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Tabelle1 Artist Titel Baris Marco Hal Hal Johnny Lover Mix – Bob Marley & Wailing Wailers\ Sun is shining Pablo Gad The Prophet , Bob Marley Anthony B African Love Solo Banton & BB Seaton Sound System we Want To Go Natty Jean Dafa Doy Anthony B Original Lenny Roots Instrumental Hempress Sativa & Suns of Dub Rastafari Rise Adam Prescott & Suns Of Dub Rastafari Rise Dubplate Dubplate Samurai I Dubplate Dubplate Samurai I SattaTree No Fear SattaTree No Fear DUB RMX Aldubb London Underground Strange Things / Conspiracy London Underground Why Do Fat Men Have Such Skinny Thoughts? Mad Professor & The Robotics featuring Michael Walters Jungle Vibration Congos Some are having fun Congos Version Dub The Clash Bankrobber / Robberdub Brixton Riddim Over Proof Sound System Watch What you put inna G.CORP Version Over Proof Sound System King Step Over Proof Sound System King Step Version Murray Man Crying Shame Murray Man Crying Shame Riddim Earl 16 Reggae Music Earl 16 Reggae Music Dubstep Holly Cock Milk and Honey Dubstep Holly Cock Milk and Honey Eve Keys Tired of the city Seite 1 Tabelle1 Album-Single-EP Label EP Guerssen Single Bunny Peter Bob C.D.J. EP Conquering Records Sound System we Want To Go Conquering Records EP Conquering Records EP 11-7 Records / Lenny Roots Wise 2020 EP 11-7 Records / Lenny Roots Wise 2020 Single Suns Of Dub Single Suns Of Dub Dubplate Dubplate Dubplate Dubplate Single One-Drop Music Single One-Drop Music Strange Things / Conspiracy 10-inch discoplate ON-U Sound DiscoPlate Why Do Fat Men Have Such Skinny Thoughts? 10-inch discoplate ON-U Sound DiscoPlate 10-inch discoplate 10-inch discoplate 10-inch discoplate Black Market Clasch Watch What you put inna G.CORP Version EP Different Drummer 10-inch discoplate 10-inch discoplate Seite 2 Tabelle1 Time 02:00:00 02:00:00 06:00:00 05:00:00 02:55:00 02:46:00 03:00:00 03:50:00 03:00:00 02:40:00 01:45:00 04:00:00 03:33:00 03:38:00 04:41:00 01:37:00 03:50:00 05:55:00 02:45:00 last tune Seite 3.

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Dubplate Literature: Distribution Beyond the Market
Dubplate literature: distribution beyond the market Joshua Mostafa, 2014 Te trajectories of the commercial imperative and of cultural production are often opposed, and at best orthogonal. Te rise of digital media and discounted online sales threatens to upset their fragile compromise. New approaches must be found to sustain literary publishing. I explore options beyond the market: the subscription model, private circulation, and fnally suggest ‘public circulation’ backed by a relationship of patronage and mutual beneft between literary publishers and public libraries. We hardly need reminding that literary book publishing is beset on all sides by hostile forces: the long-term erosion of reading for entertainment by other, shiner, media; aggressive retailer strategies predicated on deep discounts; and the rush to digitisation, with its concomitant depredations—the devaluation of literature when digitally encoded, the never-ending demand for lower prices, the threat of ‘piracy’ or fle sharing, and the shifting of the reader’s economic role from customer to advertising target. Most of these eﬀects are well-rehearsed, but I suspect the last is understood insuﬃciently widely. Te ebook reader is not simply what it claims, an innocent and convenient device for reading texts. It is more like the two-way television in 1984, which watches you as you watch it.1 Even buying a physical book online is to submit to a degree of behavioural profling: your purchase is added to a bundle of data that allows its advertising algorithm to target you with other products you might like to buy. But that’s merely the tip of the iceberg.
