sublime final
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MUSI 240
Sublime, a self-titled album released two months after the
death of its lead singer, could arguably be one of the most influential
rock albums released in the 1990s. The musical content of the album
is not what gives it its credibility. In fact, most of its tracks are covers
with blatantly adapted chord progressions, melodic lines, and lyrics
from noteworthy artists and poets. The albums tracks are not even
technically difficult, virtuosic, or groundbreaking in a musical manner.
However, the context in which this album was produced is pioneering
in itself. The band stood for everything and anything punk rock, hard-
core, and rebellious. In their music, they defined a subculture that
broke the boundaries of a punk rock genre and infused it with other
genres such as Reggae, Ska, Hip-Hop, and Surf Rock. The bands act as
a twenty-four hour party, rebellious, live show defined who they were
as performers. Mixing their careless attitudes with a reckless love for
music, Sublime became somewhat of a theme to the Southern
Californian-beach city culture. With Sublimes autonomy resting in the
hands of their influential live performances, their first major album was
produced in such a way to deliver that experience to the audience.
With professional technology available to them for the first time, they
were able to fuse aspects from different genres into their usual sound,
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which influenced them as musicians. The album Sublime will always
be considered a tribute to the experience of the band, the subculture,
and Brad Nowell (front man)s influence on the rock genre in the
1990s.
Noticed by Jon Phillips, an A&R rep for Gasoline Alley records,
owned by MCA, Sublime was set up to meet with MCA records to sign a
deal and produce their first professional album. Angry when the MCA
representative failed to show up, the band trashed his office and was
banished from MCA; the deal was obviously off. With an immense
amount of underground media buzz about Sublime being the band to
see in Southern California, the label could resist no longer and gave
Sublime a second chance. After signing a six-album deal, which was
probably unknowingly exploitative, they were sent off to Austin Texas
to record a full-length album at Willie Nelsons Pedernales Studio.
While there, it was noticed that the band was having trouble writing
music in the studio. They hadnt come in with anything written and
expected to draw all of their ideas from the studio atmosphere.
Marshall Goodman, a friend from their hometown in Long Beach
California, frequently contributed to Sublimes live performances with
turntables and synthesized beats (VH1, 2001). With the resources of a
recording studio, the inclusion of these elements of technology was
soon noticed to be a lot more available to mesh into their
compositions. Although their sound was already a clash and mix of
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several genres, the new technology and producers were able to give
the artists more freedom and develop their sound even further. During
the recording process, the band went through many trials with drug
and alcohol abuse. The pressure was even heavier to be serious
musicians, and that assumption was too much to handle for Bradley
Nowell. Nowell was known to have been involved with heroine use in
the Los Angeles rock scene. Now in the studio, his drug use was
becoming a necessity to write music and lyrics. Eventually their drug-
induced state became alarming to Jon Phillips, the A&R representative,
and it was decided by the company to send the band home
immediately. They did not get to finish the mixing process of the
album; the rest was left in the hands of the engineers and producers in
the studio (VH1, 2001).
Going back to the beginning of Sublimes history, you could find
them playing in a basement in Long Beach with an eight track recorder
purchased from the local Guitar Center. Their sound was heavily
influenced by punk rock backgrounds from performing in other bands
around the area. When Nowell came back from a trip to the Caribbean
with his father, his sound had become heavily inspired by Reggae.
Artists like Bob Marley became a big musical influence to him and he
shared that with his band mates. Confused by the contrast between
their usual genre and the new influences Nowell had become fond of,
they followed him anyway and experimented with a new sound.
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Eventually, Sublime would become identifiable with the unique sound
of a Southern Californian sub-culture immersed in surfing, weed, and
bits of Mexican culture. Leading to their signing with MCA, their fame
became associated with newsworthy live shows such as The Peninsula
Riot and Los Angeles main rock radio station, KROQs Weenie Roast
of 1995. The Peninsula Riot of 1988, in Long Beach California, was held
on July 4th and was coincidently caused by Sublimes first ever gig open
to the public. This show changed Sublime from being the token
neighbor-kids band to the local act that caused mayhem at their
shows (The Gauntlet, 2010). The band went on to play numerous
shows but none were more chaotic than their performance at Weenie
Roast. The festival reportedly had to deal with over two hundred fake
backstage passes handed out to Sublimes entourage. During the show
more than just the band was wreaking havoc on the revolving stage
which was eventually rotated after they refused to end their set. To
Gasoline Alley, their live presence was priceless and was ultimately the
reason why they got a break into the music industry (Farley 1996).
