"the breeze and digging the music. Charlie Parker, Dizzy Gillespie and Miles Davis rapidly became what Ginsberg dubbed ""secret heroes"" to this group of aesthetes. The Beat authors borrowed much from the jazz/hipster slang of the 1940s, peppering their works with words such as ""square"", ""cats"", ""cool"" and ""dig"". At the time the term ""beatnik"" was coined, a trend existed among young college students to adopt the stereotype. Men emulated the trademark look of bebop trumpeter Dizzy Gillespie by wearing goatees, horn-rimmed glasses and berets, rolling their own cigarettes, and playing bongos. Fashions for women included black leotards and long,"
"Bills (subculture) The Bills were a youth subculture active in Léopoldville (modern-day Kinshasa, capital of the Democratic Republic of the Congo) in the late 1950s, basing much of their image and outlook on the cowboys of American Western movies. Its name was taken from Buffalo Bill. Bills were gangs of teenagers that dressed in cowboy outfits and went against the current political view.They wore cowboy hats that were brown and had cowboy boots. From 1957 to 1959, half a dozen movie theaters opened in the ""African"" neighborhoods in Léopoldville (the city was segregated into African and European areas). The majority"
"consisting of the likes of white T-shirt, loose fitting denim trousers with rolled cuffs, and canvas top sneakers such as Keds or Converse Chucks, or low-topped boots of an industrial nature). While the raggare movement has its roots in late 1950s youth counterculture, today it is associated mainly with middle-aged men who enjoy meeting and showing off their retro American cars. However, the subculture retains its rural and small-town roots as well as its blue collar and low brow feel. The original phenomenon unleashed moral panic but the contemporary raggare subculture tends to be met with amusement or mild disapproval"
"subculture began with a few cliques of trendy teenage boys in London, England in the late 1950s, but was at its most popular during the early 1960s. Mods were obsessed with new fashions such as slim-cut suits; and music styles such as modern jazz, rhythm and blues, soul, ska, and some beat music. Many of them rode scooters. The mod and rude boy cultures both influenced the skinhead subculture of the late 1960s. The skinheads were a harder, more working class version of mods who wore basic clean-cut clothing styles and favoured ska, rocksteady, soul and early reggae music. The"
"Black, Italian and Mexican zoot suiters, Pachuchos and hep cats wore very wide legged high waisted pants to the dancehalls as a protest against wartime rationing, and because it was easy for gang members to conceal weapons beneath a baggy suit. The popularity of baggy pants among teenagers faded in the 1950s, when young members of the greaser subculture favored drainpipe jeans. Baggy jeans were widely worn by West Coast surfers and members of the late 1960s counterculture: old Levi Strauss jeans cut down and bleached by the sea air. In the 1970s bell bottom trousers were worn by hippies"
"Bodgies and widgies Bodgies and widgies refer to a youth subculture that existed in Australia and New Zealand in the 1950s, similar to the rocker culture in the UK or Greaser culture in the United States. Most bodgies rode motorbikes but some had cars, many of which were hotted-up e.g. mag wheels, hot dog muffler, etc. The males were called bodgies and the females were called widgies. Bodgies were often depicted in Australian media and folk-lore as louts. On 1 February 1951 the ""Sydney Morning Herald"" wrote on its front page: ""What with ""bodgies"" growing their hair long and getting"
"Potápky Potápky (""The Grebes"") or bedly (""The Parasol Mushrooms"") were a Czech urban youth subculture primarily defined by the interest in American culture, primarily in swing music It corresponsed to the subcultures of ""Swingjugend"" (literally ""Swing Youth"", commonly translated as ""Swing Kids"") in Nazi Germany and ""zazou"" in France at the same time period. Potápky were distinguished by their eccentric fashion (""zoot suit"", deformed hat, colored socks), long hair, body postures, and slang. As many youth subcultures it was characterized by the rebellion against the older generation, and since Nazi occupation (Protectorate of Bohemia and Moravia, since 1940), it was"
"genre of choice was 1950s rock and roll, played by artists including Eddie Cochran, Gene Vincent, and Bo Diddley. The mod subculture was centred on fashion and music, and many mods rode scooters. Mods wore suits and other cleancut outfits, and preferred 1960s music genres such as soul, rhythm and blues, ska, beat music, and British blues-rooted bands like The Yardbirds, the Small Faces, and The Who, who wrote an evocative portrait of the cultures with their 1973 album Quadrophenia. BBC News stories from May 1964 stated that mods and rockers were jailed after riots in seaside resort towns in"
