Keith Kahn-Harris – författare

Can Jews be allowed to become boring?With Israel and antisemitism constantly in the news, it seems as though the Jewish people - a fraction of a percentage of the world's population - have become synonymous with controversy, drama and anxiety. But what if there was another side to this persistently interesting people; one that non-Jews often don't know about and Jews rarely talk about? This is the stuff of 'everyday' Jewishness; the capacity to be ordinary, mundane and sometimes just plain dull.Keith Kahn-Harris lifts the lid on this surprising world in a book for Jews and non-Jews alike. Arguing that his people's extraordinary public visibility today is harming their ability to live everyday Jewish lives, he celebrates the mundanity and mediocrity of a people before it vanishes completely.

Pioneering metal writer Keith Kahn-Harris presents a moving, visionary exploration of Ozzy Osbourne, and of metal music and culture: the potent legacy Ozzy left us. What is a ‘good death’?How about this: After years of terrible health, you gather friends and admirers for one last, glorious party. A couple of weeks later, you slip away, surrounded by your loving family. Then, the world comes to mourn. That is how Birmingham’s favourite son, Ozzy Osbourne, died.By his death in July 2025 – at an age few believed he’d reach – Ozzy was much-loved, far beyond the metal world. Once a feared, demonic figure to some (and a joke to others), his Back to the Beginning farewell concert at Villa Park raised millions for charity.In concise, arresting chapters moving from Death to Life via Art, Politics, Sex, Bodies, Voice, Family, Myth and more, Kahn-Harris explores how Ozzy – of all people! – attracted such generosity of spirit. The answer, he finds, is deeply embedded within the story and culture of metal – and has lessons for us all.

Pioneering metal writer Keith Kahn-Harris presents a moving, visionary exploration of Ozzy Osbourne, and of metal music and culture: the potent legacy Ozzy left us. What is a ‘good death’?How about this: After years of terrible health, you gather friends and admirers for one last, glorious party. A couple of weeks later, you slip away, surrounded by your loving family. Then, the world comes to mourn. That is how Birmingham’s favourite son, Ozzy Osbourne, died.By his death in July 2025 – at an age few believed he’d reach – Ozzy was much-loved, far beyond the metal world. Once a feared, demonic figure to some (and a joke to others), his Back to the Beginning farewell concert at Villa Park raised millions for charity.In concise, arresting chapters moving from Death to Life via Art, Politics, Sex, Bodies, Voice, Family, Myth and more, Kahn-Harris explores how Ozzy – of all people! – attracted such generosity of spirit. The answer, he finds, is deeply embedded within the story and culture of metal – and has lessons for us all.

Pioneering metal writer Keith Kahn-Harris presents a moving, visionary exploration of Ozzy Osbourne, and of metal music and culture: the potent legacy Ozzy left us. What is a ‘good death’?How about this: After years of terrible health, you gather friends and admirers for one last, glorious party. A couple of weeks later, you slip away, surrounded by your loving family. Then, the world comes to mourn. That is how Birmingham’s favourite son, Ozzy Osbourne, died.By his death in July 2025 – at an age few believed he’d reach – Ozzy was much-loved, far beyond the metal world. Once a feared, demonic figure to some (and a joke to others), his Back to the Beginning farewell concert at Villa Park raised millions for charity.In concise, arresting chapters moving from Death to Life via Art, Politics, Sex, Bodies, Voice, Family, Myth and more, Kahn-Harris explores how Ozzy – of all people! – attracted such generosity of spirit. The answer, he finds, is deeply embedded within the story and culture of metal – and has lessons for us all.

The concept of ''subculture'' has long been of significant importance in research on youth, style, deviance and popular culture. Although in more recent years subculture has been the subject of sustained critique, it still provides a valuable point of reference for study and research. This text offers students an up-to-date and wide-ranging account of new developments in youth culture research that reject, refine or reinvent the concept of subculture. Bringing together key theoretical statements with illuminating analyzes of particular aspects of youth culture - popular music, clubbing, body modification, the internet, etc. - this is an ideal introduction to a diverse and wide-ranging field.

The concept of 'subculture' has long been of significant importance in research on youth, style, deviance and popular culture. Although in more recent years subculture has been the subject of sustained critique, it still provides a valuable point of reference for study and research. This text offers students an up-to-date and wide-ranging account of new developments in youth culture research that reject, refine or reinvent the concept of subculture. Bringing together key theoretical statements with illuminating analyzes of particular aspects of youth culture - popular music, clubbing, body modification, the internet, etc. - this is an ideal introduction to a diverse and wide-ranging field.

