måndag, november 07, 2005

real cool videoclip from BBC

To see the clip
just click here!

it might take some minutes
to load it down

but i promise ya all
it'll be worth it...

fredag, november 04, 2005

Just 4 Fun

a modstatement:

I, (state your name) am now a Mod. I will do only Mod things, listen to only Mod music, and when I'm dead and buried I must have my corpse pointed toward the direction of Paul Weller's home.

There will be a non-refundable $15 application and processing fee.

tisdag, november 01, 2005

oh me oh my...

I been down for a while... not only in mood as i use to, but my computer has been mockin' me. So thats the reason nothing new has happen on thise pages for the last few weeks, its not such a long time, but since i had a lot of plans that i was eager to share with ya all it was really a pain in the ass not to be able to have the opportunity to post all this new stuff...

So one day a magic man
a wonderbar wizard came along my dark side of the moon to help me out with my problems with the higer forces, he laid his healing hand upon my pandoras box and see, miracles of miracles it did work once again... or actually an snotty punk, who knows 'puters better than me, came over and fixed it for me...

so what are we expecting to come out of this wonder???

well we are about to see something li'l 'bout modrelated recordcompanies such as Future Legend, Detour & Biff Bang Pow can be seen at Mod Mod World #8, some small articles 'bout Merton Parkas, Lambrettas, Long Tall Shorty & Prisoners and more can be seen at Mod Mod World #3, news from all 'round the globe with events and gigs and upcomin' uptempoband as Movement, Camera, the Vancurtland rangers, absolut backdrop & Tommies among others can be seen at Mod Mod World #4, and we try to cover the new stageversion of Quadrophenia at Mod Mod World #5... all this and more just for yours, and my own, amusement...

nice to see you all again... cb@spotnet.se

torsdag, oktober 20, 2005

march of the mods '79

The New Narcissism begins with mod. Four welldressed boys walk along the prom, preen themselves for the "renes" - one rung above boilers - and pose for pictures. The session draws the girls' eyes to the boys, and they loving it. Ian Page, SECRET AFFAIR's singer, is leading his three accomplices through the beach-hut paradise of Torquay's seafront, where the band have their pictures taken. Page wears his East End peacockney bravado in his smile. "OY RENE! ARM!" he orders, offering his elbow to non-plussed potential takers. His sucess rate would not win him favourable odds, though he's not really trying too hard. The rule of this game differ, however, insofar as the renes eye the boys and the boys eye themselves in any readily available reflecive surface. Mod boys keep swinging, regardless.

The Secret Affair are in the south of England on the first leg of a co-headlining March Of The Mods tour with the Purple Hearts and supports Back To Zero. The neatly attired Page would have preferres a Get Smart banner - "but the Purple Hearts are too scruffy," he asserts. For perky Page's band, the alternative name would have been perfect. Apart from the reference to their immaculate dress sense, the title would have had an extra connotation in the reference to the old TV spoof spy serial. Page says to me as we prepare to begin the trek south: "So your name's Chris bond, eh? . Close. "Good, Bond fits in with Secret Affair." That's about the limit of my link with the nouveau mod movement. Neatness is an essential prerequisite of the new order. So much so that Boris, a young mod who followed the band to the coast, worried about how he could smarten up after spending a night under an upturned boat on the beach. His freshly alert appearance belies a hard night subjected to the elements. His suit betrays no creases, his hair is neatly in place, and he's doubtless clean behind the ears, too.How he maintains his meticulous appearance under adverse conditions is explained by S.A. guitarist Dave Cairns: "The one thing he was worried about when he came to the hotel was how he could get his suit pressed and his clothes cleaned. The mods would sneak into the place and take a wash or a bath, too." Seb Shelton, their drummer; adds: "He would have taken his suit off and folded it before kipping down. Oh no, it would have been out of order to crease it." I'm surprised that they tolerate my unkempt presence. The bands are less merciful with their sound crew, though. "How come they're always bleedin' hippies?" asks one mod. "It doesn't matter who the band is, whether it's a punk band, mod band or what, the sound crew has always got hair down to here." "Peace, brother," the mods mutter, flashing a peace sign when a soundman passes.

The grouping of the three outfits came about through the teaming of the two top groups on the scene, the PURPLE HEARTS replacing the LITTLE ROOSTERS at the last minute. Page contends that for a co-operative tour such as this the Roosters wouldn't have been compatible, so the more amenable Purple Hearts got the gig. BACK TO ZERO are a recently gathered together collection of North London mods, whose inexperience will undoubtedly benefit from roadwork, but at the moment the only notable thing about them is singer Brian Betteridge's collection of 2,000 singles and his 31-year-old elder brother who was one of the original mods - so says Junior. The co-headliners offer two very different varieties of 1979 mod. Secret Affair's music is an immensely danceable marriage of Sixties Tamla soul with a hard-edged contemporary rock aggression, which works admirably. Purple Hearts' spunkier roots show through their modish appearance. The band once stated they filled the gap between life and art. I would say they bridged the years between punk and mod, but maybethat's beacause I'm ignorant. Whatever, their thumping drumbeats and scattered bass have the forceful drive of punk, but with a slight lurch, which is possibly the distinguishing factor. On top Simon Stebbing concentrates on sustained, sparse and dramatic chordings alternated with shrill little breaks, not the punky ramalama speed. The PURPLE HEARTS are second on the bill on the opening night of the tour, at Plymouth Clones. We arrive just as BACK TO ZERO started their set. they looked like one of those bands which used to populate party scenes in movies of swinging London. Betteridge, a short stocky chap with a cheap hair cut that looks as unbecoming as John Entwhistle's in the very early WHO photos, holds the mike languidly. They include their upcoming single "Your Side Of Heaven" (September release on fiction Records) and a version of "Land Of A 1000 Dances" in their set. The last-named they insist on playing twice in Torquay, when they're inexplicably called back for an encore. They might get better, but for the moment I'll pass. The first night is not very sucessfl one for the Purple hearts, but secret Affair, billtoppers-of-the-day, win over a small crowd of local mods, stray punks and inquisitive holidaymakers with consummare ease. They are very good indeed. They key is a carefully calculated dance music with enslaves the feet, leaving the mind at the mercy of a succession of well-writen youth anthems. The titles say it all: "Shake And Shout", "My World", the single "Time For action", and even the soul staple "Get ready". But, above all, "Glory Boys". From their very appearance, the crowd knows that the Secret affair are going to cut it. This is not the scooter/parka fragment. They belong to the set that derived its reputation from looking better than the rest. Onstage throughout the set in well-cut suits, none of them removes his jacket or loosens his tie, despite the heat of the night. Page has perfected a persona that takes in the sharpness of Frank Sinatra, the relaxed cool of bio-pic bandleaners and the ability of any number of the best rabblerousers, from Noddy Holder through to Jimmy Pursey (the last name only being evoked because he's been popular for longer than Page - so far.)

