Chapter Eleven: Organic ’96 [San Bernardino, California—June 22, 1996]

204.     “The stars in this music don’t look like rock stars”: Charles Aaron, “Drums and Wires” (Spin, October 1996)

207.     “Slow and crunching hip-hop beats”: Andy Pemberton, “Trip Hop” (Mixmag, June 1994)

208.     a tea boy at the studio where Blue Lines was recorded: Craig McLean, “Portishead: Back on the Beat” (The Telegraph [U.K.], April 12, 2008)

208.     number-five Modern Rock: Billboard, February 11, 1995

208.     “the solemnity of a horse’s ass”: Will Brantley, ed., Conversations with Pauline Kael (University of Mississippi Press, 1996), p. 94

212.     Ed Simons had borrowed 300 GBP: Push (Christopher Dawes), “Chemicrazy Pilots” (Muzik, June 1995)

212.     playing hip-hop to warm up for a night of house music: Andy Pemberton, “1995: Year of the Beats” (Mixmag, December 1995)

212.     within five minutes of closing time: Jason Ferguson and Bao Le-Huu, “Dance dance revolution” (Orlando Weekly, July 3, 2013)

212-213.     hip-hop producers Mike Simpson and John King: Brad Owen, “Chemical Brothers” (Massive #11, summer 1995)

213.     “It's not pretty music we make”: Chris Willman, “Rock Is Dead, Long Live . . . ?” (Entertainment Weekly, March 14, 1997)

214.     regular rotation on KROQ: Patrick M. Reilly, “Will Pulsing Techno Sound Rev Up the Music Business?” (Wall Street Journal, January 27, 1997)

216.     sixty-nine thousand copies: Aaron, “Drums and Wires”

217     catalog sales fell by a quarter [et al.]: Ed Christman and Don Jeffrey, “In U.S., Retail Pain Reverberates at Labels” (Billboard, September 21, 1996)

217.     a kerfuffle involving Aphex Twin: Al Weisel, “Ravestock” (Rolling Stone, September 22, 1994)

219     “Keith can perform it onstage”: Kurt B. Reighley, “Prodigy: We Didn’t Start the Fire” (CMJ New Music Monthly, September 1997)

219     Saturday afternoon at 4: Glenn, “How's this for a little gathering?!” (SF-Raves post, June 4, 1996)

221.     better mixed both racially and age-wise: Aaron, “Drums and Wires”

221.     By 6, the collective: Tony Rose, “Subject: ORGANIC review” (SF-Raves post, June 24, 1996)

222.     no joke, at 8:08 p.m.: Time and Date, January 1996 (web page)

222.     Jed the Fish: Aaron, “Drums and Wires”

223.     the temperature fell to the forties: Dennis Romero, “Organic ’96 Offers Fresh Alternative” (Los Angeles Times, June 24, 1996)

223.     “Someone once said to us”: Kirn, p. 162

223.     An SF-Raves audiophile: Michael E. Clay, “Re: The Orbital show.” (SF-Raves post, June 26, 1996)

223.     the laser spelled out ORGANIC: Rose

224-225.     over 2 million copies overseas: Dominic Pride, John Crouch, Wolfgang Spahr, Mark Dezzani, Howell Llewellyn, Mark Maes, Robert Tuli, Frederik Strage & Charles Ferro, “Miles’ ‘Children’ Gives Birth to European Craze” (Billboard, May 4, 1996)

225.     “Trance is written the way your sixth-grade teacher”: Tricia Romano, “Move Over, Britney” (Village Voice, January 25, 2000)