What does rude boy mean in England? An in-depth history of the rebellious youth subculture

For a brief time in the 1960s and 70s, England‘s disaffected working class youth forged a powerful identity through the "rude boy" subculture. With their sharp suits, pork pie hats, and love for Jamaican music, these self-assured rebels left an outsized imprint on British culture. But what does the term "rude boy" really mean and where did they come from?

Origins in Jamaica

To understand rude boys, we must go back to the streets of 1950s Jamaica. Here, "rude boy" or "rudie" initially referred to wayward, sometimes violent Jamaican youth and street gang members. They were seen as disreputable troublemakers, often involved in crime, drinking, and street clashes.

Some trace the term‘s etymology to the Jamaican Creole “rude bwai”, meaning a rough or disorderly boy. But rude boys didn‘t see themselves that way. In their eyes, they were poor kids who didn‘t submit to oppressive authority of the upper classes. They dressed sharp and carried themselves with swagger.

By the early 1960s, many rude boys became drawn into the Rastafarian movement, which channeled their frustration in a more positive direction. But the general reputation of rude boys in Jamaica was that of disruptive youth reveling in danger and rebellion.

Jamaican Culture Captivates British Youth

When Jamaican ska and rocksteady music gained popularity in Britain in the 1960s, working class teens were captivated by the raw yet stylish swagger of rude boy culture. After all, they could relate to having limited prospects in life. These British youths, many of West Indian descent, adopted the rude boy identity with its cool suits and rebellious attitudes.

To appreciate this allure, we must consider the stark social divides in Britain at the time. One 1962 government report described these disillusioned teens as:

"The ‘lost‘ generation of yesterday are now breeding another generation…with even less cause for hope."

Rude boy culture resonated with forgotten youth desperate for identity. It embodied their frustrations and gave them a sense of self-determination.

The Look and Style of British Rude Boys

The rude boy‘s sharp look was equally important to their attitude. Their style was defined by:

• Skinny suits, often dark colors like black or gray
• Slim ties and button-down shirts underneath
• Trilby or pork pie hats
• Suspenders (braces)
• Chukka boots or brogues
• Shaved heads or very short hair

They took style cues from jazzmen, ska musicians, and sharply dressed gangsters. The rude boy outfit projected confidence and a degree of menace. It was a middle finger to the suited establishment.

Some key brands for rude boys included:

• Ben Sherman shirts
• Crombie overcoats
• Sta-Prest trousers
• Hush Puppies shoes
• Jaytex suits

Their modern slim silhouette directly influenced the mod fashion movement. The mods just refined rude boy style into a cleaner, more upscale look.

Music as a Unifying Force

Most significantly, rude boys created a sense of identity and community around Jamaican music genres like ska, rocksteady, and reggae.

Sound system DJs and promoters were key cultural figures. Legendary DJs included Sir Coxsone and Duke Reid, who fueled demand for the latest Jamaican 7” singles. Live shows by artists like Desmond Dekker, the Skatalites, and Prince Buster electrified crowds. By 1967, there were over 30 ska singles in the UK charts.

Tracks with themes of youthful angst and rebellion held special appeal. Songs like “Judge Dread” by Prince Buster and “007 Shanty Town” by Desmond Dekker lamented police harassment and violence in the ghettos. Derrick Morgan’s “Tougher Than Tough” became an anthem with its rude boy refrain:

“I was born a rude boy…"

For rude boys, this was more than dance music – it was the soundtrack of their identity. They came together at clubs, house parties, and concert halls to revel in Jamaica’s raw yet rhythmic sounds.

Rude Boy Demographics and Characteristics

So who exactly were these British rude boys? Demographically, most came from the run-down industrial cities of London, Birmingham, Manchester, Liverpool and Coventry.

They were primarily white, working class males aged 15-25 of English, Scottish, and Irish descent. But a sizable minority were also black teens and mixed-race youths. Predominantly, they came from families struggling with poverty, unemployment, and lack of opportunity.

In terms of lifestyle and interests, rude boys displayed:

• Obsession with ska/reggae music
• Black street culture and slang
• gang-like structure and rivalries
• Petty hustling and delinquency
• Altercations with police and society
• Sense of dissatisfaction with their lot in life

Some joined motorcycle clubs or football firms that doubled as gangs. Despite their reputation, most rude boys were not hardened criminals – just disenchanted and restless youth seeking meaning.

Peak and Decline of the Subculture

By the mid 1960s, the rude boy identity was widespread across England‘s working class zones. But their reign was short-lived.

The original Jamaican rude boy culture declined after independence in 1962. In Britain, rude boys faded from prominence as fans and media moved on to new fads like psychedelic rock and hippie culture. By 1970, the working class rude boy was a relic of the past.

However, their influence continued in merging with skinhead culture to produce the suedeheads of the early 70s. They also paved the way for the 2 Tone ska revival a decade later, inspiring bands like The Specials, The Beat and Madness.

Cultural Impact and Legacy

While rude boys as a distinctive subculture flamed out quickly, their influence on British youth identity and style was deep and lasting.

Here are some of the key ways rude boys impacted culture:

• Introduced British youth to ska and reggae music
• Created iconic sharp clothing styles that still inspire fashion today
• Influenced mod culture, suedeheads and the 2 Tone movement
• Injected Jamaican patois slang into British streets
• Left a blueprint for rebellious working class youth culture and style

Later youth subcultures like skinheads, punks, and rude boys exhibited a similar spirit of alienation and rebellion against the mainstream. The rude boy‘s swagger, suits, and love of Jamaican music paved the way. Their powerful, if brief, flourishing reveals much about Britain’s tensions of class, race, and youth identity in the 1960s.

Rude Boys in Pop Culture Depictions

Rude boys popped up frequently in British films, music, and literature of the era. Here are some notable examples:

Movies

• The Harder They Come (1972) – depicted rude boy culture in Jamaica starring reggae singer Jimmy Cliff
• Bronco Bullfrog (1969) – A landmark British film about a London rude boy directed by Barney Platts-Mills
• Babylon (1980) – Drama about black youths in South London featuring a rude boy-turned-rapper

Music

• Judge Dread (1967) – Seminal rude boy anthem by reggae legend Prince Buster
• "Rudi‘s In Court" (1967) – Single by popular British ska band The Rivals

Books

• The Lonely Londoners (1956) by Sam Selvon – Groundbreaking novel about West Indian immigrants which mentioned "rudies"
• Absolute Beginners (1959) by Colin MacInnes – Novel with key rude boy characters reflecting late 50s London street culture

So in books, film, and music, the rude boy left his mark on British popular imagination.

Conclusion: From Jamaica to Britain

What does rude boy mean in England? In the end, it encapsulates a powerful youth identity born from displacement and rebellion. The rude boy symbolized forgotten British youth aligning with the anger and potency of Jamaica’s ghetto sufferers. Their style, slang, music and swagger gave voice to this dispossessed generation.

While the original movement faded, it stamped British culture with an edgy spirit and distinct sense of working class pride. Their aspirational suits, forceful boots, striking hats and love for big bass beats gave new meaning to “English Cool”. Any time a sharp-dressed Brit embraces ska, dons some brogues, and strikes a rebellious stance, the legacy of the rude boys marches on.