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Showing posts with label mods. Show all posts
Showing posts with label mods. Show all posts
10.10.2007
8.08.2007
With subcultures mainly being a boy's game, I've always looked closely to the few females involved as a support group. You would think that with females being about one to every three men (if not less) in subcultures, they would be tight and appreciative to their sisters involved in the game.
Sadly, this is not a reality.
It seems that in the years I've been involved in this subculture, I've seen women become more or so "frienemies" rather than a stable support system to eachother. This deeply saddens me, as I too have seen this first hand. I guess I am perpetually naive to this, or just hopelessly optimistic to find nice women who are looking for sisterhood through music. I am not saying all females are like this, but there are quite a few out there who are.
What causes this? Why does it happen? Who are these females? I'm going to go forward and explain my views and opinions on this subject. These are strictly my opinions based on my own personal experiences so you are more than welcome to disagree.
Although a lot of teens come into a subculture looking to rebel and be non-conformist, they are just joining another form of conformity and rules. These "tribes" have their own sets of rules and dress within themselves. There are usually unspoken rules of how to act, and who holds what seniority. This does vary from subculture to subculture, but they all have the basic skeleton from subculture to subculture.
Those whom have been "in" for the longest usually have the utmost respect, and typically, they feel they have the right to put those younger and less senior "members" in their place. Women have a similar yet very different set of rules. Women cut each other down almost endlessly.
Womens rules in these youth cults are those in the same to men, however, I feel that they are much more harsh. Typically, it all starts out with how you got in. Usually, it's one of the two - you got in on your own will or from your boyfriend. If you got in from your boyfriend, the rest of the local scene usually knows, as you showed up on the arm of Johnny Subculture at a random gig. If this is the case, respect for you is typically next to nothing - even if you truly do become part of the subculture in the long run - guy or not. You'll almost always be known as so-n-so's girlfriend or ex-girlfriend. Men do not have this problem. They do not have to deal with derogatory names such as"oi toy", "scene whore", or something similar to that. This sexism runs rampant from both males and females. This in itself starts vicious cycle of women's roles in youth cults.
Youth cult or not, women tend to run in cliques and groups of friends in which they trust those few friends and hardly anyone else. I often hear young women from every cultural, social, and ethnic background say, "women are such bitches, I can't stand them!"
Although they've made a few friends, what prevents their clique from being "bitches" to each other? Again, youth cult or not - women tear each other down and can be harshly judgmental to each other to their faces or behind their backs. The sport of tearing down other females isn't a pretty one, but it is often played. In my personal opinion, I honestly think women who tear others down for no apparent reason is just a verbal venting of their own short comings and insecurities. To me, those who bash on other people who have not done anything to them are just insecure cowards trying to build themselves up by tearing others down. In the subcultural view, I often think that this happens because some women are not 100% comfortable with themselves and the role they play within a subculture. They often come off as they have the world to prove to others. The "pros" of the bashing game for one whom plays is typically to brag about how many girls they've driven away. This, I think, is a result of the need to be an alpha female.
Socially speaking, a woman with lots of male attention is considered highly desirable - appearances aside. If a female in a niche culture is surrounded mainly by men, logically, she should have plenty of potential mates and attention - boosting her ego, esteem, and popularity amongst males. This makes her an alpha female. Competition gets ripped down without a second thought. Typically, she will do just about anything to keep this status.
This is highly detrimental to the female side of a subculture. Hazing and driving new kids out leaves the scene stagnant and does not allow it to grow or evolve. With the same girls constantly around, this leaves slim options for the males who want to date within the scene. If these girls are single, they will be surrounded mostly by men, and probably have their internal feelings of alpha females pumped up, and will not want new females coming around. Another reason why this can be extremely harmful is that if people within a local scene date amongst each other. With only a few females around dating the men in the subculture, this will typically cause drama. Say, if there were only 6 males and 2 females in a local scene, this would definitely cause trouble. Also, if a female dates amongst the local scene quite often, this can lead her back to being accused of being an "oi toy" or a "scene whore". Even if she didn't get in because of a boyfriend, she can be accused of these things, and her intentions within a subculture can be questioned just because of her dating habits. Most women outside of subcultures don't get called such names when dating around. The dating world for females within subcultural boundries can be dangerous, dramatic, and disheartening. The need to prove that she is genuine and an individual while dating a man in a subculture can cause many issues within herself and her relationship.