"mainland America until the late 1950s. Hair was worn short and curled with the New Look, and hats were essential for all but the most casual occasions. Wide-brimmed ""saucer hats"" were shown with the earliest New Look suits, but smaller hats soon predominated. Very short cropped hairstyles were fashionable in the early 1950s. By mid-decade hats were worn less frequently, especially as fuller hairstyles like the short, curly ""poodle cut"" and later ""bouffant"" and ""beehive"" became fashionable. ""Beat"" girls wore their hair long and straight, and teenagers adopted the ponytail, short or long. In the 1950s, Lucille Ball was the"
"Beatnik Beatnik was a media stereotype prevalent throughout the 1950s to mid-1960s that displayed the more superficial aspects of the Beat Generation literary movement of the 1950s. Elements of the beatnik trope included pseudo-intellectualism, drug use, and a cartoonish depiction of real-life people along with the spiritual quest of Jack Kerouac's autobiographical fiction. In 1948, Kerouac introduced the phrase ""Beat Generation"", generalizing from his social circle to characterize the underground, anticonformist youth gathering in New York at that time. The name came up in conversation with John Clellon Holmes, who published an early Beat Generation novel titled ""Go"" (1952), along"
"Freak scene The freak scene was originally a component of the bohemian subculture which began in California in the mid-1960s, associated with (or part of) the hippie movement. The term is also used to refer to the post-hippie and pre-punk period of the early to mid-1970s. It can be viewed as encompassing a range of disparate groups including hippies, pacifists, politicized radicals, as well as psychedelic and progressive rock fans. Those connected with the subculture often attended rock festivals, free festivals, happenings, and alternative society gatherings of various kinds. In the United States of the 1960s, especially during the heyday"
"The scene subculture began in the United Kingdom during the early-mid 2000s when some members of the chav subculture began to experiment with alternative fashion, and took fashionable characteristics of indie pop, emo, rave music, and punk fashions. The fashion originally included typical pop punk and skater clothing like stripes, tartan, spiky hair, Chucks, Vans, and trucker hats derived from grunge and skate punk fashion. Due to the internet, especially fashion, hair and makeup tutorials on YouTube and MySpace, scene fashion had spread to America and Australia by the mid-2000s. Notable trendsetters included singer Jeffree Star Corey Pattakos from Arizona"
"as a result of the zoot suit connection it continued its association with African American music culture, particularly jazz, blues, and ska. In television between 1951 and 1955, Art Carney frequently wore one in his characterization of Ed Norton in ""The Honeymooners"", and in Puerto Rico the actor Joaquín Monserrat, known as ""Pacheco"", was the host of many children's 1950s TV shows and was known for his straw pork pie hat and bow tie—in this incarnation, the pork pie returned to its Buster Keaton style with rigidly flat brim and extremely low flat crown. In the 1960s in Jamaica, the"
"later 1950s; by 1958 tourists to San Francisco could take bus tours to view the North Beach ""Beat"" scene. Although Hedrick once confided to Garcia that ""he and his friends were the ""real"" Beat Generation"", the seminal visual artists in the 1950s in San Francisco, including Hedrick, shunned the ‘beatnik’ label. None of them liked being called “Beats” and they especially abhorred the label “Beatniks”, a sobriquet of disparagement coined by San Francisco’s famed columnist Herb Caen. As Bruce Conner stated: “I don’t know any artist that would call himself a beat artist…If somebody did, you’d consider him a fake,"
"the Zazous went underground, holing up in their dance halls and basement clubs. The Zazous were suspected by the official Communist resistance of having an apathetic, even flippant attitude to the war in general. ←→←←←←→→→← Zazou The zazous were a subculture in France during World War II. They were young people expressing their individuality by wearing big or garish clothing (similar to the zoot suit fashion in America a few years before) and dancing wildly to swing jazz and bebop. Men wore large striped lumber jackets, while women wore short skirts, striped stockings and heavy shoes, and often carried umbrellas."
"Scene (subculture) The scene subculture is a youth subculture which was common in the United Kingdom, the United States, Europe, Asia, Australasia and Latin America from the mid-2000s until the early 2010s. It combines the fashions of emo, goth, pop punk, skater subculture, hip-hop and indie, with emphasis on androgyny and bright colors. In the recent past, teenagers and young adults involved in this style have been called scene people, scene kids, trendies or sometimes scenesters in the United States, chavmos, chemos, or alternateens in the UK, coloridos, floggers and pokemon in Latin America, and shamate (Simplified: 杀马特) in China."
