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Medium Wave Pirate Radio memories from the 1960s

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From boot +‎ leg.

Originally a nickname given to smugglers in King George III's reign, derived from the smugglers' custom of hiding packages of valuables in their large sea-boots when dodging the king's coastguardsmen.

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radio recievers world wide you can tune into - pretty neat - many amateur radio clubs,

you can also tune into frequencies of other listeners and see who is on what frequency

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Explore live radio by rotating the globe.

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Hip-Hop Radio Archive - Preserving Hip-Hop Radio from the 1980s and 90s

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The Hip-Hop Radio Archive aims to digitize, preserve, share, and contextualize recordings of hip-hop radio from the 1980s and 1990s from commercial, college, community, and pirate stations of all sizes, telling the stories of the shows and the people that made them.

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REVEIL 10 | Saturday 6 to Sunday 7 May 2023 | Π-Node special collab with Vogelklang

Radio Plouf #03, 52h en direct du CCNRB, Rennes, du 24 au 26 mars 2023

Festival Sonic Protest 2023 sur les ondes, du 14 mars au 2 avril, infos

Phantom CourtCIRCUIT II, du 8 au 11 mars en direct, info

4/03/2023 : 1er Samedi du mois #4 @Générale" stu∏dio Paris

Festival FRENCH DEPOSIT JC Lagoya, Scenes from Salads , 2 et 3 mars, Treize

Audioblast festival du 24 au 26 février

PRESENT / JETZ G'RAD

[fallback #9] selected and produced by f3bis, february.
PAST / ÉM VERGANGENHEIT

Un dimanche dans l'espace, concert à l'Espace Multimédia Gantner, Kaffe Matthew, rediffusion dim. 19 février 17h et mardi 21 à 22h

24H de Matinale Radio PSG Matin, du 14 février 9h au 15 février 9h, inscrivez-vous

4/02/2023 : 1er Samedi du mois #2 @Générale" stu∏dio Paris

[fallback #8] selected and produced by Julbel, découpage méticuleux et chaleureux de 'Chroniques d'un été' J Rouche E Morin et autres en 1200 courts extraits.

7/01/2023 : série "1er Samedis du mois @Générale" stu∏dio Paris

[fallback #7] Fallback carnage, a fallback made of tracks about fallbacks, selected and produced by k

Schnitzelbank 3000, vum 20. bis 23. Dezember, Stroosbüri, Kolmar, Milhüsa und Altkichl.

PSST! ... ∏-NODE, Paris Studio Stress Test! inauguration studio ∏-Node à la Générale, Paris, le 3 décembre 2022

[fallback #6] MiniDisc 1992-2022november fallback selected and produced by phonotopy.org

NoisyLeaks! Radio Free Assange special filling broadcast on Π-Node from 7/10 to 30/10 https://noisyleaks.space/

[fallback #5] Π-Node fallback selected and produced by evz

Fraktales Frangynes Radio live, Thursday 29th of September, 21h15 to 21h50, main Πfloor

Radio Art Zone from 18 June - 25 September (Dj Random is on holiday)

03/09/2022, 12h-0h : Vibération #5, Marseille - Supersonique

08/2022 : Meeting at La Pouponnière

09/07/22, 18h-minuit : Milhüser Préambule / Vorreed / ديباجة ateliers et soirée radiophonique

01/07/22 : Cela prendra une heure un hommage à l'horloge parlante qui a cessé le 1er juillet 2022 info

20/07/22, midi - minuit - Du beau, du bon, du bon mot : mot, écriture et radio, en direct, évènement public à La Générale

16/07/22, 00h->06h : LIVE stream from Radiotopia camp on Stubnitz, Hamburg (friday evening)

05/07/22, 18h-minuit : Live from Périscope, Radio Terrasse en direct du Périscope à Lyon

03/07/2022, 12h-0h, Vibération #4, Marseille

[fallback #4] july fallback selected and produced by eeek

22/06/22, 21h : Hommage à René-Nicolas Ehni - (archives ici ou là)

20/06/22, 11h-13h : DFK 6 : La voix comme appel, présence, invocation, avec Ari Benjamin Meyers, @ salle de séminaire du musée d'art et d'histoire de Saint-Denis https://dfk-paris.org/fr/event/ari-benjamin-meyers-la-voix-comme-appel

16-19/06/22 : Open (((On)) Air festival, sur les canaux de Paris, par Urban Boat

16-19/06/22 : Futur parfait à la Générale

25/05/22, 14-17h : DFK 7 : La voix dans sa singularité, avec Lerato Shadi et Adriana Cavarero - https://dfk-paris.org/fr/event/lerato-shadi-adriana-cavarero

15/04-14/05/22 - Radio Fischli Weiss n°4 à Marseille, invitation du collectif Otto-Prod

3/05/22 - Écologie des arts et des médias : Luke Fowler

[fallback #3] may fallback selected and produced by m

30/04 - RELAY: REVEIL 9, a 24+1 hr radio broadcast that follows sunrise around the earth, start 30/04 at 5:00 (UTC+1)

Catacombes du numérique 4 journées sur la fabrication du propos scientifique à la radio et autres dérivés

12/04/22 - Écologie des arts et des médias 12 avril 18h : Marilou Poncin

5/04/22 - Sciences et Fictions : Ketty Steward

29/03/22 - Sciences et Fictions : Sigolène Valax

15/03-03/04/22 - Sonic Protest 2022 - une programmation entièrement retransmise à la radio - SP et agrémentée en plus.

[fallback #2] March Fallback selected by JulieDesk

Écologie des arts et des médias 22 mars 18h : Florence Lazar

Sciences et Fictions 2022, 22 mars, 15h : François Fleury

Sciences et Fictions 2022, 8 mars, 15h : Rocio Berenguer

24/02 -> 27/02 Festival Audioblast 10 - Variant Waves, concerts et conférences - infos

22/02 -> 23/02 - 24 HEURES DE MATINALE proposées par Radio PSG Matin, en direct du Vanilla, archives

7/02 -> 20/02, 2022 - RADIOPHRENIA RELAY

[fallback #1] February FALLBACK selected by Ay

22/01 -> 30/01/2022 - Radio Fischli & Weiss III, présenté à la biennale Le Mans Sonore au Hangar Créalab, le Mans**

22/01 -> 30/01/2022 - Relay Radio On, en direct de la biennale Le Mans Sonore**

12/01 --> 2022 Radio PSG Matin une nouvelle année nouvelle saison

14/12, 18h30 - Reflexio 6 - Thomas Tilly, en direct de la Générale.

