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Paul Jobling and David Crowley argued that the definition of mod can be difficult to pin down, because throughout the subculture's original era, it was "prone to continuous reinvention." [ 10 ] They claimed that since the mod scene was so pluralist, the word mod was an umbrella term that covered several distinct sub-scenes.
The mod 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 .
Focused on music and fashion, the subculture has its roots in a small group of stylish London-based young men in the late 1950s who were termed modernists because they listened to modern jazz. [ 2 ] ^ Grossman, Henry; Spencer, Terrance; Saton, Ernest (13 May 1966).
Elements of the mod subculture include fashion (often tailor-made suits); music (including soul, rhythm and blues, ska, jazz, and later splintering off into rock and freakbeat after the peak Mod era); and motor scooters (usually Lambretta or Vespa). The original mod scene was associated with amphetamine-fuelled all-night dancing at clubs. [138]
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The theory does not translate well to American subcultures because the class consciousness does not work the same way. [4] Hebdige places too much emphasis on the symbolic meaning of style, thereby overlooking other aspects of youth rebellion. [4] The theory overlooks the variety of efforts outside of style in which subcultures engage. [4]
Management styles varies by company, level of management, and even from person to person. A good manager is one that can adjust their management style to suit different environments and employees. An individual’s management style is shaped by many different factors including internal and external business environments, and how one views the ...
Cohen argued that these styles are not meaningless, but are deeply layered in meaning. This is an application of Marxist Subcultural Theory which synthesised the structuralism of Marxism with the Labelling Theory. The approach matched that of the Centre for Contemporary Cultural Studies at Birmingham University (see Crow: 1997).