I have honestly never understood the "hazing" into a subculture. When I think "hazing", I think of some dumb frat guys putting a new house member through humiliation. What's the point? Isn't that the sort of mentality we wanted to get away from when we chose to stray from the norms of mainstream society? Why do you want to scare away potential new members of a bands, future dj's, or life-long friends? Shame on anyone who participates in these pointless and degrading tactics - male or female.
Having a healthy, thriving subculture relies on having new blood coming in, and often. Driving new people away, believe it or not, has a domino effect within your local town.
First off, driving people away by not accepting them in the local scene or stating that they need to be hazed in makes you come off like a total jerk. Where ever they're from, they'll tell their friend back home (or non subculture friends that are local), "Yeah, I came here and they expected me to do this, that, and the other to hang out with them. Yeah, I know, ridiculous." Honestly, these games make participants look like total childish buffoons and make said person ashamed to be involved in a subculture. Also, this makes you look like an awful example of a subculture. If you're playing these sorts of childish games, you should honestly do some questioning of your personality and how you treat others in general. As harsh as it may sound, I believe it's true. This could also spread around to other places and give your town a poor representation.
Second, the less people you have in your town, the less often bands will come around. Say a fantastic band comes through your town once, but no one shows up. The impression your town will lay on them is that your town is not a money maker. Most bands don't even get guarantees on the road and solely rely on merch sales to keep their tour afloat and stomachs filled with food. If your town has no one going to shows, they'll skip over your town in future tours. Make sense? So, driving fresh blood out of your scene may also eventually drive out touring bands you want to see.
Another thing I've never understood is why older members within a subculture are so demeaning to younger kids. They, too, were once that age. I'm sure they didn't pop outta mama's womb in full subcultural attire with a stellar record collection. They, too had to go through the ins and outs of growing up and discovering who they are, and Im sure they had some embarrassing records in their collection at one point. Being condescending to these kids is downright hypocritical. If they were treated like that when they were younger, they should be empathetic. Treating new kids like they were treated is wrong, and those two wrongs definitely do not make a right. If you truly love a subculture and music, you want it to grow, evolve, and last against the tests of time. Sharing your love of all these things with younger kids who really don't know where to look helps the subculture grow and forms the brotherly and sisterly bond that is so highly idealized. What is the point of hoarding information?
Rarely do you see younger kids coming around these days who are taken in by older members of a subculture with open arms. If just that were to happen, if people could just get off their mighty high horses...they'd see that most slowly dying subcultures would gain new life. Sure, you may think that these kids are dumb and hopeless, but SO WERE YOU! Don't haze them, don't demean them - just be a positive influence. Being an older "brother" or "sister" can be very rewarding!
Younger girls especially need this positive influence to help prevent them falling into all the sexism and gender roles that subcultures dole out. They need to know that it IS okay to be in a subculture and not be sleeping with someone, or constantly causing drama. They need to know that you can be yourself with outside interests from a subculture. Girls in their teens especially need guidance to help their self esteem, identity, and peer pressure issues. I would assume that most of these girls' parents don't quite understand why they are expressing their femininity in a boy's game. My mother thought I was mental. If I had a female to look up to at that age, those years would've been a lot easier.
I hope things change in the future. I would love to see more women reaching out and cultivating a sense of sisterhood amongst themselves instead of breeding jealousy, cattiness, competition, and two-faced behavior. Negative behavior such as the types I've discussed (from males or females) is detrimental to any subculture. Period. It prevents the cultures and scenes from evolving. Why act in such a manner? No one will benefit from it. Acting with class, dignity and grace will never go out of style and will never be looked down upon. Be secure with your place in the sun and don't concern yourself with anyone else's. Honesty, no one has the authority or right to drive someone out of a subculture - seniority or not.
To those whom have a sense of entitlement - think twice first. Your actions will speak louder than your words.
Sadly, this is not a reality.
It seems that in the years I've been involved in this subculture, I've seen women become more or so "frienemies" rather than a stable support system to eachother. This deeply saddens me, as I too have seen this first hand. I guess I am perpetually naive to this, or just hopelessly optimistic to find nice women who are looking for sisterhood through music. I am not saying all females are like this, but there are quite a few out there who are.
