"The notion of social worlds is used here to refer to a form of social organization which cannot be accurately delineated by spatial, territorial, formal, or membership boundaries. Rather, boundaries of social worlds must be determined by interaction and communication which transcend and cross over the more formal and traditional delineators of organization. The term social world is used here to develop a common referent for a number of related concepts which refer to similar phenomena, Thus, social world phenomena encompass that which other sociologists have referred to as: occupational contact networks, invisible colleges, behavior systems, activity systems, and subcultures. After tracing some of the sociological history of social world analysis, a series of concepts are developed which bring together and bind all of the previously mentioned concepts into a systematic whole. Major aspects of individual involvement, structural features of social worlds, levels of social world analysis, and some implications of a social world perspective are presented. In this way, a program for study and unification of related concepts is presented in preliminary form."
(David Unruh, 1980)
David Unruh (1980). "The Nature of Social Worlds" The Pacific Sociological Review, Vol. 23, No. 3 (Jul., 1980), pp. 271-296.
"An extension of the UK skinhead movement, the roots of sharp lie in the influx of European immigrants in Australia in the early 1960s. By the late 1960s the Sharpie subculture had evolved and existed in the mainly working class and migrant inner city suburbs such as Richmond, Fitzroy, Collingwood and Brunswick where Greeks, Italians, Yogoslavs and English immigrants all lived side by side. But as street corners gradually changed to shopping centres, by the early 1970s, the Sharpie movement started to spread to the outer suburbs of Melbourne where a 'rough as guts' working class ethos existed.
The name 'Sharpie' originated from the fashion. It was all about the clothes and looking sharp, and flash. The first wave of Sharpies from 1966 – 1969 were strongly influenced by UK Mod fashions, the 1964 Rockers and the style of certain Italian migrants. Demeanor was tough, hair was short back and sides and clothing was custom made by European tailors, thus allowing for a blend of neo–thirties suave combined with a contemporary larrikin attitude. Dances were also a big part of the Sharpies social fabric, with bands such as Billy Thorpe & the Aztecs, Wild Cherries, Ray Brown & the Whispers, and Max Merritt & the Meteors being popular choices.
From 1970–1980, the second wave of Sharpies were following hard, tough rock'n'roll bands like Lobby Loyde and the Coloured Balls, Buster Brown, Rose Tattoo, The Angels and ACDC. Sharpies were now often congregating in large numbers, regularly attending live band concerts at town hall and high school dances as well as early discos. But due to their sheer numbers, Sharpies were often perceived as being untouchable by the police and were often associated with excessive violence, regularly taking part in fights."
(Melynda von Wayward)
"In this edition from Birmingham, the Coventry band the Specials had just finished playing and George is sitting beside Martin Degville, just in front of Jane Kahn, partner in the seminal outrage shop Kahn & Bell."
(David Johnson, 28 June 2010)
"Helina is explaining what a haul girl is to me. 'Basically, you go out shopping for clothes or beauty products,' she says, 'then you make a haul video and show viewers on YouTube what you got. You go through the items of clothing one by one. I guess what people get out of them is not showing off, like, how much money you've got or anything, but lifestyle: you get to see how one person lives, what their taste is.'
If you're minded to sneer at a youth cult that involves making videos about your shopping, then Helina has a pretty intriguing counter–argument. 'It's not just about showing what you've got,' she says. 'It's a whole creative process behind the videos as well, which is what I enjoy about it. Choosing the right music, going from the filming to the editing. Sometimes I even storyboard things, because I want certain shots, how I can present different items and things like that.' Besides, she says, it's a genuine community. She thinks a lot of haul girls 'turn the camera on because it's a way to talk to people without having to go outside and face their fears. I know that was the case with me: I turned on my camera because I was at home, signed off work, sick, and really bored. And it helped with my confidence in a way. There's this community where you can talk to like–minded people.'"
(Alexis Petridis, 20 March 2014, The Guardian)