A ‘desi’ diaspora? The production of ‘desiness’ and London's Asian urban music scene

Increasingly, the term ‘desi’ amongst British Asians has been commonly used to describe South Asian diasporic cultural forms and practices, particularly regarding musical genres and styles. This article opens up debate on its contested meanings and usage within the London Asian urban music scene. In unpacking the complex and contradictory meanings and uses of ‘desi’ across time, space and place, ‘desiness’ becomes exemplary of the ambivalent spaces of youthful diasporic identities in process. I argue that cultural practices, such as music production and consumption, provide critical tools to critique one-dimensional notions of ‘Britishness’ and ‘Asianness’, as well as to reassert normative notions of belonging and diaspora. The exploration of diasporic identities in the making within the spaces of London Asian cultural production highlights the importance of everyday forms and practices and fosters a better understanding of multiculture and new modes of belonging in London.     

M/Otherland

This article introduces El Vez, an important performance artist and musician, whose translation of Elvis extends far beyond local audiences. In our historical moment of shrinking public outlets for the circulation and discussion of alternative and oppositional perpectives, his creator, Robert Lopez, has opened up a discursive space – on the terrain of popular music, in the unlikely genre of Elvis impersonation – that enables both critique of the status quo and dialogue concerning progressive social transformation. This article investigates Lopez's artful superimpositions of Chicana and Chicano realities and cultural icons on to the iconography, soundings and lyrics that cluster around Elvis, and claims that Lopez subverts both the myth of ‘Elvis as the embodiment of the American Dream’ and the reactionary assumption that American national identity and cultural belonging are (or should be) equated with exclusionary representations of whiteness. This article also argues that the content of his live and recorded stage shows (which are part strip-tease, part Chicana/o studies, part labour history, and part history of popular music course) respond to hegemonic discourses that fault racialized immigrants and working-class people for the consequences of global economic restructuring, and that his aesthetics of resistance subvert both dominant and subaltern dictates for strict, unyielding definitions of identity, sexuality and citizenship. Finally, it suggests that the positive reception of Lopez's performances by racialized, marginalized, displaced and economically outcast youth in Germany speaks to an identification with Chicana/o struggles that is not based on a specific ethnicity, but instead on an articulation of oppositional politics. In this context, Lopez's music enables the possibility of building coalitions beyond the constraints of the nation-state.     

In (partial) defence of offensive art: Whitehouse as Freirean codification

Arguments over the value of ‘extreme music’ (metal, power electronics, noise, etc.) and the use of highly controversial imagery within these genres have existed since its inception. Detractors claim that using extreme imagery such as fascist symbols, pornography and racially charged photographs inherently promotes the corrosive ideologies behind these images. Some purveyors of extreme music disagree, arguing that musicians use these images to explore humanity’s darker elements which, in turn, allow audiences to better understand these problematic aspects of modern society. When played out within underground music communities, these arguments often devolve into name calling and accusations of censorship. However, by addressing extreme music on its own terms and critiquing the effectiveness of these genres, a more nuanced understanding of the issues intrinsically embedded within extreme music emerges. In this article, I employ this approach by exploring the music and imagery of power electronics band Whitehouse and argue that the ambiguous nature of their work partially mirrors the intention behind Paulo Freire’s concept of codifications. While this notion provides some defence for extreme music more broadly, the lack of venues that promote communal explorations of these images hinders the genre’s ability to achieve its own goals.     

All the way from … authenticity and distance in world music production

World music and the narratives it produces are at the very centre of a formerly transnational production and consumption process. However, the shortened distance between the sites of production and consumption of this good, brought on by migration and greater participation, has created a dilemma for the UK-based artists who perform it: how to maintain authenticity without the added value of ‘distance’. Therefore, the aim of this article is to examine the ways in which musicians and other participants attempt to overcome this problem and in doing so (re)-construct particular aspects of their identity. Rather than being just another critique on authenticity, this article uses distance as an organizing concept in understanding the challenges facing world music production in the UK.     

A 'Technological Idiot'? Raymond Williams and Communications Technology

Raymond Williams was a prolific cultural commentator and historian and his writing on communications technology provides a particularly relevant framework for understanding contemporary information-society innovations. Williams sought to distinguish questions of technique and technical invention from their realization in the fundamentally social organization of technologies themselves and emphasized the importance of agency and intention in structuring the uses to which technologies are put. Far from technology having an inescapable internal logic of development, innovation takes place within specific social and economic contexts. For Williams, this meant that there was no pre-determined outcome to the evolution of communications innovations but a series of complex interactions between innovations and the world into which they emerge. This article will provide an assessment of Williams' work on technological innovation, his critique of determinism and his commitment to democratic communications. Williams helps us to challenge the simplistic proposition that 'the Internet has changed our world' and enables us to understand instead the ways in which contemporary social relations set limits on the development of the Internet as a democratic medium.     

