{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/ks6j09xs4z/manifest","type":"Manifest","label":{"en":["Wreck Up a Version: King Tubby, Dub Reggae, and the Roots of Sampling"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Brandon Burke (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2007-05-04 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["Osborne Ruddock (AKA King Tubby) is widely considered the chief innovator behind dub; a sub- genre of Jamaican reggae that, over time, proved to be both a profound influence on several seemingly disparate popular musics (top-40 dance, 80's art punk) and a seedling from which other, newer genres (hip hop, house, techno) spawned. This presentation explains the cultural and aesthetic environment from which dub emerged, Tubby's role in the music's origins and direction, his recording methods, and, ultimately, how a local electronics whiz ushered in an era wherein previously recorded pop songs are manipulated by engineers and issued again as altogether different pop songs. The emergence of this particular form of post-production--one in which signifiers are often re-evaluated, re-contextualized, and typically employed in a manner inconsistent with their original meanings--was undeniably a watershed moment of aesthetic, cultural, and technical proportions. Among the Pan-African music canon, we have seen cases of this before; the use of classical instruments as vehicles for improvisation being one example. In this case, however, already recorded (i.e. \"legacy\") documents of our cultural heritage become instruments in and of themselves. Likewise, in the hands of dub engineers, the faders and knobs of a mixing console proved no different than the 88 keys of a piano. Contrary to the Puff Daddy album of the same name, King Tubby literally invented the remix."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["Osborne Ruddock (AKA King Tubby) is widely considered the chief innovator behind dub; a sub- genre of Jamaican reggae that, over time, proved to be both a profound influence on several seemingly disparate popular musics (top-40 dance, 80's art punk) and a seedling from which other, newer genres (hip hop, house, techno) spawned. This presentation explains the cultural and aesthetic environment from which dub emerged, Tubby's role in the music's origins and direction, his recording methods, and, ultimately, how a local electronics whiz ushered in an era wherein previously recorded pop songs are manipulated by engineers and issued again as altogether different pop songs. The emergence of this particular form of post-production--one in which signifiers are often re-evaluated, re-contextualized, and typically employed in a manner inconsistent with their original meanings--was undeniably a watershed moment of aesthetic, cultural, and technical proportions. Among the Pan-African music canon, we have seen cases of this before; the use of classical instruments as vehicles for improvisation being one example. In this case, however, already recorded (i.e. \"legacy\") documents of our cultural heritage become instruments in and of themselves. Likewise, in the hands of dub engineers, the faders and knobs of a mixing console proved no different than the 88 keys of a piano. Contrary to the Puff Daddy album of the same name, King Tubby literally invented the remix."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126493/file/236345","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2007_Burke_audio.mp3"]},"duration":1908.07,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126493/file/236345/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126493/file/236345/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/236/345/original/ARSC_conf_2007_Burke_audio.mp3?1711059425","type":"Audio","format":"audio/mpeg","duration":1908.07,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126493/file/236345","metadata":[]}]}],"annotations":[]}]}