The three elements are used perfectly in the band's rallying cry, "Glory Boys". Page croons the laidback intro before the band kick the song into action and, suddenly, the singer's voice is harder, commanding, but nevertheless tuneful as he continues: "Hey don't crowd me - I want to be the only one - Hey won't you give me a break - I'm going to be second to none." "You looking at me boy - You trying to match my stare - Don't you know I'm a glory boy - I can cut you down by combing my hair." "No-one touches a glory boy - They look too good for you - If you want to know about us - You gotta be one too." By the song's end, the crowd is already captivated, joining in on the chorus and punching the air along with Page. And this is only the second song into the set. Secret Affair are dangerous . The more I think about them, their strenght, their powers of persuasion, the more convinced I am of their ability to use an audience, to suck in newcomers and swell the ranks of their Glory boys. Be cool, get smart, go mod. Enough. Following it immediately with "Get ready", the crowd is allowed no break. This time the emphasis is shifted back from the mind to the feet. The rhythm section finds a compulsive recoil that jerks the audience at will, and Page's assertive voice pushes forever onward. Another anthem, "My world", then Smokey Robinson's "Going To A 'Go-Go", which introduces Page as trumpeter - a killer blow. and so on. The pace doesn't relent.

Page is cocky and confident. He'd told me, in the bus on the way to the gig, what was to come. He asserted then that the mods need no-one - and by "mods" he means Secret Affair. His every move has been carefully choreographed, even to the extent that it accommodates outsider hostility by its very exclusion. His aim is to create a nationwide Glory Boys clone network, to prove to everyone, thet he can do it. Odds on he will, too. The ultimate narcissism. I've heard it said that Page is motived abave all by revenge; revenge on the music business that gave his and cairn's old band, NEW HEARTS, such a bad time. He says now that his first band, formed and signed when they still only 16, were rooted in Sixties pop, but then they didn't have the rhythmic flexibility to carry it. Their company, CBS, released two unseccessful singles, and the relationship terminated well before the end of the five-year contract. Bitter but sussed the duo set about searching for their dream band. Page says: "We used as a foundation what we learnt with the New Hearts, and this is a ligical progression from the Sixties pop band, which was them called powerpop. The Secret Affair is a soul-type, dance-type band of a new kind." "The New Hearts were simultaneous with the JAM, but we were up there learning the ropes. We weren't good enough, but Secret Affair take it farther than the Jam. They were a mod band working in punk, and their audience was punk." Carins: "The world mod shouldn't be used. this lifestyle, this way of life - the Glory Boys - was being nurtured then. You could see then that there were five or six kids into dressing smart, and they were called something else other than mod. Because once the tag came in, people started saying: If it's called mod, what's it go to do with 1960?" Page: "I would agree. The only thing wrong with the movement is the usage of the world mod. But we know that mod is only an abbreviation of "modern", and our alternative is Glory boys, anyway, and we can't do more than that. We can't help being called a mod band and we can't help sharing a lot of the ideas the old mod bands."

Whattever, they were determined not to get fooled again. Once the New Hearts had split, they saw the makings of the movement. This was 18 months ago, when smart kids in the East End began congregating around places like the Bridgehouse and the Wellington, and scooter clubs in both North and South kept the old traditions alive. Page: "The first bands came about six months later. We set ourselves a two-year plan to try and ensure that we never sell ourselves out. It began with finding our dream band, then setting up our own label through which we'd have complete control over our own records, the packaging and marketing of them, and who we decided to record for the label." " We took it to record companies and turned down all sorts of ridiculous deals - one company offered us a blank cheque with a £200,000 limit - until we found one which would meet our conditions. We signed the label (I SPY Records - through which "Time For Action" hast just been released) to Arista for a lot less, but at least the money we get back will be our own". A firm believer in free enterprise and self-sufficiency, Page is levelheaded, acutely business-minded, and conservative with a small "c" he personifies the American democratic idea of a self-made man who needs nothing but his own hard-earned suss to get here. He's the cocky East Ender made good by strength of his actions and his alone, and has no sympathy for the less motived who can't do it themselves.The new fashion veers away from the left to a more temperate middle of the road, he claims. The misdirected anarchy of punk has been replaced by the "suited subversives".Page says: "Punks speak of individualism, but I don't see it coming about. Just as an observer, you can see it taking place with this band, it's apparent without me even mentioning it."

"You would have noticed the narcissism. The punk bands have to stress it in their interviews, or whatever, but it never actually comes about. Individualism can be quite negative, but I don't think our form is. Their's is. They do it for the sake of it. We do it for a purpose. There are reasons why these kids want to stress themselves - they're rejecting previous values. I'm safe in the knowledge that not eveybody thinks the way we do. We don't plan, not even subversively, to overthrow and change people's ideals, because people's ideals can't be changed like that." The talk comes round to the role smartness plays in the Mod Manifesto. this is the crux of the mod rebellion. "I think it's quite subversive for kids who haven't got a lot of money - which is the case with most of the kids who follow this band - to dress up in a suit and look twice as good as someone who's got three times as much money. It's a social comment for someone to be badly off and insted of glorying like the punks did, in havingno propects, to do the complete opposite, to make a positive statement and say I'm entitled to anything there is in the world and I'll take whatever I can get." "Although the kids have a basic framework, or a fashion to work within, they work very hard to prove themselves in their own right. People can be different from one other as long as they see each other striving to be individual, and that's all that really counts."

In the mod world, the only priority is self. Selfishness, says Page, is a healthy thing - me first, the world second. The Me Generation. "The American Way, it came about through being very well-off anyway. That's why the American situation isn't subversive. but, over here selfishness is, because it's not based on any kind of economic sucess. There's a true desire within to be better than everyone else. I resented them and insited on making my own." "The working-class background and all that entails, the things you are meant to respect, I reject and resent. You're told that you are not very well-off, and this is your basic life pattern. Like comprehensive schools - why do they force youinto manual work? I'm articulate, and I was forced into doing courses like bricklaying, which was wrong. Comprehensives don't accommodate any artistic leanings at all." Any suggestions that mod is anything but supreme is shot down by the we-don't-need-out-siders strategy. Mod was born of it self, and created its own groups long before the press noticed. Page contends that they have a true grassroots following. And, indeed, hardy kids - including one called Frank - follow them round. Despite the supposed live-and-let-live attitude with which the band, and the movement as a whole professes to view the other teen cults, their behaviour is less thab tolerant. As we drew up in the minibus outside the Torquay Town Hall, Page spotted two punk kids on the adjoining pavement."Oh, look at those bastards," he said pointedly slamming the window shut. His inadvertent prompt was immediatly taken up by Frank. "THE DIRTY BASTARDS," he yelled with a warlike display of gestures. realising his mistake, Page immediatly put him in order.

But the attitude is there, and in a movement as narcissitic as mod, the inevitable freeze-out contests take place in clubs and bars, occasionaly erupting into conflict. The SA's genial drummer, Seb Shelton, a trained teacher in remedial English who doesn't drink, smoke or take drugs, achieves an understanding with the tougher kids. He knows it's no good preaching at anyone so instead he ensures that they see the logic of what he's talking about.He says: "It's got to the point now that if anyone of them is out of order, one of our lot will put them back in line - and they'll accept it." I wish he'd been in the changing room after the Torquay gig, when a strange girl wandered in for autographs and jacked up some morphine. As she flirted with consciousness, one SA follower rode her unmercilessly, manhandling her and subjecting her to a tirade of sex slurs, offers and innuendoes, playing up to an assembled multitude who wouldn't tell him to stop. The members of the bandpresent were uncomfortable, but didn't intervene. "This is well out of order," said Dave, and left. Eventually matters were taken in hand by the amenable our manager Rory O'Caroll, who sent the hall manager in to make sure that the girl was okay. This is the ugliest aspect of the New Narcissism. it's low tolerance factor is at its lowest in its general contempt for renes. Mostly it expresses itself in mild jokes, but the sight of a backstage girl in such a depressed state didn't inspore much compassion. The Glory Boys, obsessed with their own anthems, their own pleasures: "Oy. rene. Arm."

Compared to the calculated but engaging chatter of Page, who is very easy to warm to, the rougher, ruder Purple Hearts at first don't really look like they'll live up to their co-headlining status. As I mentioned earlier, their first gig before a sparse crowd was not a good one, and they offered no competition to the Secret Affair in Plymouth. The following night is a lot different, however. The SA play an exceptionally strongs set before 400 mods, punks and punters, winning them over completely. "Thank you. Thanks a lot. Ta," Page mutters at the end. The SA have a showbiz respect for their audience. It's a winning quality.I am prepared for the Purple Hearts to miss out badly. Instead, they revel in the competition and, if at first they look anxious, they turn in a strong, powerful set which strengthens a hitherto shaky alliance at the top of the bill. The Purple Hearts are closer to what outsiders like myself would expect from a nouveau mod band: tremulously sustained chords over Moonstyled thrashing and spidery bass crawl. Their previous punk connections show, and the spike-tops respond by pogoing enthusiastically and hailing singer Bob Manton with a barrage of gob. He's got a booming voice, a bobbing stance and a bellowing approach to his paeans to punky frustration. Some song titles are: "Frustration", "What A Shame", "I Can't Stay Here" and "Perfect World", alongside a radical reworking of Davey Jones and the Lower Thirds' "I Can't Help Thinking About Me" and a more obvious thrash through "Stepping Stone". Both their best songs to date will be available on their first single in September. The A-side will be "Millions Like Us". "Beat That" is the flip, telling of a doomed youth sucked into marriage early on, regretting it later, ending with a warning toothers to keep out. Well, it sounds better in the singing than the telling. The writers, Simon Stebbing (guitar) and Bob Manton, spend more time than is immediately apparent on their material (they are all around 18), and make a point of telling me so.Simon asserst cockily: "We're artists. Onstage it might be all energy and effects, but people are going to be very surprised by our records." His voice rises when he defends the care which they invest in their writing. It took them months to write their first song, he says. When I point out the punky tendencies of theur music, things degenerate into an entertaining, larger-than-life, Pythonesque reiteration of cliches, both punk and mod. Simon: " If there's any comparison to be made, it's in the energy and aggression." Bob: "I've always been into mod and Sixties music - even before I was a punk. That sounds like a cliche, but it's true. When I was young I used to go down to the local record shop and look at the sleeve of "Quadrophenia". That's all I could afford to do." "Mod's an attitude more than anything, really. An attitude to life. Take working. You've got to have a job, but many people haven't ans still manage to live. But the thing is to accept it, and not to think about it, and not to be a slave to it. You have to get money to look cool, get the clothing, enjoy yourself."

I observe that the Purple Hearts are not so sartorially blessed as the Secret Affair."I think we look better," Bob insists. "We get our clothes from jumble sales, which is more creative. The clothes are one thing, for a start, which makes mod different. it's a subtle subversivity instead of the blatant rebellion which punk was." Simon and Bob obviously have a few ideological differences. Bob: "People think 'Oh, look. There's a smart young lad'. But this lad's not going to take any shit. I want middle-aged people to be really offended by it. We're angry... all that repression., old people putting younger people down. It's got to be said again and again. It's got to be said today." "If we were all one cult, the power of youth would be incredible. we could just do what we liked, we could smash up a town and the police wounndn't to be able to stop it..." Sensible Simon worriedly interjects: "But that's pretty negative... The power of youth is incredible." Bob continues, "but it's in the interests of society to keep them divided, which is why mod is the nearest you're gonna get. People are repressed, fucked up, don't know what's going on.."The Purple Hearts are not as crass as Bob's rantings make them appear. Their first single will be released on Chris Parry's Fiction records. Something of a godfather to mod, it was he who recorded the Jam and the Jolt a few years back By the time this story appears, the March of The Mods will be midaway through its nationwide campaign. Its attractions are obvious, its inherent dangers less so. The name SHAM 69 crops up a lot in both the Purple Hearts' and the Secret Affair's interviews. Like Sham, they share a tough, roosty audience, but unlike the Hersham Boys, the Glory Boys revel in looking good, and in the good-time ethic.Ian Page is very much aware of his ability to articulate the experiences of his fellow East Enders and like-minded people around the country, and he's going to capitalise on it."The next step in the plan is to get everybofy using Glory Boys insted of the word 'mod'," he admits. He claims that the opening of the Quadrophenia movie was brought forward a few weeks to coincide with the MOTM tour, because the film's distributors thought they were going to miss out on the mod explosion, at first labouring under the delusion that they were going to create it. But the film will undoubtedly increase the movement's momentum.Mods thus mobilised, Page will soon be calling the shots in the marketplace, his small 'I SPY' enterprise will grow, and the affair will no longer be secret. Don't doubt that Secret affair will experience the sweet taste of succes. When they do, Ian Page's revenge on the business which spurned his New Hearts will be complete.

