Mod (subculture) - Knowledge

1034: 366:, which in some cases reserved space in the machines for the customers' own records. In the late 1950s, coffee bars were associated with jazz and blues, but in the early 1960s, they began playing more R&B music. Frith noted that although coffee bars were originally aimed at middle-class art school students, they began to facilitate an intermixing of youth from different backgrounds and classes. At these venues, which Frith called the "first sign of the youth movement", young people met collectors of R&B and blues records. 493: 899: 427: 857:. The paper interviewed a 17-year-old mod who went out clubbing seven nights a week and spent Saturday afternoons shopping for clothes and records. However, few British teens and young adults would have had the time and money to spend this much time going to nightclubs. Paul Jobling and David Crowley argued that most young mods worked 9 to 5 at semi-skilled jobs, which meant that they had much less leisure time and only a modest income to spend during their time off. 288: 1455: 761: 348: 832:. Mods rejected the "faulty pap" of 1950s pop music and sappy love songs. They aimed at being "cool, neat, sharp, hip, and smart" by embracing "all things sexy and streamlined", especially when they were new, exciting, controversial or modern. Hebdige claimed that the mod subculture came about as part of the participants' desire to understand the "mysterious complexity of the metropolis" and to get close to black culture of the 1281: 622: 1336:

attached to a man, and to the development of new occupations for young women, which gave them an income and made them more independent. Hall and Jefferson noted the increasing number of jobs in boutiques and women's clothing stores, which, while poorly paid and lacking opportunities for advancement, gave young women disposable income, status and a glamorous sense of dressing up and going into town to work.

1258: 1416:, which examined media coverage of the mod and rocker riots in the 1960s. Although Cohen acknowledged that mods and rockers had some fights in the mid-1960s, he argued that they were no different from the evening brawls that occurred between non-mod and non-rocker youths throughout the 1950s and early 1960s, both at seaside resorts and after football games. 582:

Small Faces began to change and, by the end of the decade, moved away from mod. 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 money for their youthful pastimes of club-going, record-shopping, and buying clothes.

669:. Because of their fascination with black culture, the early skinheads were, except in isolated situations, largely devoid of the overt racism and fascism that would later become associated with whole wings of the movement in the mid to late 1970s. The early skinheads retained basic elements of mod fashion—such as 1319:

After the seaside resort brawls, the media began to associate Italian scooters with violent mods. Much later, writers described groups of mods riding scooters together as a "menacing symbol of group solidarity" that was "converted into a weapon". With events like the 6 November 1966, "scooter charge"

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collegiate style from the United States. A few male mods went against gender norms by using eye shadow, eye-pencil or even lipstick. 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

1273:. Scooters were a practical and affordable form of transportation for 1960s teens, since until the early 1970s, public transport stopped relatively early in the night. For teens with low-paying jobs, scooters were cheaper and easier to park than cars, and they could be bought through newly available 909:

Jobling and Crowley argued that for working class mods, the subculture's focus on fashion and music was a release from the "humdrum of daily existence" at their jobs. Jobling and Crowley noted that while the subculture had strong elements of consumerism and shopping, mods were not passive consumers;

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Shari Benstock and Suzanne Ferriss claimed that the emphasis in the mod 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 usually done by women. They argued that British mods

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and Tony Jefferson argued in 1993 that compared to other youth subcultures, the mod scene gave young women high visibility and relative autonomy. They wrote that this status may have been related both to the attitudes of the mod young men, who accepted the idea that a young woman did not have to be

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helped spread awareness of mod fashions to a larger audience. Mod-culture continues to influence fashion, with the ongoing trend for mod-inspired styles such as 3-button suits, Chelsea boots and mini dresses. The Mod Revival of the 1980s and 1990s led to a new era of mod-inspired fashion, driven by

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districts. The streets' names became symbols of, one magazine later stated, "an endless frieze of mini-skirted, booted, fair-haired angular angels". Newspaper accounts from the mid-1960s focused on the mod obsession with clothes, often detailing the prices of the expensive suits worn by young mods,

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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." In doing so, the mods "mocked the class system that had gotten their fathers nowhere" and created a "rebellion based on

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remained active well into the late 1960s, but tended to become increasingly detached from the Swinging London scene and the burgeoning hippie movement. 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

