In echoes and splices of “narrative sonic bites,” Douglas sets her experimental novel, The Marvellous Equations of the Dread, to the dub pulse of Rasta tradition.

“Dub was my sound because of postcolonial movements. I grew up in it. I bathed in it. I breathed it. So why shouldn’t it be mine?”

Building a mutable sound system with found materials.

Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.

Ryan Sheldon discusses the eclectic range of reggae films presented in BAMcinématek’s Do the Reggae series.

Alec Meacham discusses Below the Brain—at BAM September 1, and then Spectacle Theater—and talks with directors Sam Fleischner and Tony Lowe about reggae, sound oceans, and spiritual possession.

The Bug is Kevin Martin, the influential London-based musician/producer who, under the spell of the voices and rhythms of Jamaican dancehall, helped spawn a new era of dance-floor experimentation—as told to Jace Clayton.

Rebel Music has the intimacy of a family album and the urgency of legend, for this rebel had a cause.

It is hard to admit to the subject of an interview—someone you have long admired for her righteousness and nobility, someone whose art has left you feeling a sense of appreciation for the dignity of artists who are socially and politically engaged—that your most primal connection to her is physical. 

I had probably heard them on the radio. They were a popular band, after all. I know I had heard them perform in the huge cement-floored auditorium of my high school. 

Filmmaker Lee Jaffe switches media to produce a book on the story of Bob Marley’s band The Wailers and the history of reggae music.

If influence alone is an artist’s measure of true worth, then with the reexamination and subsequent recombination of Jamaican reggae music into British electronica and drum ‘n’ bass, it seems as if one of reggae’s original pioneers, Lee “Scratch” Perry, is finally about to be given his due.