The environment of composing in a studio opened new musical
doors for Sublime. Nowell always seemed to be pushing to combine all
of his musical influences into his music. In a garage or a small local
punk club, many things like turntables, hip-hop sampling, and
recording clips were not available to include into their sound in a
primitive audio setting. When a full studio with professional technology
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was suddenly available, the producers were able to encourage Nowells
tendencies of genre fusing. The technology available did not demand a
change in the bands sound, however it provided new opportunities to
express things they were not able to express before. Technological
advance has placed no obligation on rock musicians to juggle
frequencies, assemble and mix diverse track and so on, it has opened
up a whole range of options and it has encourage an adventurous
eclecticism of content (Clarke, 1983). They intended to take Sublime
into a realm associated with their autonomous live sound, but were
aiming to far surpass it. Sublime was heavily associated with a
Southern Californian party scene. Many of the connotations people
associated their sound with, was the infinite amount of chaotic live
shows, parties, and a vast drug scene existing up and down the Pacific
Coast. Bringing Sublime into the studio would pose as a challenge to
capture that nostalgia and be able to present it to the rest of the world
who were not familiar with that inherent sub-culture.
Sublime the self titled album, is full of the inclusion of hip hop
clips, turn table scratching, recordings of friends, and audio clips of
familiar objects such as Nowells pet, Lou-Dog (who is also the mascot
of the band). If an audience was not able to establish their connection
with Sublime in the way that many local fans had, then to bring that
identifiable atmosphere, in which the band existed so infamously, to
the recordings seemed to be the aim of the album. Before its release,
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the idea of Sublimes sound shifting from a lo-fi and purely live sound,
into a produced version of their presence captured into a recording,
proposed an argument of whether or not this goal would turn out
successfully. Adding samples to a bands sound, which is heavily
defined by their live presence, would negate their worth to many
listeners. However, the producers aimed to include the sounds and
environment, in which sublime thrived, to fight that loss of value. On
the topic of sampling, Thomas Pocello mentions, Creativity is
embodied not only by composition, but by transposition of meaning
through contextual-and thus semantic- shifts (Porcello, 1991). In the
album, samples from artists who influenced Nowell are included to
almost recreate the space inside his head. In this way, he was able to
compose in a new way and create a different perspective for his
audience. Clips of recordings from riots in Los Angeles, dog fights
(probably of the bands mascot), and recordings of the streets of Long
Beach, California, are placed throughout the album. New meanings of
the bands experiences were suddenly associated with these samples,
and successfully fused the recognition of certain genres to that of
Sublimes cosmopolitan sound. With Sublimes sound soon to be
distributed to the world in a higher definition, the album is recorded in
a way to deliver the experience of seeing the band live.
Recorded and produced in Willie Nelsons Pedernales Studios, the
release of Sublimes first major album was influencing their sound
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before anything was even recorded. Having their album produced at
Willie Nelsons studio, who is known for his unique characteristics of
blending different genres, seemed to be encouragement to the band to
experiment even more with their incomparable sound. Every track on
the album features a new mix of hip-hop samples with their stable mix
of Ska and Punk, and features their turntablist Marshall Goodman. A
move to a familiar sound seems apparent with the artists they sampled
from. In the mid-1990s, a rise in alternative Hip-hop mixed with Rock
and Dub was becoming popular with examples like Cypress Hill and the
Beastie Boys. Without actually being a member of the band, Marshall
Goodman had always been influential to Sublimes sound. As being
involved in the Hip-hop and R&B genre and culture, he was surrounded
by artists popular in the area. This familiarity was evident in the way
he contributed the mixing of genre paradigms throughout the album.
Arguably the most popular track on the record, What I got features a
large amount of samples from the artist Too Short, a popular rapper
from Oakland California. Other artists who were influential to
Goodmans mixing are sampled in tracks like Jailhouse featuring
Boogie Down Productions, Paddle out featuring the Sugar Hill Gang,
and Doin Time featuring the Beastie Boys who are the artists most
associated with Sublimes genre infusing style. Goodman didnt just
sample from a genre, he sampled from the subculture and focused on
other artists connections to each other. Goodman constantly sampled
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from Just Ice, the self proclaimed Gangster of Hip-Hop hailing from
Brooklyn, New York. His most famous track being That girl is a slut
inspired by Doug E. Fresh and Slick Ricks La Di Da Di. Fresh and
Ricks track is coincidentally sampled in the same Sublime track as Just
Ice, April 29th, 1992. (Sublime STP, 2001)
Probably the most dominant figures in hip hop at the time, Dr.
