Rude boy

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Prince Buster performing at the Cardiff Festival, Cardiff, UK Prince Buster.jpg
Prince Buster performing at the Cardiff Festival, Cardiff, UK

Rude boy is a subculture that originated from 1960s Jamaican street culture. [1] In the late 1970s, there was a revival in England of the terms rude boy and rude girl, among other variations like rudeboy and rudebwoy, being used to describe fans of two-tone and ska. This revival of the subculture and term was partially the result of Jamaican immigration to the UK and the so-called "Windrush" generation. The use of these terms moved into the more contemporary ska punk movement as well. In the UK and especially Jamaica, the terms rude boy and rude girl are used in a way similar to gangsta, yardie, or badman. [2]

Contents

Jamaica

The term rude boy, and the rude boy subculture, arose from the poorer sections of Kingston, Jamaica, and was associated with violent discontented youths. [3] Along with ska and rocksteady music, many rude boys favored sharp suits, thin ties, and pork pie or Trilby hats, showing an influence of the fashions of US jazz musicians and soul music artists. Well-known cowboy and gangster/outlaw films from that period were also influential factors in shaping the rude boy image, as scholars like Rob Wilson, Christopher Leigh Connory, and Deborah A. Thomas have shown. [4] [5] In that time period, unemployed Jamaican youths sometimes found temporary employment from sound system operators to disrupt competitors' dances (leading to the term dancehall crasher). [6] The violence that sometimes occurred at dances and its association with the rude boy lifestyle gave rise to a slew of releases by artists who addressed the rude boys directly with lyrics that either promoted or rejected rude boy violence, for example the 1967 song "Rudy a Message to You" by Dandy Livingstone.

Starting in the 1970s, Jamaican reggae music replaced the ska and rocksteady music associated with the rude boys. In the 1980s, dancehall became the main Jamaican popular music genre, drawing some parallels with the earlier rude boys in its culture and lyrical content. [7] [8] [9]

United Kingdom

In the 1960s, the Jamaican diaspora introduced rude boy music and fashion to the United Kingdom, which influenced the mod and skinhead subcultures. [10] [11] In the late 1970s, the term rude boy and rude boy fashions came back into use after the 2 tone band the Specials (notably with a cover of "A Message to You Rudy") and their record label 2 Tone Records instigated a brief but influential ska revival. [12] In this same spirit, the Clash contributed "Rudie Can't Fail" on their 1979 album London Calling , and The Ruts their 1980 single "Staring at the Rude Boys". In more recent times in multicultural Britain, the term rudeboy has become associated with street or urban culture, and is a common greeting.[ citation needed ] The term rudeboy has become associated with music genres such as ragga, jungle, drum and bass, UK garage, and grime – although is still used by many ska and ska punk bands, old and new – predominantly in the UK and USA.

See also

Related Research Articles

<span class="mw-page-title-main">Reggae</span> Music genre

Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay", was the first popular song to use the word reggae, effectively naming the genre and introducing it to a global audience. Reggae is rooted out from traditional Jamaican Kumina, Pukkumina, Revival Zion, Nyabinghi, and burru drumming. Jamaican reggae music evolved out of the earlier genres mento, ska and rocksteady. Reggae usually relates news, social gossip, and political commentary. It is instantly recognizable from the counterpoint between the bass and drum downbeat and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument.

<span class="mw-page-title-main">Ska</span> Music genre

Ska is a music genre that originated in Jamaica in the late 1950s and was the precursor to rocksteady and reggae. It combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. Ska is characterized by a walking bass line accented with rhythms on the off beat. It was developed in Jamaica in the 1960s when Stranger Cole, Prince Buster, Clement "Coxsone" Dodd, and Duke Reid formed sound systems to play American rhythm and blues and then began recording their own songs. In the early 1960s, ska was the dominant music genre of Jamaica and was popular with British mods and with many skinheads.

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

A skinhead or skin is a member of a subculture that originated among working-class youth 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.

The music of Jamaica includes Jamaican folk music and many popular genres, such as mento, ska, rocksteady, reggae, dub music, dancehall, reggae fusion and related styles.

Rocksteady is a music genre that originated in Jamaica around 1966. A successor of ska and a precursor to reggae, rocksteady was the dominant style of music in Jamaica for nearly two years, performed by many of the artists who helped establish reggae, including harmony groups such as the Techniques, the Paragons, the Heptones and the Gaylads; soulful singers such as Alton Ellis, Delroy Wilson, Bob Andy, Ken Boothe and Phyllis Dillon; musicians such as Jackie Mittoo, Lynn Taitt and Tommy McCook. The term rocksteady comes from a popular (slower) dance style mentioned in the Alton Ellis song "Rocksteady", that matched the new sound. Some rocksteady songs became hits outside Jamaica, as with ska, helping to secure the international base reggae music has today.

Two-tone or 2 tone, also known as ska-rock and ska revival, is a genre of British popular music of the late 1970s and early 1980s that fused traditional Jamaican ska, rocksteady, and reggae music with elements of punk rock and new wave music. Its name derives from 2 Tone Records, a record label founded in 1979 by Jerry Dammers of the Specials, and references a desire to transcend and defuse racial tensions in Thatcher-era Britain: many two-tone groups, such as the Specials, the Selecter and the Beat, featured a mix of black, white, and multiracial people.

<span class="mw-page-title-main">Skinheads Against Racial Prejudice</span> Group of skinheads opposing racism

Skinheads Against Racial Prejudice (SHARP) are anti-racist skinheads who oppose white power skinheads, neo-fascists and other political racists, particularly if they identify themselves as skinheads. SHARPs claim to reclaim the original multicultural identity of the original skinheads, hijacked by white power skinheads, who they sometimes deride as "boneheads".

