Third-wave ska had a divisive silly side. From the increasingly attenuated pun band names to all those checkers, many of the moment’s frontrunners leaned into genre tropes in ways that attracted as many detractors as loyal devotees. How a genre originally rooted in Jamaican dancehall ended up splitting the difference between SoCal pop punk and any given suburban high school’s marching band is a story worth telling, but not every band with a horn section at the turn of the millennium deserved to be the target of blanket genre criticism. One upside of even a brief heyday is that, with (relative) popularity, the music will reach quantitatively more people, some of whom will incorporate their own unique influences in a way that pushes the genre forward. In the case of third-w...
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