What causes this? Why does it happen? Who are these females? I'm going to go forward and explain my views and opinions on this subject. These are strictly my opinions based on my own personal experiences so you are more than welcome to disagree.
Although a lot of teens come into a subculture looking to rebel and be non-conformist, they are just joining another form of conformity and rules. These "tribes" have their own sets of rules and dress within themselves. There are usually unspoken rules of how to act, and who holds what seniority. This does vary from subculture to subculture, but they all have the basic skeleton from subculture to subculture.
Those whom have been "in" for the longest usually have the utmost respect, and typically, they feel they have the right to put those younger and less senior "members" in their place. Women have a similar yet very different set of rules. Women cut each other down almost endlessly.
Womens rules in these youth cults are those in the same to men, however, I feel that they are much more harsh. Typically, it all starts out with how you got in. Usually, it's one of the two - you got in on your own will or from your boyfriend. If you got in from your boyfriend, the rest of the local scene usually knows, as you showed up on the arm of Johnny Subculture at a random gig. If this is the case, respect for you is typically next to nothing - even if you truly do become part of the subculture in the long run - guy or not. You'll almost always be known as so-n-so's girlfriend or ex-girlfriend. Men do not have this problem. They do not have to deal with derogatory names such as"oi toy", "scene whore", or something similar to that. This sexism runs rampant from both males and females. This in itself starts vicious cycle of women's roles in youth cults.
Youth cult or not, women tend to run in cliques and groups of friends in which they trust those few friends and hardly anyone else. I often hear young women from every cultural, social, and ethnic background say, "women are such bitches, I can't stand them!"
Although they've made a few friends, what prevents their clique from being "bitches" to each other? Again, youth cult or not - women tear each other down and can be harshly judgmental to each other to their faces or behind their backs. The sport of tearing down other females isn't a pretty one, but it is often played. In my personal opinion, I honestly think women who tear others down for no apparent reason is just a verbal venting of their own short comings and insecurities. To me, those who bash on other people who have not done anything to them are just insecure cowards trying to build themselves up by tearing others down. In the subcultural view, I often think that this happens because some women are not 100% comfortable with themselves and the role they play within a subculture. They often come off as they have the world to prove to others. The "pros" of the bashing game for one whom plays is typically to brag about how many girls they've driven away. This, I think, is a result of the need to be an alpha female.
Socially speaking, a woman with lots of male attention is considered highly desirable - appearances aside. If a female in a niche culture is surrounded mainly by men, logically, she should have plenty of potential mates and attention - boosting her ego, esteem, and popularity amongst males. This makes her an alpha female. Competition gets ripped down without a second thought. Typically, she will do just about anything to keep this status.
This is highly detrimental to the female side of a subculture. Hazing and driving new kids out leaves the scene stagnant and does not allow it to grow or evolve. With the same girls constantly around, this leaves slim options for the males who want to date within the scene. If these girls are single, they will be surrounded mostly by men, and probably have their internal feelings of alpha females pumped up, and will not want new females coming around. Another reason why this can be extremely harmful is that if people within a local scene date amongst each other. With only a few females around dating the men in the subculture, this will typically cause drama. Say, if there were only 6 males and 2 females in a local scene, this would definitely cause trouble. Also, if a female dates amongst the local scene quite often, this can lead her back to being accused of being an "oi toy" or a "scene whore". Even if she didn't get in because of a boyfriend, she can be accused of these things, and her intentions within a subculture can be questioned just because of her dating habits. Most women outside of subcultures don't get called such names when dating around. The dating world for females within subcultural boundries can be dangerous, dramatic, and disheartening. The need to prove that she is genuine and an individual while dating a man in a subculture can cause many issues within herself and her relationship.
I have honestly never understood the "hazing" into a subculture. When I think "hazing", I think of some dumb frat guys putting a new house member through humiliation. What's the point? Isn't that the sort of mentality we wanted to get away from when we chose to stray from the norms of mainstream society? Why do you want to scare away potential new members of a bands, future dj's, or life-long friends? Shame on anyone who participates in these pointless and degrading tactics - male or female.
Having a healthy, thriving subculture relies on having new blood coming in, and often. Driving new people away, believe it or not, has a domino effect within your local town.
