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| Ska is a stupid music. | |||
| {{Infobox music genre | |||
| | color = white | |||
| | bgcolor = #FF8020 | |||
| | name = Ska | |||
| | stylistic_origins = {{hlist|]n ]|]|]|]}} | |||
| | cultural_origins = Late 1950s, Jamaica | |||
| | instruments = {{hlist|]|]|]|]|]|]|]|]}} | |||
| | popularity = Highest in early 1960s; wide popularity in Jamaica and notable popularity in ]; notable revivals in 1970s/1980s UK and late-1990s ] | |||
| | derivatives = {{hlist|]|]}} | |||
| | fusiongenres = {{hlist|]|]|]|]| ] |]|]}} | |||
| | regional_scenes = {{hlist|]|]|]|]}} | |||
| | local_scenes = | |||
| | other_topics = {{hlist|]|]|]|]|]|]|]}} | |||
| }} | |||
| {{listen | |||
| | filename = The Wailing Wailers-One Love 2010-08-11.ogg | |||
| | title = The Wailers "One Love/People Get Ready" | |||
| | description = "One Love/People Get Ready" by ]. This is a Ska version of the famous Bob Marley song. | |||
| | format = ] | |||
| }} | |||
| <!-- | |||
| "Jamaicanmusic" template is situated near the start of the "history" section for aesthetics | |||
| --> | |||
| '''Ska''' ({{IPAc-en|s|k|aː}}; ]: {{IPA-endia|skjæ|}}) is a ] that originated in ] in the late 1950s and was the precursor to ] and ].<ref name="Britannica">{{cite encyclopedia | |||
| | title = Ska | |||
| | encyclopedia = Encyclopædia Britannica | |||
| | volume = | |||
| | pages = | |||
| | publisher = Hussey Dermot | |||
| | date = | |||
| | id =}}</ref> Ska combined elements of ] ] and ] with ] ] and ]. It is characterized by a ] line accented with rhythms on the ]. Ska developed in Jamaica in the 1960s when ], ], and ] formed ]s to play American rhythm and blues and then began recording their own songs.<ref name="AMG">{{cite web | |||
| | last = | |||
| | first = | |||
| | authorlink = | |||
| | author = AllMusic | |||
| | title = Ska Revival | |||
| | work = Genre Listing | |||
| | publisher = ] | |||
| | year = 2007 | |||
| | url = {{AllMusic|class=explore|id=style/d386|pure_url=yes}} | |||
| | format = Web | |||
| | doi = | |||
| | accessdate = 2007-02-02}}</ref> Some suggest ska dates to earlier times, however. In the early 1960s, ska was the dominant music genre of Jamaica and was popular with ] ]. Later it became popular with many ]s.<ref>{{cite news| url=http://findarticles.com/p/articles/mi_m2005/is_1_38/ai_n6234788/pg_1 | archive-url=http://arquivo.pt/wayback/20090628140326/http://findarticles.com/p/articles/mi_m2005/is_1_38/ai_n6234788/pg_1 | dead-url=yes | archive-date=2009-06-28 | work=Journal of Social History | title=Subcultures, pop music and politics: skinheads and "Nazi rock" in England and Germany | first=Timothy S. | last=Brown | year=2004}}</ref><ref>{{cite web|url=http://ska.about.com/musicperform/ska/library/1999/aa081699a.htm |title=Smiling Smash: An Interview with Cathal Smyth, a.k.a Chas Smash, of Madness - Ska/Reggae - 08/16/99 |publisher=Web.archive.org |date=2001-02-19 |accessdate=2011-10-28 |deadurl=yes |archiveurl=https://web.archive.org/web/20010219175613/http://ska.about.com/musicperform/ska/library/1999/aa081699a.htm |archivedate=February 19, 2001 }}</ref><ref>Marshall, George (1991). Spirit of '69 - A Skinhead Bible. Dunoon, Scotland: S.T. Publishing. {{ISBN|1-898927-10-3}})</ref><ref>{{cite web|url=http://www.montrealmirror.com/ARCHIVES/1998/011598/music1.html |title=Inspecter 7 |publisher=Montrealmirror.com |date=1998-01-14 |accessdate=2011-10-28}}</ref> | |||
| Music historians typically divide the history of ska into three periods: the original Jamaican scene of the 1960s; the ] ska revival of the late 1970s in Britain, which fused Jamaican ska rhythms and melodies with the faster tempos and harder edge of ]; and the third wave of ska, which involved bands from the UK, other European countries (notably Germany), Australia, Japan, South America and the United States, beginning in the 1980s and peaking in the 1990s.<ref name=sfghistory>{{cite web|author=Joel Selvin |url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/03/21/PKSPVIK17.DTL |title=Selvin, Joel, ''San Francisco Chronicle'', "A brief history of ska" Sunday, March 23, 2008 |publisher=Sfgate.com |date=2008-03-23 |accessdate=2011-10-28}}</ref> | |||
