See C. For a fascinating novel depicting teenage girls and the all-night club scene in s Manchester, see V. Tenny, Just Ask the Lonely London, See L. Mods also appeared on cinema and television screens presenting aspects of the style to a wide audience. London, , p. Laurie, The Teenage Revolution Harmondsworth, , p. Burton, Parallel Lives London, , p. Keith Gildart 1 1. University of Wolverhampton UK.
Personalised recommendations. Cite chapter How to cite? We just want to show them we're not going to take it.
The Whitsun disturbances announced the fact that a new generation was claiming its space and its time. As evidenced by the interviews in Generation X, the early baby-boomers were more confident, better educated, and even more restless than their s counterparts: the Edwardians, later Teddy Boys, who had become notorious for their combination of strange, exaggerated clothes and tendency towards extreme violence.
Generation X captured, for the first time from within, a separate youth world that took its cues from music and fashion.
Films were still important as fantasy vehicles but the public life of s teenagers was acted out in terms of Mod clothes, Bluebeat music and Soho clubs. Inside, the lurid copy presented a country riven by inter-youth culture battles. Moral barricades are manned, solutions are devised by 'experts', and the episode fades or is successfully 'dealt with'.
There was violence, to be sure, but some of this was simply adult projection: a dark vision of a nightmare future symbolised by alien youth. It also fed back into popular culture. In Sex they sourced fetish clothing along with their own original designs, usually festooned in slogans and extreme imagery. One weekend in residents and holiday-makers in the seaside towns of Brighton, Bournemouth and Margate, were rocked by a sudden influx of young, cool gangs.
They were Mods and Rockers, and the culture clash that occurred that weekend, described in this article in The Daily Sketch, has become iconic in the history of youth culture. Mods and Rockers were easily identifiable by their distinctive clothing styles: the Mods wore Fred Perry and Ben Sherman designer suits, covered by a Parka jacket; while the Rockers wore leather biker jackets and jeans.
Cohen argues that as media hysteria about knife-wielding, violent Mods increased, the image of a fur-collared anorak and scooter would "stimulate hostile and punitive reactions". As a result of this media coverage, two British Members of Parliament travelled to the seaside areas to survey the damage, and MP Harold Gurden called for a resolution for intensified measures to control hooliganism. One of the prosecutors in the trial of some of the Clacton brawlers argued that Mods and Rockers were youths with no serious views, who lacked respect for law and order.
Cohen says the media used possibly faked interviews with supposed Rockers such as "Mick the Wild One". As well, the media would try to get mileage from accidents that were unrelated to mod-rocker violence, such as an accidental drowning of a youth, which got the headline "Mod Dead in Sea".
Eventually, when the media ran out of real fights to report, they would publish deceptive headlines, such as using a subheading "Violence", even when the article reported that there was no violence at all. Newspaper writers also began to associate Mods and Rockers with various social issues, such as teen pregnancy, contraceptives, amphetamines, and violence. And soon thereafter the youth culture morphed into the hippie culture and the press fascination turned psychedelic and the Mods and Rockers, mostly, were forgotten.
For a brief and glorious time between and the British working class kids identified as Mods and Rockers dominated the pop culture.
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