Article from Melody Maker- August 28th 1979.
More on the '79 modrevival at: http://totalmodness03.blogspot.com/

tisdag, oktober 18, 2005

the year of the mods

August 1979, just six months on from the happy hectic birth of New Mod as a bona fide movement and we’ve got a different animal on our hands. Six months on and mod fills the London clubs, all the major groups have singles in the pipeline, Lyndall Hobbs imports poseurs for her ‘mod documentary’, the first official Mod single ‘You Need Wheels’ is appalling and has undeservedly charted, David Essex records a single called ‘M.O.D’ to the delight of ugly, jealous, chinless has-beens everywhere, powerpop phonies and session men start donning parkas, the price of clothes sky-rocket, little kids at Merton Parkas gigs have never heard of The Purple Hearts, Quadraphenia approaches with the promise of thousands of Quad-mods…The Mod Renewal is at a crossroads in its short existence. Unlike some one-week-stand slags Sounds has always, I think wisely resisted the temptation to indulge in Flower flop style sensationalism, but now with the approach of overkill and masturbationary mass media kind the time is right to spell out the state of play and talk to people respected in the movement about the way things are going.Whatever anyone else says the roots of New Mod were in the Jam and a handful of kids who were Jam fanatics in’77. Disillusioned with punk’s downhill slide these kids after a confused ‘spilt personality’ period, gradually began to dress and think of themselves as Mods. People like Grant Fleming, Alan (Norman) Suchley, Large Al from Hayes and Purple Heart Rob Manton.
In places like Canning Town’s Bridge House and Upton Park in the spring of ’78 parka-clad Grant stuck out like a sore nose in the midst of another movement of disillusioned punks – the skinheads. But by the Autumn and Winter many other Jam fans as well as a lot of the older East End and Essex skinheads were talking about ‘going mod’. Simultaneously, but unaware of each other, people like Billy Hassett in Deptford and Brian Betteridge (of Back To Zero) and the Maximum Speedsters in North London began dressing and thinking of themselves as Mod.Though the divergent groups didn’t really get together till The Jam’s February gigs in Paris for which Grant Fleming had printed leaflets himself under the grand title of ‘The Mod Pilgrimage’ and was taken by surprise when some fifty kids turned up. “Everything grew out of Paris” Grant explains. “After that the Purple Hearts gigs brought everyone together and it was like a party atmosphere everywhere. Then Billy Hassett who we’d met at Paris said why don’t we come and see his group the Chords. It was just our little movement of about 100 – 150 kids with Mod as a way of life.” Meaning? “Well Mod is a way of thinking. It’s fun loving and smart. It was kids who wanted a laugh, drinking, dancing, girls. Going to gigs and taking pride in yourself”So the London Mod scene began in earnest this February with bands who’d been in existence since the year before like Purple Hearts from Romford, the Chords from ‘South East’ London, Back to Zero from North London (plus a few lesser bands) while isolated groups like the Teenbeats from Hastings testified to the existence of ‘foreign’ pockets of Mod.At the same time in Essex Ian Page and Dave Cairns, driven by bitterness and resentment towards the biz after their experience as the loser New Hearts, had formed a ‘new wave soul band’ called Secret Affair whose followers were to be known as Glory Boys. East End Mods were quick to pick up on them and before long the band were rightly being hailed as the leading New Mod Band.
In these early days there was some flirtation between the Southern Mods and the Northern equivalents in the Scooter Clubs. But they were soon found to have nothing in common. The Northern Mods with their wide flares and penchant for Stranglers stick-ons were sneered at by the Southerners who put music and fashion first. (Though some of the Northerns have come round of late) In general the two worlds were and are quite separate. When I first put pen to paper to write about the Mod renewal, I wanted to avoid media/business overkill, attack and the burnt fingers the Biz had got from being over enthusiasm about punk’s money spinning potential. To let Mod develop vigorously and in fact it’s only recently that the onslaught has started. This allowed Mod three or four months of healthy development as a street movement frequenting the likes of the Bridge House and the Wellington. Absurdly criticised by non participants for mere revivalism or alternatively for not reproducing sixties archetypes (you can’t win) the movement’s relevance has rested on it’s ability to take the best of the past to build something of it own. To create a youth movement with vitality, direction and above all marvellous music. Sure it never approached the threat and purpose of punk but in the dismal of ’79 when punk as a meaningful movement was on it’s last legs (and before the hearting sparks of New Punk) Mod – along with Ska bands the Specials and Madness – was like a breath of fresh air to a tired circuit. And this period was well documented by ace modzine Maximum Speed and the live Bridge House compilation album.
Growth was steady and unforced but it brought problems. More and more groups sprang up of varying degrees of competence (None of them challenging the Secret Affair- Chords- Purple Hearts triumvirate) while the West End clubs started opening their doors to Mod, and Mod ranks were swelled by kids who thought there was nothing more to the movement then bunging on a parka. There had been some silly press coverage but the worst came in June with the shitty Sun going overboard about South London the Merton Parkas – a good band hyped out of all proportion who signed to Beggars Banquet and put out the first Mod single ‘You Need Wheels’ which was disgracefully ordinary. A real shame as the first it should have been as vital and worthwhile as ‘Anarchy’. This spilt the Mod camp with the birth of the silly Kill All Merton Parkas Campaign (a much more vicious version of a previous short lives and unfounded anti-Chords) but the future ain’t all gloom and despondency.On the contrary, as I write the major mods bands are on the verge of releasing singles that on the strength of live performance promise to be excellent. ‘The proof in plastic’ as Maximum Speed’s Goffa Gladding says. Secret Affair have signed a deal with Arista for their own I-Spy label and release ‘Time For Action/Soho Strut’ this month. The Chords have signed with Polydor and release ‘Now It’s Gone/Don’t Go Back soon. While the Purple Hearts and Back To Zero have one-off deals with Fiction to release ‘Millions Like Us’ and ‘Back To Back’ respectivelyAt the same time the Affair and the Hearts begin a national tour (the March Of The Mods) this month hopefully with Back To Zero while the Chords headline a UK tour next month. What with Quadraphenia being brought forward to mid- August the movement now faces its biggest boast to date, unbridled press coverage, commercial interest and the first real test of its cohesion and worth.So. Last Monday down the Bridge for Secret Affair – the Business Band – and despite everything the feeling runs as high as ever. The Glory Boys are there, looking sharp. And the atmosphere is all there as Secret Affair proves once more that the excessive praise heaped on them is justified. A lot of big Mod faces are there too so I use the occasion to suss public opinion, and find two schools of thought: a lot of original mods who think Mod as they conceived it is on its last legs, and others, so O can’t really moan but I think the scene is healthier than ever. Grant Fleming fires the first salvo “Mod ain’t very interesting at all now. I know it was inevitable that it’d become commercialised so I can’t really moan, but I just feel aligned to now”
“It caught on too quick. The NME piece, London Weekend Television, the Music Machine, and all this Merton Parkas stuff in the Sun they were all nails in the coffin. It’s all guest lists and poseurs now. Don’t get me wrong The Jam are still good and they’ll always be there, and Secret Affair will be the next really big band – and I’m hoping they don’t go Sham style cos Ian’s a bit like Jimmy and I’m worried he’ll alienate people who ain’t mod. But Mod will be massive, sure and probably better but I feel as aligned to it now as I do to punks. Our crowd are still the same, we’re Mods, but we don’t feel part of the mass movement.” The same despondency was echoed by Tom ‘Hoxton’ McCourt and Bob Baisden from Dagenham, two Suedeheads (yep another revival). Bob: “I got into the music ages and I thought Mod was smart and skins were too much trouble. But the little kids have jumped on the bandwagon now and all these middle class kids. We are down at Vespas when they made that film and Lyndall Hobbs brought people with her to interview. Y’know like some of the old punks, they looked the business but when you go up to ‘em its all ‘Buy us a gin and tonic Nigel.” Tom: “Vespas is a joke, Steve Strange and that lot you get in there… I’ll tell ya Mod used to be persona, now it’s just a fashion” Bob: “When I first changed from skinhead I bought a really nice suit for two quid. Now the same suit costs £20.00. It’s gone the exactly the same as punk only it didn’t last so long. It’s got too commercial too quick.”
Others don’t share their pessimism however. Like Goffa from Maximum Speed “Okay if it’d been allowed to develop and the Sun etc had left it alone it’d be a lot healthier. And it’s annoying when you meet kids who’ve only heard of The Parkas. But things are still happening. There’s this tour which can’t be a bad thing and we’re still selling over 500 copies north of Watford- its starting to take off outside London now ad that keeps me optimistic. We’ve had such a good time up till now. I think it can only get better.” Dave Laurence is equally positive. Dave’s another Ex Dagenham skinhead now a leading Glory Boy with ‘MOD’ tattooed inside his lower lip. “Mod is going great. It’s getting loads of publicity and loads of people joining and that’s what we want – A Mass Mod Movement. I’d encourage the young kids to join in. Okay it does get out of hand with a lot of posers wearing parkas in boiling hot weather but on the other hand musically the bands are getting better all the time. And once Quadraphenia comes out there’ll be so many people joining…Class don’t matter. Mod ain’t about class conflict, it’s a way of thinking and the more people who think Mod the better” Secret Affair’s Ian Page agreed with Dave whole-heartedly, adding, “How can you question a movement that is thousands of people. Mod is growing so strong and all it proves to me is the biz is always wrong and the kids are right. And as long as we’re getting put down the harder we’ll fight, the longer we’ll stay. Things are going great. The fashion side is really working well now. We’ve formed our own label so we can sign other bands and hopefully start financing Maximum Speed. I tell you the scene is healthier than ever.” Two sides to every story. Take your pick. Whatever your point of view one thing’s for certain. For every Mod who drops out another twenty kids join in. Quadrophenia will keep it going over the winter and after that it’ll be to the bands.
Yeah it will be up to us” Billy H of the Chords agrees “Up to us to keep the scene healthy for us and the Purple Hearts, Back to Zero and Secret Affair to stick together and not fall apart. Of course there’s competition, but we are together now. We talk, keep in touch, discuss plans. We all know what happened to punk when the bands signed up, so it’s up to us to avoid the pitfalls. We’re all friends; I can’t see it happening. I believe we can stick together.” It’s proud hope. A worthwhile hope. And as the best bands begin to receive the popular acclaim they deserve we shall see just how they can stick together For my part despite what we read elsewhere my one ambition as regards Mod is to see the movement grow and the best bands successful. And now as the Press Officers and Biz types in, I’m quite happy to leave future scribbling to the free dinner merchants. Meanwhile Mod if it goes no further, has created an important vital vanguard of bands and given a lot o people including me a good time for six months. Ain’t that enough?

