[:en]DJ WAR is one of the founding fathers of the Italian reggae scene. By the name of Antonio Conte was born in Lizzanello (LE) and begins the musical activity in the local radios of the 70s in Italy, first in Salento and then in Bologna.
Between 1987 and 1988 he founded with Militant P the original nucleus of the SUD SOUND SYSTEM – then completed the posse Treble, Papa Gianni and Gigi D – who in the summer of 1988 in Italy will organize the first legendary Dance Hall and since 1990 will publish the first Italian reggae independent productions. The DJ WAR activity coincides withthe South Sound System until 1994, when both he and Militant P decide to continue for personal streets. From that moment he dedicated himself to build the WAR SOUND SYSTEM, one of the first self-built sound system in Italy, and began to promote Sound System Culture in Italy with countless dance all over italy. In the same year he recorded one of the first jungle vinyl in Italy and starts, in Salento, the POWER FM radio project. With the radio itself and with Dj Gruff promotes the first editions of the “GUSTO DOPA AL SOLE“, attended by the leading exponents of Italian hip hop and reggae. With WAR SOUND SYSTEM, DJ WAR took part in all these years in the major national and international reggae festivals and has promoted and organized several musical events in Salento to turn this type of events in the collective growth tool, always with an ear in regard to the promotion of young talent.

1: for the people who don’t know you, can you tell us about your beginnings in music and how you become involved with sound system

The passion for music has always existed in me. I was born in a family in which music has always been present: One uncle of mine played accordion and tambourine and another uncle played the mandolin. They participated in ancient rituals of serenades or of therapies for women bitten by the ‘taranta’ spider, and also played just to entertain friends and relatives on special occasions. I also have a guitarist cousin, who has founded the history of beat and rock in Salento. But mainly, it is my brother who really incited my passion. He is ten years older than I am. He learned to play the organ while he was studying in the seminary, and it was ordinary to see the musical notes of Mozart and Bach in my house. After he left the seminary, he continued playing in the church for a while, on which I accompanied him. I also followed him to the beat parties in the small clubs in our town, as well as to the private parties where everyone would bring the their private record collections and play them. Right at this time of beat, I listened to my brother’s records: Beatles, Equipe 84, Rokes, etc.. Then I started reading his music magazines (Muzak, Gong, Ciao 2001…) and then I started buying them myself. I also listened to a lot of music from the national radio network, from programmes like Alto gradimento and Supersonic. I took notes of what came out of the radio and tried to buy the records of the band that I liked the most. In the late 70’s, arrived the explosion of free radio stations. Every day, in every city and town, new radio stations opened. Such was the case in my town as well, and it was in one of these free radio stations that I started to broadcast my favourite musics.

2: when was the first time you saw a sound system, info and memories

After the high school, in 1982, I moved to Bologna, the place where I wanted to pursue my desire and passion for music. I started broadcasting selections of songs and presenting programs, at first on the Underdog Radio frequencies and then on those of Radio K Centrale. In the new wave era, among concerts, events and parties, I found a place where they played black music: the Riverside club. There, I found a group of DJs who played funk, electronic and hip-hop, among whom DJ R (who would later found the Century Vox) and DJ Papa Rodriguez were the leaders. At this time, I also met Jody Marcos (who shortly thereafter built the first Sound System in Italy). Thanks to them, I began to deepen my knowledge on the matter and on the techniques. In the mid-80s, I saw and heard a real Sound System for the first time. It was built between Londonand Bologna, while its base was precisely in Bologna, with more than 10,000 watts of speakers and crafted amp by Jody Marcos, Edo and Valentino (crossover and power amplifiers were built in London by Jah Tubbys). It was (indeed) called “Jody Marcos Sound System.” I was struck by the size of the system, but especially by that characteristic sound, the powerful base and highly defined medium and high frequencies tones. I thought, “one day I’d like to build one myself”.

3: reggae in the 80’s and the original sound system in london, can you tell us about your memories..

