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Wehrmacht soldiers with undercuts in 1942. Historically, the undercut has been associated with poverty and inability to afford a barber competent enough to blend in the sides, as on a short back and sides haircut. From the turn of the 20th century until the 1920s, the undercut was popular among young working-class men, especially members of ...
Popular music and film stars had a major influence on 1950s hairstyles and fashion. Elvis Presley and James Dean had a great influence on the high quiff-pompadour greased-up style or slicked-back style for men with heavy use of Brylcreem or pomade. The pompadour was a fashion trend in the 1950s, especially among male rockabilly artists and actors.
The Rockin’ Shadows had recorded Intveld’s song "My Heart Is Achin' For You" for the 1983 compilation album (Art Fein Presents) The Best of L.A. Rockabilly. As a songwriter, Intveld wrote "Crying Over You" recorded by Rosie Flores and released on her 1987 self-titled album.
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This is a list of musicians who have played rockabilly. For a list of psychobilly musicians, see list of psychobilly bands
An extreme version known as the undercut was very common for German soldiers during World War II. [8] During the post-World War II period, the business-man haircut, in the form of a combover, became the standard dress code for men's hair in white-collar workplace settings throughout the Western world until the late 1960s and early 1970s.
In December 1979 Levi & the Rockats disbanded and the Rockats continued under that name. Levi Dexter went solo and is still performing rockabilly music and was inducted into the Rockabilly Hall of Fame. [6] In the 1980s, the Rockats opened for groups like Kiss, Iggy Pop, The Clash, David Bowie, Tina Turner, Thin Lizzy, and The Pretenders. [7]
Charlie Feathers studied and recorded several songs with Junior Kimbrough, whom he called "the beginning and end of all music". [7] His childhood influences were reflected in his later music of the 1970s and 1980s, which had an easy-paced, sometimes sinister, country-blues tempo, as opposed to the frenetic fast-paced style favored by some of his rockabilly colleagues of the 1950s.