The Society for Ethnomusicology and especially me, Mike Whybark (although the Society has seen fit to suppress many, indeed, the majority of, specific aspects of their requests in previously published versions of this acoustifesto):

* calls for full disclosure of U.S. government-sanctioned and funded programs that design the means of delivering music as torture;

* condemns the use of music or noise although how the fuck it’s possible to definitively delineate a goddamn difference is beyond my weak-ass means to determine but it really fucking pisses me off that assholes some of whom I may have met or may meet personally in the next forty-to-sixty years engage their time to ‘defend’ what they mistakenly perceive as our shared economic or political interests by perverting one of the most astonishing and nearly holy facets of human social creativity into a weapon revealing the true and absolute nature of all our interactions with one another as wholly predatory and therefore never worthwhile for one moment from the day of birth forward and fuck you oh fuck you oh fuck you may my money turn to shit in your hands as an instrument of torture at which improbable instance I shall laugh; and

* demands that the United States government and its agencies cease using music or noise such as that commonly found on top-forty radio or independent ‘experimental’ radio stations with the ironic exception of the compositions of Iannis Xenakis as an instrument of physical and psychological torture, insofar as it may be possible given the generally dismal prospects of providing commercially successful music which may be fairly judged not to be an instrument of physical and psychological torture.