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and mingled with black rude boys at West Indian nightclubs like Ram Jam, A-Train and Sloopy's. Hebdige claimed that the hard mods were drawn to black culture and ska music in part because the educated, middle-class hippie movement's drug-orientated and intellectual music did not have any relevance

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subculture grew more popular in the United Kingdom, much of mod, for a time, seemed intertwined with those movements. However, it dissipated after 1968, 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

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As numerous British rock bands of the mid-1960s began to adopt a mod look and following, the scope of the subculture grew beyond its original confines and the focus began to change. By 1966, proletarian aspects of the scene in London had waned as fashion and pop-culture elements continued to grow,

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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. While clothes were still important at that time, they could be ready-made. Dick Hebdige

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Scholars debate how much contact the two subcultures had during the 1960s. Hebdige argued that mods and rockers had little contact with each other because they tended to come from different regions of England (mods from London and rockers from rural areas), and because they had "totally disparate

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Paul Jobling and David Crowley called 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 first

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and overaccessorized with luggage racks, crash bars, and scores of mirrors and fog lights". Some mods added four, ten, or as many as 30 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

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and other drugs. Andrew Wilson argued that for a significant minority, "amphetamines symbolised the smart, on-the-ball, cool image" and that they sought "stimulation not intoxication ... greater awareness, not escape" and "confidence and articulacy" rather than the "drunken rowdiness of previous

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Dick Hebdige argued that when trying to understand 1960s mod culture, one has to try and "penetrate and decipher the mythology of the mods". Terry Rawlings argued that the mod scene developed when British teenagers began to reject the "dull, timid, old-fashioned, and uninspired" British culture

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Hall and Jefferson argued that the presentable image of female mod fashions meant it was easier for young mod women to integrate with the non-subculture aspects of their lives (home, school and work) than for members of other subcultures. The emphasis on clothing and a stylised look for women

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As mod was going through transformation in England, it became all the rage in the United States and around the world, as many young people adopted its look. However, the worldwide experience differed from that of the early scene in London in that it was based mainly on the pop culture aspect,

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and spread throughout Great Britain, eventually influencing fashions and trends in other countries. It continues today on a smaller scale. Focused on music and fashion, the subculture has its roots in a small group of stylish London-based young men and women in the late 1950s who were termed

33: 395:. After 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. During this time London became a mecca for rock music, with popular bands such as the Who and 1197:

A notable part 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 5 a.m. with dilated pupils. Some mods consumed a combined amphetamine/barbiturate called

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Covach, John; Flory, Andrew (2012), "Chapter 4: 1964-1966 The Beatles and the british invasion | XII Other important British blues revival groups | E. The Who", in Covach, John; Flory, Andrew, What's that sound?: an introduction to rock and its history, New York: Norton,

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argued that the mods and rockers' purported lack of respect for law and order could cause violence to "surge and flame like a forest fire". As a result of this media coverage, two British Members of Parliament travelled to the seaside areas to survey the damage, and MP

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generations that did not have to contribute their money from after-school jobs to the family finances. As mod teens and young adults began using their disposable income to buy stylish clothes, the first youth-targeted boutique clothing stores opened in London in the

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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 up in their off-hours.

1076:. The music scene of the Mods was a mix of modern jazz, R&B, psychedelic rock and soul. Terry Rawlings wrote that mods became "dedicated to R&B and their own dances." Black American servicemen, stationed in Britain during the early part of the 1366:. Mods were described in 2012 as "effeminate, stuck-up, emulating the middle classes, aspiring to a competitive sophistication, snobbish, phony", and rockers as "hopelessly naive, loutish, scruffy", emulating the motorcycle gang members in the film 1419:

Newspapers of the time were eager to describe the mod and rocker clashes as being of "disastrous proportions", and labelled mods and rockers as "sawdust Caesars", "vermin" and "louts". Newspaper editorials fanned the flames of hysteria, such as a

1202:, nicknamed "purple hearts". Due to this association with amphetamines, Pete Meaden's "clean living" aphorism about the mod subculture may seem contradictory, but the drug was still legal in Britain in the early 1960s, and mods used the drug for 1177:. The Who's early promotional material tagged them as playing "maximum rhythm and blues", and a name change in 1964 from The Who to The High Numbers was an attempt to cater even more to the mod market. After the commercial failure of the single " 2592:

Skinheads emerged from the Mod scene with a look that countered the majority of Mods' super-stylish appearance. Before they were known as Skinheads (or "Skins"), this group was known as "Hard Mods", implying an unrefined aspect to their

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look. The Teddy Boys paved the way for making male interest in fashion socially acceptable. Prior to the Teddy Boys, male interest in fashion in Britain was often associated with underground homosexuals' subculture and dressing style.

