I come from a background of liking different types of music that took a different route instead of gaining mainstream airplay they choose to get off the beaten path and choose to go underground because of their do it your self ethos.
I always experienced some issues regarding the underground scene some say that in this day and age of the worldwide web and the Ipod generation the scene had began to go mainstream and that D.I.Y. no longer exist. I understand such reactions and criticism to a degree. While some of you readers out there may or may not agree to what I am saying about this long standing debate that the scene still exist or no longer does. Here are some points that the underground music scene will still thrive and will continue to do so as long as there will be conventional norms existing there will always be a counterculture that reacts against it.
While the term comprises a range of different musical genres, they can typically share common values, such as the valuing of sincerity and intimacy; an emphasis on freedom of creative expression; an appreciation of artistic creativity. Underground artist are allowed to make whatever the hell they want without mainstream record labels pushing them around.
Underground music have a non-conformist reputation. It is different the fact that hardcore, metal and ska gives things you just generally don't get from other types of music. Their songs can be moving in ways and at levels that other music types virtually never are. It is true that some of the artist from the underground scene had gone mainstream and is commercially viable. But just because the mainstream had caught up with the music that does not mean that the underground music scene is dead one example of music is Ska.
Ska has arrived in three musical waves, beginning in Jamaica in the 1950's and 60's as a home-grown version of rhythm-and-blues performed by collectives of former jazz musicians like the Skatalites. The music traveled to England along with Jamaican blue-collar laborers, quickening its tempo as it mixed with punk and working-class youth sounds in the 1970's. A second wave of interracial ska bands, including The Specials, The Selecter and the English Beat, first appeared on England's Two-Tone label a label that successfully melded punk and ska in the 80s, registering in America as a quick spark on the pop charts that spark gave way to the 90s third wave that slowly ignited an international fire. But as popular as ska is getting, it's still surprising how many people don't know it. And most major record labels doesn't know how to market this type of music. So the people behind the third wave scene began marketing the music themselves which gave way to some trusted record labels like Moon Ska, Jump Up and Stubborn records which is a real, honest-to-goodness, truly independent DIY label.
Today Ska is probably the biggest underground network going right now There is punk and anger and frustration in it. And now it's still growing and going off in different directions next to punk rock but instead of going with the tide some artist tends to choose the slower, rootsier side of finding success. The other ones that choose to go with the flow and go mainstream eventually ending up as a flavor of the month. One of the strengths of ska is that the foundation is so simple but so effective that it can endure a lot of changes but still maintain a relationship to the original style. Ever since the birth of Ska in Jamaica you can see the Do It Yourself ethic during the glory days of the sound system in order to get the most attention from the audiences at the dance halls you have to play the most updated, rare music on hand, hence Studio One was conceived releasing records locally and independently devoid of any outside major label backing eventually gaining mainstream recognition but during its early days in the U.K, BBC radio wont play any Jamaican music because they deemed the music crude little did they know that the working class youth of England will embrace this music and will call it their own. Its popularity can be credited to the west indies settlers who brought the music and the working class British youths - The mods who bought those records through small record labels like Blue Beat and small independently run record stores like Peckings in London, But despite all the attention it got the music's popularity is minimal compared to pop music that gained worldwide success that so much so that it retains it street credibility up to now and still loved by the people in the underground music scene. I doubt without the mod movement people like Bob Marley and other Jamaican artists would have become the stars they did and that in some way they helped the music to become so popular around the world.
Underground communities can be particularly sensitive to environmental changes because their core principles are often difficult to clearly define. To some, DIY is artistic, heartfelt music made by people that have a sense of their influences done in a setting that is not aggressively commercial There is no grand philosophical consensus as to what constitutes DIY music, but scenes are birthed when local population agree on what “it” should be, and who “yourself” is ought to be. People congregate, networks are formed, ideas are exchanged, and art flourishes.
Today D.I.Y. still flourishes globally and here in Manila the underground music scene is alive and well contrary to some people whose belief is that the scene is dead and had gone above ground. One testament to that is this collective known as NO PUSH COLLIDE they have been doing the rounds since early 2000 with no major backing, no commercial media write ups, no corporate sponsors what so ever just pure do it yourself. They will be doing an event called PUNK O' RAMA, this coming Tuesday, September 28, 2010 at Headstock Bar located at G. Araneta, corner Quezon Avenue, Quezon City.
Featured in the show are some of the well known bands within the underground punk and ska community as well as some of the well respected bands that have break on through the mainstream music scene but still has their roots firmly planted in the underground scene. and giving back to the community in which they came from Bands included on the bill are EINSTEIN CHAKRAS, BAD OMEN, THE OUTCOME, GOOD ITEMS, THE SNEEKERS, GOOD FRIDAY, SHUFFLE UNION, THE EXSENADORS, COFFEE BREAK ISLAND, THE STRAYGUNS, UMBLE UNO and THE STEADY MOVIN' BEAT.
The event is absolutely free but due to an unfortunate incident No Push Collide is urging those who will attend the show to bring along some relief goods for the Robleza family mishap The family is well known within the younger generation of punks in the community, their house is a favorite local hangout for graffiti artist, punks and musicians alike located in Karapatan Street, Blumentritt, Manila dubbed as 4th Door, Unfortunately it got burned down last week. Please do come and show your love and support. for the community as well as for the Robleza family Show starts at 8PM. the show is free but please bring your tolerance with you.
