Mods of lesser means made do with practical clothing styles that suited their lifestyle and employment circumstances: work boots or army boots, straight-leg jeans or Sta-Prest trousers, button-down shirts, and braces (called suspenders in North America). When possible, these working class mods spent their money on suits and other sharp outfits to wear at dancehalls, where they enjoyed soul, ska, bluebeat and rocksteady music.
Around 1965, a schism developed between the ''peacock mods'' (also known as ''smooth mods''), who were less violent and always wore the latest expensive clothes, and the ''hard mods'' (also known as ''gang mods'', ''lemonheads'' or ''peanuts'' ), who were identified by their shorter hair and more working class image. These hard mods became commonly known as skinheads by about 1968. Their short hair may have come about for practical reasons, since long hair can be a liability in industrial jobs and in streetfights. Skinheads may also have cut their hair short in defiance of the more middle class hippie culture.
In addition to retaining many mod influences, early skinheads were very interested in Jamaican rude boy styles and culture, especially the music: ska, rocksteady, and early reggae (before the tempo slowed down and lyrics became focused on topics like black nationalism and the Rastafari movement).
Skinhead culture became so popular by 1969 that even the rock band Slade temporarily adopted the look as a marketing strategy. The subculture gained wider notice because of a series of violent and sexually explicit novels by Richard Allen, notably ''Skinhead'' and ''Skinhead Escapes''. Due to largescale British migration to Perth, Western Australia, many British youths in that city joined skinhead/sharpies gangs in the late 1960s and developed their own Australian style.
By the early 1970s, the skinhead subculture started to fade from popular culture, and some of the original skins dropped into new categories, such as the ''suedeheads'' (defined by the ability to manipulate one's hair with a comb), ''smoothies'' (often with shoulder-length hairstyles), and ''bootboys'' (with mod-length hair; associated with gangs and football hooliganism). Some fashion trends returned to the mod roots, with brogues, loafers, suits, and the slacks-and-sweater look making a comeback.
In the late 1970s, the skinhead subculture was revived to a notable extent after the introduction of punk rock. Most of these revivalist skinheads reacted to the commercialism of punk by adopting a look that was in line with the original 1969 skinhead style. This revival included Gary Hodges and Hoxton Tom McCourt (both later of the band the 4-Skins) and Suggs, later of the band Madness. From 1979 onwards, punk-influenced skinheads with shorter hair, higher boots and less emphasis on traditional styles grew in numbers and grabbed media attention, mostly due to football hooliganism. There still remained, however, skinheads who preferred the original mod-inspired styles.
Eventually different interpretations of the skinhead subculture expanded beyond Britain and continental Europe. In the United States, certain segments of the hardcore punk scene embraced skinhead styles and developed their own version of the subculture.
In the 1960s, most female skinheads had mod-style haircuts. During the 1980s skinhead revival, many female skinheads had feathercuts (known as a Chelsea in North America). A feathercut is short on the crown, with fringes at the front, back and sides. Some female skinheads have a shorter punk-style version of the hairstyle; almost entirely shaved, leaving only bangs and fringes at the front.
Skinheads have been known to wear long-sleeve or short-sleeve button-up shirts or polo shirts by brands such as Ben Sherman, Fred Perry, Brutus, Warrior or Jaytex; Lonsdale or Everlast shirts or sweatshirts; collarless ''grandad'' shirts; V-neck sweaters; sleeveless sweaters; cardigan sweaters or T-shirts (plain or with text or designs related to the skinhead subculture). Some Oi! and hardcore-oriented skinheads wear plain white tank top undershirts, especially in North America. They have also worn fitted blazers; Harrington jackets; MA-1 type flight jackets (especially Alpha brand); denim jackets (usually blue, sometimes splattered with bleach); donkey jackets; Crombie-style overcoats; sheepskin 3/4-length coats; short macs; monkey jackets; parkas. Traditional skinheads sometimes wear suits, often made out of two-tone tonic fabric (shiny mohair-like material that changes colour in different light and angles), or in a Prince of Wales or houndstooth check pattern.