Dre and Snoop Dogg are frequently quoted in Nowells Lyrics.
Coincidentally, Snoop Dogg is from the same city as Sublime, Long
Beach, California, and routinely includes references to the city in his
works, as does Nowell. Including samples and specific sounds, which
Nowell identifies his influences from, is what enabled him to
collectively create a mood of pioneering genre fusion. He was able to
use the technologies of sampling other recordings to include signifiers
from different genres into his works. Key quotes and sounds, not able
to be reproduced, enable Nowell to recreate his vision for the
audience. If any messages were heavily portrayed in the album, it
would be the stress put on recreating an environment in which Sublime
creatively existed. The track April 29th, 1992 is a narrative of Nowells
experiences through the riots caused by the beating of Rodney King in
Los Angeles, California. The incident based around the racial dispute
between an innocent black man and three white police officers stirred
social uproar concerning authoritative oppression placed upon racial
minorities (Mydans, 1991). Singing in tribute to all of the cities that
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participated in the protests and riots, Nowell undoubtedly focuses on
recreating the scene they witnessed in Long Beach and the Los
Angeles County. The recording features clips of real calls made over
the LAPD police radio concerning the rioting. By using actual clips, not
reproduced ones, the Lo-Fi feel of communication over radio waves is
captured in the recording. The sounds of these occurrences create a
feeling of placement into the actual situation; it is hard to escape from
the overwhelming feeling of chaos and mass hysteria. One could not
understand the cultural influence this date had on the area unless a
very realistic ambiance was recreated. The unique sound environment
composed by a mixture of narrated experiences and live recordings,
captures the aura of fear, anger, and disappointment in a monumental
event in the history of their home city. Nowells voice and experiences
can be transmitted to the audience with the use of these devices.
In the track Garden grove, a clip containing a very identifiable
Yeah! is sampled from The Beastie Boys Licensed to Ill album. This
track also includes samples from The Ohio Players, a 1970s American
funk and R&B band, and Linton Kwesi Johnson, a famous poet who
identifies with the Dub genre. (Sublime STP, 2001). They open the
album with a theme of genre hybridism in preparation for the
experience they want to deliver. The almost three minute long outro
combines all three examples of Dub, Hip-hop scratching, and American
Funk in a psychedelic manner. The drug induced sub culture
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surrounding the ideologies of Sublime is immediately introduced to the
album through this song. One can only assume that the psychedelic
coding of Garden Grove is mirroring the image of Nowell making
music while desperately clinging onto his heroine addiction. For three
minutes, a repeated phrase from a funk sample is fused with electronic
drumbeats and continues to repeat while different samples phase in
and out of synch. To quote Sheila Whitely on the topic of psychedelic
coding, The use of repetition in songs, works towards a mood of
obsessiveness and absorption.(Whiteley, 1990). There is a parallel
created between the repetition and addiction of drug use to the
repeated mixture of motifs in the song, leading to the mixture
eventually falling out of rhythmic synch and ultimately ending the
composition. As the motifs begin to blend together, the musical
direction becomes out of focus. For the listener, the sheer volume of
noise works towards the drowning of personal consciousness
(Whiteley, 1990). By the end of the track, you have lost the focal point
and consciousness of your own reality and have been sutured into an
environment that Nowell is preparing you for. Through the use of
unconventional sampling, the track is able to mentally and emotionally
transform your perceived consciousness into the environment it is
trying to portray. Through this, you are able to feel connected to
Nowells struggles and surroundings, while at the same time
experiencing the mesh of genres influential to the style of the album.
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The band was brought to Austin, Texas to work with Paul Leary, a
fellow musician participating in the same Southern Californian Surf
Rock genre, and David Kahne, a professional studio producer known
for working with artists focused on genre fusion (VH1, 2001). Gasoline
Alley had already distinguished exactly why Sublime was an asset to
their company. Having an incredible live presence and specific local
following would give the company direct access to a very underground
fan base. Recreating Sublimes sound while maintaining their local
stature would be the producers only instructions. Although many of
the tracks are different, focusing on varying genres and subjects, all of
which are produced and mixed to reflect that of Sublimes live sound.
