Sound Systems

System is an essential tool for amplifying speech, music, and alerts across different environments. From schools and houses of worship to transport terminals and corporate offices, PA systems ensure that information reaches everyone clearly and simultaneously. In this guide, we will explore what a PA system is, how it works, its key components, and the different types of PA systems available today. 1. What Is a PA System? A PA system, short for Public Address System, is an arrangement of audio equipment used to project sound to a large group of people. Its purpose is to deliver clear, intelligible sound so that messages, music, or alerts can be heard in every corner of the intended area. PA systems range from a single microphone and speaker setup to complex, networked systems covering multiple buildings or even entire campuses. 2. How a PA System Works The basic workflow of a PA system involves four key steps: Input: A microphone, media player, or digital audio source captures the sound. Processing: The signal is routed through a mixer or controller, where it can be equalized, balanced, and combined with other audio sources. Amplification: The processed signal is sent to amplifiers, which increase the power level. Output: The amplified sound is played through speakers placed strategically across the venue. This simple chain ensures that even a soft voice or background music can be projected at a comfortable listening level for the audience. 3. Key Components of a PA System A complete PA system generally includes the following components: Microphones-Capture speech or music. Can be wired, wireless handheld, lapel, or gooseneck. Mixers or Controllers-Combine and adjust multiple audio sources. Amplifiers-Boost the signal so it can drive speakers effectively. Speakers-Convert electrical signals into audible sound. Options include ceiling speakers, column speakers, and horn speakers. Signal Processing Devices-Equalizers, compressors, or digital sound processors (DSPs) for fine-tuning. Cables & Networking Equipment-Connect and route signals between components.

This thesis discusses some of the key psychoanalytic concepts as they are used in the literature on rave culture. Departing from the Freudian perspective on altered states of consciousness, narcissism and female sexual development, the rave literature that I am analyzing in my thesis uncritically reiterates certain masculinist and heterosexist presuppositions which underlie these concepts. In order to argue for a possible strategic position from which non-subjects could be theorized in relation to rave culture, I am exploring some of the possibilities open by Irigaray's concept of female jouissance and Deleuze and Guattari's 'body-without-organs' and 'becomings'.

Part 4: text and graphics from my 2018 DEBUT SHOW: ‘The music that saved a decade: divining the eighties underground (through original perceptions), 1979-1991’, Barbican Music Library, 14 July-5 October 2018 (see https://www.barbican.org.uk/whats-on/2018/event/the-music-that-saved-a-decade).

This research article on the history of the acid house in the United Kingdom uses the theoretical framework of hegemonic masculinity to interrogate what normative gender boundaries were being emotionally navigated and contested by young men involved in the popular zine Boy’s Own (1986-1992). It builds on a recent wave of publications that have re-examined acid house’s musical, social and political history along the lines of gender, race, class and geographic variation. In sum, the historiography in the past few years has productively moved away from a simplified story that emphasised the importance of a handful of white male DJs towards a more critical position where masculinity and whiteness are no longer left as unremarked norms. Focusing on Boy’s Own and its creators can further analyse how an outwardly tolerant cosmopolitanism concealed and covered for actions that aimed to contest and police the boundaries of the acid house scene and who was allowed in. Therefore, this article shows how gender can be used as a lens to critique overly celebratory interpretations of the political possibilities of electronic dance music. Acid house occurred at a juncture of discourses of the effeminate ‘new man’ of the 1980s, the scruffy ‘new lad’ of the 1990s, and Thatcherite attempts to reinforce a masculinity centred on the heteronormative family and thus provides an interesting microcosm of the wider discourses around masculinity in the UK. Through fashion and the emotional rejection of ‘new man’ style, alongside satirical comparisons with other types of men, Boy’s Own created a particular version of cheeky, ironic and heterosexual masculinity that valorised independence and prefigured the discourse of the ‘new lad’.

Alan Kirman, directeur d’etudesJuliette Rouchier, chargee de recherche au CNRSValeria Siniscalchi, maitre de conferences Marche/marches : approches interdisciplinaires des economies L’idee a l’origine de ce seminaire inter-laboratoire (Centre Norbert-Elias et GREQAM) a ete de creer un espace de confrontation et de dialogue entre des chercheurs ayant analyse des marches et des places de marche a partir de regards disciplinaires differents. Les anthropologues, sociologues ou historiens ont priv...

Este trabajo aborda el fenómeno musical y cultural de la champeta (Caribe colombiano), haciendo énfasis en los discursos de las canciones del género. Considerado durante mucho tiempo como superficial e indigente, en consonancia con una cultura menospreciada y vista como denigrante, el discurso champetúo esconde, sin embargo, una riqueza lingüística y un significado político infravalorados. A la luz del concepto de microrresistencia, examinaremos las múltiples cuestiones en juego de varias canciones cuya lengua, arraigada en los barrios populares y perteneciente al español costeño colombiano, también es objeto de un desprecio lingüístico generalizado. Veremos entonces que el discurso champetúo también es capaz de articular formas de resistencia relacionadas con problemáticas propias de los barrios de las grandes ciudades de la costa Caribe colombiana.

Os filmes sobre sound-systems de reggae formam um corpus significativo em
meio a produções que tratam da música popular. Documentários e filmes de ficção expressam uma abordagem poética sobre tais configurações de equipamentos sonoros, por
equipes especializadas. Concebido para ser amplificado nesses aparatos, o reggae se disseminou mundialmente por meio deles. Neste artigo, começo a formular algumas das conclusões desta pesquisa sobre o cinema dos sistemas de som realizada em pós-doutorado.