First off, driving people away by not accepting them in the local scene or stating that they need to be hazed in makes you come off like a total jerk. Where ever they're from, they'll tell their friend back home (or non subculture friends that are local), "Yeah, I came here and they expected me to do this, that, and the other to hang out with them. Yeah, I know, ridiculous." Honestly, these games make participants look like total childish buffoons and make said person ashamed to be involved in a subculture. Also, this makes you look like an awful example of a subculture. If you're playing these sorts of childish games, you should honestly do some questioning of your personality and how you treat others in general. As harsh as it may sound, I believe it's true. This could also spread around to other places and give your town a poor representation.
Second, the less people you have in your town, the less often bands will come around. Say a fantastic band comes through your town once, but no one shows up. The impression your town will lay on them is that your town is not a money maker. Most bands don't even get guarantees on the road and solely rely on merch sales to keep their tour afloat and stomachs filled with food. If your town has no one going to shows, they'll skip over your town in future tours. Make sense? So, driving fresh blood out of your scene may also eventually drive out touring bands you want to see.
Another thing I've never understood is why older members within a subculture are so demeaning to younger kids. They, too, were once that age. I'm sure they didn't pop outta mama's womb in full subcultural attire with a stellar record collection. They, too had to go through the ins and outs of growing up and discovering who they are, and Im sure they had some embarrassing records in their collection at one point. Being condescending to these kids is downright hypocritical. If they were treated like that when they were younger, they should be empathetic. Treating new kids like they were treated is wrong, and those two wrongs definitely do not make a right. If you truly love a subculture and music, you want it to grow, evolve, and last against the tests of time. Sharing your love of all these things with younger kids who really don't know where to look helps the subculture grow and forms the brotherly and sisterly bond that is so highly idealized. What is the point of hoarding information?
Rarely do you see younger kids coming around these days who are taken in by older members of a subculture with open arms. If just that were to happen, if people could just get off their mighty high horses...they'd see that most slowly dying subcultures would gain new life. Sure, you may think that these kids are dumb and hopeless, but SO WERE YOU! Don't haze them, don't demean them - just be a positive influence. Being an older "brother" or "sister" can be very rewarding!
Younger girls especially need this positive influence to help prevent them falling into all the sexism and gender roles that subcultures dole out. They need to know that it IS okay to be in a subculture and not be sleeping with someone, or constantly causing drama. They need to know that you can be yourself with outside interests from a subculture. Girls in their teens especially need guidance to help their self esteem, identity, and peer pressure issues. I would assume that most of these girls' parents don't quite understand why they are expressing their femininity in a boy's game. My mother thought I was mental. If I had a female to look up to at that age, those years would've been a lot easier.
I hope things change in the future. I would love to see more women reaching out and cultivating a sense of sisterhood amongst themselves instead of breeding jealousy, cattiness, competition, and two-faced behavior. Negative behavior such as the types I've discussed (from males or females) is detrimental to any subculture. Period. It prevents the cultures and scenes from evolving. Why act in such a manner? No one will benefit from it. Acting with class, dignity and grace will never go out of style and will never be looked down upon. Be secure with your place in the sun and don't concern yourself with anyone else's. Honesty, no one has the authority or right to drive someone out of a subculture - seniority or not.
To those whom have a sense of entitlement - think twice first. Your actions will speak louder than your words.
7.06.2001
Leaving a Legacy
The world of Ska and reggae music came to a halt this past month, when Laurel Aitken's life came to an end. Although he had not been in good health for quite some time, Mr. Aitken still pushed forward to do what he loved to do the most- Performing. Born as Oliver Stephens in Cuba in 1927, he was surrounded by live music from the start of his long, very successful life. Laurel always expressed interest in music and performing even as a young child, and absorbed the sound of the Cuban street music from a young age. When he was 11 years old in 1938, his family picked up and moved to Kingston, Jamaica, where Laurel had even more of a chance to immerse himself in music and performing. Often, Laurel would ham it up and perform for tourists, becoming one of the regular street performers. As he got older, Laurel often participated in Vere John’s ‘Opportunity Hour’, which was often held at Kingston’s Ambassador Theatre. Laurel developed a style, which was becoming popular on the island- a mix of American R&B, Doo-Wop, and Jazz, infused with his own style and flair. His mixture of different styles and knack for performing got him quickly noticed by Stanley Motta. In 1957, Laurel recorded his first single, "Roll, Jordan Roll" at JBC’s recording studio.
