DOCSLIB.ORG

Kultura Libre & Elektronika

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FRAKTURA KULTURA LIBRE & ELEKTRONIKA #1 EDITORIAL ESTA GACETA HA SIDO REALI- ZADA CON EL OBJETIVO DE RE- COPILAR EN UN MISMO VOLUMEN Y DIFUNDIR ENTRE GENTE CER- CANA AL FREETEKNO INFORMA- CIÓN SOBRE QUÉ ES, POR QUÉ SE HACE Y MOSTRAR LA GRAN DIVERSIDAD DE EXPRESIONES CREATIVAS QUE LO RODEAN. DE ESTA FORMA QUEREMOS LLEGAR TAMBIÉN A UN PúBLICO, QUE QUIZÁS POR SI MISMO NO SE INFORMARÍA O NO SABE DONDE INFORMARSE Y ASÍ PROFUNDI- ZAR Y ACLARAR IDEAS. VIEN- DO QUE AUN ESTA TAN DÉBIL EL MOVIMIENTO EN ESTE PAÍS, RESPECTO A INICIATIVAS DE ESTE TIPO, A DIFERENCIA DE FRANCIA, CHEKÍA O ITALIA DONDE ABUNDAN LIBROS, DOCU- MENTALES E INFORMACIÓN. EKREW. EN COLABORACIÓN CON C.O.K.O. “ LA KONDENADA” MADRID.NOVIEMBRE 2010 PARTE DE LA INFORMACIÓN, ASÍ COMO FOTO- GRAFÍAS, ESTÁN RECOPILADAS DE INTERNET O LIBROS, SI ALGUIEN SE SIENTE OFENDIDO POR NO HABER SIDO PREVIAMENTE CONSULTA- DO, ESPERAMOS QUE ENTIENDAN LA NATURALEZA DE DIFUSIÓN, DE CULTURA LIBRE, SIN ANIMO DE LUCRO (LA GRATUICIDAD DEL MISMO LO CONFIRMA) ASÍ COMO EL HECHO EN SÍ MISMO BENEFICIA A TODO EL COLECTIVO CREATIVO Un poco de historia//// Para comprender la filosofía del freete- libres, concentraciones multitudinarias kno hay que remontarse a manifestacio- de travellers, que duraban un tiempo in- nes de pensamiento que se han tenido a definido. El más famoso el festival libre lo largo de la historia: Desde los románti- de Stonehenge ( en el famoso conjunto conceptos cos, con su viaje en la búsqueda eterna monolítico ) organizado por Phil Russell, de un mundo idealizado; a la bohemia aka Wally Hope miembro de un grupo de artística del Paris de “fin de siecle” en XIX Anarco-Rock., empezó a obtener tanta y principios del XX que hundieron su vida popularidad que finalmente Margaret en el consumo de absenta tóxica como Tacher y su política decidieron acabar medio de inspiración; a las vanguardias por lo sano reprimiendo duramente y ¿Qué es artísticas como el surrealismo o el expre- cercando la zona, el organizador se sui- sionismo abstracto americano, con sus cidó tras problemas legales y mentales, experimentaciones para entrar en trance, lo que solo propició que el festival se Freetekno? así fuera aunque tuvieran que dejar de siguiera perpetuando y que se animara comer y dormir para provocarse alucina- más gente a participar. Freetekno o tekno libre es el nombre de ciones (Miró).; en los 50 una generación un movimiento cultural que está presente de escritores y poetas, la llamada “Gene- En los 80 aparece la música electró- sobre todo en Europa y America del norte. ración Beat”, rompe moldes en la moral nica y al fusionarse con el rock, mucha Principalmente se trata de grupos de per- yanki, haciendo apología del sexo libre de esta gente se adapta a los tiempos, Arriba: Desert Storm en Mipanas (Aragón) ‘00 sonas aficionadas a la música electrónica y el consumo de drogas. Con escritores surge el PsyTrance en Goa. Abajo: El bus de Okupé (FR) contemporánea de baile que se unen en como “W.Borroughs “ y Jack Kerouac, colectivos de afinidad, también suele refe- Llega el acid house desde Chicago y en rirse a la música que suena normalmente Este ultimo escribe para lo muchos una respuesta a un descontento con las fies- en una free party. biblia: “ On the Road”, famoso libro don- tas comerciales, a la superficialidad y la de narra sus viajes frenéticos atravesan- mafia que rodeaba a estas, músicos, ar- Algunos (Que no necesariamente) de es- do ee.uu. de costa a costa y sin motivo tistas, squatters, punks, travellers deci- tos grupos, con posiciones “políticas” den- aparente, más que, la necesidad de vivir. den unirse y empezar a organizar fiestas tro del ideario de autogestión y autonomía, Éste libro ha influenciado muchísimo en el ilegales, su máxima expresión: el Tek- siguien la idea de liberación de espacios pensamiento contemporáneo, e influenció nival, donde se reunían cientos de sis- del anarquismo ontológico de “Hakim directamente al movimiento hippie, quie- temas de sonido, y miles de personas, Bey” con una connotación anticomercial nes heredaron sus ideas, consumiendo heredando la filosofía de los festivales y de búsqueda de otro concepto de fiesta, marihuana y lsd, practicando un amor libres, pero adaptadas a los tiempos que con una ausencia de ego, centrada en la libre así como teniendo una conciencia corrían. Un conjunto ecléctico de perso- música y en la comunidad. Normalmente social como el feminismo, la igualdad nas con un mismo grito de libertad. (aunque no necesariamente) organizan racial, antibelicista (guerra de Vietnam) fiestas en lugares como, campos abiertos, etc… Cuando en el verano del amor del En 1992 en el teknival de Clastlemor- bosques o edificios abandonados. Debido ’69, tras la masificación y comercializa- ton, son detenidos los