Based on a first-hand account of the SSO#5 event, the authors discuss the challenges of grounding the organization of an international academic event in the local environment of Naples, a Southern Italy city with a strong sound system tradition. An ethnographic account of the Italian and Naples scene, including interviews with local sound system pioneers, will provide the context. The overarching intention animating the planning of the event was to acknowledge the way academic research can interact with local and global grassroots music movements in a transformative way, establishing connections, nurturing skills and promoting mutual recognition. More specifically, the event was aimed at amplifying the value of the already-existing scene, turning up the self-confidence of its practitioners and boosting the acknowledgement of sound system practice as an academic research field. This was achieved through the active involvement of local practitioners and activists in the conception of the event, to achieve the mutual trust and respect between participants from different backgrounds, which made the event itself a form of practice-as-research in terms of adding to an ongoing learning process.

It goes without saying animal rights were -and still are -central to anarchist punk. What follows are some personal, historical anecdotal accounts of some of the experiences and activities that helped shape who I am today and also my family. For obvious reasons the personal details of some of what follows are ethically omitted to protect the guilty. To kick off, I've always been a right fussy eater. Much of the grey, British menu of the 1970s was grim, consisting of over-boiled vegetables, fatty chunks of various meats and gravy with fat swimming in it. Let's just say I mostly looked forward to the marginally better puddings supplied by my long-suffering mother. From an early age I made the connection between death and food. Though being a vegetarian in a traditional working-class family was a rocky path indeed. My father used to loathe the fact that I hated meat. The sound of him banging the cutlery down in silence before threatening me to chew and swallow the greasy death-food is a memory that still haunts me. He used to shout "you won't have another thing to eat this week, 'laddie' if you don't eat everything on the plate". Later I would vomit the said content up causing eventual concern that I'd lost so much weight I was becoming seriously ill. When my dad was at work during the day or away on business, which was often back then, I took to eating food in the front room. Haha, I was sneaky. I used to eat some of the meals off the tray then stash the rest on a ledge on the settee in carrier bags I sneaked out the cupboard: fish fingers and cakes, lumps of liver, beef cabbage and the occasional steak and kidney pie sat un-pestered in there, slowly decomposing. Obviously my mother thought me a good boy for eating everything on the plate and things improved for a week or two. I was off the hook for a bit. Then the smell arrived: I couldn't dump the offending food in the bin as my mother was perpetually in the kitchen and being eight or nine years old I was scared of being caught. Hence, family were subject to the awful smell in the front room and turned the place over. The settee gave up its guilty secret and I was for the high jump. Once the offending bags were in the dustbin, I was taken by my father to the garage for the usual smacked arse-punctuating smacks with "don't....ever....do that....again" and expressed through his very brutal interpretation of 1970s parenthood. I was traumatised. Wanker. Now I was back to the sound of slamming cutlery and fatherly threats...great. This time they thought I was more than a little odd. I'd certainly fuck with those thoughts over the next few years.

Studio 1in12: The Field of Force I occupy two distinct roles: one as a long-term punk rock scene participant and the second as an academic principally interested in the cultural legacy of UK 1970s punk. Both of these areas of investigation have been central aspects of my life for the last three decades. The undertaking of ethnographic research in this arena has often led to accusations made to me by participants of 'selling out' and undermining the integrity of the scene, not to mention residual feelings of compromise. To begin, some biographical/contextual information is required. Long before I became a doctoral student in 2000, I made my first visit to the anarchist punk venue the Bradford 1in12 Club during the summer of 1990. I was travelling with two Nottingham hardcore punk bands, Kings of Oblivion and Forcefed to play a oneday festival at the recently opened building. Also on the bill were two 'ex' member bands from the UK anarcho punk subculture, Zygote and Kulturo with respective members of Amebix and Antisect. I remember my anticipation and excitement at the prospect of seeing these bands as I'd been supporter of their nineteen eighties incarnations. More importantly this was my first visit to the Club. This place was already steeped in punk folklore. It was housed in an old building and worked according to anarchist principles of mutual aid. I was impressed to see the punk ethic of Do-it-Yourself (hereafter DiY) intertwined with anarcho syndicalist politics to create a space free of corporate control, hierarchical management structures and taking a proud place in a long history of English anarchist resistance cultures. 1 Trawling around the building was an adventure; a venue, a bar floor, a cafe replete with a full-sized snooker table, and the place was full of punks. This place was clearly organised from the grass roots of the Bradford punk scene and meant business. After a great show and the chance to network with people involved in the club, I maintained frequent visits from 1994 onwards, playing with various bands and eventually renting practice room space for my band from 1997. By then however, I was approaching success in procuring a scholarship to undertake ethnographic research on DiY punk cultures. The background of the underlying philosophy of punk is complicated but in terms of providing some contextual information, punk arrived onto the UK cultural landscape in late 1976 rendering visible through its do-it-yourselfDiY philosophy the previously mystified mechanics of music participation, consumption and participation. Punk illuminated UK cultural inequality and economic problems via its musical rallying call whilst offering an opportunity for disenfranchised people to make their voices heard without resorting to the major label music business. The legacy of those now historical events of the Sex Pistols et al is constitutive of what is now broadly described as 'early' punk and well documented in both academic and populist terms. What is, however, broadly absent from these accountsmostly concentrated upon clothing style, musicology, aesthetics etc.-has been detailed consideration of the daily, ethical legacy as the core motor for UK grassroots punk cultural activity. This has been summarised in the term: do it yourself, which serves to demystify previous processes of music production, throwing access open to newcomers, empowered by the de-fetishised punk ethic. 2

