The Sound Culture of Dubstep in London

Publikation: Beiträge in SammelwerkenKapitelbegutachtet

Standard

The Sound Culture of Dubstep in London. / Brunner, Christoph.
Musical Performance and the Changing City: Post-industrial Contexts in Europe and the United States. Hrsg. / Carsten Wergin ; Fabian Holt . New York: Routledge Taylor & Francis Group, 2013. S. 256-270.

Publikation: Beiträge in SammelwerkenKapitelbegutachtet

Harvard

Brunner, C 2013, The Sound Culture of Dubstep in London. in C Wergin & F Holt (Hrsg.), Musical Performance and the Changing City: Post-industrial Contexts in Europe and the United States. Routledge Taylor & Francis Group, New York, S. 256-270. https://doi.org/10.4324/9780203078921

APA

Brunner, C. (2013). The Sound Culture of Dubstep in London. In C. Wergin , & F. Holt (Hrsg.), Musical Performance and the Changing City: Post-industrial Contexts in Europe and the United States (S. 256-270). Routledge Taylor & Francis Group. https://doi.org/10.4324/9780203078921

Vancouver

Brunner C. The Sound Culture of Dubstep in London. in Wergin C, Holt F, Hrsg., Musical Performance and the Changing City: Post-industrial Contexts in Europe and the United States. New York: Routledge Taylor & Francis Group. 2013. S. 256-270 doi: 10.4324/9780203078921

Bibtex

@inbook{2182bff27f684d0db64483995a800ae1,
title = "The Sound Culture of Dubstep in London",
abstract = "London, November 2006: The club night is supposed to happen somewhere in London{\textquoteright}s East End. After leaving my cellphone number on an online dubstep forum, I will be informed that very evening where the party is supposed to take place. Around 9 p.m., the coordinates of the location surface on my display. I have been following the community radio station Rinse FM over the last couple of weeks and learned of the importance of cellphones in this music scene. I meet up with two of my colleagues from school; we have some drinks, and fi nally slip into the night, wandering through dark alleyways somewhere between Shoreditch and Whitechapel. We enter the place through a huge cast-iron gate fastened by a chain, making the entrance as minimal as possible. A young, friendly woman asks us for the contribution of £5 and lets us pass. The building is an abandoned offi ce block, ready to be turned into expensive condos to conform with the pressures of gentrifi cation in the area. Once I stand in the courtyard, I notice the heavy beat of a bass coming from somewhere below, the asphalt seems to shake and crack.",
keywords = "Philosophy, Cultural studies",
author = "Christoph Brunner",
year = "2013",
doi = "10.4324/9780203078921",
language = "English",
isbn = "978-0-415-64486-0",
pages = "256--270",
editor = "{Wergin }, Carsten and { Holt }, Fabian",
booktitle = "Musical Performance and the Changing City",
publisher = "Routledge Taylor & Francis Group",
address = "United Kingdom",

}

RIS

TY - CHAP

T1 - The Sound Culture of Dubstep in London

AU - Brunner, Christoph

PY - 2013

Y1 - 2013

N2 - London, November 2006: The club night is supposed to happen somewhere in London’s East End. After leaving my cellphone number on an online dubstep forum, I will be informed that very evening where the party is supposed to take place. Around 9 p.m., the coordinates of the location surface on my display. I have been following the community radio station Rinse FM over the last couple of weeks and learned of the importance of cellphones in this music scene. I meet up with two of my colleagues from school; we have some drinks, and fi nally slip into the night, wandering through dark alleyways somewhere between Shoreditch and Whitechapel. We enter the place through a huge cast-iron gate fastened by a chain, making the entrance as minimal as possible. A young, friendly woman asks us for the contribution of £5 and lets us pass. The building is an abandoned offi ce block, ready to be turned into expensive condos to conform with the pressures of gentrifi cation in the area. Once I stand in the courtyard, I notice the heavy beat of a bass coming from somewhere below, the asphalt seems to shake and crack.

AB - London, November 2006: The club night is supposed to happen somewhere in London’s East End. After leaving my cellphone number on an online dubstep forum, I will be informed that very evening where the party is supposed to take place. Around 9 p.m., the coordinates of the location surface on my display. I have been following the community radio station Rinse FM over the last couple of weeks and learned of the importance of cellphones in this music scene. I meet up with two of my colleagues from school; we have some drinks, and fi nally slip into the night, wandering through dark alleyways somewhere between Shoreditch and Whitechapel. We enter the place through a huge cast-iron gate fastened by a chain, making the entrance as minimal as possible. A young, friendly woman asks us for the contribution of £5 and lets us pass. The building is an abandoned offi ce block, ready to be turned into expensive condos to conform with the pressures of gentrifi cation in the area. Once I stand in the courtyard, I notice the heavy beat of a bass coming from somewhere below, the asphalt seems to shake and crack.

KW - Philosophy

KW - Cultural studies

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U2 - 10.4324/9780203078921

DO - 10.4324/9780203078921

M3 - Chapter

SN - 978-0-415-64486-0

SP - 256

EP - 270

BT - Musical Performance and the Changing City

A2 - Wergin , Carsten

A2 - Holt , Fabian

PB - Routledge Taylor & Francis Group

CY - New York

ER -