The basics of how to conduct participant observation are not taught in law schools. This is striking because this methodology has become a common feature of qualitative research and could be very useful in sociolegal research. For those interested in studying ‘law in practice’ instead of ‘law in the books’, qualitative research methods like participant observation are inevitable. However, participant observation is, at best, secondary in the literature on qualitative research in the sociolegal discipline, while there is no guidance on how to conduct this technique whatsoever.Therefore, this article is written with two audiences in mind: It should serve as a useful reference and guide for those who teach qualitative research methods in legal education and who are looking to enhance their knowledge and skills concerning participant observation; it is also meant to serve as a basic primer for the beginning sociolegal researcher who is about to become a participating observer for the first time.

Hip-hop and restorative justice may seem odd bedfellows, but according to Antony Pemberton they have more in common than many would assume. In the first place hip-hop shares a common history, at least with restorative justice's modern incarnations, spanning four decades, to become a similarly global phenomenon. Much of the social ecology shaping RJ is similar to hiphop. In addition hiphop's criticism of criminal justice almost goes without saying. Almost no source offers similar scathing critique of criminal justice and penal institutions as rap lyrics. Pemberton concludes that rituals in hip-hop are connected with the need to deal with conflict. The way respect and disrespect can coincide in rap-battles might offer insights in the way similar dialectics can be navigated within restorative justice processes. The extent to which this is possible is necessarily limited. Pemberton finds that hip-hop – with the exception of graffiti- does not seem currently to criticize the key neo-liberal values of the American Zeitgeist. The much maligned chasm between the old-school and the new school can be situated in this observation. Where hip-hop, as a social movement, used to deploy the depiction of injustice as a means to underline the necessity of social change, the current motto appears to be rich or die tryin”. The life of the thug and the gangsta is depicted as the epitome of the American Dream. Here Pemberton sees grounds for a cautionary warning for restorative justice, which is nurtured by a similar neo-liberal undercurrent in a number of jurisdictions.

Various disciplines have a longstanding tradition of studying musical genres and the various functions of music, but few criminologists focus on music in their scientific work. This article discusses various relationships between music, crime and culture. We discuss the hypothesis of ‘criminogenic’ music genres, and countless examples of criminalisation of music. We point at the stilistic importance of music genres for subcultures and social movements, and we raise ethical aspects: music can also be used as an instrument of (symbolic) violence, as a punishment or even as torture. Finally, we discuss other functional uses of music: as a vehicle for human emotions, for therapeutic purposes, to influence the behavior of employees and consumers, to enhance feelings of public safety, and to prevent crime and nuisance.

The social history of jazz music in America since 1880 has been described as a movement out of the inauspicious background of night clubs and brothels in the urban underworld. In 1980 Ronald L. Morris has published a book, Wait until dark, fostering a contrary view (that should inspire criminology). Morris claimed that until 1940 the ‘mob’ had promoted jazz music as gangsters hired black musicians without concern for the law and the conventions of racial segregation. There is some evidence that even during the 1950s the jazz scene of New York City and Las Vegas had also been partly organized by the mafia.

In this article I will explore the concept of transgression within the realm of rock music using the biography of Lou Reed, known for such songs as ‘Walk on the Wild Side’ and ’I’m Waiting for the Man’. I discuss Lou Reed’s social transgressions as a reaction to and resistance toward institutions of social control such as family, media and the music industry, which stigmatized him as an outsider. This study, which is based on secondary material, such as biographies, interviews and songs, shows how Lou Reed transgressed social norms with respect to drugs, sex, and gender.

Nu de poging van de EU-wetgever om met het zogenoemde Monti II-voorstel economische en sociale rechten te verzoenen voorlopig gestrand lijkt, wordt het juridisch kader voor de uitoefening van het recht op collectieve actie in grensoverschrijdende situaties in de EU nog steeds bepaald door de jurisprudentie van het Hof van Justitie, in het bijzonder door de Viking-, Laval- en Rüffert-zaken.
Centraal in deze bijdrage staat de vraag: in hoeverre was de Monti II-verordening in staat om een bijdrage te leveren aan een beter evenwicht tussen sociale grondrechten en economische Verdragsvrijheden? En wat zijn, nu het voorstel is ingetrokken, mede in het licht van het Verdrag van Lissabon, alternatieven om tot een meer harmonische relatie tussen de botsende sociale en economische rechten te komen?
Voorstel voor een verordening van de Raad betreffende de uitoefening van het recht om collectieve actie te voeren in de context van de vrijheid van vestiging en de vrijheid van dienstverrichting van 21 maart 2012, COM(2012) 130.