History of House Music Doco Video


‘RESPECT’ New York Disco and Classic House Warehouse Party, Sat 20 Mar, Sydney CBD + Maestro and History of House Music Doco Video


Respect-Flyer-Website

Venue Details: Loft/Warehouse Space in Sydney CBD, 5 mins from central station, Check here on the week for venue details

Date: Mar 20th 2009

Music: Soul, Disco, Classic House & Detroit Techno

Tickets: $10+ BF or delivered through soulofsydney@gmail.com

Contact Info: PH: 0415 164 425 E: soulofsydney@gmail.com

HYS & Our House present another inner city loft/warehouse party:

‘RESPECT’, … returns for another ride into Sydney’s underground house scene!!

In an inner city personal loft/warehouse space, expect to dance till sunrise to some of the great moments in ‘House’ music over the last 30 years.

Music selectors on the night: GK playing a (Birthday set!), Mr , Phil Toke &Mikecon.

Moved by groundbreaking DJ’s & Producers including; David Mancuso,Larry Levan, Frankie Knuckles, & Danny Krivit… Expect the RESPECT DJ’s to pay respect to their musical spirit, while paying homage to the HISTORY OF HOUSE MUSIC & its beautiful roots.

Expect a trip through the early days of New York DISCO to Chicago HOUSE & Detroit TECHNO to warm up the dance floor,

Everything & everyone is welcome on our dance-floor!! Continue reading

Antibalas Afrobeat Orchestra, Gilles Peterson & James Locksmith (Jembe Music) , Thursday March 4 @ Manning Bar Sydney Uni


Niche Presents:


Antibalas Afrobeat Orchestra & Gilles Peterson

Thur March 4th

Manning Bar Sydney Uni

Supported by: James Locksmith (Jembe Music)

Info/Tickets:

Mixes:

  1. Gilles P on ‘The Soul Show‘1994 Sydney,2RES
  2. Gilles P dance-floor jazz set for Brownswood Records

Niche Productions Presents: This 11 piece live afrobeat/funk/soul/latin band is simply one of the best live bands in the world and features eleven of the hottest and baddest musicians New York has to offer.


This is high energy, rhythmic, contagious and political music that turns your shoes into dancing machines and your hips into a frenzy. Antibalas has been a fixture at the crossroads of international music since their humble Brooklyn beginnings in 1998. As a group entity, they are largely responsible for reviving and innovating an obscure but dynamic style of music known as afrobeat, tirelessly spreading its gospel to over thirty countries around the world, from New York’s Rikers Island Prison to the stage of Carnegie Hall, from Tokyo to Turkey.


As collaborators, they have worked with artists such as Paul Simon, TV on the Radio, Baaba Maal, Burning Spear, Public Enemy, The Roots, Angelique Kidjo, Sinead O’Connor, and Medeski, Martin and Wood. In addition, members of Antibalas have made their imprint on recordings by Mark Ronson, Ornette Coleman, Amy Winehouse, Beck, The Foals, Sharon Jones and the Dap Kings, and countless other bands from underground to multi-platinum, spanning the genres of funk, jazz, soul, rock, and experimental music

In 2009, members of Antibalas have arranged the music for, and are also performing on Broadway in FELA! a musical about the African icon and afrobeat pioneer Fela Kuti.

Antibalas – War is a Crime

Antibalas – Big Man Live at The Yerba Buena Center Gardens, San Francisco, CA. June 29, 2004

Gilles Peterson is one of BBC1’s favourite presenters, with his blessing deeming an artist worldwide success. From humble beginnings as an acid jazz DJ to hosting one of the most popular radio shows worldwide, Gilles has been responsible for aiding the careers of many of the musicians around today.

In 2006 Gilles launched his most recent record labal ‘Brownswood Recordings’ after the street he used to live on. To date the label has released records by British singer/songwriter Ben Westbeech, 45 piece live act The Heritage Orchestra, Japanese punk jazz band Soil & “Pimp” Sessions, Brooklyn based pianist Elan Mehler, jazz vocalist José James, and two volumes of a soulful compilation album series called Brownswood Bubblers.


Releasing over 30 mixtape albums to date, Gilles Peterson is perhaps one of the most famous DJs on the planet, and is a regular feature at festivals all over the world.

Check out this rare live recording of Gilles in Sydney on The Soul Show, 2RES, 1994

Also check this wicked dancefloor jazz set he played for Brownswood Records @ iLL Communications 9th April

Check out Gilles Peterson Interview @ SubSub

Talks about some great interview’s, music sources and internet radio

Thursday 4 March, a night not to be missed as the finest live and DJ acts take to the stage for a party the likes of the Manning Bar has never seen! Tickets on sale Wednesday 3 February from manningbar.com, moshtix.com and all moshtix outlets.

Special guest DJ, James Locksmith (Jembe Music).

LOVE THE BEAST Mixtape by Hau Latukefu


If you’ve been wondering what Aria award winning Hip-Hop act Koolism are doing with their downtime besides recording their new album or rest and relaxation, I have three words for you: LOVE THE BEAST!  Hau’s itch to write and record during Koolism’s downtime period has manifested into this carefully crafted mixtape project released on Valentines Day – his first ever solo venture. Without revealing too much, this mixtape serves Love on jacked up beats, that will leave heads nodding and bodies moving. Love the Beast is not heart wrenchingly deep where you want to jump out of a building as a grandiose gesture to your beloved, rather it is more  a celebration of those in his life that inspire him through love including his long love affair with music.  Showcasing his lyrical agility, vocal ability as a soulful singer and spoken word poetry, Hau’s confessions are confident, certain, light, fun, warm and energetic –  the many shades of love.

