Spain) converged with "indie" guitar rock in a nostalgic pursuit of the rock community past that ultimately was a fantasy. Although groups like Primal Scream and the Prodigy seemed to contain, in themselves, 30 years of rock history, they remained on the fringes of most people's listening. Rock had come to describe too broad a range of sounds and expectations to be unified by anyone. Rock as a reflection of cultural change

How, then, should rock's contribution to music history be judged? One way to answer this is to trace rock's influences on other musics; another is to attempt a kind of cultural audit (What is the ratio of rock masterworks to rock dross? ). But such approaches come up against the problem of definition. Rock does not so much influence other musics as colonize them, blurring musical boundaries. Any attempt to establish an objective rock canon is equally doomed to failure--rock is not this sort of autonomous, rule-bound aesthetic form. Its cultural value must be approached from a different perspective. The question is not How has rock influenced society? but rather How has it reflected society? From the musician's point of view, for example, the most important change since the 1950s has been in the division of music-making labour. When Elvis Presley became a star, there were clear distinctions between the work of the performer, writer, arranger, session musician, record producer, and sound engineer. By the time Public Enemy was recording, such distinctions had broken down from both ends: performers wrote, arranged, and produced their own material; engineers made as significant a musical contribution as anyone else to the creation of a recorded sound. Technological developments--multitrack tape recorders, amplifiers, synthesizers, and digital equipment--had changed the meaning of musical instruments; there was no longer a clear distinction between producing a sound and reproducing it. From a listener's point of view, too, the distinction between music and noise changed dramatically in the second half of the 20th century. Music became ubiquitous, whether in public places (an accompaniment to every sort of activity), in the home (with a radio, CD player, or cassette player in every room), or in blurring the distinction between public and private use of music (a Walkman, boom box, or karaoke machine). The development of the compact disc only accelerated the process that makes music from any place and any time permanently available. Listening to music no longer refers to a special place or occasion but, rather, a special attention--a decision to focus on a given sound at a given moment. Rock is the music that has directly addressed these new conditions and kept faith with the belief that music is a form of human conversation, even as it is mediated by television and radio and by filmmakers and advertisers. The rock commitment to access--to doing mass music for oneself--has survived despite the centralization of production and the ever-increasing costs of manufacture, promotion, and distribution. Rock remains the most democratic of mass media--the only one in which voices from the margins of society can still be heard out loud.

    I V. ROCK SUBCULTURES
    HIPPIE
    Main Entry: hip·pie
    Variant(s): or hip·py /'hi-pE/
    Function: noun
    Inflected Form(s): plural hippies
    Etymology: 4hip + -ie
    Date: 1965

: a usually young person who rejects the mores of established society (as by dressing unconventionally or favoring communal living) and advocates a nonviolent ethic; broadly : a long-haired unconventionally dressed young person - hip·pie·dom /-pE-d&m/ noun

    - hip·pie·ness or hip·pi·ness /-pE-n&s/ noun
    Source: Webster's Revised Unabridged Dictionary

Hippie, member of a youth movement of the late 1960s that was characterized by nonviolent anarchy, concern for the environment, and rejection of Western materialism. Also known as flower power, the hippie movement originated in San Francisco, California. The hippies formed a politically outspoken, antiwar, artistically prolific counterculture in North America and Europe. Their colorful psychedelic style was inspired by drugs such as the hallucinogen Lysergic Acid Diethylamid (LSD). This style emerged in fashion, graphic art, and music by bands such as Love, the Grateful Dead, Jefferson Airplane, and PinkFloyd.

    PUNK
    Main Entry: 1punk
    Pronunciation: 'p&[ng]k
    Function: noun
    Etymology: origin unknown
    Date: 1596
    1 archaic : PROSTITUTE
    2 [probably partly from 3punk] : NONSENSE, FOOLISHNESS

3 a : a young inexperienced person : BEGINNER, NOVICE; especially : a young man b : a usually petty gangster, hoodlum, or ruffian c : a youth used as a homosexual partner 4 a : PUNK ROCK b : a punk rock musician c : one who affects punk styles Main Entry: 2punk

    Function: adjective
    Date: 1896
    1 : very poor : INFERIOR
    2 : being in poor health

3 a : of or relating to punk rock b : relating to or being a style (as of dress or hair) inspired by punk rock - punk·ish /'p&[ng]-kish/ adjective

    Main Entry: 3punk
    Function: noun
    Etymology: perhaps alteration of spunk
    Date: 1687

1 : wood so decayed as to be dry, crumbly, and useful for tinder 2 : a dry spongy substance prepared from fungi (genus Fomes) and used to ignite fuses especially of fireworks Main Entry: punk rock