From 1984-6 we used to hang around at band practices at The Nottingham Queens Walk Community Centre. These practices were usually on a Friday and a microcosm of what would later be some of the key bands in the UK hardcore scene. Bands such as Concrete Sox, Heresy and others used to practice regularly with a small audience of local punks. These were great times and I got to meet a few people who I'm still in bands with to this day. Most notably, Kalv and Steve who were then of Heresy and Victim, John March of Concrete Sox. Also a frequent visitor to the practices was Digby Pearson later founder of Earache records. Other visitors were Chaos UK and Disorder. Gabba, the guitarist of Chaos UK had left the Nottingham scum punks Seats of Piss to join them. Late that summer I overheard Gabba and Chaos talking about how good the new Amebix record sounded. I was a massive fan of the band and missed their earlier Nottingham gigs so they were an enigma to me. Beyond their first track on Crass label Bullshit Detector rough and ready compilation record, their first two 7" records Who's the Enemy? and Winter and the awesome No Sanctuary 12" ep. Even back then this band were certainly different to the anarcho punk output with songs about talking that early Killing Joke sound and applying it to accounts of madness, human factory farming and non vegetarian ideals. This set them off in a block of their own. I couldn't wait to see them and this time they were doing the record for the Dead Kennedys label, Alternative Tentacles. From the sounds the studio gossip it was gonna be a good one.

Mexico has experienced rapid growth in the digital recorded music industry, becoming a top music streaming market in Latin America within a short period of time, and providing significant opportunities for emerging electronic music acts from Europe. Mexico City is considered a “trigger city”, meaning that it holds significant influence over the success and popularity of an artist, song, or music trend, due to its substantial local digital streaming consumption. Mexico has a well-established electronic music scene, boasting a diverse range of acts from avant-garde to house, techno, and EDM. Mexico also features a unique blend of electronic music genres, including local genres such as digital cumbia and reggaeton. Foreign artists seeking to perform in Mexico do not necessarily need to be represented by a local label or booking agency. That being said, working with a local partner can be a huge help when it comes to growing an artist’s existing fanbase and building a career in Mexico. Mexico is a specific market that few professionals know how to fully access and make the most out of.

Based on a comparative approach between different sites, this text deals with the circulation and territories of reggae. The elements of comparison emerge from the questions raised by these different sites. We go through an international exhibition on the musical diasporas of two former imperial capitals, "Paris and London. 1962-1989. Music Migrations", which raises the question of the relationship between music and anti-racist mobilizations in a context of postcolonial immigration. We continue by going to the symposiums / musical sessions "sound system outernational", where academics, musicians and actors of this music and sound practices participate, which raise the question of the sound dimension associated with this circulation of reggae in a transnational space but rooted in Caribbean and English worlds. We finish on the Marseilles reggae scene which presents a case of appropriation according to local issues, articulated to these media and migratory components.

Race, class, colonialism and capitalism-Kevin C Dunn • Chapter Two. Kubazuela: Remembering a Caribbean anarchist punk connection between Cuba and Venezuela ('with rum but without Coca-Cola')-Rodolfo Montes de Oca (translated by Luke Ray Di Marco Campbell) • Chapter Three. Punk archive: Collectionism, memories and resistance in Brazil (1979-2000)-Antônio Carlos de Oliveira • Chapter Four. The meanings of anarchism in Brazilian punk: A sociohistorical approach-João Batista de M Bittencourt and Tiago de Jesus Vieira • Chapter Five. Anarchist punk and post-left anarchism in Argentina, Chile and Uruguay (1983-1993)-Mariana Gabriela Calandra • Chapter Six. The (anti-)neoliberalism of Chilean punk anarchism-Maxwell Woods • Chapter Seven. 'I'm here, and don't forget it': Punk, anarchism, repression, and resistance in the Basque Country and Chile-Asel Luzarraga in interview with Jim Donaghey • Chapter Eight. State liberation or state abolition? Czech punk between anti-Communism and anarchism-Ondřej Daniel 31 71 91 107 189 xxi i • Chapter Nine. WAR DANCE (fuck war, let's dance): Anarchism, punk, and DIY music in Croatia since the 1990s-Marko Vojnić in interview with Len Tilbürger • Chapter Ten. ΜΓΔ: The figure of the cop in the anarchic lyrics of Greek punk-Christos Marneros • Chapter Eleven. 'We spread the black flag around us': The punk scene and the anarchist movement in Athens (late 1970s-2010)-Yannis N Kolovos • Chapter Twelve. The anarchist ethics of punk: The Punk Ethics collective in the UK-Jay Kerr • Chapter Thirteen. Trans-feminist punk in the United States: Collective action, activism, and a libidinal economy of noise-Casey Robertson • Chapter Fourteen. Anarchism and democracy in Indonesia: An underground perspective-M Rizky Sasono • Chapter Fifteen. AS A PUNK DANGLING FROM THE VERTICAL SOCIETY: Punk in northern Japan as a 'culture of transgression'-James D Letson • Chapter Sixteen.

