Dub music

Dub is a genre of music that grew out of reggae in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Music in this genre consists predominantly of instrumental remixes of existing recordings and is achieved by significantly manipulating and reshaping the recordings, usually by removing the vocals from an existing music piece, and emphasizing the drum and bass parts (this stripped-down track is sometimes referred to as a riddim). Other techniques include dynamically adding extensive echo, reverb, panoramic delay, and occasional dubbing of vocal or instrumental snippets from the original version or other works. It was an early form of popular electronic music. The Roland Space Echo was widely used by dub producers in the 1970s to produce echo and delay effects. Dub was pioneered by Osbourne ‘King Tubby’ Ruddock, Lee ‘Scratch’ Perry, Errol Thompson and others in the late 1960s. Augustus Pablo is credited with bringing the melodica to dub, and is also among the pioneers and creators of the genre. Similar experiments with recordings at the mixing desk outside the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. … Dub music is in conversation with the cultural aesthetic of Afrofuturism. Having emerged from Jamaica, this genre is regarded as the product of diaspora peoples, whose culture reflects the experience of dislocation, alienation and remembrance. Through the creation of space-filling soundscapes, faded echoes, and repetition within musical tracks, Dub artists are able to tap into such Afrofuturist concepts as the nonlinearity of time and the projection of past sounds into an unknown future space. …”
Dubbing Is A Must: A Beginner’s Guide To Jamaica’s Most Influential Genre
In A Dub Style (All Vinyl Roots Reggae Dub Mix) (Audio)

Lester Bangs – Psychotic Reactions and Carburetor Dung (1987)

“The late rock critic Lester Bangs was, like many of his colleagues, a frustrated musician. He even recorded a handful of records: the single ‘Let It Blurt’ and hard-to-find LPs with his New York group Birdland and the Texas-based Delinquents. But his finest hour may have come when he played typewriter at Cobo Hall in Detroit with the J. Geils Band. I’m serious—he played typewriter. The details are contained in a hilarious piece, ‘My Night of Ecstasy With the J. Geils Band,’ part of the recent posthumous collection of Bangs’s writing, Psychotic Reactions and Carburetor Dung. … He even took a curtain call. This strange routine is much like Bangs’s writing—it’s funny, dumb, inspired, fantastic, and self-aggrandizing all at once. As a critic commenting on his chosen field, popular music, Bangs was a creature of polar opposites—genius and buffoon, observer and participant, fabulist and mundane reporter, sober analyst and drunken fantasist. He stood apart from his colleagues by virtue of his willingness to take a creative dare. That daring, which may be seen in his stage shot with the Geils Band, is also vastly apparent in the 370-plus pages of Psychotic Reactions, collected by fellow critic Greil Marcus. …”
Reading: Lester Bangs Played Typewriter
W – Psychotic Reactions and Carburetor Dung
W – Lester Bangs

Experimental Music: Cage and Beyond – Michael Nyman

“Michael Nyman’s book is a first-hand account of experimental music from 1950 to 1970. First published in 1974, it has remained the classic text on a significant form of music making and composing that developed alongside, and partly in opposition to, the postwar modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4′ 33” consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman’s book traces the revolutionary attitudes that were developed toward concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass. This second edition contains a new Foreword, an updated discography, and a historical overview by the author.”
Concerning Temporality in Music
Book Review: Experimental Music on Your Bookshelf
[PDF] Experimental Music – Library of Congress
[PDF] File:Nyman Michael Experimental Music Cage and Beyond 2nd

Clayton Hats

“… In 1986, Clayton Patterson and Rensaa began designing and fabricating custom baseball hats which they sold in the storefront at 161 Essex which they branded as Clayton Hats. The idea to make custom hats came from Clayton instructing Ben Booksinger, a cap maker on Avenue A, to embroider around the cap – off the peak. Clayton realized Ben could make a drawing on his old fashioned embroidery machine when he saw Ben make a copy of a Savage Skull Patch and duplicated it as an embroidered patch. Clayton got Booksinger to embroider Clayton designs on the front and on the sides of the cap. Thus the birth of the Clayton cap- the first designer branded baseball cap. The Clayton cap was the first baseball cap to have the embroidery all around the cap, and had the first signature and label on the outside of the cap. An embroidered signature on a repeated design, and a hand signed label for the custom one-of-a-kind designed caps. As Booksinger gradually retired from manufacturing, Patterson and Rensaa took up the business of embroidering their own designs on hand made hats with a 100-year-old Bonis embroidery machine. The hats, designed by Patterson and made by Rensaa, were immediately popular with artists and were picked up by Elle and GQ. The GQ article by Richard Merkin, named Clayton Hats as one of the two best baseball hats made in America. Some of Clayton Hats’ notable customers included artists Jim Dine and David Hockney, actor Matt Dillon, directors Gus Van Sant and Rob Reiner, the Pet Shop Boys, and Mick Jagger, for whom they designed a custom jacket back piece. …”
W – Clayton Patterson: Clayton hats
Clayton Patterson Brings Back the Clayton Cap With a Little Help From His Friends
Elie: Clayton Patterson Welcomes the Public to His ‘Outlaw Art Museum’
on Essex Street After 10-Year Absence

MacDoodle St. by Mark Alan Stamaty, with an introduction by Jules Feiffer

“Every week, from 1978 to 1980, The Village Voice brought a new installment of Mark Alan Stamaty’s uproarious, endlessly inventive strip MacDoodle St. Centering more or less on Malcolm Frazzle, a blocked poet struggling to complete his latest lyric for Dishwasher Monthly, Stamaty’s creation encompassed a dizzying array of characters, stories, jokes, and digressions. One week might feature the ongoing battle between irate businessmen and bearded beatniks for control of a Greenwich Village coffee shop, the next might reveal a dastardly plot involving a genetically engineered dishwashing monkey, or the frustrated dreams of an irascible, over-caffeinated painter, or the mysterious visions of a duffle-coated soothsayer on the bus. Not to mention the variable moods and longings of the comic strip itself…. And somehow, in the end, it all fits together. MacDoodle St. is more than just a hilarious weekly strip; it is a great comic novel, a thrilling, surprising, unexpectedly moving ode to art, life, and New York City. This new edition features a brand-new, twenty-page autobiographical comic by Stamaty explaining what happened next and why MacDoodle St. never returned, in a unique, funny, and poignant look at the struggles and joys of being an artist.”
Mark Alan Stamaty
The New York Comics and Picture-Story Symposium: Mark Alan Stamaty