miembros organi- a que las fiestas de freetekno son usual- ción como una moda más y la criminaliza- zadores: “Spiral Tribe” y se impone una mente hechas de forma ilegal sin permiso, ción del mismo por el gobierno de Nixon ( dura ley, que imposibilitara que vuelvan es común que se encuentren con la repre- aprovechando los crímenes de la Manson a producirse free partys al aire libre en sión policial . Family), hubo muchos que se exiliaron Inglaterra. Esto provoca un éxodo de los viajando por todo el mundo en especial a miembros Spiral tribe, por todo el mun- La música suele ser muy rápida, normal- Goa (India) o Ibiza. do, transmitiendo con una energía infini- mente entre 180 y 200 bpms y se caracte- ta su música y su filosofía. Así… se pro- riza por un potente bombo muy repetitivo. Con el paso del tiempo, con estos anti- pago el virus. Haciendo especial mella guos viajeros y los nuevos, se da un fe- en Francia donde ha desembocado en Entre los géneros que principalmente se nómeno sociológico contemporáneo, “los los mayores productores independientes escuchan en las fiestas freetekno están nuevos nómadas” o más bien llamados de música por y para el movimiento free hardtek tribe, breakcore, gabber, jungle, la “ New Age Travellers” de Reino Unido tekno tribe. Pero no se han quedado cor- psytrance, speedcore, terrorcore, acid te- que conforman tribus de personas, que tos países como Republica Checa, Italia, kno y techno. Hay que matizar que cada vivían en camiones o autobuses antiguos Hollanda, Alemania etc… estilo luego tiene sus ramificaciones, en transformados en casas y haciendo una otros estilos y subestilos de a veces difícil vida en la carretera…de festival en festi- Y finalmente llego a España. clasificación. val. Aquí es donde surgen los festivales tratando a seguridad privada, gogos Cuando los y elementos que solo se le ocurriría a un empresario. Todos los fines de se- camiones mana había fiestas en el mítico mo- nasterio de Perales del Río, colecti- vos que pasaban sin pena ni gloria y empezarón que podían organizar un par de fies- tas y después desaparecer del mapa. a llegar////// Mención aparte tienen las RDT ( rave del túnel) unas fiestas gigantes en las Lo cierto es que desde marzo de 1993 en UK. Y se sucedían las visitas a la ciudad que podían juntar a miles de perso- han dejado su huella Spiral Tribe orga- condal de travellers como Cirkus Alien, Kernel nas, que realmente tenían su merito, nizando una fiesta en el “Kasal Popular Panik, Mikro etc… pero el ambiente era tal, que podías Flora”de Valencia, presentándose como el ver descapotables aparcados y chi- primer cirko tekno (adjunto el flyer de esta ¿Y que pasaba en Madrid? Bueno en Madrid cas intentando no partirte un tobillo fiesta) Después se han sucedido más de teníamos a los míticos zapatilla sound system, mientras hundían sus tacones en el las que hay constancia investigando en la a Narkolepsia , grupos de psytrance, y la cita barro. Esta claro que por lo que fuera web. Fiestas del 96, 97, con Metek y Ubiq del año en el contrafestival que se organizaba aquí estábamos aislados, no había montando en Bilbao y sobretodo en Giro- en los alrededores del FestiMad en Mostoles. conexión, no había contactos y a pe- na + algún que otro intento de teknival. Fuera de eso, todo eran raves de gente que sar de ser la capital y de la cantidad solo creían en ello como medio para llegar al- de gente que vivimos aquí , aun ten- El que quizás tenga más importancia en gún día a pinchar en un club de moda , con- drían que pasar años para que llega- dar el gran paso fue el soundsystem lon- ra la influencia traveller . dinense Desert Storm Que tras realizar fiestas en el pueblo okupado “Mipanas Paulatinamente con los años la es- (Aragón)” en el año ’00 y en Badalona Bar- cena fue creciendo, en Barcelona se celona, será aquí donde más inoculara en sucedieron lugares de fiesta continua virus, al hacer un fin de año junto a Lego como Moncada, o squats como Pe- ( Viena) , Subsound, Hekate, y miembros rros Lunatikos, la Makabra, o Fraca- de soundconspiracy, una fiesta enorme en so Eskolar. En 2004, se intento hacer un polígono abandonado cerca de la fábri- un festival libre totalmente ilegal, de ca de las tres chimeneas, que tanto forma tres días en pleno Barcelona llama- parte del skyline d bcn ¡ duró una semana do Dform el cual incluía espectáculos ! Esto cambió el punto de vista de la gen- de todo tipo, desde conciertos de te de Barcelona, que nunca habían visto rock, a cirko, a actividades para ni- algo parecido, empapándose en un nuevo ños, con un despliegue espectacular concepto de fiesta, surgiendo nuevos co- de medios y organización, pero fue lectivos autóctonos. ¿ Y que es lo que ha- desalojado por los mossos de esqua- bía antes y después en la escena? Había dra antes de que tuviera éxito.
Recommended publications
  • On Being Watched …!

