Many were recently disheartened to hear about the upcoming departure of BBC Radio1's experimental bass host, Mary Anne Hobbs. Anyone who knows me personally, knows I'm a heavy fanboy of hers. Normally I'd reject with embarrassment and complete deniablity such a label. But with Mary Anne, I can't hide the truth: I absolutely adore her. I most definitely would not be in the subcultural realm I am today without her weekly guidance on global bass music. So let me tell you the story of a naive kid stranded on a far away island...
After moving to the UK, I was actually introduced to dubstep that first week in January 2008. At the time, it was quite unavoidable in Britain as opposed to the US, which was en route to materialize to the almost comparable level it is today. A friendly stranger whom I'd met dropped off a copy of Kode 9 and Spaceape's "Memories of the Future". Although I liked it for exposing me to those deep, dark, tripped-out qualities, I still think it was a bit heavy as an introduction to dubstep from an American novice. (I now rate it as one of my top bass albums ever). After coming to love those plowing, guttural basslines I still tended to treat it as strictly party music. Which was totally welcomed at the time, especially dwelling in the authenticity of urban Britain. Where a bit of acid or ketamine made even the most deep and desolate of dubstep feel like "party music.
It wasn't until August of '08 that dubstep would become entrenched in me. That same stranger whom blessed be with the sound, had by then become my best mate. He gave me a mix which he explained that I just had to check out. The normally articulate, expressive rollerblader didn't even have words for it... just left it for me listen. That mix was the now infamous "Generation Bass" on Mary Anne's show. For the those unfamiliar, in 2006, the now trademarked dubstep pioneers of today had come together on MAH's show to produce a legendary set known as "Dubstep Warz". In tandem with Mary Anne's heavy work with Barcelona's Sonar Festival, this show became one of the pivotal moments in dubstep's still burgeoning history, helping precipitate it's ignition to eventual world-wide stardom.
(Mary Anne Hobbs @ Sonar Festival Barcelona, 2010).
Anyways, for summer 2008, MAH had gathered all of the same producer-DJ's of Warrior Dubz; Mala (Digital Mystikz), Skream, Kode 9, Vex'd, Hatcha, Loefah and Distance. She asked each of the preceding to choose a special up-and-coming artist to champion. A symbolic torch passing if you will; the hype for this show was eagerly anticipated and massive recognition would surely follow. This one-off two hour event -- all alone underneath the stars with a spiff in hand-- single-handedly made me a full-throttle bass head. An eclectic line-up indeed. Joker and Kulture became and still are my favorite producers, one respectively introducing the "purple" sound to the world, as the latter rescinded into poet irrelevance; albeit with true unsung classics under belt. Not an old-school UKG head till way later, Oneman's garage overtones opened and blew my mind. Chef, although not producing at the time, went on to mix the classic Dubstep Allstars series and is still a ascending internationally. Starkey rocked Maida Vale studios, making the transcontinental trip and representing the rising US scene. Cyrus (Random Trio) closed it out creating a deep, nightmarish environment just as dubstep began moving away from those traditional qualities.
(Mary Anne Hobbs @ WMC Miami, 2010).
After that show I began tuning in weekly. I remember leaving the clubs a bit early on Wednesday nights just to come home, spark up, and post-party with MAH woman. When I was unwilling forced to come back stateside in 2009, having withdrawals and cultural re-shock, Mary Anne gave me two hours of solace. When I'd miss a show I'd feel at a loss as if missing an important doctor's appointment. She always kept everyone ahead of the game. Her gentle laugh intoxicating, her voice as soothing as the deep dubplates provided. When she ventured back to Cali, where she used to reside years earlier, her West Coast Rocks special with XLR8R demonstrated her foresight ability of sonic aesthetics by producers that broke the rules and re-energized the global movement. Exposure of LA's Low End Theory boys and SF innovators like Lazer Sword began a powerful exchange of ideas back to the origins of the UK, and infecting everywhere else along the way. It was undoubtedly taking place without Mary Anne, she simply provided her audience with a panoramic lens to view the global, subcultural movement of bass-weighted material.
When I inevitably made it to Low-End Theory, I was finally granted the opportunity to see her live. Down from SB, I was alone in LA on a Wednesday night after leaving my credit card and passport with the bar at S.M.O.G. the night before. It was a random occurrence that also happened to coincide on birthday. Finally meeting Mary Anne and induced by her gravitating personality and warm, congenial manner, only solidified my admiration for her. The set was outstanding. And when I mentioned I had come down from SB and it was my birthday, the queen granted me a sweet kiss on the cheek... best B-day gift ever.
(Mary Anne Hobbs and Hoodzpah @ Low End Theory, 2010)
Now she's moving on... as she posted a full statement on her MySpace this week:
"Last week I resigned from BBC Radio1, after an amazing multi-dimensional 14 year career. The great freedoms the BBC have given me as a broadcaster, have allowed me to help break so many confrontational artists as diverse as Slipknot and Skream, and of course, the whole genre of Dubstep in recent times. My current Experimental show is in peak condition, it’s never been stronger. And although it’s a very emotional decision to leave the show that I love so much, it’s also an optimum moment to bow out, at the very top of my game. My work for Radio1 on the Breezeblock, Rock Show, many fascinating documentaries about everything from David Bowie to Dubstep, on daytime, at festivals and award ceremonies, has been exceptionally rewarding. These have been glory days not just for me, but for all the artists who have shared my BBC platform, and of course, the listeners everywhere from Beijing to Berlin, Baltimore to Blackpool, who shared a great passion for future sound. I will continue to DJ live, work in film, and curate at Sonar festival in Barcelona. I have also accepted a new job mentoring and teaching students at the University of Sheffield’s Union Of Students radio station, TV station and the newspaper that operate out of their superb Forge Media Hub, which presents me with a really exciting new challenge. My last show on BBC Radio1 will be broadcast: September 8th>>9th … Wednesday night >> Thursday morning… 2-4am www.bbc.co.uk/radio1/maryannehobbs Thank you so much for listening." --Mary Anne Hobbs
No, thank you, Mary Anne. Your show became a staple in my life for a good spell. It will be sad not to hear that lovely, gratifying voice, but we all wish you the best in your future endeavors. You mean the world to so many people, the world over, personifying our passion for music and culture so unique and unparalleled. Can't wait to catch you back in LA for some live action! P.E.A.C.E.