In his own words, “The ‘Love the Beast’ mixtape is just a compilation of solo material I’ve been working on on my downtime from Koolism. I enjoy just writing and recording period, so with the Koolism album not coming out for at least a few months, I thought I’d throw some tunes out into the ether in the form of a mixtape for people, other than myself, to enjoy. And what better day to drop it than on Valentine’s?”

Download LOVE THE BEAST free which you can also find on his blogsite http://hauiebeast.blogspot.com/

Just a Koolism teaser….

Koolism are back in the studio working hard on their new album entitled “The Umu” which is set to be released in a few months time. Here is a behind the scenes look at production with Danielsan providing a rare glimpse into their world of creation. The making of ‘Have/Have Not’ behind the scene features spine tingling vocal harmonies featuring Mahalia Barnes and a host of other back up vocalists laying down what sounds like a very dope track indeed!

Playground Weekender 2010: Set Times,Ferry Times,Highlights & Map


Here is some of the highlights from 2009’s Playground Weekender.

‘Big Love to all who shared the dance floors with us over the few days at playground weekender 2009 & Thanks for the memories.

You ARE the SOUL OF SYDNEY’ !


Music Edits By Soul Of Sydney

Chic – Good Times
Richie Haven- Going Back To My Roots
The Source & Candy Staton- You Got The Love

——————————————————————-

Be sure to come check out the 4 days for magic again this year, set times here MAP here & more info here

See you on the muddy dancefloor!!!

Ferry Times:
Thurs – 1st ferry 11.30 am last ferry from Wiseman’s midnight on Thurs
Friday – 1st ferry 8.00 am & last ferry 02.00 am
Saturday – 1st ferry 08.00 am & last ferry 02.00 am
Sunday -1st ferry 08.00 am and last ferry 01.00 am
Mon – 1st ferry 06.00 am and last ferry 01.00 pm

Soul Of Sydney Loves YOU!

Soul Of Sydney#5 'A Lesson In Love': Valentines Day Soul, Funk & Hip Hop Mix By DJ Mo'Funk


Our podcast this week is a special one presented by Sydneys own DJ Mo’Funk (Facebook, Soundcloud, Twitter), featuring 50+ Soul, Funk & Hip Hop loved up jams put together just for valentines day for all you lovers around town.

Mo decided to put together a unique & rare dj mix, something he has never done but has always fancied putting together one day, this week seems very fitting to make something like this happen!

Plenty of soul legends represented here, expect everything from D’angelo,Teddy Pendergrass,Erykah Badu,The Isley Brothers,Michael Jackson,Sade,Bobby Caldwel  just to name a few.

Enjoy!

Download: Here

Email: soulofsydney@gmail.com

Tracks

01 – Common / Teddy Pendergrass – “Intro” (instrumental) / “Love TKO”
02 – Jamiroquai “Talulah”
03 – The Shelltoes “Don’t Explain”
04 – Joe “And Then…”
05 – Naked Music NYC “3 A.M.”
06 – Erykah Badu “On & On” Continue reading

Soul Of Sydney#5 ‘A Lesson In Love’: Valentines Day Soul, Funk & Hip Hop Mix By DJ Mo’Funk


Our podcast this week is a special one presented by Sydneys own DJ Mo’Funk (Facebook, Soundcloud, Twitter), featuring 50+ Soul, Funk & Hip Hop loved up jams put together just for valentines day for all you lovers around town.

Mo decided to put together a unique & rare dj mix, something he has never done but has always fancied putting together one day, this week seems very fitting to make something like this happen!

Plenty of soul legends represented here, expect everything from D’angelo,Teddy Pendergrass,Erykah Badu,The Isley Brothers,Michael Jackson,Sade,Bobby Caldwel  just to name a few.

Enjoy!

Download: Here

Email: soulofsydney@gmail.com

Tracks

01 – Common / Teddy Pendergrass – “Intro” (instrumental) / “Love TKO”
02 – Jamiroquai “Talulah”
03 – The Shelltoes “Don’t Explain”
04 – Joe “And Then…”
05 – Naked Music NYC “3 A.M.”
06 – Erykah Badu “On & On” Continue reading

ERYKAH BADU AUSTRALIAN TOUR PETITION!


ERYKAH BADU AUSTRALIAN TOUR PETITION

It’s time to make some noise for one of the pioneers of the Neo Soul movement – ERYKAH BADU! From the lady that brought us classics like “Didn’t Cha Know”, “Bag Lady”, “I Want You”, “Ye-Yo”, “On&On”, “Tyrone” and “Love of My Life (Hip Hop)”, Erykah Badu has made an indelible mark in the music industry not only as a creative genius, but as an original artist in a league of her own.  Badu seamlessly fuses organic sounds of  African rhythms, to Hip Hop, to Jazz, Soul to Funk. As a mother, singer/songwriter, producer and entertainer she can hypnotize an audience without the overbearing  trait of preaching a movement – she just lives it.

