Social and cultural modernity beyond the nation-state
Author: Shivdeep Grewal

German philosopher Jürgen Habermas has written extensively on the European Union. This is the only in-depth account of his project. Published now in a second edition to coincide with the celebration of his ninetieth birthday, a new preface considers Habermas’s writings on the eurozone and refugee crises, populism and Brexit, and the presidency of Emmanuel Macron.

Placing an emphasis on the conception of the EU that informs Habermas’s political prescriptions, the book is divided into two main parts. The first considers the unfolding of 'social modernity' at the level of the EU. Among the subjects covered are Habermas's concept of juridification, the latter's affinities with integration theories such as neofunctionalism, and the application of Habermas's democratic theory to the EU. The second part addresses 'cultural modernity' in Europe – 'Europessimism' is argued to be a subset of the broader cultural pessimism that assailed the project of modernity in the late twentieth century, and with renewed intensity in the years since 9/11.

Interdisciplinary in approach, this book engages with European/EU studies, critical theory, political theory, international relations, intellectual history, comparative literature, and philosophy. Concise and clearly written, it will be of interest to students, scholars and professionals with an interest in these disciplines, as well as to a broader readership concerned with the future of Europe

An introduction
Colin Coulter

the most revered acts in the history of popular music, among them Led Zeppelin, Pink Floyd and the Rolling Stones. Sharing wall space with these rock luminaries is, ironically, another band who once promised to be their pallbearers.1 London punks The Clash played the Ulster Hall on two separate occasions. The permanent exhibition that graces the foyer of the venue does not, however, centre on this brace of gigs that actually took place but rather, curiously, on one that never quite came to pass. On 20 October 1977 The Clash were scheduled to open their ‘Sort it Out

in Working for the clampdown
Author: Lucy Bland

This book recounts the little-known history of the mixed-race children born to black American servicemen and white British women during the Second World War. Of the three million American soldiers stationed in Britain from 1942 to 1945, about 8 per cent (240,000) were African-American; the latter’s relationships with British women resulted in the birth of an estimated 2,000 babies. The African-American press named these children ‘brown babies’; the British called them ‘half-castes’. Black GIs, in this segregated army, were forbidden to marry their white girlfriends. Up to half of the mothers of these babies, faced with the stigma of illegitimacy and a mixed-race child, gave their children up for adoption. The outcome for these children tended to be long-term residency in children’s homes, sometimes followed by fostering and occasionally adoption, but adoption societies frequently would not take on ‘coloured’ children, who were thought to be ‘too hard to place’. There has been minimal study of these children and the difficulties they faced, such as racism in a (then) very white Britain, lack of family or a clear identity. Accessibly written and illustrated with numerous photographs, this book presents the stories of over forty of these children. While some of the accounts of early childhood are heart-breaking, there are also many uplifting narratives of finding American fathers and gaining a sense of self and of heritage.

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Writing from the dark underground, 1976–92
Claire Nally

the fact that many zines only ran to a few issues, they provide a clear insight into the transition from punk to post-punk and goth, as well as a useful corrective to the focus on the London scene which often characterises academic studies of goth. This chapter will explore the emergence of goth zine culture through three different zines: Panache, Whippings and Apologies and Propaganda. These zines have been strategically chosen as they represent iterations of early postpunk, goth as it emerged in the 1980s and, finally, the mainstreaming of the Goth zines -111

in Ripped, torn and cut
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The cultural politics of pop
Steve Redhead

specific taxonomies such as rock and roll, psychedelia, thrash, noise, garage, punk, go-​go, Hi-​Nrg, funk and dub which are readily available as a resource for documentary film-​ makers, record collectors, disc jockeys or musicians and producers armed with the latest sampling technology or just a sharp line in pastiche. The musical styles embodied in these rock and pop discourses can be revived, reworked, quoted, parodied, and plundered almost at will. On the other hand, popular music, in all its myriad forms, is more pervasive than ever in our supposedly postmodern

in The end-of-the-century party
Open Access (free)
Nazima Kadir

comprised a family who lost a possible home for themselves. In terms of squatter capital, their status as a family meant that the squatting community expected less from them than if they were young single punks, for example, and so they did not lose any capital by this failed action. The members of the kraakspreekuur, and especially the spokesperson, felt the embarrassment of this failure because with planning, they could have easily prevented and avoided such mistakes. Although I never spoke with the spokesperson

in The autonomous life?
Lucy Robinson

)zines rather than conference packs to match form with content in the history of subcultures.5 The Edmonton Zine fair, for example, launched a collaborative history zine, The History of Punk.6 Zines were utilised at various points during the fortieth anniversary of punk. The British Library used its zine collection to collate a narrative from the Sex Pistols’ breakthrough to the wider national punk story, whereas Matthew Worley’s community project -40- Going underground focused on the local experience of Norwich’s punk scene. Worley combined a street exhibition with a zine

in Ripped, torn and cut
Youth culture and the rethinking of historical legacies
Ljubica Spaskovska

national interests (74 per cent) ranked just below that, it concluded that the youth mostly identified with the social/​class group it belonged to.16 The sense of belonging to a socially, culturally or generationally defined group with a relative disregard for the ethno-​national aspect indeed surfaced in many of the interviews I  conducted. Robert Botteri’s testimony is particularly illustrative: I have to say I  never identified as Yugoslav. I  was at the age when I  would rather identify as a punk than a Yugoslav. I used to claim that I have more in common with a punk

in The last Yugoslav generation
Post-pop politics
Steve Redhead

 59 3 Soundtracks from the global hypermarket: post-​pop politics In the first two Chapters we have examined the case for subcultural theorists’ explanations of post-​ punk pop music culture. Subcultural theory has been found wanting in such accounts; it is more than likely that it was similarly inadequate in its analysis of pre-​punk subcultures, too. Moreover, the notion of Style Culture, which dominated subcultural politics of pop in the early part of the decade, was seriously misleading. Where it retained lasting value –​ for instance in its links with the

in The end-of-the-century party
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Scoring Statham
Shelley O’Brien

’s for Crank: High Voltage are major factors in the characterisation of Chev and the Statham comic/action star persona. Similarly, the pre-recorded tracks in both films are a mixture of styles and are used specifically to reinforce the frantic pace of the editing, the plot and the movement and psychology of Chev. The range of styles – punk rock, speed metal, rock, ‘urban

in Crank it up