The concept of subcultures has been around since the 1920’s. In sociology, a subculture is defined as “a group of people within a culture that differentiates itself from the parent culture to which it belongs, often maintaining some of its founding principles.” (Oxford English Dictionary). Subcultures are unique in that they have a distinct set of norms and values to which they live by, particularly regarding cultural, political and sexual matters.

In doing this project on subcultures, I aim to use Mod as a means to explore the generational aspects of subculture. I am interested in individuals who may have been Mods during their youth (especially during the 60s and 70s), and to this day remain followers of the movement. I want to understand what it was like to be a Mod at the time, as well as what it is like to be one in modern times. I want to tell the stories of these individuals who have stayed constant throughout the changing times. 

 I am interested in the way that subcultures morph and change as the original members age. I hypothesise that when attempts are made to pass down the principles of a certain subculture, those younger generations have their own take on the values and ‘look’ of the group, often combining the features of older subcultures with those found in the modern day. Perhaps this could mean that the continuation of certain subcultures can actually be harmful for the image of the group (though it may also have the opposite effect). I would like to know how older generations of Mods feel about this. 

A key influential aspect of subcultures in modern society is social media. After having a casual discussion with my dad, I considered how social media has created not only many new, worldwide subcultures (E-Girl, Softboy, Hypebeast), but also amalgamations of multiple, and ‘throwback’ subcultures, such as the revival of 2000’s fashion with so-called Y2K, 1960’s Hippy, and 1990’s skater culture. Perhaps the revival of subcultures across generations is an interesting route to go down in terms of research. I would like to know on what timescale this happens, and whether there is an existing pattern or relevant triggers that can be explained through my research. From my personal experience, Mod isn’t a subculture that has been passed down as effectively as others. Groups such as Metalheads remain much more present to this day than Mods, despite originating at similar times. I want to discover if this is true and if so, what - if anything - needs to change? 

During this project, I would like to explore Stanley Cohen’s case study of the Mods and Rockers, titled ‘Folk Devils and Moral Panics’. At A-Level I learned about the sociology surrounding subcultures and crime. Cohen discusses the interaction between the mass media and both Mod and Rocker subcultures, and how the reaction to these youth cultures in fact may have amplified the level of recorded crime. I would also like to look at the sociology of subcultures in general, learning about how and why the form, and subsequently ‘die out’.

As well as gaining a deeper understanding of Mod culture through sociology, I also want to thoroughly investigate the visual language of it. I want to understand why certain imagery, colours and clothes are used amongst members of the subculture, and how that all adds up to create the incredibly distinct image that is associated with the Mods.

Researching related music genres is integral to this project. I will have to look into Ska, Punk, Blues and Soul in order to fully comprehend the subculture. Like many other music-based subcultures, Mod music formed from previous genres being combined. During its time, Mod was an outlier in the sense that a lot of its influences came from outside of the uk. For example, Ska originated in Jamaica, and Blues came from enslaved African people in the deep South of the United States of America. These genres coming to Britain led to a new level of multiculturality that hadn’t really been seen before.

The development of Mod depended heavily on previous subcultures. Unlike many other subcultures at the time, Mod had a lot of influences from outside of the UK. For example, Ska originated in Jamaica, and Blues came from enslaved African people in the deep South of the United States of America.

The RAF symbol that is so iconic to Mod culture perhaps may have been adopted by the Mods as a result of Jasper John and Peter blake. Peter Blake - an early 60’s Pop Artist - took inspiration from Jasper John and used the target symbol in his work. It then became popular with the mods, perhaps for the same reasons it was used as the RAF symbol: it was simple, distinctive, and recognisable.

Mods were known for riding scooters (as seen in the film Quadrophenia). In my research I will look at the two brands most popular with members of the subculture: Lambretta and Vespa.

In the late 50s Teddy Boys were the iconic subculture. It looked to America for its influence; Teddy Boys wore boot lace ties, long jackets and black creepers, listened to Rock & Roll, rode motorbikes and had greased quiffs. Mods wanted to move away from this look and looked to Europe for inspiration. Mods wore Italian look, slim-fit suits, drove Vespa and Lambretta scooters.

Mods vs. Rockers was born.

Possibly the biggest factor in defining someone as a Mod was fashion. 60’s mods placed a very heavy emphasis on dressing in well tailored suits and smart clothes with Parkas. Below are some key features and brands of Mod fashion.

These bands were instrumental in creating the Mod scene, therefore it is key that I research them and their ‘look’, as well as their fans and influences.

The film Quadrophenia played a major part in the development of the Mod Revival subculture. Below are some of the bands that also played a key part.

From 1977 to 1981 mod was reborn in the UK, which sparked mod revivals around the world. For a few glorious years the energy and angst of punk was wed to the rhythm of soul, the pulse of power pop, and the fashions of the sixties. The Who released Quadrophenia at the height of the revival creating even more interest in all things mod. Inevitably the mod scene became overexposed, it went mainstream briefly, and that more than anything else killed it and drove the remaining mods back to their soul clubs to await the movement's next revival -- still more than a decade away.

Source: Modcast

In the 1990’s Mod mutated into britpop.

For every action there is a reaction. Britpop was that reaction. Blur frontman Damon Albarn explained Britpop as a reaction to grunge's lack of style. The Britpop scene of 1994 - 1997 was a sort of stylistic second coming of the mod revival, this one based less on soul and R&B and more on the pure Britishness of being what was essentially a modern mod.

Source: Modcast

Cohen did a case study on the rivalry between Mods and Rockers, and how the media labeling process led to an increase in the recorded crime rate, as well as exaggerations of truths.

“Paul Willis’ 1977 study of the Counter-School-Culture represents a Marxist critique of consensus subcultural theory. Willis argued that the working class lads formed a subculture in order to ‘have a laff’ in a school system which they had accurately identified as being irrelevant to their futures. Unlike Cohen, these lads never aspired to be middle class, they identified themselves as working class, rejected middle class aspirations, and rejected the middle class system of the school – thus why Willis coined the term ‘counter (against) school culture’.” 

Are there more subcultures now? Which subcultures have made a comeback? Which subcultures have ‘died’? How has social media played a role in this?

In my FMP, I am hoping to get in touch with original Mods, or dedicated members of specific subcultures. I want to learn about their lives, and the stories they have to tell. I now know that it isn’t as scary to reach out and talk to people about their lives as I originally thought, especially when there is a conversation structure already set out and planned in advance (which makes it less awkward for both of us). I think doing a project based on people and their lives has been helpful, as I can now use the methods (and social skills) I have learnt, for my FMP.