SOLIDARITY AND DRUG USE IN THE ELECTRONIC DANCE MUSIC SCENE

Current research and theory on rave culture has articulated a link between solidarity and drug use, although the precise nature of this relationship remains unclear. Work conducted in the field of cultural studies contends that while rave participants engage in drug use, it is by no means the exclusive source of solidarity. However, work in the fields of public health and medical science portrays rave culture as a site of extensive drug consumption and personal risk, where solidarity is dismissed or dubiously acknowledged as chemically induced. Prior research has not sought to reconcile this tension, or to consider how the relationship between drug use and solidarity may have changed over time. Using data from a multimethod ethnography of the rave scene in Philadelphia, we found the drug use–solidarity relationship substantially more complicated than prior scholarship has articulated. Our discoveries, consequently, provide clarification of this relationship as well as advance the literatures on solidarity, collective identity, youth culture, and music scenes.     

'Ancient + Future = Now': Goa Gil and Transnational Neo-Tribalism in Global Rave Culture

Abstract

This article posits the case study of rave music DJ Goa Gil as a dynamic example of the transnational, deterritorializing flows that inform the community formation and signifying practices of contemporary rave culture. Intended as a commentary on the changing nature of subcultural formation and practice, Goa Gil's story reveals a complex pattern of transnational and transcultural networks and exchanges. From 1960s American hippy to global rave music DJ, guru, and nomad, Goa Gil is one of the subculture's progenitors of neo-tribalism, a discursive and symbolic trope that allows ravers to imagine, and give name to, their transnational communities of affect that cross national and cultural borders. Set within a social context of advanced information technologies and rapidly changing modes of communication, neo-tribalism, as a critical concept, can be easily applied to any number of communities of affect across the globe, paving the way for a re-evaluation of (sub)cultural inter-connectedness in the early twenty-first century.     

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

This research examines how musicians understand art and commerce in a music scene dominated by cover bands. Drawing on thirty semi‐structured interviews and one hundred hours of ethnographic observation, I find that most musicians self‐identify as artists yet perceive social status to be rooted in commercial success. This research details what it means to “make it” in an art world that offers little institutional support or remunerative reward for artistry. Musicians employ three approaches to negotiate the disconnect between artistic identities and commercially defined status: segregating their artistic and commercial pursuits, locating artistry in their commercial work, and justifying their commercially viable activities as a means to attaining a comfortable lifestyle. This on‐the‐ground account of commercial influences’ effects on musicians informs post‐Bourdieusian research on fields of cultural production. I suggest that future research on culture producers must distinguish between social status—a position in a social hierarchy—and interpersonal respect. When esthetics are marginalized as a basis for status, musicians’ status becomes bound to employment opportunities and expansible relative to the extent of the scene.     

The musical composition of social reality? Music,action and reflexivity1

Developments in the sociology of music during the 1980s have brought the sub-field more firmly in to the center of sociological concerns, The ‘worlds’ concept, and the concern with music and social status have helped to ground and specify links between music and society. Meanwhile however, questions concerning music's social content have been sidelined. This paper explores music as an active ingredient in the constitution of lived experience. As with other cultural/technical forms, music provides a resource for the articulation of thought and activity. Bodily conduct and movement, the experience of time, and social character within opera are used to illustrate this point. Recent developments in feminist music analysis have been suggestive for the ways in which music metaphorizes social processes and categories of being. These developments can enrich the sociology of music. However, as with all attempts to ‘read’ music's social content, they should be conceived as claims made by analysts who are themselves engaged in social projects. Analytical readings of music have no a priori claim of privilege. A constructivist sociology of music should therefore be devoted to the question of how specific music users forge links between musical significance and social life. A sociology of the construction and deployment of musical realities is capable of avoiding the naive positivism otherwise implicit in attempts to ‘read’ music's social content.     