After rumours of having been denied to perform for Peats Ridge Festival 09/10, a petition has been created via Facebook to let major promoters know that there is a fanbase in Australia. The petition aims to make some waves in the industry with the desired outcome of a future Australian tour! Her new album NEW AMERYKAH Pt.II: Return of the Ankh will be released on the 25th of February, 2010 which sees her collaborate with multiple artists from Jay Electronica, 9th Wonder, Shafiq Husayn of SA RA, Madlib, Georgia Anne Muldrow, Lil Wayne and Bilal to name a few. Honorable mention goes to J DILLA for the use of his production  beyond the grave in the collaboration track entitled ‘LOVE’.

The Erykah Badu petition in essence is all about music – her music, and the heart of the petition is YOU – her fans. Music is our universal language. You know it. I know it. It’s that knowing smile we’ve all experienced. Sometimes we wish the world could take it’s time with us. But it doesn’t. Music is the only thing that can make us take control and say ‘world, you gotta wait…cos my jams on!’

It’s the tingles, the goosebumps, it’s the headnod, it’s the smile….it’s losing ourselves in the moment….it just is.

Music speaks, moves, inspires, instills faith, HEALS and encourages strength through boldness!!

LET’S BE BOLD!

Join the Facebook petition by clicking on the link below and help make some noise by being apart of this cause:

ERYKAH BADU AUSTRALIAN FACEBOOK PETITION

Our efforts combined can make it happen – this is not possible without YOU! Let’s make some noise!!

Download the mixtape below!

Soul Symphony II: An Ode to Erykah Badu mixed by Kavi-R

Download Part 1

Download Part 2

Mixed simply for the love of Good Music and BADUIZM!

Excerpt from Kavi R’s website: This mix was crafted with love and respect for the artist. All songs are played at their original tempo. “I’m an artist and I’m sensitive about my shit”! Ditto! if you’re digging my mixes, positive feedback is warmly received. I’m extremely passionate about exploring and exposing uncommon underground quality music. I rarely hear this music on the radio, in the clubs or see it on tv. It’s up to us individuals to keep the Funk alive!

Why I mix the way I do…I’m an old school DJ that believes in utilizing every feature of the “1s & 2s”, “Wheels Of Steel”…Turntables! Mixing, remixing, scratching and juggling two copies are all part of the DJ / Hip Hop art form and culture that I grew up with.

Download Part 1

Track Listing:

1. The Healer – Erykah Badu
2. Love Of My Life (An Ode To Hip Hop) – ft. Common
3. Think Twice – Erykah Badu
4. Sometimes – Erykah Badu
5. Sometimes (Mix #9) – Erykah Badu

6. Back In The Day (Puff) – Erykah Badu
7. Soldier – Erykah Badu
8. Erykah Badu – Apple Tree
9. Erykah Badu – I Want You

Download Part 2

Part #2 Track Listing:

1. Southern Girl – Erykah Badu ft. Rahzel
2. Southern Girl – Kavi-R remix
3. Danger – Erykah Badu ft. China Black
4. Real Thang – Erykah Badu
5. Drama – Erykah Badu
6. On & On – Erykah Badu
7. You Got Me – The Roots ft. Erykah Badu
8. Otherside Of The Game – Erykah Badu
9. Time’s a Waistin’ – Erykah Badu
10. Certainly – Erykah Badu

Check out more Soul & Hip Hop mixes by Kavi-R at myspace, facebook or at his website

And on a side note….

There’s an interesting buzz now here in Sydney with the Place of Public Entertainment law (PoPE) finally being abolished. Do yourself a favour and be aware just how much our city will awaken from its slumber in the next couple of months. Walking around town Sunday evening past several cafes and pubs along Broadway, I found more live music on street corners than I had seen in a long while. There was an air of vibrancy that seemed to lightly hang upon the stillness of our sleeping streets. I felt the city had held its tired breath and finally exhaled this thick air of  inspiration that seemed to linger, where all I could hear and see were smiling faces appreciative of being in the presence of live music again. It felt good! Why? Our musical culture is back!

This is what it’s all about – a culture! Sydney is changing and it’s changing for the better and it’s up to you – the person, to maintain this culture. In order to cultivate this live culture, we must be steadfast at supporting local artists and live bands, spreading the word by mouth, supporting your scene and supporting venues and promoters that make it all possible for our enjoyment.

A change soon come…..

'Reclaim The Lanes' Street Festival In Newtown Sat Feb 13th



Anyone who remember the infamous ‘Reclaim The Street’ protest/parties around Sydney in the late 90’s will know exactly what ‘Reclaim The Lanes’ is all about, for the poor people who missed the magic, here is an idea of what to expect;


Blocked streets,  picnics on the sidewalk, children playing, push-bikes, skateboards & roller-skates, DJ’s, MC’s & live performers playing everything from Dub, Hip Hop, Funk to Psy-Trance. Best of all… colourful people interact and dancing on reclaimed public spaces in the name of …


So spread the luv & spread the word because this ones about the people!!

More info at the Facebook Event

http://farm3.static.flickr.com/2759/4327831596_03ee1eb9a1_o.jpg

Reclaim The Lanes, Free Street Festival In Newtown Sat Feb 13th

Anyone who remember the infamous ‘Reclaim The Street’ protest/parties around Sydney in the late 90’s will know exactly what ‘Reclaim The Lanes’ is all about, for the other poor people who missed the magic, here is an idea of what to expect;

Blocked streets,  picnics on the sidewalk, children playing, pushbikes,skateboards & roller-skates, DJ’s, MC’s & live performers playing everything from Dub, Hip Hop, Funk to Psy Trance. & best of all colourful people interact and dancing on reclaimed public space.