This article was written by Garry Bushell
and published in Sounds August 1979.
More on the '79 modrevival at: http://totalmodness03.blogspot.com/

tisdag, oktober 11, 2005

tisdag, oktober 04, 2005

fredag, september 30, 2005


me and my guitar to play
just like yesterday...

lördag, september 24, 2005

Total Modness!!!

This is supose to be an site for all ya lazy sods, mods & odds out there, i'll collect some samples from all 'round the globe and post 'em here just for ya all to get ideas where you can go if you wanna search further for your favorite mod...
It'll be everything from the history av the Mod Movement trough Scootering and Fashion, but most of all, the thing that i'm best at, lots and lots of music, articles pictures and in time even some MP3 selections... All the links are used with permission from their rightfull owners, and hopefully they aint been canceld when ever ya try to reach them...

For a site with band of the '60s (class of '65) go to...
Or if you like to see the modrevival (1978 & forward) go to...

Some news 'bout an ol' favorite or some newrising star...
Or if you are particularly intrested in Brighton,
the riots and Quadrophenia, why dont you go-go to...
if you like Raw Soul For Purple Hearts go to
maybe you just gotta have SKA
or perhaps yo'll go to the li'l artgallery and linxarchive
its just 'round the corner at...

So take a seat and...

Ready Steady Go!!!

tisdag, september 20, 2005

the Movement #1: some shortfacts

At first lets see what some people think the Mod Movement is really about, some simple datas around the name, start and other trivia...