    On Being Watched …!

    ON BEING WATCHED …! All about my ‘Big Brother’ http://www.gn.apc.org/tash On being watched ……… all about my ‘Big Brother’ 1 CCoonntteennttss IIInntttrroo …… 55 SSeeccuurriiitttyy SSeerrvviiicceess AAccttt eetttcc …… 55 SSoommee oofff ttthhee sstttoorryy ssoo fffaarr ......... 77 OOppeerraatttiiioonn SSoolllsstttiiiccee …… 88 OOppeerraatttiiioonn NNoommaadd …… 1100 OOppeerraatttiiioonn SSnnaappsshhoottt …… 1111 FFoorrwwaarrdd IIInnttteelllllliiiggeennccee TTeeaammss …… 1133 EEnnvviiirroonnmmeenntttaalll PPoollliiicciiinngg …… 1155 CCCCTTVV aanndd ttthhee MMaannddrraakkee ssyyssttteemm …… 1166 MMiiinniiiaatttuurree ssuurrvveeiiillllllaannccee ccaammeerraass aanndd ddeevveelllooppmmeenntttss …… 1199 MMiiinniiiaatttuurree ssuurrvveeiiillllllaannccee ccaammeerraass aappppllliiieedd ccoovveerrtttlllyy …… 2200 EEvviiiddeennccee …… 2211 MMaanniiippuulllaatttiiioonn oofff ttthhee mmeeddiiiaa …… 2211 WWeerree iiiss aallllll ttthhiiiss ggooiiinngg .........?? 2255 WWeebb SSiiittteess …… 2288 On being watched ……… all about my ‘Big Brother’ 2 "It's not the big battalions that win battles, it's the best shots" Voltaire On being watched ……… all about my ‘Big Brother’ 3 IIInntttrroo …… "It's not paranoia .… if they're really after you …! n recent years, surveillance techniques have been developed, they say, for the Icatching of criminals in criminal acts, further, to provide evidence for their prosecution. I think society at large would argue, that that's fair enough. Fingerprint detection, after all, seems to be acceptable to most! Now, however, these
  • UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music

    UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà Di Scienze Matematiche, Fisiche E Naturali Intelligent Dance Music

    UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Scienze Matematiche, Fisiche e Naturali Corso di Laurea in Scienze e Tecnologie della Comunicazione Musicale Intelligent Dance Music: analisi formale comparativa tramite reti di Petri Relatore Ing. Luca Andrea Ludovico Correlatore Dott. Adriano Baratè Tesi di Laurea di Elena Melcarne Matr. 678930 Anno Accademico 2007-2008 1 2 Ringraziamenti Ringrazio, prima di tutti, i miei genitori che in ogni istante hanno saputo garantirmi la fiducia ed il sostegno senza i quali non sarei arrivata fin qui. Ringrazio anche i miei fratelli, Barbara e Stefano, che mi hanno premurosamente accudito e supportato sin da piccola e, per i loro saggi consigli nei momenti più critici della mia carriera universitaria. Ringrazio il Dott. Adriano Baratè e l’Ing. Luca Andrea Ludovico per la loro disponibilità e cordialità. Un grazie particolare anche a Dario, amico caro, che non ha mancato di essermi vicino nonostanze la distanza. Infine, un grazie a Francesco per essermi sempre accanto. Per il suo grande aiuto nella stesura della tesi e soprattutto perché contribuisce, di giorno in giorno, a saziare la mia curiosità musicale. 3 Indice Premesse 1 1 Musica elettronica: dalle origini ai nostri giorni 3 1.1 Introduzione ............................................................................................ 3 1.2 Russolo e l’arte dei rumori ..................................................................... 4 1.3 Musica elettronica di matrice colta ........................................................ 7 1.3.1 Da Parigi a Colonia: Musique concrète e elektronische Musik ................................... 8 1.3.2 Il minimalismo classico ........................................................... 11 1.4 Una nuova concezione di musica elettronica ..................................... 12 1.4.1 La metamorfosi dell’elettronica ........................................... 13 1.5 Chicago e Detroit: dalla house alla techno .........................................
  • Origin Al Ar Ticle

    Origin Al Ar Ticle

    Journal of Nursing, Social Studies, Public Health and Rehabilitation 3–4, 2011, pp. 264–269 MOTIVATION FOR USING ILLEGAL DRUGS AT FREETEKNO PARTIES Alena Kajanová1, Aneta Klečacká2 1University of South Bohemia, Faculty of Health and Social Studies, České Budějovice, Czech Republic 2A student of MUNI in Brno, branch of study – social work, Czech Republic Submitted: 2011-03-02 Accepted: 2011-09-12 Published online: 2011-12-15 Abstract The knowledge acquired about the freetechno subculture by the general public in the Czech Republic has been obtained exclusively through its negative image associated with consumption of socially illegal drugs as it is depicted in the mass media and which has also been substantiated with results of addictological and sociological surveys. The objective of our paper is to identify whether there is a connection between the type of drugs used at freetekno parties and the freetekno subculture in the sense of subjectively perceived connection between the type of used drugs and the specific type of a dance party. Another objective is to outline whether the possibility to buy/use a drug represents the priority motivation for visiting a party or only makes the atmosphere of an even as such complete. We selected the qualitative research, techniques of semi-structured interviews and participant observation in the party environment as the research method. The research set comprised of participants in randomly selected freetekno parties (N=10). The results of the research show that music and the overall atmosphere of an event with an accent on its tribal character are stated by respondents as the principal motivation for visiting a party.
  • From No Future to Delete Yourself (You Have No Chance to Win)

    From No Future to Delete Yourself (You Have No Chance to Win)

    Journal of Popular Music Studies, Volume 25, Issue 4, Pages 504–536 From “No Future” to “Delete Yourself (You Have No Chance to Win)”: Death, Queerness, and the Sound of Neoliberalism Robin James University of North Carolina, Charlotte Introduction Death is one of the West’s oldest philosophical problems, and it has recently been the focus of heated debates in queer theory. These debates consider the political and aesthetic function of a specific concept of death— death as negation, failure, an-arche, or creative destruction. However, as Michel Foucault (1990) argues, death is an important component of the discourse of sexuality precisely because it isn’t a type of negation. The discourse of sexuality emerges when “the ancient right to take life or let live was,” he argues, “replaced by a power to foster life or disallow it to the point of death” (Foucault 138).1 “Sexuality is the heart and lifeblood of biopolitics” (Winnubst 2012: 79) because it—or rather, as other scholars like Laura Ann Stoler (1995), LaDelle McWhorter (2009), and Jasbir Puar (2013) have demonstrated, racialized sexuality—is one of the main instruments through which liberalism “fosters” or “disallows” life. So, insofar as it pertains to sexuality, death isn’t a negation or a subtraction of life, but a side effect of a particular style of life management. In late capitalist neoliberalism, “death” only appears indirectly, not as a challenge to or interruption of life, but as its unthinkable, imperceptible limit.2 What are the theoretical, political, and aesthetic implications of neoliberalism’sreconceptualization of death as divested, or “bare,” life?3 What if we reframe ongoing debates about queer death, futurity, and antisociality by replacing the punk metaphorics of “No Future” with the cyberpunk/digital hardcore mantra “Delete Yourself (You Have No Chance To Win)”? Asking the question in this way, I use some methods, concepts, and problems from queer theory to think about a few pieces of music; I then use my analyses of these musical works to reflect back on that theory.
  • Neotrance and the Psychedelic Festival DC