Like other people of my generation, I started listening to reggae for Bob Marley and Peter Tosh, the Wailers. However, coming from the rock and mod culture, I lived the time of punk and, thanks to the bands like The Clash, Police, Ruts DC and artists like Joe Jackson, I also got to know Anglo- Jamaican groups and artists like Steel Pulse, Linton Kwesi Johnson etc.. From there, I kept exploring the scene and learned of the artists who then became my fundamentals, such as Prince Far I, Michael Smith, and Black Uhuru. In parallel, I followed the nascent movement of Toasting, with artists like Papa Levi, Pato Banton and especially King Yellowman. Through the first cassette tapes, I got to know Jamaican sounds like Killamanjaro and Stone Love.

4: can you tell us about your productions in the reggae-dub, how you did you begin and when, info , memories…

In the late 80s, I started to realize that constructing and operating a Sound System was more than a simple desire for me, and I shared this dream with other friends such as Militant P, Treble, Papa Gianni and GiGiD. Although we did not live in the same place, whenever we met, we would end up doing a party, with records, turntables and microphones. After the first few names, in the summer of 1988, we used for the first time the name Sud Sound System. We did not have a place to play, and we still had little experience, so we started performing in private homes, on the beach, on the cliffs, in the countryside and in abandoned farms. We rarely had any materials but turntables, records, microphones yet we were full of creativity, drive and flexibility more than anything, even when we played in abandoned and neglected places. So, we started hosting small parties with friends and, thanks to the passion everybody had, the number of engaged people grew. This happened especially in the summer and during religious holidays, when every one of us came back to Salento. After that time in Salento, I went back to Bologna again, the centre of which, at that time, had been occupied by the so-called “Isola nel Cantiere“. Here, among punk and hard-core concerts, videos and performances, we started hosting a party called Ghetto Blaster, one evening a month. Around the core group of DJs (DJ R, DJ Papa Rodriguez and DJ War) the crew expanded, initially with Soul Boy and Treble, and later with Speaker Dee Mo, Gopher, Deda, the Camels, DJ Fabri. That was how we created Isola Posse All Stars. With them, I participated in the production of the album “Stop al Panico“, but after that, I devoted myself almost exclusively to making my initial project of Sud Sound System. The success of “Stop al Panico” pushed DJ R (with PF Pacoda and M Povero) to found the Century Vox Records and to produce our first record: “Fuecu/Ta Sciuta Bona”by Sud Sound System. The success of that record was beyond any of our expectations, all the medias were talking about it; they wanted us everywhere, for records, concerts, collaborations of all kinds: interviews, television appearances, films and contract proposals. In the meanwhile, we organized our first summer tour, during which we were more and more ensured that people liked our project. We participated in several TV and radio programs (Avanzi, Tunnel, DSE, Mixer), and we took part in the Tenco award as the new group of the year. Our success and example stimulated other groups to follow us and provoked the interests of the music industry, too. The following year (1992) we produced two other records and in 1994 the first compilation: Salento Showcase. At that point, we could have made our first album and built a real Sound System, but misunderstandings and differences of opinions led me to leave the group and to pursue old and new projects.
In 1989, along with Militant P, I participated in the “DMC Champion Tour” with the Jody Marcos Sound System. It was the first experience in my life as Sound Man and I took part in all the activities: I drove the van, I assembled and disassembled the Sound and, with Militant P, we made the opening act for the world champions DJs (DJ Cut Master Swift and DJ Pogo) and for Papa Winnie, a Jamaican singer who lived in Italy and that year had produced a record which proved to be a success. In 1992, I went to London for the first time and met Markie Lyrics (owner to founder of the RDK Hifi Sound System), who gave me the first lessons on how to build a Sound System. In the next years, I went back to London several times to learn on this subject. There, thanks to Soul Boy, I met Bruce, a sound technician of the “Soul to Soul” who built me the crossover and, once back in Salento, helped me building my Sound System. In 1995 in Rome, at Forte Prenestino, we had the RAS, the first gathering for self-built Sound Systems. In this first meeting, we were five, but in the next editions, the number kept increasing: finally, the Sound System fever exploded in Italy. One Love HP, Villa Ada, Bass Fi Mass, I&I Project, Ghetto Youth, Black Heart, Rhomanife and Hi Grade were the frequent collaborators of my Sound Systems. During the various editions of the RAS, my crew was composed largely of Soul Boy, Pepsee and the TSK, from Brindisi. In the very intimate atmosphere, we all collaborated for the success of the event.

