Andrea Langlois et al - Islands of Resistance - Pirate Radio in Canada
Andrea Langlois et al - Islands of Resistance - Pirate Radio in Canada
Andrea Langlois et al - Islands of Resistance - Pirate Radio in Canada
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164 • islands <strong>of</strong> resistance<br />
<strong>Radio</strong> Naked<br />
Tactics Towards <strong>Radio</strong> without Programm<strong>in</strong>g<br />
By Christ<strong>of</strong> Migone<br />
1. Always give the wrong time, date, weather and news report.<br />
2. Constantly change your broadcast<strong>in</strong>g frequency.<br />
3. Do any technic<strong>al</strong> repairs, regular clean<strong>in</strong>gs, plann<strong>in</strong>g for<br />
shows, committee me<strong>et</strong><strong>in</strong>gs, tra<strong>in</strong><strong>in</strong>g sessions, <strong>et</strong>c. on the air.<br />
4. Say what another station is say<strong>in</strong>g at the same time. If they<br />
compla<strong>in</strong>, tell them you’re a ventriloquist.<br />
5. Insist on the glob<strong>al</strong> <strong>in</strong>st<strong>al</strong>lation <strong>of</strong> radio park<strong>in</strong>g m<strong>et</strong>ers. The<br />
more you stay tuned to only one station the more you have to<br />
pay.<br />
6. Have an “Upside Down Week,” where <strong>al</strong>l shows would be<br />
found <strong>in</strong> a different time slot.<br />
7. Have a “Search Week” where <strong>al</strong>l shows would not be found.<br />
8. Have a “Traffic Jam” where stations <strong>in</strong> different cities broadcast<br />
each other’s traffic reports <strong>in</strong>stead <strong>of</strong> their own.<br />
9. Play the accordion: go from one watt to full power <strong>in</strong> one watt<br />
per day <strong>in</strong>crements and back down aga<strong>in</strong>.<br />
10. Keep <strong>al</strong>l faders up and play the entire record library <strong>of</strong> the<br />
radio station and then g<strong>et</strong> rid <strong>of</strong> it.<br />
11. Keep <strong>al</strong>l faders down and wait for a phone c<strong>al</strong>l.<br />
12. Fill your program with noth<strong>in</strong>g.<br />
13. Empty your program <strong>of</strong> everyth<strong>in</strong>g.<br />
14. Give your guest the controls and put yourself at the guest spot.<br />
15. Dissect the equipment <strong>of</strong> your radio station <strong>in</strong>to its component<br />
parts: transistors, capacitors, <strong>in</strong>tegrated circuits, <strong>et</strong>c. and send<br />
one out to each <strong>of</strong> your listeners.<br />
16. Go as fast as the technology you’re us<strong>in</strong>g. Carry your words to<br />
your listeners by runn<strong>in</strong>g.<br />
Written <strong>in</strong> 1992–1994 and used <strong>in</strong> a section <strong>of</strong> the lecture performance<br />
“Recipes For Disaster: post-digit<strong>al</strong> voice tactics” presented<br />
<strong>in</strong> 1997 at the Recycl<strong>in</strong>g the Future event organized by Kunstradio<br />
<strong>in</strong> Vienna, Austria. Revised <strong>in</strong> 2004 and first published <strong>in</strong> Christ<strong>of</strong><br />
Migone — Sound Voice Perform (Los Angeles: Errant Bodies Press,<br />
2005).