MUSIC Razor Sharp Zine will focus on the lifestyles of three distinct but related subcultures. For the music section of the zine we will attempt to meet the needs of Mods, Skinheads and Rude Boys. In this first issue I would like to set the stage for the future issues and establish an outline of what will be covered in the future. Of these three subcultures each has its own musical preferences and so following is a breakdown of what music genres will be covered in the future.
MOD
As early as there began to be a Mod subculture this subculture took music from America to be its foundation. The first Mods listened to Rhythm and Blues and related forms of jazz. These types of music were considered to be pretty controversial in their day, especially in England where they were consumed by a primarily white audience. Rhythm and Blues and other African-American musical styles were actually first being played on the radio in America at this time as a result of problems with the expense of popular forms of white music that otherwise would have been playing on the radio. But greedy promoters turn out to be in our favor for once since they exposed a naive audience to music that would eventually change the face of all popular music. Of course once these greedy producers discovered that they could take back control of the radios by producing a watered down version of R&B (known as Rock and Roll) with white artists, R&B all but disappeared from the radio. But by then the damage had been done. Back in England the Modernist youth subculture was searching for a music to fill the requirements of its philosophy and R&B fit the bill. It had no traditional ties for the British youth, it was simple and clean sounding but not void of emotional intensity and it consisted of the best in electric instruments that were the peak of modern. The fact that it was rebellious was just an added bonus. Cool Jazz and its proponents (Miles Davis, Dave Brubeck) also fit the bill being especially desirable among the calmest, coolest style fiends. The Mod movement wasn't around long before the powers that be decided to profit at its expense and you see the creation of bands and styles for the purpose of taking advantage of youth. Not that most youth didn't deserve it but it shouldn't have been at the expense of those who had developed an authentic subculture. So by the beginning of the sixties Mod had been co-opted into a popular culture with no reference to its meaning. You see rock and roll being dragged into the mix as well as lame bands like the Beatles covering otherwise cool American R&B songs. Before long their lame hippie rock took center stage and by then it was all bad. There were, however, some holdouts left. The Hard Mods who stayed true to Modernist roots took Soul, Ska and Rocksteady as their music of choice. Soul was the American response to Rock and Roll. Take African-American Music and take out its soul and you have rock and roll. So the authentic audience who was left demanded what was missing in the form of Soul. Everything that the white rock audiences didn't want was the order of the day and the emotional sound and sophisticated rhythm of Soul fit the bill. To the Mods anything that corporate music execs. couldn't put their dirty fingers on was good. Ska was stylistically close and even provided satisfaction for the Mod fetish for new dance steps. When Jamaican music slowly modified from Ska to Rocksteady the Mods were only so happy to follow. Rocksteady was even more soulful than Ska and reflected a greater R&B consciousness. About this time Mod disappeared to be replaced by the Soulie subculture and the Skinhead subculture. At the end of the seventies it was time for a revival and new bands took the clean sounds of the Mod R&B bands and reworked them to reflect the new scene and the new power that they were capable of. This is the beginning of power-pop and The Jam was the best example. Other less known bands were also heralding the rebirth of Mod, bands like The Purple Hearts, The Lambrettas and The Killermeters. Stateside bands aware of the Mod movement also started an American tradition of Mod subculture. The Untouchables were big on Mod as were The Three O Clock and others. We can only give cursory coverage to the bands now but future zine issues will be more comprehensive.
RUDE BOYS
Rude Boys started their music tradition listening to American R&B as well. Their music was being pumped over from high-powered radio stations in Miami and New Orleans. But as the supply of R&B from America began to be replaced by rock and roll the producers turned homeward for musicians to produce these R&B sounds that the Jamaican audiences wanted. After a few years the R&B music they produced had slowly transformed and so a distinctive music was developed. Jamaica's second indigenous music was Ska and it was big. As soon as producers realized that there was a market for the recordings the recording industry flourished. Studio musicians (primarily the musicians who would become The Skatalites) began pumping out the sounds for the vocalist of the day and here many young singers got their start. Ska went strong for several years and then (some say because of the long hot summer that made Ska dancing unbearable) the tempo slowed and Rocksteady was born. Rocksteady reintroduced American music into the mix, this time from Soul. The bass changed, as did many of the themes of the songs and Rocksteady played for a few years until the hippification of Jamaican music known as Reggae. The Rude Boys became the Rastas and the subculture was shipped overseas to England for safe keeping until the Two Tone revival that coincided with the Mod revival. Ska was brought back by a few bands and enjoyed substantial popularity for a year or two and then faded in the fickle British music world. Two steps away Americans picked up where the British left off and except for the unfortunate incorporation of pop elements has continued here in varying degrees of popularity ever since.