Mod (or, to use its full name, Modernism or sometimes Modism) was a lifestyle based around fashion and music that developed in London in the late 1950s and reached its peak in the early to mid 1960s. People who followed this lifestyle were known as Mods.Mods were obsessed with clothes and music, including Black American R&B and Soul, Jamaican Ska, and Bluebeat and a select few British groups such as the Small Faces, the Kinks, The Spencer Davis Group and The Who. Mods would gather at all-night clubs to show off their clothes and dance. They would typically choose scooters as their mode of transportation, either the Lambretta or the Vespa. These were sometimes adorned with many lights and mirrors and were intended to gain attention.An alternative youth movement known as 'Rockers' often clashed with the Mods, leading to street battles between the two factions in seaside resorts such as Brighton and Margate. These events led to much anguished discussion about 'modern youth' in Britain during the early 1960s. The conflicts inspired Anthony Burgess's novel A Clockwork Orange in which the anti-hero is arguably a futuristic Mod. The film Quadrophenia (1979), based on the album of the same name by The Who (1973), also celebrated the movement.
Partly because of the success of this film, the mod movement enjoyed a revival during the late 1970s. Many of these later mods were fans of bands such as The Jam, The Merton Parkas, Secret Affair, and The Lambrettas, and Two Tone groups such as The Specials, The Beat, The Selector, and Madness.The logo of the mod movement was a stylized target. A prime example of this is the logo of British fashion designer Ben Sherman, whose clothes were and continue to be associated with the Mod movement. The band The Jam were highly influenced musically and stylistically by mod culture as are more recent musicians Ocean Colour Scene who often collaborate with Paul Weller, and The Ordinary Boys. Mod Culture also still runs strong in the german Electronic scene: keyboard wizard Erobique and electronic singer/songwriter lotte ohm. are very obviously mods, as is Frank Popp.
Mods made up (and continue to make up) a large proportion of the Northern soul movement, a subculture based on obscure american soul records from the 60's and 70's."Modism is clean living under difficult circumstances" - Peter Meaden. The Mods and the Rockers were two British youth movements of the early 1960s. Gangs of mods and rockers fighting in 1964 sparked a moral panic about British youth. They can be seen as a type of Folk devil.The Rockers adopted a macho biker gang image tending to wear such clothes as black leather jackets. The Mods adopted a pose of scooter-driving sophistication. It was believed that Mods were cleaner and tidier than Rockers. They often wore colourful clothes considered outrageous by the standards of the time.In Britain during the 1960s most teenage boys could not afford a motorbike or a motor scooter. These bikes/scooters were a status symbol perhaps equivalent to a car today. The film Quadrophenia also commemorated the movement. The conflict between the Mods and the Rockers was the butt of a joke in The Beatles' first film A Hard Day's Night. In the press conference scene, a hapless reporter asks Ringo, "Are you a mod or a rocker?", to which he replies "I'm a mocker."
Mod (or, to use its full name, Modernism or sometimes Modism) was a lifestyle based around fashion and music that developed in London in the late 1950s and reached its peak in the early to mid 1960s, a product of working-class British youth of the mid-sixties, there are many theories and reports about what this group of people were. Quick Background: Brighton beach, a scene that looks like it has been taken directly out of The Outsiders. Where the Rockers (greasers) face the Mods (socs) for yet another violent clash. So what was this culture known as The Mods? Think A Clockwork Orange, think Paul Weller, think scooters. Fashionable, modern and casual with a whole musical genre to its name.So does mod come from "modern"? Perhaps. Another theory stems from the vehicles driven by the two violent factions. The Mods, driving scooters and the Rockers driving the motorbike. The motorbikes of the time having to be "rocked" to get the petrol distribution correct whilst the mopeds had modern technology to circumvent this need. I remain cynical as to the above theory, but it still remains.There were Mods in the late 50s but they were limited to the younger teenagers. When these teenagers grew older, the 60s happened and the mod culture exploded, where it became a culture that included drugs, scooters as well as fashion and music.

The Who became the Mod band of the sixties. But alas - the violence and media coverage ensured the mod movement blew itself out...until the 70s when Paul Weller appeared on the scene, now the culture started to appear in America, as the Anglophile USA craved a replacement for Beatlemania. The US got Punk and Mod. Once again the Mod movement was marred by violence, this time with petrol bombs. Mod(ern) Revival picked itself up off its battered legs in 1989 with the advent of Acid Jazz, and was helped along in the early 90s with the Manchester music scene, the Stone Roses, The Smiths, Happy Mondays, and the Hacienda club (RIP). The Late nineties saw the "indy" scene somewhat work along side the Mod Scene and sometimes they were synonymous, bands such as Blur and Pulp were such borderline bands, who embraced the Mod lifestyle but were labelled as indy. The Mod scene in the 21st Century is somewhat subdued. It's out there, but who knows how it will surface this time? Plenty of British grafitti artists have made it clear it has for the time split into the mainstream and the underground. The RAF "target" symbol that has been unofficially adopted by the movement, appearing in bus shelters throughout the land.

the Movement # 2 Mod: and British cinema

The parents are squares. The girls are twigs. The guys are moody. And the V-neck is in. Will Hodgkinson on what the mod movement did for British cinema. Friday July 25, 2003 The Guardian. When Pete Meaden, the Who's first manager, defined mod culture as "clean living under difficult circumstances", he could have been thinking of the plight of Del and Irene in Bronco Bullfrog, an obscure piece of late-1960s realism set around the residential streets and industrial tundra of Stratford in east London. Del, a moody teen in a V-neck jumper and penny-collar shirt, wants to be alone with his heavy-fringed twig of a girlfriend but, due to lack of cooperation from parents, the young lovers are forced to consummate their relationship in a grimy shed. Even in such a compromising environment, however, Del and Irene look very stylish. Bronco Bullfrog cannot really be called a "mod movie" - Del rides a motorbike, after all - but as with all the films that make up the NFT's Cool World season, it has a spirit and an aesthetic that is entirely in tune with the spirit of mod. The modernists - the word was originally used to describe fans of modern jazz - came out of London in the very early 1960s to create a world that was conformist yet subversive. A typical mod held down an office job and dressed very smartly, but with such an obsessive attention to detail that looked almost psychopathic; a parody of respectability.