Language and ideology: a framework for analysis

This essay re-examines the concept of ideology and the relations between language, ideology and power. Two basic concepts of ideology are distinguished, a ‘neutral’ conception and a ‘critical’ conception, and the latter conception is developed and defended. To study ideology, it is proposed, is to study the ways in which meaning serves to sustain relations of domination. The analysis of language is thus central to the study of ideology, since language is one of the principal mediums through which meaning is mobilized in the social world. This reorientation of the study of ideology enables one to criticize certain misleading assumptions and provides a basis upon which one can pursue problems of interpretation, justification and critique.     

Bringing Exile Home: Review of Ned Curthoys and Debjani Ganguly (eds) Edward Said: The Legacy of a Public Intellectual

This recent collection of essays pays tribute to Edward Said, but is no hagiography. It explores the salience of concepts such as the public intellectual, exile and worldliness in his life and work. It considers the strengths and the limits of his vision, his passion for European high culture and classical music and his relative disinterest in popular culture and visual and electronic communication. It connects settler colonialism in Palestine and the US with Australia (where most of the contributors are located), while unsettling notions of ‘exile’ and ‘home’.     

Institutional Fads and the Medicalization of Drug Addiction

The purpose of this article is to historically review biologically based explanations of drug addiction to demonstrate the increased utility of the institutional fads approach in understanding modern medicalization. Our examination reveals that the medicalization of drug addiction has been long in the making, traveling through numerous fads that have attributed drug addiction to various biological matter, including body type or constitution, genetics, psychopathology, and neuroscience or brain imaging. These explanations follow a common trajectory (emerging, surging, and purging) in institutional fad research. Moreover, our analysis indicates that while scientific and technological developments have shaped these approaches’ influence and pathways, so too have political actors and institutional agendas. We begin by discussing how an institutional fads approach enables an improved understanding of the medicalization of drug addiction – a form of deviance – followed by a critique of four main biological explanations: body constitution, genetics, psychopathology, and brain chemistry/imaging. Our review pinpoints the specific narratives advanced and the academic and political interests at work. In doing so, it exposes the limitations of medicalizing one of the nation’s oldest social problems.     

The future is plastic: refiguring Malabou’s plasticity

This article investigates Catherine Malabou’s claims to have produced some form of beyond of deconstruction with her reworking of the Hegelian concept of ‘plasticity’ (Plastizität). In the light of Malabou’s critique of the unsuitability of the Derridean non-concept of ‘text’ as metaphor for neuronal functioning in her Plasticité, I turn this question back on Malabou’s own work; that is to say, this article will examine what the implications of the metaphorics of plasticity are for Malabou’s own oeuvre and its relationship with neuroscience and her critique of connexionist capitalism. To this end, this article is particularly interested in the political claims made for plasticity and how some of the ‘everyday’ meanings of plasticity, and Malabou’s decision not to incorporate them into her conceptual working through, might threaten this enterprise.     

Bourdieu and the Sociology of Music Consumption: A Critical Assessment of Recent Developments

The French sociologist Pierre Bourdieu has been an extraordinarily influential figure in the sociology of music. For over three decades, his concepts have helped to generate both empirical and theoretical interventions in the field of study. His impact on the sociology of music taste, in particular, has been profound, his ideas directly informing our understandings of how musical preferences reflect and reproduce inequalities between social classes. But, recently his legacy has been under question and newer approaches to the music/society problematic have emerged. These have made important claims about the nature of the sociological enterprise when confronted with the specificity of cultural works, as well as how social change impacts on our relations with musical forms. This paper takes stock of the impact of Bourdieu’s ideas on the sociology of music, the debates sparked in their wake and the attempt at something like a “post‐Bourdieusian” sociology more faithful to music’s material properties. It will ask to what extent Bourdieu’s claims about social stratification and music consumption are still relevant and whether they are sophisticated enough to deal with the specific ways that we interact with musical forms.     

Objective Subjectification: The Antimethod of Social Work

This article sets out to understand an important paradox in the author's action research cooperation with a social work development project called "Wild Learning": the fact that the methods developed in the project mostly consist in antimethod. A sketch of the theoretical concepts in the dialectical tradition of method, objectification, subjectification, and participation is presented to explain the idea that social work itself represents a paradoxical form of knowledge, which can be only inadequately and temporarily objectified as method by way of what is introduced as a "boundary objectivity." Current "postmodern" forms of this paradox are briefly considered. As a conclusion, an overall understanding of social work as "critique" is suggested, in which both "method" and "antimethod" are necessary moments in a continuous transformation.     

