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ENTITY · GENRE / STYLE

Ska

Well supported

The first distinctly Jamaican popular form, emerging around 1960 out of mento, Jamaican rhythm and blues and the American R&B the sound systems had been importing. Its signature is the accent thrown onto the offbeat, the guitar and piano chop that inverts the pulse of the music it came from, carried over a walking bass and a horn front line.

Ska belongs to the independence years and sounds like them: fast, brass-led and forward-leaning. It slowed into rocksteady around 1966. Nobody agrees on where its name came from, and the disagreement is itself part of the record: bassist Cluett Johnson's exclamation "Skavoovie!" is one account; pianist Theophilus Beckford's claim that crowds shouted the same word at his 1959 "Easy Snappin'" is another; a widely repeated story has Coxsone Dodd coaching guitarist Ernie Ranglin to "play it ska...

ska... ska..." on the offbeat; and a fourth credits the uptown bandleader Byron Lee with coining "ska" as a tidier alternative to the "staya... staya..." some West Kingston studios used instead. All four are sincerely held and none is provable, in a scene where, as soon as three people heard a new sound, two of them had already copied it.

At a glance

Confidence
Well supported
Sources
Lloyd Bradley, Bass Culture (2000/2013), chapter 3, for the four competing origin accounts.

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Debate & reception

What people argued about this record — two documented positions each time, kept apart from verified fact. Browse every argument in the archive →

Debate

The rude boy: did ska and rocksteady glamorize the gunman?

One side

Music as social commentary on poverty and injustice

The other

Music as glorification of criminal violence

Across the ska and rocksteady years, records split sharply over the 'rude boy' figure of the armed Kingston youth. One camp of songs condemned or pleaded with the rudies to stand down (Alton Ellis's 'Cry Tough'/'Dance Crasher', Justin Hinds's 'No Good Rudie', Derrick Morgan's 'Cool Off Rudies'); others celebrated the outlaw style (Desmond Dekker's '007 Shanty Town', Prince Buster's Al Capone persona). Critics and moralists charged that the music romanticized violence, while defenders — and producers like Lee 'Scratch' Perry, who answered Buster's authoritarian 'Judge Dread' — argued the songs documented and even justified youth pushed into crime by a rigged system. The Wailers' 'Simmer Down' is often read as doing both at once: urging restraint while celebrating the toughs. Grounded in Heather Augustyn's skabook 'Real Rude Boys' foundation-ska writing.

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Compiled and researched by The Jamaica Music Atlas music desk. The sources that informed it are credited above.

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