| ==Etymology== | |||
| There are multiple theories about the origins of the word ''ska''. ] claimed that the term was coined by musicians to refer to the "skat! skat! skat!" scratching guitar strum.<ref name="White">White, Timothy (1983) "Catch a Fire: The Life of Bob Marley", Corgi Books</ref> Ranglin asserted that the difference between R&B and ska beats is that the former goes "''chink''-ka" and the latter goes "ka-''chink''".<ref name="Oral"/> Another explanation is that at a recording session in 1959 produced by ], double bassist ] instructed guitarist Ranglin to "play like ska, ska, ska", although Ranglin has denied this, stating "Clue couldn't tell me what to play!"<ref name="Thompson">Thompson, Dave (2002) "Reggae & Caribbean Music", Backbeat Books, {{ISBN|0-87930-655-6}}</ref> A further theory is that it derives from Johnson's word ''skavoovie'', with which he was known to greet his friends.<ref name="Boot">Boot, Adrian & Salewicz, Chris (1995) "Bob Marley: Songs of Freedom", Bloomsbury</ref> ] insisted that the musicians called the rhythm ''Staya Staya'', and that it was ] who introduced the term "ska".<ref name="Clarke">Clarke, Sebastien "Jah Music: the Evolution of the Popular Jamaican Song"</ref> ] said: "Guitar and piano making a ska sound, like 'ska, ska,"<ref name="Oral">Augustyn, Heather (2010). ''Ska: An Oral History'', p. 16. {{ISBN|0-7864-6040-7}}.</ref> | |||
| ==History== | |||
| {{Music of Jamaica}} | |||
| ]" guitar rhythm,<ref>Snyder, Jerry (1999). ''Jerry Snyder's Guitar School'', p.28. {{ISBN|0-7390-0260-0}}.</ref> named ] for its sound. {{audio|Skank on Em64.mid|Play}}]] | |||
| ] | |||
| After ], ] purchased radios in increasing numbers and were able to hear ] music from ] cities such as ] by artists such as ] and ].<ref>{{Cite book | |||
| | last = Chen | |||
| | first = Wayne | |||
| | title = Reggae Routes | |||
| | publisher = Temple University Press | |||
| | year = 1998 | |||
| | url = https://books.google.com/?id=felkD8CI97sC&pg=PA30 | |||
| | isbn = 1-56639-629-8}} | |||
| </ref> Domino's rhythm, accentuating the offbeat as in the song "Be My Guest", was a particular influence.<ref>{{Cite book | |||
| | last = Coleman | |||
| | first = Rick | |||
| | title = Blue Monday: Fats Domino and the lost dawn of rock 'n' roll | |||
| | publisher = Da Capo Press | |||
| | page = 210 | |||
| | year = 2006 | |||
| | url = https://books.google.com/?id=Galk1rd04GEC&pg=PA210&lpg=PA210 | |||
| | isbn = 0-306-81491-9 | |||
| | postscript = <!--None-->}} | |||
| </ref> | |||
| The stationing of American military forces during and after the war meant that Jamaicans could listen to military broadcasts of American music, and there was a constant influx of records from the United States. To meet the demand for that music, entrepreneurs such as ], ], and ] formed ]s. | |||
| As the supply of previously unheard tunes in the ] and more traditional R&B genre began to dry up in the late 1950s, Jamaican producers began recording their own version of the genres with local artists.