- With the rise of North American Soul music in the early-to-mid 1960s, the style of ska changed, and developed into Rocksteady towards the end of the decade. Both the new style of rocksteady, and the original form of ska were the main influences behind the rise of the Reggae genre in the late 1960s.
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Oct 06, 2021 · A few years later, American hardcore and punk musicians seeking ways to inject some roots and swing into an increasingly white punk sound led to a ska-punk sound that eventually went commercial in ...
- Tim Stegall
Oct 15, 2021 · Ska. Ska, regarded as the forerunner of reggae music, was popularized by the late Don Drummond and the Skatalites during the early 1960s. It has been described as a Jamaicanized version of the North American Rhythm and Blues (R&B). The lyrics of ska were often about the prevailing socio-economic commentaries of the less privileged in the society.
- The First Wave of Skinheads
- Racism Creeps in
- Southall Riots and The Subculture Today
The first wave of skinheads stood for one thing: embracing their blue collar status. Many self-identifying skinheads at the time either grew up poor in government housing projects or “uncool” in suburban row houses and felt isolated from the hippie movement, whose members they believed embodied a middle-class worldview — and one that didn’t address their unique concerns. Changing immigration patterns also shaped the burgeoning culture. Around the time, Jamaican immigrants began to enter the U.K., and many of them lived side-by-side with working-class English. This physical proximity offered a chance for sustained cultural exchange, and soon enough English kids latched on to Jamaican reggae and ska records. In a nod to the mod and rocker subcultures that preceded them, skinheads donned slick coats and loafers, buzzing their hair in a quest to become cool in their own right — and to disassociate themselves from the hippie movement.
By 1970, the first generation of skinheads had begun to frighten their peers. Popular media exacerbated this fear, with Richard Allen’s 1970 cult classic novel Skinhead— about a racist London skinhead obsessed with clothes, beer, soccer, and violence — serving as a prime example. The second wave of skinheads didn’t take umbrage at this portrayal; instead, they began to reflect and project it — particularly the racism. Indeed, Skinheadbecame the de facto bible for skinheads outside London, where football fan clubs were quick to take the subculture — and its constitutive aesthetics — up. It didn’t take long for political groups to attempt to use the growing subculture for their own gain. The far-right National Front Party saw in the skinheads a group of working-class males whose economic hardships may have made them particularly sympathetic to the party’s ethno-nationalist politics. And thus, the party began to infiltrate the group. “We were trying to think about race wars,” said Jose...
Over time, right-wing efforts to co-opt skinhead culture began to rot the latter from within. For example, Sham 69, one of the most successful punk bands in the 1970s and one with an unusually large skinhead following, stopped performing altogether after National Front-supporting white power skinheads rioted at a 1979 concert. Barry “Bmore” George, a skinhead forced out due to racially-charged politics’ entry into and commandeering of the subculture, put it this way: The end of the 1970s also saw the last flare of multicultural acceptance with 2 Tone music, which blended the 1960s-style ska with punk rock. And as that genre petered out, Oi! music began to pick up speed, combining the working-class skinhead ethos with punk rock energy. Right-wing nationalists co-opted this genre from nearly the very beginning. Strength Thru Oi!, a famous compilation album of Oi! music, was — supposedly mistakenly— named after a Nazi slogan, and featured a neo-Nazi on the cover who would be convicted...
- All That's Interesting
5 days ago · The band's name and line-up changed frequently, and it was not until 1975 that the band was known as XTC. In 1977, the group debuted on Virgin Records and were subsequently noted for their energetic live performances and their refusal to play conventional punk rock, instead synthesising influences from ska, 1960s pop, dub music and the avant-garde.
Oct 07, 2021 · Bill Evans Trio Sunday At The Village Vanguard Riverside. Bill Evans (p), Scott LaFaro (b) and Paul Motian (d). Rec. 1961. Sadly terminated by the demise of LaFaro in a car crash only 10 days after the two Village Vanguard albums (this album and Waltz for Debby), this group did more than any other at the start of the 1960s to loosen the bonds of the Peterson/Jamal traditional trio approach ...