In a broader categorization of the albums tracks, you can place some
in the influenced by the art of sampling category, influenced by
Reggae and Dub category, and influenced by Ska and Punk
category. Of course, Sublimes sound is ultimately a mixture of all
three characteristics, the work as a whole seems to be subcategorized,
and produced differently to reflect each genre of influence. Each track
is handled in a different creative manner noting the important fact that
aural analysis draws upon the link between auditory and visual
perception (Dockwray, Moore, 2008). Each of the tracks are mixed
and produced differently in terms of spacing and effects, supporting
the resulting image of a performance in the audiences mind.
Producing tracks inspired by genres that already exist in a live
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performance setting is easy to create a standard placement and sound
for each track. However, including electronic samples, turn table
scratching, and electronic beats in a Rock, Ska, Punk, or Reggae
recording is evidently unconventional. It is extremely obvious that in
the producers efforts of recreating a live performance space in the
recording, the placement of certain un-natural elements is culturally
un-known. There was no specific space, or proximity, at which a
sample should have been heard, because at the time, there were not
enough examples of this existing in previous recordings. Therefore,
while instruments like the drums, guitar, bass, and vocals have a
distinct placement in terms of Lateral placement (controlled by
panning devices), depth or prominence (the way in which volume and
reverb can control the perceived distance of sounds in relation to other
sounds and from the listener), and time (Dockwray, Moore, 2008);
technological sounds had the freedom to be placed anywhere in the
mix. Despite its freedom to be placed anywhere in the aural stage
regarding the three dimensions mentioned earlier, the samples and
technological aspects of the works are frequently kept in the center
and close to the front of the mix. Little to almost no effects, in regards
to spatial aspects, are used on the multiple hip-hop samples and
turntable contributions. Keeping in mind, the goal of the producers was
to re-create the live feeling of a Sublime performance, the sudden
inclusion of new technology in their sound posed as a problem. The
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band would not perform live with immense amounts of samples and
edited turntable sessions, thus asking the question, where do those
examples belong in the mix? Mentioned earlier, most of these
technological additives are kept very centered in the mix and kept
close to the front in proximity, almost existing overhead.
In the track What I Got, the differences between songs
produced with samples, and songs without, are heavily evident in the
use of panning and spatial effect. Looking at the sound of the drums
first, unlike the other tracks on the album, the entire rhythm section
consists entirely of electronic beats; the acoustic drum set is not used
in this track. The sound of the composition does not heavily identify
with one specific genre. This could be why it is the bands most popular
track, being the best example of the genre fusion Sublime is admired
for. With the absence of the drum set, the song continues to do some
unique things. Unlike most of Sublimes other tracks, Nowells vocals
feel close in proximity in a more intimate manner compared to that of
a live venue layout. The use of panning on the vocals also varies from
the usual conventions of this album. Sparingly, but noticeable, the
vocals are rapidly panned left to right sporadically throughout the
track. This confusion with the placement of the voice mimics the lyrical
content of the song. Nowell is contemplating his life and listing the
things he values, and the uncertainty of placement reflects his inner
struggle. This could also parallel the bands experimentation with
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changing their sound and the combining of different genre related
influences. Despite the change in the usual vocal placement and
rhythmic conventions throughout the album, the Hip-hop samples are
placed in the center of the mix, with little reverb, placing the samples
extremely close in proximity. There is no general visual placement of
sound technologies on a stage with a rock band. The producers chose
to keep the technological aspects of the song close to the audience;
perhaps to emphasize its unnatural aspects between its electronic
sound and the organic sound of the band, giving the technological
additives an edge.
Other tracks on the album identify heavily with the idea of
recreating the live and organic experience of Sublime performing on
stage. When listening to these certain tracks like Seed, Pawn Shop,
and Jailhouse, the producers tactics in achieving a live sound is
apparent in the placement and effects employed in the mixing of the
tracks. Commonly in these four examples, the same sound stage is
recreated in terms of instrumental placement and the use of effects to
form that of the visual expectation of a live performance. Most notable
in these specific recordings is the use of panning for placement of each
instrument in a distinctive manner. Each example of specific
placement of a sound demonstrates a purpose to emphasize either a
specific style as well as create a visual picture using auditory
strategies.
