No abstract

Introduction. The Queensland Government's Tackling Alcohol-Fuelled Violence (TAFV) Policy was met with concern from live music venue owners who feared decreased patronage and associated revenue. This study investigates the impact of the TAFV Policy on live music venues and performances in Fortitude Valley, an inner-city suburb of Brisbane, Australia recognised as a hub of live music performances. Methods. Data relating to live music venues and performances in Fortitude Valley for the 2000-2018 financial years were obtained from the Australasian Performing Right Association (APRA AMCOS), who maintains an online data portal allowing artists to enter performance details to collect royalty payments. These data were supplemented with six precinct mapping audits of live music venues operating in the Fortitude Valley Safe Night Precinct between July 2016 and September 2019. Results. APRA AMCOS data show increases in the number of reported live music performances and venues in Fortitude Valley between 2000 and 2019. Precinct mapping audits show minimal changes in the operation of live music venues in Fortitude Valley between 2016 and 2019. Discussion and Conclusions.As the first study to independently document the impact of licenced venue trading hour changes on live music, this study shows the number of live performances reported to APRA AMCOS and original live music venues trading in the Fortitude Valley Safe Night Precinct were unchanged by the introduction of the TAFV. The study highlights the value of using performance returns and venue audits to track live music in a contested policy space.

No abstract

Introduction. Digital drugs, or binaural beats claimed to elicit specific cognitive or emotional states, are a phenomenon about which little is known. In this brief report, we describe demographic and drug use correlates of binaural beat use, patterns of use, reasons for use and methods of access. Methods. The Global Drug Survey 2021 was translated into 11 languages; 30 896 responses were gathered from 22 countries. Results. The use of binaural beats to experience altered states was reported by 5.3% of the sample (median age 27; 60.5% male), with the highest rates from the United States, Mexico, Brazil, Poland, Romania and the United Kingdom. Controlling for all variables, age and non-male gender predicted binaural beat use, as did the recent use of cannabis, psychedelics and novel/new drugs. Respondents most commonly used binaural beats 'to relax or fall asleep' (72.2%) and 'to change my mood' (34.7%), while 11.7% reported trying 'to get a similar effect to that of other drugs'. This latter motivation was more commonly reported among those who used classic psychedelics (16.5% vs. 7.9%; P < 0.001). The majority sought to connect with themselves (53.1%) or 'something bigger than themselves' (22.5%) through the experience. Binaural beats were accessed primarily through video streaming sites via mobile phones. Discussion and Conclusions. This paper establishes the existence of the phenomenon of listening to binaural beats to elicit changes in embodied and psychological states. Future research directions include the cultural context for consumption and proximate experiences, including co-use with ingestible drugs and other auditory phenomena.

The Dead C’s Clyma est mort (1993) is the record of a live gig for one person. Tom Lax was running the Siltbreeze label in Philadelphia and had come to New Zealand to meet the artists he was releasing. He heard The Dead C at their noisy, improvised best, turning rock music on its head with a free-form style of blaring, loosely organised sound. Leading a second wave of music from Dunedin, New Zealand, The Dead C were an assault against the kind of jangly pop that had made the Dunedin Sound famous during the 1980s. This book uses The Dead C and in particular their album Clyma est mort (1993) to offer insights into the way the best of rock music plays vertigo with our senses, illustrating a sonic picture of freedom and energy. It places the album into the history of independent music in New Zealand, and into an international context of independent labels posting, faxing and phoning each other.