Many skinheads wear Sta-Prest flat-fronted slacks or other dress trousers; jeans (normally Levi's, Lee or Wrangler); or combat trousers (plain or camouflage). Jeans and slacks are worn deliberately short (either hemmed or rolled) to show off boots, or to show off socks when wearing loafers or brogues. Jeans are often blue, with a parallel leg design, hemmed or with clean and thin rolled cuffs (turn-ups), and are sometimes splattered with bleach to resemble camouflage trousers (a style popular among Oi! skinheads).
Female skinheads generally wear the same clothing items as men, with addition of skirts, stockings, or dress suits composed of a ¾-length jacket and matching short skirt. Some skingirls wear fishnet stockings and mini-skirts, a style introduced during the punk-influenced skinhead revival.
Many traditionalist skinheads wear braces (known in North America as suspenders), in various colours, usually no more than 1" in width, clipped to the trouser waistband. In some areas, braces much wider than that may identify a skinhead as either unfashionable or as a white power skinhead. Traditionally, braces are worn up in an X shape at the back, but some Oi!-oriented skinheads wear their braces hanging down. Patterned braces — often black and white check, or vertical stripes — are sometimes worn by traditional skinheads. In a few cases, the colour of braces (suspenders) or flight jackets have been used to signify affiliations. The particular colours chosen have varied regionally, and have had totally different meanings in different areas and time periods. Only skinheads from the same area and time period are likely to interpret the colour significations accurately. The practice of using the colour clothing items to indicate affiliations has become less common, particularly among traditionalist skinheads, who are more likely to choose their colours simply for fashion purposes.
Hats common among skinheads include: Trilby hats; pork pie hats; flat caps (''Scally caps'' or ''driver caps''), winter woollen hats (without a bobble). Less common have been bowler hats (mostly among suedeheads and those influenced by the film ''A Clockwork Orange'').
Traditionalist skinheads sometimes wear a silk handkerchief in the breast pocket of a Crombie-style overcoat or tonic suit jacket, in some cases fastened with an ornate stud. Some wear pocket flashes instead. These are pieces of silk in contrasting colours, mounted on a piece of cardboard and designed to look like an elaborately folded handkerchief. It was common to choose the colours based on one's favourite football club. Some skinheads wear button badges or sewn-on fabric patches with designs related to affiliations, interests or beliefs. Also popular are woollen or printed rayon scarves in football club colours, worn knotted at the neck, wrist, or hanging from a belt loop at the waist. Silk or faux-silk scarves (especially Tootal brand) with paisley patterns are also sometimes worn.
Some suedeheads carried closed umbrellas with sharpened tips, or a handle with a pull-out blade. This led to the nickname ''brollie boys''.
In the early days of the skinhead subculture, some skinheads chose boot lace colours based on the football team they supported. Later, some skinheads (particularly highly political ones) began to use lace colour to indicate beliefs or affiliations. The particular colours chosen have varied regionally, and have had totally different meanings in different areas and time periods. Only skinheads from the same area and time period are likely to interpret the colour significations accurately. This practice has become less common, particularly among traditionalist skinheads, who are more likely to choose their colours simply for fashion purposes. Suedeheads sometimes wore coloured socks.
In the early 1970s, some reggae songs began to feature themes of black nationalism, which many white skinheads could not relate to. This shift in reggae's lyrical themes created some tension between black and white skinheads, who otherwise got along fairly well. Around this time, some suedeheads (an offshoot of the skinhead skinhead subculture) started listening to British glam rock bands such as The Sweet, Slade and Mott the Hoople.
The most popular music style for late-1970s skinheads was 2 Tone, which was a fusion of ska, rocksteady, reggae, pop and punk rock. The 2 Tone genre was named after 2 Tone Records, a Coventry, England record label that featured bands such as The Specials, Madness and The Selecter. Some late-1970s skinheads also liked certain punk rock bands, such as Sham 69 and Menace.
