Fascist music has co-opted the language of cultural-studies antihegemonic resistance.

Evidence

The ideologies of racism remain contradictory structures, which can function both as the vehicles for the imposition of dominant ideologies, and as the elementary forms for the cultures of resistance. Any attempt to delineate the politics and ideologies of racism which omit these continuing features of struggle and contradiction win an apparent adequacy of explanation only by operating a disabling reductionism. — Hall, Stuart, Essential Essays, Volume 1, 638 (#complicates, via linked claim)

Its effects are similar to other ideologies from which, on other grounds, it must be distinguished: racisms also dehistoricize—translating historically specific structures into the timeless language of nature; decomposing classes into individuals and recomposing those disaggregated individuals into the reconstructed unities, the great coherences, of new ideological “subjects”: it translates “classes” into “blacks” and “whites,” economic groups into “peoples,” solid forces into “races.” … It is also pertinent for the dominated subjects—those subordinated ethnic groups or “races” which live their relation to their real conditions of existence, and to the domination of the dominant classes, in and through the imaginary representations of a racist interpellation, and who come to experience themselves as “the inferiors,” les autres . … The racist interpellations can become themselves the sites and stake in the ideological struggle, occupied and redefined to become the elementary forms of an oppositional formation—as where “white racism” is vigorously contested through the symbolic inversions of “black power.” The ideologies of racism remain contradictory structures, which can function both as the vehicles for the imposition of dominant ideologies, and as the elementary forms for the cultures of resistance. — Hall, Stuart, Essential Essays, Volume 1, 638 (#complicates, via linked claim)

Categorization

  • XREF: connects to: Industrial music engineered political affect as a counterweight to propaganda — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1361; Understanding fascism requires analyzing cultural expression, not just voting and economics. — David Theo Goldberg, John Solomos, A Companion to Racial and Ethnic Studies, 2542; An anti-establishment artistic movement can be absorbed into authoritarian nationalism — Antonio Gramsci, Selections from the Prison Notebooks, 1986 (+3 more)

Broader Connections