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After an introduction which explains why the 'Marxism' of the academy is largely unrecognised in anti-capitalist struggles, this work provides detailed analyses of Cultural Studies' moves by holding fieldwork, archives, empires, hybrids and exchange up against the practical criticism of anti-capitalism

Abstract: Over many years, the Government of Vietnam made various statements on the importance of sustainability and tourism sector growth. Corporate tourism developers quickly followed suit with similar rhetoric, as did some sociological scholarship—at times promoting tourism uncritically and sometimes critiquing it unapologetically. This article is based on ethnographic observations of casino tourism development along the Hồ Tràm strip on the South-eastern Vietnamese coastline, both before and during COVID-19, as well as close commentary monitoring government statements, corporate press, and promotional sociological studies within tourism management. The article addresses target markets for casino tourism, planning, infrastructure, issues for workers in associated sectors, and environmental ecosystems with longer, toxic histories. What 'sustainability' means after COVID-19 might be questioned in the 'rebooting' of the tourism economy.

This paper offers a typology of university management roles in the age of permanent austerity. The repackaging of every function within the university administration as a cost centre – meaning of course a potential profit centre – has long been seen as an unsustainable market model. Yet perversely it persists, and we would do well to name the hyperbolic functionaries of this administered institutional reconstruction, in a place where a humourless credentialism prevails. The paper revives the work, and temperament, of the early 20th-century sociologist Thorstein Bunde Veblen as a heuristic aid. With Veblen, the protocols of commercial imperative in the state education sector masquerade as education as a social good while the 'university' itself is skewered with the tragic realism of forms.

Pantomime is a theatrical form that has come to rule our everyday lives as terror. In the early years of the 21st century, a dissembling political demonology has sometimes placed otherwise merely lyrical musicians in a volatile predicament. The discussion here is of Fun-da-Mental's Aki Nawaz portrayed as a 'suicide rapper', Asian Dub Foundation striking poses from the street in support of youth in Paris and Algiers, and M.I.A., born free fighting immigration crackdown with atrocity video. Along the way, bus bombs, comedy circuits, critical theory, Arabian Nights, Bradley Wiggins, Dinarzade, Karl Marx, Paris boulevards, Molotov, Mao, the Eiffel Tower, reserve armies, lists, Richard Wagner, Samina Malik, Slavoj Žižek, Freudian slips, red-heads, Guantanamo. The book offers some sharp critiques of our contemporary complacency, and the failures of theory as more than ten years of war on terror turns anxiety at home and drone-strike assassinations abroad into a normal everyday. This pantomime is a terror story told over and over to distract from the workings of a despotic power. The need for an adequate (winning) counter-narrative was never more clear. ; REVIEWS & ENDORSEMENTS If you're of the opinion that music and politics should generally keep the fuck out of each other's way, then Pantomime Terror will be a tough sell. But author John Hutnyk's polemic is rational, convincing and supported by relentless, tirelessly researched cross-referencing, so consider us sold. ~ Record Collector UK This book starts with the countless provocations that surround us in the ambient war on terror. However, rather than retreating into either loathsome self-pity or indignant self-righteousness, Hutnyk responds with the thumping provocation to think and get real! ~ Nikos Papastergiadis, University of Melbourne For two decades, Hutnyk's research on diasporic music and politics has been at the political and scholarly cutting edge. Moving from ADF and Fun-Da-Mental, to MIA and Wagner, his work is always contextualised with relevance ...

Writing within the sonic register of a soundtrack that plundered the diasporic mind-set of a certain "London" massive, Hanif Kureishi was widely criticized for his contribution as writer to two films in the 1980s: My Beautiful Laundrette (1985) and Sammy and Rosie Get Laid (1987). Less lyrically perhaps—and less filmic—Salman Rushdie's book The Satanic Verses was famously set on fire in Bradford in 1989. Antiracist sexualities, street riots, and book burnings were taken to mark the mobilization of a diverse and complicated British Asian presence on the streets of the United Kingdom. The point that interests the author here is the reconfiguration of the streetscape of diaspora and terror in the years since these films and the burning of the book. Burning streets and books (not particularly good in themselves) are replaced with a more virulent racial profiling in contemporary times—a constant anxiety about and accusations againstMuslims (and by extension all British Asians), who are made uncomfortable at best, bombed into democracy elsewhere.

I find it increasingly problematic to write analytically about 'diaspora and music' at a time of war. It seems inconsequential; the culture industry is not much more than a distraction; a fairytale diversion to make us forget a more sinister amnesia behind the stories we tell. This article nonetheless takes up debates about cultural expression in the field of diasporic musics in Britain. It examines instances of creative engagement with, and destabilization of, music genres by Fundamental and Asian Dub Foundation, and it takes a broadly culture critique perspective on diasporic creativity as a guide to thinking about the politics of hip-hop in a time of war. Examples from music industry and media reportage of the work of these two bands pose both political provocation and a challenge to the seemingly unruffled facade of British civil society, particularly insofar as musical work might still be relevant to struggles around race and war. Here, at a time of what conservative critics call a 'clash of civilizations', I examine how music and authenticity become the core parameters for a limited and largely one-sided argument that seems to side-step political context in favour of sensationalized—entrenched—identities and a mythic, perhaps unworkable, ideal of cultural harmony that praises the most asinine versions of multiculturalism while demonizing those most able to bring it about. Here the idea that musical cultures are variously authentic, possessive or coherent must be questioned when issues of death and destruction are central, but ignored.