1. Siggraph is a major convention that features some of the latest technology in emerging fields. The event happens every year in the United States. See website: http://www.siggraph.org/ 2. Kadan is still holding Drum ?n? Bass night, every Wednesday See: http://www.kadanclub.com/ 3. For a brief history on the development of Drum and Bass see, Javier Bl?nquez, ?Progresi?n l?gica: jungle, drum ?n? bass y 2step?, Editors: Javier Bl?nquez, Omar Morera, Loops: Una historia de la m?sica electr?nica (Barcelona: Revervoir Books, 2002), 417. 4. V Recordings is one of the most popular Drum ?n? Bass music labels. It was founded by Roni Size. See their website for more information: http://www.vrecordings.com/ 5. The credit for the most part goes to King Tubby. For a different tale where credit is given to Redwood, see the accompanying text of the CD reissue: The Rough Guide to Dub: Original dub master, birthplace of modern dance music, Rough Guides/World Music Network, 2005. Also see Dub Massive Volume One, Fuel 2000 Records, 2000. 6. Homi Bhaha, ?The Commitment to Theory,? The Location of Culture, (New York: Routledge, 1994), 34-37. 7. Michael Hardt and Antonio Negri, ?Symptoms of Passage,? Empire (Cambridge, Massachusetts, Cambridge, England: Harvard University Press, 2000), 138. 8. See Dub Massive Volume One. This is also common knowledge among musicians invested in dub culture. 9. Dick Hebdige, ?Pre-mix: version to version,? Cut ?n? Mix (Comedia: London, 1987), 12. (also partially available online via google books at: http://books.google.ca/books?id=NfkmOA4NF1UC ) 10. See Text for CD compilation: Dub Music Rough Guide. For a detailed account of dub as part of reggae, see Michael Veal, Dub: Soundscapes and Shattered Songs in Jamaican Reggae (MIDDLETOWN, CT: Wesleyan University Press, 2007). 11. While some critics may argue that John Cage and Stockhausen, Yoko Ono and their contemporaries played with pre-recorded materials as tape loops, their compositions were not open to constant revision by others, which is vital to versions and dub recordings. 12. These observations are based on my own experience as a DJ, and percussionist, as well as having spent time in studios occasionally, experiencing the recording process. For a historical reassessment of this influence see, Hebdige ?Dub and Talk Over,? Cut ?n? Mix, 83 ? 89. 13. Erik Davis, ?Dub, Scratch, and the Black Star: Lee Perry on the Mix? techgnosis.com. http://www.techgnosis.com/dub.html, 1997. 14. Todd Dominey, ?Lee ?Scratch? Perry and Mad Professor: Twisting the dial to twist the music,? Rootsworld.com. http://www.rootsworld.com/reggae/profscratch.html, 2001. 15. Definition of the selective Remix are entertained in more detail in my texts ?Regressive and Reflexive Mashups?, Vague Terrain. 16. This, of course, is an issue for those critics holding on to Adornian criticism of music. While I do reflect on Adorno?s critical position in other texts, this text is not the place to point out what banal entertainment may or may not mean for those holding on to culture in the name of critical theory. This is merely an observation without passing judgment on the people that would react to music as boring due to their desire to be entertained. 17. For other songs see Dub: The Music Rough Guide. Also the Double CD set Dub Massive. 18. Afrikaa Bambaataa calls Kool Herc the father of hip-hop in the movie Scratch. See Scratch, DVD. Directed by Doug Prey. USA: Firewalks Film, 2001. 19. Hebdige, ?Dread in a Inglan,? Cut ?n? Mix, 90 ? 95. 20. See Bl?nquez, ?Progresion L?gica[?],? 407 ? 436. 21. See Loops, 407. 22. For more information see their website: http://ninjatune.com. 23. DJ shadow, ?Midnight in a Perfect World,? Entroduding, CD. Mo-Wax/FFFR, 1996. 24. For details on Goldie?s career see his website: http://www.metalheadz.co.uk/, An extensive bio is available on VH1?s website: http://www.vh1.com/artists/az/goldie/bio.jhtml, and for a list of films he has been in see, http://www.imdb.com/name/nm0325635/ 25. Bhabha, 21. 26. Ibid, 34. 27. Hardt & Negri, 140. 28. Ibid, 153. 29. Ibid, 154. 30. Bhabha, 27-28. 31. Hardt & Negri, 155. 32. As cited by Dick Hebdige in Cut ?n? Mix, 64. 33. Lyrics for The Message: http://www.lyricsfreak.com/g/grandmaster+flash/the+message_20062225.html 34. Lyrics from Blue Lines: http://www.azlyrics.com/lyrics/massiveattack/bluelines.html. 35. Blanquez, ?Medianoche en un mundo perfecto: abstracci?n hip hop y ciencia del beat a c?mara lenta (1987-2002),? Loops, 357. 36. Hebdige, ?Bob Marley and the Wailers,? Cut ?n? Mix, 78 - 81. 37. ?Paid in Full? Lyrics by Eric B. And Rakim http://www.asklyrics.com/display/Rakim/Paid_in_Full_Lyrics/170733.htm 38. Hardt & Negri, 156. 39. Bell Hooks, ?Class Matters,? Where We Stand: Class Matters (New York: Routledge, 2000), 5-7. 40. Larry Rohter, ?Brazilian Government Invests in Culture of Hip-Hop? NYTimes, March 14, 2007 (June 2, 2008) http://www.nytimes.com/2007/03/14/arts/music/14gil.html?ex=1331524800&en... 41. Hedbidge, 12. 42. Hiram Soto, ?The Minister of Culture Will See You Now,?San Diego Tribune, June 26, 2008 (July 1, 2008) http://www.signonsandiego.com/news/features/20080626-9999-1w26gil.html 43. Gilberto Gil retired as Brazil's Minister of Culture shortly after the text on dub culture was written. See "Brazilian singer Gilberto Gil leaves politics for music", July 30, 2008 (August 8, 2008) http://afp.google.com/article/ALeqM5jKjYIX1n2KgOYBZkgwhR6rh7bGDA . |
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