->''[[TitleDrop Hair]]'' can be a lovely silken thing, a long, stringy thing, or some strange musical we really don't understand.
-->''-Introduction from can of Oregon brand raspberries explaining how fresh raspberries have hair''.

The original rock musical, ''Hair: The American Tribal Love-Rock Musical'', debuted in 1967 and is very much an [[TheSixties artifact of its times]], particularly the bohemian, [[NewAgeRetroHippie hippie]], Free Love and anti-[[UsefulNotes/TheVietnamWar Vietnam-War]] movements, but at the same time has found new relevance in subsequent revivals, including the Tony award winning, 2009 Broadway revival. It was also very experimental for its times, involving nudity, audience participation and with some actors planted amongst the audience, not to mention scandalous for reasons which will be covered in the plot synopsis. The libretto (lyrics and dialogue) were written by its co-stars, James Rado and Gerome Ragni, and the music by Galt [=MacDermot=].

''Hair'' was also made into a RockOpera Concert Album and various hit singles including "Aquarius" and "The Flesh Failures (Let The Sunshine In)", and [[BrokenBase interestingly]], was made into an [[CultClassic often forgotten (but still unique) film]], by [[Creator/MilosForman Miloš Forman]], starring John Savage. Both feature most of the original cast and variations on the original songs.

The musical centers around [[TheHero Claude]] (Rado), the leader of a "tribe" of New York hippies, and his two friends [[TheLancer Berger]] (Ragni) and [[SoapboxSadie Sheila]]. After various songs extolling the various practices and issues afoot (''Colored Spade'' for racism, ''Hashish'' for drug use, ''Sodomy'' for alternative sexuality, ''Ain't Got No'' for the tribe's semi-deliberate poverty), making it clear that this is a DividedStatesOfAmerica due to the differing values between generations. This is underlined when the play does a SmashCut to the entire tribe having an orgy (yes, onstage) and the maid walks in. Claude is promptly berated by six cast members representing his parents, each one with a different costume and concern (we ''said'' it was experimental), and is told that he should join the army. He leaves, and (after another couple of songs) returns to admit that he passed his draft physical and may be forced to go fight UsefulNotes/TheVietnamWar.

A [[{{Crossdresser}} man in drag]] comes in. He leaves again after singing a very high song about peacocks and flashing the audience, and the tribe calls him [[http://en.wikipedia.org/wiki/Margaret_Mead Margaret Mead]]. (This was a ShoutOut at the time, though it looks like a BigLippedAlligatorMoment today.) The tribe is then invited to a "Be-In", where the male members of the tribe burn their draft cards... All except Claude, who gets some quality angst out of whether he ought to or not. At this point, the tribe (or at least those actors in it who have chosen to do so) emerge naked on stage (we ''said'' it was scandalous), inviting the remaining cast members, and audience, to partake in "beads, flowers, freedom, happiness." Then a cop comes in and arrests [[NoFourthWall everyone in the theatre]] on charges of obscenity. The tribe flees and the act ends.

After the play resumes, there's a short skit where tribe members act out what Claude's draft interview must've been like. Berger then gives Claude a hallucinogen, and most of the act is dedicated to depicting, on-stage and with frightening accuracy, Claude's resulting MushroomSamba (we ''said'' it was experimental), which involves: a roll call of important historical figures; an Abraham Lincoln played by a black woman ("Shit, I ain't dyin for no white man!"); a slapstick comedy sequence in which some Buddhists get killed by some Catholic nuns, who get killed by some astronauts (with FrickinLaserBeams), who get killed by some Chinese, who get killed by some Native Americans, who get killed by some Green Berets, who all kill each other, and then everyone gets up and plays like children until the play gets violent and they all kill each other ''again''. About this time Claude decides reality would be better and snaps out of it, having decided that he wants to be "a spirit?invisible." That is what he becomes: the tribe holds an anti-war protest, but can't see Claude because he has succumbed to the draft. He is shielded from the audience's eyes while the closing number goes on, eventually revealed to be lying in state on the ground, at which point he is covered with a black cloth. The cast reprises the final number and [[DancePartyEnding invites the audience to come up on stage and dance with them]].

The film version ends on a particularly DarkReprise with a shocking ending, while the play ends on TheUntwist. Various productions use [[BroadStrokes various songs and elements]], and being done by [[TheSixties hippies]], the production was continually tweaked and improved upon.

Audiences and critics ''loved'' the show, partially because it averted or subverted many of the era's most dominant tropes (and, for that matter, many of ''theatre''[='s=] most dominant tropes; among other things, the set was minimal and there were no curtains whatsoever). It did what it wanted to, and it worked. Plus, for all the shock and outrage it inspired -- hey, there's NoSuchThingAsBadPublicity. It was not only the first [[RockOpera Rock Musical]], directly preceding shows like ''Theatre/{{Rent}}'' and ''Theatre/SpringAwakening'', it was the first ''{{Concept|Album}}'' Musical too (in which the central theme of the show is more important than the show's narrative), which culminated in ''Theatre/AChorusLine'' in '75. ''Good Morning, Starshine'' and ''Aquarius/Let the Sunshine In'' got some respectable airplay as singles. Most importantly, it helped revive the flagging theatre scene and completely rewrote the common perspective of what you could get away with onstage.