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Consistently throughout the album, the live drum set is mixed
almost identically in every track, considering all but two songs with
only an electronic rhythm section. Looking deeper into the song
Pawnshop, the drums have a very distinct, live sound. It is
persistently placed at the back of the mix, mimicking its visual place
on a stage. It does this by sounding as though it is the farthest
instrument into the stage, existing in the center, and is placed equally
in the stereo mix. This sound is recreated by placing each tom from left
to right in the stereo mix. Visually, this sound creates a mental image
of the toms linear placement within the drum set. The snare is panned
slightly to the right, mimicking its arrangement in the drum set, and
kick drum is placed in the center doing essentially the same thing as
the snare. Nowells guitar is panned very far to the left and has almost
no sound included in the far right side of the mix at all. What is
interesting about the placement of the guitar is that it occupies a
completely different space in the mix compared to that of Nowells
vocals, which are obviously being performed by the same person. In a
live environment, the amplifier delivering sound for the guitar would be
producing sound in a different place than the monitor in which the
vocals would be projected from. In the mix, this technique is executed
by panning the guitar to the far left, and the vocals stay center in the
mix. Also performed by Nowell is the organ featured in this track. The
organ is panned completely opposite from the guitar, all the way to the
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right. This placement juxtaposes the rhythmic purpose of the organ to
the melodic purpose of the guitar. In other compositions, there are
usually two guitars, one rhythmic, and one melodic, both played by
Nowell. They are usually panned oppositely of each other similar to
that of the techniques used in this track. Also given its own place in
the mix, is the bass guitar. Although the low-end frequencies from the
bass are present throughout the entire mix, it is heavily panned to the
right side. The placement of each instrument, laterally, proves crucial
to recreating a visually based soundstage (Dockwray, Moore, 2008).
Also crucial to the composition of Sublimes live sound, are the
effects used on the instruments and vocals to recreate the space of a
live venue and to add dimensions of proximity to the sound. Looking
closely at the Jailhouse track, there are great examples of the
general effects used throughout this album to create placement on the
stage. The most effective technique used to create a proximity effect
would be the use of reverb and echo. In this song, the sound of the
band is similar to that of an intimate and small-scale venue.
Regardless of the venue size, the effects used on the vocals, drum set,
and guitars provide the audience with a sound similar to that of
experiencing the music being performed live. There is a slight amount
of reverb placed on the vocals that evidently put Nowell in the center
of a virtual sound stage (Dockwray, Moore, 2008). Although not exactly
at the front of the stage, he is positioned dead center in between the
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listener and the drum set. The echoes captured to mimic that of a
large performance space is placed on his vocals, putting the audience
in a venue witnessing the music happen live. On the drums, a certain
amount of reverb is placed put on the bass drum and the snare to
situate the sound towards the back of the mix. The audience perceives
the placement of the drums to similarly to that of what they would see
on a typical, live stage set up. Like other songs in the album, both the
rhythmic guitar and melodic guitar are placed on opposite sides of the
mix. To give the guitars a cohesive sound with the rest of the band, a
reverb effect is also used on both instruments.
Both of the aforementioned tracks were produced similarly,
recreating a visual picture for the audience of a live setting using
techniques like panning and audio effects. The same strategies are
used in the Seed track, but are executed differently. The structure of
the song shifts from verses immersed in the Punk Rock genre, and is
then shifted to choruses that identify with the Reggae and Dub genre.
Both displays of separate genres are mixed differently to emphasize
their associated characteristics. The verses associated with a punk
rock theme, have a very different feeling compared to that of the
chorus. All of the instruments and vocals are mixed centrally; the use
of panning is extremely light. The clustered mix of sound reflects that
of chaotic noise inherent to the punk genre. This too demonstrates the
producers strategies in recreating Sublime as a live experience,
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hinting at their earlier musical styles. In the Reggae influenced chorus,
the instrumentation is suddenly panned with distinct placement for
each instrument. The separation of the melodic guitar and rhythmic
guitar emphasizes the style change from the punk genre to that of the
Reggae influenced verses. The juxtaposition of two very distinct genres
is ornately created by the audio effects and techniques used by the
producers. With its ability to distinguish clearly between the two
genres within one song, the fusion becomes a statement of identity.