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Many female mods dressed androgynously, with short haircuts, men's trousers or shirts, flat shoes, and little makeup — often just pale foundation, brown eye shadow, white or pale lipstick and false eyelashes. British fashion designer

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claimed in 2006 that the "mods rejected the rocker's crude conception of masculinity, the transparency of his motivations, his clumsiness"; the rockers viewed the vanity and obsession with clothes of the mods as immasculine.

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started in the late 1970s in the United Kingdom, with thousands of mod revivalists attending scooter rallies in locations such as Scarborough and the Isle of Wight. This revival was partly inspired by the 1979 film

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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-secret world", which the Who's manager

385:, motorcycles and leather jackets, and considered the mods effeminate because of their interest in fashion. There were some violent clashes between the two groups. This period was later immortalised by songwriter 1299:

For young mods, Italian scooters were the "embodiment of continental style and a way to escape the working-class row houses of their upbringing". Mods customised their scooters by painting them in "two-tone and

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Covach, John; Flory, Andrew (2012), "Chapter 4: 1964-1966 The Beatles and the british invasion | XII Other important British blues revival groups | E. The Who", in Covach, John; Flory, Andrew (eds.),

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were "worshipping leisure and money ... scorning the masculine world of hard work and honest labour" by spending their time listening to music, collecting records, socialising, and dancing at all-night clubs.

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for them. He argued that the hard mods were attracted to ska because it was a secret, underground, non-commercialised music that was disseminated through informal channels such as house parties and clubs.

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argued that the subculture lost its vitality when it became commercialised and stylised to the point that mod clothing styles were being created "from above" by clothing companies and by TV shows like

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in Britain which attempted to replicate the "scooter" period look and styles of the early to mid-1960s. It was followed by a similar mod revival in North America in the early 1980s, particularly in

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6. The Rockers emulated Marlon Brando's motorcycle gang leader character in "The Wild One" film (a) wore leather clothes; (b) rode motorcycles; and (c) often engaged in brawls with the Mods

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can be difficult to pin down, because throughout the subculture's original era, it was "prone to continuous reinvention." They claimed that since the mod scene was so pluralist, the word

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influenced by British rock musicians. By now, mod was thought of more as a general youth-culture style rather than as a separate subgroup amongst different contentious factions.

3303: 693:, some mods were seen wearing boots and braces and sporting close cropped haircuts (for practical reasons, as long hair was a liability in industrial jobs and street fights). 3065: 1443:. 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 order. 149:". During this time, mod fashions spread to other countries; mod was then viewed less as an isolated subculture, but as emblematic of the larger youth culture of the era. 4113: 4061: 2680: 700:

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

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in London to hear the latest records and show off their dance moves. As the mod subculture spread across the United Kingdom, other clubs became popular, including

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scene in London. 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

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young men insisting on clothes and shoes tailored to their style, who emerged during the modern jazz boom of the late 1950s. Early mods watched French and Italian

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It was Stanley Cohen's classic account, first published in the early 1970s and regularly revised, that brought the term 'moral panic' into widespread discussion.

