While singers and DJs offered words of mourning or escape for the sufferers, dub reggae-the mostly wordless music of dread-ran directly into the heart of the darkness. In Perry”s “Revelation Dub,” time was creakily kept by a distended, phasing hi-hat and Romeo’s vocal was either reduced to the low hum of some distant street protest or chopped into sudden nonsensical stabs-“Warinna!” “Balwarin!”- as if all words, even warnings, could not be trusted. The riddim-which Marley would later version for “Three Little Birds,” with its bright chorus, “Don’t worry about a thing, ‘cause every little thing’s gonna be alright”-was swung off its moorings, the textual integrity and authority was undermined. Perry’s sound was the epitome of sipple[meaning slippery, precarious]. Dub answered the question: what kind of mirror is it that reflects everything but the person looking into it?

“Dub had a compelling circularity. It exploded in the dancehall at the moment the tenement yards exploded in violence. Dub was the “B-side” to the soaring visions of the democratic socialist dreamers or the apocalyptic warning of the Rasta prophets. As reggae historian Steve Barrow says, “The music of dub represents literally and figuratively ‘the other side.’ There’s an up and a down, there’s an A-side and a B-Side. It’s a dialectical world.”

The seeming ineradicability of idealism then in this sense results from the fact that human beings are incapable of imagining anything other than this element of consciousness in which we are eternally submerged (even in sleep); incapable therefore of theorizing this phenomenon in the light of what it is not—by virtue of the law that identifies determination with negation (Spinoza). Such agnosticism is not a defense of idealism as a philosophy, but rather an acknowledgement of the limit under which it must necessarily place all philosophy.

—Fredric Jameson, Valences of the Dialectic, p. 7