Live jamaican sound system Larise Mann aka DJ Ripley v soboto, 9. januarja v Socialem centru Rog! Noč se bo začela z uvodnim predavanjem ob 21h in nadaljevala na plesišču do zloma sistema!
Jamajški soundsystem je več kot le zbir glasbene opreme oziroma glasbene opreme skupaj z DJ-em in njegovimi ploščami. Soundsystemi so živi trenutki kreativnega sodelovanja. So organizirajoča sila v jamajškem ustvarjanju glasbe, zato lahko skozi razumevanje njihovega delovanja uzremo, kako so - kot jamajška popularna glasba v praksi - predvsem prizorišča upora proti kolonialnemu in oblagovljenemu dojemanju jamajške kulture, ki ga ponazarja lokalna in mednarodna copyright zakonodaja.
Ripley raggafonično reže skozi žanre kot so street bass, dubstep, baltimore club music, UK garage, kuduru, hip hop, jungel, dancehall, breakcore, drum’n’basse, glitched-out breaks, juke, baile funk, bhangre in dub, podtikujoč novo življenje na plesišča. Ob sončnih popoldnevih, Ripley vrti rocksteady. Bralci San Francisco Bay Guardiana iso Ripley izglasovali za »Best Dance DJ 2009«, njena mesečna Surya Dub pa je zmagala kot "Best Club Night 2008" in leto kasneje kot "Best Ambassadors of Dread Bass."
Vrtela je poleg glasbeno-umetniških luminaristov kot so Kaffe Matthews ter manijakov beata kot so Asian Dub Foundation, The Bug, Drop The Lime, Vex’d, Dub Gabriel, Dizzee Rascal, Plastician, Dr. Israel, Flying Lotus, Toecutter, Mike Slott in mnogih drugih. Ripley svoje DJ vrline uporablja za podporo Revolutionary Afghan Women’s Association, Medical Activist of New York, Creative Commons in Electronic Frontier Foundation
V svetu črk Ripley analizira globalne in subkulturne lastninske sisteme skozi prizmo pravnih regulacij. Posebni poudarek njene analize je raziskovanje, zakaj so ljudje prepričani, da si lahko lastijo glasbo, kakor da bi le-ta bila neko blago in ne praksa. Je kolumnistka s področja tehnologije in prava za mladinski časopis Wiretap. A tisto, kar si Ripley resnično želi, je, da bi ljudje plesali.
Zadnji mix: Terenga Global Bass sessions
http://soundcloud.com/ripley/slayer...
Ostali mixi
Larisa Mann/ Dj Ripley
Jamaican Soundsystems And The Politics Of Participation
The Jamaican soundsystem is more than a collection of musical equipment, or musical equipment plus a DJ and his records. Soundsystems are living moments of creative collaboration. The soundsystem is the organizing force in Jamaican music-making, and through understanding them we can see how they, as Jamaican popular music in practice, are sites of resistance to colonial and commodity-based attitudes towards Jamaican culture as exemplified by local and international copyright law.
Ripley’s wreckstep raggaphonics slice through genres of street bass, dubstep, baltimore club music, UK garage, kuduru, hiphop, jungle, dancehall, breakcore, d’n’b, glitched-out breaks, juke, baile funk, bhangra and dub, sprouting new life on the dancefloor. On sunny afternoons, Ripley spins rocksteady.
Ripley has caused total dance mayhem in spaces like a re-purposed public lavatory underground in East London, a former commercial fishing ship off the cost of Rostock, an (initially) laid-back lounge in Oakland California, a half-squatted office space in downtown Riga, the basement of an Indian restaurant in Bristol, the Boston Children’s Museum, alongside a riverbed in Mexico, as well as warehouses and clubs across America and Europe, in most places you’d think and some you wouldn’t. Ripley’s used her dj skills to support the Revolutionary Afghan Women’s Association, Medical Activist of New York, Creative Commons and the Electronic Frontier Foundation
Ripley’s been voted "Best Dance DJ 2009" by the Sf Bay Guardian Readers’ poll, and her monthly Surya Dub won "Best Club Night 2008" in the same poll, and one year later the Guardian named Surya Dub "Best Ambassadors of Dread Bass." She’s played alongside art-music luminaries like Kaffe Matthews, noted thereminist Pamelia Kurstin, as well as beat maniacs like Asian Dub Foundation, The Bug, Drop The Lime, Vex’d, Dub Gabriel, Dizzee Rascal, Plastician, Dr. Israel, Flying Lotus, Toecutter, Mike Slott and many more.
In the world of letters, Ripley examines global and subcultural property systems through the lens of law, especially investigating how people come to think they can own music as if it was a thing and not a practice. She is a columnist on technology & rights issues for Wiretap online youth magazine. But really, Ripley wants everyone to dance.
Latest mix: Terenga Global Bass sessions
http://soundcloud.com/ripley/slayer...
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