"Sydney Morning Herald"" from March 30, 2008, emo people have criticized the scene subculture with emo people accusing scene people of ""ripping off their style"". By 2009, the scene subculture had become a common sight in Britain and the United States, superseding the earlier emos, goths, skater subculture, and Moshers. Users from Social Network site MySpace started to upload selfie photos showing hairstyles with dyed hair and spikes, black skinny jeans, heavy silver necklaces, bright pink or turquoise plastic bangles, heavy makeup, and multicolored or black T-shirts with a flashy, intricate graphic design. At this time, the fashion took on"
"in what is now-called Liberty City. Northwest Second Avenue and the surrounding neighborhood, once-called the ""Little Broadway"" of the South, by the 1940s hosted hundreds of mostly black-owned businesses, ranging from libraries and social organizations to a hospital and popular nightclubs. Popular with blacks and whites alike, Overtown was a center for nightly entertainment in Miami, comparable to Miami Beach, at its height post-World War II in the 1940s and 1950s. The area served as a place of rest and refuge for black mainstream entertainers such as Count Basie, Ella Fitzgerald, Cab Calloway, Josephine Baker, Billie Holiday, and Nat King"
"yokes, collars and cuffs (see Western fashion). Suits of this pattern, embellished with embroidery and rhinestones, were made by Nudie Cohn for 1950s Country and Western musicians, including Tex Williams and the young Elvis. Suits as casual wear became popular among members of Britain's mod subculture in the 1960s, but only achieved widespread popularity in the United States when—with the creation and popularization of synthetic materials—unprecedented inexpensive prices met with a culture that had come to hate formality. They are frequently associated with that era's disco culture. Leisure suits gained popularity by offering a fashionable, inexpensive suit which could conceivably"
"a wave of publicity. Controversy followed them and they relished making the most of their outlaw and pariah image. ""Time"" and ""Life"" magazines had a particular dislike of the two, hurling invective and insult that Corso and Ginsberg hoped they could bootstrap into yet more publicity. The Beat Generation (so named by Kerouac) was galvanized and young people began dressing with berets, toreador pants, and beards, and carrying bongos. Corso would quip that he never grew a beard, didn't own a beret, and couldn't fathom bongos. Corso and Ginsberg traveled widely to college campuses, reading together. Ginsberg's ""Howl"" provided the"
"Teddy Boy Teddy Boy (also known as Ted) is a mainly British subculture typified by young men wearing clothes that were partly inspired by the styles worn by dandies in the Edwardian period, which Savile Row tailors had attempted to re-introduce in Britain after the Second World War. The fashion phenomenon often referred to as Teddy Boy style appeared in Britain during the mid 1950s as a rebellious side effect to the introduction of American Rock'n'Roll music. The Teddy Boy was a uniquely British phenomenon. The subculture started in London in the early 1950s, and rapidly spread across the UK,"
"Bro (subculture) Bro is a subculture of young men who spend time partying with others like themselves. Although the popular image of bro lifestyle is associated with sports apparel and fraternities, it lacks a consistent definition. Most aspects vary regionally such as in California where it overlaps with surf culture. Oxford Dictionaries have noted that bros frequently self-identify with neologisms containing the word ""bro"" as a prefix or suffix. In a ""New York Magazine"" article in September 2013, Ann Friedman wrote: """"Bro"" once meant something specific: a self-absorbed young white guy in board shorts with a taste for cheap beer."
"in the 20s, then were forced underground, until the ""Jewel Box Revue"" played Harlem's Apollo Theater in the 1950s: ""49 men and a girl."" The girl received a roar of applause, when she was revealed as the same smart young man in dinner clothes who had been introducing each of the evening's acts. Drag as a last-resort tactic in situational farce (its only permissible format at the time) made a big Hollywood splash in ""Some Like It Hot"" (1959). For the San Francisco drag troupe, The Cockettes (1970–72), who performed with glitter eyeshadow and gilded mustaches and beards, the term"
"rebellion against the Nazis. Potápky Potápky (""The Grebes"") or bedly (""The Parasol Mushrooms"") were a Czech urban youth subculture primarily defined by the interest in American culture, primarily in swing music It corresponsed to the subcultures of ""Swingjugend"" (literally ""Swing Youth"", commonly translated as ""Swing Kids"") in Nazi Germany and ""zazou"" in France at the same time period. Potápky were distinguished by their eccentric fashion (""zoot suit"", deformed hat, colored socks), long hair, body postures, and slang. As many youth subcultures it was characterized by the rebellion against the older generation, and since Nazi occupation (Protectorate of Bohemia and Moravia,"
