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Which clippings match 'Youth Culture' keyword pg.1 of 3
10 APRIL 2017

The Story of Skinhead with Don Letts

"This thoughtful, troubling film from Don Letts shows how a joyful movement became hijacked by thugs and bigots. To the point where even the title of this programme will be off-putting to some. But the precursor to all the hooliganism was a teen obsession with Jamaican ska. Kevin Rowland recalls, 'We saw the Pioneers, we saw Desmond Dekker and we loved them. It was completely multiracial.' And Letts is at pains to celebrate both the fashion before the fascism – reflected in increasingly ugly 70s archive – and the style revival."

(Mark Braxton)

TAGS

1960s • 2 Tone • BBC Four • British inner cities • British subculture • British youth culture • Caribbean music • clothing fashioncouncil estatecounterculturecultural codes • cultural collision • cultural signals • Desmond Dekker • disaffected youth • DJ Don Letts • Doc Martens • Don Letts • dressing up • Harrington jacket • identity performanceimmigrantinner city • Kevin Rowland • late 60s • mods and rockers • moral panic • multicultural harmony • nationalism • neo-nazism • Pauline Black • pop culturepunk rockracismreggaerockumentary • rude boy • rudeboy • Sex PistolsSham 69 • ska • skinheadstreet fashionsubcultureteddy boyteenage rebelliontelevision documentary • The Roxy (nightclub) • The Story of Skinhead (2016) • urban clothingworking class cultureyouth cultureyouth subculture • youth tribes

CONTRIBUTOR

Simon Perkins
11 NOVEMBER 2016

Rap & Hip-Hop was born in 1973 at 1520 Sedgwick Avenue

"Hip-hop music is generally considered to have been pioneered in New York's South Bronx in 1973 by Jamaican-born Kool DJ Herc. At a Halloween dance party thrown by his younger sister, Herc used an innovative turntable technique to stretch a song's drum break by playing the break portion of two identical records consecutively. The popularity of the extended break lent its name to 'breakdancing'--a style specific to hip-hop culture, which was facilitated by extended drumbreaks played by DJs at New York dance parties. By the mid-1970s, New York's hip-hop scene was dominated by seminal turntablists DJ Grandmaster Flash, Afrika Bambaataa, and Herc. The rappers of Sugarhill Gang produced hip-hop's first commercially successful hit, 'Rapper's Delight,' in 1979'.

Rap itself--the rhymes spoken over hip-hop music--began as a commentary on the ability--or 'skillz'--of a particular DJ while that DJ was playing records at a hip-hop event. MCs, the forerunners of today's rap artists, introduced DJs and their songs and often recognized the presence of friends in the audience at hip-hop performances. Their role was carved out by popular African-American radio disc jockeys in New York during the latel96Os, who introduced songs and artists with spontaneous rhymes. The innovation of MCs caught the attention of hip-hop fans. Their rhymes lapped over from the transition period between the end of one song and the introduction of the next to the songs themselves. Their commentaries moved solely from a DJ's skillz to their own personal experiences and stories. The role of MCs in performances rose steadily, and they began to be recognized as artists in their own right [2].

The local popularity of the rhythmic music served by DJs at dance parties and clubs, combined with an increase in 'b-boys'--breakdancers--and graffiti artists and the growing importance of MCs, created a distinctive culture known as hip-hop. For the most part, hip-hop culture was defined and embraced by young, urban, working-class African-Americans. Hip-hop music originated from a combination of traditionally African-American forms of music--including jazz, soul, gospel, and reggae. It was created by working-class African-Americans, who, like Herc, took advantage of available tools--vinyl records and turntables--to invent a new form of music that both expressed and shaped the culture of black New York City youth in the 1970s."

(Becky Blanchard, 1999)

2). Information on MCs drawn from the University of Maryland's "Mcing: The Past" and "MCing: The Present" in "A Brief History of Hip-Hop Culture"

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TAGS

1970s1973African AmericanAfrika Bambaataaappropriation • b-boys • b-girls • Becky Blanchard • black culture • block party • break dancing • breakbeat • breakdance • breakdancing • Cindy Campbell • civil rights movement • Clive Campbell • cultural expression • dance party • DJ • DJ Grandmaster Flash • DJing • extended break • gospel • graffiti art • graffiti artists • Grandmaster Flash • hip-hophip-hop backbeat • hip-hop culture • hip-hop music • hip-hop performance • hip-hop scene • jazz • Kool DJ Herc • l960s • MC • MCing • music history • musical form • New York City • radio disc jockey • rap • rap artist • rap music • rapperreggae • rhyme • rhythmic music • Sedgwick Avenue • skillz • soul • South Bronx • spoken word • Sugarhill Gang • turntable • turntable technique • turntablist • vinyl record • West Bronx • working classworking class cultureyouth culture

CONTRIBUTOR

Simon Perkins
19 JANUARY 2016

Korean video gamers tend to play collectively (not individually)

