The Playboy magazine has always reminded its readership of the Playboy-Bond connection by commenting on its longevity and significance, especially in relation to times past. Among other things that James Bond and Playboy have in common is the fact that they are both strongly associated with the sixties. They were launched at about the same time in 1953, and are still around. This book is primarily organised around the story of the relationship between them, played out in popular culture as part of wider cultural relations. Though the chapters outline the emergence of the Playboy-Bond relationship, they also draw on relevant historical and theoretical concerns. The research presented focuses on the public version of the Playboy-Bond relationship as mediated by Bond and Playboy magazine and evident within the shifting realms of culture and the media. It also discusses how the close relationship between Ian Fleming and Playboy was publicised in print with some form of commentary. How Fleming and the Bond novels endorsed Playboy, and how Playboy endorsed Ian Fleming and Bond novels, against the backdrop of American popular culture, is discussed. After discussing Connery's Bond, the book presents some illustrative examples of this connection, especially in terms of consumer preferences, style and taste. It draws together arguments on male fantasy of 'strategic and selective "liberation" of women in order to discuss the women in Bond and Playboy. Finally, the book considers how the two remain interconnected, and as long-standing cultural icons representing the playboy lifestyle fantasy.
Twenty-first-century Scottish play-acting draws depth and energy from a European and Western tradition of dreaming Scottish dreams, and this tradition dates back to at least the late eighteenth century, to the beginnings of European Romanticism. This book explores how contemporary celebrations of Scotland build upon earlier Scottish fantasies. The Scottish dreamscape is one of several pre-modern counter-worlds which have been approached through imitation in the past. The book examines the 'Scotland' that is on the play-actors' minds. The Scottish dreamscape was formed in an eighteenth- and nineteenth-century process now best known as Highlandism. It was then that Scotland became associated with the aesthetics and supposed characteristics of its Highland periphery. The book also explores the Scottish dreamscape's spread via the channels of the British Empire and American popular culture. It identifies five key carriers which helped to disseminate the Scottish aesthetic across the world, namely epic poetry, the Highland regiments, music hall entertainment, Hollywood films, and romance novels. The book further focuses on fieldwork conducted in 2009 and 2010. It sheds some light on the different forms of Scottish play-acting, on musicians, athletes, commemorators, and historical re-enactors. The pipers and athletes do not imitate the past; they perform in what they hope are old but living Scottish traditions. Commemorators and historical re-enactors have a different aim. They seek to recreate the past in the present. Finally, the book identifies some of the main reasons for the Scottish dreamscape's special resonance in northern and western Europe.
hypotheses lead the way:
1) The Scottish dreamscape is familiar. It does not need to be reinvented or
dug out of dusty archives. It may be sampled from a variety, some would say
an exuberance, of novels, films, plays, poems, paintings, photographs etc.32
Invented or not, the Scotsman with his kilt, bagpipe, and tartan is an internationally familiar figure (on Scotswomen, see below).33 This is no coincidence:
the Scottish dreamscape was spread by two of the most powerful forces of the
past two centuries; the British Empire and Americanpopularculture. From the
, is the fact that the
‘transglobal Islamic underground’ has been ignored in America despite ‘its clear
affinities with the Islamic rhetoric of much African-American hip hop culture’
Fun’da’mental appear to have, in any case, quite an ambivalent attitude to
Americanpopularculture and American rap. The opening track on their 2006
album All is War, ‘I Reject’, provides a litany of rejection of American and British cultural practices, beliefs and cultural objects. ‘I reject your beauty and Barbie
doll figure / Reject the rappers that use the word ...’ (‘I Reject
Playboy endorsed Fleming and Bond novels, against the
backdrop of James Bond’s introduction into Americanpopularculture.
The literary Bond
Significantly, these acts of endorsement predated the first cycle of Bond
films in the 1960s, but soon developed to include Sean Connery’s
screen incarnation when the film series became popular with cinema
There are essentially two ways of approaching the beginning of the formal
relationship between Playboy and James Bond. First, when approached by
way of Hefner and Playboy, the start of
This chapter explores the enduring myths about the phenomenon of serial murder generally and serial killers in particular, in Britain between 1960 to the present. The Chapter argues that many of these myths have been created and continue to be perpetuated by the print and broadcast media. It is suggested that this process was ignited by American popular culture about serial murder, to the extent that many British students engaged on university courses do so because they want to emulate the heroine of the popular novel The Silence of the Lambs and become the fictional character, Clarice Starling. This observation is used to explore other myths about offender profiling, the role of the profiler in police investigations and the idea that this involves entering the mind of the serial killer by the profiler. Based on his own applied work with serial murderers and on police investigations and after their conviction, the chapter reveals the realities of the phenomenon of serial murder, serial killers and the limits of offender profiling. The chapter uses a number of situations encountered during police investigations and with serial killers to illustrate its arguments. It concludes that we need to harness, rather than dismiss, student interests in this territory in more productive ways. It adopts a structural/victim perspective about serial murder, as opposed to a relentless focus on what might motivate the serial killer to kill. The chapter suggests how this might be done both within the academy and, more broadly in public policy.
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity. This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.
the Soviet invasion of Hungary. (His own mother was a concentration camp survivor,
and his father an anarchist and cartoonist who had lived in the Budapest ghetto
and escaped from the Gulag.) But Mathieu Kassovitz has also been heavily
influenced by the impact of African-Americanpopularculture in France, and
particularly rap music. He has affirmed that it was rap, when it was still an
underground cult in France, which brought him into contact with people from a
At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.
English radicalism has been a deep-rooted but minority tradition in the political culture since at least the seventeenth century. The central aim of this book is to examine, in historical and political context, a range of key events and individuals that exemplify English radicalism in the twentieth century. This analysis is preceded by defining precisely what has constituted this tradition; and by the main outline of the development of the tradition from the Civil War to the end of the nineteenth century. Three of the main currents of English radicalism in the twentieth century have been the labour movement, the women’s movement and the peace movement. These are discussed in some detail, as a framework for the detailed consideration of ten key representative figures of the tradition in the twentieth century: Bertrand Russell, Sylvia Pankhurst, Ellen Wilkinson, George Orwell, E.P. Thompson, Michael Foot, Joan Maynard, Stuart Hall, Tony Benn and Nicolas Walter. The question of ‘agency’ – of how to bring about radical change in a predominantly conservative society and culture – has been a fundamental issue for English radicals. It is argued that, in the twentieth century, many of the important achievements in progressive politics have taken place in and through extra-parliamentary movements, as well as through formal political parties and organisations – the Labour Party and other socialist organisations – and on occasion, through libertarian and anarchist politics. The final chapter considers the continuing relevance of this political tradition in the early twenty-first century, and reviews its challenges and prospects.