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The Aura of Dubplate Specials in Finnish Reggae Sound System Culture
“Chase Sound Boys Out of Earth”: The Aura of Dubplate Specials in Finnish Reggae Sound System Culture Feature Article Kim Ramstedt Åbo Akademi University (Finland) Abstract This study seeks to expand our understanding of how dubplate specials are produced, circulated, and culturally valued in the international reggae sound system culture of the dub diaspora by analysing the production and performance of “Chase the Devil” (2005), a dubplate special commissioned by the Finnish MPV sound system from Jamaican reggae singer Max Romeo. A dubplate special is a unique recording where, typically, a reggae artist re-records the vocals to one of his or her popular songs with new lyrics that praise the sound system that commissioned the recording. Scholars have previously theorized dubplates using Walter Benjamin’s concept of aura, thereby drawing attention to the exclusivity and uniqueness of these traditionally analog recordings. However, since the advent of digital technologies in both recording and sound system performance, what Benjamin calls the “cult value” of producing and performing dubplates has become increasingly complex and multi-layered, as digital dubplates now remediate prior aesthetic forms of the analog. By turning to ethnographic accounts from the sound system’s DJ selectors, I investigate how digital dubplates are still culturally valued for their aura, even as the very concept of aura falls into question when applied to the recording and performance of digital dubplates. Keywords: aura, dubplate special, DJ, performance, reggae, recording, authenticity Kim Ramstedt is a PhD candidate in musicology at Åbo Akademi University in Finland. In his dissertation project, Ramstedt is studying DJs as cultural intermediaries and the localization of musical cultures through DJ practices.
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The Dub Issue 29 October 2018
1 Burning Spear by Ras Haile Mecael. Contact Ras Haile Mecael on Facebook or via the Art of Rastafari group on Facebook for other heart works. 2 Editorial Dub Cover photo – Instrument Of Jah mandala, Dubshack tent, One Love Festival 2018. Painting on slate by Mystys Myth, photo by Dan-I Dear Reader, Welcome to issue 28 for the month of Dan. Firstly, apologies to our regular writer Eric Denham, whose Alton Ellis piece should have appeared in the singer’s birth month of September. Afrikan History Season swings into full gear this month in Oxfordshire, with the opening of the Windrush Years exhibition at the Museum of Oxford and the conference on the legacies of Emperor Haile Selassie I. A huge thank you to the organisers of the One Love Festival and all the artists and performers for making us feel truly welcome. I hope the reviews do the event justice. As for local events, Reggae On Tap goes from strength to strength and new venture Enjoy Yourself starts this month at The Swan in Eynsham on a regular basis thanks to long time The Dub contributor Richie Roots. Finally a big thank you to Prince Jamo and Messenger Douglas for a pair of fantastic interviews, tune in next month for the first in our Tales From Birmingham. Welcome to The Dub Editor – Dan-I [email protected] The Dub is available to download for free every month at reggaediscography.blogspot.co.uk and rastaites.com The Dub magazine is not funded and has no sponsors. While this allows for artistic freedom, it also means that money for printing is very limited.
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An Exclusive Signal: Rinse FM and UK Club Music in the Digital Age
Stockholm University, Department of Media Studies, JMK Master’s Programme in Media and Communication Studies (H12M Master) Spring 2014 Master’s Thesis (30 ECTS) An Exclusive Signal: Rinse FM and UK Club Music in the Digital Age By: Simen Kolstad Lindblad Supervisor: Jessica Gustafsson Date of submission: 26.05.2014 1 Abstract This master’s thesis presents a study on the mediated negotiation between radio broadcasting and digital media. During the last decade, digitalisation has become unanimous with changing media structures, and has fundamentally altered the way radio is mediated by broadcasters and perceived by listeners. This study delves deeper into specialist music radio, more specifically, the London-based UK club music station Rinse FM. The study investigates how developments in digital media have influenced the way Rinse FM is reached and utilised by listeners, and how its implementation of digital media has affected its position as a cultural intermediary within the UK club music community. The investigation was carried out though a survey, and subsequent interviews, with members of Dubstepforum; an online forum, host to a substantial quantity of UK club music listeners. The research provides interesting results on listeners’ contemporary experience of Rinse FM, and outlines pivotal functions of specialist music radio in a digital age of free-flowing music content. The results explore participants’ digital listening habits in relation to Rinse FM; as well as the role of Rinse FM as cultural intermediary and community institution, depicted through the mediated experiences of Dubstepforum members. The study concludes with reflections upon specialist music radio’s continued development, and cultural position in the digital media environment.