Here is some clips to give you an idea of some of the magic.

Spread the luv & spread the word because this ones about the people!!

More info at the Facebook Event

More about ‘Recilaim The Streets’ movement:

Reclaim The Streets SPONTANEOUS STREET BANDE

What do we need more of in our towns? Why street music of course. All agreed then… but where is it?

This lot didn’t wait to be asked. Listen to this on the spot recording of an Italian style wind ‘Bande’ at Sydney’s first RECLAIM THE STREETS Street Party held on the first of November 1997 at Newtown, Sydney. This is a political projection of do-it-yourself.

In a historic display of people-power, thousands of local residents blockaded Enmore Rd. in Newtown to traffic with three huge bamboo tripods, erected a bizarre art-installation sound tower with a dj pumping out psychedelic dance music, built a permaculture garden in the middle of the road and had an all-day street party – dancing, playing street cricket, reading the weekend papers, and generally hanging out in a safe, tree friendly and car-free environment.

“Reclaim The Streets!”

Street music has been around since there has been anything approximating a street. There seem to be three main criteria for playing ‘music for masses, of the masses and by the masses’ on the streets.
1. Celebrate absolutely anything and get completely wrecked. e.g. all that Brazilian stuff.
2. Demonstrate alternative political and social values and get completely wrecked. e.g. The Sydney Gay and Lesbian Mardi Gras (especially earlier editions)
3. Confirm the status quo of the powerful and get completely wrecked. e.g. The Berlin Love Parade whereby 2 million young kids march around to loud techno music sponsored by McDonalds, Coca Cola and the German Government.

Just before the wind band got going with the music selected on this page, there was a wonderful display of spontaneous ‘clapping’ music at this demo in Sydney. Along with bashing stones together, this kind of activity must go back, in the mists of time, to the earliest notions of what we call music. The street bande is the acoustic expression of the generally poor and unpowerful against the rich and powerful – it’s that simple most of the time.

This is an internet extract from a country that really knows about street bande. Yes indeed, home to the biggest anarchist rallies ever seen, it’s Italy.
JR
(enjoy the crazy automatic digital translation!)

‘The Band Complex “To Toscanini ” is been born in March of 1981 to Settecamini, in the Common one of Rome, a quarter situated on the way Tiburtina. And from the before moving apparition in public, happened in the night of Been born them of 1981, of road of it has been made. From the first successes obtained to the band gatherings in Rome, from S.Pietro Public square for the closing of extraordinary Saint Year (1988).

Between the episodes more meant you that they will remain impressi in the young history of the Band and in the heart of the strumentisti, it is from remembering the encounter with the President of the Italian Republic Sandro Pertini (Quirinale 7 February 1984), the audience that S.s. Pope John Paul II has granted to the Band, in knows it Nerves in Vatican, 20 January 1990, and finally the ” received Prize Sympathy ” in knows it of the Protomoteca in Campidoglio to Rome, to the presence of F.Rutelli Mayor, in the june 1999 and May 2000.
The young age of the strumentisti, the engagements of study of the same ones, the changes worked to you and of territory of the parents, the sacrifices legacies to the tests and the musical participations, the cumulus of the cultural interests and sportswomen and many others vary objective and subjective problems, involve continuous a reciprocation of the musical body and an onerous engagement for the members of the managing committee of the society, always ready to assure the continuity of this precious musical plan, that it enriches Settecamini culturally.
The Band Complex year after year is renewed; in these twenty years are pass to you, between spin of the Band, beyond 300 strumentisti, some of which have caught up professionally goals of high artistic value. Lead musically in this distance, from Masters Scafidi, Florio, Baldassarri and Graziano, for the past, and from the Artistic Director Main Eros Vasconi, coadiuvato from Masters Romaniello Michele and Liano Antonio for the present, let alone from the juvenile passion of Tawny the Antonini President in effective collaboration with the managing committee and the many parents who follow with love this interesting activity of the sons and with the fundamental support of the Parish of S.m. of the Olive tree that, accommodating from always the band body, of it has concurred the increase and still today the survival concurs some.

http://members.xoom.it/bandasciano/link.htm

DIY Carnival: Reclaim the Streets Sydney Style

Posted on Sunday, November 14 @ 00:00:00 EST by Jodi Crome

by Sarah Nicholson

“Last Saturday afternoon, local collective Reclaim the Streets and a couple of thousand of their good friends blocked off traffic and hosted a techno dance party on five blocks of King Street south of Newtown railway station. The event kicked off with a traffic jamming walk from Victoria Park down the centre of Broadway and up the hill to Newtown where four stages were set up in the streets.” (Laanela 7)

“…heaps of people.. blocking off traffic.. music.. flags and banners..” “…couches, dj’s, bands, bikes, tricycles, scooters, dancing, fire twirling…” “It’s a party protest rally.”(Author interviews)

Semi-spontaneous, somewhat disorganised, Reclaim the Streets(RTS)’s celebratory uprising is street party as protest.

Evolving from the UK anti-roads movement, the first RTS collective formed in London in 1991. By May 1998, global RTS events, described as a “collision of love, rage, carnival and revolution, politics and party” (SchNEWS 168), were reported as occurring in thirty-seven cities across the world, in protest not just against car culture, but against the social and environmental costs of free market globalisation (SchNEWS 168). In Sydney RTS events began in November 1997, and from the first were firmly situated as part of a worldwide movement.