    Neotrance and the Psychedelic Festival DC

    Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival.
  • Politizace Ceske Freetekno Subkultury

    Politizace Ceske Freetekno Subkultury

    MASARYKOVA UNIVERZITA FAKULTA SOCIÁLNÍCH STUDIÍ Katedra sociologie POLITIZACE ČESKÉ FREETEKNO SUBKULTURY Diplomová práce Jan Segeš Vedoucí práce: doc. PhDr. Csaba Szaló, Ph.D. UČO: 137526 Obor: Sociologie Imatrikulační ročník: 2009 Brno, 2011 Čestné prohlášení Prohlašuji, ţe jsem diplomovou práci „Politizace české freetekno subkultury“ vypracoval samostatně a pouze s pouţitím pramenů uvedených v seznamu literatury. ................................... V Brně dne 15. května 2011 Jan Segeš Poděkování Děkuji doc. PhDr. Csabovi Szaló, Ph.D. za odborné vedení práce a za podnětné připomínky, které mi poskytl. Dále děkuji RaveBoyovi za ochotu odpovídat na mé otázky a přístup k archivu dokumentů. V neposlední řadě děkuji svým rodičům a prarodičům za jejich podporu v průběhu celého mého studia. ANOTACE Práce se zabývá politizací freetekno subkultury v České Republice. Politizace je v nahlíţena ve dvou dimenzích. První dimenzí je explicitní politizace, kterou můţeme vnímat jako aktivní politickou participaci. Druhou dimenzí je politizace na úrovni kaţdodenního ţivota. Ta je odkrývána díky re-definici subkultury pomocí post- subkulturních teorií, zejména pak Maffesoliho konceptem neotribalismu a teorie dočasné autonomní zóny Hakima Beye. Práce se snaţí odkrýt obě úrovně politizace freetekno subkultury v českém prostředí pomocí analýzy dostupných dokumentů týkajících se teknivalů CzechTek, CzaroTek a pouličního festivalu DIY Karneval. Rozsah práce: základní text + poznámky pod čarou, titulní list, obsah, rejstřík, anotace a seznam literatury je 138 866 znaků. Klíčová slova: freetekno, politizace, dočasná autonomní zóna, DAZ, neo-kmen, neotribalismus, CzechTek, subkultura, post-subkultury ANNOTATION The presented work focuses on the politicization of the freetekno subculture in the Czech Republic. The politicization is perceived in two dimensions. The first dimension is the explicit politicization, which could be represented as the active political participation.
  • House, Techno & the Origins of Electronic Dance Music

    House, Techno & the Origins of Electronic Dance Music

    HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines.
  • Drug Use at Free Parties: Field Survey 2012