Extreme metal--one step beyond heavy metal--can appear bizarre or terrifying to the uninitiated. Extreme metal musicians have developed an often impenetrable sound that teeters on the edge of screaming, incomprehensible noise. Extreme metal circulates on the edge of mainstream culture within the confines of an obscure ''scene'', in which members explore dangerous themes such as death, war and the occult, sometimes embracing violence, neo-fascism and Satanism. In the first book-length study of extreme metal, Keith Kahn-Harris draws on first-hand research to explore the global extreme metal scene. He shows how the scene is a space in which members creatively explore destructive themes, but also a space in which members experience the everyday pleasures of community and friendship.Including interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, Extreme Metal: Music and Culture on the Edge demonstrates the power and subtlety of an often surprising and misunderstood musical form.

Extreme metal--one step beyond heavy metal--can appear bizarre or terrifying to the uninitiated. Extreme metal musicians have developed an often impenetrable sound that teeters on the edge of screaming, incomprehensible noise. Extreme metal circulates on the edge of mainstream culture within the confines of an obscure ''scene'', in which members explore dangerous themes such as death, war and the occult, sometimes embracing violence, neo-fascism and Satanism. In the first book-length study of extreme metal, Keith Kahn-Harris draws on first-hand research to explore the global extreme metal scene. He shows how the scene is a space in which members creatively explore destructive themes, but also a space in which members experience the everyday pleasures of community and friendship.Including interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, Extreme Metal: Music and Culture on the Edge demonstrates the power and subtlety of an often surprising and misunderstood musical form.

This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.

This book defines the key ideas, scholarly debates, and research activities that have contributed to the formation of the international and interdisciplinary field of Metal Studies. Drawing on insights from a wide range of disciplines including popular music, cultural studies, sociology, anthropology, philosophy, and ethics, this volume offers new and innovative research on metal musicology, global/local scenes studies, fandom, gender and metal identity, metal media, and commerce. Offering a wide-ranging focus on bands, scenes, periods, and sounds, contributors explore topics such as the riff-based song writing of classic heavy metal bands and their modern equivalents, and the musical-aesthetics of Grindcore, Doom metal, Death metal, and Progressive metal. They interrogate production technologies, sound engineering, album artwork and band promotion, logos and merchandising, t-shirt and jewellery design, and fan communities that define the global metal music economy and subcultural scene. The volume explores how the new academic discipline of metal studies was formed, also looking forward to the future of metal music and its relationship to metal scholarship and fandom. With an international range of contributors, this volume will appeal to scholars of popular music, cultural studies, and sociology, as well as those interested in metal communities around the world.

The first book-length study of contemporary British Jewry , Turbulent Times: The British Jewish Community Today examines the changing nature of the British Jewish community and its leadership since 1990. Keith Kahn-Harris and Ben Gidley contend that there has been a shift within Jewish communal discourse from a strategy of security, which emphasized Anglo-Jewry''s secure British belonging and citizenship, to a strategy of insecurity, which emphasizes the dangers and threats Jews face individually and communally. This shift is part of a process of renewal in the community that has led to something of a ''Jewish renaissance'' in Britain. Addressing key questions on the transitions in the history of Anglo-Jewish community and leadership, and tackling the concept of the ''new antisemitism'', this important and timely study addresses the question: how has UK Jewry adapted from a shift from monoculturalism to multiculturalism?

The first book-length study of contemporary British Jewry , Turbulent Times: The British Jewish Community Today examines the changing nature of the British Jewish community and its leadership since 1990. Keith Kahn-Harris and Ben Gidley contend that there has been a shift within Jewish communal discourse from a strategy of security, which emphasized Anglo-Jewry's secure British belonging and citizenship, to a strategy of insecurity, which emphasizes the dangers and threats Jews face individually and communally. This shift is part of a process of renewal in the community that has led to something of a 'Jewish renaissance' in Britain. Addressing key questions on the transitions in the history of Anglo-Jewish community and leadership, and tackling the concept of the 'new antisemitism', this important and timely study addresses the question: how has UK Jewry adapted from a shift from monoculturalism to multiculturalism?

'Quite simply, and quite ridiculously, one of the funniest and most illuminating books I have ever read. I thought I was obsessive, but Keith Kahn-Harris is playing a very different sport. He really has discovered the whole world in an egg.' Simon Garfield'There is a delicious humour implicit in every page . . . [the book] is filled with a sense of wonder, gazing at languages that neither the writer nor reader understands . . . The Babel Message was such fun that I even went out and bought a Kinder Surprise Egg.' - Mark Forsyth, The SpectatorA thrilling journey deep into the heart of language, from a rather unexpected starting point.Keith Kahn-Harris is a man obsessed with something seemingly trivial - the warning message found inside Kinder Surprise eggs:WARNING, read and keep: Toy not suitable for children under 3 years. Small parts might be swallowed or inhaled.On a tiny sheet of paper, this message is translated into dozens of languages - the world boiled down to a multilingual essence. Inspired by this, the author asks: what makes 'a language'? With the help of the international community of language geeks, he shows us what the message looks like in Ancient Sumerian, Zulu, Cornish, Klingon - and many more. Along the way he considers why Hungarian writing looks angry, how to make up your own language, and the meaning of the heavy metal umlaut.Overturning the Babel myth, he argues that the messy diversity of language shouldn't be a source of conflict, but of collective wonder. This is a book about hope, a love letter to language.'This is a wonderful book. A treasure trove of mind-expanding insights into language and humanity encased in a deliciously quirky, quixotic quest. I loved it. Warning: this will keep you reading.' - Ann Morgan, author of Reading the World: Confessions of a Literary Explorer

Defining ''Australian metal'' is a challenge for scene members and researchers alike. Australian metal has long been situated in a complex relationship between local and global trends, where the geographic distance between Australia and metal music''s seemingly traditional centres in the United States and United Kingdom have meant that metal in Australia has been isolated from international scenes. While numerous metal scenes exist throughout the country, ''Australian metal'' itself, as a style, as a sound, and as a signifier, is a term which cannot be easily defined.  This book considers the multiple ways in which ''Australianness'' has been experienced, imagined, and contested throughout historical periods, within particular subgenres, and across localised metal scenes. In doing so, the collection not only explores what can be meant by Australian metal, but what can be meant by ''Australian'' more generally. With chapters from researchers and practitioners across Australia, each chapter maps the distinct ways in which ''Australianness'' has been grappled with in the identities, scenes, and cultures of heavy metal in the country. Authors address the question of whether there is anything particularly ''Australian'' about Australian metal music, finding that often the ''Australianness'' of Australian metal is articulated through wider, mythologised archetypes of national identity. However, this collection also reveals how Australianness can manifest in metal in ways that can challenge stereotypical imaginings of national identity, and assert new modes of being metal ''downungerground''.

Defining 'Australian metal' is a challenge for scene members and researchers alike. Australian metal has long been situated in a complex relationship between local and global trends, where the geographic distance between Australia and metal music's seemingly traditional centres in the United States and United Kingdom have meant that metal in Australia has been isolated from international scenes. While numerous metal scenes exist throughout the country, 'Australian metal' itself, as a style, as a sound, and as a signifier, is a term which cannot be easily defined.  This book considers the multiple ways in which 'Australianness' has been experienced, imagined, and contested throughout historical periods, within particular subgenres, and across localised metal scenes. In doing so, the collection not only explores what can be meant by Australian metal, but what can be meant by 'Australian' more generally. With chapters from researchers and practitioners across Australia, each chapter maps the distinct ways in which 'Australianness' has been grappled with in the identities, scenes, and cultures of heavy metal in the country. Authors address the question of whether there is anything particularly 'Australian' about Australian metal music, finding that often the 'Australianness' of Australian metal is articulated through wider, mythologised archetypes of national identity. However, this collection also reveals how Australianness can manifest in metal in ways that can challenge stereotypical imaginings of national identity, and assert new modes of being metal 'downungerground'.

