The European Parliament’s culture committee on Tuesday (29 September) agreed to boost the flagship Erasmus+ student exchange programme by €7bn in 2028-2034 linked to rule-of-law conditions, even as so-called frugal countries seek to cut overall funding. 

MEPs backed in April to increase the European Commission’s original proposal from €40bn to €47bn as part of a interim report on the EU’s long-term budget (MFF).

On Tuesday, they also said funds should be linked to respect for the rule of law and transparency standards – a clear reference to the situation facing Hungarian universities in the past, which were unable to participate in Erasmus+ during the illiberal rule of former prime minister Viktor Orbán. 

Candidate countries, such as Ukraine and Moldova, may be able to participate in the next Erasmus+ in the coming cycle, provided they met “certain conditions,” Polish centre-right and lead MEP on the file, Bogdan Zdrojewski, said during a press conference in Brussels.

The UK and Switzerland are also set to rejoin the programme already in 2027.

And Canada might be able to participate too, Zdrojewski said, should it gain an associate EU membership – an unclear status presented by EU commission president Ursula von der Leyen during her State of the Union speech on 11 September and welcomed by Canada’s prime minister Mark Carney.

Around 17m participants have taken part in Erasmus+ since it was launched 39 years ago, in what is widely considered one of the most popular EU integration projects.

An estimated one million babies have also been born from couples who have met during their exchange. 

The committee boost comes amid long-term EU budget talks for the next seven years, in which frugal states such as Germany and the Netherlands want to pay in less than in the past, but Zdrojewski was “feeling optimistic” about getting through the proposed Erasmus budget increase. 

He said he counted on EU capitals to defend the programme in future negotiations.

MEPs want to make Erasmus+ more inclusive, highlighting special programmes for adult learners and students in informal education programmes.

They also aimed to set a 20 percent quota for participants with underpriviliged access to career and educational opportunities.

To make Erasmus+ easier to manage, they proposed dividing the funding between different areas: education and training (74 percent), youth and volunteering (15 percent), and sport (four percent).

The committee report will now be voted on by the EU Parliament plenary, although it is still unclear when, when it becomes part of MEPs’ formal basis for negotiations with EU capitals.

This article was updated on 30 September 2026 to make clear that the €47.39bn figure was first set out in Parliament’s interim report on the MFF, adopted in April. Tuesday’s committee vote incorporates that figure into the Erasmus+ regulation, alongside new rule-of-law and transparency conditions.

In the year of the 250th anniversary of US independence, the bipartisan US Semiquincentennial Commission released “America’s Soundtrack: The Sound of 250 Years.” Perhaps unsurprisingly – because the initiative was planned over the course of a decade with the support of corporations like Amazon, Oracle, and Palantir – the playlist is a romantic ode to the most paternalistic and militaristic sides of the United States.

However, activists have pointed out that there are “Two Americas at 250.” In other words, there is a working-class history and culture that directly contradicts the imperialist project of the billionaire class. Therefore, we must study another soundtrack: one based on the struggles, desires, and traditions of the people. One person that represents this soundtrack is “America’s favorite blues man,” 34-year-old Buffalo Nicols.

Music characterized Carl Nichols’s upbringing in Milwaukee, Wisconsin. Though not surrounded by musicians, he always had the sounds of jazz on the radio, his mother‘s music collection, his older brother’s hip-hop, and his older sisters, R&B, punk, and metal. This was the context in which he taught himself to play his sister’s guitar at the age of 12.

Performing with bands throughout high school, Carl found kinship among the West African community. As he played a cheap banjo along with a friend on the instrument known as the xalam, he embraced music as an opportunity to learn about other cultures. Traveling through countries like Senegal, Romania, Hungary, and Ukraine in his early 20s and learning their sonic traditions, motivated him to study Black American music with the same rigor.

Performers like Lead Belly, Pete Seeger, and Woody Guthrie left a lasting mark on him, specifically relating to communal and commercial music. Similarly, the writing of Etheridge Knight, Langston Hughes, Zora Neale Hurston, and Amiri Baraka helped him understand the blues as “a living thing” rather than a set of important names and dates. He said, “There’s always been this connection between activism and folk music because I think trying to exist as an artist in America has been a political thing.”

His 2025 song “Belly of the Beast“ is one example of this because it asks about the responsibility which domestic victims of US imperialism have for protecting victims abroad. Written during the heightened media coverage of the Israeli genocide in Gaza, the song calls attention to the relationship between Black Americans and Palestinians. He conceptualized the song following a period of political education defined by a collection of Malcolm X speeches and Régis Debray’s 1967 “Revolution in the Revolution?”

I live in the belly of the beast

Though I only meant to look into his mouth

It was not opportunity but chains he used to capture me

And every day I’ve tried to get back out

While these lines of the chorus speak from the individual or first person perspective, Nichols uses them to describe a common experience.This is why the song ends with the collective “we live in the belly of the beast.” The song is neither nihilistic or romantic in its allusion to topics like police killings, occupation and ethnic cleansing. Rather, in verse four, the singer puts his hope for change in the hands of the people, saying “we cannot win ’till we get organized.”

Read more: Studying the changes: a Palestinian music teacher’s lesson on will

Some, who mistake folk music as apolitical, took offense to this song. They attack him in social media comments, direct messages, and hate mail. In the spirit of the blues, Nichols said he laughs at their assumption that they can hurt him. The same minority of listeners attacked him for his 2025 song “Ice Age Blues.”

He wrote the song in response to the second Trump administration’s escalation of ICE terror. Specifically, on the widespread sense of surprise that law-enforcement would use deadly force against the US residents. He said that it reminded him of the same realization among new activists during the 2020 uprising for George Floyd. However, Nichols shows that he was not shocked by the contradiction – he ends the song by asking,

You think all that money is for war fought abroad?

They won’t hesitate to kill you in your own backyard. 

They’d be happy to kill you in your own backyard.

Nichols said that political finger pointing will not help identify the common perpetrator of a shared oppression. Instead, he urges readers to understand the state and how it works against the people; to study the basis of its patterns and changes. By doing so, he calls listeners attention to the basis of repression rather than simply what accelerates it. 

Similarly, he recommends the new generation of blues people to “return to the root.” That is, to disregard stereotypes about their Black art and study those – like Zora Neal Hurston – who preserved long-standing traditions. By reclaiming their legacy, he said that culture workers can affect consciousness on a mass level.

I know no artist really wants to be a role model or to be representing an entire people but the reality is that Black culture is such a fragile, delicate and important thing that we have to be more mindful of how we share it and how we interact with it. 

Buffalo Nichols is currently touring through states like West Virginia, North Carolina, Illinois, and Minnesota.