<ref name="AMG"/> These recordings were initially made to be played on "Soft Wax" (a lacquer on metal disc acetate later to become known as a "Dub Plate"), but as demand for them grew eventually some time in the second half of 1959 (Believed by most to be in the last quarter) producers such as Coxsone Dodd and Duke Reid began to issue these recording on 45rpm, 7-inch discs. At this point the style was a direct copy of the American "Shuffle Blues" style, but within two or three years this had morphed into the more familiar Ska style with the off beat guitar chop that could be heard in some of the more uptempo late 1950s American Rhythm and Blues recordings such as Fats Domino's "Be My Guest" (a hugely popular record on Jamaican Sound Systems of the late 1950s). This "classic" Ska style was of bars made up of four triplets but was characterized by a ] on the ] — known as an upstroke or skank — with horns taking the lead and often following the off beat skank and piano emphasizing the bass line and, again, playing the skank.<ref name="Britannica"/> Drums kept ] and the bass drum was accented on the third beat of each 4-triplet phrase. The snare would play side stick and accent the third beat of each 4-triplet phrase.<ref name="Britannica"/> The upstroke sound can also be found in other ] forms of music, such as ] and ].<ref name="Nidel_WM">{{cite book |last=Nidel |first=Richard O. |title=World Music: The Basics |year=2005 |publisher=Routledge Taylor and Francis Group |location=], ] |isbn=0-415-96800-3 |page=282 }}</ref> | |||
| One theory about the origin of ska is that Abby Greene created it during the inaugural recording session for his new record label Wild Bells.<ref name="Nidel_WM"/> The session was financed by Duke Reid, who was supposed to get half of the songs to release. The guitar began emphasizing the second and fourth beats in the bar, giving rise to the new sound. The drums were taken from traditional Jamaican drumming and marching styles. To create the ska beat, Prince Buster essentially flipped the R&B shuffle beat, stressing the offbeats with the help of the guitar. Prince Buster has explicitly cited American rhythm and blues as the origin of ska, specifically ]'s song "Later for the Gator" which was Coxsone Dodd's number one selection and Duke Reid's number-one spin "Hey Hey Mr. Berry", to this day by an unidentified artist and with this given title (in the way Northern Soul DJs used to cover up the identity of records to prevent other DJs from finding copies), the joke amongst surviving Jamaican Soundmen who were there at the time being that "This is the one Duke took to the grave with him".<ref>{{cite web|author= |url=https://www.youtube.com/watch?v=vKfOAMDCnPM&feature=related |title=Prince Buster & Determinations - They got to come |publisher=YouTube |date= |accessdate=2011-10-28}}</ref> | |||
| The first ska recordings were created at facilities such as ], ] and WIRL Records in ] with producers such as Dodd, Reid, Prince Buster, and ].<ref name="Nidel_WM"/> The ska sound coincided with the celebratory feelings surrounding Jamaica's independence from the UK in 1962; an event commemorated by songs such as ]'s "Forward March" and ]' "Freedom Sound". | |||
| Until Jamaica ratified the ], the country didn't honor international music ] protection. This created a large number of cover songs and reinterpretations. One such cover was ]'s version of the R&B/shuffle tune, "]" first recorded in New York in 1956 by 14 year old ].<ref name=tele>{{cite news| title=Chris Blackwell interview: Island Records |date=20 May 2009 |url=https://www.telegraph.co.uk/culture/music/rockandpopfeatures/5356523/Chris-Blackwell-interview-Island-Records.html |first=Andrew |last=Perry |work=The Daily Telegraph |location=UK |accessdate=28 May 2010}}</ref><ref>Stratton, Jon (2014) "When Music Migrates: Crossing British and European Racial Faultlines, 1945–2010" England: Ashgate. {{ISBN|978-1-4724-2978-0}}</ref> Smalls' rhythmically similar version, released in 1964, was Jamaica's first commercially successful international hit. With over seven million copies sold, it remains one of the best selling reggae/ska songs of all time. Many other Jamaican artists would have success recording instrumental ska versions of popular American and British music, such as ] songs, ] and ] ] hits, movie theme songs and ] instrumentals. ] covered The Beatles' "]", and radically reinterpreted ]'s "]". They also created their own versions of Latin-influenced music from artists such as Mongo Santamaria.<ref name="Augustyn 2013">{{cite book|last=Augustyn|first=Heather|title=Ska: The Rhythm of Liberation|year=2013|publisher=Rowman & Littlefield|location=New York City, NY|isbn=978-0-8108-8449-6|url=https://rowman.com/ISBN/9780810884496}}</ref> | |||