Defining ''Australian metal'' is a challenge for scene members and researchers alike. Australian metal has long been situated in a complex relationship between local and global trends, where the geographic distance between Australia and metal music''s seemingly traditional centres in the United States and United Kingdom have meant that metal in Australia has been isolated from international scenes. While numerous metal scenes exist throughout the country, ''Australian metal'' itself, as a style, as a sound, and as a signifier, is a term which cannot be easily defined.  This book considers the multiple ways in which ''Australianness'' has been experienced, imagined, and contested throughout historical periods, within particular subgenres, and across localised metal scenes. In doing so, the collection not only explores what can be meant by Australian metal, but what can be meant by ''Australian'' more generally. With chapters from researchers and practitioners across Australia, each chapter maps the distinct ways in which ''Australianness'' has been grappled with in the identities, scenes, and cultures of heavy metal in the country. Authors address the question of whether there is anything particularly ''Australian'' about Australian metal music, finding that often the ''Australianness'' of Australian metal is articulated through wider, mythologised archetypes of national identity. However, this collection also reveals how Australianness can manifest in metal in ways that can challenge stereotypical imaginings of national identity, and assert new modes of being metal ''downungerground''.

The relationship between metal and disability is distinctive. Persisting across metal’s sub-genres is a preoccupation with exploring and questioning the boundary that divides the body that has agency from the body that has none. This boundary is one that is familiar to those for whom the agency of the body is an everyday matter of survival.Metal’s preoccupation with unleashing and controlling sensorial overload acts both as an analogue of neurodiversity and as a space in which those who are neurodivergent find ways to understand and leverage their sensory capacities. Metal offers potent resources for the self-understanding of people with disabilities. It does not necessarily mean that this potential is always explored or that metal scenes are hospitable to those with disabilities. This collection is disability-positive, validating people with disabilities as different but not damaged.While metal scholars who contribute to this collection see metal as a space of possibility, in which dis/ability and other intersectional identities can be validated and understood, the collection does not imply that the possibilities that metal affords are always actualised. This collection situates itself in a wider struggle to open up metal, challenging its power structures; a struggle in which metal studies has played a significant part.

Extreme metal--one step beyond heavy metal--can appear bizarre or terrifying to the uninitiated. Extreme metal musicians have developed an often impenetrable sound that teeters on the edge of screaming, incomprehensible noise. Extreme metal circulates on the edge of mainstream culture within the confines of an obscure 'scene', in which members explore dangerous themes such as death, war and the occult, sometimes embracing violence, neo-fascism and Satanism. In the first book-length study of extreme metal, Keith Kahn-Harris draws on first-hand research to explore the global extreme metal scene. He shows how the scene is a space in which members creatively explore destructive themes, but also a space in which members experience the everyday pleasures of community and friendship.Including interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, Extreme Metal: Music and Culture on the Edge demonstrates the power and subtlety of an often surprising and misunderstood musical form.

Extreme metal--one step beyond heavy metal--can appear bizarre or terrifying to the uninitiated. Extreme metal musicians have developed an often impenetrable sound that teeters on the edge of screaming, incomprehensible noise. Extreme metal circulates on the edge of mainstream culture within the confines of an obscure 'scene', in which members explore dangerous themes such as death, war and the occult, sometimes embracing violence, neo-fascism and Satanism. In the first book-length study of extreme metal, Keith Kahn-Harris draws on first-hand research to explore the global extreme metal scene. He shows how the scene is a space in which members creatively explore destructive themes, but also a space in which members experience the everyday pleasures of community and friendship.Including interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, Extreme Metal: Music and Culture on the Edge demonstrates the power and subtlety of an often surprising and misunderstood musical form.