Samedi 11/12 à 14h Radio Rencontre Paranormale en direct de la Trame (93), 10h de radio avec Tisto, Roue Libre, Courtil, Métanoïaque... infos

9/12 - 10/12 - Colloque Ecrans dedans, dehors

Du 30/11 au 2/12 de 10h à 13h - Retransmission du colloque : Le désir de belle radio, le documentaire, archives

27/11 Ehni soit qui mal y pense, une journée avec René-Nicolas, Bibliothèque Municipale de Mulhouse en direct + invité(e)s - archives

15/11 7PM CEST - (re)programming: Accountability : How to tell With Eyal Weizman & Marta Peirano

19/06 > 27/11/2021 : Studio 3.14 en direct et en continu depuis l'espace multimedia Gantner, depuis l'exposition Donner Forme à l'Ether (Shaping the Æther).

13/11 ACSR 25 ANS en direct de 16h à minuit

8/11 - 18h30 - Reflexio 3 - Anne Zeitz - Polyphone

28/09 > 3/10 : Festival Riverrun, GMEA, Albi en direct

1/10 : Infinite Loop - Flaneur x Station https://lastation.paris/stationgdm/rendez-vous/infinite-loop

23>26/09 : Sleep5959, live from Mälmo Konstmuseum

12/09 : STWST48x7 - Make Me A Signal, Prelude to Radiotopia

27/06 > 11/07/2021 : Radio Fischli & Weiss in exposition Signal/bruit Sonic Protest vernissage 27 juin, 15h.

10/07, 13h 17h - Vibération 2, une série de concerts sous casque dans l'espace urbain marseillais.

21/06/2021, 19h : (re)programming:AI #5 : Kate Crawford

19 > 21/06/2021 - radio plouf is back 48h en continu à l'occasion de Solstice

06 > 13/06/2021 - OpenRadio.in Pixelache Festival #BURN___ 2021 edition, Helsinki -> program grid**

06/12/201 - 13h/17h : Vibération#1, une série de concerts sous casque dans l'espace urbain marseillais.

31/05/2021 - 19h : Nodes of ∏node EP4/4 : Infinite Streams

24/05/2021 - 19h : Nodes of ∏node EP3/4 : Auto-Hostings

19/05/2021 - 19h30 : Instants Chavirés Concert en public & en ligne : Jérôme Noetinger & Anthony Pateras

17/05/2021 - 19h : Nodes of ∏node EP2/4 : Playing Outside

12/05/2021 - 18h : Résidence Instants Chavirés #8 : Camille Emaille

10/05/2021 - 19h : Nodes of ∏node EP1/4 : Sounds of the street

05/05/2021 - 18h : Résidence Instants Chavirés #07 : Anne-Charlotte Finel & Voiski

25/04 > 05/05 : Oscillation Festival 2021

25/04/2021, 18h : Concert Virtuel Espace Gantner N°4 : Svetlana Maraš

24/04/2021 - 20h >8h : ATOMA Live concerts Fenêtre Ovale Bruxelles

13/04/2021 18h-20h : Écologie des Arts et des Médias : Stefano Zorzanello

11/04/2021, 17h : Concert Virtuel Espace Gantner N°3 : Kaffe Matthews

9/04/2021, 14h-17h : POLYPHON 2 : Saisir la polyphonie : Vincent Meessen & Simha Arom

20>21/03/2021 12h-12h : Radio Plouf ! 24h de radio en direct du CCNRB

16/03/2021 : Science et Fictions #5 Aniara Rodado 15h-17h + Reflexio #6 Marc Baron 18h30-20h30

15/03/2021 19h : (re)programming #2 - An Alternative Earth, with Benjamin Bratton

10>12/03/2021 20h-21h Coyote, État critique

10/03/2021 10-13h (DAB) 14-17h (multi) : PING SÉMINAIRE #3 Étude critique des cultures numériques

09/03/2021 18h : Écologies des arts et des médias #7 - Matthias Poisson

04>07/03/2021 : Papiripar Radio festival

28/02/2021 - 17h : Concert à Ear Weare avec l'espace multimédia Gantner #2 : Svetlana Maras - MIXER_L_R

26>28/02/2021 : Festival Audioblast avec la participation du Golem (ΠNode)

26/02/2021 - 18h : Résidence Instants Chavirés #06 : Dafne Vicente-Sandoval & Pascal Battus

20/02/2021 - 14h : Les Sons fédérés - 1ère emission en direct au sein de la radio de la Clef

19/02/2021 - 18h : Résidence Instants Chavirés #05 : Chocolat Billy

18/02/2021 - 19h : Qalqalah قلقلة : plus d'une langue - Vernissage de l'exposition à la Kunsthalle (Mulhouse)**

15/02/2021 - 19h : Aksioma (re)programming

12/02/2021 - 18h : Résidence Instants Chavirés #04 : Cancellled avec Will Guthrie

09/02/2021 - 18h30 : Reflexio 5 - Deborah Walker

05/02/2021 - 18h : Résidence Instants Chavirés #03 : Julien Desprez

02/02/2021 : Séminaire Paris 8 : Science et Fictions #3 15h avec Cristina Hoffmann ; puis Écologies des Arts et des Médias #6 18h avec Aurélien Gamboni & Sandrine Teixido .

29/01/2021 - 18h : Live Instants Chavirés #02 : Louis Laurain

28/01/2021 - 17h>21h30 : ERUA : Nuit des idées 2021

27/01/2021 - 18h30 : ACSR présente : Écoute collective "Rythmes (In)visibles" d'Anna Raimondo

26/01/2021 : Écologie des arts et des médias #6, Jérôme Dupeyrat et Laurent Sfar

24/01/2021 - 17h : Concert en ligne avec l'espace multimédia Gantner #1 : Lee Paterson

23/01/2021 : 21h>2h : Bande Fm organisée** Depuis plusieurs mois, douze radios et collectifs se rassemblent pour manigancer 12h de direct depuis Marseille.