SKINHEADS
Skinheads start their history as a holdout from the Hard Mods who were in short supply by the late sixties. Britain had undergone a strange post-modern switch where hippies were unfortunately common. Skinheads shunned the power rock and whitened blues that were popular and instead embraced Ska and Rocksteady (which were referred to collectively as Bluebeat). Bluebeat was frowned upon by pseudo-intellectual hippies as being too simple (isn't that the point) and so it didn't make much waves in the popular music industry until it was re-marketed in its more spiritual form Reggae. By the time reggae entered the pop world Ska and Rocksteady were no longer being produced and the Skinhead subculture faded out. As the Two Tone and Mod revivals took back the streets Skinheads re-emerged as the consumer of both and not to rest on their laurels they took punk for a ride and created Oi! to add into the mix. Best described as melodic punk, Oi! reflected the Skinheads aggressiveness and provided room for a wider range of tastes within cool subculture. Skinheads also made their way the America and included a lot of hardcore punk into their scene and also established their own American media storms. Remember that the famous episode of Geraldo had a handful of sharp Skins trying to beat sense into the nazi boneheads. It was Skinheads in fact that maintained the strength of Ska through a couple of low points and today are among the few contributors of good Ska in the form of Skinhead Reggae and Rocksteady giving special credit to the LA Skin scene and Steady Beat Productions for that.

SCOOTERS Scooters have been an important part of the scene since the beginning of Mod which is the earliest of cool subcultures. But scooters have been around longer than that. Vespa scooters were first built in Italy just after World War II. They combined smart engineering and the beginnings of modern design which was just being perfected in Europe in the wake of the war. But they don't become a part of a cultural lifestyle until the establishment of the Mod subculture in the late fifties. The first of Mods were youth tired of Britains postwar conservatism and exposed to increasing internationalism. In Europe modern art and design were shaping the way innovators thought and introducing the world to a philosophy free from classical traditions. British youth were first exposed to this through movies and art from the Continent especially Italy and France where artistic innovation was at its peak. America also provided music that while not free of tradition was free from traditional sounds especially to these British kids. So in this sea of newness and the exciting potential of the modern world, modernism offered it all in a youth subculture. The stage is set for scooters to enter the scene which they did as inexpensive transportation for under-priveledged kids aware of their modern lines and practical engineering. As these youth struggled for status among their youth subculture a "poor mans sports car" was at the apex of continental European style. So scooters it was. Predominately Vespa and Lambretta scooters and once the scooters were attained individuality took its toll and customization became the order of the day. The more scooters came onto the scene the more the scenesters needed to distinguish themselves from the pack with cooler and more extreme modifications. By the time Britains popular culture attempted to co-opt the attitude of the Mod subculture scooterists had devised every imaginable customization from chrome accesories to mirrors to souped-up engines. As popular culture warped and destroyed the Mod subculture the standouts with the scooters were the hard Mods or beach riot fame. The younger siblings of the original Mods the Hard Mods were the persecuted resistors of popular culture and their scooters took on the social value of rebellion. Rebellion against watered down youth culture and of traditionalism represented by greasers. The beach riots and the media coverage took its toll on even the hard Mods and the Hard Mods evolved into Skinheads. Scooters were less a thing among the first skinhead subculture as they were seen less as working class which was the skinhead ideal. However this would change after Skinhead lost its place in youth subculture in the early seventies. Dormant for several years youth subculture revived in the late seventies in response to disco and punk. This time however all of cool youth subcultures fed off of each other and Mods, Skinheads, and Rude Boys wore each others styles and rode each others scooters. From this two tone revival scooters were resurrected as symbols of youth rebellion and have been a predominant feature in our subculture ever since. Today scooters themselves are an introduction for some into the subcultures surrounding them. For others scooters are the inevitable acquisition for the member of subculture who found her start with music or clothes. There are hundreds of scooter clubs all around the world with representitives in every major city and most minor ones as well. Today scooters are an essential part of cool youth subculture.
