Disco isn’t dead. It has gone to war (Tony Cokes)

If UR Reading This It’s 2 Late: Vol 1 at Goldsmiths Centre for Contemporary Art was the first UK solo exhibition of US-based artist Tony Cokes, who explores the politics of music through text based video pieces. 

Evil.16 (Torture.Musik) (2009-11) is based on ‘a text by Moustafa Bayoumi titled ‘Disco Inferno’ which appeared in The Nation (26 December 2005). The text discusses the use of music blasted at high volume as a method of torturing detainees in Guantanamo and Abu Ghraib. Tracks by Britney Spears, David Gray’s ‘Babylon’, and Metallica were used in rooms referred to as ’The Disco’, weaponizing popular music to traumatise’ (GCCA).

The title of new work ‘The Morrissey Problem’ is self explanatory:

Linda Rondstadt Sonic Warfare in Arizona

The use of music for sonic warfare, torture and crowd control has been a recurring theme at this site. An interesting example occurred last month in Phoenix, Arizona where the music of Linda Rondstadt was used by the authorities in attempt to drown out a crowd of demonstrators that included - Linda Rondstadt!

The occasion was a demonstration against the notorious anti-immigration policies of Maricopa County Sheriff Joe Arpaio, which have included immigration "sweeps" in Hispanic neighborhoods, making prisoners wear pink handcuffs and old-fashioned striped jail uniforms, and detaining arrested migrants in outdoor tent-based jails. At least 10,000 people took part in the demonstration, including singer Linda Rondstadt and Zack de La Rocha (of Rage Against the Machine). The protest was organized by the Puente movement, along with a coalition of immigrant rights groups, including the National Day Labor Organizing Network

According to a Press Association report (16 January 2010): 'the marchers walked from a west Phoenix park to the Durango Jail Complex, a collection of five jails, where officials played music, including a record by singer Linda Ronstadt, to drown out noise made by protesters'. Police also used pepper spray and horses against demonstrators.

Anyway, the protestors had their own sonic weapons of chanting, music and dancing - including these traditional dancers:

Photo by javiersoto3tvp at twitpic



More reports: People's World; Fires Never Extinguished

Sonic Cannon in Pittsburgh

During this week's anti-capitalist protests against the G20 summit in Pittsburgh, police used a 'sonic cannon' as well as CS gas to disperse demonstrators. The Long Range Acoustic Device emits an ear-splitting siren which is extremely uncomfortable to be around. Used previously against pirates off Somalia, this is the first time it has been used against civilians in the US. It is also currently being used by the military in Honduras .

The LRAD is manufactured by American Technology Corporation (ATCO), a San Diego-based company, which has also supplied it to the Chinese police. The company calls itself "a leading innovator of commercial, government, and military directed acoustics product offers" that offers "sound solutions for the commercial, government, and military markets."

There's a CrimethInc report of the Pittsburgh protests at Infoshop news

Musical Psych Ops in Kent

Poor Joe Strummer must be turning in his grave at the latest abuse of his music:

'A report into the policing of last year's Climate Camp demonstration [at Kingsnorth power station in Kent], to be presented today in parliament, has criticised Kent police for its apparent use of "psychological operations". To wake protesters during the week-long protest last August, police are accused of using vans to play loud music that included Wagner's Ride of the Valkyries and the theme from 80s sitcom Hi-de-Hi. On the final day of the protest the van departed and - in what was taken as a smug gesture of triumphalism - blasted out "I fought the law and the law won", the lyrics to the Clash's rowdy cover.

The report, launched by the Liberal Democrats, said the music seemed "an attempt to deprive attendees of sleep". The report also highlighted the police approach to participants of a "festival picnic" procession mostly made up of families and small children. A helicopter ordered them via loudspeaker: "Disperse now, or dogs, horses and long-handed batons will be deployed."'

[full story in today's Guardian]

More on Sonic Torture

In the new journal Nyx - a noctournal (produced by people associated with the Centre for Cultural Studies at Goldsmiths College, New Cross), Mark Teare writes A Chapter in the Secret History of a Musick Yet To Be:

'Music's abilities to connect with the emotions and to alter our psychological state are being exploited and perverted in a number of ways in a variety of locations, from office or commercial spaces to clandestine interrogation cells. What we generally consider to be a harmless form of creative expression becomes a tool, coldly employed in the manipulation and control of populations, numb from the constant stimulus of programmed information'.

