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-[[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 "Age Of 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 stars '''Claude''', TheHero (Rado), the leader of a "tribe" of New York hippies, and his two friends [[TheLancer Lancer]] '''Berger''' (Ragni) and '''Sheila''', a SoapboxSadie. 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 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 ''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 ''The Age Of 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.

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

* AlternateContinuity: Just about 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.
* AscendToAHigherPlaneOfExistence: ...maybe.
* BreadEggsMilkSquick: ''Sodomy...fellatio...cunnilingus...[[{{Squick}} pederasty]]...''.
** Although in the 1960s, all of the above mentioned acts would probably be equally repellant to mainstream society
* 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 Dogged Nice Girl]]: Jeanie for Claude.
* DrugsAreBad: defiantly averted.
* EvenTheGuysWantHim: MickJagger, [[DiscussedTrope canonically]].
* 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).
* 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.
* TooMuchInformation: Being in the audience when a friend is in the nude scene.
* 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.
** and, in the film version, about half of the lines are being sung by [[HoYay black and white draft officers]]
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!!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.
* AnythingThatMoves: Woof.
* ChewingTheScenery: The tribe members, during their songs.
* CutSong: an odd example due to the Alternate Continuity of song lists in the play to begin with. The soundtrack for the film and the film itself contain different song lists. See page for details.
* 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.)
* MushroomSamba: ''Electric Blues''; ''Hashish''; ''Walking in Space'' (see above.)
* NewAgeRetroHippie: TropeCodifier.
* 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 girls - one white, one black - sing about how black boys and white boys (respectively) turn them on. The song is so very obviously about heterosexual race fetishism that it becomes very easy to overlook the fact that the song is ''also'' about homosexuality (with added Race Fetish) in the army: 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/sexyness 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. And in the end, each of us is lovable and beautiful to someone.
** 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]].
* 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.
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