22/01/2021 - 18h : Résidence Instants Chavirés #01 : Jazzoux (Somaticae & Terrine)

12/01/2021 : Reflexio : Mattin

30/12/2020 > 1/1/2021 : le placard headphone festival NYE 2020 + 2021 - Archives

19-20/12/2020 : NON ESSENTIEL - en direct du marché de noël de la Générale : Dec 2020, 19 > 20

Tsonami Festival XIV : Dec 2020, 11 > 21 https://festival.tsonami.cl/

Global Riot Golem : 15/12/2020 : 0h CET / 20H CLST https://p-node.org/actions/global-riot-golem

WIRED NATIONS NIGHT : 12 hours from SAT 12 12 21:12 to SUN 13 12 9:12 dedicated to raw emissions of computation + raw jamming

12/12/2020 12h21 - 21h12 - ça sent le sapin, 8h51 de radio, concerts - infos

07/12/2020 18h00/20h00 : Écologie des arts et des médias #3 - Thierry Boutonnier

01/12/2020 : Reflexio 3 - Simon ripoll-Hurier

01/12/2020 : Sciences et Fictions 2 - Elise Morin

26 & 27/11/2020 : Confinement, viralité et formes de vie special program, 2pm-8pm CEST

24/11/2020 18h00/20h00 : Écologie des arts et des médias #4 - Florent Tillon

24/11/2020 15h00/17h00 : Sciences et Fictions : Vincent Voillat

9>22/11/2020 : Radiophrenia Temporary Radio Station 24/7 Relay in the multistream

17>23/11/2020 : MEM festival & ZARATA fest, Bilbao

17/11/2020 18h00/20h00 : Reflexio #2 - Marie Canet, les bourdons de la contestation

14/11/2020 - One DroneDay Barcelona Relay 13h>1h

10/11/2020 18h00/20h00 : Écologie des arts et des médias #2 - Adriana Wallis

3/11/2020 18h30 : Reflexio 3 - #1 Catherine Guesde, chaos et ordres de la noise: à l'écoute des formes émergentes - reflexio program

Postponed : SLEEP 7 - Art for sleepers, art by sleepers and art as sleep @ Malmo Konstmuseum - sleep 7 program

14>18/10/2020 : LUFF Festival https://www.luff.ch/

25>27/09/2020 : Paris back-to-radio meeting at La Générale

14/05>24/09 : Radio in between Spaces each thursday at 19:00 extended to the end of september

19/09/2020 : Night of the soundscapes from Radio Helsinki

06/09/2020 : Radio Free Assange Spécial https://p-node.org/freeassange/

08/2020 : Les bandes magiques - Fred Deux tous les jours du mois d'aout à 13h

23>27/08/2020 : Rencontres de la Pommerie 2020

24>28/08/2020 : Rencontres Intergalactiques : Espace de Résistances

15/08/2020 : Concerts Dispersés 2020

01/08/2020 : Modulation X 2020 10ème édition !

19/07/2020 : VIEUX MEDIA @ La Generale, Paris - toujours vivants !

15>17/07/2020 : RECONTACT, summer festival with Sonic Protest + Instants Chavirés + COAX http://www.zonedesilence.org

03/07/2020 : restream galoche.online - 72hrs de Radio collective - Non-Stop [Relai]

22/06/2020 : ANTIVIRUS 100 - End of antivirus program after 100 days

23/05/2020 : Mulhouse Studio Under Construction, inauguration during the ANTIVIRUS BOOM

17&18/05/2020 : iterations.space festival

12/05/2020 : FLUSSER-100 organized by the flusser.club : 12hrs continuous video stream

03/05/2020 : TRANSFORMATIONS II Festival. curated by 1+1=3

14/04/2020 : ∏node officially broadcasts over the DAB+ in Paris region, on the channel 9B (204,640 MHz).

15/03/2020 > ongoing : Participatory radio program ANTIVIRUS

05/12/2019 > ongoing : Acentrale - Radio group for the French social movement

03>22/03/2020 : SONIC PROTEST 2020 streaming on the Multistream !

07/03/2020 : The Great Offshore Radio stream from Les Tanneries Amilly

01/03/2020 : Inauguration du studio parisien @LaGénérale

22 > 23/02/2020 : Festival Audioblast n°8 par Apo33

15 > 17/02/2020 : ∏exp4 @ La Labomedia

30/01/2020 | 19h : Institut Français Thessalonique ÊTRE VIVANT : l'anomal et l'anormal

27 > 31/12/2019 Chaos Communication Congress 4 x 24 hours streaming powered by vl

06/12/2019 : Radio Tsonami 20h/24h en direct du Chili

06/12/2019 : AG de coordination Gare St Lazare / Teleia des luttes

05/12/2019 : RADIO D'AUTODÉFENSE POPULAIRE - with Cause Commune, R22, VIZIR, ...

08/11/2019 : OOR records* 5th birthday for 7 x +/- 55 minutes 12:15-18:50

18/10/2019 : a ∏studio opened at Wonder, you're welcome.

28 > 29/09/2019 : Micro(S)iphon

25 > 31/08/2019 : Assises Internationales de ∏-Node @MulhouseF

19 > 24/08/2019 : Rencontres de la Ferme de Lachaud : Puissances de l'habiter, matériaux pour des écoles de la Terre

14 > 16/06/2019 : Atelier ∏-box, Piksel Festival, Bergen

01/06/2019 : GOLEM Performance, in THSF Festival, Mix'Art Myrys, Toulouse

24/05/2019 > 16/06/2019 : Signal To Noise Exhibition, Piksel Festival, Bergen

01/05/2019 : 1 MAI ------- 24H - 3X8X3 soit 24h de radio sur le travail - Vizir

25/04/2019 : Des Radios libres au Radio Art, avec UV Editions, Gaîté lyrique, Paris

15/04/2019 : En direct depuis Arts inter/transmédia : Rencontre et performances inter-zones

06/04/2019 : Radiophonic Protest Village Vacance Protest

05/04/2019 : Radiophonic Protest Multi-stream Catholic Protest, Église Saint Merry, Paris

04/04/2019 : Radiophonic Protest Pirate Duos, Église Saint Merry, Paris

04/04/2019 : Radiophonic Protest Live Broadcast, Théâtre de Vanves, Vanves

03/04/2019 : Radiophonic Protest Radio PSG Matin en direct du périphérique parisien - stream et MHz feat. SP, JLN, Pes et individü

02/04/2019 : Radiophonic Protest Robot Invasion at the American Center, Mona Bismarck, Paris

29 > 30/03/19 : Radiophonic Protest Live Broadcast, L'échangeur, Bagnolet

27/03/19 : Radiophonic Protest Radio Down to Earth, la Station, Paris

22 > 23/04/19 : Radiophonic Protest Live broadcast from Rencontres de la musique brute, Chapiteau Turbulent, Paris

20/01/19 : Labomeda GOLEM live performance in À lier, expoistion finissage, Orléans

17/01/19 | 22h17 : Démarrage de la diffusion ∏-Node en DAB+, Haut-Rhin, Alsace - Canal 11D : 222.064 MHz