Filmes sobre sound-systems são parte integrante de um conjunto maior
de películas que tematizam o gênero musical conhecido como reggae,
que tomou a forma como o conhecemos na ilha da Jamaica e hoje
se encontra mundializado. Os donos de sound-systems começaram a
produzir música local na ilha caribenha para alimentar as suas equipes
de som com faixas musicais inéditas, mostrando a importância desses
coletivos para o desenvolvimento da música. Desde os anos 1970 vários
longas, médias e curtas-metragens trataram dessa cultura, que hoje
se encontra disseminada pelos cinco continentes. Neste artigo, serão
abordados dois exemplos que podem ser considerados emblemáticos na
forma como os sound-systems são abordados: Babylon (Franco Rosso,
1981) e Sound Business (Molly Dineen (1981), dois filmes realizados
no Reino Unido. Eles devem ser analisados segundo suas dimensões
materiais, corporais e socioculturais, além das estratégias de filmagem,
captação e montagem sonora.

An absolute insider of the international underground electronic music scene for 20 years or so, Riccardo Balli is the best conceivable Charon for those who weren't there and want to get at least a flavour of what it was-and still is-all about. But beware, Balli is neither a music critic nor a music historian. Rather, a DJ, label owner, composer, novelist, live performer and, above all, a relentless experimenter in every domain of cultural production, Balli has now released a book whose main aim is to resist historification-a process which, as anyone acquainted with the Situationists knows, is inherently akin to museification and death (or, worse, sell out). Apocalypso Disco mixes fiction, autobiographic memories, interviews, recipe books, alchemical hints, sci-fi scenes and philosophical-anthropological asides to cheer up the reader during an intense, disorderly yet coherent promenade to the netherworld of unconventional electronics. One additional clarification: the subtitle of Apocalypso Disco, which reads "The rave-o-lution of post-techno", is best understood as not implying that there is something inherently revolutionary about rave music. Far from that. Indeed, the whole of Balli's book can be read as a call to bring the revolution into conventional rave and hardcore dance music, which are but the mirror of the zombie culture in which we currently live.

Across the world, we are experiencing an eruption of political furor, as people hit the streets to dissent against government overreach, corruption, anti-democratic policy, and state-sanctioned  violence. But amongst the wrath, there is also joyful noise: Music (as always) remains a central part of the resistance, and 2018 proved to be especially prescient as a precursor to the global pandemic that ravished both club culture and public life in ways we are still recovering from.

“Glory to Hong Kong” sung in defiant unison by crowds throughout public spaces      across the city. A late-night aria performed in contempt of the military-enforced curfew imposed upon the Chilean capital. And techno – lots of techno – rumbling out of sound systems in London, Tbilisi, and Beirut, as citizens “protested by day and partied all night.” They say hardcore will never die; here it was reborn as the soundtrack of war.

This paper explores the use of rave as performative resistance, focusing on how 2018 employed contemporary underground dance culture in ways that have become emblematic to the protest movements of today. Analyzing activist happenings such as the R3 Soundsystem, (a series of organized raves protesting populist politics in the UK and US), the Georgian impromptu “rave revolution,” and the DIY rage-and-rave responses in Lebanon, I also aim to uncover the correlation between these socio-political movements. Were they incidental and singular, or did they speak to a wider trend of behavior by young people united not just by ideology but also a global dance movement?

Bio: Nico Rosario is an artist, researcher, and activist, whose work meets at the intersections of  creative arts, politics, culture, and education. A writer and photographer, she is the director of the Academy for Theatre Leadership at Center Theatre Group in Los Angeles and is currently working on a novel centered on underground dance culture and the art world and a screenplay about straight-edge culture and militant veganism in ‘90s-era Salt Lake City.

Resumen: El artículo reflexiona sobre las prácticas sociales así como en las formas de consumo presentes en las fiestas de la ciudad de Belém a través de una perspectiva compleja y multidimensional. El artículo se centra en dos bloques de prácticas de consumo-consumo de bebidas alcohólicas y ropa-y busca problematizar el debate sobre el tema del consumo desde una perspectiva simmeliana, centrada en la complejidad de las formas sociales. Se concluye que las formas sociales del acto de consumir no son estructuras sociales binarias ni permanentes, sino patrones dinámicos, que permiten la creatividad y los ajustes que, de acuerdo a lo observado, pueden ocurrir entre clases y grupos sociales: prácticas de inclusión y exclusión; de cohesión y competência: de patrón estético y ruptura inovadora: de hedonismo y vicaridad; de cohesión grupal y de cohesión de la vida social. Palabras clave: Fiestas del sistema de sonido, Tecnobrega, Consumo, Socialidad, Formas sociales. Resumo: O artigo reflete sobre as práticas e a formas sociais do consumo presentes nas festas de aparelhagem da cidade de Belém por meio de uma perspectiva complexa e multidimensional. O artigo privilegia dois blocos de práticas de consumo-consumo de bebidas alcoólicas e vestuário-e busca problematizar o debate acumulado sobre a problemática do consumo a partir de uma perspectiva simmeliana, centrada na complexidade das formas sociais. Conclui-se que as formas sociais do ato de consumir não são estruturas sociais binárias e nem permanentes, mas padrões dinâmicos, que permitem a criatividade e ajustes que, de acordo com o observado, podem ocorrer entre classes e grupos sociais, práticas de inclusão e de exclusão, coesão e concorrência, padrão estético e ruptura inovadora, hedonismo e vicaridade, coesão do grupo e coesão da vida social.