A 'Rave' Review: Conceptual Interests and Analytical Shifts in Research on Rave Culture

Raves have historically referred to grassroots organized, antiestablishment and unlicensed all-night dance parties, featuring electronically produced dance music, such as techno, house, trance and drum and bass. Since their late-1980s origins in the UK, raves have gained widespread popularity and transformed dramatically. Consequently, their many cultural traits and behaviors have garnered much sociological interest, which mostly falls into two competing perspectives: cultural studies and public health. In this paper, we review what raves look like today compared to their high point in the 1990s. We then discuss how the cultural studies and public health perspectives define raves and have studied them over time, focusing on the 'pet' sociological concepts each has sought to advance. Our analysis of these literatures reveals important differences in rave research by country and over time. We end by discussing the politics associated with the shift in rave research.     

Signifyin' Cinema: Rudy Ray Moore and the Quality of Badness

This article engages the limits of both film and race studies in their approach to heterogeneous and “low” forms of African American cultural production through an analysis of the films of Rudy Ray Moore. While Moore’s films have been almost entirely overlooked in both film studies and black studies, they were extremely popular among black youth of the 1970s and have exerted a powerful influence on today’s hardcore hip hop artists (and their understanding of how to turn black market entrepreneurship into global enterprise). The theory of “signifying”, advanced most rigorously by black literary theorist Henry Louis Gates Jr, helps explain how and why Moore has slipped through various critical nets — and grounds a claim for why we should take “bad” black film seriously. Close film and context analysis illustrates how Moore’s low‐budget films “signify” on Hollywood and the system of expectancies that go with putatively “good” filmmaking and reveals the extent to which they constitute a hybrid cultural and multimedia practice. As vehicles designed to elaborate on the badman of black folklore, Moore’s films contribute to the long history and rich language of “toasting” in African American oral culture and music. As such, far from being emblematic of black filmmaking’s impoverished relationship to mainstream cinema (as a cinema manqué), these films constitute vital precursors to the hip hop music video.     

Avatarculture: Narrative, power and identity in virtual world environments

Drawing on the work of Raymond Williams, this paper examines avatar culture through the interplay of emergent and residual forces. A dual process is at work in the formation of cultural identities in which the enabling conditions of virtual worlds are understood alongside and in relation to pre-existing off-line phenomenon. Avatar culture confirms structure for participants, especially in relation to gender and sexuality, whilst at the same time providing a reflexive space to break with pre-existing features of social identity. Virtual environments are thus microcosms of a grounded cultural materiality that is simultaneously improvised on and transformed. With regard to the distinctive aspects of avatar culture the paper focuses on issues of narrative, representation, censorship and power relations and their formation within virtual worlds. It discusses how virtual worlds incrementally acquire a peculiar power and meaning in the lives of participants. The paper discusses the flows of social interaction in virtual environments and how intermittence best describes how users participate and withdraw from different encounters. Avatar culture binds people together temporarily and loosely and then frees them up to relocate themselves elsewhere. In this context, virtual environments might be regarded as putting structure and power into movement. The ethnographic approach adopted helps peel back the residue of social structure to reveal a virtual agency with its emerging shells of avatar-derived affiliations, tensions and conflicts.     

Culture,Development, and Social Theory: On Cultural Studies and the Place of Culture in Development

Debates in development theory have recently swung back to taking seriously the relationship of culture to development, especially in the face of manifest failures of conventional approaches to economic growth and social transformation. This has happened at a moment when, especially within anthropology, the concept of culture itself is undergoing critical examination, and when cultural studies has emerged as a major challenge to anthropology's self-defined specialisation in the social-scientific analysis of culture. Few attempts have been made, however, to relate cultural studies and development studies, despite the fact that the relatively recent ‘cultural turn’ in the social sciences has derived largely from the currently fashionable status of cultural studies and its multidisciplinary nature. This paper explores this relationship and suggests that a cultural studies approach, despite its weaknesses, potentially revitalises the significance of culture in relationship to development.     