| ] performed ska with Prince Buster, ], and ] at the ]. As music changed in the United States, so did ska. In 1965 and 1966, when American soul music became slower and smoother, ska changed its sound accordingly and evolved into ].<ref name="Nidel_WM"/><ref name="Moskowitz_06">{{cite book |last=Moskowitz |first=David V. |title=Caribbean Popular Music |year=2006 |publisher=Greenwood Press |location=], ] |isbn=0-313-33158-8 |page=270}}</ref> However, rocksteady's heyday was brief, peaking in 1967. By 1968, ska evolved again into reggae. | |||
| ===2 Tone=== | |||
| {{main article|2 Tone (music genre)}} | |||
| ] | |||
| The ] genre, which began in the late 1970s in the ], ] area, was a fusion of Jamaican ska rhythms and melodies with ]'s more aggressive guitar chords and lyrics.<ref name="Moskowitz_06"/> Compared to 1960s ska, 2 Tone music had faster tempos, fuller instrumentation, and a harder edge. The genre was named after ], a record label founded by ] of ]. In many cases, the reworking of classic ska songs turned the originals into hits again in the ]. | |||
| The 2 Tone movement promoted racial unity at a time when racial tensions were high in the UK. There were many Specials songs that raised awareness of the issues of racism, fighting and friendship issues. Riots in British cities were a feature during the summer that The Specials song "Ghost Town" was a hit, although this work was in a slower, reggae beat. Most of the 2 Tone bands had multiracial lineups, such as ] (known as The English Beat in ] and the British Beat in ]), The Specials, and ].<ref name="Britannica"/> Although only on the 2 Tone label for one single, ] was one of the most effective bands at bringing the 2 Tone genre into the mainstream. The music of this era resonated with white working class youth and West Indian immigrants who experienced the struggles addressed in the lyrics.<ref name="Augustyn 2013"/> | |||
| ===Third wave {{Anchor|Third wave ska}}=== | |||
| {{see also|Ska punk}} | |||
| Third wave ska originated in the punk scene in the late 1980s and became commercially successful in the 1990s. Although some third wave ska has a traditional 1960s sound, most third wave ska is characterized by dominating guitar riffs and large horn sections. Examples of third wave ska bands include ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ] and ]. | |||
| ====United States==== | |||
| By the early 1980s, ]-influenced ska bands began forming throughout the ].<ref name="Moskowitz_06"/> ] from ] and ] from ] — both formed in 1981 — were among the first active ska bands in North America. They are both credited with laying the groundwork for American ska and establishing scenes in their respective regions.<ref name=sfghistory/><ref>{{cite web |url={{AllMusic|class=artist|id=the-toasters-p14516/biography|pure_url=yes}} |title=The Toasters | AllMusic |publisher=]}}</ref><ref>{{cite web|author=Joel Selvin |url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/03/21/PKARVJBJ3.DTL&hw=uptones&sn=001&sc=1000 |title=Selvin, Joel, ''San Francisco Chronicle'', "Uptones Get Down," Sunday, March 23, 2008 |publisher=Sfgate.com |date=2008-03-23 |accessdate=2011-10-28}}</ref> In Los Angeles around the same time, ] also formed. While many of the early American ska bands continued in the musical traditions set by 2 Tone and the ], bands such as ], ] and ] pioneered the American ] subgenre, a ] of ska and ] that typically downplayed ska's R&B influence in favor of faster ]s and guitar ].<ref name="Moskowitz_06"/><ref>{{cite web |url={{AllMusic|class=explore|id=style/ska-punk-d4420|pure_url=yes}} |title=Ska-Punk | AllMusic |publisher=]}}</ref> | |||