Laurel's first major hit was produced by Chris Blackwell at a then up-and-coming label, Island Records. Little did Aitken know that his single he cut with Blackwell "Little Sheila/Boogie in my Bones" would spend a reported 11 weeks at #1 on the Jamaican charts in 1959. Aitken was the first Jamaican to record a number one single on the island's then American dominated charts.
One year later, Aitken emigrated to London, where many Jamaicans were going for work and better living conditions. Aitken saw with as many Jamaicans as there were in the city, there already was a market for music from the Island. He quickly got signed to Emil Shallit's Melodisc label, which already had a Jamaican subsidiary, Blue Beat. Blue Beat, then still experimental, decided to use Aitken as the artist to use on their first single, "Boogie Rock". Laurel still recorded for whom he pleased, including mainstream labels like Columbia. Also during this time, Laurel took his hand at producing, mainly with pama and their many subsidiaries, mainly NuBeat/NewBeat
Toward the late 60's and early 70's, interest in Ska had dwindled and was replaced by Reggae. However, with the growing Skinhead population in the UK, Laurel was very much in high demand and during this period, recorded many skinhead classic singles on labels from Pama to Trojan. Aitken saw that he was a Skinhead cult figure, and started catering to this crowd and writing songs that would appeal to them and their interests.
Enter the roots era of the mid to late 70's. Laurel's popularity seemed to come to a halt, but only temporarily. The 2Tone movement in the UK revived the interest in Ska as well as the Rudeboy and Skinhead Culture. Laurel's popularity soared once again as he performed for the new generation of rudies and skins. During the 80's, Mr. Aitken teamed up with London's Potato 5, once again reaching another young generation's interest in both Ska and Reggae.
Laurel continued to perform throughout the 90's, as well as through the beginning of the new century. Although the past couple years, Aitken's health has not been up to par, he continued to perform quite often in England, most often at Club SKA, even releasing a new live album and DVD. Laurel was hospitalized off an on quite often the past year, having double pneumonia as well as other respitory problems. During his 6 week stay in late 2003 at Leicester Royal Infirmary, he married his partner of 35 years, Sandra.
On July 17th, 2005, Laurel passed away from a heart attack at Glenfield Hospital, Leicester, England. This marks the end of a long legacy of music, as well as the death of a legend in our community. Laurel contributed all he had to music his entire life. His career spanned well over four decades and has affected many of us in our every day lives. He will stay alive in the form of scratchy 45's, photos from performances, and in the memories of those who have seen him and met him.
His family posted the following announcements in the Leicestershire:
AITKEN,Laurel- A very special father who was always there for me. Your kindness was no weakness you cared so much for me, full of understanding for everyone to see. In life you sang your songs for everyone to hear, you sang so sweetly daddy. I wish you was still here. _ From your loving Daughter Karlene. Your singing with the Angels now, so sing on Laurel, sing on (Billy). Gentle Jesus up above, Please give grandad all my love. God bless. _ Karlene, Amber and Billy.
AITKEN,Laurel- Passed away July 17th, 2005. I've tried so hard to write these words, To say how much I love you, The more I try, the more I cry, Laurie I really miss you, I laugh, I talk, I play the part, But behind my smile, Lies a broken heart. - Your devoted Wife Sandra. Funeral arrangements to follow at later date.
AITKEN,Laurel- I watched you suffer everyday, knowing that you were slipping away. I prayed so hard for you to stay. My dad I loved you more than words could say. - Heart broken Daughter Desley, Son-in-law Kara and Grandchildren Chanel, Jade, Laura and Kibbi.
Rest In Peace, Godfather.
editor's note: Bob Walter is one of my favorite people. When I need an honest opinion about anything, I go to Bob. Bob always has the end-all opinion. Out of all my years of meeting people in the scene, I have to say, Bob is the person I respect most out of anyone. I asked him if he was interested in writing an article for me when I first started Get Up Edina, and here it is. Take every word to heart! This man is one of the few people who I actually care what he thinks of me and my actions, that's how important he is! -Joanna
Where Have All the Rude Boys Gone?
by Ska Bob Walter
*A special thanks to the members of the "In a Dancing Mood" Internet Forum, whose comments and critiques gave me the boot to the head I needed to clarify my writing
I've been trying to write this article for several months, now. And, to be honest, I'm not sure if I can properly convey the sense of loss that inspired me to write it. Everyone's experiences are unique to them, personally. What I'm trying to say is, my viewpoint is very narrow, and not necessarily widely appreciable, but so be it.