20/11/18 | 19h45 : Streaming from Persona Non Data, Gaité Lyrique - Paris

17/10/18 | 07h : Radio PSG matinale @Le Pré Saint Gervais - rendez-vous au Café Vanilla

05/10/18 : Workshop on ∏-Box in C3P Medellin, Colombia

28/09/18 : Networked feedback performance, Pour cause d'interférences, Blois. On 91.1MHz + distributed nodes in Medellin, Brussels, Éourres, PEA @ la Fondation du doute, café Fluxus

28/09/18 : Atelier ∏-Node in Pour cause d'interférences, Blois, Fondation du doute pour les 10 ans de Syntone

07/10/2017 > 08/10/2017 : Festival Relectures à Khiasma, Nuit Blanche

04/2017 : Radio Evol, in Plateforme, Khiasma with R22, Zone Zero & Radio BAL

05/2016 : ∏-Node performance & residency in THSF #7, Mix'Art Myrys, Toulouse

30/01/2015 > 15/02/2015 : ∏-Node "Radio Fischli Weiss" (Cybernetic transmission relays) in Orléanoïde Festival, Orléans

10/2014 : ∏-Node residency in MusikProtokoll, Graz

10/09/2014 > 20/09/2014 : ∏-Node residency in Espace Multimédia Gantner

26/07/2014 > 02/08/2014 : ∏-Node residency in CND, Pantin, during Bande Originale festival

24/01/2014 > 02/02/2014 : ∏-Node official launch in Club Transmediale, Discontinuity, 10 days of workshop, broadcast and meetings on radio at Where is Jesus, Berlin

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REVEIL 10 | Saturday 6 to Sunday 7 May 2023 | Π-Node special collab with Vogelklang Radio Plouf #03, 52h en direct du CCNRB, Rennes, du 24 au 26 mars 2023 Festival Sonic Protest 2023 sur les ondes, du 14 mars au 2 avril, infos Phantom CourtCIRCUIT II, du 8 au 11 mars en direct, info 4/03/2023 : 1er Samedi du mois #4 @Générale" stu∏dio Paris Festival FRENCH DEPOSIT JC Lagoya, Scenes from Salads , 2 et 3 mars, Treize Audioblast festival du 24 au 26 février PRESENT / JETZ G'RAD [fallback #9] selected and produced by f3bis, february.

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radio aporee ::: maps - sounds of the world

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radio aporee ::: maps is a global soundmap dedicated to field recording, phonography and the art of listening.

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The Pirate Book - A compilation of stories about sharing, distributing and experiencing cultural contents outside the boundaries of local economies, politics, or laws

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Pirate Radio London - 1994/95 Rush fm pt1

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Voices

As stations like No Signal and Pie Radio continue to dominate the airwaves across the UK, Tobi Kyeremateng looks back at the modern history of black audio

Thursday 08 October 2020 10:50

I

f there is a space Black Britons have made their mark on over the last few years, it's the audio space. From the podcasts started in the bedrooms of friends to the inventive audio content that reimagines the ways we share stories, audio has become a space of unfiltered creativity and authenticity led by a technological generation of cultural pioneers. In a time where new-wave audio content is flourishing, it feels just to look back and give thanks to what was perhaps the birth of audio innovation - pirate radio.

When the first radio wave was transmitted across the open sea from Lavernock Point in the Vale of Glamorgan, Wales in 1897, I wonder if Guglielmo Marconi ever anticipated the legacy his work would hand to the children of the 20th century. As the power of the airwaves evolved, from a then 21-year-old Marconi trawling the rooftops of Post Offices in London in 1896, to collectives of future music aficionados standing on the edges of the tallest tower blocks - sometimes with an aerial hanging off a broomstick - pirate radio became a sonic haven in the shadow of the mainstream that would inevitably shape the future of audio.

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Pirate radio as we know it has sat in the bones of the underground since the 1930s and the "illegal" audio movement quickly made its way across the globe, from Radio Luxembourg and Radio Nova in Europe, through to stations like Wah Gwan Radio, Vybez Up Radio, and the many pirate radio stations still running from the roofs of churches and apartments in Brooklyn, New York, as documented in the Brooklyn Pirate Radio Map by producer David Goren.

The struggle to gain mainstream access to authentic audio content centering Black cultures has been a global phenomenon. It was on a weekend in the 1980s when the UK's era of Black British pirate radio was born, christened with the jingle, "DBC, it's a sign-sign-sign, Dread Broadcasting Corporation, tune in if yuh rankin'!". In 1981, the late Leroy George Anderson, also known as DJ Lepke, set up Dread Broadcasting Corporation, a pirate radio station running out of west London playing Reggae, and eventually branching out into R&B, Ska, Soul, Funk, Calypso, and Lovers Rock. DBC is known to be the UK's first Black-owned pirate radio station. Former DBC DJ and author Lloyd Bradley marks Lepke's legacy as "effectively laying down a cultural marker, the ripples from which were absolutely critical in shaping mainstream British music in the 21st century."

One station in particular that transformed the pirate radio scene was KISS FM, launched as a pirate radio station in 1985. DJ Lelan Jones (also known as Papa Scooby) told me: "KISS FM stood out when it started as a pirate. It had all the right ingredients. They were at the forefront of the knowledge of what the kids on the street wanted to hear." Radio veterans like Jones started out on platforms such as Station FM, founded in 1991 by DJ Keithley, and witnessed the growth of other stations like KISS FM first-hand. He continued: "It was the most important step for the Black community to get their voices heard and music played on the radio." On an economical front, pirate radio stations simultaneously boosted the visibility of "White Label" underground distributors and record stores like Catcha Groove, Bluebird Records, and Blackmarket Records. Many pirate radio workers worked in record stores and imprints, including renowned DJs such as Trevor Nelson and Jazzie B, who describes the record store as "our church, our university, our internet, our communication hub, our Wikipedia". KISS FM went on to make history as one of the first Black music pirate radio stations to secure a full license in 1990. Sound system culture played an integral part in creating a bedrock for pirate radio, with DJs from DBC and KISS FM involved in running sound systems and learning the tools behind commanding an audience along with capturing the sounds of the streets.