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The influence of British newspapers on creating the public perception of mods as having a leisure-filled club-going lifestyle can be seen in a 1964 article in

2366: 3892: 202:. The novel may be one of the earliest examples of the term being written to describe young British style-conscious modern jazz fans. This usage of the word 4232: 922:-style, and putting their personal signatures on their style. Mods adopted new Italian and French styles in part as a reaction to the rural and small-town 2267: 1392:

News stories from May 1964 stated that mods and rockers were jailed after riots in seaside resort towns on the south and east coasts of England, such as

484:, and bold geometrical patterns on brightly coloured clothes. During these years, it exerted a considerable influence on the worldwide spread of mod. 3606: 3109: 1637: 1084:

records that were unavailable in Britain, and they often sold these to young people in London. Starting around 1960, mods embraced the off-beat,

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During the early to mid-1960s, as mod grew and spread throughout Britain, certain elements of the mod scene became engaged in well-publicised

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Hard mods (who later evolved into the skinheads) began riding scooters more for practical reasons. Their scooters were either unmodified or

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and Twiggy began to exemplify the mod look. Maverick fashion designers emerged, such as Quant, who was known for her miniskirt designs, and

4237: 1981:, senior thesis presented To Prof. Anne Cook Saunders on 17 December 1998, online at: www.nh-scooters.com/filemanager/download/11/php1C.pdf 309:, though to him it defined Melly's working class clothes-conscious teenagers living in London and south England in the early to mid-1960s. 2632: 2146:

Revolution in Men's Clothes: Mod Fashions from Britain are Making a Smash in the U.S., Life Magazine, 13 May 1966; pg. 82-86. Cover story.

3129:, senior thesis presented to Prof. Anne Cook Saunders, 17 December 1998, online at: www.nh-scooters.com/filemanager/download/11/php1C.pdf 2942: 2554: 1288:

Mods also treated scooters as a fashion accessory. Italian scooters were preferred due to their clean-lined, curving shapes and gleaming

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provides a glimpse at mod's influence on the Sunset Strip and West Hollywood scene of late 1966. Mod increasingly became associated with

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Resistance Through Rituals: Youth Subcultures in Post-war Britain. By Stuart Hall, Tony Jefferson. Published by Routledge, 1993.

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Resistance Through Rituals: Youth Subcultures in Post-war Britain. By Stuart Hall, Tony Jefferson. Published by Routledge, 1993.

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Brown, Mick. Mods: A Very British Style provides definitive history of the 1960s movement, review. The Telegraph. 19 March 2013

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Encyclopedia of the 1960s: A Decade of Culture and Counterculture [2 volumes]: A Decade of Culture and Counterculture

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all had mod followings, and other bands emerged that were specifically mod-oriented. These included the Who, Small Faces,

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revival in England, and was unique in its racial diversity, with black, white, Hispanic and Asian participants. The 1990s

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Feldman, Christine J. (2009), "Chapter 1: Whose modern world?: mod culture in Britain", in Feldman, Christine J. (ed.),

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Male mods adopted a smooth, sophisticated look that included tailor-made suits with narrow lapels (sometimes made of

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instead they were very self-conscious and critical, customising "existing styles, symbols and artefacts" such as the

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appealing to a largely mod audience, as well as the preponderance of hip fashions, in a period often referred to as

3905: 3727: 2363: 1908: 634: 2681:"We thought Jake Bugg's new single "What Doesn't Kill You" was a bit rushed. So we slowed it down 39% - Vanyaland" 1718: 1332: 542: 4207: 4202: 4192: 4078: 3976: 3633: 2264: 145:. London became synonymous with fashion, music, and pop culture in these years, a period often referred to as " 875:

and seeking out extreme cases such as a young mod who claimed that he would "go without food to buy clothes".

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and read Italian magazines to look for style ideas. They usually held semi-skilled manual jobs or low grade

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The British mod revival was followed by a revival in North America in the early 1980s, particularly in

194: 1634: 1527: 1507: 1324:, the scooter, along with the mods' short hair and suits, began to be seen as a symbol of subversion. 137:

By 1965, conflicts between mods and rockers began to subside and mods increasingly gravitated towards

4187: 4166: 4026: 3951: 1430:" in the United Kingdom who would "bring about disintegration of a nation's character". The magazine 1178: 781: 750: 2907: 4016: 2297: 1562:"Mixing the Medicine: The Unintended Consequence of Amphetamine Control on the Northern Soul Scene" 1270: 1142: 902: 890:, from whom mod fashion inherited its "narcissistic and fastidious tendencies" and the immaculate 362:, which closed at about 11pm, they were open until the early hours of the morning. Coffee bars had 2298:"Can You Dig It? the Mod Squad's Peggy Lipton, One Marriage and 15 Years Later, Returns to Acting" 1381:

goals and lifestyles". Mark Gilman, however, claimed that both mods and rockers could be seen at

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John Covach wrote that in the United Kingdom, rockers were often engaged in brawls with mods.