With the permission of the reader, we will dispense with the true definition of Rude Boy. I realize that this will contradict things I've written in the past (things you've never read, of course), but for the sake of this piece, a Rude Boy is not the underprivileged, hard-assed gangbanger of 1960's Kingston. Instead, we will use the definition popularized in the 1970's and 80's; the hardcore fan who went out of his way to epitomize Ska and all of it's variables.
I was nine years old when my family moved to Utah in 1977. It was 3 or 4 years later before I heard of Ska. Utah is a strange place. Everyone thinks we're all so backward, and they're not completely wrong. But, a lot of people here have relatives from all over the country, including (and particularly) California. If it was popular on the West Coast, it was the best new thing in Utah a year later.
For several years, I suffered in silence. Well, scratch that. For several years, I was silent in ignorance. I had my dalliances with Kool and the Gang, Billy Joel, and even Queen, but it was always 2-Tone and Chrysalis Records that I fell back to. It's not that I didn't have others to guide me. Ron Yrigoyen and Tom Price were the Upper-Class heroes of Provo High School. They were on the cutting-edge of "New Wave" And Tom's younger brother, William Price, had a Vespa by around 1984. Unfortunately, William was more of a Thompson Twins kind of guy, but he taught me a lot about Mods. One of the many girls who broke my heart, Beth Arbizu, tried as hard as she could to make me understand what it was I liked about Ska. Even my older Brothers and Sisters made major contributions to my musical upbringing. My brother, David was a total Anglophile. I remember sitting in his bedroom as a youngster, listening to the original Hitchhikers Guide to the Galaxy radio broadcasts, and Monty Python records. My sister, Marianne, was a Bob Marley fan. My other sister, Becky was one of those Pre-and-Post New Wave goddesses that is still talked about. My Brother, Walt was one of those guys who was at every Punk show, but stood at the edge of the Mosh Pit and acted as a referee. Today, Walt is a major contributor in the Outdoor Sports world.
Fast-forward a couple of years; I graduated in 1986, still not sure of who I was. Half Preppie, half Punk, half Skater and half Dungeons & Dragons Geek. It wasn't until 1988 that I found my calling. Within a month's time, I saw Quadrophenia, Absolute Beginners, and came across both Moon and Unicorn Records releases at a local Record shop, Reptile Records. In 1989, I made a pilgrimage to London, and attended the London International Ska Festival. This changed my life.
Allow me to pause here, Dear Reader, to remind you that this was before the days of the Internet, before the days of MTV's Skaturday and before real big shit. I bought every piece of Unicorn and Moon vinyl I could find. I was at every Thrift Store buying 3-button suits and inch-wide ties. Doc's were hard to come by, but I was buying Creepers and Monkey Boots at every turn.
And suddenly, I saw the Silent Conspiracy. There were people in my town, about my age, who were diggin' what I was. I started noticing Docs and Monkey Boots and, well... Mini Skirts. I saw Vespas and Lambrettas on the streets. I saw Porkpie hats and Ben Shermans. Mods, Rudies, and Skins. Wow, and I was in Utah! I was part of something that was truly underground, and it felt really cool. I met Deacon and Reese at Checker Auto, and joined English Rose Scooter Club, the only club in existence at the time (and the oldest existing Scooter Club in Utah). I started a Ska show on a local radio station, KRCL, with a good friend, Jack Rude. And, I was asked to manage Stretch Armstrong, one of the local Ska-influenced bands of the era.
The best thing about all of this was that when you were there, people got it. Whether you were at a Ska show, or a Scooter Rally, a bowling ally, or at an ABC Ska Society dance, people got it.
This is my point.
I got married in 1993, and dropped-out. I came back a few years later, and was, to be honest, saddened.
Today, I get asked what Suits have to do with Ska, what Scooters have to do with Ska. Today, I see Scooter Rallies filled with "Kimco" and "People" machines, Scooter clubs filled with people who have never heard of Mods, and "Ska" bands who've never heard of Prince Buster.