"Indigenous video game culture creates a game space that Korean gamers use to construct their digital national identity. To Korean gamers, the concept of a digital Korea represents an imaginary space of Korean community where people play games together. Unlike gamers in the United States and Japan, whose gaming experience tends to be individualized, Korea's indigenous video game culture represents a new form of youth culture that allows young gamers to engage in social interaction through gaming with friends at PC Bangs. In this culture, entertainment happens at the moment when gamers are able to 'shout and play games together.' [29] This experience of social gaming creates a particular taste of gameplay that also leads to further immersion in a gaming narrative particular to most Korean gamers (Ok 2011). It is said that Korea is a mad gaming nation (Ahonen and O'Reilly 2007), and the country has the highest penetration rate for a single online game; 12 million South Koreans have driven a car in the Nexon online game Crazyracing Kartrider (2004). In addition to social gameplay within the Korean community, nation-building sentiments also arise in the context of Korean player-killing, where Korean gamers engage in social gaming on the international servers of an online game. [30] Thomas (2008) describes such gameplay as a cultural location that reflects existing racial tensions between Korean and American gamers. Similarly, political tension also appeared in a game massacre event, when Chinese gamers hacked into a Korean server and sparked mass killing between Chinese and Korean gamers in Legend of Mir II (2001).

On a macro level, gaming as a national pastime can be seen in the rapid spread of e-sports in all aspects of Korean society, and this e-sport culture is an indigenous gaming culture that receives support from the government, media institutions, and passionate gamers. E-sports have become recognized as an international sports phenomenon with their origins in Korea. With their emphasis on professional gamers, they have also become an emerging new media phenomenon, an international spectacle in video games (Jin 2010)."

(Mark J. P. Wolf, p.509)

Wolf, M. J. P. (2015). "Video Games Around the World", The MIT Press.

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TAGS

2015 • Chinese gamer • collective behaviourcollectivism • Crazyracing Kartrider • cultural location • digital national identity • e-sport culture • e-sports • game massacre event • gameplaygames research • gaming experience • gaming narrative • gaming nation • Hye Ryoung Ok • imaginary spacesimmersion • indigenous gaming culture • indigenous video game culture • international sports phenomenon • Jim OReilly • Korean community • Korean gamer • Korean society • LAN gaming • Legend of Mir 2 • Mark Wolf • mass collaboration • mass killing • multiplayer computer games • nation-building • national pastime • new media phenomenon • PC bang • people play games together • play games together • political tension • professional gamer • racial tensions • shared context • social gameplay • social gaming • social interaction • social interaction through gaming • South Korea • Tomi Ahonen • video game culture • youth culture

CONTRIBUTOR

Simon Perkins
02 JANUARY 2015

Melbourne youth subculture: before punk there were Sharpies

"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)

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TAGS

1960s1970s • ACDC (band) • Australiabelonging • Billy Thorpe and the Aztecs (band) • British Australian • Brunswick (Victoria) • Buster Brown (band) • Carol Jerrems • clothesclothing fashion • Collingwood (Victoria) • Coloured Balls (band) • counterculturecultural codescustom madedisaffected youth • disco • European immigrants • European style • excessive violence • Fitzroy (Victoria) • Greek Australian • Heidelberg Technical College • high school dance • identity performanceinner city • inner city suburbs • Italian Australian • Italian immigrant • larrikin • larrikin attitude • Lobby Loyde (band) • looking sharp • Max Merritt and the Meteors (band) • Melbourne • Melynda von Wayward • mod fashionmullet • outer suburbs • protopunk • punk rockpunk rock ethos • Ray Brown and the Whispers (band) • Richmond (Victoria) • rock n roll • rockers • Rose Tattoo (band) • rough as guts • sharpie movement • sharpie subculture • sharpies • shopping centre • sideburns • skinheadsocial fabricstyle • suave • subculture • The Angels (band) • town hallurban clothingVictoria (Australia) • Wild Cherries (band) • working classworking class culture • working class ethos • youth cultureyouth subculture • Yugoslav

CONTRIBUTOR

Simon Perkins
03 JULY 2014

Teenage subculture identities discussed in 1979 on UK youth TV programme Something Else

"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)

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TAGS

1970s197970s televisionaggression • BBC Community Programmes • BBC TVBBC2Birmingham • Boy George • British televisionclothescounterculturecultural codescultural normscultural signalsdisaffected youthdressing upfashionfashionable fad • fighting • George ODowd • identity performanceimpression managementinnocence • Jane Kahn • Kahn and Bell • magazine programme • make-up • Martin Degville • naivety • new romantics • prejudicepunk rock • punks • rebellionsocial norms • Something Else (TV series) • street fashionsubcultureteddy boyteenage rebellionteenager • The Specials • urban clothingyouth culture • youth culture magazine programme • youth subculture

CONTRIBUTOR

Simon Perkins
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