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Although pirate radio is often known for its musical revolution, it also served as a function for sharing news within specific communities. Stations like Ujima Radio, established in Bristol in the early 2000s, would broadcast information about local Nine Nights, and Weekend Black Listeners Station, also known as WBLS Radio, London's first Ghanaian radio station founded in the 90s by the late Sammy Kay, was known to have had one of the largest Ghanaian listenerships in the UK, reaching as far as South-End from its transmission station in derelict buildings in Hackney Downs. Voice of Africa Radio (VOAR) was set up in 2000 in Newham and served as a popular pirate station for advertising local African businesses and receiving a diverse listenership across the African diaspora. These pirate radio stations became an independent source of familiarity for newly-arrived communities in the UK seeking a home away from home. During Black History Month in 2005, Colourful Radio launched a pilot run from Battersea. Kofi Kusitor MBE, founder of Colourful Radio said: "At the time it was called Talk Capital. It went down a storm. The servers were battling because there were so many people online. After that, we said we were going to set up a proper radio station." Colourful Radio set to fill a gap in the market of pirate radio, with a pivot away from music and into discussion-based shows. Kusitor said: "Speech is very important in our communities. Oral traditions have always been a part of our culture and this translates into radio."

Colourful Radio launched on London DAB in 2009, and the rebranding of South London pirate radio station Choice FM, now Capital Xtra, left Colourful Radio as the only Black-owned legal commercial radio station in the Black music market. Along with Choice FM's demise, VOAR lost its license in 2016. These declines are a microcosm of the precarity that was constantly clipping at the heels of pirate radio stations. The Department of Trade and Industry (DTI), which first emerged in 1970, sought to eliminate any unlicensed broadcasting and the unlucky ones were often taken offline or raided, resulting in records being confiscated - some of which still haven't been returned - or in the extreme, jail time. DJ Ruff N Tuff shared that "DTI would listen to pirate radio stations and assume how much these stations were making. Tabloids would protest and say stations were drug-led or that we were interfering with aircrafts." Mystic FM's DJ Ruff N Ruff started out in pirate radio in the late 90s. He added: "Contributions had to come from DJs pockets to keep the station alive. That's how they funded themselves."

Considering the nuances between being a Black-owned pirate radio station like DBC, versus a radio station hosting majority Black DJs and presenters and pushing Black music and cultures like KISS FM, the complex and diverse history of pirate radio in London is an endless list: Rinse FM pioneered a wave of UK Garage, Grime, and Dubstep, which spurred on the launch of BBC 1xtra due to its popularity, and existed in the same paradigm as Freeze FM; LayLow FM; React FM; Manic FM; DeJa Vu; Heat FM; Xtreme FM (which was raided live on air in 2006); OnTop Radio; Vibes FM; Bang Radio; Westside Radio; Power Jam FM; Roots FM; Juice FM; Baseline FM; Sweet FM; Lightning FM; Genesis FM; Blues FM; RJR FM and Delite Radio to name a few. But pirate radio's legacy is far from London-centric.

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A stone's throw away from where the first radio wave was transmitted, Tiger Bay Radio was set up by John Lenney Jr in Cardiff, Wales. Cardiff's history holds one of the oldest continuous Black communities in the UK, and key organisers such as Keith Murrell, who is a founding member of Butetown Carnival, were instrumental to the formation of Black-led radio in Wales. In 2007, Lenney Jr founded Radio Cardiff, which still remains the only community radio station in the city.

In Nottingham 1988, Heatwave Community Radio (HCR) operated from the back of a bakery in a notorious part of the city that was a no-go zone for local authorities. HCR became one of the few stations in the East Midlands catering to Black listenership and often collaborated with The Marcus Garvey Centre on events hosted by HCR selectors. In the South West, the musicality of Bristol as a city goes hand in hand with its relationship with pirate radio. Stations like Raw FM, Ragga FM, S.P.E.C FM, For The People (FTP) Radio, and SOS Radio pioneered the pirate radio scene through its music heritage from the late 80s onwards, and artists like DJ Style were involved in the makings of history. He told me: "The pirate was part of the community and the community was part of the pirate. We were taking a gamble putting on entertainment for the local community because that's how much we cared." In its 12th year of broadcast, Ujima Radio is a contemporary cultural hub for Black and ethnically diverse listeners across Bristol, and DJ Style has been with them since its genesis. "It felt good to have something on the airwaves where we knew we could hear the music we wanted to hear," he added.

But what does the sound of the underground look like today? Collectives of artists and community leaders across the UK continue to utilise the airwaves as a key method of entertainment and education. In 2015, Solomon Onaolapo founded Pie Radio with a small team based in Manchester. Solomon told me: "We ran some music workshops in Stockport and the kids were like, 'what do we do with the music?', so we were like, cool, let's just start an internet radio."

Predominantly led by young people, Pie Radio became a Manchester DAB station in June 2020. A train-ride away in Leeds stands Sable Radio, founded in 2019 and stationed on the edge of the city centre in a former nun convent-turned-digital art space. Talking to me about Sable Radio's legacy, Sable Radio said: "We felt there was a real lack of creative opportunities in the city, especially for early career and young Black people and people of colour. A radio station seemed like a good place to start a kind of creative hub." Leeds' history of sound system culture brings us back to the bedrock of pirate radio, and few Leeds-based stations such as Peoples FM and Fresh FM paved the soundscape of the sound system pirate radio era.

From Leeds to Bristol and beyond, the station currently in everyone's mouths is No Signal Radio, a London-based grassroots station that launched in March 2020 as an extended limb of nightlife party, RECESS. No Signal Radio saw huge success due to its flagship radio show #NS10v10, drawing in over a million listeners in the first three months of its life and welcoming guests including Julie Adenuga, Ian Wright and Ray BLK. The station is also on its way to building a broadcasting studio in North London with the aim of "becoming a hub for the future of Black entertainment and beginning a new infrastructure for others to build on."

Platforms like Broccoli Content, founded by Renay Richardson, and Decolonising The Archive (DTA) experiment with original audio material, from Anthems - a collection of manifestos, speeches, stories, poems, and rallying cries - to Duppy Conquerors, an extended series looking at what we can learn today from Maroon's resistance to British oppression. The podcasting space is overflowing with an array of voices, from LGBTQ-centeredTwo Twos Podcast, Time To Talk with Alex Holmes, which was named by GQ Magazine as one of the best podcasts to listen to in 2020, and Don't Alert The Stans, a music and pop-culture podcast who have been acknowledged by the likes of American R&B singer, SiR. Wednesdays officially belong to The Receipts Podcast. As I brace myself for another day of working from home, I recite that biblical opening from hosts Audrey AKA "Ghana's Finest", Tolly T and Milena Sanchez - smoothly throwing in my own name as if I were appearing as a guest - and concluding with the customary "owww!" at the end.

The sound of the underground has never been louder. Black communities across the UK are once again pioneering a new age of audio innovation and the bricks they've laid in the foundation of audio content will bring in a new age of sonic resistance.

Tobi Kyeremateng FRSA is a multi-award-winning cultural producer, writer and social entrepreneur. She has worked with the likes of gal-dem, Institute of Contemporary Art, Nike, Roundhouse, Samsung, and Tate Modern, and has had work featured on Complex, NOWNESS, Vinyl Factory and 180 The Strand. Tobi is the founder of award-winning initiative Black Ticket Project

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How Black Britain changed the face of UK radio

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Opinion: How Black Britain changed the face of UK radio

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Voices As stations like No Signal and Pie Radio continue to dominate the airwaves across the UK, Tobi Kyeremateng looks back at the modern history of black audio Thursday 08 October 2020 10:50 I f there is a space Black Britons have made their mark on over the last few years, it's the audio space.

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UbuWeb Film & Video: Craig Baldwin - Sonic Outlaws (1995)

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The Last Angel of History (John Akomfrah) - Legendado

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For more than a decade, astronomers have puzzled over the origins of mysterious and fleeting bursts of radio waves that arrive from faraway galaxies.

Now, scientists have discovered the first such blast in the Milky Way and traced it back to its probable source: a small, spinning remnant from a collapsed star about 30,000 light years from Earth.

The surprise detection has handed researchers their strongest evidence yet that some if not all fast radio bursts, or FRBs, are unleashed by compact, highly magnetised neutron stars called magnetars - exotic objects born in the embers of supernovae.

"This is the most luminous radio burst ever detected in our galaxy," said Daniele Michilli, an astrophysicist at McGill University in Montreal who works on the Canadian Hydrogen Intensity Mapping Experiment, or Chime telescope.

The first FRB sighting came in 2007 when Duncan Lorimer and his student David Narkevic worked through archived observations from the Parkes radio dish in Australia. The intense burst of radio waves lasted less than five milliseconds, and what had produced it was a mystery. Scientists have recorded dozens more since, all from beyond our own galaxy.

The latest discovery came on 28 April when the Chime telescope detected a millisecond-long FRB coming from a region of the sky where a magnetar called SGR1935+2154 lurks. A second, less sophisticated telescope - made from metal poles and cake tins - known as the Survey for Transient Astronomical Radio Emission 2, or Stare2, swiftly confirmed the sighting, along with an outburst of x-rays from the same source.

Chris Bochenek, an astrophysicist at Caltech who helped to build Stare2, said he and his colleagues had given the project a 10% chance of detecting an FRB in the Milky Way. "When I looked at the data for first time, I froze and was basically paralysed with excitement," he said. "The fact that we detected such a burst in the Milky Way at all is surprising."

Analysis of the signal, named FRB 200428, found that the magnetar emitted as much energy in radiowaves in one millisecond as the sun does in half a minute. Details of the discovery are published in three independent studies in Nature.

While the discovery does not mean that all fast radio bursts come from magnetars, it pinpoints the objects as one source that astronomers will now observe more closely.

A major question that remains is how magnetars unleash such intense blasts of radiation. One idea is that magnetars are distorted by "starquakes" that tear open their surfaces and release vast blasts of energy. Another is that powerful flares from magnetars collide with particles in space, producing intense shockwaves and magnetic fields that whip electrons around, releasing bursts of radio waves in the process.

Duncan Lorimer, an astrophysicist at West Virginia University, who was not involved in the latest work, called the finding "an incredibly important development" that showed magnetars were "really credible sources of FRBs".

"Back in the day, we thought about magnetars, but I think I was more prone to a one-off source like a neutron star merger," he said.

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Burst of radio waves in Milky Way probably came from neutron star

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For more than a decade, astronomers have puzzled over the origins of mysterious and fleeting bursts of radio waves that arrive from faraway galaxies. Now, scientists have discovered the first such blast in the Milky Way and traced it back to its probable source: a small, spinning remnant from a collapsed star about 30,000 light years from Earth.

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Interview de Christopher Kirkley - Sahel Digital

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Documentary by Magdiel Aspillaga and Ernesto Oroza
Since 1983, Waldo Fernandez has been assembling an archive of Cuban audiovisual memory. The collection–which functions commercially under the “Marakka 2000” brand–relies and exploits a loophole created by current Cuba-U.S. diplomatic relations, and is sustained by a precise and astute understanding of current procedures regarding the protection of copyright in the U.S.

Each generation of emigrants has put its own nostalgic claims to the archive, which has more that 14,000 objects. Waldo has processed all this material in order to add new credits, remove sensitive copyright issues, and even re-edit the dramaturgical time and pace of serials and soap operas in order to adjust them for suitable commercial formats. The pinnacle of the archive lies in the documentaries that Waldo himself has directed and edited using video clips and sounds from his collection.
“Marakka 2012” is a revision of “Marakka 2000”. From our perspective, Waldo’s archive is above all else a registry of its own constitution. A repertoire of source formats, a history of the transfers produced and the copying technologies employed. A deposit of all the available resolutions of the last 70 years. A monument to piracy, to the glory of anti-macrovisions.
Featuring: Waldo Fernandez “Marakka”

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Music from Saharan Cellphones: Volume 2, by Various Artists

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Shanzhai Lyric 2015-2020: Poetic Research & Archive. @shanzhai_lyric

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Radio Alice was an Italian Pirate radio broadcasting from Bologna at the end of the 1970s. It started transmitting on 9 February 1976 using an ex-military transmitter on a frequency of 100.6 MHz. The station was closed by the carabinieri on 12 March 1977. Radio Alice then re-opened again for two years and became politically aligned with the autonomism movement. After closure, the frequency was then given by the state to Radio Radicale. Radio Alice's output covered a myriad of subjects: labor protests, poetry, yoga lessons, political analysis, love declarations, cooking recipes, Jefferson Airplane, Area or Beethoven music. Participants in the station included Franco "Bifo" Berardi, Maurizio Torrealta, Filippo Scòzzari and Paolo Ricci. In 2002 some former staff members participated in the founding of Orfeo TV, the first Telestreet pirate TV. ( Mediateletipos)

An interview with Franco Berardi on Radio Alice, a free radio station in Bologna from 1973-1977.

Radio Alice was a free radio station in Bologna from 1973-1977. Rather than attempting to objectify events in the world, they set out to create a flow of sounds, information, messages and poetry, silences and abuse. Like the manifestations of Dada, transmissions were seen as immediate cultural subversions.

Bifo, who worked on Radio Alice was interviewed by Carlos Ordonez at the recent conference on Autonomy ('After Marx, April') in London. The interview was conducted in English.

The autonomia movement in Italy during the seventies emerged from the new proletariat of disaffected and unemployed youth, workers and intellectuals creating a radical opposition to institutional politics.

'Autonomy has no frontiers. It is a way of eluding the imperatives of production, the verticality of institutions, the traps of political representation, the virus of power. In biology an autonomous organism is an element that functions independently of other parts. Political autonomy is the desire to allow differences to deepen at the base without trying to synthesize them from above,to stress similar attitudes without imposing a general line, to all parts to co-exist side and side in their singularity.'

Sylvere Lotringer 'The Return of Politics'
'Autonomia' issue of Semiotext(e)
Q: How did Radio Alice begin, and what experiences did it attempt to address?
Radio Alice started in February 1976 with people who came from the experience of Potere Operaio, a leftist revolutionary group and people involved in the movement of Autonomia. We did not think of Radio Alice only as a political means but, first of all, as a possibility of organising the experiences of a homogenous community. We were speaking of little groups - feminists, gays, workers. I emphasize this 'little group' character because we did not conceive of the radio as a political organisation that has to 'state decide' who can speak or can't speak. We considered the radio as the point of intersection of different experiences - every experience being different from the other. We did not think about attempting to homogenise these different groups and points of view.
Q: How was the radio organised?
We had a weekly assembly of the different groups who were working in the radio, and we organised a general programme for the week. Anyone who wanted to propose something for the programme could come along. Of course, the programme referred, in general, to the social and cultural areas that were somewhat homogenous. The starting point for the radio was the different social experiences of the autonomia and, on the whole, the people who listened to the radio were engaged in this social area. Another way of organising the transmission was with the use of the telephone which was connected directly to the radio station. This created a special kind of interchange of information.
Q: So you used the telephone as a means of bringing people together?
If you wanted to say something to the people listening, you could. The people working on the broadcast also transmitted their own messages. We had a political bulletin each lunch time for an hour and after that, we had direct political information coming in from callers. We also organised 'listening groups' and this created the possibility of a continuous feedback involving a lot of these small listening groups. For instance, one listening group of students occupied a technical school and immediately called us in order to speak of the occupation. Immediately after, we received a lot of other calls from other schools asking for information and questions about the kinds of problems the group faced. This gave rise to the possibility of not only the circulation of information but also the circulation of struggle.
Q: Was there a critical examination of news as a phenomenon?
I am opposed to the idea of alternative news which attempts to expose the bourgeois news as lies. You see, I do not have truthful information opposed to the non-truthful of the bourgeois press. I have my information. That is all. And I prefer to diffuse or mix my information. I don't know if that is the truth; I do not believe that it is the truth; I do not believe that the truth exists at all. I believe that there are a lot of possible forms of information, every information being connected with a form of life. I choose a form of life and I diffuse the kind of information connected with this form of life - that is all.

Q: Did you explore the forms involved in radio as well as the content? .

We gave special importance to the problem of form. I prefer to say to the problem of the language we chose. For instance, all the Free Radio's in Italy generally have a framework except for the political bulletin and even that was loose. This kind of destruction of the framework gave rise to the possibility of speaking all kinds of different 'languages'. When we destroyed the framework it opened out all other possibilities, but of course, you still have to choose between the different possibilities. We rejected any kind of censorship, political or aesthetic. (The idea was that we were an artistic object).

Speaking about the forms of language we used, what I liked was information that was simulated (false information). One time, the police went to the biggest square in Bologna where young people meet, and arrested a lot of them under the pretext that they were dealing in drugs. It was a period of attack by police due to pressure from the owners of businesses in the centre of Bologna who wanted a clearing-up operation to get rid of these young people. I was at the Radio and I called the head of police - the sheriff - telling him that I was a journalist from a big newspaper in Bologna. I told him that I realised he had arrested 35 people and I wanted to know whether he would continue to go on with these politics because the town had been asking him to get rid of these dirty people from the squares for a long time. He said yes, and that he had been waiting for a long time to do it but he would be arresting more people the next day. I then asked whether the arrests would just be confined to drug dealers or to extremists as well because it was surely not enough just to arrest the drug dealers. He agreed and was so happy to speak to a big journalist. But then another section of the police who was listening in to Radio Alice, went to the office of the sheriff to tell him what was happening, so that ended the call. But that was a form of real information. We were obliging the sheriff to tell the truth by us telling a little lie.