    Drug Use at Free Parties: Field Survey 2012

    2015/ 15 / 2 ORIGINAL ARTICLE Drug Use at Free Parties: Field Survey 2012 NOVOTNÁ, P.1, VACEK, J.2 1Prague College of Psychosocial Studies, Prague, Czech Republic 2Department of Addictology, First Faculty of Medicine, Charles University in Prague, and General University Hospital in Prague, Czech Republic Citation: Novotná, P., Vacek, J. (2015). Užívání návykových látek na freeparties: terénní dotazníkové šetøení 2012. Adiktologie, 15(2), 150–162. BACKGROUND: Standard quantitative research analys- recruited at four free parties in the period from April to Au- ing drug use at dance events (e.g. the “Dance and Drugs” gust 2012. RESULTS: Alcohol, tobacco, and marijuana had survey) does not provide specific information about drug been used by at least 70% of the respondents during the use at free parties. AIMS: The goal of this paper is to create past year. Other substances included hallucinogens (63%), a comprehensive survey of drug use at free parties sup- stimulants, ecstasy, GHB, and synthetic piperazine (59%), ported by the results of a questionnaire survey. DESIGN poppers (~12%), and opiates (~9%). CONCLUSIONS: AND MEASUREMENTS: The questionnaire was distrib- The prevalence rates identified by our survey are in many uted directly at free parties in order to collect data, which cases higher than those yielded by the “Dance and Drugs were subsequently analysed using standard mathematical 2007” survey. For example, major differences were found statistical techniques. PARTICIPANTS: The sample con- for the annual prevalence of LSD (53% vs. 21%) and magic sists of 127 non-randomly selected (available) respondents mushrooms (48% vs. 20%). KEY WORDS: DRUG USE – EPIDEMIOLOGY – FREE PARTY – FREETEKNO – PREVALENCE – YOUNG ADULTS Submitted: 19 / JUNE / 2014 Accepted: 26 / AUGUST / 2015 Grant support: This paper was made possible by institutional support from Charles University in Prague as part of the PRVOUK-P03/LF1/9 programme.
  • Atari Teenage Riot Reset Mp3, Flac, Wma

    Atari Teenage Riot Reset Mp3, Flac, Wma

    Atari Teenage Riot Reset mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Reset Country: UK & Europe Released: 2015 Style: Hardcore, Industrial, Electro, Noise, Experimental MP3 version RAR size: 1594 mb FLAC version RAR size: 1256 mb WMA version RAR size: 1938 mb Rating: 4.9 Votes: 236 Other Formats: VQF TTA DMF MP2 VOC MP1 AUD Tracklist 1 J1M1 3:15 2 Street Grime 3:12 3 Reset 4:28 4 Death Machine 3:55 5 Modern Liars 4:03 6 Cra$h 3:43 7 New Blood 3:51 8 Transducer 5:21 9 Erase Your Face 6:15 10 We Are From The Internet 4:52 Companies, etc. Phonographic Copyright (p) – Digital Hardcore Recordings (DHR) Copyright (c) – Digital Hardcore Recordings (DHR) Published By – Digital Hardcore Music Recorded At – The Hellish Vortex Studios Mastered At – Calyx Mastering Credits Vocals – Rowdy SS* Vocals, Music By, Producer – Alec Empire, Nic Endo Barcode and Other Identifiers Barcode: 690261004529 Label Code: LC11028 Mastering SID Code: IFPI LV26 Matrix / Runout: 00095 53647 213 01 * 53647216 Matrix / Runout (Mould text): A Other versions Category Artist Title (Format) Label Category Country Year Atari Reset (CD, BRC-413 Teenage Beat Records BRC-413 Japan 2014 Album) Riot Atari Reset (CD, Digital Hardcore UK & none Teenage Album + Box, none 2015 Recordings (DHR) Europe Riot Ltd, S/Edition) Digital Hardcore Atari DHRCD45P, Reset (CD, Recordings (DHR), DHRCD45P, UK & Teenage 2015 DHRCD45 Album, Promo) Digital Hardcore DHRCD45 Europe Riot Recordings (DHR) Comments about Reset - Atari Teenage Riot Anayalore What's the world coming to if even Atari Teenage Riot sells out? Congratulations on taking a giant turd on everything you ever stood for..
  • Ffiffiffiffi*O*M% I.%Ff, Pesgf#Ffii"T$