I always experienced some issues regarding the underground scene some say that in this day and age of the worldwide web and the Ipod generation the scene had began to go mainstream and that D.I.Y. no longer exist. I understand such reactions and criticism to a degree. While some of you readers out there may or may not agree to what I am saying about this long standing debate that the scene still exist or no longer does. Here are some points that the underground music scene will still thrive and will continue to do so as long as there will be conventional norms existing there will always be a counterculture that reacts against it.
While the term comprises a range of different musical genres, they can typically share common values, such as the valuing of sincerity and intimacy; an emphasis on freedom of creative expression; an appreciation of artistic creativity. Underground artist are allowed to make whatever the hell they want without mainstream record labels pushing them around.
Underground music have a non-conformist reputation. It is different the fact that hardcore, metal and ska gives things you just generally don't get from other types of music. Their songs can be moving in ways and at levels that other music types virtually never are. It is true that some of the artist from the underground scene had gone mainstream and is commercially viable. But just because the mainstream had caught up with the music that does not mean that the underground music scene is dead one example of music is Ska.
Ska has arrived in three musical waves, beginning in Jamaica in the 1950's and 60's as a home-grown version of rhythm-and-blues performed by collectives of former jazz musicians like the Skatalites. The music traveled to England along with Jamaican blue-collar laborers, quickening its tempo as it mixed with punk and working-class youth sounds in the 1970's. A second wave of interracial ska bands, including The Specials, The Selecter and the English Beat, first appeared on England's Two-Tone label a label that successfully melded punk and ska in the 80s, registering in America as a quick spark on the pop charts that spark gave way to the 90s third wave that slowly ignited an international fire. But as popular as ska is getting, it's still surprising how many people don't know it. And most major record labels doesn't know how to market this type of music. So the people behind the third wave scene began marketing the music themselves which gave way to some trusted record labels like Moon Ska, Jump Up and Stubborn records which is a real, honest-to-goodness, truly independent DIY label.
Today Ska is probably the biggest underground network going right now There is punk and anger and frustration in it. And now it's still growing and going off in different directions next to punk rock but instead of going with the tide some artist tends to choose the slower, rootsier side of finding success. The other ones that choose to go with the flow and go mainstream eventually ending up as a flavor of the month. One of the strengths of ska is that the foundation is so simple but so effective that it can endure a lot of changes but still maintain a relationship to the original style. Ever since the birth of Ska in Jamaica you can see the Do It Yourself ethic during the glory days of the sound system in order to get the most attention from the audiences at the dance halls you have to play the most updated, rare music on hand, hence Studio One was conceived releasing records locally and independently devoid of any outside major label backing eventually gaining mainstream recognition but during its early days in the U.K, BBC radio wont play any Jamaican music because they deemed the music crude little did they know that the working class youth of England will embrace this music and will call it their own. Its popularity can be credited to the west indies settlers who brought the music and the working class British youths - The mods who bought those records through small record labels like Blue Beat and small independently run record stores like Peckings in London, But despite all the attention it got the music's popularity is minimal compared to pop music that gained worldwide success that so much so that it retains it street credibility up to now and still loved by the people in the underground music scene. I doubt without the mod movement people like Bob Marley and other Jamaican artists would have become the stars they did and that in some way they helped the music to become so popular around the world.
Underground communities can be particularly sensitive to environmental changes because their core principles are often difficult to clearly define. To some, DIY is artistic, heartfelt music made by people that have a sense of their influences done in a setting that is not aggressively commercial There is no grand philosophical consensus as to what constitutes DIY music, but scenes are birthed when local population agree on what “it” should be, and who “yourself” is ought to be. People congregate, networks are formed, ideas are exchanged, and art flourishes.
Today D.I.Y. still flourishes globally and here in Manila the underground music scene is alive and well contrary to some people whose belief is that the scene is dead and had gone above ground. One testament to that is this collective known as NO PUSH COLLIDE they have been doing the rounds since early 2000 with no major backing, no commercial media write ups, no corporate sponsors what so ever just pure do it yourself. They will be doing an event called PUNK O' RAMA, this coming Tuesday, September 28, 2010 at Headstock Bar located at G. Araneta, corner Quezon Avenue, Quezon City.
Featured in the show are some of the well known bands within the underground punk and ska community as well as some of the well respected bands that have break on through the mainstream music scene but still has their roots firmly planted in the underground scene. and giving back to the community in which they came from Bands included on the bill are EINSTEIN CHAKRAS, BAD OMEN, THE OUTCOME, GOOD ITEMS, THE SNEEKERS, GOOD FRIDAY, SHUFFLE UNION, THE EXSENADORS, COFFEE BREAK ISLAND, THE STRAYGUNS, UMBLE UNO and THE STEADY MOVIN' BEAT.
The event is absolutely free but due to an unfortunate incident No Push Collide is urging those who will attend the show to bring along some relief goods for the Robleza family mishap The family is well known within the younger generation of punks in the community, their house is a favorite local hangout for graffiti artist, punks and musicians alike located in Karapatan Street, Blumentritt, Manila dubbed as 4th Door, Unfortunately it got burned down last week. Please do come and show your love and support. for the community as well as for the Robleza family Show starts at 8PM. the show is free but please bring your tolerance with you.