An Ethnography of Emerging Latino Music Scenes

We report on an ethnographic study of three emerging scenes in which Latino music is produced, performed, experienced, and celebrated in Houston, Texas: rock en Espanol, gay Latino dance music, and professional soccer supporters' music. Music is an important feature of Latino culture, since it informs migration, citizenship, spirituality, and other aspects of the contemporary Latino experience. Three interactionist concepts inform this study. The concept of scene directs our attention to the comprehensive social worlds driven by Latino music. The concept of idioculture directs our attention to the ways audience members experience Latino music within everyday life small groups. The concept of place directs our attention to how Latino music creates new locations to anchor the self in reference to country of origin, present music communities, or possible symbolic locations such as America or La Raza. We conclude with suggestions for a revised interactionist concept of music scene.     

“I Felt Guilty for Being So Happy”: Narrative Expressions and Management of Postdivorce Ambivalence

Scholars have highlighted ambivalence as a central feature of experiences of divorce and its aftermath and discussed ambivalence as an important issue for divorcees in adjusting to their new status. While most of this scholarship assesses postdivorce ambivalence as a psychological phenomenon to be addressed therapeutically, this study analyzes postdivorce ambivalence as an interpretive problem to be addressed sociologically. Following Merton’s (1976) insight that ambivalence be viewed as rooted in culture and social structure as well as individual psyche, we use a narrative analytic perspective to examine how divorcees both discursively express and interpretively manage their ambivalence. We then consider some of the more general cultural discourses—such as images of marriage and divorce—that shape or condition these narratives. Ultimately, we argue that conflicting stances toward marriage in the wider U.S. culture are at once important sources of postdivorce ambivalence and significant interpretive resources for its discursive management.     

“The Spider Is Alive”: Reassessing Becker's Theory of Artistic Conventions through Southern Italian Music

Howard Becker wrote that art is constructed, and understood, according to conventions. However, Becker does not adequately explain how artists negotiate historical circumstances affecting their work. Using the southern Italian phenomenon of tarantism and its music, I address how contemporary musicians employ conventions to transform sounds with deviant connotations. The alteration of musical conventions reflects material social conditions in the Salento region and provides insight into the formation of a Salentinian cultural movement's ideology. By accounting for how social groups contend with history, I argue that sociologists must reconsider the theory of artistic conventions.     

Degradation of the Word or the Adventures of an Intelligent in Viktor Pelevin’s Generation II

This paper addresses the concept of the intelligentsia and its transformation in the post-Soviet period. I present a brief overview of the multiple and problematic ways of defining the intelligentsia, and then turn to a novel that I see as a chronicle of the post-perestroika intelligentsia, Viktor Pelevin’s Generation П. I suggest that the intelligentsia, the milieu in which major Russian cultural myths originated and developed, is itself best understood in terms of cultural myth—a cultural construct reflecting the group’s self-image. A major component of this image is the intelligentsia’s reliance on culture, and especially literature, as both a source and justification for its view of the world and its role in it. In Pelevin’s novel, the career of a poet turned advertising writer—copywriter— parallels the post-perestroika cultural crisis in Russia and the degradation of the Word, which, in turn, symbolizes the demise of the intelligentsia.     

STTEPping in the right direction? Western classical music in an orchestral programme for disadvantaged African youth

This article looks at STTEP, an outreach project currently housed at the University of Pretoria, which concentrates on the teaching of western orchestral instruments, plus background areas such as music theory, to disadvantaged children and youth from a variety of townships around Pretoria, South Africa. STTEP’s direction can well be described as ‘right’ – pupils are already surrounded by all kinds of global phenomena, and their formal music studies in western classical music are not making them forget their roots. In fact, the contrary has been found to be the case and some interesting cultural fusions are already seen – always a sign of a living culture.     

Situational Analyses: Grounded Theory Mapping After the Postmodern Turn

To better address differences and complexities of social life articulated through the postmodern turn, grounded theory is being regenerated and updated. Based on Strauss's ecological frameworks in his social worlds and arenas theory, I offer situational maps and analyses as innovative supplements to the basic social process analyses characteristic of traditional grounded theory. There are three kinds of analytic maps: maps of situations including all the key human and nonhuman elements, maps of social worlds and arenas, and maps of positionality along salient analytic axes. This article introduces all three kinds of maps and explicates one—situational maps—as a means of coherently elucidating and analyzing some of the complexities and instabilities of social life.     