Este artículo pretende dar cuenta de los aspectos considerados en el diseño de los escenarios y personajes del proyecto de creación Artística Multimedia Cali Cultura Salsera, aprobado en la convocatoria de creación artística 2009 en la Universidad del Valle. Presenta los referentes pictóricos iniciales de diversos artistas, diseñadores gráficos, ilustradores y publicistas, y termina con la contextualización, basada en las investigaciones realizadas por el profesor Alejandro Ulloa Sanmiguel y otros autores, respecto a la Salsa.

The author analyses the existence of a youth subculture, as it appears in two subcu ltural spheres on the basis of interviews and her experience of fieldwork carried out in a city in Ce ntral Europe. Values and experiences which are connected to the underground electromusic actions are discussed, while the places and modes of cultural actions are studied. The subcultural patterns which increasingly influence the youth of the cities reflect an estrangement from the city life. The liminal phases of estrangement recur in the life of the individual, they provide a possibility to gain communal experiences and to establish special subcultural values. These are possible only with the adaptation to the cultural pattern and with the acceptance and usage of subcultural activities.

In 2006, Oaxaca's chapter of the National Educational Workers Union (SNTE, by its Spanish acronym, with seven-thousand members statewide) organized protests against then-authoritarian governor and priísta (member of the Institutional Revolutionary Party) Ulises Ruiz Ortiz. While the protestors voiced legitimate economic and political grievances, their civil disobedience drew the ire of the disgruntled denizens "inconvenienced" by their protesting. Tragedy eventually struck the city when police opened fire on protestors, resulting in several people's deaths. The police action brought the situation in Oaxaca City to a fever pitch, and the scope of the movement expanded, resulting in the formation of the Popular Assembly of the Peoples of Oaxaca (APPO), which was composed of different grassroots organizations determined to dismantle a system responsible for a litany of injustices. For six months, the capital city of Oaxaca experienced popular protests, barricades, and autonomy before succumbing to government repression. A reductionist history would erroneously conclude that the social movement from 2006 constituted an unmitigated defeat because it failed to bring down the governor. In Cartographies of Youth Resistance: Hip-Hop, Punk, and Urban Autonomy in Mexico, sociocultural anthropologist Maurice Rafael Magaña disputes this notion with passionate, intellectual force. From a decade of on-theground fieldwork, Magaña gets to the heart of Oaxaca's post-2006 radical politics by examining youth militancy and the formation of new resistance models and their usage of urban spaces outside the realm of political orthodoxy. Although the events of 2006 ended tragically, participants and allies have kept its collective memory alive. Since then, youth activists have stepped up to build on "existing organizing traditions and experiment with novel political cultures to help sustain social movement energy through the ebb and flow of peak mobilizations and visible movement activity" (p. 2). This new crop of radical youth created countercultural spaces and utilized punk, hip-hop, and art to raise awareness and dismantle "a racialized system of economic, cultural, and political domination that they see as spanning centuries of colonial, liberal, and neoliberal state formation" (p. 11). These vehicles were meant to reach people who already shared similar political ideas and those outside of the sphere of influence-in other words, the non-politicized. In chapter 1, Magaña chronicles the catalyst to the social movement of June 2006 and subsequent events with story-like prose. Chapter 2 offers one of the book's most theoretical takes on the politics and ideologies that informed the

In 2006, Oaxaca's chapter of the National Educational Workers Union (SNTE, by its Spanish acronym, with seven-thousand members statewide) organized protests against then-authoritarian governor and priísta (member of the Institutional Revolutionary Party) Ulises Ruiz Ortiz. While the protestors voiced legitimate economic and political grievances, their civil disobedience drew the ire of the disgruntled denizens "inconvenienced" by their protesting. Tragedy eventually struck the city when police opened fire on protestors, resulting in several people's deaths. The police action brought the situation in Oaxaca City to a fever pitch, and the scope of the movement expanded, resulting in the formation of the Popular Assembly of the Peoples of Oaxaca (APPO), which was composed of different grassroots organizations determined to dismantle a system responsible for a litany of injustices. For six months, the capital city of Oaxaca experienced popular protests, barricades, and autonomy before succumbing to government repression. A reductionist history would erroneously conclude that the social movement from 2006 constituted an unmitigated defeat because it failed to bring down the governor. In Cartographies of Youth Resistance: Hip-Hop, Punk, and Urban Autonomy in Mexico, sociocultural anthropologist Maurice Rafael Magaña disputes this notion with passionate, intellectual force. From a decade of on-theground fieldwork, Magaña gets to the heart of Oaxaca's post-2006 radical politics by examining youth militancy and the formation of new resistance models and their usage of urban spaces outside the realm of political orthodoxy. Although the events of 2006 ended tragically, participants and allies have kept its collective memory alive. Since then, youth activists have stepped up to build on "existing organizing traditions and experiment with novel political cultures to help sustain social movement energy through the ebb and flow of peak mobilizations and visible movement activity" (p. 2). This new crop of radical youth created countercultural spaces and utilized punk, hip-hop, and art to raise awareness and dismantle "a racialized system of economic, cultural, and political domination that they see as spanning centuries of colonial, liberal, and neoliberal state formation" (p. 11). These vehicles were meant to reach people who already shared similar political ideas and those outside of the sphere of influence-in other words, the non-politicized. In chapter 1, Magaña chronicles the catalyst to the social movement of June 2006 and subsequent events with story-like prose. Chapter 2 offers one of the book's most theoretical takes on the politics and ideologies that informed the

The two-way sound systems require time alignment procedures between different speakers using audio processors. Framed in this object of study, this article describes the implementation of a software tool for the analysis of sound systems. This tool was developed in the visual programming environment Matlab ®, Simulink ®, and is useful for evaluating the performance of a sound in an enclosure through the analysis of the frequency response of the same, which is affected by the acoustics of the room. Tests show that the software is reliable, presenting relative errors less than 4% in the different modes of operation.

In this article, I trace the trajectory of protest dancing in post-socialist urban spaces, beginning with the diverse strategies of the anti-globalization movement in the late 1990s and extending to the practice's appropriation by far-right groups, who sought to update their image, in the early 2010s. More generally, I attempt to illuminate the genealogy of dance as a form of protest in this post-socialist context. I first provide historical context for the subcultural transfer of electronic dance music (EDM) and formation of protest street parties in the Czech post-socialist urban spaces, before highlighting some of the controversies surrounding this development. Finally, I focus on the far-right's appropriation of protest dance in the early 2010s through the hardbass genre.

When Margaret Thatcher said to the Conservative Women's Conference on May 21, 1980, there was 'no alternative', she sought to speak a singular horizon of free market capitalism into being. Utopian in tone, the speech envisaged the decimation of the unions, the scaling back of the public sector and the championing of individual enterprise. Building on themes laid out in Hayek's 1946 The Road to Serfdom it supposed that socialism, not capitalism, led to fascism and totalitarianism, and that profit was motive enough for life. And, as she spoke those words into being poll tax protesters, peace campaigners gathered… and reggae sound systems played. There were indeed alternatives, there always had been alternatives and there would continue to be alternatives, calling out the lie. That there were and are alternatives, is not generally up for debate, at least in critical branches of scholarship and popular culture. Nonetheless, how and where alternatives have persisted is less clear. Former knowledge of alternatives contained in critical theory, post-colonial studies and cultural studies have been subsumed in a more urgent concern for domination. A narrow negative hermeneutics has been cemented as the means to interpret the unfreedom of late modernity. 'Freedom (from)', 'alienation (from)', resistance (to)', and an array of 'nots' (whiteness, colonialism, patriarchy, heteronormativity) articulate political struggle tout court. In a historical moment of aggravated social and environmental violence such an approach is perhaps understandable. But it has also become so successful that performing what is wrong has moulded critical standing, often at the expense of resourcing what is otherwise. Developing the analysis presented in the book Sonic Intimacy, this talk presents a revised intellectual history of the 'alternative', through a substantive discussion of reggae sound systems, jungle pirate radio and grime YouTube music videos. It considers how knowledge of the alternative in cultural studies, postcolonial studies and critical theory declined, where it persisted, how it transformed, and how we might come to know it again as a cultural political resource. While the alternative is more frequently addressed as a question of justice along social and political lines, this talk will also argue that a cultural analysis, is as important to the same project. Indeed, it is very hard to imagine that any alternative political programme succeeds without that understanding.

Tourists who visit Trench Town are drawn in by the neighborhood’s rich musical heritage. They want to see the birthplace of reggae and witness the circumstances depicted in many famous Jamaican songs. Knowingly venturing into marginalized territory, into the “ghetto,” travelers expect to encounter spectacular forms of violence. Yet what the walking tour of Trench Town reveals is an experience of another kind, an excursion that exposes poverty as structural violence, and that points to the historical and political struggles that are constitutive of the area’s social fabric. In this article, drawing on an ethnographic vignette of a walking tour that starts in Bob Marley’s rehearsal grounds and ends by an empty plot locally known as “No Man’s Land,” I focus on the entanglements of violence and tourism and present the discrepancy that exists between touristic desires and the reality of the tourism commodity. This analysis reveals how residents of Trench Town simultaneously choose to add...

The documentary We Call It Techno! provides a German perspective on the development of electronic dance music to both a German and English-speaking audience through subtitles and the choice of an English voice-over. Based on interviews with key people in the scene, it tells the story from the definition of post-punk electronica from the mid-1980s to the early 1990s. There are two parts. The main film is illustrated by rare archive material from private collections of participants and key people of the developing scene. The second part consists of interview excerpts and additional interview material. The following DJs, party concept designers, club promoters, label managers and record shop workers, all male except one, took part:

This paper explores how Indigenous Hip-Hop in Australia has become a powerful force for both advocating for Indigenous issues, and expressing contemporary Indigenous identity. We argue that Australian Indigenous HipHop cannot merely be understood as either an adoption or reinterpretation of a Hip-Hop culture from the USA, nor as an attempt to hark back to traditional, pre-colonial Indigenous cultures. Rather, we argue it builds on a history of contemporary Indigenous protest music, by integrating both forms of expression and narratives of resistance and political consciousness inherent in Hip-Hop culture from the USA. Using Australian Indigenous Hip-Hop group, A.B. Original, as an example, we suggest recent manifestations of this integration have provided a way to both resist colonial narratives and celebrate contemporary Indigenous identity even in the current socio-political climate of far-right nationalism in Australia and other first-world nations.

Conférence musicale de Julian Henriques avec Stéphane Galland  & Jean-Christophe Sevin. Cette conférence en musique et en image aborde la migration jamaïcaine et les pratiques sonores des sound systems. Il s’agit ici de penser avec et à travers le son, comme méthode de recherche permettant de cartographier une diaspora sonore. Cette entrée par le son fait comprendre les complexités des identités auditives forgées par la migration, tant pour les communautés migrantes elles-mêmes que pour la société d’accueil, et nous fait remettre en question les conceptions fixistes de l’identité.

Le sound system, en tant que collectif et dispositif sociotechnique intervenant dans la création et la diffusion du reggae peut être considéré comme l’instrument national de la Jamaïque (Stanley-Niaah). Suivant le mouvement d’émigration des Jamaïcains dans l’ancienne puissance coloniale dans les années 1950, il a été l’objet d’appropriations locales en Angleterre dans un premier temps puis dans d’autres pays et continents. De même, l’usage hétérodoxe des techniques d’enregistrement a donné naissance à un dérivé du reggae, le dub (termes qui renvoie directement à ces techniques), qui évoque autant un genre musical qu’une façon de faire de la musique en partant de ces techniques de reproduction sonore, et dont l’influence sur les musiques actuelles est considérable. Ainsi la culture sound system apparaît à la fois comme vecteur de constitution d’une identité diasporique et comme objet d’hybridation à mesure que ces pratiques sont réappropriées dans d’autres contextes. C’est ce que nous aborderons avec le cas de Marseille où la réception du reggae partir des années 1980 s’est constituée dans le milieu des radios libres et les sessions sound system. Les pratiques d’appropriation du reggae via les émissions de radio et les sessions sound system ragga ont alors constitué un espace d’appropriation d’un modèle extérieur au service de l’affirmation d’une identité méditerranéenne et cosmopolite. J’aborderai ce que l’on peut ainsi désigner comme une stratégie d’hybridation (Garcia Canclini) à propos du style troubamuffin développé par le groupe Massilia Sound System.  Ce faisant, je tenterai de resituer cette émergence et Marseille dans la perspective plus large de la circulation des musiques dans l’Atlantique Noire.

Tekno sound systems are a part of those Sonic Street Technologies that have been most severely affected by the health restriction measures around the world. In this respect, while streaming music events are a valuable type of experience, they cannot substitute for collective and intensive sound experiences of these physical spaces of expression and sociability, which are not merely entertainment but have a vital social and political function (see also Brian D’Aquino’s previous blog). Here French scholar Jean-Christophe Sevin reports on alarming developments in France.

Black Music und ihre Performanzen sind Praktiken, der weitreichende kulturelle und historische Kontinuitäten vorgewiesen werden können. Der Artikel untersucht drei Ausdrucksformen und ihre nationenübergreifenden Interdependenzen. Dabei werden verschiedene geographische und performative Räume mit einander verknüpft. Vom Middle Passage Slave Ship Limbo führt der Artikel zum US-amerikanischen Blues und Jamaikanischen Dancehall bis hin zu den Südafrikanischen Shebens und zeigt auf, wie sich diese kulturellen Praktiken und Räume in Ausformungen gegenseitig bedingen und verändern.

This paper explores the identity work taking place around contemporary subcultural hip hop amongst Australian indigenous youth in two disadvantaged urban locations. Previous work on Aboriginal hip hop has been attentive to the interface between tradition and modernity. However, existing scholarship has lacked a deeper ethnographic understanding of the dynamics between youth and parent cultures, and the tensions between the two generations. This article is based on research with young hip hop enthusiasts, community activists and educators. It deals with the cultural politics of identification and sees hip hop practice as associated with a process in which Aboriginality is crystallized as a principal affiliation and as offering an account for experiences of social marginalization. Far from being an outlet for expressing a prior or essential Aboriginality, hip hop as cultural practice is associated with the production of particular identifications.

Desde un enfoque sistemico y transdisciplinario de las Ciencias Sociales, este trabajo analiza el papel que jugo el mundo picotero o del pico (pickup), con sus grandes maquinas de sonido en la masificacion de la salsa en el Caribe Colombiano, desde los polos de cultura urbana de Barranquilla y Cartagena, en las decadas del 60 al 80 del siglo XX, cuando esta musica sufre el estigma social y etnico. Se explica desde las tensiones de censura y seduccion, entre actores sociales de distintas clases sociales, el papel de la mediacion laboral entre los subsistemas de relaciones sociales de produccion, humanos, tecnologicos y de intercambio de bienes y servicios, haciendo de los espacios laborales domesticos mas humildes, oportunidades para la generacion de audiencias.

La presente investigación se enmarca en el campo de la producción de sociología de la circulación de contenidos mediáticos en donde se revisa el origen de un fenómeno actual -champeta- para dar cuenta de la importancia de atender tanto a las condiciones objetivas como a las subjetivas de los procesos sociales y los actores que intervinieron en el caso. Con un enfoque cualitativo y metodología de abordaje el estudio de caso (Simons, 2011), se analiza el papel que jugó el corresponsal picotero Humberto Castillo Rivera en la relocalización de la música africana para convertirla en una producción masiva, más allá de lo popular, en Cartagena y que estuvo facilitada por los procesos de circulación desde abajo y desde arriba (Pérez, 2011). Los resultados permitieron reconstruir la ruta de países y establecimientos de música visitados como fuentes para obtener la discográfica que comercializaría en el mercado musical de Cartagena. Identificar las canciones de la música africana y su renombr...