In RTS, the car is essentially used as a symbol to point to much broader oppressions. The main RTS website speaks of the development of car culture from historical and ideological perspectives. They posit that the proliferation of the automobile, originally conceived as a luxury good designed to give advantage to select individuals, has transformed urban landscapes and social spaces, with the power to bring cities to a halt. RTS proposes that the solution is not just comfortable mass transportation, but the creation of habitable cities sustained by the social fabric of the community: “…more urban leisure space… livable neighbourhoods…”(Author interviews).

In the essay “The Evolution of Reclaim the Streets”, the UK’s Criminal Justice and Public Order Act of 1994 is located as a key event which, in criminalising civil protest in the UK, was a motivational force which united the very groups, such as travellers, ravers, anti road activists and hunt saboteurs, that it sought to repress. It also worked to politicise the rave scene through locating raves in the context of public protests, with clauses of the act directed at open-air events featuring amplified music, “wholly or predominantly characterised by the emission of a succession of repetitive beats”. The organisation or attendance of such unlawful events in the UK became a punishable offence.

RTS acknowledges the historical trajectory, which connects the movement with popular festivals in the form of carnival and revolutionary uprisings. (Evolution). The carnival is community organised for its own participatory pleasure; the distinctions between observer and participant are undermined, the event taking place outside existing social institutions and happening on the street in real time. The carnival is pluralistic and diverse, accessible and excessive, exaggerating and parodying, inverting norms and challenging hierarchies.

In terms of the carnivals delight in the body, RTS does not disappoint. Seventeen RTS events, centered around a thumping sound-system, have occurred in Sydney to date. Doof, an RTS characteristic, is an onomatopoeic term describing “…the bass-driven kick drum .. of techno music.” (Strong in St John 72). The experience of Doof emphasises what Brecht termed jouissance or sensual pleasure. The event reverberates with the kinaestethic pleasures of dancing with others on the street, sparking “powerful, intense vibes” (Author interview) felt in a rush of adrenalin, joy, and empowerment. In RTS, dance acts as an embodied statement of resistance and release, a strategy of “…explicitly and deliberately [employing] feelings of unfettered pleasure in the service of an oppositional critique of global capitalism.” (Luckman in St John 207). In this sense, the jouissance generated at RTS is the epitomy of Hakim Bey’s theory of uprising as peak experience. These extra-ordinary “…moments of intensity give shape and meaning to the entirety of a life. The shaman returns — you can’t stay up on the roof forever — but things have changed, shifts and integrations have occurred — a difference is made” (Bey). These shifts, as Bey posits them, allow for fluidity and change within the social sphere, a notion which challenges Bakhtin’s seminal ideas on the carnival.

Carnival, it has been argued, is used by the prevailing order as a safety valve to regulate social pressure. The inversion of the acceptable is always bounded by a return to the acceptable. Thus carnival, as temporary release, is considered to dissipate the potential for real revolution, effectively containing the energy for change. (Stallybrass & White in Gelder & Thornton, 1997) But Bey, sees “the return” differently. Characterised as an uprising of awakening rather than conflict, Bey describes events such as RTS as Temporary Autonomous Zones: “…an uprising which does not engage directly with the State, a guerilla operation which liberates an area (of land, of time, of imagination) and then dissolves itself to re-form elsewhere/elsewhen before the State can crush it.” (Bey).

h An organiser from United System, producer of free festivals in the UK, commented that, “The whole point of festivals is that they are temporary autonomous zones… they are self organising… Nobody is told where to go or what to do, everybody just does their own bit, meaning that they are much more forceful as citizens.” (Brass & Koziell 89). This style of autonomous behaviour, described as DIY culture, emerged as part of a new aggressive environmentalism. The anti-capitalist DIY movement encompasses such issues such as land and civil rights, employment and sustainable practices. Its stated aims are to empower individual action, to engage with building community through networking, sharing of information, and gathering resources outside the usual parameters of profit orientation. (Brass & Koziell 8)

Reclaim the Streets advocacy of DIY as a tactic, reflects their “… belief in a society where people take responsibility for their own actions. It is about enabling people to unite as individuals with a common aim…Reclaim the Streets does not make demands on some one else, such as the government. We want direct action to be seen as the norm, the standard way to take action” (Moxham 8-9). RTS manifests as a loose sub-cultural inter-connected network working within broadly defined ideological boundaries, the unity of which is a resistance to the dominant order. As an event, DIY operates in practice, through participant action: “…people bring their carpet and their drums and bridge that gap between the performer and the participant… people create their own entertainment as well as be entertained”(Author interview).

Through bringing people together to celebrate and affirm an issue in a creative and positive manner, Reclaim the Streets moved away from street rallies which have the expression of anger as their primary method of expressing a desire for change. The carnivalesque DIY style of Reclaim the Streets in empowering people to act creatively and autonomously through collective non hierarchical process of creation can be seen as transmitting new modes of social and cultural production and is particularly significantly in terms of its evolution of traditional forms of protest.