Also in the late 1970s, after the first wave of punk rock, many skinheads embraced Oi!, a working class punk subgenre. Musically, Oi! combines standard punk with elements of football chants, pub rock and British glam rock. The Oi! scene was partly a response to a sense that many participants in the early punk scene were, in the words of The Business guitarist Steve Kent, "trendy university people using long words, trying to be artistic ... and losing touch". The term Oi! as a musical genre is said to come from the band Cockney Rejects and journalist Garry Bushell, who championed the genre in ''Sounds'' magazine. Not exclusively a skinhead genre, many Oi! bands included skins, punks and people who fit into neither category (sometimes called herberts). Notable Oi! bands of the late 1970s and early 1980s include Angelic Upstarts, Blitz, The Business, Last Resort, The Burial, Combat 84 and The 4-Skins.
American Oi! began in the 1980s, with bands such as The Press, Iron Cross, The Bruisers and Anti-Heros. American skinheads created a link between their subculture and hardcore punk music, with bands such as Warzone, Agnostic Front, and Cro-Mags. The Oi! style has also spread to other parts of the world, and remains popular with many skinheads. Many later Oi! bands have combined influences from early American hardcore and 1970s British streetpunk.
Although many white power skinheads listened to Oi! music, they also developed a separate genre that was more in line with their politics: Rock Against Communism (RAC). The most notable RAC band was Skrewdriver, which started out as a non-political punk band but evolved into a neo-Nazi band after the first lineup broke up and a new lineup was formed. RAC started out musically similar to Oi! and punk, but has since adopted elements from other genres. White power music that sounds like hardcore is sometimes called hatecore.
Also during the late 1970s and early 1980s, however, many skinheads and suedeheads in the United Kingdom rejected both the far left and far right. This anti-extremist attitude was musically typified by Oi! bands such as Cockney Rejects, The 4-Skins, Toy Dolls, and The Business. Two notable groups of skinheads who spoke out against neo-Nazism and political extremism—and in support of traditional skinhead culture—were the Glasgow Spy Kids in Scotland (who coined the phrase ''Spirit of 69''), and the publishers of the ''Hard As Nails'' zine in England.
In the United States, anti-racist skinheads countered the neo-Nazi stereotype by forming organisations such as The Minneapolis Baldies, which started in 1986; Skinheads Against Racial Prejudice (SHARP), which was founded in New York City in 1987 and then spread to other countries; and Anti-Racist Action (ARA), which was formed in the late 1980s by members of the Minneapolis Baldies and other activists. On the far left of the skinhead subculture, redskins and anarchist skinheads take a militant anti-fascist and pro-working class stance. In the United Kingdom, two groups with significant numbers of leftist skinhead members were Red Action, which started in 1981, and Anti-Fascist Action, which started in 1985. Internationally, the most notable left-wing skinhead organisation is Red and Anarchist Skinheads, which formed in the New York City area in 1993 and then spread to other countries.
In the United States, conservatism has been common in the skinhead scene, with many non-racist skinheads expressing right-wing and anti-communist views, glorifying American military actions and voicing opposition to modern liberalism.
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
In Persia, the title "the Great" at first seems to be a colloquial version of the Old Persian title "Great King". This title was first used by the conqueror Cyrus II of Persia.
The Persian title was inherited by Alexander III of Macedon (336–323 BC) when he conquered the Persian Empire, and the epithet "Great" eventually became personally associated with him. The first reference (in a comedy by Plautus) assumes that everyone knew who "Alexander the Great" was; however, there is no earlier evidence that Alexander III of Macedon was called "''the Great''".
The early Seleucid kings, who succeeded Alexander in Persia, used "Great King" in local documents, but the title was most notably used for Antiochus the Great (223–187 BC).
Later rulers and commanders began to use the epithet "the Great" as a personal name, like the Roman general Pompey. Others received the surname retrospectively, like the Carthaginian Hanno and the Indian emperor Ashoka the Great. Once the surname gained currency, it was also used as an honorific surname for people without political careers, like the philosopher Albert the Great.