    Function: noun
    Date: 1971

: rock music marked by extreme and often deliberately offensive expressions of alienation and social discontent - punk rocker noun

    Source: Webster's Revised Unabridged Dictionary

PUNK also known as PUNK ROCK aggressive form of rock music that coalesced into an international (though predominantly Anglo-American) movement in 1975-80. Often politicized and full of vital energy beneath a sarcastic, hostile facade, punk spread as an ideology and an aesthetic approach, becoming an archetype of teen rebellion and alienation. Black leather jackets adorned with shiny metal spikes and studs, combat boots, spike multi-colored mohawks (mohawk - a strip of hair left on the top of the head, running from front to back), slam dancing, and fast 3-chord rock and roll; all icons of the movement know as “punk”. These are icons that defined the punk movement in the 70’s and 80’s, from the earliest forms to the later forms. These are what many have seen when they saw a “punk” walking down the street. “Punk” is a word that was originally a term for a prostitute in England, 17 century (you can find it in W. Shakespeare’s play “Measure for measure”), then it was a jailhouse term for a submissive homosexual, and was slapped on as a label for a generation of miscreant mid-1960’s U. S. Garage bands that were experimenting with post-Beatles British influence and early psychedelics . The term later expanded to include the rest of the “miscreants” that erupted in the mid 70’s. The punk movement emerged in the mid 1970’s. Most people disagree to just where the punk movement started. Some say that it developed in the US in NYC, others say it was an effort for the British youth to rebel against the current UK government. There are some who say that it was an art form, then there are some who believe it was a unorganized, combined effort between the US and the UK, that eventually developed into a sort of a “punk race”. Despite the controversy about whether the punk movement started in the US, the UK, or some other place in the world, it is sure the entire world has felt its force in the emergence of subcultures and its direct influence on the music styles of today. If it is asked who the first punk band was, and the person answering held true to the belief that punk was born in the UK, many persons would answer that it was the Sex Pistols. SEX PISTOLS – rock group who created the British punk movement of the late 1970s and who, with the song "God Save the Queen, " became a symbol of the United Kingdom's social and political turmoil. By the summer of 1976 the Sex Pistols had attracted an avid fan base and successfully updated the energies of the 1960s mods for the malignant teenage mood of the '70s. Heavily stylized in their image and music, media-savvy, and ambitious in their use of lyrics, the Sex Pistols became the leaders of a new teenage movement - called punk by the British press - in the autumn of 1976. Their first single, "Anarchy in the U. K. ," was both a call to arms and a state-of-the-nation address. When they used profanity on live television in December 1976, the group became a national sensation. I am an anti-Christ

    I am an anarchist,
    don't know what I want
    but I know how to get it.
    I wanna destroy the passers-by
    'cos I wanna be anarchy…

The Sex Pistols released their second single, "God Save the Queen, " in June 1977 to coincide with Queen Elizabeth II's Silver Jubilee (the 25th anniversary of her accession to the throne). Although banned by the British media, the single rose rapidly to number two on the charts. As "public enemies number one, " the Sex Pistols were subjected to physical violence and harassment. God save the Queen

    the fascist regime,
    they made you a moron
    a potential H-bomb.
    God save the Queen
    she ain't no human being.
    There is no future
    in England's dreaming
    Don't be told what you want
    Don't be told what you need.
    There's no future
    there's no future
    there's no future for you
    God save the Queen
    'cos tourists are money
    and our figurehead
    is not what she seems
    Oh God save history
    God save your mad parade
    Oh Lord God have mercy
    all crimes are paid.
    When there's no future
    how can there be sin
    we're the flowers
    in the dustbin
    we're the poison
    in your human machine
    we're the future
    you're future
    God save the Queen
    we mean it man
    there is no future
    in England's dreaming
    No future
    no future for you
    no fufure for me

Punks formed a style to disassociate themselves from society. They refused to dress conservatively, wearing clothing such as ripped or torn jeans, t-shirts or button-down shirts with odd and sometimes offensive remarks labeled on them. This clothing was sometimes held together with band patches or safety pins, and the clothing rarely matched; such patterns as plaid and leopard skin was a commonplace. It was not unusual to see a large amount of body piercing and oddly crafted haircuts. The punks dressed (and still do) like this to separate themselves from society norms. Punks believed in separating themselves from society as much as possible; thus the odd dress and/or rude style. Many times these punks are associated with anarchy. Although most all punks were about anarchy, They believed that government was evil, and that a government society could never be perfect; the government was as far from Utopia as one could get. By the early 1980’s, punk went underground and underwent many changes. These changes were the formation of subcultures.