Works Cited Bey, Hakim. The Temporary Autonomous Zone, Autonomedia., 1985.
Bollen, Johnathon. “Sexing the Dance at Sleaze Ball.” The Drama Review 40 (1996).
Brass, E., and Koziell, S Poklewski. “Gathering Force : DIY Culture.” The Big Issue Writers (1997).
Gelder, K., and S. Thornton, eds. The Subcultures Reader. London: Routledge, 1997.
Kershaw, B. The Politics of Performance. London; New York: Routledge, 1992.
Kirby, E. T. “The Shamanistic Origins of Popular Entertainments.” Ritual, Play and Performance. Seabury; New York: Schechner & Schumans, 1976.
Laanela, Mike. “Reclaimed- The Streets.”City Hub Sydney. 5 November 1998.
Leary, Timothy. Chaos and Cyberculture. California: Ronin Publishing, 1995.
McKay, George. DIY Culture : Party & Protest in Ninties Britain. London: Verso, 1998.
Moxham, Natalie. “Because Cars Can’t Dance.” Arena Victoria, 1995.
Ralston, Saul, John. The Unconscious Civilisation. Victoria: Penguin, 1997.
Schechner, R. Future of Ritual. London: Routledge, 1993.
schNEWS Issue 168. http://www.schews.org.uk>.
Skelton, K., and G. Valentine, eds. Cool Places: Geographies of Youth Culture. London; New York: Routledge, 1998.
St John, Graham. Free NRG: Notes from the Edge of the Dancefloor. Australia: Common Ground, 2001.
The Evolution of Reclaim the Streets. http://www.rts.gn.apc.org/evol.htm>.
White, Rob. Hassle Free Policing and the Creation of Community Space. Sydney: YAPA, 1997.

Author Interviews were conducted with participants at RTS, King Street, Sydney, 31st November 1998

Sarah Nicholson is a PhD candidate in the School of Social Ecology at the University of Western Sydney. Her honours thesis “Reclaiming the Streets of Sydney” examined the intersection of dance, protest, and subculture from the perspective of performance theory. She is also a published author, editor, and poet.

Check this full lenght documentary on RTS around the world:

Vodpod videos no longer available.

Here is some clips to give you an idea of what to expect..

Also check this documentary on RTS movements around the world:

Vodpod videos no longer available.

‘Reclaim The Lanes’ Street Festival In Newtown Sat Feb 13th



Anyone who remember the infamous ‘Reclaim The Street’ protest/parties around Sydney in the late 90’s will know exactly what ‘Reclaim The Lanes’ is all about, for the poor people who missed the magic, here is an idea of what to expect;


Blocked streets,  picnics on the sidewalk, children playing, push-bikes, skateboards & roller-skates, DJ’s, MC’s & live performers playing everything from Dub, Hip Hop, Funk to Psy-Trance. Best of all… colourful people interact and dancing on reclaimed public spaces in the name of …


So spread the luv & spread the word because this ones about the people!!

More info at the Facebook Event

http://farm3.static.flickr.com/2759/4327831596_03ee1eb9a1_o.jpg

Reclaim The Lanes, Free Street Festival In Newtown Sat Feb 13th

Anyone who remember the infamous ‘Reclaim The Street’ protest/parties around Sydney in the late 90’s will know exactly what ‘Reclaim The Lanes’ is all about, for the other poor people who missed the magic, here is an idea of what to expect;

Blocked streets,  picnics on the sidewalk, children playing, pushbikes,skateboards & roller-skates, DJ’s, MC’s & live performers playing everything from Dub, Hip Hop, Funk to Psy Trance. & best of all colourful people interact and dancing on reclaimed public space.

Here is some clips to give you an idea of some of the magic.

Spread the luv & spread the word because this ones about the people!!

More info at the Facebook Event

More about ‘Recilaim The Streets’ movement:

Reclaim The Streets SPONTANEOUS STREET BANDE

What do we need more of in our towns? Why street music of course. All agreed then… but where is it?

This lot didn’t wait to be asked. Listen to this on the spot recording of an Italian style wind ‘Bande’ at Sydney’s first RECLAIM THE STREETS Street Party held on the first of November 1997 at Newtown, Sydney. This is a political projection of do-it-yourself.

In a historic display of people-power, thousands of local residents blockaded Enmore Rd. in Newtown to traffic with three huge bamboo tripods, erected a bizarre art-installation sound tower with a dj pumping out psychedelic dance music, built a permaculture garden in the middle of the road and had an all-day street party – dancing, playing street cricket, reading the weekend papers, and generally hanging out in a safe, tree friendly and car-free environment.

“Reclaim The Streets!”

Street music has been around since there has been anything approximating a street. There seem to be three main criteria for playing ‘music for masses, of the masses and by the masses’ on the streets.
1. Celebrate absolutely anything and get completely wrecked. e.g. all that Brazilian stuff.
2. Demonstrate alternative political and social values and get completely wrecked. e.g. The Sydney Gay and Lesbian Mardi Gras (especially earlier editions)
3. Confirm the status quo of the powerful and get completely wrecked. e.g. The Berlin Love Parade whereby 2 million young kids march around to loud techno music sponsored by McDonalds, Coca Cola and the German Government.

Just before the wind band got going with the music selected on this page, there was a wonderful display of spontaneous ‘clapping’ music at this demo in Sydney. Along with bashing stones together, this kind of activity must go back, in the mists of time, to the earliest notions of what we call music. The street bande is the acoustic expression of the generally poor and unpowerful against the rich and powerful – it’s that simple most of the time.

