Ripley

Now disturbing Brooklyn, NY, recently of San Francisco, California, by way of Jamaica, New York, London and Boston, since 1996 Ripley has careened through 17 countries with no sign of stopping, causing total dance mayhem at events from Berlin to Boston to Bristol to Brussels to Brisbane, Riga to Rotterdam to Rennes, Halle to Helsinki, Cambridge to Cholula, Scezczin to San Francisco, Tallinn to Toronto, Linz to London, Paris to Prague, Melbourne to Mexico City.

Ripley's wreckstep raggaphonics slice through genres of street bass, dubstep, baltimore club music, UK garage, kuduru, hiphop, jungle, dancehall, breakcore, d'n'b, glitched-out breaks, juke, baile funk, bhangra and dub, sprouting new life on the dancefloor. On sunny afternoons, Ripley spins rocksteady.

Ripley has caused total dance mayhem in spaces like a re-purposed public lavatory underground in East London, a former commercial fishing ship off the
cost of Rostock, an (initially) laid-back lounge in Oakland California, a half-squatted office space in downtown Riga, the basement of an Indian restaurant in Bristol, the Boston Children's Museum, alongside a riverbed in Mexico, as well as warehouses and clubs across America and Europe, in most places you'd think and some you wouldn't. Ripley's used her dj skills to support the Revolutionary Afghan Women's Association, Medical Activist of New York, Creative Commons and the Electronic Frontier Foundation

Ripley was nominated for a San Francisco Museum of Modern Art "Society for the Encouragement of Contemporary Art" award in 2010, and was voted "Best Dance DJ 2009" by the Sf Bay Guardian Readers' poll, and her monthly Surya Dub won "Best Club Night 2008" in the same poll, and one year later the Guardian named Surya Dub "Best Ambassadors of Dread Bass."

She's played alongside art-music luminaries like Kaffe Matthews, noted thereminist Pamelia Kurstin, as well as beat maniacs like Asian Dub Foundation, The Bug, Drop The Lime, Vex'd, Dub Gabriel, Dizzee Rascal,
Plastician, Dr. Israel, Flying Lotus, Toecutter, Mike Slott and many more.

In the world of letters, Ripley examines global and subcultural property systems through the lens of law, especially investigating how people come to think they can own music as if it was a thing and not a practice. She was a columnist on technnology & rights issues for Wiretap online youth magazine. But really, Ripley wants everyone to dance.