Even some of the best bands today don't look like they listen to what they play. And the people on the Internet who know the most about Ska, don't give two shits about the tangents.
OK, so, I'm an elitist. I no longer count that as an insult. I'm tired of going to shows and being the only one with a tie, jacket, Fred or Bennie. I'm tired of looking at Deborah Harry or Gwen Stephanie wannabes.
It's not that I think that to be a "true" Ska fan, you have to dress like this or dance like that, or also have to be into the other. Ska fans have historically been the penultimate example of integration, and not just racially. Every walk of life is typically represented at a Ska show. It seems to be clear, however, that the Iconic Trinity of Rudy, Mod and Skin, while not dead yet, is obviously on life-support. Any day now, someone's going to pull the plug.
The obvious exception to this argument is The Skins. In my experience, Skinheads don't go away. They may tone-down their aura to codify employers as they age, and they may end-up spending more time at home with the wife and kids, and less time at the pub, but there seems to be far fewer "used-to-be" Skinheads as there are "used-to-be" Mods and Rudies. With Skins, it's more about family and finances, and less about fads and fashions. Skinheads don't die, they just get mortgages.
The bottom line, I guess, is that things seem to be so different, today. "Ska" as a subculture is a salt that has lost it's flavor. Pajama pants and Jester Hats have replaced the Suit & Tie. The "look how wacky I am!", Austin Powers look has replaced the quiet, sophisticated James Bond look.
The impact that the entire sphere of the so-called "Ska" subculture had on me is enormous. At 37 years of age, I am still unable to wear pleated or straight-legged pants. I have to peg every pair of trousers that my wife brings home. I cannot wear ties that are more than an inch and a half wide. I just can't do it. It's almost impossible for me to let my hair grow longer than an inch. I don't discount other styles. Not at all. I listen to and enjoy a vast variety of music. I have friends and associates from across the spectrum. But I found my style years ago, and ain't nothin' gonna change it.
Maybe it was small, and the bands didn't get the money they deserved, but, I miss... I really miss... The Scene.
Where Have All the Rude Boys Gone?
by Ska Bob Walter
*A special thanks to the members of the "In a Dancing Mood" Internet Forum, whose comments and critiques gave me the boot to the head I needed to clarify my writing
I've been trying to write this article for several months, now. And, to be honest, I'm not sure if I can properly convey the sense of loss that inspired me to write it. Everyone's experiences are unique to them, personally. What I'm trying to say is, my viewpoint is very narrow, and not necessarily widely appreciable, but so be it.
With the permission of the reader, we will dispense with the true definition of Rude Boy. I realize that this will contradict things I've written in the past (things you've never read, of course), but for the sake of this piece, a Rude Boy is not the underprivileged, hard-assed gangbanger of 1960's Kingston. Instead, we will use the definition popularized in the 1970's and 80's; the hardcore fan who went out of his way to epitomize Ska and all of it's variables.
I was nine years old when my family moved to Utah in 1977. It was 3 or 4 years later before I heard of Ska. Utah is a strange place. Everyone thinks we're all so backward, and they're not completely wrong. But, a lot of people here have relatives from all over the country, including (and particularly) California. If it was popular on the West Coast, it was the best new thing in Utah a year later.
For several years, I suffered in silence. Well, scratch that. For several years, I was silent in ignorance. I had my dalliances with Kool and the Gang, Billy Joel, and even Queen, but it was always 2-Tone and Chrysalis Records that I fell back to. It's not that I didn't have others to guide me. Ron Yrigoyen and Tom Price were the Upper-Class heroes of Provo High School. They were on the cutting-edge of "New Wave" And Tom's younger brother, William Price, had a Vespa by around 1984. Unfortunately, William was more of a Thompson Twins kind of guy, but he taught me a lot about Mods. One of the many girls who broke my heart, Beth Arbizu, tried as hard as she could to make me understand what it was I liked about Ska. Even my older Brothers and Sisters made major contributions to my musical upbringing. My brother, David was a total Anglophile. I remember sitting in his bedroom as a youngster, listening to the original Hitchhikers Guide to the Galaxy radio broadcasts, and Monty Python records. My sister, Marianne, was a Bob Marley fan. My other sister, Becky was one of those Pre-and-Post New Wave goddesses that is still talked about. My Brother, Walt was one of those guys who was at every Punk show, but stood at the edge of the Mosh Pit and acted as a referee. Today, Walt is a major contributor in the Outdoor Sports world.