In Bologna in 1977, there was a movement in schools, in the universities and in some of the factories and a zone of the city was occupied. The police came into the university and killed someone in the movement and for three days the town was occupied and barricaded. In the period of the riots, Radio Alice was one of the means of communication, organisation and information for the people. The way this coordination worked was that people on the barricades, for example, would go to the telephone and call the radio to say that they needed more people there as they were tired. People from another place would then come and relieve them. Radio Alice was not only the walkie-talkie of the riots; people were also ringing in to say that we were extremists or killers and that we should criticise the movement on the streets. It was 20 hours a day of free speech about what was happening on the streets. On the second day of the riots the police entered the radio station and destroyed everything. The press supported the police action by saying that Radio Alice was instigating the riots through the use of false information. All the people arrested from the radio were charged with using false information and for instigating the riots by means of false information. We had a long theoretical discussion about the conception of true and false news and said that every newspaper is giving news that is true from one point of view. The news is not the reproduction of reality but the production of events, of facts, of reactions etc. so to tell something which is explicitly or evidently false may be the means ofproducing the effects connected with a truth - our truth.
Q: To what extent do the people at Radio Alice feel that they were accountable to the movement?
The radio was open in such a way that any group disagreeing with something that had appeared on the radio, could come and put across their own point of view. One time a feminist group that did not like a transmission, came and occupied the station for half a day in order to put out their own transmission. But of course, this was an extreme example. We did not aim to be representative of the autonomia movement but we aimed to represent ourselves and I think that all the people coming to the radio had the same aim; to be representative of their own point of view.
Q: When I read the texts of Radio Alice, what I found unusual was the use of poetic language lyricism, mixed with music. They were inventive but also obscure, readings from Lautreamont, de Sade, discussions on Surrealism etc. Was that the kind of creativity going on in the movement and how did people respond to it?
First of all, there is a very particular set of problems in Bologna. There is a difference between the majority who make up the traditional workers' movement and on the other side young people Bologna is a university city and a lot of young people come from the south to look for work. And so an opposition and separation has produced a growing distance and break from the worker movement tradition, and this opened out the possibility of a close connection between politics and artistic language, and immediate forms of speech. Secondly, there is a group experience that is the result of both the social situation of Bologna, and from 1973 onwards, a series of lectures, readings and workshops on Anti-Oedipus by Guattari and Deleuze. A concept of Mao-Dadaism emerged and an idea was that Dadaism was an attempt to break the separation between art and life. We thought that Dadaism wanted to overcome this separation, but the experience of the Dada movement meant that it was only a name without the possibility of realising and effecting this kind of overcoming; the idea of 'from the masses to the masses' is the kind of projectory that may be made through the immediate artistic language. The aim of Dadaism becomes realistic in the condition in young proletarian forms of life. The young proletarian forms of life realise immediately the separation between art and reality.
Q: Why did the station stop transmitting?
First of all, we did not have money, but that was always a problem from the beginning which we managed to solve. The real reason was that we felt there was a growing distance between our possibilities of information and the political organisation in opposition to the repression. We faced the problem of a change in the feeling of the people. For instance, the audience of punk groups in Italy are more and more interested in drugs, images, videos and music and less and less interested in words, in politics and in the technology of spoken information. I think that radio has been a very important moment of passage, a transition from the political speech and the paper that has moved from the print into the electronic forms of communications. Now, most of the people from Radio Alice are working in music bands, or musical publications and video groups. This is our problem today. What we are doing now is a construction of a form of communication beyond words, beyond speech. We had reached the limit of what is possible just using words. Radio Alice was using more and more poetry in the transmission and less political messages. To read poetry over the radio after 1977 was crazy. You had to speak about the hundred or so arrests every day. Yet to speak about the arrests means nothing if every day you have to announce a similar message. When you have to say each day that one, two, three hundred people had been arrested yesterday, you are completely impotent and powerless. You say the same things for 10 days and nobody will listen to the radio because it is only depressing information and It is not some political indication nor is it some linguistic communication. It is only depressing information. In that moment we had the impression that the contradiction between our aims and the political needs was an impossible contradiction to overcome. In fact we stopped the radio and some of us engaged ourselves in the defense of prisoners and most of us started to work also with video and music.
Q: What kind of connection did you have with other forms of communication?
Before we started Radio Alice, a group of us were working on a publication called A Traverso which was especially concerned with problems of communication, information, relationships between forms of language. It was a paper of poetry, literature and political literature. From the magazine we went to the radio with the feeling that we were passing to a more developed form of communication. There was no contradiction in this as we continued to produce the magazine.

On a radio, you can't do things that you can with music, video or drugs. I think that drugs are a very important area of communication. We generally use drugs like a commodity. But I think that drugs are not a commodity but a communication technology. I think we can also do a scale in the relationship between social forms of life and communication technologies. The old working class did not use music or video but used newspapers and speeches. The meeting is overcome by the existence of the telephone. When the telephone exists in most houses, the meeting becomes less and less useful. The development of new forms of communication technology renders obsolete other forms of technology. It does not mean you have to forget these obscure forms of technology because there is still a particular kind of specificity which remains.

The speed of written communication is much slower than the speed of radio-communication. But there is the problem of communication technology to produce greater and greater speed. The capitalist knows this very well. If speed is the problem then I think that radio is not fast enough. The radio needs a very rational and discursive relationship between the speaker and the listener. Also the feedback is very slow. I think that music, image and drugs make possible a form of feedback which is absolutely immediate and I think we have to work in this universe of SIMULTANEITY. Radio is the middlepoint between the very slow, distant communication of the written text and the simultaneous form of communications of music, video and drugs. Radio is by necessity, connected as a form of communication based on successive items of information like the written text. The most important thing about electronic consciousness is that you don't have the need for this succession of items of information - the linear sequence. You are faced by a wall, by alterations of mind. From writing to image is a trajectory that goes from teaching, from the transmission of items of information, to the alteration of consciousness; the immediate transmission, not of concepts of information of distinct items but a wall that changes you in one moment, and then in the next moment, another change. TV is the evident way of this way of alteration. Really TV is a drug, not a fantasizing sense, but in a concrete sense, a kind of alteration of your perceptions. But I think you have to deal with the alteration, with the change of perception in relationship to reality and ourselves.
Q: Do you think that TV is reformable?
No. It was a problem in the radio movement in 1977 when someone proposed that we should organise a TV network. The majority of the movement said that we did not accept this proposition because of the relationship TV has with its audience. This relationship is very fixed and determined and puts the audience in the position of passivity. We cannot reform the TV and we cannot think of another form of transmission. Different forms of transmission do not create a different relationship with the object, with the gadget. So we have to think, not only of different video transmissions but also towards a different network of consumers and users of the image. What has to be changed is not only the contents, not only the transmission, but also the form of network - the relationship between the people that the transmission may produce.

Libcom.org/ An interview by Rosetta Brooks of ZgPress on 10 July, 2010.

La storia di Radio Alice, documentario 2002

Further Readings:

Italy: Autonomia (4) - Franco "Bifo" Berardi

Italy: Autonomia (5) - "Bifo" and Radio Alice

Italy, Autonomia (6) - Raniero Panzieri

Italy: Autonomia (7) - Mario Tronti

Italy: Autonomia (8) - Mario Tronti

Italy: Autonomia (9) - Antonio Negri

Italy: Autonomia (10) - Sergio Bologna

Italy: Autonomia (11) - Franco Piperno

Italy: Autonomia (12) - Oreste Scalzone

Autonomia (13) - Paolo Virno

Italy: Autonomia (14) - Félix Guattari

Italy: Autuonomia (15) - Feminism

Italy: Autonomia (16) - Feminism: Mariarosa Dalla Costa and Selma James

Italy: Autonomia (17) - Feminism: Leopoldina Fortunati
Italy: Autonomia (18) - Feminism: Silvia Federici Italy: Autonomia (19) - Feminism: Carla Lonzi Italy: Autonomia (20) - Porto Marghera: the last firebrands

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Italy: Autonomia (5) - "Bifo" and Radio Alice

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Radio Alice Radio Alice was an Italian Pirate radio broadcasting from Bologna at the end of the 1970s. It started transmitting on 9 February 1976 using an ex-military transmitter on a frequenc...

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Images and sounds of Russian x-ray records, Soviet Forbidden Music, Roentgenizdat, Jazz on Bones, Music on Ribs, music on the bone, bone bootlegs and x-ray audio

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Old School Jungle/London Pirate Radio/1993

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Radia show times (Slots) | Radia – new and forgotten ways of making radio

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Below are all Radia stations, their live radio streams and their times of Radia show broadcasts. All times are in Central European Time (CET) unless noted.

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NINSHUBAR - From the Above to the Below, by Alessio Riccio