| Two hotspots for the United States' burgeoning ska scenes were New York City and ], California. In New York, Toasters frontman ] formed independent record label ] in 1983. The label quickly became the largest independent ska label in the United States.<ref>{{cite web |url=http://www.allmusic.com/album/this-are-moon-ska-vol-2-r794523/review |title=This Are Moon Ska, Vol. 2 |publisher=]}}</ref> The ] scene was a major breeding ground for ska punk and more contemporary pop-influenced ska music, personified by bands such as ], ] and ].<ref>{{cite web |url=http://www.ocweekly.com/2010-09-16/music/reel-big-fish-locally-grown-grove-of-anaheim/ |title=Ska's Not Dead |author=Bose, Lilledeshan |date=September 16, 2010 |publisher=]}}</ref> It was here that the term "third wave ska" was coined and popularized by Albino Brown and Tazy Phyllipz (hosts of the '']'' radio show) to describe the new wave of ska-influenced bands which were steadily gaining notoriety; and Brown wrote the first treatise on ska's third wave in 1994.<ref>Layne, Anni. . '']''. May 9, 1998. Retrieved April 26, 2007. {{webarchive |url=https://web.archive.org/web/20080614025121/http://www.rollingstone.com/artists/nodoubt/articles/story/5920606/the_ska_parade_is_coming_to_town |date=June 14, 2008 }}</ref><ref>{{cite web|url=http://www.944.com/articles/can-t-rain-on-this-parade-tazy-phyllipz-s-journey-of-college-radio-shows-and-launching-careers/ |archive-url=https://archive.is/20120716031456/http://www.944.com/articles/can-t-rain-on-this-parade-tazy-phyllipz-s-journey-of-college-radio-shows-and-launching-careers/ |dead-url=yes |archive-date=2012-07-16 |title=Can't Rain on This Parade |author=Iavazzi, Jessica |publisher=944.com }}</ref><ref>{{Cite journal|last=Gulla (Guitar Magazine Sr. Editor)|first=Bob|year=1997|title=Three Waves Of Ska|url=https://www.facebook.com/photo.php?fbid=10210207717103239&set=a.10210207731943610.1073741827.1648977638&type=3&theater|journal=Guitar Magazine|publication-date=December 1997|volume=15|pages=39|via=}}</ref> The ] also contributed to ska's growing popularity, with ], ] and the ] becoming known on the touring circuit. | |||
| The mid-1990s saw a considerable rise in ska music's underground popularity, marked by the formation of many ska-based record labels, booking organizations and indie ]s. While Moon Ska was still the largest of the United States' ska labels, other notable labels included Jump Up Records of ], which covered the thriving ] scene, and Steady Beat Recordings of ], which covered Southern California's traditional ska revival. ] of ] was Canada's primary producer and distributor of ska music.<ref>{{cite web |url=http://www.stomprecords.com/stomp/ |title=Union Label Group - Stomp Records |publisher=www.stomprecords.com}}</ref> Additionally, many punk and indie rock labels, such as ] and ], broadened their scope to include both ska and ska punk bands. ] (formerly ]), founded in 1996, started out primarily releasing ska punk albums before branching out to other music styles.<ref>{{cite web |url=http://www.punknews.org/labels/asianman |title=About Asian Man Records |publisher=Punknews.org}}</ref> | |||
| In 1993, The Mighty Mighty Bosstones signed with ], becoming the first American ska punk band to find mainstream commercial success, with their 1994 album '']'' achieving ] status and peaking at #138 on the ].<ref>{{cite web |url=http://allmusic.com/artist/the-mighty-mighty-bosstones-p13676/charts-awards |publisher=] |title=The Mighty Mighty Bosstones - AllMusic}}</ref> In 1995, punk band ], featuring former members of Operation Ivy, released the ska punk single "]", which reached #8 on the ], becoming the first major ska punk hit of the 1990s and launching the genre into the public eye.<ref name="AllMusic3Wave">{{cite web |url=http://allmusic.com/explore/style/third-wave-ska-revival-d2773 |title=Allmusic - Third Wave Ska Revival |publisher=]}}</ref> Over the next few years, a string of notable ska and ska-influenced singles became hits on mainstream radio, including "]" by No Doubt, "]" by Reel Big Fish and "]" by The Mighty Mighty Bosstones, all of whom would reach platinum status with each of their respective albums. By 1996, third wave ska was one of the most popular forms of alternative music in the United States.<ref name="AllMusic3Wave" /> A sign of mainstream knowledge of third wave ska was the inclusion of the parody song "Your Horoscope for Today" on ]'s 1999 album '']''. | |||
| By the late 1990s, mainstream interest in third wave ska bands waned as other music genres gained momentum.<ref name="Guila_6_50">{{cite book |last=Gulla |first=Bob |title=The Greenwood Encyclopedia of Rock History, Volume Six |year=2006 |publisher=Greenwood Press |location=], ] |isbn=0-313-32981-8 |page=47}}</ref> Moon Ska Records folded in 2000, but Moon Ska Europe, a licensed affiliate based in Europe, continued operating in the 2000s and was later relaunched as ]. In 2003, Hingley launched a new ska record label, ]. | |||
| ====United Kingdom==== | |||
| By the late 1980s, ska had experienced a minor resurgence of popularity in the United Kingdom, due to bands such as ] and ], ska-friendly record labels such as Unicorn Records, ska festivals, and a re-emergence of the ] ].<ref>{{cite web|url=http://www.skinheadheaven.org.uk/index.php/cuttings/49-ska-party-id-magazine-article-1988 |title=Ska Party |publisher=Skinheadheaven.org.uk |date= |accessdate=31 August 2010}}</ref><ref name="Unicorn">{{cite web |url=http://www.hpska.com/related/unicorn/ss_blueprint.pdf |author=Shafer, Steven |date=Summer 1998 |title=Unicorn Records and the new ska classics - the blueprint of ska today?}}</ref><ref>{{cite web |url=http://www.fungalpunknature.co.uk/FUNGALPUNK/Interviews/KevDotheDog2.html |publisher=fungalpunknature.co.uk |title=Interview: Kevin Flowerdew of Do the Dog Records}}</ref><ref>{{cite web |url=http://marcoonthebass.blogspot.com/2008/10/ska-explosion-astoria-in-london-on.html |title=Ska Explosion @ The Astoria in London on March 23, 1989 |date=October 9, 2008 |publisher=Marco on the Bass}}</ref><ref>{{cite web |url=http://www.hpska.com/related/unicorn/unicorn.html |title=1986-1991 Ska Explosion! |publisher=hpska.com}}</ref> | |||
| ====Germany, Spain, Australia, Russia, Japan, and Latin America==== | |||
| The early 1980s saw a massive surge in ska's popularity in ], which led to the founding of a large number of ska bands like ], record labels and festivals.<ref name="Unicorn" /><ref>{{cite web|url=http://www.atlantic-times.com/archive_detail.php?recordID=1620 |title=Play It Upside Down |date=January 2009 |publisher=The Atlantic Times |deadurl=yes |archiveurl=https://web.archive.org/web/20120425090757/https://www.atlantic-times.com/archive_detail.php?recordID=1620 |archivedate=2012-04-25 |df= }}</ref> | |||
| In ], ska became relevant in the 1980s in the ] by the hand of the ], being ] and Potato the most representatives bands. (] and ] followed their footsteps in the early 1990s and their influence is visible outside the Basque Country in punk-rock bands like ], ] and many others that have taken importance in the Spanish rock and punk rock scene and festivals. | |||
