Post by Phil on Apr 29, 2008 20:18:49 GMT
Dear Mr Byers and any interested parties,
I am writing my university dissertation on the historical and cultural significance of the two-tone movement in Britain with a key focus on the peculiarities of the fusion of British punk and Jamaican ska. I am very much enjoying the study though I have hit a bit of a snag. After reading a fabulous book, "Inside Babylon " Edited by Winston James and Clive Harris on the post WW2 experience of the Caribbean diaspora in Britain, I was more than a little stunned to read this paragraph (below) sweeping aside the Two-Tone idea, insinuating its lack of significance as a means of a movement towards a cultural symbiosis within Britain's youth:
Talking of the exposure of Carribean musics in British 1970s media "...a commercial fad and at best a passing fashion for the mainstream British media. Such an experience most certainly, even given UB40, does not warrant us talking of a 'two-tone Britain' in which ostensibly there is some deep cultural exchange and transformation under way among both black and white youths. Though some may, I see no deep meaning, nor cause for cultural optimism in the fact that some white Hanpton Wickney kid in Hackney can 'cuss rass' in poor imitation of his Jamaican-descended peers."
For some horrible days now I have seen the purpose of my dissertation (and my main musical passion in life) drain in significance as a direct results of this comment. I would really appreciate any thoughts you have on this matter that may spring me from this unpleasant dark pit of thought.
Thank you very much for any help you can give.
Best,
Phil Garrett
psg10@le.ac.uk
P.s. My band (The Gluttons) played with the rebels a couple of months ago at the shed in Leicester - I hope you had a good time in Leicester cause I had a well good time. Great fun!
I am writing my university dissertation on the historical and cultural significance of the two-tone movement in Britain with a key focus on the peculiarities of the fusion of British punk and Jamaican ska. I am very much enjoying the study though I have hit a bit of a snag. After reading a fabulous book, "Inside Babylon " Edited by Winston James and Clive Harris on the post WW2 experience of the Caribbean diaspora in Britain, I was more than a little stunned to read this paragraph (below) sweeping aside the Two-Tone idea, insinuating its lack of significance as a means of a movement towards a cultural symbiosis within Britain's youth:
Talking of the exposure of Carribean musics in British 1970s media "...a commercial fad and at best a passing fashion for the mainstream British media. Such an experience most certainly, even given UB40, does not warrant us talking of a 'two-tone Britain' in which ostensibly there is some deep cultural exchange and transformation under way among both black and white youths. Though some may, I see no deep meaning, nor cause for cultural optimism in the fact that some white Hanpton Wickney kid in Hackney can 'cuss rass' in poor imitation of his Jamaican-descended peers."
For some horrible days now I have seen the purpose of my dissertation (and my main musical passion in life) drain in significance as a direct results of this comment. I would really appreciate any thoughts you have on this matter that may spring me from this unpleasant dark pit of thought.
Thank you very much for any help you can give.
Best,
Phil Garrett
psg10@le.ac.uk
P.s. My band (The Gluttons) played with the rebels a couple of months ago at the shed in Leicester - I hope you had a good time in Leicester cause I had a well good time. Great fun!