... dub music performance art practice d’bi.young coalitional politics black queerness ...

... Lyndon K. Gill’s essay engages the life and work of black queer Jamaican Canadian storyteller, playwright, and actor d’bi.young as a way to read the radical queerness of one of her seemingly least queer plays. First providing a brief history of the dub music genre, an aural aesthetic birthed...

... This essay considers Linton Kwesi Johnson’s 1980s and early 1990s dub poetry as the baseline for reading the last decade of the U.S.-Soviet conflict and its aftermath. Taking LKJ’s 1984  Making History album as a point of departure for a consideration of antiracist social formations that arose...

...Cultural Policies and Politics in the Sound Market This essay considers Linton Kwesi Johnson’s 1980s and early 1990s dub poetry as the baseline for reading the last decade of the U.S.-Soviet conflict and its aftermath. Taking LKJ’s 1984  Making History album as a point of departure...

... The thriving live music scene appeared to dip during 1982, perhaps because of the way electronic sounds were coming to the fore. ZE Records continued to be productive, however, while Island continued to build a diverse roster that saw Chris Blackwell mix the recognizable (the dub reggae of Black...

...1982<subtitle>Dance Culture Seizes the City</subtitle> The live music scene fractured as smaller venues complained that they were being bullied by larger spots such as the Ritz and the Peppermint Lounge. An air of decline hung over the Mudd Club while Club 57 slipped into a somewhat darker...

... Linton Kwesi Johnson dub poetry mixtape proxy wars anti-apartheid movement ...

... integrating live music, DJ-ing, immersive happenings, and underground film, the Mudd Club became a focal point for a new form of hybrid partying. Mudd Club Steve Mass downtown art scene punk disco CBGB regulars Ann Magnuson, Susan Hannaford, and Tom Scully took over the running of Club 57...