5: musically your influences and what you like/liked most

Between the late nineties and the beginning of 2000, new Sound Systems were built, also in Salento, like Salento New Bass, Sound Massive, Ghetto Child, I-Militant and BlackStarLine, which had become the most powerful Sound System of Salento. At that time, consequently, the number of events increased and, with the arrival of summer, lovers come from all over Italy, often with their own music centres. During the same period I organized various events on beaches with my Sound System, at farms (for example the Talega, near Otranto) and in the places such as the Horse Club of Torre dell’Orso, where many artists, not just from Italy, had the opportunity to play. In 2002, I organized a big event, a three-day gathering in a campground at Torre dell’Orso, where there was an extraordinary participation of the public (about 15,000 people). Almost all the reggae artists of Salento and the best of the Italian reggae scene (One Love, Dj Gruff, Rhomanife etc.) performed on that stage, in addition to the legendary Soul Boy.

6:what do you think about sound system in uk- europe .situations, problems and prospectives

Reggae was born from a integration of different styles and has always influenced the evolution of other genres. At the same time, it reflects reality, by which it is affected. The production and the quality of reggae is a mirror of the society by which it is surrounded. I must admit that I do not like certain new forms of reggae, with an exaggerated use of the auto-tune, questionable lyrics and scarcely cared productions. Fortunately, the themes and styles of reggae have been returning to those that are more congenial to me, like roots and new roots. The UK scene has always been one of my favourite, mainly for the constant presence of Sound Systems and artists who have never abandoned the music of the origins. Sound Systems such as Jah Shaka, Observer and Channel One are demonstrations. At the same time, I have always followed Sound Systems and producer like Saxson (which promotes also very good DJ style artists), Manasseh, Vibronics and Zion Train (which I like for the experimentation with roots and electronic music) with interest. Over time, Italian reggae has gained a structure, so that artists, Sound Systems and crews have attained their own identity. Unfortunately, one of the largest gatherings in Europe, the Rototom, had to “emigrate” to Spain for political reasons. Moreover, the enthusiasm and the interest in reggae by clubs, social centres and organisers have encountered a period of stalemate, maybe because of the over-exposure. A drop of
interest can sometimes be physiological and necessary to stimulate self-criticism and the search for a higher quality. The birth of new gatherings, new artists, many new Sound Systems, new productions and the return of the vinyl make me hopeful for the future.

7: reggae in the europe ..sound system culture in Uk, France, Italy and Spain this the future?

I think that in Spain the reggae movement is a more recent phenomenon and therefore is still growing. France has been a multi-ethnic country for several decades and both reggae and hip-hop have already been adopted by several generations, as languagesand lifestyles, and the events and the productions are of high quality. UK is a special case, because it has always been the home of reggae. Since the early 60s, Brixton, the neighbourhood of London, has had the highest concentration of Caribbean and particularly Jamaican immigrants, so reggae has always been the soundtrack of that neighbourhood. Unlike these countries, in which artists and their productions are often supported by smart policies, art is neglected and often it is even repressed in Italy. In the Salento area, for example, the organisation of reggae events has been the target of repression for years. Checkpoints, raids, inspections, seizures, charges against clubs, festivals and camping sites have put a strain for more than a decade on both the public and the organisers, which caused the loss of the interest and the participation. But there is much initiative and, even though it has been difficult, both artists and organisers did not give up: they has kept going or they started organising things again, while new ideas came to life.

