In order for the universe to remain in balance, all of these idiots must get COVID, and Dianna Cowern must be healed.
The Herman Cain Award Experience
I hate when people who have shitty social and political views talk all about how they just want peace and love and sign social media posts with a peace sign or namaste, like them saying they want peace and love somehow negates their shitty social and political views and that you disagreeing with their shitty social and political views somehow means you don’t want peace and love.
I’m so so so so so happy we have the wonderfully diverse, inclusive, (often (mostly?)) politically radical, and incredibly vibrant New Tone Ska scene to drown out these fuckwits. Also, the Bosstones are … pretty boring, musically? Yeah.
A smattering of currently active (and amazing) ska bands for those of you wanting to purge the crap from your playlists:
(Collapsed list to save you some scrolling)
We Are The Union
JER (and by extension: Skatune Network)
The Best of the Worst
Half Past Two
Flying Raccoon Suit
Flip and the Combined Effort
Call Me Malcolm
Melbourne Ska Orchestra
Tokyo Ska Paradise Orchestra
Girls Go Ska
Bruce Lee Band
Fixed that for you.
I don’t think a ska punk group can be super anything,
From the article, they certainly can be.
The Aquabats beg to differ.
(Yes, I know, they aren’t really ska punk, but the reference was too obvious to let pass)
Great, now I have a whole new sub-genre I need to explore
Honestly though, I’d be pretty shocked if @Peter_Aretin couldn’t find a single thing they liked among the bands I posted above. New tone ska is incredibly diverse - and incredibly good.
I think the aquabats would represent the third wave of ska!
Don’t forget the original ska genre, straight out of Jamaica!
Yeah, Aquabats are definitely third wave, I guess that just shows that even that wave was a lot more diverse and fun than people seem to remember. I guess you could call new tone “fourth wave”, but then again leaving behind the idea of “waves” of ska is a pretty good thing.
Wasn’t the original Jamaican ska made explicitly to be a part of independent/post-colonial Jamaican nation building or something like that? I find that kind of funny in light of all the people saying “uh, ska is so white”, especially with how new tone is really highlighting the massive diversity that’s always been there. Though I guess if all the ska you’ve heard is the Bosstones and a couple of other major third wave bands, that’s an easy mistake to make.
Well, the Spreaders, maybe. There are church services in Missouri that pull bigger crowds. If I crave ska, I’ll listen to Desmond Dekker.
I would say so… it developed along with the sound systems as well…
You can see the influence of American soul in the real early stuff (such as the Wailer’s song I posted), but they were both a key aspects of building the post-colonial nation, as well as influencing global popular culture that emerged from the Black diaspora…
True… and you can certainly argue that later waves are much whiter (especially in the more recent waves) but the roots are what they are…
Members of the Skatelites were part of Count Ossie’s scene which explicitly used music as post colonial embodied research and anti colonial oral history. As you know a key part of imperialist enslavement was ensuring that peoples were alienated from their culture, their communities, and their lands.
So yes, that’s in ska.
And the fact that elements of that culture managed to make it through into the construction of culture in the New World is telling in how much culture matters to us as human beings… We tenaciously hold onto that for all we’re worth, in situations where we’re being dehumanized… I think that is what so many people find in Ska (and other genres) that it’s speaking to a part of us that recognizes resistance to cultural violence in the music…
Obviously musically ska was more part of Jamaican musics response to American r’n’b than Nyabingi jazz, but the spoken rastafari histories are sophisticated and enlightening. To me at least. Others may not need the enlightenment.
Some doo wop kinda sound:
And a more “mainstream” song about drumming culture and African identity in post colonial Jamaica: