Datacide 9

YOU MUST HELP YOURSELF:

NEO-LIBERAL GEOGRAPHIES AND WORKER INSURGENCY IN OSAKA

“I realize as the train pulls in that the station is on fire. The platform is aflame and below the streets are empty with people running past occasionally. Something is happening. I pick up some rocks and start throwing them at a police line.”
-anonymous rioter at Kamagasaki

“You must help yourself.”
-Ilsa, She-Wolf of the SS

osaka1

October 2nd, 1990. The day started as any other does in Osaka’s Nishi-Nari ward, men lined up around the yoseba employment center, in the thousands, waiting for work. If it came, they would load into the cars of construction contractors in groups, with parachute pants and wrapped heads. For eight hours they might wave light wands ‘guiding pedestrians’, dig concrete roads, re-pave highways or variously break their backs in the sun. This proletarian fate was ceded by the city’s bourgeoisie over a period of thirty years of continuous unemployed unrest; all the union officials touted it as labor ‘won’ from an inhuman system. After all, without work, one does not eat, and once conditions have worsened to the point that this phrase becomes dictatorial, one works in a fervor; for work leads to ‘independence’. Work might one day lead out of the slum.
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Lotta Continua – Roots Music and the Politics of Production

“A gigantic cultural revolution is underway. Free expression and the joy of bodies, the autonomy, hybridisation and the reconstruction of languages, the creation of new singular and mobile modes of production – all this emerges, everywhere and continually.”
Toni Negri

There are threads running through the 1978 film Rockers that encapsulate the musical production process. From the opening scene of impromtu drummers and the horn rehearsal in the yard, followed by the studio session and manufacture of the single at the pressing plant, through to the distribution of records by motorbike and their reception at the counter of disco- shops and sound-systems the whole process of production, inclusive of the social practice from which it springs, is highlighted. But, crucially, each moment of this process is presented as a site of conflict. There is the musician as wage labourer having to ask to be paid and then being paid in records, there is the alternative distribution method of the motorbike and there is the policeraid on the sound-system. [Read more →]

Breakcore Israel

Breakcore in the Middle East? Yes, that´s right. There are many people in Israel listening to hard electronic sound but you can hardly speak of a “scene” over there. There aren´t any DJs in the country spinning this sound and no resources for those kind of records (you´ll find some few techno/ house records). So most people get their music from Soulseek. [Read more →]

Brazilian Scene.

This small report tries to show past and present of brazilian hardcore/breakcore. I have to say that I (retrigger) am gonna tell it from my point of view and this is a subjective text, based on my experiences, that’s one of the reasons that this is gonna be written in first person. It’s also gonna be written around TEMP crew history, as I don’t know anyone else doing parties or anything else like it over here. Of course, i am not making this up, so trust me, and let’s cut the crap and start.
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TEK IT UP

This is a report from the frontlines of this year’s Czech teknival, held the first weekend of August. It is an updated and elongated version of an article that first appeared the week after teknival in ‘Scandaloso’, a free party zine produced in English and translated into as many languages as possible where applicable.
To get copies etc, contact: scandaloso24@yahoo.co.uk
The vibrancy of the culture and the beauty of the country have had party-heads coming to CzechTek since 1994. The culture and music festival has grown from small beginnings; two years ago at the largest CzechTek so far there were around 30-40,000 participants including dozens of sound systems.
[Read more →]

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