8: sound system as a culture, a business or just the “voice of people”

Historically, reggae was born and has evolved as a function of the Sound System: the ideal medium to enjoy reggae music is precisely that mobile club, which can be assembled in any place, without a stage, in close contact with people, so that distance is eliminated and participation grows. The practice of the Sound can become a tool for social transformation, because, with the music and with the microphone, artists can send important messages of justice, rage against those who oppress the people and peace for those who share these ideas. While dancing, you can release toxins and negativity and thus reggae has also a therapeutic function and is not just playful.[:it]DJ WAR is one of the founding fathers of the Italian reggae scene. By the name of Antonio Conte was born in Lizzanello (LE) and begins the musical activity in the local radios of the 70s in Italy, first in Salento and then in Bologna.
Between 1987 and 1988 he founded with Militant P the original nucleus of the SUD SOUND SYSTEM – then completed the posse Treble, Papa Gianni and Gigi D – who in the summer of 1988 in Italy will organize the first legendary Dance Hall and since 1990 will publish the first Italian reggae independent productions. The DJ WAR activity coincides withthe South Sound System until 1994, when both he and Militant P decide to continue for personal streets. From that moment he dedicated himself to build the WAR SOUND SYSTEM, one of the first self-built sound system in Italy, and began to promote Sound System Culture in Italy with countless dance all over italy. In the same year he recorded one of the first jungle vinyl in Italy and starts, in Salento, the POWER FM radio project. With the radio itself and with Dj Gruff promotes the first editions of the “GUSTO DOPA AL SOLE“, attended by the leading exponents of Italian hip hop and reggae. With WAR SOUND SYSTEM, DJ WAR took part in all these years in the major national and international reggae festivals and has promoted and organized several musical events in Salento to turn this type of events in the collective growth tool, always with an ear in regard to the promotion of young talent.

1: Per quelli che non ti conoscono, ci puoi raccontare qualcosa su come hai iniziato a mettere dischi e occuparti di musica…
Posso dire che la passione per la musica mi accompagna da sempre, sono nato in una famiglia in cui è sempre stata presente, avevo uno zio che suonava la fisarmonica ed il tamburrello ed un altro il mandolino e partecipavano ai riti antichi,che fossero serenate o terapie alle tarantate o semplicemente x intrattenere amici e parenti in varie occasioni; ho anche un cugino chitarrista che ha fatto la storia del beat e del rock salentino ma chi mi ha passato veramente la passione è stato principalmente mio fratello più grande di 10 anni che imparò a suonare l’organo studiando in seminario e quindi spartiti di mozart e back in casa ne vedevo spesso. In pieno periodo beat ascoltavo i suoi dischi,di Beatles,Equipe 84,Rokes e successivamente iniziai prima a leggere le sue riviste musicali (Muzak,Gong,Ciao 2001…) e poi a comparle io stesso. Ascoltavo anche tanta musica dalla radio nazionale da programmi come “alto gradimento” e “Supersonic”, prendendo appunti e cercando poi di compare i dischi preferiti. Verso la fine degli anni 70 esplose in fenomeno delle radio libere,in ogni città e paese ne nascevano ogni giorno, fu così anche nel mio paese e fu proprio in una di queste radio che iniziai a trasmettere la mia musica preferita.

