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burning dog
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« Reply #270 on: 23:02:56, 03-07-2008 » |
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What is dub? Is it spelled dUb as in the union of d and b, thus drum 'n bass?
Pardon my ignorance snobbishness.
I thought that's a later development I thought it was just d-u-b back in day. I Don't know when drum and bass became current, havent listened to it for years so, you could be right about it being dUb all along |
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« Last Edit: 23:08:15, 03-07-2008 by burning dog »
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ahh
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« Reply #271 on: 23:04:38, 03-07-2008 » |
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Dub is probably more of a technique than a subgenre, but it generally refers to dub reggae, evolving in the 1970s around 'sound system' parties, it relies heavily on instrumental 'remixes' of tracks, even when performed live. Indeed, FdiT Turf [ sorry: wrong board], the drums and bass are accented by the sound engineers (who are as much part of the band as those on stage) and other effects such as reverb, echo and additional sampled sounds overlay the music. However, drum and bass as a genre it isn't. Dubstep as a subgenre goes someway towards making use of dub performance of drum and bass material. I'm loving Burning Dog's pop song, feeling di riddim.  |
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« Last Edit: 23:33:32, 03-07-2008 by ahh »
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insert favoured witticism here
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burning dog
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« Reply #272 on: 23:29:05, 03-07-2008 » |
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I remenber the first kind of DJ music I heard was at the Notting Hll carnival in 1975, then a few of us started buying ther records we shared them as they were quite expensive and we were apprentices/ trainees and doing day release/sandwich courses some . King Tubbys and Lee Perry, were the guys, though Lee Perry was a good producer the really instrumental stuff was King tubbys province. I dont know much about the origins really except that a sound system and DJ was cheaper than a big band, and used where a big band would otherwise have been needed at large uotdoor gathering like Carnivals I suppose.
King Kenny knows more about it than I do as with everything else!.
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« Last Edit: 09:01:14, 04-07-2008 by burning dog »
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ahh
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« Reply #273 on: 23:43:09, 03-07-2008 » |
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To this day the sound engineer is financially rewarded according to his (yep, mostly male) status. In fact, his wiring and components are closely guarded secrets. To ensure his originality, he'll even set up dummy systems and fake wiring to wrongfoot any potential spies attempting capture his sound.
Adorno would probably call this 'pseudo-indivuality,' but we can't be so snooty here can we?
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burning dog
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« Reply #274 on: 23:45:52, 03-07-2008 » |
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definitely a very male preserve ahh
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ahinton
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« Reply #275 on: 23:50:50, 03-07-2008 » |
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To this day the sound engineer is financially rewarded according to his (yep, mostly male) status. In fact, his wiring and components are closely guarded secrets. To ensure his originality, he'll even set up dummy systems and fake wiring to wrongfoot any potential spies attempting capture his sound.
Adorno would probably call this 'pseudo-indivuality,' but we can't be so snooty here can we?
Can't we? Surely just mentioning Adorno as you have just done suggests at least some degree of snobbery, doesn't it?... By the way, those ruddy single runners are currently advertising their singletonic athleticism in the banner above this thread as well; I bet that none of them are snobs, though... |
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ahh
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« Reply #276 on: 23:59:19, 03-07-2008 » |
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My conceit is revealed |
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burning dog
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« Reply #277 on: 00:03:33, 04-07-2008 » |
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I don't think Classical music is immune from commodification  |
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Ian Pace
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« Reply #278 on: 00:08:36, 04-07-2008 » |
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I don't think Classical music is immune from commodification Adorno would have agreed with you very strongly. |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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ahh
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« Reply #279 on: 00:13:27, 04-07-2008 » |
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By the way, those ruddy single runners are currently advertising their singletonic athleticism in the banner above this thread as well; I bet that none of them are snobs, though...
no, just body-fascists. |
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burning dog
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« Reply #280 on: 00:14:07, 04-07-2008 » |
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I don't think Classical music is immune from commodification Adorno would have agreed with you very strongly. Quite but its not something some classical buffs who quote him dwell on too much  Actually the real pain in the arse about jazz is everyone discusses those issues all the bloody time even if not in those academic terms |
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« Last Edit: 00:16:45, 04-07-2008 by burning dog »
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Ian Pace
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« Reply #281 on: 01:03:51, 04-07-2008 » |
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I don't think Classical music is immune from commodification Adorno would have agreed with you very strongly. Quite but its not something some classical buffs who quote him dwell on too much Actually the real pain in the arse about jazz is everyone discusses those issues all the bloody time even if not in those academic terms Adorno only wrote a few essays on jazz, but they get quoted all the time. They constitute one particular manifestation of his broader theories on the culture industry (in which context he discusses much classical music as well) - his dismissal of jazz is certainly too broad and undiscriminating, but I'd be surprised if many aficionados don't recognise some of the processes Adorno identified, in terms of standardisation and pseudo-individualisation, in a lot of the more anonymous jazz that has been churned out since the genre's inception (and is true of most other musical genres as well). The extent to which Adorno was highly critical of aspects of Schoenberg's dodecaphonic work, and even more so of the tendencies towards objectivism he perceived in the post-war avant garde, are frequently overlooked by protagonists assuming him to be a spokesperson for either. Similarly with the whole bourgeois tradition of Western classical music, of which he was one of the most scathing (and sometimes witty - read his essays on types of listeners in Introduction to the Sociology of Music) critics. |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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A
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« Reply #283 on: 08:38:53, 04-07-2008 » |
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oops, slipped onto the jazz thread |
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Well, there you are.
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IgnorantRockFan
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« Reply #284 on: 09:52:50, 04-07-2008 » |
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Perhaps the same reason that some shoppers feel intimidated when considering going into high class fashion designers' shops? The aura of exclusivity seems a powerful force in classical concerts; But in fact the exclusivity is all in the novice's head. It's the anticipation of the exclusivity that puts people off, with the reality being nothing like the expectation. I certainly found this in my first classical concert -- I was incredibly nervous about not knowing how to behave. I joked with my friends about the list of rules the R3 forum had given me to follow (don't clap between movements, don't cough, don;t eat sweets, don't play air violin, etc.) I put on my best (only!) suit so I would "fit in" and hoped desperately that I wouldn't have to interact with anybody and reveal how inexperienced and plebian I really was. And the reality was... it was just a concert. You queue in a foyer, you go into a big hall, you find your seat, you watch a performance, you go home. What can possibly be intimidating about that? I've done it hundreds of times. But until you do it once, you just assume... It's an image problem. |
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Allegro, ma non tanto
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