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James Brown, Sample Culture, and the Permanent Distance of Glory

By Steve Jones
Topics: P300, W300
Publisher: Fibreculture Publications/The Open Humanities Press
Year: 2009
OAI identifier: oai:nrl.northumbria.ac.uk:6917

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Citations

  1. (2004). Capturing Sound: How Technology has Changed Music (Berkeley: doi
  2. (1996). Funk: The Music, the People, and the Rhythm of the One
  3. (2009). James Brown – doi
  4. (2004). Live at the Apollo (London: Continuum,
  5. (2009). Music as a Model for Postmodern Textual Analysis’, doi
  6. (2000). Music at Home, Politics Afar’, in Case, Sue Ellen, Case et al. (eds). Decomposition: Post-Disciplinary Performance (Bloomington:
  7. (1993). Opening the African-American Mind: Race, Ethnicity and Gender in Higher Education (Newark: doi
  8. (2004). Rap Music and Street Consciousness (Chicago: doi
  9. (2009). Software Sequencers and Cyborg Singers: Popular Music doi
  10. (2007). The Last Miles: The Music of Miles Davis 1980-1991. doi
  11. (2004). The Recording Industry Second Edition.

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