Ac know ledg ments

I have been working on this proj ect and thinking about the po liti cal 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 greatest 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 4aaa’s daily routine and seasonal travels. In Darwin the crews at teabba 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 decade 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 photographs 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