If you have a scooter bear with me today. Future zine articles will deal with less rudimentary concerns. For now think of this as a refresher couse. So you don't have one? Here is what you need to know about them:
There are two makes of scooters that are most common on the scene. Vespa is the most common make of scooter in the U.S. and Lambrettas come in a close second. After having seen Quadrophenia It appears Lambrettas are much more common in England. Other manufacturers also produced some scooters. Notable manufacturers include the Hienkel Tourister (from Germany), The Topper (made by Harley Davidson in the US), The Cushman (also made in the US by the company that makes electric golf carts and such today) and about a thousand others made by small companies in cities across the globe that never had much national distribution. These scooters are rare and are sought after by collectors but have more to do with the scooter scene than the youth subculture since they weren't a big part of the original movement and don't have the same sleek modern designs as Vespas and Lambrettas. Asian manufactured scooters have generally been frowned upon by Mods. The only defense I have ever heard was on behalf of the Honda Rabbit which was sold in the sixties. It too lacks the sleek lines of the Italian bikes and as far as I'm concerned can be grouped with the previous less desirable scooters. I must emphasize however that all other scooters by Asian manufacturers will only get you ridiculed or beat by true members of subculture. They are the antithesis of and enemy to cool scooters.
Several models of scooters are notable so you should be aware of some basic information.
Vespa
P-200 and P-200 e are the easiest scooters to find in the US. They first became available in the late seventies and were sold here until the mid eighties when the US banned imports for smog/political reasons. The 200 indicates engine size. The P-200 has a 200 c.c. engine. Related models have similar names (e.g. P-125 has a 125 c.c. engine). The e at the end of the name indicates that the scooter has an oil metering device that saves the trouble of premixing gas and oil before adding it to the tank.
PX-200 e is very similar to the P-200 e the main notable feature being the squared off horn guard reminiscent of Italian styling from the eighties. It also has a few luxury features such as additional electronics.
The Rally is the fastest Vespa with a smaller frame but same sized engine as its counterparts. It was the most popular model before the P-200 spanning the seventies.
The Allstate is the sixties bike most common in America. They were sold through Sears (like Allstate tires) annd their notable feature is an outline shape of the US on the front.
The GS was the coolest of the mod bikes and is still considered the ideal sixties bike by many. GS stands for Grand Sport and this is the scooter that is wrecked in Quadrophenia and one of the few Vespas in the movie. It epitomizes the ideal in fifties/sixties modernist design
Others such as the Special are less common and future issues will describe them better as well as provide more detailed descriptions of the previous models.

Lambrettas
The models of Lambretta will be covered in a future issue of Razor Sharp

Scootering has some initial considerations that should be given some thought. Scooters are specialty vehicles and having work done on them will probably take more effort than the average car. For some this is no big deal because who has money to pay someone else to work on your scooter? Only major cities generally have a shop that works on Vespas. I suggest that everyone should know how to fix their own scooter at least to a certain degree. I know of people who buy completely restored scooters and who pay for all mechanical work to be done, but isn't this money better spent on clothes? Most scooter parts can be purchased by mail order if you don't live in a city where they are available. At the end of this article I will include addresses and phone numbers. A lot of custom accessories can be had through these sources as well. Remember however that if you have a breakdown it can take a while to get the parts even if you can do the work immediately. Even before you have the parts you have to figure out what's wrong and experience is the best judge of that. I will try and include troubleshooting help in future zine issues. Indespensable is a good book and I suggest the Haynes manual. It has a troubleshooting section that can help you figure out the problem and detailed instructions of how to carry out all repairs. It can be confusing though so it may take some reading to figure out what the book says. As part of your initial purchase of a scooter include the purchase of a Haynes manual. There are some basic tools that will be essential to doing work on your scooter and a future zine issue will include a detailed list and mechanical work information. But remember that you will need them soon after buying a scooter at the very least to carry out routine maintenance. It is a good idea to carry a tool kit in your scooter for the occasional trouble on the road. Don't get worried that you will be doing a lot of repair work. Vespas are renowned for reliability and preventative maintenance goes a long way.
Driving a scooter has some legal obligations. Most states (if not all) require you to have a motorcycle license to drive one. This means taking a written test similar to the one for cars and usually a driving test as well. The driving test will probably be on a closed course and involve braking and driving around cones. Some states require a motorcycle training class if you are below a certain age or they require more money. You will probably have to pay somewhere near $25 for a license. Your scooter will probably have to be legal in all respects for you to take a driving test which means all of your signals have to work, you have to have the mirrors required by your state, you have to have current registration and probably current insurance. Registration requires a title for the bike and different states have different requirements for how a title changes hands. In brief when you buy a scooter the person who sells it to you hands over the title to you which is a legal document of ownership. In some states having signatures of both the buyer and seller on the title is sufficient. In other states it has to be notarized (witnessed by a notary public). Once you have the appropriately signed title you take it to the Department of Motor Vehicles and fill out registration paperwork and pay them for the registration tax on the vehicle (which will come due every year afterwards) and usually a first time processing fee. The tax is dependent on the amount you bought the vehicle for in some states and the blue book value of the vehicle in others. If you buy the scooter from a friend make sure you buy it for really cheap so the taxes won't be too high. In many states insurance is a requirement of registration. Call some local insurance agencies for quotes on rates. For scooters it is often an up-front fee that covers you for the entire year. Liability coverage is probably the legal requirement and it covers damage you do to others but won't pay to get your scooter fixed if you wreck into somebody.
Once you get a scooter there are any number of custom parts you can get and modifications you can make. An upcoming zine article will focus on customization but as a general rule you will want your scooter to reflect your own style and coolness. Customization is also a good way to individualize yourself from the average person. Traditional customization has generally been chroming engine or body parts, attaching chrome accessories such as crash bars and racks and adding lights and mirrors to them, modifying the engine for speed or noise, painting and body work, and replacing parts with after-market ones such as exhaust systems or seats.
Subcultural lingo has developed around scooters so here are some words you will want to know to talk shop with other scooter fans.
Scoot: Annoying shortened form of Scooter. People who say scoot are just trying too hard to be different
Bike: Better than scoot you should use this if you are saying scooter so many times that it seems redundant. Preferable to both of these is just scooter or when talking to the uninitiated I prefer motorscooter because it indicates a distinction. Cycle also works.
P: Shortened form of P-200 e (or any other P model). It shows that this model is so part of your life that it isn't necessary to indicate the distinction.
Lammy: Short for Lambretta but it seems slightly diminutive to me. You should point out that you have a distinct scooter by relishing the whole name.
Plastic: Pretty much any scooter made that is distinctly un-cool is made of plastic and so plastic is a derogitory word to refer to them.
Rally: The scooter equivalent of a biker rally but one where only cool people come (ideally).
Crashbars: Chrome bars that attach to your scooter as a customization. In theory these would help in a crash but in reality they will not. They look cool but won't hold up in a wreck so they are purely aesthetic. I guess if you set your scooter gently on it's side they might stop a dent but you would risk scratching the chrome off of them. So it is best if you never lay your scooter down or get in a wreck. Try driving defensively.
Spanner: The Haynes manual uses British terms. This one is a wrench
Tyres: British spelling for tires. Don't spell like this it looks like you are trying to get attention.
Petrol: British for gas.

So that is a general rundown on scooters. Now considering that your next thought should be "How do I get my hands on one?" First you will need money so start saving up. I put away half of my paychecks so I could get one and it worked out for me so that I could still get clothes and music meanwhile. It is not unreasonable to scrimp and save to get a scooter since they are part of the description of the ideal member of subculture. In a future issue I will talk about how to find one to buy. But it is an important part of the repertoire of the sharpest member of the scene and they provide many greater opportunities for socialization among the scene members. Not to mention they set you apart from mainstream society which is the death to subculture.

CLOTHES Is what you are wearing rebellious? Is it sloppy? Nerdy? Tough? Your clothes do communicate a message to others. You, by choosing what clothes you are wearing, are talking to the people who see you. You are presenting yourself to be some way. Don't you think it would be a good idea to know what you are saying to others? There is a science that studies such things. It is called semiotics and it is concerned with the meanings held in all kinds of things we see and hear. Unfortunately for me it is concerned a lot with scientific study and experiment, which is the part that I am not so interested in, but there are some things that can be helpful to know. So my unscientific and opinionated version of semiotics is how I will describe the messages we communicate by what we wear.
Subcultural style evolved slowly to fulfill needs that mainstream society wasn't fulfilling. The youth that adopted and created the styles that we wear did so intentionally. They did it to tell the old squares that they were doing things their own way. The first message they sent was that the clothes they wore didn't have to come from historical sources. Mods took their clothes inspiration from the European mainland instead of British sources. Skinheads looked at intentionally working class sources for their fashion and to other more subversive sources such as the Rude Boy gangster types that populated Britains underworld. Rude Boys went strait to the underworld for their fashion inspiration. It is the choice of role models that provides the first clues about the message that their clothes send. Shedding the traditional sources of fashion was a first step towards showing that they were shedding traditional philosophies.
Wearing an Italian designed suit meant accepting the modern philosophy that was part of what Italian designers believed. The reason Mod suits had trim lines and no traditional ornamentation was because this traditional ornamentation was tying them to Britains past and wouldn't allow them to move forward. Part of the history of the clothes and the intents of the original designers persists in the message that the clothes portray. Why would a suit made in the early sixties say anything about being modern today thirty years later? Partially because after modernism came postmodernism. Postmodernism tried to connect some modern ideas with historical ideas. So a postmodernist might resurrect a western motif from America's past to indicate a connection with that part of America's history. So for thirty years escaping history in the form of modernism was dismissed and people intentionally searched the past for inspiration. So the same un-ornamented suits of the modernist period still reflect a dismissal of traditional ideas. So today when you put on a suit with narrow lapels, a tailored fit and three buttons you are endorsing the progressive message of modernism. You are indicating to others that you are dismissing their own notions of reliance on history. The suits Rude Boys wore were of a similar style because briefly in America and other places in the world the modernist ideal was part of popular philosophy. Though this was short lived this is the reason that cool suits can be found in thrift stores in America. Wearing a suit today also point's back to the Mod philosophy of social class but social class not dependent on money or breeding. Mod social class was built around being smart and progressive and being willing to sacrifice for their culture. If someone looks at you in a Mod suit even though they don't know the details of your culture they get an impression of the philosophies you espouse. You are telling people "I am free from tradition, I am modern and am in a higher social class that I achieved by my own effort." Let me not neglect women's fashion. Women's vintage clothes from the same era have the same connotations. Women's jackets from the early sixties have the same trim lines and lack of ornamentation as modernist men's clothes. The tapered lines are also similar and show the same philosophical beliefs.
Skinheads postdate the Mods. Their fashion inspiration takes the same base as the Mods but add new elements namely the working class culture. Skinheads wear braces and work boots both elements are reflective of the factory workers that provide new fashion inspiration. While the Mods were at the cusp of an era that promised success and freedom from the working class, Skinheads were past the era of promise. Fed up with the empty promise of success and at the edge of continuous recession the Skinheads had less optimism than the Mods of wealth and success and so they took pride in the working class. Their clothes reflect that pride. They wear the working clothes even though in a more upscale form (a forty dollar tennis shirt is not my idea of low working class). Skinheads also took inspiration from the gangster element they saw in the Rude Boys that were on the edge of British society. The cropped hair of the skinhead is often associated to the cropped hair of the Rude Boy. The Rude Boys are also often cited as the source for the high pants hem. The Rude Boy as a fashion source is an interesting development in the progress of subculture. Instead of fashion designers telling people what to wear the drug pusher was deciding what was being worn. When a person has a drug pusher as an ideal that really indicates a difference from mainstream society. This is one of the reasons that skinhead subculture is considered so anti-social. So sporting braces and boots is like saying "I have pride in the working class and with my criminal associates the Rude Boys."
Rude Boys took popular fashion ideals and pass them through a moral filter created by the environment of poverty-stricken Jamaica. The Rude Boys most of all were subject to persecution and lack of a future. If they found success it was against great odds and through hard work. So for the typical individual success was a much greater possibility if it was through petty crime and occasionally at the expense of others. The ska musicians were the rare success story and the clothes they chose were influenced by the portrayal of gangster and popular musicians as seen from the American media. This gangster image trickled down to the Rude Boys who looked up to these musicians. Wearing a suit was the symbol of success to a Rude Boy. It was a rare success to be able to have one and only the individual tough enough to take success at any terms was able to get it. For a youth walking around in shantytown with a suit on, indicated that he probably had his fair share of scrapes with the law to get it. The Rude Boys that left Jamaica for England looking for success faced equally difficult circumstances and increased racism. So they too were often on the edge of the law and were frequently among the Mods and Skinheads influencing them as well. For a Rude Boy with a suit he would be saying, "I have overcome poverty occasionally at the expense of others and often at the expense of the law. I am a gangster and can hold my own."
There are a lot of messages contained in the details of the clothes we wear. In future Issues of Razor Sharp I will discuss more the messages that our clothes communicate. Meanwhile pay attention to the way people respond to your clothes and be aware of what you are saying. Authenticity comes from how sincere the message you are sending is to how you live your life. According to Dick Hebridge authentic subculture is in the details. Future issues will dwell more on these details. Meanwhile, Look Sharp!

FILM Movies have been an important part of the scene since the beginning. In fact movies are partially responsible for the development of the scene as well as several elements of our subculture. In postwar Britain as the stage was being set for the Mod movement some youth were searching for their own scene and a new way of looking at the world free from the traditional styles of their parents. On the European continent the change was taking place that the Mods would embrace in the form of art and design. The scooter section addresses some of the influence that this design had on the scene. The first Mods learned of modern art and the philosophy that it promoted in the form of movies. Italian and French directors were producing modern movies that showcased the idealized modern way of life. Well-dressed, jet-setting, young, and materialistic people populated the films and story lines absent of traditional elements of plot and narration spoke to these youth of the way their lives could be. Mods adopted fashion and design elements (e.g. in the form of scooters styling) from these movies. This can be seen in the popularity of Italian suits and shoes among the early Mods. They adopted the enjoyment of youth and the jet-setting lifestyles portrayed in the films. They even structured their philosophies around the materialism and shrugging-off of tradition that the movies advocated. Mods truly found the movies an essential part of their culture and consumed them for the cultural benefit they provided.
But Mods alone were not the only subcultural beneficiaries of movies. While the Mods were watching European movies in the late fifties the Rude Boys would soon be watching American movies and making them part of their culture. In Jamaica the situation was a little different. Movies were not a force to communicate new art forms but more likely a diversion from difficult circumstances. And rather then providing an alternative philosophy these movies were filtered through a culture that already had developed its own cultural parameters. The influence that these movies had was a reinforcement of the way that Rude Boys had decided what was good and not. Rude Boys saw a lot of gangster movies from the US and what they saw in the gangsters on the movie screen mirrored in a small way the gangster lifestyle that they participated in. The romanticized gangster of the movies became a role model for the Rude Boy street hustler. Westerns also reinforced a machismo in the subculture and a sense of justice that went beyond legality. And finally movies like Ocean's 11 and James Bond movies reinforced a sense of cool and control that was the patina of the ideal Rudy. In 1968 Jamaica had it's own chance to express it's culture in the form of The Harder They Come. All of the idealized characteristics of the movies the Rude Boys enjoyed were finally played out in a local setting and with local characters. And The Harder They Come became an anthem to the Rude Boys whose lives it portrayed. Contemporary Rude Boys can learn more about their own culture by watching the movies their predecessors watched.
Skinheads as well did their share of movie watching. It seems however that Skinheads watched movies to see themselves in them. Or at least some of the legend they produced being played out on the screen. The most well known example of a "Skinhead" movie is probably A Clockwork Orange. Watching the portrayal of the characters that are obviously influenced by the Skinhead image seems payoff for the reputation that the Skinheads had developed. A few other movies popular with Skinheads are also popular for the same reason. It is an unfortunate coincidence that at the time of the Skinheads prominence popular cinema was controlled pretty substantially by the people the Skinheads liked the least: the hippies and other post-modernists. So it goes without saying that while Mods and Rude Boys had a good deal of movies to watch the Skinheads were less fortunate.
Since the end of the first parts of our subculture a few movies have been made that document our scenes. Quadrophenia is one of the most well known but Absolute Beginners is more true to the original concept of Mod. These movies are well known among contemporary members of subculture and are watched a lot,but this should not be at the expense of the original movies that were important for forming these subcultures. At the same time it would be nice to see some other contemporary movies that account for subculture.
Future issues of Razor Sharp will have reviews of movies that were important to the scene but there is a list of movies at the end of this article if you want something to check out while you wait. Many of these movies will be reviewed in the future. I want to include current movies as well so as I see or hear about movies that can be justified by subcultural standards I will include these as well. I hope that you will watch movies with the subculture in mind and enjoy some of these movies that were so influential to the creation of our scene and the philosophies that make us distinct.

The Harder They Come
Absolute Beginners
Quadrophenia
Clockwork Orange
Ocean's 11
James Bond (only Sean Connery ones)
Dr. No
Goldfinger
You Only Live Twice
From Russia With love
Thunderball
Diamonds Are Forever
La Dolce Vita
8 1/2
La Avventura
Blow Up

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