    MOD
    Main Entry: 2mod
    Function: adjective
    Etymology: short for modern
    Date: 1964

1 : of, relating to, or being the characteristic style of 1960s British youth culture 2 : HIP, TRENDY

    Source: Webster's Revised Unabridged Dictionary

The Mod was a product of working-class British youth of the mid-sixties. The popular perception of the mod was this: "Mod" meant effeminate, stuck up, emulating the middle classes, aspiring to be competitive, snobbish. The old image was one of neatness, of 'coolness'. The music of the Mod was strictly black in inspiration: rhythm and blues, early soul and Tamla, Jamaican ska. The closest thing to a Mod group was probably the Who - the music neatly caught up the 'pilled up'. London nightlife of the mod mythology in a series of effective anthems: 'My Generation, 'Can't Explain', 'Anyhow, Anywhere'. The drug use of Mods was of amphetamines ('purple hearts', French blues', Dexedrine) and pills, uppers and downers, and sleepers. Brake explains why the Mods existed by writing "for this group there was an attempt to fill a dreary life with the memories of hedonistic consumption during the leisure hours.... the insignificance of the work day was made up for in the glamour and fantasy of night life. " These were working class teenagers whose white-collar office work was a drudgery that, for many, would exist for the rest of their lives. The Mods had their “own” style of life, “own” music and “own” bands. They were different from another fashion victims not only with their clothes (suits, severe ties, long scarfs) but they led a secluded life, they were on bad with the strangers. They spent endless evenings in their “own” bars and had a great passion for scooters.

    SKINHEAD
    Main Entry: skin·head
    Pronunciation: 'skin-"hed
    Function: noun
    Date: circa 1953
    1 : a person whose hair is cut very short

2 : a usually white male belonging to any of various sometimes violent youth gangs whose members have close-shaven hair and often espouse white-supremacist beliefs Source: Webster's Revised Unabridged Dictionary

Skinhead origins begin in Britain in the mid to late 1960's. Out of a youth cult known as the "Mods, " the rougher kids began cutting their hair close, both to aid their fashion and prevent their hair from hindering them in street fights. These working class kids adopted the name "Skinheads" to separate themselves from the more dainty and less violent Mods. Huge groups of these explosive youths would meet every Saturday at the football grounds to support their local teams. The die hard support for a group's team often lead to skirmishes between opposing supporters, leading to Britain's legendary "football violence. " When night swept the island, the skinheads would dress in the finest clothes they could afford, and hit the dance halls. It was here they danced to a new sound that was carried to Britain by Jamaican immigrants. This music went by many names including: the ska, jamacian blues, blue beat, rocksteady, and reggae. At these gatherings the skinheads would dance, drink, and laugh with each other and the Jamaican immigrants whom brought the music to Britian. During the 1970's, there were many changes in the "typical" skinhead. For some fashion went from looking smooth in the best clothes you could afford with a blue-collar job, to looking like you were at home, even when you were out. For others the disco craze of the seventies hit hard, resulting in feathered hair, frilly pants, and those ugly seventies shoes. By the late 70's the National Front, Britain's National Socialist party, had invaded the skinhead movement. Kids were recruited as street soldiers for NF. Since skinheads were already a violent breed, the NF decided that if their young recruits adopted the skinhead appearance, the might benefit from the reputation. It was at this point that racism permeated the skinhead cult without the consent of its members. Also by the mid 70's punk had put the rebellion back in rock-and-roll, opening a new avenue for street kids to express their frustrations. The shifting mindset brought kids into the skinhead movement as yet another form of expression. By the late 70's punk had been invaded by the colleges, and record labels, letting down kids who truly believed in its rebellion. From the streets came a new kind of punk rock, a type which was meant to be true to the working class and the kids on the street. This new music was called "Oi! " "Oi! " is short for "Hoi Palloi", latin for "Working Class", and the name stuck. Oi! revived the breath of the working class kids. Because of Oi! music's working class roots, the media scorned its messages unlike they had done with the first wave of punk. With the change in music came a new kinds of skinheads, and the gaps between the different types widened. Aside from the National Front's skinheads, the movement had been simply a working class struggle, rather than a right-left political struggle. With skinheads forming their own bands, political lines began to be drawn on the basis of right-left and even non-political politics. Politically right groups were often associated with the National Front and had distinct racial messages. Leftist groups looked at the working class struggle through labor politics. Non-political groups often shunned both sides simply because they chose to be political. The Oi! movement consumed most of the 1980's and is still alive today. Skinheads have spread to every part of the globe. Each country supports an independent history of skinhead goals, values, and appearances. The definition of "skinhead" varies from country to country, which doesn't say too much since it also varies from city to city. Starting in the late 80's, through present day, there has been a large resurgence back to the "traditional" values and appearance of the 1960's skinhead. This has occurred in Britain, America, as well as most of Europe. This has lead to even more tension, this time between "traditional, " and "non-traditional" skins. Influences of punk can be found in the skinhead culture. Skinheads were in existence long before the punk movement came around, and they were in healthy shape. The split in skinhead culture happened about the same time that the skinheads accepted punk. On one side was the traditional skinheads, known as “baldies”, and on the other was the racist skinheads, known as “boneheads”. Even today there is the negative connotation that skinhead stands for racism, which is hardly the case. But there is also a group that calls itself SHARPs (SkinHeads Against Racial Prejudice; militantly anti-racist skinheads). Skinheads went for a clean-cut look, thus the shaved heads, jeans that fit, plain white t-shirts (sometimes referred to as “wife beaters”), and work boots (“shit kickers”). Tension between the two skinhead cultures exists still today, and an ongoing war is still going on between the white supremacist nazi punk skinheads and the working class anti-racial skinheads. The names of Oi! bands were sometimes cruel (Dead John Lennons, Millions of Dead Cops).

