VIDHYA Ramalingam believes it's always possible to change, even for people deeply involved in the murky online world of jihadist and far-right extremism.
Her company Moonshot CVE has the ambitious aim of trying to get anyone tempted by violence back on the straight and narrow.
Over the last four years, the London-based start-up has grown quietly but not anonymously, if a recent partnership deal with Facebook is anything to go by.
US national Ramalingam and the firm's co-founder Ross Frenett previously worked as researchers into extremism and believe radical groups are often one step ahead when it comes to technology.
"There was a lot of recognition that terrorists were using the internet in creative ways, that they were reaching young audiences, that they were able to innovate," she told AFP in an interview.
"Yet those of us that were trying to counter them simply were moving too slowly and had too many constraints to actually replicate those methods for counter-terrorism purposes."
That led to the idea of a technology start-up able to keep up with and fight against all forms of violent extremism, from jihadists and neo-Nazis, to nationalists and even "incels".
But greater visibility has forced the company to take more security measures because of the sensitive nature of its work -- and the potential for violence from the people it tracks.
The address of Moonshot CVE's London offices is kept secret and most of its staff have no visible online presence.
Just to get into its premises in a nondescript building in the British capital, visitors have to pass through heavy armour-plated doors and a security check.
"We take precautions," said Ramalingam. "We work on high-risk issues and we try and put as much into the public domain as possible."
The start-up's name refers to the act of launching a rocket to the moon -- and gives an indication of its stellar ambition. The CVE stands for countering violent extremism.
It employs 40 people working in 15 languages, including English, French and Arabic, on 76 projects in 28 countries, with clients ranging from governments to technology firms.
One project is a collaboration with the Canadian government against jihadism and the far-right. Another works with the United Nations on online Islamist content in Asia.
The company has also had a partnership for several years with Google, using online advertising to target people looking up violent extremism on the net.
The Facebook contract involves Moonshot analysing how effective the social network could be to "deradicalise" users looking up extremist content.
Moonshot is classed as a "social enterprise" in that it reinvests most of its profits into the projects it develops and technology, guaranteeing independence.
It's known for having developed the "redirect method" of finding individuals taken in by violent extremism then trying to make them change their ways.
That involves identifying people searching for such content online, finding out as much possible how they are doing it and what ideas they are looking for, before intervening.
That can even include direct contact, using social workers or mental health specialists who work in the "real world".
Jihadist online networks are known for being more difficult to infiltrate, and often use hard-to-access encrypted software such as the Telegram messaging app and other platforms.
Far-right extremists and white supremacists on the other hand are often more inclined to air their views openly, which makes them easier to find, said Ramalingam.
"Obviously, if we believe someone poses an imminent threat, that's where it's beyond our organisation," she added. "Only on rare occasions we'll engage with law enforcement on this."
Since 2015, Moonshot has gathered huge amounts of data and experience, while Ramalingam says direct messages sent to users offering help have been particularly successful.
"I've worked with so many individuals that were deep in these sort of groups," she said.
"They've now left and turned their life around and some of them have become peace activists.
"It's a huge transformation. To my mind change is always possible because I've seen it with my own eyes. You have to have an optimistic view."
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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