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Dub's Dark Legacy in Drum 'N' Bass Culture Christodoulou, C
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Sound System Performances and the Localization of Dancehall in Finland Kim Ramstedt Åbo Akademi University, Turku, Finland [email protected] Abstract This study examines how the particular performance practices associated with reggae music have contributed to the localization of dancehall culture in Finland. At the core of this culture lies the concept of the sound system, which, in addition to a DJ, includes a master of ceremonies, or MC, who during a performance, in various ways, interacts with the audience. This article is especially concerned with how Finnish sound systems localize through their performances a particular understanding of reggae as a genre in Finland, and promote reggae as what I define as the dancehall continuum. Theoretically, this study draws on the study of folklore as performance and on sociological genre theory. The empirical material consists of interviews with sound system operators and discussions on an Internet message board. Additionally, a close reading of the written history of reggae is conducted. The study shows that Finnish sound systems do not only act as intermediaries of Jamaican music, but engage the local audience in the creation of a particular adaptation of dancehall culture in Finland. Keywords: dancehall, Finland, Jamaica, localization, performance, reggae Introduction To understand the dance hall system is to understand many of the mysteries of reggae […] If you have once stood in the middle of a sound system when the speakers are blasting the latest dub plate, you understand reggae much more profoundly than listening to it from your home hi fi for years and years. (Kaski and Vuorinen 1984: 5) As Finnish reggae enthusiasts Kaski and Vuorinen (1984) suggest in their influential documentation of dancehall culture in Jamaica, understanding the logic of the sound system performance tells us a lot about reggae music.
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Dubstep - Wikipedia, the Free Encyclopedia Dubstep from Wikipedia, the Free Encyclopedia
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Scary Monsters and Pervasive Slights: Genre Construction, Mainstreaming, and Processes of Authentication and Gendered Discourse in Dubstep
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Djs As Cultural Brokers Kim Ramstedt | Djs As Cultural Brokers Ramstedt Kim the Performance and Localization of Recorded Music Across Time and Space
Kim Ramstedt DJs as Cultural Brokers Kim Ramstedt Brokers | DJs as Cultural The Performance and Localization of Recorded Music Across Time and Space 9 789521 236198 ISBN 978-952-12-3619-8 Kim Ramstedt Born 1980 Master of Arts in Musicology, Åbo Akademi University, 2011 DJs as Cultural Brokers The Performance and Localization of Recorded Music Across Time and Space Kim Ramstedt Musicology Faculty of Arts, Psychology and Theology Åbo Akademi University Åbo, Finland, 2017 ISBN 978-952-12-3619-8 ISBN 978-952-12-3620-4 (digital) Painosalama Oy, Åbo, 2017 Abstract In this doctoral dissertation in musicology, I study DJ practices in contempo- rary Finland. I am particularly interested in how DJs function as cultural bro- kers when music in recorded format travels across time and space. Te main question my study seeks to answer is how are musical cultures localized, or made meaningful in a new socio-cultural environment through DJ perfor- mances and therein related activities. Tis question is investigated over four re- search articles in three distinct case studies, each focusing on a specifc musical category, conceptualized as a “disc culture” (Tornton 1995), emphasizing the centrality of recorded sound as a medium of the music. Te three categories of music investigated in my thesis are dancehall reggae, Finnish iskelmä music and Latin American music. Tese categories, which from the local audience per- spective represent remote musical cultures, are not to be understood as fxed, but rather as narratives that are constructed in the performance setting. Te concept of performance, following Auslander (2004), is applied as an analyti- cal concept to all empirical material.
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University of Florida Thesis Or Dissertation Formatting
GUNS DON’T GLOBALIZE… LAZERS DO: GLOBALIZATION, TECHNOLOGY, AND TRINIDADIAN SOCA By LUCAS ANDREW REICHLE A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2018 © 2018 Lucas Andrew Reichle To Anne Thingsaker, for her endless love, patience, and understanding, thank you ACKNOWLEDGMENTS I would first like to thank my family. You are my motivation and a constant source of love and appreciation. I would also like to thank my parents and siblings for always being there with moral support and believing in me. I would like to extend special gratitude to my sister Tisha Marie for spending so much time editing this thesis. I would like to thank Dr. Eugene Novotney for introducing me to pan, calypso, and soca, you have given me direction and exposed a passion in me for culture and non-western music I did not know existed until I met you. Thank you for sharing your network of contacts that allowed me to conduct research in Trinidad with ease. I would also like to thank the rest of my educators at Humboldt State University for providing me with the fantastic education that got me to where I am today. I would like to acknowledge Dr. Larry Crook, Dr. Welson Tremura, and all the rest of my professors at the University of Florida, for providing me with the tools and opportunity to achieve this feat. I would also like to express my gratitude for my colleagues and peers at UF for your friendship and for helping me along the way in this process.
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