The "Greaser" subculture originated among predominantly working-class and lower-class teenagers and young adults in the United States and Canada during the 1950s and early 1960s. The culture remained prominent until the mid-1960s and was especially embraced by ethnic groups, notably Italian-Americans and Hispanic-Americans, in urban areas. The term "greaser" originally referred to their slicked-back hairstyles, which were styled using creams, pomades, and tonics. While the term "greaser" had been used derogatorily in the late 19th century in the U.S. to label poor workers, particularly those of Italian, Greek, and Mexican descent, it was adopted mid-20th century specifically to describe this subculture. Despite the term’s continued pejorative undertones related to ethnicity and manual labor, it also became associated with the subculture primarily because of their distinctive greasy hair.
The Greaser subculture, which emerged in the late 1940s among motorcycle clubs and street gangs after World War II, became formally established in the 1950s when it was increasingly adopted by urban youths of various ethnicities. Early greasers bonded over a shared sense of disenfranchisement due to limited economic opportunities and social marginalization.
Primarily comprising men from the working class of diverse ethnicities, or white workers who felt excluded from society, these individuals often gravitated towards motorcycle or hot rod cultures. Hot rods are typically American cars that may be vintage, classic, or modern. Some middle-class youths were also drawn to this subculture because of its rebellious behaviors.
The loose structure of the greaser subculture can be attributed to its roots among working-class youth who had limited resources to participate in mainstream American consumerism. Their choice of attire was not just about uniformity within a social class but also an aesthetic appreciation of the power of working-class clothing. Many greasers were involved in motorcycle clubs or street gangs, and conversely, some gang members and motorcyclists adopted greaser-like attire, although they were not considered part of the subculture.
Greasers were often stereotyped as prone to committing crimes and engaging in sexual violence, instilling fear among middle-class men and women. Despite this negative image, shows like "American Bandstand" in the 1960s and 70s helped to cleanse the public perception of Greasers, though the subculture was still associated with sexual promiscuity. In the 1950s, women also became part of this subculture, often wearing jackets emblazoned with their group's name and engaging in rival group battles, though they were typically not involved in fights alongside the men.
The term "Greaser" resurfaced in later decades as part of a cultural revival of the 1950s, with one of its early reappearances being in a 1971 American commercial for 7up, featuring a 1950s Greaser who proclaimed, "Hey, remember me? I'm the teen angel." This marked the enduring legacy and transformation of the Greaser image over the years.
The distinctive style of the Greasers prominently featured slicked-back hair, achieved with the use of hair products such as pomade, petroleum jelly, cream, and tonic that required frequent combing and styling. Men often drew inspiration for their hairstyles from early rock and roll and rockabilly musicians like Elvis Presley.
Women typically opted for high volume hairstyles or wore wigs to complement this aesthetic. This emphasis on hair was a key component of the Greaser identity, showcasing their alignment with the rebellious youth culture of their time.
Greaser men typically wore loose-fitting work trousers, such as cotton fabric pants, which were common among the working class. They also favored comfortable, loose trousers and Levi’s blue jeans, which were popular among all American youths in the 1950s. These pants were often paired with black and brown leather boots, including steel-toe boots, engineer and harness boots, military boots, work boots, and cowboy boots. Other footwear options included Converse All-Star Chuck Taylors, Italian pointed shoes, brothel creepers, and winklepickers.
For upper body wear, men often chose plain white and black t-shirts (frequently rolled-up sleeves), striped sleeve t-shirts, Italian knit polo shirts, sleeveless undershirts sometimes worn alone or under unbuttoned shirts, "Daddy-O" style shirts, and baseball or bowling shirts. Outerwear included denim and leather jackets (including motorcycle jackets from the brand Perfecto), bomber jackets, and leather vests. The leather jacket, popularized by pilots during World War II, became a symbol of the Greaser culture. It portrayed Greaser youths as daring adventurers, akin to the heroic pilots of the recent war, offering a sense of excitement compared to the perceived drabness of the 1950s.
Women in the Greaser subculture also embraced distinct fashion elements, including leather jackets and Capri pants, which were tight and cropped, as well as shorts that reached just above the ankles. Common accessories among Greaser women included bandanas, black leather gloves, fedora hats, motorcycle helmets, vintage leather caps, brimmed hats, flat caps, and chain wallets. These choices reflected a blend of practicality and style, aligning with the overall rugged and rebellious aesthetic of the Greaser subculture.
The Greaser subculture has had a significant impact on film and music, particularly in shaping the American youth’s search for entertainment and identity following the era of World War II.
In the 1950s, Hollywood icons like Marlon Brando and James Dean epitomized the Greaser image, influencing American Greaser culture profoundly. The 1950s, often perceived as monotonous by many young people, made the Greaser become a symbol of individualism and rebellion.
The cinematic portrayal of Greasers first made a significant impact with Marlon Brando's portrayal in "The Wild One" (1953), which depicted the Hollister riot. This event, which took place in California in 1947, contributed to the rebellious image associated with motorcyclists and introduced the public to the linkage between motorcycling and criminal behavior.
In the film, Brando played a motorcyclist wearing a leather jacket and a military-style cap, cementing the iconic Greaser look.
The film "Grease," released in 1978, vividly portrayed a character embodying the Greaser persona: his rebellious behavior and his love for cars provided a clear depiction of Greasers in the 1950s. Additionally, the film offered a notable example of media portrayal of the Greaser girl.
Moreover, the influence of the Greaser aesthetic persisted into the late 1970s and 1980s, visible in numerous films from those decades. Their characteristic slick hairstyles, plain t-shirts, and tight jeans were not only key visual elements but also reflected their behavioral traits. This period helped solidify the Greaser’s place in cultural history, portraying them as bold and adventurous, akin to the heroic figures of the recent war.
James Dean vividly brought the Greaser culture to life in the 1955 film "Rebel Without a Cause." In this iconic role, Dean portrayed a troubled youth trying to fit in with his peers while sporting a red jacket, symbolizing his struggle with societal norms. This film reinforced the theme of individualism at the fringes of Greaser culture, positioning Dean as a quintessential figure representing the identity-seeking youth of the 1950s. His untimely death solidified his leather jacket as a symbol of the rebellious, adventure-seeking Greaser.
Elvis Presley also had a significant influence on Greasers, with his style, persona, and music defining much of what it meant to embody the rock and roll lifestyle that many Greasers admired. The fashion overlap between rock groups and Greasers was notable, with leather jackets, neutral colors, and slicked-back hair being common elements among them.
Other influential musicians who left a mark on this subculture include Johnny Cash, Carl Perkins, Jerry Lee Lewis, Chuck Berry, Big Joe Williams, Conway Twitty, and Big Joe Turner. Their music resonated with the themes of rebellion and nonconformity that were central to the Greaser identity.