Fast-forward a couple of years; I graduated in 1986, still not sure of who I was. Half Preppie, half Punk, half Skater and half Dungeons & Dragons Geek. It wasn't until 1988 that I found my calling. Within a month's time, I saw Quadrophenia, Absolute Beginners, and came across both Moon and Unicorn Records releases at a local Record shop, Reptile Records. In 1989, I made a pilgrimage to London, and attended the London International Ska Festival. This changed my life.
Allow me to pause here, Dear Reader, to remind you that this was before the days of the Internet, before the days of MTV's Skaturday and before real big shit. I bought every piece of Unicorn and Moon vinyl I could find. I was at every Thrift Store buying 3-button suits and inch-wide ties. Doc's were hard to come by, but I was buying Creepers and Monkey Boots at every turn.
And suddenly, I saw the Silent Conspiracy. There were people in my town, about my age, who were diggin' what I was. I started noticing Docs and Monkey Boots and, well... Mini Skirts. I saw Vespas and Lambrettas on the streets. I saw Porkpie hats and Ben Shermans. Mods, Rudies, and Skins. Wow, and I was in Utah! I was part of something that was truly underground, and it felt really cool. I met Deacon and Reese at Checker Auto, and joined English Rose Scooter Club, the only club in existence at the time (and the oldest existing Scooter Club in Utah). I started a Ska show on a local radio station, KRCL, with a good friend, Jack Rude. And, I was asked to manage Stretch Armstrong, one of the local Ska-influenced bands of the era.
The best thing about all of this was that when you were there, people got it. Whether you were at a Ska show, or a Scooter Rally, a bowling ally, or at an ABC Ska Society dance, people got it.
This is my point.
I got married in 1993, and dropped-out. I came back a few years later, and was, to be honest, saddened.
Today, I get asked what Suits have to do with Ska, what Scooters have to do with Ska. Today, I see Scooter Rallies filled with "Kimco" and "People" machines, Scooter clubs filled with people who have never heard of Mods, and "Ska" bands who've never heard of Prince Buster.
Even some of the best bands today don't look like they listen to what they play. And the people on the Internet who know the most about Ska, don't give two shits about the tangents.
OK, so, I'm an elitist. I no longer count that as an insult. I'm tired of going to shows and being the only one with a tie, jacket, Fred or Bennie. I'm tired of looking at Deborah Harry or Gwen Stephanie wannabes.
It's not that I think that to be a "true" Ska fan, you have to dress like this or dance like that, or also have to be into the other. Ska fans have historically been the penultimate example of integration, and not just racially. Every walk of life is typically represented at a Ska show. It seems to be clear, however, that the Iconic Trinity of Rudy, Mod and Skin, while not dead yet, is obviously on life-support. Any day now, someone's going to pull the plug.
The obvious exception to this argument is The Skins. In my experience, Skinheads don't go away. They may tone-down their aura to codify employers as they age, and they may end-up spending more time at home with the wife and kids, and less time at the pub, but there seems to be far fewer "used-to-be" Skinheads as there are "used-to-be" Mods and Rudies. With Skins, it's more about family and finances, and less about fads and fashions. Skinheads don't die, they just get mortgages.
The bottom line, I guess, is that things seem to be so different, today. "Ska" as a subculture is a salt that has lost it's flavor. Pajama pants and Jester Hats have replaced the Suit & Tie. The "look how wacky I am!", Austin Powers look has replaced the quiet, sophisticated James Bond look.
The impact that the entire sphere of the so-called "Ska" subculture had on me is enormous. At 37 years of age, I am still unable to wear pleated or straight-legged pants. I have to peg every pair of trousers that my wife brings home. I cannot wear ties that are more than an inch and a half wide. I just can't do it. It's almost impossible for me to let my hair grow longer than an inch. I don't discount other styles. Not at all. I listen to and enjoy a vast variety of music. I have friends and associates from across the spectrum. But I found my style years ago, and ain't nothin' gonna change it.
Maybe it was small, and the bands didn't get the money they deserved, but, I miss... I really miss... The Scene.
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