This article examines Warp's music videos primarily from the ‘Warp Vision’ era of 1989–2004. I adopt a multidisciplinary approach and map three analytical perspectives. Firstly, I look at the videos' origins in Sheffield's electronic/dance music scene of the early 1990s. I then consider the way in which Warp's visual aesthetic refracts a gendered and raced identity through the lens of cult fandom and the ‘techno-geek’. Finally, I scrutinise the gendered division of labour involved in the making of Warp's music videos and consider how production studies might enhance current approaches to the study of music video.

Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk Article (Accepted Version) http://sro.sussex.ac.uk Haddon, Mimi (2017) Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk. Popular Music, 36 (2). pp. 283-301. ISSN 0261-1430 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/67704/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher's version. Please see the URL above for details on accessing the published version. Copyright and reuse:Sussex Research Online is a digital repository of the research output of the University.Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available.Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. suggesting that post-punk musicians' incorporation of dub-reggae represents neither an unencumbered post-colonial socio-musical alliance nor a purely colonial one, but rather exceeds and therefore problematises these two positions.

Smith played her second round of London concerts. In her review of the performance for the weekly UK music magazine Melody Maker, critic Maureen Paton noted how Smith's appearance was especially captivating for the female members of the audience:A lot of women present clearly got off on the idea of having someone up there to identify with (an attitude with which I have a great deal of sympathy), and there were more yells of encouragement from women than I've ever heard at any other concerts. 1 The fact there were so many "yells of encouragement from women" in the audience demonstrates how exceptional Smith's performance must have seemed. Here was a woman who derived her stage persona from channelling male icons such as Doors-singer Jim Morrison and poet Arthur Rimbaud, and who was not only participating in the hitherto male-dominated field of rock, but was actually leading a rock group. Smith was, in other words, a rock musician with whom the women attending the Hammersmith concert could finally identify.In the rest of her review, however, Paton wrote scathingly about the way Smith appeared to rely too much on her exceptional status as a woman in rock, in lieu of displaying conventional musical skill. But it's precisely this kind of freak originality that Smith exploits so mercilessly by playing the rock and roll hero. The guitar that she hadn't even bothered to learn to play

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