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Interprets Theodor W. Adorno's essay, "Uber Jazz" (1936), in terms of broader British debates concerning racism & popular culture & in terms of the state of Adorno's concerns at the time. Adorno argued that jazz was closely associated with the commercial music industry, &, to the extent that this industry confined jazz musicians to playing music that attracted largely wealthy, white audiences, it was a racist form of music. This interpretation is contextualized in terms of Adorno's experience of discrimination as a Jew in Germany & in terms of the racist music scene that greeted him when he became an exile in GB. Adorno's critique of the conventional depiction of jazz as black music identified a central tension in the relation between ethnicity, aesthetics, & social subordination that still resonates today. D. M. Smith

Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity. ; Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity.

Although H. G. Adler wrote extensively on the Holocaust, his voice has been excluded from the discussion of the Holocaust following Adorno's pessimistic analysis. The reasons for this exclusion lie in Adler's aesthetics, ethics, & method, examined here based on his biography, his works, the Adorno-Adler correspondence, & the way in which scholars treat other voices in their books on the topic. Against Adorno's fallacy of negativism, Adler argued for the sovereignty of ethical values, human rights, & democracy. His poetry during his time in the concentration camps shifted to an inner perspective & a protest against inhumanity. His method in examining the Holocaust -- scholarly documentation, an objective style, intellectual analysis, & an ethical viewpoint -- was highly unfashionable in British & American sociology at the time. Adler's novels Eine Reise ([A Journey] 1962), Panorama (1968) & Die unsichtbare Wand ([The Invisible Wall] 1989), all representing Auschwitz but with complementary methods, are discussed. M. Pflum

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Andrew Ross Introduction -- Histories and Futures -- George Lipsitz We Know What Time It Is: Race, Class and Youth Culture in the Nineties -- Susan McClary Same as it Ever Was: Youth Culture and Music -- Lawrence Grossberg Is Anybody Listening? Does Anybody Care?: On Talking about 'The State of Rock' -- Greg Tate Excerpt from Altered Spade: Readings in Race-Mutation Theory -- Locating Hip Hop -- Tricia Rose A Style Nobody Can Deal With: Politics, Style and the Postindustrial City in Hip Hop -- Juan Flores Puerto Rican and Proud, Boyee!: Rap Roots and Amnesia -- Jeffrey Louis Decker The State of Rap: Time and Place in Hip Hop Nationalism -- Tricia Rose Contracting Rap: An Interview with Carmen Ashhurst-Watson -- The Dance Continuum -- Walter Hughes In the Empire of the Beat: Discipline and Disco -- Lady Kier Kirby Hello -- Willi Ninja Not A Mutant Turtle -- Tricia Rose Nobody Wants a Part-Time Mother: An Interview with Willi Ninja -- Sarah Thornton Moral Panic, The Media and British Rave Culture -- George Yúdice The Funkification of Rio -- Rock. Rituals and Rights -- Robert Christgau Rah, Rah, Sis-Boom-Bah: The Secret Relationship Between College Rock and the Communist Party -- Donna Gaines Border Crossing in the U.S.A. -- Robert Walser Highbrow, Lowbrow, Voodoo Aesthetics -- Joanne Gottlieb and Gayle Wald Smells Like Teen Spirit: Riot Grrrls, Revolution and Women in Independent Rock -- Contributor Notes.