    GOTH
    Main Entry: Goth
    Pronunciation: 'gдth
    Function: noun

Etymology: Middle English Gothes, Gotes (plural), partly from Old English Gotan (plural); partly from Late Latin Gothi (plural) Date: 14th century

: a member of a Germanic people that overran the Roman Empire in the early centuries of the Christian era Main Entry: Goth

    Function: abbreviation
    Gothic
    Source: Webster's Revised Unabridged Dictionary

Goth emerged in the late 1970’s, branching off of the punk scene. A band by the name of Siouxsie and the Banshees are accredited with the starting of the Goths. Gothic music differs from punk to the effect that it eliminated the chainsaw sound of punk and replaced it with a droning sound of guitar, bass, and drums. The Goths also believed that society was too conservative, but they also felt that no one accepted them, so they viewed themselves as outcasts of society. Goths are preoccupied with introspection and melancholia. They are inclined to speak poetically of 'beautiful deaths' and vampiric sympathies. Theatrical as they are, goths are not (or not only) play-acting and self-dramatizing. The Goths wear almost nothing but black, perhaps with a little white or even red. Goth girls have a penchant for nets and lace and complex sinister jewelry; with their long black hair, black dresses and pasty complexions, they look positively Victorian. Boys have long hair and often wear black leather jackets and can at times be mistaken for heshers. Goths dye their hair black and wear black eyeliner and even black lipstick. They usually apply white makeup to the rest of their faces. The music they listen to also carries the name "goth" and seems to have descended from Joy Division, but typically the vocalist uses an especially cheesy 50's Count Dracula enunciation pattern. Unlikely as it may seem, this movement, fostered at a London nightclub called the Batcave in 1981, has become one of the longest-enduring youth-culture tribes. The original Goths, named after the medieval Gothic era, were pale-faced, black-swathed, hair-sprayed night dwellers, who worshiped imagery religious and sacrilegious, consumptive poets, and all things spooky. Their bands included Sex Gang Children, Specimen, and Alien Sex Fiend, post-punk doom merchants who sang of horror-film imagery and transgressive sex. When Goth returned to the underground in Britain, it took root in the U. S. , particularly in sunny California, where the desired air of funereal gloom was often at odds with the participants' natural teen spirit. English bands like Bauhaus, Siouxsie and the Banshees, and the Sisters of Mercy cast a powerful spell over the imaginations of American night stalkers, and pop-Goth variants the Cure and Depeche Mode filled stadiums. Further proof of the movement's mass appeal was the success of The Crow horror movies (1994, 1996), both of which were suffused with Goth imagery. Goth provides a highly stylized, almost glamorous, alternative to punk fashion for suburban rebels, as well as safe androgyny for boys. The massive popularity of such industrial-Goth artists as Ministry, Nine Inch Nails, and Marilyn Manson has somewhat validated the Goth crowd's outrй modus vivendi, though as industrial rock replaces heavy metal as the sound of Middle America, Goth's dark appeal is blanched. Goth enjoyed a spate of media coverage in late 1996 thanks to such peripherally related events as the Florida "vampire murders" of November 1996. To this day, the movement continues to replenish itself with the fresh blood of new bands and fans.

    INDUSTRIAL

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