Teare mentions a number of uses of music as instrument of torture/warfare: in Panama 1993, when invading US forces surrounding the building where the dictator/former US client Manuel Noriega was holed up where 'troops bombarded the embassy with constant loud heavy rock music in an effort to drive Noriega out'; in the same year at the FBI siege at Waco, Texas, where the Branch Davidians 'were treated to marathon sessions of loud music in order to disturb their sleeping patterns and break morale inside the camp'; and in Iraq during the Fallujah offensive in 2004 when 'US troops engaged in psychological operations' used 'high powered speakers mounted on tanks and humvees'to play 'AC/DC, Metallica, Led Zeppelin, Eminem and Barney the Purple Dinosaur at high volume for long stretches of time to disorientate and confuse the enemy'.

See also: Against Music Torture

Against Music Torture

Tempting as it is to make cheap jibes about the torture of having to listen to Limp Bizkit under any circumstances, musical torture is a serious business. Playing the same songs over and over again at high volume without a break - sometimes for weeks on end - might not leave any bruises but it's easy to see how it could literally drive somebody mad. There have been many reports of the use of this kind of torture across the world, including in the secret prisons run by the US and its allies.

So the new Zero dB campaign (zero decibels = silence) against musical torture launched this week by Reprieve is welcome. So too is the support for this campaign by the Musicians Union and musicians including Tom Morello of Rage Against The Machine (RATM), Massive Attack, The Magic Numbers and Elbow. It must be very dispiriting as a musician to know that your song is being used in this way, especially if, like RATM's Killing in the Name Of, the practice is the complete opposite of the song's sentiments.

Looking through the list of songs that have been used in torture, it appears that they fall into a number of categories. Some seem to have been chosen because of their aggressive sound - AC/DC, Metallica, Nine Inch Nails, Limp Bizkit, RATM etc. Others though seem to have been chosen for their saccharine banality - perhaps the contrast between children's TV themes like Sesame Street or Barney the Purple Dinosaur and the reality of being tortured is itself an assault on people's sanity.

Music from the death factory

Having recently come across the online journal Music and Politics (discovered via Normblog), I am working my way though some of its interesting articles. I would particular recommend Music in Concentration Camps 1933–1945 by Guido Fackler.

Fackler shows how music served as an instrument of terror -with guards forcing prisoners to sing on command for instance:

"Frequently, singing was compulsory even during forced labor. It was by no means unusual for singing to provide the macabre background music for punishments, which were stage-managed as a deterrent, or even as a means of sadistic humiliation and torture. Joseph Drexel in the Mauthausen concentration camp for instance, was forced to give a rendering of the church hymn ”O Haupt voll Blut und Wunden” (“Jesus’ blood and wounds”) while being flogged to the point of unconsciousness. Punishment beatings over the notorious flogging horse (the “Bock”) were performed accompanied by singing, and the same is true of executions".

Music provided a terrible soundtrack to extermination :

"Loudspeakers mounted on special vehicles were in use in Majdanek, an extermination camp, and from them poured unremitting dance music – fox-trot – during executions, the purpose being to confuse the victims of the genocide, to quieten them, and also to drown out the screams of the dying. Marching music was switched on in the Sachsenhausen concentration camp when people were being shot. Former SS-Medical Director Heinz Baumkötter admitted under interrogation that the purpose was “to ensure that the next prisoner did not hear the shot that killed his predecessor.” When deeds like these were perpetrated, music – usually accompanied by alcohol – was deliberately used to lower inhibitions and drown out any scruples or doubts the murderers might have had about their actions".

At the same time music could be a way for prisoners to affirm their humanity:

"Music on command was one thing. But musical activities resulting from the prisoners’ own initiative took on quite a different significance, whether the performance was for the musicians themselves or for their fellow-prisoners... Music gave the prisoners consolation, support and confidence; it reminded them of their earlier lives; it provided diversion and entertainment; and it helped them to articulate their feelings and to deal with the existential threat of their situation emotionally and intellectually. Even the least conspicuous ways of making music took on a deep significance in the concentration camp. In this way singing, humming, or whistling served not only as a relaxing way of passing the time, but also helped prisoners in solitary confinement, for instance, to overcome loneliness and fear".