This is an internet extract from a country that really knows about street bande. Yes indeed, home to the biggest anarchist rallies ever seen, it’s Italy.
JR
(enjoy the crazy automatic digital translation!)

‘The Band Complex “To Toscanini ” is been born in March of 1981 to Settecamini, in the Common one of Rome, a quarter situated on the way Tiburtina. And from the before moving apparition in public, happened in the night of Been born them of 1981, of road of it has been made. From the first successes obtained to the band gatherings in Rome, from S.Pietro Public square for the closing of extraordinary Saint Year (1988).

Between the episodes more meant you that they will remain impressi in the young history of the Band and in the heart of the strumentisti, it is from remembering the encounter with the President of the Italian Republic Sandro Pertini (Quirinale 7 February 1984), the audience that S.s. Pope John Paul II has granted to the Band, in knows it Nerves in Vatican, 20 January 1990, and finally the ” received Prize Sympathy ” in knows it of the Protomoteca in Campidoglio to Rome, to the presence of F.Rutelli Mayor, in the june 1999 and May 2000.
The young age of the strumentisti, the engagements of study of the same ones, the changes worked to you and of territory of the parents, the sacrifices legacies to the tests and the musical participations, the cumulus of the cultural interests and sportswomen and many others vary objective and subjective problems, involve continuous a reciprocation of the musical body and an onerous engagement for the members of the managing committee of the society, always ready to assure the continuity of this precious musical plan, that it enriches Settecamini culturally.
The Band Complex year after year is renewed; in these twenty years are pass to you, between spin of the Band, beyond 300 strumentisti, some of which have caught up professionally goals of high artistic value. Lead musically in this distance, from Masters Scafidi, Florio, Baldassarri and Graziano, for the past, and from the Artistic Director Main Eros Vasconi, coadiuvato from Masters Romaniello Michele and Liano Antonio for the present, let alone from the juvenile passion of Tawny the Antonini President in effective collaboration with the managing committee and the many parents who follow with love this interesting activity of the sons and with the fundamental support of the Parish of S.m. of the Olive tree that, accommodating from always the band body, of it has concurred the increase and still today the survival concurs some.

http://members.xoom.it/bandasciano/link.htm

DIY Carnival: Reclaim the Streets Sydney Style

Posted on Sunday, November 14 @ 00:00:00 EST by Jodi Crome

by Sarah Nicholson

“Last Saturday afternoon, local collective Reclaim the Streets and a couple of thousand of their good friends blocked off traffic and hosted a techno dance party on five blocks of King Street south of Newtown railway station. The event kicked off with a traffic jamming walk from Victoria Park down the centre of Broadway and up the hill to Newtown where four stages were set up in the streets.” (Laanela 7)

“…heaps of people.. blocking off traffic.. music.. flags and banners..” “…couches, dj’s, bands, bikes, tricycles, scooters, dancing, fire twirling…” “It’s a party protest rally.”(Author interviews)

Semi-spontaneous, somewhat disorganised, Reclaim the Streets(RTS)’s celebratory uprising is street party as protest.

Evolving from the UK anti-roads movement, the first RTS collective formed in London in 1991. By May 1998, global RTS events, described as a “collision of love, rage, carnival and revolution, politics and party” (SchNEWS 168), were reported as occurring in thirty-seven cities across the world, in protest not just against car culture, but against the social and environmental costs of free market globalisation (SchNEWS 168). In Sydney RTS events began in November 1997, and from the first were firmly situated as part of a worldwide movement.

In RTS, the car is essentially used as a symbol to point to much broader oppressions. The main RTS website speaks of the development of car culture from historical and ideological perspectives. They posit that the proliferation of the automobile, originally conceived as a luxury good designed to give advantage to select individuals, has transformed urban landscapes and social spaces, with the power to bring cities to a halt. RTS proposes that the solution is not just comfortable mass transportation, but the creation of habitable cities sustained by the social fabric of the community: “…more urban leisure space… livable neighbourhoods…”(Author interviews).

In the essay “The Evolution of Reclaim the Streets”, the UK’s Criminal Justice and Public Order Act of 1994 is located as a key event which, in criminalising civil protest in the UK, was a motivational force which united the very groups, such as travellers, ravers, anti road activists and hunt saboteurs, that it sought to repress. It also worked to politicise the rave scene through locating raves in the context of public protests, with clauses of the act directed at open-air events featuring amplified music, “wholly or predominantly characterised by the emission of a succession of repetitive beats”. The organisation or attendance of such unlawful events in the UK became a punishable offence.

RTS acknowledges the historical trajectory, which connects the movement with popular festivals in the form of carnival and revolutionary uprisings. (Evolution). The carnival is community organised for its own participatory pleasure; the distinctions between observer and participant are undermined, the event taking place outside existing social institutions and happening on the street in real time. The carnival is pluralistic and diverse, accessible and excessive, exaggerating and parodying, inverting norms and challenging hierarchies.