2: La prima volta che hai visto un vero sound system in stile jamaicano….. dove, come , sensazioni e influenza…
Terminati gli studi liceali mi trasferì a Bologna nel 1982,qui desideravo soddisfare la mia voglia e passione per la musica. Iniziai a trasmettere selezioni ed a condurre programmi prima sulle frequenze di radio Underdog e poi su quelle di radio K Centrale. In tempi di new wave tra concerti,manifestazioni e serate scoprì un posto in cui si suonava black musik,era il circolo “Riverside” e c’era un gruppo di dj,s che suonava funk,electro,hip hop,i leaders erano DJR (futuro fondatore della Century vox) e Dj Papa Rodriguez;nello stesso periodo conobbi Jody Marcos(che da lì a poco avrebbe costruito il primo sound system in Italia) e grazie a loro iniziai ad approfondire la conoscenza e la tecnica della materia. Verso la metà degli anni 80 sentì e vidi per la prima volta un vero sound system, era quello costruito tra londra e bologna ma con base proprio a bologna da Jody Marcos, Edo e Valentino; era appunto il “Jody Marcos sound system”, più di 10.000 watt tra casse ed ampli artigianali (crossovere e finali erano stati costruiti a Londra da Jah Tubbys). Mi colpirono le dimensioni ma soprattutto il suono particolare, potentissimi bassi ed alta definizione di medie ed alte frequenze, pensai subito che un giorno mi sarebbe piaciuto costruirne uno anch’io.

3: Cosa ti ha influenzato musicalmete di piu….artisti, sound system e perido musicale in jamaica…..
Come altri della mia generazione ho iniziato ad ascoltare reggae con Bob Marley, Peter Tosh, i Wailers quindi, ma venendo da una cultura rock e mod attraversai anche il periodo punk e grazie a gruppi come Clash, Police, Ruts DC ed artisti come Joe Jackson conobbi e mi appassionai anche di gruppi/artisti anglo-giamaicani come Steel Pulse, Linton Kwesi Johnson ecc. Da lì continuai ad approfondire e conoscere artisti fondamentali per me quali Prince Far I, Michael Smith, Black Uhuru. Parallelamente seguivo la scena nascente del Toasting e qui ndi artisti come Papa Levi, Pato Banton e soprattutto King Yellowman. Attraverso i primi nastri a cassetta conobbi sound giamaicani come Killamanjaro e Stone Love.

