The introduction to Richard Huelsenbeck's Memoirs of a Dada Drummer (1974) begins with a rather sardonic account of Huelsenbeck's 1970 U.S. lecture tour, during which the once notorious "dada drummer" charmed his audience with ironic recollections of the Cabaret Voltaire performances: "The audience responded with delight when he described how he had chanted his early African' poems to the accompaniment of a tom-tom, shouting at the end of each poem 'Umba, umba.' 'I was very good at "Umba, umba" in those days,' he said, and his listeners roared with laughter" (p.xvii). Huelsenbeck's memoirs are, from the outset, framed by an acquired respectability, and dada has come to be framed in the same way. Criticism of dada reminds us, constantly, that where once dada railed against the bourgeois institutions of museums, the academy and literary tradition, it now circulates passively within them. For the contemporary reader, knowledge of dada's assimilation thereby precedes readings of its texts, and the movement as a whole has become the exemplary reference point for discussions of the technologies of recuperation.