As there are no objective criteria for "greatness", the persistence of later generations in using the designation greatly varies. For example, Louis XIV of France was often referred to as "The Great" in his lifetime but is rarely called such nowadays, while Frederick II of Prussia is still called "The Great". A later Hohenzollern - Wilhelm I - was often called "The Great" in the time of his grandson Wilhelm II, but rarely later.
Category:Monarchs Great, List of people known as The Category:Greatest Nationals Category:Epithets
bs:Spisak osoba znanih kao Veliki id:Daftar tokoh dengan gelar yang Agung jv:Daftar pamimpin ingkang dipun paringi julukan Ingkang Agung la:Magnus lt:Sąrašas:Žmonės, vadinami Didžiaisiais ja:称号に大が付く人物の一覧 ru:Великий (прозвище) sl:Seznam ljudi z vzdevkom Veliki sv:Lista över personer kallade den store th:รายพระนามกษัตริย์ที่ได้รับสมัญญานามมหาราช vi:Đại đếThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 33°37′0″N117°53′51″N |
---|---|
name | Laurel Aitken |
landscape | yes |
background | solo_singer |
birth name | Lorenzo Aitken |
birth date | April 22, 1927 |
death date | |
origin | Cuba |
instrument | Vocalist |
genre | Ska |
notable instruments | }} |
Lorenzo Aitken (April 22, 1927 – July 17, 2005), better known as Laurel Aitken, was a singer and one of the originators of Jamaican ska music. He is often referred to as the "Godfather of ska".
Aitken moved to Brixton, London in 1960 and recorded for the Blue Beat label, releasing fifteen singles before returning to Jamaica in 1963. He recorded for Duke Reid, with backing from The Skatalites on tracks such as "Zion" and "Weary Wanderer", before returning to the UK, where he began working with Pama Records. He recorded hits such as "Fire in Mi Wire" and "Landlord and Tenants", which led to a wider recognition outside of Jamaica and the UK. This cemented his position as one of ska's leading artists and earned him the nicknames ''The Godfather of Ska'', and later ''Boss Skinhead''. He gained a loyal following not only among the West Indian community, but also among mods, skinheads and other ska fans. He had hit records in the United Kingdom and other countries in the 1950s through to the 1970s on labels such as Blue Beat, Pama, Trojan, Rio, Dr. Bird, Nu-Beat, Ska-Beat,Hot Lead and Dice. Some of his singles featured B-sides credited to his brother, guitarist Bobby Aitken. Aitken also recorded a few talk-over/deejay tracks under the guise of 'King Horror', such as "Loch Ness Monster", "Dracula, Prince of Darkness", and "The Hole". Aitken settled in Leicester with his wife in 1970. His output slowed in the 1970s and during this period he worked as an entertainer in nightclubs and restaurants in the area including the popular 'Costa Brava Restaurant' in Leicester under his real name Lorenzo. In 1980, with ska enjoying a resurgence in the wake of the 2 Tone movement, Aitken had his only success in the UK Singles Chart with "Rudi Got Married" (#60). Aitken's career took in mento/calypso, R&B;, ska, rock steady, and reggae, and in the 1990s he even turned his talents to dancehall. He performed occasional concerts almost until his death from a heart attack in 2005. After a long campaign, a blue plaque in his honour was put up at his Leicester home in 2007.
Category:Reachout International Records recording artists Category:1927 births Category:2005 deaths Category:Jamaican people of Cuban descent Category:Deaths from myocardial infarction Category:Jamaican reggae musicians Category:Jamaican ska musicians Category:Trojan Records artists Category:Jamaican expatriates in England Category:Blue plaques
ca:Laurel Aitken de:Laurel Aitken es:Laurel Aitken fr:Laurel Aitken it:Laurel Aitken ht:Laurel Aitken hu:Laurel Aitken pl:Laurel Aitken pt:Laurel Aitken ru:Эйткен, Лорел sv:Laurel Aitken tr:Laurel Aitken uk:Лорел ЕйткенThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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