4.Ci puoi raccontare come e quando hai iniziato a produrre reggae e dub…..
Verso la fine degli anni 80 iniziai a pensare che la costruzione e la pratica del Sound System fossero più di un semplice desiderio e lo condividevo con gli amici Militant P, Treble, Papa Gianni e GGD. Non vivevamo nello stesso posto ma ogni occasione d’incontro diventava una festa con dischi, giradischi e microfono. Dopo le prime esperienze sotto altri nomi usammo per la prima volta il nome Sud Sound System nell’estate del 88. Non essendoci posti per suonare e avendo ancora poca esperienza iniziammo nella case private, in spiaggia, sulle scogliere, in campagna e nelle masserie abbandonate. I mezzi erano scarsi ma non ci mancavano i giradischi, i dischi ed i microfoni e soparttutto non mancava l’inventiva, la volontà di fare e la capacità di adattamento anche in posti abbandonati e trascurati. Organizzavamo quindi piccole feste con amici e la comitiva come la passione di tutti aumentava. Questo succedeva soprattuto d’estate e durante le feste comandate, quando tornavamo tutti nel Salento. Intanto dopo un periodo passato nuovamente nel Salento ero tornato a vivere a Bologna dove nel frattempo era stato occupato un posto in centro, l’Isola nel Cantiere. Qui tra concerti punk/hardcore, video, performance si cominciò ad organizzare una sera al mese una festa chiamata Ghetto Blaster e da un primo nucleo di Dj (Dj R, Dj Papa Rodriguez e Dj War) la crew crebbe inizialmente con Soul Boy e Treble in seguito si aggiunsero Speaker Dee Mo, Gopher, Deda, i Cammelli, Dj Fabri dando vita all’Isola Posse All stars. Con la stessa partecipai alla produzione del disco Stop al Panico ma succesivamente mi dedicai quasi esclusivamente a far conoscere il mio iniziale progetto del Sud Sound System. La produzione prima e il successo poi di Stop al Panico spinse Dj R (con PF Pacoda e M Povero) a fondare al Century Vox Records e a produrre il nostro primo disco Fuecu/Ta Sciuta Bona. Le aspettative di quel disco andarono oltre le nostre previsioni, tutti media ne parlavano, da ogni parte ci venivano chiesti dischi, concerti, collaborazioni di ogni tipo: interviste, apparizioni televisive, film e proposte di contratto. Intanto organizzammo il primo tour estivo durante il quale il gradimento del nostro progetto veniva sempre più confermato. Partecipammo a diversi programmi TV e radio (Avanzi, Tunnel, DSE, Mixer), partecipammo anche al premio Tenco come gruppo rivelazione dell’anno. Il nostro successo ed esempio stimolò altre realtà a seguirci ed anche gli interessi dell’industria musicale. L’anno successivo (1992) producemmo altri due dischi e nel 1994 la prima compilation “Salento Showcase”. A quel punto avremmo potuto realizzare il nostro primo album e costruire un vero Sound System ma incomprensioni e diverse opinioni mi portarono a lasciare il gruppo e portare avanti vecchi e nuovi progetti.
Nel 1989 insieme a Militant P partecipai al “DMC Champion Tour” con il Jody Marcos Sound System. Fu la prima volta che sperimentai la vita di Sound Man, partecipando a tutte le attività, guidavo il furgone, montavo smontavo il Sound e con Militant P aprivamo la serata dei Dj campioni del mondo (Dj Cut Master Swift e Dj Pogo) ed a Papa Winnie cantante giamaicano che viveva in Italia e in quell’ anno aveva prodotto un disco rivelatosi un successo. Nel 1992 andai per la prima volta a Londra e qui conobbi Markie Lyrics (titolare a fondatore del RDK Hifi Sound System) che mi diede i primi insegnamenti per la costruzione di un Sound. Negli anni successivi tornai diverse volte a Londra per approfondire la conoscenza della materia, qui grazie a Soul Boy conobbi Bruce tecnico del suono dei Soul to Soul che mi costrui il crossover e mi aiutò una volta tornato nel Salento a costruire il mio Sound Sytem. Nel 1995 fu organizzato a Roma al Forte Prenestino il primo raduno per Sound autocostruiti. In questa prima edizione eravamo in cinque con i rispettivi Sound ma nelle successive se ne aggiunsero sempre di più, la febbre da Sound System era finalmente scoppiata in Italia. One Love HP, Villa Ada, Bass Fi Mass, I&I Project, Ghetto Youth, Black Heart, Rhomanife, Hi Grade sono i sound con cui spesso ho collaborato. Nella varie edizioni del RAS la mia crew era composta principlamente da Soul Boy, Pepsee e i brindisini TSK, l’atmosfera era fraterna e si collaborava tutti per la buona riuscita dell’evento.

5: Sound System in Salento: l’esplosione … 1999 -2006 …un po di storia, un commento sulla scena salentina , feste fatte, le spiaggie storiche del reggae…..
Tra la fine degli anni novanta e gli inizi del duemila anche nel Salento vengono costruiti nuovi Sound come Salento New Bass, Sound Massive, Ghetto Child, I-Militant e BlackStarLine che col tempo diventerà il Sound più potente del Salento e non solo. In quel periodo aumentano di conseguenza anche gli eventi e con l’arrivo dell’estate giungono da tutta Italia appassionati e cultori spesso portandosi il proprio impianto.
Nello stesso periodo organizzavo con il mio Sound diversi eventi sia presso lidi attrezzati sia in masserie (la Talega ad Otranto) sia in strutture come l’Horse Club di Torre dell’Orso dando la possibilità di suonare a molte realtà non solo nazionali. Nel 2002 organizzai un grande evento, un raduno di tre giorni in un campeggio di Torre dell’Orso che vide una straordinaria partecipazione di pubblico (circa 15000 persone) e durante il quale si esibirono quasi tutte le realtà del reggae salentino e il meglio della scena italiana (One Love, Dj Gruff, Rhomanife ecc.) oltre al mitico Soul Boy.