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Wilson argued that the significance of amphetamines to the mod culture was similar to that of

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OnThisDay 4 April 1964 BBC Panorama Reported on Mods and Rockers. Can't we all just get along

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Mondo Mod. Dir. E. Beatty and P. Perry, orig. 1967. DVD: something Weird Video, rel. 2002 w/

1940: 67:. Elements of the mod subculture include fashion (often tailor-made suits); music (including 4242: 4073: 4051: 4046: 4031: 3717: 1756: 1382: 1248: 960: 927: 785: 373:

between the mods, often riding highly decorated motor scooters, and their main rivals, the

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The early mods listened to the "sophisticated smoother modern jazz" of musicians such as

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Revolution in Men' s Clothes: Mod Fashions from Britain are Making a Smash in the U.S.,

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demonstrated the "same fussiness for detail in clothes" as their male mod counterparts.

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Mary Anne Long argued that "first hand accounts and contemporary theorists point to the

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film and TV series also kept mod fashion in the public eye. Today's mod icons include

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Two youth subcultures helped pave the way for mod fashion by breaking new ground: the

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in a wider sense to describe anything that was believed to be popular, fashionable or

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work boots. Hebdige claimed that as early as the Margate and Brighton brawls between

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came into vogue. Its trappings were reflected on popular American TV shows such as

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boutiques, live music, and discothèques. Many associate this era with fashion model

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UNDERSTANDING THE SNOBBERY BETWEEN ORIGINAL MODS, REVIVALISTS, AND MILLENNIAL MODS

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culture: "It comes from 'modernist', it was to do with modern jazz and to do with

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immigrants, so these mods favoured a different kind of attire, that emulated the

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Mod: Clean Living Under Very Difficult Circumstances: a Very British Phenomenon

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Mod: Clean Living Under Very Difficult Circumstances: a Very British Phenomenon

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Hebdige, Dick, "The Meaning of Mod," in Stuart Hall and Tony Jefferson, eds.,

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Hebdige, Dick, "The Meaning of Mod" in Stuart Hall and Tony Jefferson, eds.,

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Hebdige, Dick. "The Meaning of Mod" in Stuart Hall and Tony Jefferson, eds.,

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Hebdige, Dick. "The Meaning of Mod" in Stuart Hall and Tony Jefferson, eds.,

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desert boots, bowling shoes, and hairstyles that imitated the look of French

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Some street-oriented mods, usually of lesser means, sometimes referred to as

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Coffee bars were attractive to British youth because, in contrast to typical

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Peggy Lipton Style Evolution: The 'Mod Squad' Star Turned Hip Hollywood Mom

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dressed like mods for a while (after dressing like rockers earlier), their

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As mod became more cosmopolitan during the "Swinging London" period, some

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describes modernists as young modern jazz fans who dress in sharp modern

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Outcasts, Dropouts, and Provocateurs: Nonconformists Prepare the Terrain

2390:. Stuart Hall and Tony Jefferson, eds. London. Routledge, 1993. Page 174 2106:

Unterberger, R., "Mod", in V. Bogdanov, C. Woodstra and S. T. Erlewine,

1719:"A rather disjointed narrative of the California mod scene(s) 1980–1983" 629:

Many of the hard mods lived in the same economically depressed areas of

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coffee bar culture, which catered to art school students in the radical

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wrote that mods were initially a small group of clothes-focused English

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jeans—but mixed them with working class-orientated accessories such as

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around them, with its repressed and class-obsessed mentality and its

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All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul

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As the mod subculture grew in London during the early-to-mid-1960s,

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

279:, mods created a parody of the consumer society that they lived in. 4156: 3732: 3712: 3675: 3603: 3030:

Life After Dark: A History of British Nightclubs & Music Venues

1726: 1397: 1112: 1108: 1077: 836: 760: 654: 638: 596: 347: 268: 157: 3203: 3201: 3199: 1439:

called for a resolution for intensified measures to control youth

1408:. The "mods and rockers" conflict was explored as an instance of " 3859: 3818: 3737: 3700: 3166: