Rivethead

Last updated

A rivethead or rivet head is a person associated with the industrial dance music scene. [1] In stark contrast to the original industrial culture, whose performers and heterogeneous audience were sometimes referred to as "industrialists", the rivethead scene is a coherent youth culture closely linked to a discernible fashion style. The scene emerged in the late 1980s [2] on the basis of electro-industrial, EBM, and industrial rock music. The associated dress style draws on military fashion and punk aesthetics [3] with hints of fetish wear, mainly inspired by the scene's musical protagonists.

Contents

Origins of the term

Initially, the term rivethead had been used since the 1940s as a nickname for North American automotive assembly line [4] and steel construction workers [5] and hit the mainstream through the publication of Ben Hamper's Rivethead: Tales From the Assembly Line, [6] which is otherwise unrelated to the subculture.

Glenn Chase, founder of San Diego label Re-Constriction Records, is responsible for the term's meaning in the 1990s. [7] In 1993, he released Rivet Head Culture , a compilation that contains several electro-industrial and industrial rock acts from the American underground music scene. In the same year, industrial rock group Chemlab − whose members were close friends of Chase − had released their debut album Burn Out at the Hydrogen Bar , [8] which includes a track called "Rivet Head". Chemlab singer Jared Louche said he did not remember where the term came from, although he stated that this song title was in his mind for years. [9]

Music

The rivethead scene is remotely related but not directly connected to the industrial music culture. Industrial music is a genre of experimental and avant garde music, intertwined with graphical visualization (mostly with disturbing graphical content). [10] The absence of conventional song structures, such as rhythm and melody, is a main characteristic of the genre, whereas the music preferred by the rivethead scene includes several danceable and song-oriented styles that are sometimes considered "post-industrial". [10] Like post-punk, the term post-industrial describes a musical genre that developed distinctly from its roots and turned into several strands of sound, namely electro-industrial, electronic body music, and industrial rock, often referred to as industrial dance music. Those styles differ from traditional industrial music regarding aesthetics, sound, and production techniques. [11] [10]

Aesthetics

The rivethead dress style has been inspired by military aesthetics, complemented by fashion "that mimics the grit and grime of industrial sectors in major metropolitan areas". [12] Additionally, it borrows elements of punk fashion, such as a fanned and dyed Mohawk hairstyle, [3] and fetish wear such as black leather and PVC tops, pants and shorts partly supplemented with modern primitive body modifications such as tattoos and piercings.

Occasionally, rivetheads emphasize a post-apocalyptic, dystopian influence, often inspired by movies, e.g. Mad Max (1979), Escape from New York (1981), Gunhed (1989), Death Machine (1994), and Strange Days (1995). Several movies, such as Hardware (1990), Strange Days and Johnny Mnemonic (1995), feature music tracks by Ministry, KMFDM, Diatribe, Stabbing Westward and other bands associated with the rivethead culture. [13] [14] [15] Other influences include sci-fi archetypes such as Lupus Yonderboy and Razorgirl, characters from the Sprawl trilogy by William Gibson.

Sascha Konietzko, one of the most influential persons in the rivethead music scene since the 1990s, both musically and visually Sascha.jpg
Sascha Konietzko, one of the most influential persons in the rivethead music scene since the 1990s, both musically and visually

Below some basic characteristics of the rivethead dress style. As a divergence from the extravagance of youth cultures such as New Romantic, goth, cyber, and steampunk, the idea is to make a statement with as few fashion components as possible. The rivethead look commonly is unadorned and epitomizes a direct reflection of the social environment ("street survival wear" [16] ).

Male

Female

Rivetgirls may dress along with the femme fatale look: sexuality as power. Common are fetish wear, such as black PVC and leather corsages, miniskirts, ankle-deep or knee-high stiletto heel boots; [5] less makeup than Goths [3] and 1980s New Wave fashion girls, who were also an influence on the late-1980s/early 1990s rivetgirl style (cf. fishnet tights, stilettos, Dr. Martens low boots). Often dyed hair (black, sometimes red or blond) that is long, short, spiked, partially shaved (see Maria Azevedo of Battery [20] and Yone Dudas of Decoded Feedback [21] ) or dreadlocked (see Anna Christine of Luxt [22] ). On the other hand, the female rivethead fashion look may be and often is identical to the tough style of the male rivetheads (Tank Girl aesthetic; military wear [5] such as tank tops, paratrooper pants and combat boots [3] ). Kim X, co-founder of California-based music label COP International, compared the female rivethead attitude to the Riot grrrl movement. [23]

Women involved in the 'Industrial scene' wore less makeup, particularly less elaborate eye makeup. They also adopted a much more traditional Punk look, with shorter skirts, made of leather or vinyl, and combat boots. Because of the athletics required of 'Industrial' dancing, it was rare to see women in this scene with spike heels, as it would constrain their movement on the dance floor. The male 'Industrial style' also was much closer to Punk, with men wearing shorts, big boots and adopting partially shaved hairstyles.

— Kristen Schilt, sociologist at the University of Chicago [3]

Comparison with goth subculture

The rivethead scene of the 1980s and 1990s was different from the goth subculture in ideological and musical terms, as well as in their visual aesthetics. [24] Confusion regarding the boundaries of those two youth cultures has heightened because of the late-1990s "multi-subcultural" cross-hybridization, which led people to incorrectly believe that rivetheads are an offshoot of the goth subculture. Canadian novelist and author Nancy Kilpatrick labelled this youth-cultural overlap "industrial goth", [25] as does Julia Borden. [2] ( − Note: In the heyday of the rivethead culture, the term "industrial goth" as a description of a youth culture did not exist). [26] [18] [27]

“The 'Industrial look' began to emerge in the late 1980s. […] The typical 'Industrial' guy, circa 1989, was a Punk who liked technology.”

— Julia Borden [2]

“In contrast to the old-style Goth look, which was androgynous, the male 'Industrial look' was tough and military, with a sci-fi edge. The men wore […] band T-shirts, black trousers or military cargo pants in black, military accessories, such as dog-tags, heavy boots […] 'Industrial' women, who were fewer in number, tended to wear waist-cinching corsets, small tank tops or 'wife-beaters' [sleeveless t-shirts], trousers, and sometimes suspenders hanging down off the pants. They also […] sometimes shaved their heads.”

—  Valerie Steele, fashion historian and director of MFIT, New York. [2]

“Stylistically, both men and women in the Gothic subculture […] rely heavily on feminine signifiers, such as makeup, skirts and corsets, while the 'Industrial scene' adopts a much more masculine style that incorporates more traditional Punk elements, such as combat boots and leather pants. […] Unlike their Gothic counterparts, the male ‘Industrials’ did not wear makeup.”

— Kristen Schilt, sociologist at the University of Chicago [19] [3] [28]

Goths are a dark romantic outgrowth of the punk and post-punk movements that emerged in the early 1980s [29] [30] [31] while rivetheads developed from the industrial dance music scene that came to be in the second half of the 1980s, hand in hand with the media success of post-industrial artists such as Skinny Puppy, Front 242, Front Line Assembly, Ministry, KMFDM, [2] and Numb. The rivethead scene is a male-dominated youth subculture [32] [28] that shows a provocative, insurgent as well as socio-critical approach. The Goth subculture is “equally open to women, men and transgendered [ sic ] people”, [33] and frequently devoid of any interest in ethical activism or political involvements. [34]

“Gothic expresses the emotional, beautiful, supernatural, feminine, poetic, theatrical side. Industrial embodies the masculine, angry, aggressive, noisy, scientific, technological, political side. Industrial music often uses electronics, synthesizers, samples from movies or political speeches, loops, and distorted vocals. It tends to be male-oriented in those who make the music and those who enjoy it.” [35]

See also

Related Research Articles

<span class="mw-page-title-main">Goth subculture</span> Contemporary subculture

Goth is a music-based subculture that began in the United Kingdom during the early 1980s. It was developed by fans of gothic rock, an offshoot of the post-punk music genre. Post-punk artists who presaged the gothic rock genre and helped develop and shape the subculture include Siouxsie and the Banshees, Bauhaus, the Cure, and Joy Division.

<span class="mw-page-title-main">Punk subculture</span> Anti-establishment subculture

The punk subculture includes a diverse and widely known array of ideologies, fashion, and other forms of expression, visual art, dance, literature, and film. Largely characterised by anti-establishment views, the promotion of individual freedom, and the DIY ethics, the culture originated from punk rock.

<span class="mw-page-title-main">Skinhead</span> Working-class youth sub-culture

A skinhead or skin is a member of a subculture that originated among working-class youths in London, England, in the 1960s. It soon spread to other parts of the United Kingdom, with a second working-class skinhead movement emerging worldwide in the late 1970s. Motivated by social alienation and working-class solidarity, skinheads are defined by their close-cropped or shaven heads and working-class clothing such as Dr. Martens and steel toe work boots, braces, high rise and varying length straight-leg jeans, and button-down collar shirts, usually slim fitting in check or plain. The movement reached a peak at the end of the 1960s, experienced a revival in the 1980s, and, since then, has endured in multiple contexts worldwide.

Gothic rock is a style of rock music that emerged from post-punk in the United Kingdom in the late 1970s. The first post-punk bands which shifted toward dark music with gothic overtones include Siouxsie and the Banshees, Joy Division, Bauhaus, and the Cure.

<span class="mw-page-title-main">Gothic fashion</span> Fashion of goth subculture

Gothic fashion is a clothing style marked by dark, mysterious, antiquated, homogeneous, and often genderless features. It is worn by members of the goth subculture. Typical gothic fashion includes dyed black hair, exotic hairstyles, dark lipstick and dark clothing. Both male and female goths can wear dark eyeliner, dark nail polish and lipstick for a dramatic effect. Male goths use cosmetics at a higher rate than other men. Styles are often borrowed from the punk fashion and can also draw influence from Victorians and Elizabethan fashion. Goth fashion is sometimes confused with heavy metal fashion and emo fashion.

<span class="mw-page-title-main">Punk fashion</span> Fashion of punk subculture

Punk fashion is the clothing, hairstyles, cosmetics, jewellery, and body modifications of the punk counterculture. Punk fashion varies widely, ranging from Vivienne Westwood designs to styles modeled on bands like The Exploited to the dressed-down look of North American hardcore. The distinct social dress of other subcultures and art movements, including glam rock, skinheads, greasers, and mods have influenced punk fashion. Punk fashion has likewise influenced the styles of these groups, as well as those of popular culture. Many punks use clothing as a way of making a statement.

<span class="mw-page-title-main">Heavy metal fashion</span> Performer and fan worn attire as representing heavy metal music

Heavy metal fashion is the style of dress, body modification, make-up, hairstyle, and so on, taken on by fans of heavy metal, or, as they are often called, metalheads or headbangers. While the style has changed from the 1970s to the 2020s, certain key elements have remained constant, such as black clothes, long hair and leather jackets. In the 1980s, some bands began wearing spandex. Other attire includes denim or leather vests or jackets with band patches and logos, t-shirts with band names, and spiked wristbands.

<span class="mw-page-title-main">Cybergoth</span> Subculture

Cybergoth is a subculture that derives from elements of goth, raver, rivethead and cyberpunk fashion.

<span class="mw-page-title-main">1990s in fashion</span> Costume and fashion of the 1990s

Fashion in the 1990s was defined by a return to minimalist fashion, in contrast to the more elaborate and flashy trends of the 1980s. One notable shift was the mainstream adoption of tattoos, body piercings aside from ear piercing and, to a much lesser extent, other forms of body modification such as branding.

Japanese street fashion refers to a number of styles of contemporary modern clothing in Japan. Created from a mix of both local and foreign fashion brands, Japanese street fashions tend to have their own distinctive style, with some considered to be extreme and avant-garde, with similarities to the haute couture styles seen on European catwalks.

<span class="mw-page-title-main">1980s in fashion</span> Costume and fashion in the 1980s

Fashion of the 1980s was characterized by a rejection of 1970s fashion. Punk fashion began as a reaction against both the hippie movement of the past decades and the materialist values of the current decade. The first half of the decade was relatively tame in comparison to the second half, which was when apparel became very bright and vivid in appearance.

<span class="mw-page-title-main">Dark culture</span> Subculture

Dark culture, also called dark alternative scene, includes goth and dark wave culture, the dark neoclassical/dark ambient scene, parts of the post-industrial scene parts of neofolk and the early gothic metal scene. Dark culture's origin lies in followers of dark wave and independent music, but over the decades it has developed to a social network held together by a common concept of aesthetics, self-representation, and individualism. The musical preferences of the dark scene are characterized by a mix of styles ranging from futurism, electropop, early music, (neo-) classical, and folk music to punk rock, rock, techno and ambient music.

<span class="mw-page-title-main">2000s in fashion</span> Fashion in the decade 2000–2009

2000s fashion is often described as a global mash up, where trends saw the fusion of vintage styles, global and ethnic clothing, as well as the fashions of numerous music-based subcultures. Hip-hop fashion generally was the most popular among young people of all sexes, followed by the retro inspired indie look later in the decade.

Alternative fashion or alt fashion is fashion that stands apart from mainstream, commercial fashion. It includes both styles which do not conform to the mainstream fashion of their time and the styles of specific subcultures. Some alternative fashion styles are attention-grabbing and more artistic than practical, while some develop from anti-fashion sentiments that focus on simplicity and utilitarianism.

The Toronto goth scene, the cultural locus of the goth subculture in Toronto, Ontario, Canada and the associated music and fashion scene, has distinct origins from goth scenes of other goth subcultural centres, such as the UK or Germany. Originally known as the "Batcavers", the term "goth" appeared only after 1988, when it was applied to the pre-existent subculture. Distinctive features included internationally recognized gothic and vampiric fashion store 'Siren', a goth-industrial bar named 'Sanctuary: The Vampire Sex Bar', and Forever Knight, a television series about an 800-year-old vampire living in Toronto. In Toronto, the goths did not seek to reject mainstream status, and achieved partial acceptance throughout the mid to late 1990s.

<span class="mw-page-title-main">Grunge fashion</span> Fashion trend peaking in the mid-1990s

Grunge fashion refers to the clothing, accessories and hairstyles of the grunge music genre. This subculture emerged in mid-1980s Seattle, and had reached wide popularity by the mid 1990s. Grunge fashion is characterized by durable and timeless thrift-store clothing, often worn in a loose, androgynous manner to de-emphasize the silhouette. The style was popularized by music bands Nirvana, Soundgarden and Pearl Jam.

<span class="mw-page-title-main">2010s in fashion</span> Fashion-related events during the 2010s

The 2010s were defined by hipster fashion, athleisure, a revival of austerity-era period pieces and alternative fashions, swag-inspired outfits, 1980s-style neon streetwear, and unisex 1990s-style elements influenced by grunge and skater fashions. The later years of the decade witnessed the growing importance in the western world of social media influencers paid to promote fast fashion brands on Pinterest and Instagram.

<span class="mw-page-title-main">2020s in fashion</span> Fashion-related events during the 2020s

The fashions of the 2020s represent a departure from 2010s fashion and feature a nostalgia for older aesthetics. They have been largely inspired by styles of the early-to-mid-2000s, late 1990s, 1980s, 1970s, and 1960s. Early in the decade, several publications noted the shortened trend and nostalgia cycle in 2020s fashion.

<span class="mw-page-title-main">Mall goth</span> Goth subculture

Mall goths are a subculture that began in the late-1990s in the United States. Originating as a pejorative to describe people who dressed goth for the fashion rather than culture, it eventually developed its own culture based around nu metal, industrial metal, emo and the Hot Topic store chain. It has variously been described as a part of the goth subculture, as well as a separate subculture simply influenced by goth.

References

  1. ↑ Goodlad, Lauren M. E.; Bibby, Michael (2007). Goth. Undead subculture. Duke University Press. p. 47. ISBN   978-0822339212.
  2. 1 2 3 4 5 Steele, Valerie; Park, Jennifer (2008). Gothic: Dark Glamour. Yale University Press. p. 48. ISBN   978-0300136944.
  3. 1 2 3 4 5 6 Goodlad & Bibby 2007, p. 69.
  4. ↑ "Rivethead @ Everything2.com". [Welcome to Everything @ Everything2.com]. Retrieved August 23, 2007.
  5. 1 2 3 Stevens, Kate (November 2010). Freak Nation: A Field Guide to 101 of the most odd, extreme, and outrageous American subcultures. Adams Media. p. 108. ISBN   978-1440506468.
  6. ↑ "Ben Hamper". [Welcome to MichaelMoore.com]. Archived from the original on September 21, 2007. Retrieved August 23, 2007.
  7. ↑ "Re-Constriction". [Cargoland!]. Archived from the original on September 30, 2007. Retrieved September 11, 2007.
  8. ↑ "Chemlab: Burn Out at the Hydrogen Bar". Discogs.com.
  9. ↑ pHil (February 24, 2006). "Chemlab - Teaching you how to bleed". ReGen Magazine :: Industrial, synthpop, electronic, alternative music. Retrieved October 22, 2007.
  10. 1 2 3 Partridge, Christopher; Moberg, Marcus (2017). "Industrial, Post-industrial and Neofolk music". The Bloomsbury Handbook of Popular Music. Bloomsbury Academic. p. 206. ISBN   978-1-474-23733-8.
    "From the early 1980s onwards industrial music as represented by Throbbing Gristle influenced and was fused with other musical styles, resulting in what can be termed 'post-industrial styles'."
  11. ↑ Reed, Alexander (2013). Assimilate: A Critical History of Industrial Music. Oxford University Press. p. 161. ISBN   978-0-199-83260-6.
  12. ↑ "The Fashion and Culture of the Industrial Music Scene". Archived from the original on October 20, 2012.
  13. ↑ "Hardware / M.A.R.K. 13, OST". Internet Movie Database (IMDb).
  14. ↑ "Strange Days, OST". Internet Movie Database (IMDb).
  15. ↑ "Johnny Mnemonic, OST". Internet Movie Database (IMDb).
  16. ↑ Epstein, Jonathan S.; Locher, David A. (1998). Youth Culture. Identity in a postmodern world. Wiley-Blackwell Publishers. p. 107. ISBN   1-55786-851-4.
  17. 1 2 Epstein & Locher 1998, p. 115.
  18. 1 2 Digitalis, Raven (2007). Goth Craft. The Magickal Side of Dark Culture. Llewellyn Worldwide. p. 37. ISBN   9780738711041.
  19. 1 2 3 Goodlad & Bibby 2007, p. 76.
  20. ↑ "Photo of Maria Azevedo (Battery)" – via discogs.com. picture was taken in 1996/97 (COP International promotion picture
  21. ↑ "Photo of Yone Dudas (Decoded Feedback); picture was taken in the mid-/late-1990s". Zoth Ommog promotion picture.
  22. ↑ "Photo of Anna Christine (Luxt)" – via discogs.com.
  23. ↑ "Dossier. Diva X Machina". Side-Line music magazine (January 1997): 45.
  24. ↑ Ladouceur, Liisa; Pullin, Gary (2011). Encyclopaedia Gothica. ECW Press. p. 232. ISBN   9781770410244.
  25. ↑ Kilpatrick, Nancy (2004). The Goth Bible: A Compendium for the Darkly Inclined. New York: St. Martin's Griffin. pp. 23, 33–4. ISBN   978-0312306960.
  26. ↑ Thompson, Dave (2000). Alternative Rock. San Francisco, CA: Miller Freeman Books. p. 72. ISBN   0-87930-607-6.
  27. ↑ Voltaire, Aurelio (2004). What is Goth?. York Beach, ME: Weiser Books. p. 06. ISBN   9781578633227.
  28. 1 2 Goodlad & Bibby 2007, p. 72.
  29. ↑ Baddeley, Gavin (2002). Goth Chic: A Connoisseur's Guide to Dark Culture. London: Plexus Publishing. p. 204.
  30. ↑ Reynolds, Simon (2006). Rip It Up And Start Again: Post-punk 1978-1984. London: Faber and Faber Limited. p. 422. ISBN   978-0571215706.
  31. ↑ "A History of Goth". The Batcave. Retrieved November 23, 2007.
  32. ↑ "Dossier. Diva X Machina". Side-Line music magazine (January 1997): 44.
  33. ↑ Goodlad & Bibby 2007, p. 48.
  34. ↑ Lynn, Andrea (September 18, 2007). "Oh, my goth - dark, cultural phenomenon thriving, scholars say". News Bureau. The University of Illinois. Retrieved October 27, 2007.
  35. ↑ "A Study of Gothic Subculture".
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.