!!The original musical ''Hair'' and stage adaptations provide examples of the following tropes:

* AbhorrentAdmirer: Jeanie to Claude, in the stage version.
* AlternateContinuity: Every version that's ever been performed uses a different version of the plot, alternate lines, and alternate song list, which is why fans of the movie are not too irritated by deviations from the original play.
* AllLoveIsUnrequited: Jeanie loves Claude, but Claude loves Sheila, but Sheila loves Berger, but Berger loves everyone and doesn't seem to understand Sheila's affection. [[AmbiguouslyGay Also, Woof may or may not be in love with Berger.]]
* AmbiguouslyGay: Woof has a [[{{Understatement}} slight crush]] on Mick Jagger, and Jeanie says that he is "hung up" on Berger.
* AscendToAHigherPlaneOfExistence: ...maybe.
* BreadEggsMilkSquick: ''Sodomy...fellatio...cunnilingus...[[{{Squick}} pederasty]]...''.
* CoolOldLady: Margaret Mead.
* CountryMatters: "I believe that now is the time for all good men to come to the aid of my cunt ... ry, 'tis of thee..."
* CulturalTranslation: Hair Tokyo 1969, written and translated by Katsumi Kahashi of Music/TheTigers which almost completely rewrites the song lyrics/plots to suit Japanese attitudes, reflecting the Youth Movement at the time.
* DoggedNiceGuy: Claude to Sheila, Jeanie to Claude.
* DrugsAreBad: Defiantly averted. [[EvenEvilHasStandards But not meth, which is "a bad scene."]]
* EvenTheGuysWantHim: Music/MickJagger, [[DiscussedTrope canonically]].
* FakeBrit: Claude InUniverse; he is actually from Flushing, Queens.
* HopeSpot: [[spoiler: The Tribe plans to help Claude flee to Canada to escape the draft, but he goes to the induction center before they can.]]
* IAmSong: ''Manchester, England'' for Claude; ''Donna'' for Berger; ''Hair'' for the musical; the musical ''itself'' for hippies everywhere.
* IWantSong: ''Where Do I Go'', ''Easy To Be Hard'', and probably others (keep in mind that there's like 35 songs in the musical, many of which are only a couple minutes long).
* InsaneTrollLogic:
--> '''Claude:''' If I am unseen, I can perform miracles.
* ListSong:
** ''Sodomy / Hashish'' -- a list of unmentionable acts and [[MushroomSamba drugs]], respectively.
** ''Colored Spade'' -- "Iiiiii'm aaaaaa..." list of pernicious African-American stereotypes.
** ''Ain't Got No'' -- the song is an insanely fast recitation of things the hippies don't need or can't afford.
** ''I Got Life'' -- a recitation of body parts (sung on top of a table in [[TheMovie the film]])
* LoveDodecahedron: ''All'' over the place.
--> '''Jeanie''': This is the way it is. Sheila's hung up on Berger. I'm hung up on Claude. Claude is hung up on a cross over Sheila and Berger. And Berger's hung up everywhere. As a prospective mother, I would just like to say that there is something highly unusual going on here. And furthermore, Woof is hung up on Berger.
* MessianicArchetype: Claude ([[spoiler:Berger]] in the film, [[DeathByAdaptation role-reversed]] with Claude as TheHero [[TheIngenue Ingenue]])
* MushroomSamba: most of Act 2.
* NewAgeRetroHippie: UnbuiltTrope.
* NoFourthWall: When it played in 2005 in Toronto, the cast members spent the half-hour before the show in the audience, acting high and asking audience members questions. The show itself made tons of references to the audience, making it a very entertaining experience.
* NotableOriginalMusic: And how.
* SexIsGood: a scandalous attitude to have, all agree.
* TheSixties: One of the quintessential works of the period.
* TeenyWeenie: Berger teases Claude about this. Depending on the production, the audience may have seen for themselves whether it's true or not.
* TooMuchInformation: Being in the audience when a friend is in the nude scene.
* UsefulNotes/TheVietnamWar: It doesn't deal with the war directly, but it underlines much of the action of the play.
* WhereDaWhiteWomenAt: Gender-reversed with "Black Boys/White Boys". White women sing the praises of black men, followed by black women singing the praises of white men.
!!The [[Creator/MilosForman Miloš Forman]] film (1979) provides examples of the following tropes:

* AdaptationDistillation: Forman introduced a cohesive plot into a mostly lyrical free-form musical while preserving the content and meaning (for the most part) of the songs in a very anti-hippie era.
* AgeLift: Berger is in high school in the stage version, while the film version gives his age as 22.
* AmbiguouslyGay: The film version of Berger shows little to no interest in any women (though his family thinks he's gotten one pregnant), but is deeply interested in everything Claude does.
* AnythingThatMoves: Woof.
* ArtisticLicenseMilitary: Berger ''may'' have been able to fill in for Claude for a single anonymous roll call (he's shown giving a knowing wink to another soldier who stares at him in surprise when he answers for Claude), but as soon as the orders came through for them to ship out to Vietnam, the cat would have been out of the bag no matter what. None of Claude's gear would have fit him, none of Claude's squadmates would have kept silent because there's no way in the world they're going to deploy to combat with some asshole they've never seen before who clearly doesn't know what the fuck he's doing, Claude's squad leader, platoon sergeant, and platoon commander would have all done individual inspections of each soldier prior to boarding the plane, and Claude's squad leader would have been the first one to say "who the fuck are ''you''?" to Berger. Long before the plane took off, Berger would have been arrested for trespassing and Claude would be classified as a deserter with every cop in the area on the lookout for him. Moviegoers with military experience were rolling their eyes big time during this scene.
* ChewingTheScenery: The tribe members, during their songs.
* DarkReprise: ''Manchester England (The Flesh Failures)'' [[CruelTwistEnding And how]].
* ADayInTheLimelight: Each member of the tribe gets to sing a song that tells us a little about their outlook on life.
* DeathByAdaptation: [[spoiler:"BERGER!!!"]]
* DownerEnding: The famous shot of [[spoiler:Berger walking into the bowels of the plane after inadvertently [[ElCidPloy taking Claude's place]]]].
* [[spoiler:ElCidPloy]]: The [[http://www.youtube.com/watch?v=fhNrqc6yvTU ending.]]
* FriendToAllLivingThings: The tribe in Central Park gets the park policemen's horses ''[[SpontaneousChoreography dancing]]'' during ''Age of Aquarius''.
* TheIngenue: Claude. In the film, he's fresh off the bus from Oklahoma, on his way to be drafted, and the Tribe is in charge of swaying his innocent young mind after being wowed by his display of spontaneous horsemanship in Central Park.
* LyricalDissonance: ''Walking in Space'' combines acid trip lyrical imagery with depressing scenes of military training (including a gas-attack simulation) and a sad-looking Vietnamese girl singing the lyrics. (Although a singer in her own right, Linda Surh was overdubbed by the angelic-voiced Betty Buckley.)
* MagicalNegro: Averted. While Hud is still treated as a good person, he's shown to have been an absolute jerk with how he left his ex-girlfriend. [[CharacterDevelopment He gets better]].
* MushroomSamba: ''Electric Blues''; ''Hashish''; ''Walking in Space'' (see above.)
* NewAgeRetroHippie: TropeCodifier.
* OhCrap: Berger gets one in the barracks after he's taken Claudes' place and it's announced the unit is shipping out for Vietnam immediately. Claude gets an ''epic'' one when he gets back to the barracks and sees that its' empty, and he knows there can only be one reason why.
* PrimAndProperBun: Appropriately enough, the Prison Psychiatrist who interrogates Woof on why he [[NewAgeRetroHippie wears his hair long]] (and whether that makes him gay) in the title song sequence. Her hair is in a tight bun.
* RaceFetish: The song called "Black Boys/White Boys", where two groups of people -- one white, one black -- sing about how black boys and white boys (respectively) turn them on. The male white officers agreeing with the white women that the black boys are delicious like chocolate, and the black officers agreeing with the black women about how kissable the white men are. By making the fetishism a mutual affair, the song makes clear that it's not about racism or sexism. Also, the focus on shallow beauty/sexiness is done in such a way that it sends an anti-racist message: The difference between races is a shallow difference, merely a matter of how you look. The work is from the same time as the Civil Rights Movement. The black guy Hud is a fully accepted member of the otherwise white hippie gang, and the song can be said to say "not only are people of other races not evil, you may even consider having sex with them!". While CaptainObvious these days, it was a radical message back when it was made.
* SoundtrackDissonance: "The Flesh Failures" is given a different meaning by the film's shocking TwistEnding, which is different from the original play. May actually produce [[TearJerker/{{Film}} tears]], which is quite different from the feeling most people get watching the play.
* SparedByTheAdaptation: [[spoiler:Claude.]]
* SpontaneousChoreography: By Twyla Tharp, who also appears as a Priestess in ''Electric Blues''.
* StraightMan: Claude (film only) is a square about to leave for Vietnam, who Berger takes under his wing.
* TwistEnding[=/=]CruelTwistEnding: [[spoiler:Berger leads the tribe to Nevada, sneaks into the army training camp and impersonates Claude to give him a chance to see Sheila one last time... on the day Claude's battalion ships for Vietnam]].
* UsefulNotes/TheVietnamWar: FromBadToWorse.
* WhereDaWhiteWomenAt: Same as the play, plus a not-too-subtle HoYay; with Army recruit examiners singing the same song, intercut with the women's performance.