Heavy metal is now over 40 years old. It emerged at the tail end of the 1960s in the work of bands including Iron Butterfly, Vanilla Fudge, Jimi Hendrix, Deep Purple, Led Zeppelin and - most importantly - Black Sabbath. In the 1970s and early 1980s, heavy metal crystallised as a genre as bands such as Judas Priest and Iron Maiden removed most of the blues influence on the genre, codifying a set of basic metal characteristics that endure to this day: distorted guitars, aggressive vocals, denim, leather and spikes. In broad terms, wherever it is found and however it is played, metal tends to be dominated by a distinctive commitment to 'transgressive' themes and musicality causing it to be frequently seen as controversial music. Controversies surrounding the alleged (and often documented) connection between heavy metal and, variously, sexual promiscuity, occultism and Satanism, subliminal messages, suicide and violence have all made heavy metal a target of moral panics over popular culture. Metal has variously embraced, rejected, played with and tried to ignore this controversy. At times, the controversy dies down and the previously transgressive becomes relatively harmless - as in the transformation of Ozzy Osbourne from public enemy to loveable dad. Still, metal remains irrevocably marked by its controversial, transgressive tendencies. Indeed, the various moral panics that metal has been subjected to are not only constitutive, at least in part, of metal scenes, but are encoded in metal's transgression itself. As with hiphop's "ghetto" roots, metal's history of extreme sonic, lyrical and visual messages continue to give it credibility with new generations of fans today. The aim of this anthology is to analyse the relationship between heavy metal and society within a global context. It provides a thorough investigation of how and why metal becomes controversial, how metal 'scenes' are formed and examines the relationship between metal and society, including how fans, musicians and the media create the culture of heavy metal. Reviews: "A powerful addition to the metal studies literature, this book is overflowing with insights into the cultural politics of heavy metal music. With lively writing, interdisciplinary approaches, and a global perspective, these chapters offer ideas that have broad implications for the study of popular music scenes and their dynamics, media scandals, the relationship between music and affect, and the role of culture in social life." -- Professor Harris M. BergerTexas A & M University "Heavy Metal: Controversies and Countercultures grants a deeper understanding of how metal's transgressive qualities have come to define how the genre is viewed from both the outside and within...its interdisciplinary and global focus, along with its often enthusiastic and engaging viewpoints, present a fascinating portrait of how the controversy surrounding metal operates within wider society." -- Craig Hayes, PopMatters "The essays...are surprisingly sophisticated conceptually and theoretically, and they demonstrate what can be accomplished by turning high-culture terms and methods on a supposedly low-culture form like heavy metal. Anthropologists have profitably studied other popular culture/music practices, like the 'rave' phenomenon or psytrance events (see for example Graham St. John's Global Tribe: Technology, Spirituality, and Psytrance, reviewed elsewhere in ARD), and I look forward to reading ethnographic studies of heavy metal concerts, performers, and scenes." -- Jack David Eller, Anthropology Review Database, 2013

Heavy metal is now over 40 years old. It emerged at the tail end of the 1960s in the work of bands including Iron Butterfly, Vanilla Fudge, Jimi Hendrix, Deep Purple, Led Zeppelin and - most importantly - Black Sabbath. In the 1970s and early 1980s, heavy metal crystallised as a genre as bands such as Judas Priest and Iron Maiden removed most of the blues influence on the genre, codifying a set of basic metal characteristics that endure to this day: distorted guitars, aggressive vocals, denim, leather and spikes. In broad terms, wherever it is found and however it is played, metal tends to be dominated by a distinctive commitment to 'transgressive' themes and musicality causing it to be frequently seen as controversial music. Controversies surrounding the alleged (and often documented) connection between heavy metal and, variously, sexual promiscuity, occultism and Satanism, subliminal messages, suicide and violence have all made heavy metal a target of moral panics over popular culture. Metal has variously embraced, rejected, played with and tried to ignore this controversy. At times, the controversy dies down and the previously transgressive becomes relatively harmless - as in the transformation of Ozzy Osbourne from public enemy to loveable dad. Still, metal remains irrevocably marked by its controversial, transgressive tendencies. Indeed, the various moral panics that metal has been subjected to are not only constitutive, at least in part, of metal scenes, but are encoded in metal's transgression itself. As with hiphop's "ghetto" roots, metal's history of extreme sonic, lyrical and visual messages continue to give it credibility with new generations of fans today. The aim of this anthology is to analyse the relationship between heavy metal and society within a global context. It provides a thorough investigation of how and why metal becomes controversial, how metal 'scenes' are formed and examines the relationship between metal and society, including how fans, musicians and the media create the culture of heavy metal. Reviews: "A powerful addition to the metal studies literature, this book is overflowing with insights into the cultural politics of heavy metal music. With lively writing, interdisciplinary approaches, and a global perspective, these chapters offer ideas that have broad implications for the study of popular music scenes and their dynamics, media scandals, the relationship between music and affect, and the role of culture in social life." -- Professor Harris M. BergerTexas A & M University "Heavy Metal: Controversies and Countercultures grants a deeper understanding of how metal's transgressive qualities have come to define how the genre is viewed from both the outside and within...its interdisciplinary and global focus, along with its often enthusiastic and engaging viewpoints, present a fascinating portrait of how the controversy surrounding metal operates within wider society." -- Craig Hayes, PopMatters "The essays...are surprisingly sophisticated conceptually and theoretically, and they demonstrate what can be accomplished by turning high-culture terms and methods on a supposedly low-culture form like heavy metal. Anthropologists have profitably studied other popular culture/music practices, like the 'rave' phenomenon or psytrance events (see for example Graham St. John's Global Tribe: Technology, Spirituality, and Psytrance, reviewed elsewhere in ARD), and I look forward to reading ethnographic studies of heavy metal concerts, performers, and scenes." -- Jack David Eller, Anthropology Review Database, 2013