In terms of the carnivals delight in the body, RTS does not disappoint. Seventeen RTS events, centered around a thumping sound-system, have occurred in Sydney to date. Doof, an RTS characteristic, is an onomatopoeic term describing “…the bass-driven kick drum .. of techno music.” (Strong in St John 72). The experience of Doof emphasises what Brecht termed jouissance or sensual pleasure. The event reverberates with the kinaestethic pleasures of dancing with others on the street, sparking “powerful, intense vibes” (Author interview) felt in a rush of adrenalin, joy, and empowerment. In RTS, dance acts as an embodied statement of resistance and release, a strategy of “…explicitly and deliberately [employing] feelings of unfettered pleasure in the service of an oppositional critique of global capitalism.” (Luckman in St John 207). In this sense, the jouissance generated at RTS is the epitomy of Hakim Bey’s theory of uprising as peak experience. These extra-ordinary “…moments of intensity give shape and meaning to the entirety of a life. The shaman returns — you can’t stay up on the roof forever — but things have changed, shifts and integrations have occurred — a difference is made” (Bey). These shifts, as Bey posits them, allow for fluidity and change within the social sphere, a notion which challenges Bakhtin’s seminal ideas on the carnival.

Carnival, it has been argued, is used by the prevailing order as a safety valve to regulate social pressure. The inversion of the acceptable is always bounded by a return to the acceptable. Thus carnival, as temporary release, is considered to dissipate the potential for real revolution, effectively containing the energy for change. (Stallybrass & White in Gelder & Thornton, 1997) But Bey, sees “the return” differently. Characterised as an uprising of awakening rather than conflict, Bey describes events such as RTS as Temporary Autonomous Zones: “…an uprising which does not engage directly with the State, a guerilla operation which liberates an area (of land, of time, of imagination) and then dissolves itself to re-form elsewhere/elsewhen before the State can crush it.” (Bey).

h An organiser from United System, producer of free festivals in the UK, commented that, “The whole point of festivals is that they are temporary autonomous zones… they are self organising… Nobody is told where to go or what to do, everybody just does their own bit, meaning that they are much more forceful as citizens.” (Brass & Koziell 89). This style of autonomous behaviour, described as DIY culture, emerged as part of a new aggressive environmentalism. The anti-capitalist DIY movement encompasses such issues such as land and civil rights, employment and sustainable practices. Its stated aims are to empower individual action, to engage with building community through networking, sharing of information, and gathering resources outside the usual parameters of profit orientation. (Brass & Koziell 8)

Reclaim the Streets advocacy of DIY as a tactic, reflects their “… belief in a society where people take responsibility for their own actions. It is about enabling people to unite as individuals with a common aim…Reclaim the Streets does not make demands on some one else, such as the government. We want direct action to be seen as the norm, the standard way to take action” (Moxham 8-9). RTS manifests as a loose sub-cultural inter-connected network working within broadly defined ideological boundaries, the unity of which is a resistance to the dominant order. As an event, DIY operates in practice, through participant action: “…people bring their carpet and their drums and bridge that gap between the performer and the participant… people create their own entertainment as well as be entertained”(Author interview).

Through bringing people together to celebrate and affirm an issue in a creative and positive manner, Reclaim the Streets moved away from street rallies which have the expression of anger as their primary method of expressing a desire for change. The carnivalesque DIY style of Reclaim the Streets in empowering people to act creatively and autonomously through collective non hierarchical process of creation can be seen as transmitting new modes of social and cultural production and is particularly significantly in terms of its evolution of traditional forms of protest.

Works Cited Bey, Hakim. The Temporary Autonomous Zone, Autonomedia., 1985.
Bollen, Johnathon. “Sexing the Dance at Sleaze Ball.” The Drama Review 40 (1996).
Brass, E., and Koziell, S Poklewski. “Gathering Force : DIY Culture.” The Big Issue Writers (1997).
Gelder, K., and S. Thornton, eds. The Subcultures Reader. London: Routledge, 1997.
Kershaw, B. The Politics of Performance. London; New York: Routledge, 1992.
Kirby, E. T. “The Shamanistic Origins of Popular Entertainments.” Ritual, Play and Performance. Seabury; New York: Schechner & Schumans, 1976.
Laanela, Mike. “Reclaimed- The Streets.”City Hub Sydney. 5 November 1998.
Leary, Timothy. Chaos and Cyberculture. California: Ronin Publishing, 1995.
McKay, George. DIY Culture : Party & Protest in Ninties Britain. London: Verso, 1998.
Moxham, Natalie. “Because Cars Can’t Dance.” Arena Victoria, 1995.
Ralston, Saul, John. The Unconscious Civilisation. Victoria: Penguin, 1997.
Schechner, R. Future of Ritual. London: Routledge, 1993.
schNEWS Issue 168. http://www.schews.org.uk>.
Skelton, K., and G. Valentine, eds. Cool Places: Geographies of Youth Culture. London; New York: Routledge, 1998.
St John, Graham. Free NRG: Notes from the Edge of the Dancefloor. Australia: Common Ground, 2001.
The Evolution of Reclaim the Streets. http://www.rts.gn.apc.org/evol.htm>.
White, Rob. Hassle Free Policing and the Creation of Community Space. Sydney: YAPA, 1997.

Author Interviews were conducted with participants at RTS, King Street, Sydney, 31st November 1998

Sarah Nicholson is a PhD candidate in the School of Social Ecology at the University of Western Sydney. Her honours thesis “Reclaiming the Streets of Sydney” examined the intersection of dance, protest, and subculture from the perspective of performance theory. She is also a published author, editor, and poet.

Check this full lenght documentary on RTS around the world:

Vodpod videos no longer available.

Here is some clips to give you an idea of what to expect..

Also check this documentary on RTS movements around the world:

Vodpod videos no longer available.