Alongside modern jazz, American R&B was the music of choice, while European fashions, a dash of existentialism and a ready supply of amphetamines completed the fast-moving, forward-looking lifestyle. Most mods came from working-class backgrounds and had limited means. So they created a fantasy life in which style had substance and the moment was everything. The early mods looked to the culture of black America for an alternative to the straight life, and Harlem hipsters, with their stylised language, smart dress and bohemian attitude to work were the perfect role models. In 1963, Shirley Clarke made The Cool World, a naturalistic, documentary-style feature about Harlem teenagers trying to get by in a racist era when black militancy was on the rise. Beginning with a preacher's announcement that the white man is the devil, it tells the story of Duke, a young wannabe gangster whose only goal in life is to get a gun so that he can walk tall with the pimps, pushers and prostitutes he idolises. With lines like "Summertime is such a fake - before you know it it's over", The Cool World is a seductive portrait of a lifestyle that is tough but hip. A jazz score by Mal Waldron and Dizzy Gillespie and frame after frame of neat threads and sharp lines provide insight into a world that, in the climate of post-war Britain, looked a lot more attractive to a young white generation than that of their parents'. The original mods were more interested in watching French art movies than decking rockers, and they shared a sensibility, if not a dress sense, with the beatniks who hung around the same Soho coffee shops. Most beatniks were slumming middle-class teenagers - today they would be called trustafarians - and the 1960 film Beat Girl has Gillian Hills, later to be found rolling around a photographic studio with Jane Birkin and David Hemmings in Blowup, in the title role as the original poor little rich girl. Her father, a wealthy architect working on a prototype city of the future, is a "square" and a "creep" who tries to stop his daughter slipping out at night in capri pants and freaking out to wild jazz down the nearest happening dive. Beat Girl can't dig the fact that her dad is getting married to a beautiful French woman who used to be a stripper, so she risks her life by playing chicken run with Oliver Reed and Adam Faith "strictly for kicks!" For its time the film was shocking, and it still has a harsh, grimy edge. It articulated the frustrations of a generation struggling to find their own voice in a society that hadn't yet given a place to them, when going to a cafe and drinking frothy coffee was about as exciting as it got.

Basil Dearden was one of the first British directors to address the impact that black culture was to have on the country, in particular its young people, and his films Sapphire (1959) and All Night Long (1960) capture the changing landscape beautifully. Sapphire is a thriller in which a young woman's body is found on Hampstead Heath, and the discovery that she was half-black reveals seething tensions and resentment on both sides of the racial divide, which was clearly delineated in late-1950s Britain. All Night Long is a jazz version of Othello, set in a sophisticated, elite world of sub- terranean London clubs that were at the cutting edge of modern culture before the Beatles arrived and changed everything. The mods predated Swinging London, and their values - consumerism, style and spontaneity - were to be adopted by it: 1966's Dolly Birds! documents the groovy elite at Piccadilly club The Scotch of St James, and 1967's Tonite Let's All Make Love in London is a flashy portrait of the celebrity in-crowd. Meanwhile, the success of Dick Lester's A Hard Day's Night put British cinema into a healthy state, and any number of films attempting to cash in on the new teenage culture came in its wake. John Boorman kicked his career off by directing beat band the Dave Clark Five in Catch Us If You Can, a colourful tapestry of zany skits in which the Tottenham lads, who all live together in a big church, star in a television commercial for the meat industry ("Meat Is Go!") before rebelling against the phoniness of it all and scuba-diving in the Oasis swimming pool in Covent Garden. The Ghost Goes Gear (with the Spencer Davis Group) and Gonks Go Beat (with the Graham Bond Organisation) are similar mid-1960s quickies that provide some great archaeological nuggets of the period if not too many moments of classic cinema.

By 1967, pop culture was sophisticated enough to satirise itself. Mike Reeves, the Don Siegel-worshipping public schoolboy who directed the classic Witchfinder General, made The Sorcerers, a rare gem that reflected the modern culture of vicarious thrill-seeking in its infancy and highlights the generational misunderstanding that came with the 1960s youthquake. Ian Ogilvy plays a suave young man whose life of clubs, girls and cars is enjoyed by an old couple through a virtual reality machine. From the same year came Privilege, Peter Watkins's first film after The War Game, starring Paul Jones as a pop star who is exploited by everyone from the apple marketing board to the Church of England until an artist, played by Jean Shrimpton in her only film role, wakes him up to his plight. Privilege reveals that the commodification of the young is no new thing. Smashing Time, which was scripted by George Melly, does much the same thing. But the most honest portrait of the 1960s in the Cool World season comes from Bronco Bullfrog. "What did I know about film theory? Very little, but I knew what neo-realism was," says Barney Platts-Mills, Bronco Bullfrog's director. "As I understood it, Rossellini proposed that one take a neighbourhood and make a film to represent or reflect that place by using the stories that emerged from the people's experience, and by getting the people themselves to act them out in their natural locations. I thought I could manage that."

Platts-Mills, who used his well-heeled connections to get the film financed, found the boys for his cast at the Play Barn, the youth-based wing of Joan Littlewood's theatre in Stratford. Del Walker, who plays the lead, was a local troublemaker who hung around the Play Barn, challenging Littlewood's authority and playing records when he was meant to be rehearsing. Anne Gooding, who plays Del's girlfriend Irene, was found in a dairy in west London, as sexual segregation in Stratford was such that no local girls concerned about their reputation ventured into the Play Barn. What Bronco Bullfrog underlines is the way in which 1960s working-class life was a million miles away from the dandies and dolly birds of The Scotch of St James. With an overriding mood of boredom, the boys and girls are almost totally incapable of talking to one another, and all their parents worry about is keeping up appearances. The mods themselves have never really been captured on film. In the late 1970s, Quadrophenia provided an archetypal image for the public consciousness, but parkas, scooters, and scuffles only tell half the story. The movement was too insular, foppish and subtle to be properly represented by a scrum of teenagers on Brighton beach, and the truth lies somewhere between the criminal glamour of The Cool World, the plastic thrill of Dolly Birds! and the dour but stylish authenticity of Bronco Bullfrog. That elusive, indefinable essence that makes the 1960s so fascinating - an essence the mods sought to capture in their dress, attitude and lifestyle - can be found within those films.