This book contains a compelling discussion of transformations within British Jewry in recent times. The first study of contemporary British Jewry since the 1970s, "Turbulent Times: The British Jewish Community Today" examines the changing nature of the British Jewish community and its leadership since 1990. Keith Kahn-Harris and Ben Gidley contend that there has been a shift within Jewish communal discourse from a strategy of security, which emphasized Anglo-Jewry's secure British belonging and citizenship, to a strategy of insecurity, which emphasizes the dangers and threats Jews face individually and communally.

This is a compelling discussion of transformations within British Jewry in the recent times. The first study of contemporary British Jewry since the 1970s, "Turbulent Times: The British Jewish Community Today" examines the changing nature of the British Jewish community and its leadership since 1990. Keith Kahn-Harris and Ben Gidley contend that there has been a shift within Jewish communal discourse from a strategy of security, which emphasized Anglo-Jewry's secure British belonging and citizenship, to a strategy of insecurity, which emphasizes the dangers and threats Jews face individually and communally. Addressing key questions on the transitions in the history of Anglo-Jewish community and leadership, and tackling the concept of the new anti-Semitism, this important and timely study addresses the question: how has UK Jewry adapted from a shift from monoculturalism to multiculturalism?

Music and religion have, throughout history, walked hand in hand. In the rites and rituals of small tribal religions, great world religions, and more recent New-Age and neo-heathen movements, different kinds of music have been used to celebrate the gods, express belief and help believers get in contact with the divine. This innovative book focuses on how mainstream and counter-cultural groups use religion and music to negotiate the challenges of modernisation and globalisation in the European context: a region under-explored by existing literature on the subject. With its internal ethnic diversity, ever-expanding borders and increasing differentiation, Europe has undergone massive dislocation in recent years. The authors show that, in the midst of such change, rock, pop and dance music may in their various forms be used by their practitioners as resources for new kinds of spiritual and religious identification, even as these forms are used as symbols of the deficiencies of secular society.Focusing on Christianity, Judaism, Islam and New Religious Movements, the book explores such topics as Norwegian Black Metal and Neo-paganism, contemporary Jewish Music in the UK, the French hip hop scene, the musical thinking of Muslim convert Cat Stevens/Yusuf Islam and European dance music culture. It offers an ideal introduction to leading-edge thinking at the exciting interface of 'music and religion'.

How did antisemitism get so strange?Life-long anti-racists accused of antisemitism, life-long Jew haters absolving themselves by declaring their love of Israel. Today, antisemitism and philosemitism seem selective, as if Jews offered themselves up as a kind of buffet, in which non-Jews get to choose the good ones they like and the bad ones they reject.In this passionate yet closely-argued polemic from a writer with an intimate knowledge of the antisemitism controversy, Kahn-Harris argues that the emergence of a selective anti-racism demonstrates how far we are from understanding what living in diverse societies really means.Strange Hate calls for us to abandon selective anti-racism and rethink how we view not just Jews and antisemitism, but the challenge of living with diversity.

Keith Kahn-Harris argues that the controversy over antisemitism today is a symptom of a growing "selectivity" in anti-racism caused by a failure to engage with the challenges that diverse societies pose.How did antisemitism get so strange? How did hate become so clouded in controversy? And what does the strange hate of antisemitism tell us about racism and the politics of diversity today?Life-long anti-racists accused of antisemitism, life-long Jew haters declaring their love of Israel... Today, antisemitism has become selective. Non-Jews celebrate the "good Jews" and reject the "bad Jews". And its not just antisemitism that''s becoming selective, racists and anti-racists alike are starting to choose the minorities they love and hate.In this passionate yet closely-argued polemic from a writer with an intimate knowledge of the antisemitism controversy, Keith Kahn-Harris argues that the emergence of strange hatreds shows how far we are from understanding what living in diverse societies really means.Strange Hate calls for us to abandon selective anti-racism and rethink how we view not just Jews and antisemitism, but the challenge of living with diversity.