And now, for your morning dose of strange..

One of the most startling aspects of musical culture in the post-Cold War United States is the systematic use of music as a weapon of war. First coming to mainstream attention in 1989, when US troops blared loud music in an effort to induce Panamanian president Manuel Norriega’s surrender, the use of “acoustic bombardment” has become standard practice on the battlefields of Iraq, and specifically musical bombardment has joined sensory deprivation and sexual humiliation as among the non-lethal means by which prisoners from Abu Ghraib to Guantanamo may be coerced to yield their secrets without violating US law.

The very idea that music could be an instrument of torture confronts us with a novel—and disturbing—perspective on contemporary musicality in the United States. What is it that we in the United States might know about ourselves by contemplating this perspective? What does our government’s use of music in the “war on terror” tell us (and our antagonists) about ourselves?

This paper is a first attempt to understand the military and cultural logics on which the contemporary use of music as a weapon in torture and war is based. After briefly tracing the development of acoustic weapons in the late 20th century, and their deployment at the second battle of Falluja in November, 2004, I summarize what can be known about the theory and practice of using music to torture detainees in Afghanistan, Iraq and Guantanamo. I contemplate some aspects of late 20th-century musical culture in the civilian US that resonate with the US security community’s conception of music as a weapon, and survey the way musical torture is discussed in the virtual world known as the blogosphere. Finally, I sketch some questions for further research and analysis.

References to some of the unlikely origins of US military PsyOp technique have been mentioned here before:

According to the book The Men Who Stare at Goats by journalist Jon Ronson, Channon spent time in the seventies with many of the people credited with starting the New Age movement and subsequently wrote an operations manual for a First Earth Battalion. Rather than using bullets and munitions, Channon envisaged that this new force would attempt to conquer the hearts and minds of the enemy using positive vibrations, carrying lambs symbolic of peace and employing unconventional but non-lethal weapons to subdue others. Lethal force was to be a last resort. Members would practise meditation, use yogic cat stretches and primal screams to attain battle-readiness, and use shiatsu as battlefield first aid.

Some ideas proposed in the writings of Channon later found their way into military procedures for psychological warfare. Ronson specifically cites the First Earth Battalion manual's proposal to use music to effect "psychic mind-change" as one. However, the American military has adopted loud sound as a psychological weapon, not to win hearts and minds. For example at Waco, Texas, repeating the techniques used four years earlier in an attempt to drive Manuel Noriega from his sanctuary, an earsplitting cacophony of noise was played at the compound 24/7, that included the sound of rabbits being slaughtered, chanting Tibetan monks, roaring jet engines, and the Nancy Sinatra hit, "These Boots Were Made For Walking."

Music as torture/Music as weapon