Sublime is seen presenting their alternate personalities, back and
forth, throughout the song. The Band is using these genres outside of
their original purposes, to make a statement. Whenever a musical
form is utilized outside of its cultural and creative contexts,
transformation becomes inevitable.(Alleyne, 2000)The track Seedincorporates two different experiences into one, and changes the
audiences perspective in conjunction with the bands spontaneously
changing musical style. The album is missed in a very strategic way,
and used the technology available to deliver a strong and non-verbal
message through the way in which we perceive the album as sound.
The relationship between this recording and the culture
surrounding it is clearly very strong. With a large amount of
unexecuted potential, Sublime was never able to climb the industry
later and portray their evolved sound, expected from them and their
newest release. The producing technique used on Sublime was
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focused around the meaning of the band to its following. Locally in
their hometown, the band was seen as a symbol of authentic
creativity, fueled by unrestricted experimentation. Live performances
were what initially proved Sublime to be a noteworthy band, and thus
their most representational album is produced to recreate that
experience. Their worth as creators of music was held in their ability to
combine the genres of music they loved, and were considered pioneers
for ignoring the barriers between each style of music. The theme of
rebellion and independence in many aspects of the style and
personality influenced the sub culture surrounding their music. Drug
use, chaotic parties, and a beach lifestyle seemed to be the cultural
norm in which their music existed. In the question of whether the
album influenced a culture or rather if a culture influenced the album,
the first choice would be have to be the more evident answer, however
both are true. Seeing as how the band broke up immediately after
Nowells death, which was coincidently after the albums release, the
culture surrounding the aftermath was no longer being fueled by the
presence of the band. Its fan base no longer took the bands messages
and themes of rebellion, and careless boundary crossing, lightly after
their leader had fatally crossed too many boundaries himself. However,
the culture surrounding the inspiration of this album was incredibly
strong, and the band obviously drew most of its inspirations from their
surroundings and the society they thrived in. Their creativity and
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experimentation was praised by their followers and gave them
inspiration to continue innovating. The recording of this album utilized
inorganic audio effects to recreate a natural sound, which is a parallel
to that of Sublimes adaption of cross culture genres to prove the
autonomy of their musical style.
References.
Alleyne, Mike (2000), White Reggae: Cultural Dilution in the RecordIndustry. Popular Music and Society, Vol 24, No. 1, pp 15-30
Clarke, Paul. 1983, A Magic Science: Rock Music as a Recording Art.Popular Music, Vol. 3, Producers and Markets. pp 195-213
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Dockwray, Ruth. Moore, Allan (2008) The Establishment of the VirtualPerformance Space in Rock, Twentieth Century Music, Vol. 5, No. 2,pp 219-241
Farley, Christopher John. 1996. When the Musics Over, TimeMagazine. [Article] Vol. 148, No. 8.
Mydans, Seth (1991), Seven Minutes in Los Angles- A special report.;Videotaped Beating by Officers Puts Full Glare on Brutality Issue., TheNew York Times [Online] Available at:http://www.nytimes.com/1991/03/18/us/seven-minutes-los-angeles-special-report-videotaped-beating-officers-puts-full.html?sec=&spon=[Accessed on 12 May 2010]
Porcello, Thomas. 1991, The Ethics of Digital Audio-Sampling:Engineers Discourse. Popular Music, Vol. 10, No. 1, The 1890s, pp.69-84.
Sublime Bio, The Gauntlet[Online] Available athttp://www.thegauntlet.com/bio/3769/Sublime.html [Accessed 5 May2010]
Whiteley, Sheila (1990) Progressive Rock and Psychedelic Coding inthe Work of Jimi Hendrix. Popular Music, Vol. 9, No. 1, pp 37-60
Wisdom, Sublime STP. (2001) [Online] Available athttp://sublimestp.com/?page=pages/wisdom [Accessed 7 May 2010]
VH1s Behind the Music: Sublime. 2001. [DVD] New York, USA: VH1
(Narrated by Jim Forbes)
http://www.thegauntlet.com/bio/3769/Sublime.htmlhttp://sublimestp.com/?page=pages/wisdomhttp://www.thegauntlet.com/bio/3769/Sublime.htmlhttp://sublimestp.com/?page=pages/wisdom
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