    Ffiffiffiffi*O*M% I.%Ff, Pesgf#Ffii"T$

    &" gr I $ & r gcfuq.1 1GT.uG:' ss,jj o -Y bqrtd-Li"{; oE ffiffiffiffi*o*m% i.%ff, pesgf#ffii"T$ utr) tt, O L \B-) 8^t-b:a *t cE -.THE M&If$ ORCANJI BERS- Ss 1 a 3 c o) c o rgs -u g? it ".; \., PE i<s.' €'d S E.b <oP TQ- r-a6 ?iclore \ Su.a.to.o- d ,9 9; 96 L Ea d go-a gL 3e 'sg sll'g-'a) qf i O:\6 E turl*"f q XgE F f 3 fi refe lrrrP : /l wwu. fodl f,este'' ' "A ennoll f;anue,ro @ rnad.prk@g *k. corw €moTl Strzonra @ Sous!'es dJhot^olt - cor j; d Ladyfest, Ladyfest, Ladyfest, ... What is all this fuss about? You may ask? \{ell, if you stiil havenot heard about it, your grrl-head was under the crowds for the past 16 months at least (or are you one of thosc Hole fanatics that think rioting is putting on eye-liner?). LSDJrrr* ntH,Arrs Ii.ayfedts tttg current happening gathering for worldwide (feminisVactivi st/or just loudmouthed and opinionated) female artists. Born in 2000 with the great efforts of a team of ladies some of us know from bands and labels we cherish, this festival has had successions all over the Us and recently, in Europe. The first European one was in Glasgow, in August 2001. From these two fests, teams were born of more ladies that wanted to bring Ladyfest to their city. For, Ladyfests should be everywhere! For more info on what will happen in2002, go to: www.ladyfest.org and www'ladyfesteurope.org What happens at a Ladlfest? The basic concept of a Ladyfest is: to celebrate female talent in all its forms.
  • Insufficient Funds Summer School Scenes

    Insufficient Funds Summer School Scenes

    TheUWM JUNE 1,1999 PosServing the UWM Community sincet 1915 Vol.43,N°3 Insufficient funds Summer school scenes Post photos by Sampson Parsons Students annoyed by Union ATMs By Angela McManaman "I needed to make a vitally im­ portant deposit and the thing was Sal Fricano is tired of waiting in out of envelopes," Harwood said. line. "The Sandburg ATM isn't bro­ It's5p.m. on a Wednesday after- ken alot,butitis often out of cash," noonjust before the start of finals she added. and the sophomore has friends Time for some new machines? waitingin the Gasthaus—he wants Students are not the only ones to get his money andleave. Unfor­ who notice the ATM service on tunately, one of the Student campus. Union's two automatic teller ma­ "I don't know why they are ex­ chines isn'tworking. periencing a greater frequency of "I think we should all put our out of order," Auxiliary Services money in shoe" boxes, because Director of the Union, Elmer these ATMs aren'treliable,"saida Hamann, said early last month. disgruntled Fricano. "But I have seen the lines. From In all fairness to the automatic my personal observation, I think teller machines (ATM), Fricano thatitprobably is time for another doesn't like computers anyway— ATM." but he is not alone in his grum­ However, in April the UW Credit bling. The university currendy has Union, the university's sole ATM three Fujitsu Series 7000 ATMs on service provider, decided that an­ campus to service its 23,000 stu­ other campus ATM was notfeasible dents and staff and faculty mem­ at that time, according to Union bers, leavingsome users to wonder Director Tim Wilmot.
  • Alternative Spaces in Post-Socialist Prague

    Alternative Spaces in Post-Socialist Prague

    Michaela Pixová: Struggle for the Right to the City: Alternative Spaces in Post-Socialist Prague UNIVERZITA KARLOVA V PRAZE Přírodovědecká fakulta Katedra sociální geografie a regionálního rozvoje Michaela Pixová STRUGGLE FOR THE RIGHT TO THE CITY: ALTERNATIVE SPACES IN POST-SOCIALIST PRAGUE BOJ O PRÁVO NA MĚSTO: ALTERNATIVNÍ PROSTORY V POST-SOCIALISTICKÉ PRAZE Ph.D Thesis The Supervisor: Doc. RNDr. Luděk Sýkora, Ph.D. Prague 2012 Michaela Pixová: Struggle for the Right to the City: Alternative Spaces in Post-Socialist Prague Declaration I declare that this dissertation is my original work conducted under the supervision of Doc. RNDr. Luděk Sýkora, Ph.D. All sources used in the dissertation are indicated by special reference in the text and no part of the dissertation has been submitted for any other degree. Any views expressed in the dissertation are those of the author and in no way represent those of Charles University in Prague. The dissertation has not been presented to any other University for examination either in Czechia or overseas. In Prague, July 30, 2012 ……….…………………… Signature i Michaela Pixová: Struggle for the Right to the City: Alternative Spaces in Post-Socialist Prague Acknowledgement This dissertation could not have been carried out without the help and support of many people. To name all of them would require a long list, and therefore I would like to acknowledge in particular the ones whose help was indispensable to my research and for the production of this thesis. Most of my thanks go obviously to my supervisor, Luděk Sýkora, who not only provided my research with the much needed expertise, but also featured as an invaluable source of inspiration, encouragement and mental support.