Dub is the new black

Modes of Identification and Tendencies of Appropriation in Late 1970s Post-Punk

Datos Bibliográficos

ID4304546
AutoresMimi Haddon (0000-0002-3907-9874, University of Sussex, autor de correspondencia)
Año2017
Volumen36
Número2
Páginas283-301
Fecha de publicación2017-05-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaPopular Music (JOURNAL)
Identificadores de la revistaISSN: 0261-1430 • E-ISSN: 1474-0095
EditorialCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0261143017000095
OpenAlexW2623566254
IdiomaEN
Citas recibidas1
Referencias citadas16

This article examines the complex racial and national politics that surrounded British post-punk musicians' incorporation of and identification with dub-reggae in the late 1970s. I analyse this historical moment from sociological, intra-musical and discursive perspectives, reading the musical incorporation of dub-reggae by The Police, Gang of Four and Joy Division against the backdrop of the era's music press discourse. I also unpack discursive representations of Jamaican musicians and ask: what role does subaltern performativity play in contributing to 'imaginary' critical conceptions of dub, particularly concerning the Jamaican melodica player Augustus Pablo? I conclude by suggesting that post-punk musicians' incorporation of dub-reggae represents neither an unencumbered post-colonial socio-musical alliance nor a purely colonial one, but rather exceeds and therefore problematises these two positions

Aesthetics · Appropriation · Art · Art history · Epistemology · Literature · Musical · Political science · Politics · Psychoanalysis · Punk · Sociology · The Imaginary · Caribbean history, culture, and politics · Gender Studies · Law · Migration, Ethnicity, and Economy · Music History and Culture · Philosophy · Psychology