| The ] scene flourished in the mid-1980s, following the musical precedents set by 2 Tone, and spearheaded by bands such as Strange Tenants, No Nonsense and ].<ref>{{cite web |url=http://www.powerhousemuseum.com/the80sareback/index.php/2010/02/skad-for-life-remembering-the-sydney-80s-ska-scene/ |title=Ska'd for Life: Remembering the Sydney 80s ska scene |publisher=powerhousemuseum.com |date=February 2010}}</ref> Some of the Australian ska revival bands found success on the national music charts, most notably ], who had a #10 hit with a ska cover of "]" in 1983.<ref>{{cite book |title=] |url= |last=McFarlane |first=Ian |authorlink= Ian McFarlane |publisher=] |year=1999 |chapter=Encyclopedia entry for 'Allniters' |chapterurl=https://web.archive.org/web/20040803071404/http://www.whammo.com.au/encyclopedia.asp?articleid=28 |isbn=1-86448-768-2}}</ref> The 30 piece ] has enjoyed great success in recent years, touring internationally, including sets at ] and ].<ref>{{Cite web|url = http://www.theaustralian.com.au/arts/review/melbourne-ska-orchestra-melbourne-ska-orchestra/story-fn9n8gph-1226624301903 | title=Melbourne Ska Orchestra | date = |access-date = |website = |publisher = |last = |first = }}</ref> | |||
| Russian (then-Soviet) ska scene established in the mid-1980s in ] as the ] opposition to more traditional ] music. ] and ] were among the first bands of genre. Then the bands like ], ], ] and ] began popular and commercially successful in Russia and abroad in the late 1990s. | |||
| Japan established its own ska scene, colloquially referred to as '']'', in the mid-1980s.<ref>{{cite web|url=http://www.jamaicaobserver.com/lifestyle/html/20040325t180000-0500_57672_obs_ska___alive_and_kicking_but_outside_jamaica.asp |title=''Jamaica Observer'', "SKA - alive and kicking but outside Jamaica" |author=Balford Henry |date=2004-04-26 |deadurl=yes |archiveurl=https://web.archive.org/web/20070926230205/http://www.jamaicaobserver.com/lifestyle/html/20040325t180000-0500_57672_obs_ska___alive_and_kicking_but_outside_jamaica.asp |archivedate=September 26, 2007 }}</ref><ref>{{cite web |url=http://nippop.com/features/Rastaman_Vibration___What_s_up_with_Japanese_Reggae%3F/ |title=Rastaman Vibration - What's up with Japanese Reggae? |publisher=Nippop.com |author=Cahoon, Keith |date=May 21, 2005}}</ref> The ], formed in 1985, have been one of the most commercially successful progenitors of Japanese ska.<ref>{{cite web|url=http://nippop.com/artist/artist_id-41/artist_name-tokyo_ska_paradise_orchestra/ |title=Nippop Profiles: Tokyo Ska Paradise Orchestra}}</ref> | |||
| Latin America's ska scene started developing in the mid-1980s. Latin American ska bands typically play traditional ska rhythms blended with strong influences from Latin music and ].<ref>{{cite web |url=http://www.2-tone.de/skaenglish/latinska.htm |publisher=2-tone.de |title=Latin Ska}}</ref> The most prominent of these bands is ] from ]. Formed in 1985, the band has sold millions of records worldwide, scoring an international hit single with "]" in 1994 and winning the 1998 ] for ].<ref>{{cite web|url=http://www.rockero.com/artists/los-fabulosos-cadillacs/biography/ |archive-url=https://web.archive.org/web/20061110072405/http://www.rockero.com/artists/los-fabulosos-cadillacs/biography/ |dead-url=yes |archive-date=2006-11-10 |title=Los Fabulosos Cadillacs - Biography |publisher=rockero.com }}</ref> | |||
| ==See also== | |||
| {{Portal|Music}} | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | |||
| ==References== | |||
| {{Reflist|30em}} | |||
| ==Further reading== | |||
| * {{cite book|last=Du Noyer |first=Paul |title=The Billboard Illustrated Encyclopedia of Music |year=2003 |publisher=Billboard Books |location=] |isbn=0-8230-7869-8 |chapter=Ska |pages=350–351 }} | |||
| * ] (2009) '']'', ]. {{ISBN|978-1-84513-480-8}} | |||
| * Augustyn, Heather (2013) ''Ska: The Rhythm of Liberation. ''Lanham, Maryland: Scarecrow Press. {{ISBN|978-0-8108-8449-6}} | |||
| ==External links== | |||
| * Section about third wave ska | |||
| * Article from Furious.com | |||
| * Ska and Reggae Reviews (German) | |||
| * Worldwide Ska and Reggae Events | |||
| * Ska History Blog | |||
| {{ska}} | |||
| {{Authority control}} | |||
| ] | |||
| ] | |||
Revision as of 06:36, 12 April 2018
Ska is a stupid music.