<span class="mw-page-title-main">Alton Ellis</span> Jamaican singer-songwriter

Alton Nehemiah Ellis was a Jamaican singer-songwriter. One of the innovators of rocksteady, he was given the informal title "Godfather of Rocksteady". In 2006, he was inducted into the International Reggae And World Music Awards Hall Of Fame.

<span class="mw-page-title-main">Mod (subculture)</span> Subculture in England

Mod, from the word modernist, is a subculture that began in late 1950s London and spread throughout Great Britain, eventually influencing fashions and trends in other countries. It continues today on a smaller scale. Focused on music and fashion, the subculture has its roots in a small group of stylish London-based young men and women in the late 1950s who were termed modernists because they listened to modern jazz. Elements of the mod subculture include fashion ; music and motor scooters. In the mid-1960s when they started to fade out, the subculture listened to rock groups with jazz and blues influences such as the Who and Small Faces. The original mod scene was associated with amphetamine-fuelled all-night jazz dancing at clubs.

There are several subgenres of reggae music including various predecessors to the form.

Trojan Records is a British record label founded by Jamaican Duke Reid in 1968. It specialises in ska, rocksteady, reggae and dub music. The label currently operates under the Sanctuary Records Group. The name Trojan comes from the Croydon-built Trojan truck that was used as Duke Reid's sound system in Jamaica. The truck had "Duke Reid - The Trojan King of Sounds" painted on the sides, and the music played by Reid became known as the Trojan Sound.

<span class="mw-page-title-main">Suedehead (subculture)</span> Early-1970s offshoot of skinhead subculture in the United Kingdom and Ireland

The suedehead subculture was an early-1970s offshoot of skinhead subculture in the United Kingdom and Ireland. Although sharing similarities to 1960s skinheads, suedeheads grew their hair longer and dressed more formally. Although often working class like skinheads, some had white collar jobs. A female suedehead was a sort.

People from the Caribbean have made significant contributions to British Black music for many generations.

The dance halls of Jamaica in the 1950s and 1960s were home to public dances usually targeted at younger patrons. Sound system operators had big home-made audio systems, spinning records from popular American rhythm and blues musicians and Jamaican ska and rocksteady performers. The term dancehall has also come to refer to a subgenre of reggae that originated around 1980.

<span class="mw-page-title-main">Trojan skinhead</span> Cultural identity in the UK

Trojan skinheads are individuals who identify with the original British skinhead subculture of the middle 1960s, when ska, rocksteady, reggae, and soul music were popular, and there was a heavy emphasis on mod-influenced clothing styles. Named after the record label Trojan Records, these skinheads identify with the subculture's Jamaican rude boy and British working class roots.

Derrick Morgan OD is a Jamaican musical artist who was popular in the 1960s and 1970s. He worked with Desmond Dekker, Bob Marley, and Jimmy Cliff in the rhythm and blues and ska genres, and he also performed rocksteady and skinhead reggae.

<span class="mw-page-title-main">Dandy Livingstone</span> Musical artist

Dandy Livingstone is a British-Jamaican ska, rocksteady, and reggae musician and record producer, best known for his 1972 hit, "Suzanne Beware of the Devil", and for his song, "Rudy, A Message to You", which was later a cover hit for The Specials. "Suzanne Beware of the Devil", reached number 14 on the UK Singles Chart and number 78 in Australia. In the early 1960s, Livingstone recorded some of the bestselling UK-produced ska singles of the era.

The Trojan Box Set series is a range of various artist triple CD box sets, periodically released by the British reggae record label Trojan Records since 1998. The series covers a wide variety of reggae subgenres, styles and themes.

The Bogle is a dance move originating from Kingston, Jamaica. The dance gets its name from a dancer named Bogle who danced as part of Kingston's Black Roses crew, who was in turn inspired by Barrington Levy.

References

  1. "The Rude boy in Jamaican music" – The Gleaner – 1 January 2012 Retrieved 28 January 2013
  2. Neville Staple (2009) Original Rude Boy , Aurum Press. ISBN   978-1-84513-480-8
  3. "The Rude Boy in Jamaican music". jamaica-gleaner.com. January 2012.
  4. Rob Wilson; Christopher Leigh Connery (2007). The Worlding Project: Doing Cultural Studies in the Era of Globalization. North Atlantic Books. p. 157. ISBN   978-1-55643-680-2.
  5. Thomas, Deborah A. Modern blackness: nationalism, globalization, and the politics of culture in Jamaica
  6. Jackson, Andrew Grant (2015). 1965: The Most Revolutionary Year in Music. New York: St. Martin's Press. p. 228. ISBN   978-1-250-05962-8.
  7. Klive Walker (2005). Dubwise: Reasoning from the Reggae Underground. Insomniac Press. p. 247. ISBN   978-1-897414-60-6.
  8. Russell A. Potter (1995). Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. SUNY Press. p. 39. ISBN   978-0-7914-2625-8.
  9. Michael Veal (2007). Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan University Press. p. 33. ISBN   978-0-8195-6572-3.
  10. Old Skool Jim. Trojan Skinhead Reggae Box Set liner notes. London: Trojan Records. TJETD169.
  11. Marshall, George (1991). Spirit of '69 – A Skinhead Bible. Dunoon, Scotland: S.T. Publishing. ISBN   1-898927-10-3.
  12. Panter, Horace. Ska'd for Life. Sidgwick & Jackson, 2007.