Suicide as Social Control1

Suicide may be moralistic in nature—a response to conduct the perpetrator defines as deviant. Moralistic suicide can be explained with a general theory of social control. Donald Black’s theories of social control explain the handling of grievances with their social structure—or geometry—as defined by the social characteristics and relationships of those involved in a conflict. Here I draw on Black’s paradigm of pure sociology and theories of social control to identify the social structure of moralistic suicide. For example, moralistic suicide varies directly with social closeness and is greater in an upward direction than in a downward direction. This theory is simple, general, testable, and explains variation not addressed by previous theories of suicide.     

Social Movement Scenes: Place‐Based Politics and Everyday Resistance

Sociologists Darcy Leach and Sebastian Haunss coined the term “social movement scene” to refer to people “who share a common identity and a common set of subcultural or countercultural beliefs, values, norms” and the network of physical places they frequent. Leach and Haunss explain the numerous ways in which scenes can benefit social movements (e.g. as pools of mobilization or as places for cultural experimentation) and that scenes are places where resistance happens. I propose that thinking of a scene as a process is more useful than thinking of it as a stable context where political activity happens. Scenes are the products of urban protests, such as squatting; rituals, such as protest and music; and the activities of everyday life. Drawing on research from sociologists, geographers, historians, and cultural studies scholars, I discuss social movement scenes on both the political left and right in terms of their spatial, symbolic, and relational dimensions.     

Sea breeze: Globalisation and cook islands popular music

This paper examines the dynamics of Cook Islands popular music, most commonly referred to as ‘island music’. Among Cook Islands communities at home and abroad, island music is performed at informal gatherings, at nightclubs and bars. It is also a central component of large functions such as weddings and island fundraising events. String bands—who perform island music—undertake performance tours through New Zealand, the Cook Islands and French Polynesia. These bands also record audiotapes and CDs of their music, which are extremely popular among Cook Islander communities across the region. Despite island music's centrality in many social contexts it is also the subject of much critical debate. It is viewed by some both as a ‘bastardisation’ of ‘traditional’ expressive forms and as an indicator of ‘global’ corruption; local music is seen as ‘swamped’ by Western popular music. I argue that these debates are symptomatic of anxiety about globalisation and related notions of authenticity, cultural ownership and loss. They are also ultimately concerned with negotiating locality and identity across the Cook Islands diaspora.     

Understanding the rise of the far right from a local perspective: Structural and cultural conditions of ethno-traditionalist inclusion and racial exclusion in rural Hungary

This paper analyses the reconfiguration of social relations in rural Hungary after the collapse of socialism as well as the cultural idioms in which these changes were interpreted in order to unearth the connection between structural transformation, the re-articulation of ethnic and peasant traditions and the discourse on Roma as a threat to communal harmony. The locality in the focus of our case study is a village that played a major role in the rise of the far-right Jobbik party. By applying an ethnographic approach, we seek to uncover structural forces, discourses and agencies that help explain the success of the anti-Roma mobilization campaign that ended with Jobbik’s electoral victory.     

WORKING WITH PIERRE BOURDIEU IN THE TOURISM FIELD MAKING A CASE FOR ‘THIRD WORLD’ TOURISM

Tourism in the ‘third world’ is seen as a consumption of culture, and attempts at investigating it within a cultural studies framework have not adequately addressed key social and cultural aspects. Bourdieu's analytical legacy which is significant as a cultural legacy is largely misappropriated. This article, reviewing recent research in cultural studies in tourism, highlights and critically interrogates the treatment Bourdieu's theory has received in tourism studies. Arguing that Bourdieu's sociological framework is often misinterpreted, this article sketches out the key components of a Bourdieusian approach to a cultural analysis of tourism. Reflexive return in tourism research remains largely unexplored. This conceptual paper emphasizes the significance of working with Bourdieusian methodological approach and explores the possibilities of employing a reflexive sociology in tourism studies. The paper further highlights the difficulties of pursuing such a theoretical approach and proposes the need to accommodate recent theoretical and empirical challenges to Bourdieu's paradigm.