by Grover » Mon Jul 07, 2008 6:32 am
I think I've got this right:
Jamaica: 1960s to present-
"Rude Boy" means young criminal, nothing more, nothing less. Young criminals tend to spend their ill-gotten loot on the youth-fashionable clothes of the day, and hang around at Soundsystem dances playing the latest in popular music, whatever the decade or era. But the term "Rude Boy" itself refers only to youth and criminality, not any particular kind of clothes or music. The "Blues Brothers" suit thing would never work in JA, too hot by far, that Wailers pic was okay for a stage costume, but not for streetwear. In the mid-60s there were a spate of late Ska and early Rocksteady records debating the case, both pro and con, of the rudeboy epidemic, these records arrived in England, and lead to the next chapter in the story.
England: 1964-ish to 1971-ish
Young black kids in Britain, mostly the children of the original 50s West Indian immigrants who were taunted and bashed by white Teddy Boy gangs, were looking for a way to express their cultural identity and pride, and to gang up and protect each other. The way gangs of teenagers in the UK at that time found tribal identity was often by creating and joining youth cults (Teds, Mods, Rockers, etc.). The British "Rude Boy" cult was created by black teenagers to show their sense of cool, and also their pride in their origins as Carribeans (not all were Jamaican) and to be assertive in their race. Criminality was common but not required, the music of choice was the latest JA sounds(ska/rocksteady/reggae as the years went on). The clothes style made them essentially the black wing of the Mods, and looked something like the "Blues Brothers" get-up we think of, though in reallity it was much better tailored and more refined and detailed, and often more colorful.
The 60s UK Rude Boys were black by definition, a white Mod who listened to Ska was just that, a white Mod who listened to Ska. White kids who concentrated more on Jamaican music rather than the other options might have their evening attire cut more in the Rude Boy style than other Mods would, eventually these more (forgive the term) "wigger Mods" would become or be named the Skinheads. In the late 60s/dawn of the 70s some black UK teenagers called themselves Skinheads, some preferred to still be or be known as Rude Boys. I think these definitions at this time were pretty fluid and the difference in clothing was little to none, particularly where evening wear was concerned. Things like jeans, braces, and workboots were not commonly worn by UK "Rudeboys" during this period, this kind of dress would have made you more a black Skinhead. In 1971 or so Rasta-themed music gave black Britons another banner of cultural identity, and the UK Rudeboys became extinct. About this same time the original generation white Skinheads also went out of fashion. End of chapter 2.
UK: 1979 to 1982-ish
The Mod revival was kicked off in the wake of the '77 punk revolution, by bands like the Jam and the release of the Quadrophenia film. Jerry Dammers and his pals in the town of Coventry (and soon hooking up with like-minded Londoners like Madness and Bad Manners) thought to take the Mod revival in another direction, giving it a Jamaican flavor and a Ska soundtrack. The 2-Tone label and movement had scores of followers, and they called themselves (I think Dammers was the architect of this too) "Rude Boys", but could now be of any racial background, as long as they followed 2-Tone (or Ska in general) music. The style was sort of uniform, and was in the very narrow space between the revival Mods and the revival Skinheads. Black and white clothes, checkerboard accessories, covered in 1-inch black and white button badges. Skinheads also supported the 2-Tone bands heavily, it was natural for styles to start to mix.
I read that around 1981 a popular (and safe) uniform for a young man to wear would be a 1/2 inch all over cropped haircut, a Fred Perry polo, highwater Levi's jeans, white socks, and black Dr Martens 3-hole shoes. That way they could pass between the (sometimes warring) tribes of the Mods, the Skins, and the Rudeboys and pass as having membership in any of the 3.
2-Tone and it's affiliates petered out at different times in different places, but by the end of 1984 it was pretty much done. End of chapter 3.
USA and the world: 1985-ish to present
The ska-punk and ska-core thing was (IMO)invented by Fishbone in LA in the mid-to late 80s. By '87-'88 you had Bim Skala Bim, Toasters, Moon records breaking out on the East Coast, and a lively scene on the West Coast as well. Many(not all) bands were going more and more in the punk direction, but keeping their horn sections, or just doing chunka-chunka breakdowns in the middle of punk songs. Whatever, not my thing. From 2-Tone we already had established the idea of "Rude Boy"="Ska Fan" so as the music got punkier the clothing got punkier too, but the name of Rudeboy was retained. 3rd wave Ska went global, and while there are peaks and valleys of popularity, it looks like there are so many styles and scenes in the world, it's not gonna go away any time soon.
So the "Rude Boys" who are the fans of whatever constitutes a "Ska Band" will live forever, even if they look like 80s skate-punks to me, and have little or no connection to the origins in Jamaica or the UK.