Perfect Beat https://journal.equinoxpub.com/PB <p><em>Perfect Beat</em>&nbsp;first appeared in July 1992 and has been published by Equinox since 2009.&nbsp;<br>The journal's name derived from Afrika Bambaata and the Soul Sonic Force's 12-inch, 1983 single&nbsp;<em>Looking for the Perfect Beat</em>. As befits a journal originating in Australia, the journal remains focused on the popular music of the 'Pacific rim' and includes historical and contemporary studies with contributions invited from popular music studies, musicology, cultural studies and ethnomusicological perspectives.</p> Equinox Publishing Ltd. en-US Perfect Beat 1038-2909 <p>© Equinox Publishing Ltd.</p> <p>For information regarding our Open Access policy, <a title="Open access policy." href="Full%20details of our conditions related to copyright can be found by clicking here.">click here</a>.</p> Editorial Introduction https://journal.equinoxpub.com/PB/article/view/19927 Kirsten Zemke Copyright (c) 2021 Equinox Publishing Ltd. 2021-07-08 2021-07-08 20 2 113 115 10.1558/prbt.43082 Resist or perish! https://journal.equinoxpub.com/PB/article/view/19928 <p>This article examines the practice of resistance among young DIY musicians in Yogyakarta, Indonesia in the context of the post-reform era. DIY young musicians negotiate how to provide for their everyday economic needs while also upholding their music genre’s spirit of resistance against market commodification. Lately, commodification not only comes from the music industry but also from the state through neoliberal-oriented creative economy policies. Music falls into the category of a creative sector and is seen as a product to boost economic growth. Based on our empirical data, young musicians resist this through DIY practices in their music scene. We show the struggle of young musicians to sustain their musical values of authenticity (otentisitas) and autonomy (kemandirian). Instead of viewing resistance as homogenous, we observed three modes of resistance: the rookie, the in-between, and the afficionado, based on their level of commitment to being a DIY careerist. Our research offers a real-world example of theories around popular music and youth studies based on the experiences of young Indonesian musicians.</p> Oki Rahadianto Sutopo Gregorius Ragil Wibawanto Agustinus Aryo Lukisworo Copyright (c) 2021 Equinox Publishing Ltd. 2021-07-08 2021-07-08 20 2 116 133 10.1558/prbt.40851 Seleka’s profane potency https://journal.equinoxpub.com/PB/article/view/19929 <p>The Seleka art and kava collective is found in the heart of the Kingdom of Tonga’s urban centre and capital. Seleka is a transformed nickname which is a play on the word kasele, meaning toilet or outhouse, an external othering and internal acceptance of divergence within Tongan society. Seleka is a site where urban Tongans paint and drink kava together while listening to rebellious music, incorporating some of the aesthetics and politics of these musical genres into their group. They have a broader musical playlist than most kava clubs in Tonga, which includes punk, rock and metal. This article explores the character of Seleka as a radical critique to Western introduced social constructs such as puritan respectability, which have become part of Tonga’s modern cultural norms. Seleka performs and generates mana (potency/prestige) through noa (profanity/neutralization) by desecrating the ‘sacred’ and recreating a new alternative. This act of rebellion is presented as a contemporary manifestation of an ancient Tongan practice where the ‘profane’ was used to identify and bring balance to the most tapu (‘sacred’/protected).</p> Arcia Tecun Taniela Petelo Copyright (c) 2021 Equinox Publishing Ltd. 2021-07-08 2021-07-08 20 2 134 154 10.1558/prbt.40000 ‘There’s no music on a dead planet’ https://journal.equinoxpub.com/PB/article/view/19930 <p>The article focuses on how popular music, environmental activism and climate change blend in the work of Green Music Australia through its projects and the networks it establishes within the music industry. The article describes a contextual background; broadly explores the links between popular music, environmental activism and climate change; and considers the notion of collective action. It concentrates on Green Music Australia by investigating the framing of its political and cultural imperative for climate activism. The article concludes with a reflection that includes the Global Climate Strike.</p> Julie Rickwood Copyright (c) 2021 Equinox Publishing Ltd. 2021-07-08 2021-07-08 20 2 155 172 10.1558/prbt.40329 Interview: Pasifika climate activist music in New Zealand, queered and disabled https://journal.equinoxpub.com/PB/article/view/19931 <p>This discussion is between Dr Kirsten Zemke, from the University of Auckland and her MA student-poet, dancer and climate activist, Luka Leleiga Lim-Cowley. Luka’s musical performance experiences in, and insights from, Pasifika climate activist and Pacific Indigenous sovereignty events led them to further explore the perspectives of Pasifika queer and/or disabled activists. Luka argues that disabled and gendersexuality-divergent folks should be at the foreground of these movements, as they are the most threatening to white supremacy—the ultimate culprit in Indigenous displacement and climate change. Luka’s poem, ‘Water (remix ii)’, is presented in full; the discussion flows through topics such as gender, religion, Indigeneity, and the continuums of time and space.</p> Kirsten Zemke Luka Leleiga Lim-Cowley Copyright (c) 2021 Equinox Publishing Ltd. 2021-07-08 2021-07-08 20 2 173 187 10.1558/prbt.43081