Algorithmic IF … THEN rules and the conditions and consequences of power

ABSTRACT

The introduction to this special issue suggests we need to develop ‘a greater understanding of what might be thought of as the social power of algorithms'. In this paper, ‘social power’ will be critically scrutinised through a study of the entanglement of algorithmic rules with contemporary video-based surveillance technologies. The paper will begin with an analysis of algorithmic ‘IF?…?THEN’ rules and the conditions (IF) and consequences (THEN) that need to be accomplished for an algorithm to be said to succeed. The work of achieving conditions and consequences demonstrates that the form of ‘power’ in focus is not solely attributable to the algorithm as such, but operates through distributed agency and can be noted as a network effect. That is, the conditions and consequences of algorithmic rules only come into being through the careful plaiting of relatively unstable associations of people, things, processes, documents and resources. From this we can say that power is not primarily social in the sense that algorithms alone create an impact on society, but social in the sense of power being derived through algorithmic associations. The paper argues that this kind of power is most clearly visible in moments of breakdown, failure or other forms of trouble, whereby algorithmic conditions and consequences are not met and the careful plaiting of associations has to be brought to the fore and examined. It is through such examinations that the associational dependencies more than the social power of algorithms are made apparent.     

One-dimensional times: a dialectical response to the Irish Times’ coverage of the global financial crisis

A growing literature claims that critique of neoliberal capitalism after the global financial crisis (GFC) has been ‘captured’ within the logic of capital. Such research argues that ‘capture’ is achieved through a process whereby critique of neoliberalism is transformed into arguments for more neoliberalism. This creates a one-dimensional ‘recovery’ discourse. Drawing on Marcuse’s theory outlining ‘one-dimensional society’ and critical discourse analysis, this study assesses the relevancy of such claims for an Irish medium, the Irish Times, through an examination of GFC-related discourse during 2009–2010. This study finds that economic discourse in the Irish Times is captured when organisational bias allows pro-neoliberal actors from business and government privileged access to discourse production. We engage a call from organisation studies for a dialectical reading of captured discourse. We end with a discussion of the limits of this reflexive approach to capitalism’s contradictions for disrupting its ongoing hegemony.     

The roots of Regina Spektor’s post-Soviet poetics

ABSTRACT

Regina Spektor’s rigorous training in piano, starting in the Soviet Union and continued throughout her youth in the United States, helps to explain her skills in composing complex and unexpected pop music. Less obvious, though, will be an understanding of the roots of her poetic skills in writing lyrics. This paper examines how Spektor was influenced by Russian bard tradition, as well as the widespread informal music dissemination network known as magnitizdat.     

MYTHOLOGIES REVISITED: ROLAND BARTHES AND THE LEFT

This essay arises from the author's scepticism about the received notion, prevalent both in literary and cultural studies, that Roland Barthes's work of the 1960s constituted an abandonment of the previous decade's social critique. The paper develops the argument that, to the contrary, understanding Barthes's socio-cultural development following World War II and in the French cultural context helps to situate the political engagement of his writings in the 1950s and to clarify the continued political commitment of this work from the 1960s onward. This essay addresses a series of questions: what was Barthes's relationship to the 1950s French intelligentsia that prepared his active participation in the heterodoxical Marxist journal, Arguments, a forum for many of the urgent intellectual debates between 1956-62? What is the relationship of this activity to his writings of the early 1950s, developed into Mythologies in 1957, as well as to the shift toward semiology and structuralism and to the purported abandonment of social critique betokened by this shift? How do these phases inform the different readings of Barthes's work developed in more recent interpretations of his writing? It is argued that we would do better to view the structuralist phase and especially the ‘later’ Barthes (from the late 1960s onward) more fully and deliberately in relation to the early, explicitly political period. This revised perspective, one not limiting Barthes to works such as Mythologies, will help us better comprehend Barthes's continuing legacy for sociosemiotic critique both in literary criticism and in cultural studies and to create new ground for interdisciplinary dialogue that is very much needed in an era of questioning the limits and borders of this field.     

The end of the world as we know it: Popular music's cultural mobility

Abstract

Popular music has moved to the centre of economic life, suggesting a shift in the political economy of advanced societies. The transition has been marked by a concomitant shift in the centrality of popular music in social life, assisted by new technologies. More importantly, the changes have been brought about by the reorganization of record company ownership and activity since the 1980s. This paper suggests that cultural studies could apply aspects of the research and analysis methods developed in institutional economics, to a study of the relationship between cultural and economic formations. Institutional economics, especially as proposed by Thorstein Veblen, provides a pragmatic critique for cultural industries in an era of globalization and rising corporate power. In this paper I have used institutional economics to illustrate how the shift in the organization of popular music has taken place within the corporate economy. The use of popular music as a feature of the corporate economy has involved the expansion of all forms of entertainment into the information economy. This convergence of activities and interests located in and around popular music is described by the term ‘cultural mobility’.     

Diasporic youth culture of K-pop

This study examines how diasporic Korean youth engage with the recent global circulation of South Korean pop music (‘K-pop’). It explores how young diasporic Koreans negotiate K-pop as an ethnic and/or global cultural form in their transition to adulthood. Drawing on interviews with young people of Korean heritage in Canada, the study addresses how a diasporic sound, which connects the nostalgia for the ancestral homeland and the global mediascape, is appropriated for young people’s identity work. By examining diasporic Korean fans’ consumption of K-pop, this study suggests a perspective for understanding the recent K-pop phenomenon as a diasporic youth cultural practice.