· The Cool World: Towards a Mod Cinema is at the NFT, London SE1, from August 1-31. Box office: 020-7928 3232.

the Movement # 3 :the story according to BBC

The opening years of the 1960s were bland, bland, bland. Rock and roll was dead: Elvis was driving a tank in the US Army, and the Teddy Boys had married and taken up junior management positions in light industry. Everything else had withered into a pappy, sappy mess of crooning nonsense; high kitsch and high camp waffle delivered by earnest young men in fluffy cardigans. There were no alternatives: British youth culture had effectively been emasculated, and the nation pursued a dreary Blyton-esque existence.Liverpool vs LondonIn the northern provinces kids still clung to rock and roll. Liverpool was at the forefront, driven by the illegal import of rare vinyl through its sea trade with the US, and boasting a massive scene that would eventually spawn The Beatles. However, while northern kids still spent the weekends be-bopping, their sharper London counterparts were discovering new sounds: rhythm and blues, blue beat and ska - rich exotic sounds brought over with Caribbean immigrants. On the London scene, the emphasis was more on dancing than performing, more inclined to style than output. London was top-heavy with sassy kids looking to move on to the Next Big Thing. Many of the cognoscenti of this nascent scene were involved in the media, and would be the architects of swinging London half a decade later. This leant a crucial sartorial slant: fashion and style became vitally important. Where the streets of Liverpool were still decked out with leather, in London you'd find Pierre Cardin. When modern jazz hit the scene, this elite set were labelled 'Modernists', or within a short space of time, 'Mods'.

Pow - it's the Mods!Like most phenomena, the Mod movement happened at exactly the right moment. By the time the media noticed them in 1962, a social, demographic and economic crossroads had been reached: national service had been abolished, the economy had begun to boom and hire purchase arrangements allowed people vastly increased spending power. A better time to be a teenager will almost certainly never occur. The Mod scene went bananas. From being a scattering of ultra hip subterranean club dwellers, the Mod movement had quickly evolved to take on a definitive culture and structure of its own. At the top, there were the Aces, still on the cutting edge, still setting the pace, still listening to the hippest tunes. The individuals changed, but the attitude did not. It was perfectly possible, while grooving to obscure ska tracks in some Shepherd's Bush basement club, to bump into David Bailey, Twiggy and Mary Quant in the same evening. The next strata were the instantly recognisable and much maligned 'Tickets' or 'Numbers'. They were first noticed in East London, when gangs of arrogant, strutting kids began to descend upon dancehalls and nightclubs, causing inevitable confrontation. Their look generally followed where the Aces led, although with a more working class flavour. The shapeless army surplus parka coat became iconic as well as practical. It protected the wearer's expensive weekend suits from the vagaries of the London climate, and it also kept the cold out while weaving among the traffic on the regulation scooter. These scooters - predominantly Italian Vespa and Lambretta models - were spectacular. Bedecked with peacock fans of wing mirrors, and decorated with numerous headlights, crash bars, whip aerials, white wall tyres and high backed seats, they were possibly the coolest thing ever to hit the tarmac.For everyday wear, turned-up Levis became de rigueur, often shrunk to size by being worn in the bath. Desert boots and Fred Perry tennis shirts were also enormously popular. For these kids, being a Mod really was a way of life. Every night, something would be happening somewhere, the entire scene fuelled by amphetamine, which was very much the Mod drug of choice. Although available, pot simply did not fit in with Mod ideology. Pot slowed you down. Speed kept you leaping for days. There was no competition. This strata of the scene began to produce its own bands, notably The Small Faces, The Yardbirds and an Acton outfit called The High Numbers, shortly to achieve fame as The Who. For a brief while, The Who defined Mod. A string of classic singles: 'I Can't Explain', 'Anyhow Anywhere Anyway', 'The Kids Are Alright' and the frankly bonkers 'My Generation' propelled the Mod sound into every jukebox and radio in Britain. 'The Who are clearly a new form of crime' wrote The Daily Telegraph, 'anti social and armed against the bourgeoisie'. Combining the angry, spitting stance of the backstreet Mod with the Pop Art stylings of their manager, leading Ace Kit Lambert, The Who are still the first thing that comes to mind whenever Mods are mentioned, perhaps rather inaccurately.

You have to be a Mod or a Rocker to mean anything-
interview with a Mod girl in The Daily Mirror, 1964)

Not everybody was a Mod. Rockers, who were, loosely speaking, the last of the Teds, with leather and heavy motorcycles, poured scorn on the new movement. For them, Mods were weedy, effeminate snobs. Mods saw Rockers as out of touch, oafish and grubby. Mods were usually city dwellers (it was, by this time, a national phenomenon, although rooted in London), whereas Rockers tended to be more rural. Mods held down well paid office jobs, whereas Rockers were manual workers. Musically, there was no common ground, with the Rockers clinging to Elvis, Gene Vincent, et al. Rockers rebelled from without, whereas Mods rebelled from within. A Rocker looked like trouble, whereas to the uninitiated, most Mods looked like presentable if rather arrogant young chaps.Scuffles occurred wherever territories overlapped or rival factions happened upon each other. Enterprising Mods sewed fishhooks into the backs of their lapels to shred the fingers of manhandling assailants. Weapons were often in evidence: coshes and flick knives being particularly favoured. To stray into the wrong part of town was to risk falling into very hot water indeed. Things came to a head on the May Day Bank Holiday of 1964. Traditionally, Londoners head for the seaside resorts on bank holidays. That year was no exception. Thousands and thousands of Mods descended upon Margate, Broadstairs and Brighton with no particular lust for civil disturbance. However, an inordinately large number of Rockers had the same holiday plans. Within a short space of time, marauding gangs of Mods and Rockers were trampling sandcastles and overturning deckchairs all along the south coast. The worst violence was at Brighton, where the judge presiding over the cases of arrested protagonists famously labelled them 'Sawdust Caesers' and levied heavy fines. The Brighton riots were later immortalised as the centrepiece of the cult film Quadrophenia.Skinheads and HippiesThe Mods were the products of a culture of constant change, and it was therefore inevitable that the scene would devour itself. By the time Bobby Moore waved the World Cup aloft in the summer of 1966, the Mod scene was in sharp decline. Most Mods simply drifted away, lured by the burgeoning hippie counter-culture and the first 'happenings' that were taking place around this time. Hippie culture presented a passive outlook on life that was the total opposite of the Mod standpoint. The frenetic uptight-out-of-sight energy that had underpinned the Mod ethos had vanished. There was a final stratum to the old Mod culture that rejected the new order absolutely. At the lowest end of the scale both in philosophy and appearance, the 'Hard' Mods were rougher all round than the rest of their comrades. Scruffier, and with cropped hair, they became the first Skinheads, keeping the original Mod music alive and retaining basic elements of the Mod look, including Fred Perry sportswear and Levis - but mixing them with exaggerated working class trappings such as braces and the ubiquitous Dr Marten boot. The Skinheads would write a colourful and controversial history of their own in the coming decades - but that's another story.
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