1 Preliminaries It is a well accepted fact that the Khoisan languages of Southern Africa possess the largest consonant systems worldwide, with inventories partly exceeding 100 phonemes. It is as well accepted that the next richest inventories are met with in the Caucasus region, in the languages of the (North-)West Caucasian and (North-) East Caucasian families. Different from the Khoisan languages, the richness is not determined by clicks in these languages; instead, we usually find at least three different articulation types of stops and affricates here (voiced, voiceless-aspirated, voiceless-glottalised), extending from labials down to uvulars, pharyngeals, and laryngeals, and partly comprising palatal or labial coarticulations. In this way, a total of 85 phonemes was determined for Ubykh, a West Caucasian language now extinct (the last known speaker died in 1994), and a not much smaller inventory of 82 has been assigned to the Archi language of the East Caucasian stock, which is...

This article is an attempt to show the dialectical nature of Guy Debord’s (1967/1994, The Society of the Spectacle, Aldgate Press) concept of the spectacle, showing how its employment as a resistance technique by electronic dance music (EDM) subculturalists would also help shape it into a corporately organized culture industry (Horkheimer & Adorno, 1944/1969). In doing so, we show the overlap between the French Internationalist approach and that of the Frankfurt School, and how the combination of these two concepts provides for a more nuanced conceptualization in which the agency of social actors ultimately resulted in the shaping of the subculture into a culture industry. In other words, we attempt to address the critique that the approaches endorsed by both schools are overly deterministic in their approach. We attempt to overcome this limitation by showing how promoters’ decisions to compromise with law enforcement agencies resulted in changes drastically altering the music subcu...

The history of live sound production in the US is still to be written. This article traces some elements of the initial growth of the live sound industry in the late 1960s, with Woodstock and its sound contractor Hanley Sound serving as a starting point. Placing the company's accomplishments in the context of a wider network of sound practices and companies, I argue that a new sound paradigm was created in the late 1960s and that, for the first time, it revolved around the needs of popular music.

would like to thank Alastair Gordon, Russ Bestley and Rich Cross, and Vyvy for their additional comments, edits and proofing. Thanks, too, to George McKay, whose 4word makes a worthy contribution, to Steve Ignorant for agreeing to be interviewed, and to Dick Lucas for his interview and insightful views into the anarcho-scene. Throughout, the support offered by Stevphen Shukaitis and Autonomedia has been exemplary; and we are proud to be associated with such an eminent, independent publisher. The editors would also like to thank those of you that made the movement possible, the musicians, artists, writers and activists. Onwards and Upwards!

It seems clear that the global appeal of Jamaican popular music over the last several decades stems in part from the premium its makers have always placed on innovation. There are two sides to this coin: musical-stylistic innovation and technological innovation. As Jamaican music has continued to evolve, the latter has arguably come to overshadow the former, especially when viewed and interpreted from the outside; and understandably so. After all, few other countries have contributed as much as Jamaica to the technologically based reconfiguring of the global popular soundscape that started to gain momentum during the last few decades of the 20th century. From its birthing of a technologically sophisticated sound system culture that has spread to urban areas in many parts of the world to its revolutionizing of recording and remixing techniques in ways now taken for granted elsewhere, Jamaica, despite its disadvantaged economic and technological position in the world system, has consistently been at the forefront of musical modernity in recent years. What accounts for Jamaica' s cutting-edge status in the world of popular music? And do the ultramodern ways of making popular music in Jamaica in recent times have anything to do with the country' s musical past? This presentation explores the frequently broached, but seldom elaborated, question of how, if at all, Jamaica' s latest, technologically-driven sounds relate to its ancestral musical culture and the generations-old traditions that constitute it.

Raves and Electronic Dance Music (EDM) events are part of a growing culture of entertainment for young people around the world. The dangers of these events include fatalities related to drug use, overheating, dehydration and lack of harm reduction services. This study explores drug use at rave events through a survey examining EDM attendee experiences. Using a binary logistic regression model, this investigation examines the relative importance of five factors: (1) peer group drug use and (2) peer influence on behavior, drawn from peer cluster theory, (3) presence of security features that may dissuade drug use controls for rational choices, (4) the presence of drugs at events, and (5) the social supply of drugs accounting for drug networks enabling the supply of illicit drugs to participants. The results of the study suggest that peer groups heavily impact an individual’s decision to use drugs at an event. Peer group drug use was strongly correlated with individual drug use at the ...

This paper highlights current events and original research to explore the tensions between First Nations, industry and government in the context of uranium mining and nuclear waste management in Australia. We outline challenges faced by Aboriginal Australians in their role as custodians of the land, and as community leaders. A critical examination of some of the barriers to First Nations empowerment includes government engagement through legislation and practices that have repeatedly resulted in dispossession and disempowerment of Australian Aboriginal Traditional Owners. Laws ostensibly designed to provide rights and protections to Aboriginal people are repeatedly curtailed or overridden to facilitate nuclear projects-in particular radioactive waste repositories and uranium mines. We argue that existing measures provide feeble rights and protections for Aboriginal people as laws have repeatedly produced outcomes that favour government and industry and deny Aboriginal rights to sovereignty. Our research highlights patterns of colonial oppression that transgress human rights, and frames mining and nuclear waste in a way that lacks a decolonisation strategy and are based on industrial violence. Theoretical understandings of Indigenous sovereignty through a decolonising lens will highlight Indigenous standpoints, the continued contestation of Indigenous peoples' customary land rights, and the limitations of post-colonial environmental justice.