6: Cosa pensi della scena dei sound system in europa al momento ..
Il reggae nasce da contaminazioni di stili ed influenza da sempre l’evoluzione di altri generi, allo stesso tempo riflette la realtà ed esso stesso viene contaminato. La produzione e la qualità del reggae a volte è specchio della società in cui è immerso e purtroppo certe nuove forme di reggae moderno con uso esagerato di auto-tune, testi discutibili, produzioni poco curate non sono di mio gradimento. Fortunatamente c’è stato e c’è un ritorno a temi e stili a me più congeniali, roots e new roots. La scena UK è da sempre tra le mie preferite principalmente per la presenza costante di Sound System ed artisti che non hanno mai abbandonato la musica delle origini e Sound come Jah Shaka, Observer, Channel One ne sono la conferma; allo stesso tempo ho sempre seguito con attenzione Sound e producer come Saxson (che spinge anche dj style di spessore), Manasseh, Vibronics e Zion Train (di quest’ultimo mi piace la sperimentazione tra roots ed elettronica). In Italia il reggae, col tempo, si è strutturato e quindi sia artisti che Sound che crew hanno acquisito una propria identità.
Purtroppo uno dei più grandi raduni di europa cioè il Rototom è dovuto “emigrare” in spagna per motivi socio-politici e l’entusiasmo, l’apertura verso il reggae da parte di locali, centri sociali ed organizzatori ha subito un periodo di stallo forse dovuto ad una sovra-esposizione. Un calo d’interesse a volte può essere fisiologico e necessario per stimolare un auto critica e la ricerca di un livello qualitativo superiore e la nascita di nuovi raduni, nuovi artisti, tantissimi altri Sound, nuove produzioni, il ritorno del vinile mi fanno ben sperare per il futuro.

7: In europa, in francia, uk e spagna…sound system culture molto viva e in movimento…e’ questo il futuro….
Credo che in spagna il movimento reggae sia un fenomeno più giovane e quindi in crescita, la francia è un paese multi etnico da vari decenni e sia reggae che hip hop sono già stati adottati da varie generazioni come linguaggi e stili di vita e quindi la qualità degli eventi e delle produzioni sono di alto livello. L’inghilterra è un caso a parte essendo da sempre la patria del reggae. Brixton già dai primi anni 60 era il quartiere londinese con la più alta concentrazione di immigrati caraibici e giamaicani in particolare e il reggae è da sempre la colonna sonora del quartiere. A differenza di queste nazioni dove spesso politiche intelligenti finanziano gli artisti e le loro produzioni in italia l’arte viene trascurata e spesso repressa. Proprio il Salento ha subito per anni repressioni a danno delle organizzazioni di eventi reggae. Posti di blocco, irruzioni, controlli, sequestri, denunce presso locali, festival, campeggi hanno messo a dura prova per più di un decennio sia operatori che pubblico con conseguente calo d’interesse e di partecipazione. La voglia di fare però è tanta e seppur provati sia artisti che operatori non si sono arresi ma hanno continuato o ricominciato ad organizzare così come nuove esperienze hanno preso vita.

8: Sound System ….una cultura, un business o just the “voice of people”…o solo “la voce delle gente”…..
E’ importante sottolineare che storicamente il reggae è nato e si è evoluto in funzione dei Sound System, il media ideale per godere della reggae music è appunto quella discoteca mobile adatta ad essere montata in ogni posto, non su un palco, a stretto contatto con la gente per eliminare le distanze ed aumentare la partecipazione. La pratica del Sound può essere uno strumento di trasformazione sociale attraverso la musica, dal microfono possono essere mandati messaggi importanti di giustizia, di rabbia contro chi opprime e di pace per chi la condivide. Durante il ballo poi ci si può liberare dalle tossine e dalla negatività e quindi ha anche una funzione terapeutica non solo ludica.
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