"presence on New York City greasers (the band members themselves were mostly Ivy Leaguers). Greaser (subculture) Greasers are a youth subculture that was popularized in the late 1940s and 1950s to 1960s by predominantly working class and lower class teenagers and young adults in the United States. The subculture remained prominent into the mid-1960s and was particularly embraced by certain ethnic groups in urban areas, particularly Italian-Americans and Hispanic-Americans. Rock and roll music, rockabilly and doo-wop were major parts of the culture. The word ""greaser"" originated in the 19th century in the United States as a derogatory label for poor"
"or Spivs) made deals with GIs for stockings, chocolate, etc. Inevitably, subculture continued to have an image of criminality and the brave, the daring, the milieu, the resistance, etc. The black market in drugs thrived just about anywhere. After the second war, the zoot suit craze spread to France in the form of the Zazou youths. Meanwhile, the intellectuals in France were forming an existentialist subculture around Jean-Paul Sartre and Albert Camus in Paris cafe culture. In post-war America, folk songs and cowboy songs (also known, in those days, as hillbilly music) were beginning to be more popular with a"
"The Scene subculture that emerged in the mid-late 2000s drew much inspiration from Emo style. Hip hop fashion was popular throughout the 2000s with clothing and shoe brands such as Rocawear, Phat Farm, G-Unit clothing, Billionaire Boys Club, Dipset clothing, Pelle Pelle, BAPE, Nike, Fubu, and Air Jordan. Followers of Hip Hop wore oversized shorts, jewelry, NFL and NBA jerseys, pants, and T-shirts. By the late 2000s this gave way more to fitted and vibrantly colored clothing, with men wearing skinny jeans as influenced by the Hyphy and Jerkin' movements. In cosmetic applications, a Botox injection, consisting of a small"
"the hippies in the late 1960s. Often worn with light-cotton, paisley-printed tops or nehru-collared jackets, bell-bottomed hip-huggers were popularized by rock icons such as Jimi Hendrix, Janis Joplin, Jim Morrison, and Robert Plant. Later, hip-huggers became a staple of popular culture and were incorporated into the disco scene of the 1970s. During the late 1970s and early 1980s, however, waistlines moved higher as wide, flared, bell-bottoms gradually gave way to designer straight-legged jeans. Throughout the 1980s and into the 1990s, as more women entered the corporate workforce, the high waist design remained predominant, with commercial designers such as Gloria Vanderbilt"
"subculture grew around the sport and the associated parties, clothes, speech patterns and music. During the same time-frame skateboard riding developed as a parallel lifestyle to wave riding. Both forms of board riding continued throughout the remainder of the century and into the next. From these two sports young people learned to provide their own social structure within which they could display skills and excellence. In the Congo Free State (now known as the Democratic Republic of the Congo), a youth subculture known as the Bills flourished, taking Western movies and cowboys as their main influence. In the Netherlands, two"
"give the show away - culottes, glossy leather, mini-skirts, boots - driving up in Mini-Coopers ... Rebellious sentiment is more obvious among the boys: long hair, square spectacles, Che Guevara [Cuban revolutionary, died 1967] beards. The picture in Nanterre in May was lots and lots of painted dollies cohabiting with unkempt revolutionaries. In the United States adherents of the ""beat"" counter-culture (probably best defined by Jack Kerouac's novel, ""On the Road"", set in the late 1940s, written in 1952 and published in 1957) were associated with black polo-neck (or turtle neck) sweaters, blue denim jeans and sandals. The influence of"
"2, 1958, a portmanteau on the name of the recent Russian satellite Sputnik and Beat Generation. This suggested that beatniks were (1) ""far out of the mainstream of society"" and (2) ""possibly pro-Communist."" Caen's term stuck and became the popular label associated with a new stereotype—the man with a goatee and beret reciting nonsensical poetry and playing bongo drums while free-spirited women wearing black leotards dance. An early example of the ""beatnik stereotype"" occurred in Vesuvio's (a bar in North Beach, San Francisco) which employed the artist Wally Hedrick to sit in the window dressed in full beard, turtleneck, and"
"unpatriotic. This subculture emerged during a time of increased racism and the fight for Mexican American rights and equality within American society. The zoot suit became a symbol if independence and identity, allowing for Mexican American participants to claim space and have their voices heard. Both men and women wore the fingertip coats, but for women it became more than just a style. Pachuca gangs, like the Black Widows and Slick Chicks “were spectacular in a sub-cultural sense, but their black drape jackets, tight skirts, fishnet stockings and heavily emphasized make-up, were ridiculed in the press,” attracting attention with their"
"to label youth subcultures. Shintaro Ishihara's 1950s novel ""Season of the Sun"" gave rise to a reckless and carefree expression of youth which became stylised in subsequent films as ""taiyo zoku"" (sun tribe). This subculture had some parallels with the rocker and greaser subcultures being promoted by Hollywood films such as ""Rebel without a Cause"". Traditional Japanese considered the post-war ""taiyo zoku"" violent and promiscuous. Some Japanese youths admired American music, and Japanese Bill Haley clones were known as ""rokabiri zoku"" (the rockabilly tribe). At the height of the hippy movement and the psychedelic age in the 1960s, the ""futen"