I have been working on this proj ect and thinking about the po litical and
pleas ur able imbrication of music, sound, and technology for a long time.
Across ten years of research, travel, and teaching, many people and places
have left their mark on my thinking and encouraged me along the diff er ent
threads of musical and vocal sociality I draw together here. I extend my great-
est appreciation to the many broadcasters, producers, musicians, and activists
in Australia whose work drew my attention and whose efforts are insistently
tuned to the horizons and futures of Indigenous possibility. Their efforts, their
many successes, and the friendship they extended to me are at the heart of
this book. In Brisbane Tiga Bayles, Alec Doomadjee, Daniel Kinchela, Wayne
Blair, and many others answered questions and shared music and stories, all
the while drawing me into
daily routine and seasonal travels. In Dar-
win the crews at
and Radio Larrakia and the members of Darwin’s
Long Grass Association gave generously of their time and, just as importantly,
gave me room to ask questions, to work across organizations, and took me
with them on their travels. They need not have done so, and this willingness
to cart me along made every thing else pos si ble. Rico Adjrun has for a full de-
cade proved an enormous font of energy, great humor, and even better music.
I also thank Tiga for his permission to reproduce my photo graph of him as
figure 4.1 and Jedda Puruntatameri for her permission to reproduce my pho-
tographs of her father and other family members in figures 5.2 and 5.3.
Several cotravelers in Top End media whom I here call Tracy, Gary, and
Karen proved steadfast friends in the wake of a serious automobile accident
on the Stuart Highway. The proj ect might have stalled then and there but for
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