The rise and fall of the British comedy magazine

WorkingUSAVolume 1, Issue 3 p. 51-61 The Judas Economy William Wolman, William Wolman William Wolman: is chief economist for Business Week, where he was editor from 1984 to 1989. Anne Colamoscais a former Business Week staff writer and writes for many other national magazines. This is adapted from their new book, The Judas Economy, published by Addison-Wesley Publishing Company, Inc.Search for more papers by this authorAnne Colamosca, Anne Colamosca William Wolman: is chief economist for Business Week, where he was editor from 1984 to 1989. Anne Colamoscais a former Business Week staff writer and writes for many other national magazines. This is adapted from their new book, The Judas Economy, published by Addison-Wesley Publishing Company, Inc.Search for more papers by this author William Wolman, William Wolman William Wolman: is chief economist for Business Week, where he was editor from 1984 to 1989. Anne Colamoscais a former Business Week staff writer and writes for many other national magazines. This is adapted from their new book, The Judas Economy, published by Addison-Wesley Publishing Company, Inc.Search for more papers by this authorAnne Colamosca, Anne Colamosca William Wolman: is chief economist for Business Week, where he was editor from 1984 to 1989. Anne Colamoscais a former Business Week staff writer and writes for many other national magazines. This is adapted from their new book, The Judas Economy, published by Addison-Wesley Publishing Company, Inc.Search for more papers by this author First published: 09 October 2012 https://doi.org/10.1111/j.1743-4580.1997.tb00037.xCitations: 16 AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume1, Issue3September‐October 1997Pages 51-61 RelatedInformation

This article investigates kwaito music’s role in revitalising South African youth. Kwaito is more than a music genre; it is a cultural movement reflecting the experiences, aspirations, and challenges of youth in ekasi (South African townships). With the genre’s decline in popularity after 30 years of prosperity, it is crucial to explore, analyse, and document its positive and negative histories, particularly its legacy. The enlisted exploratory methodology involved content analysis of scholarly articles, books, and online data, including YouTube interviews and documentaries about kwaito. Data collection also included interviews with key South African music industry figures such as former record executives and musicians. While scholars examine kwaito from various disciplinary perspectives, key figures in the kwaito community feel their contributions are still under-represented. This highlights a gap between academic and journalistic accounts and the personal experiences of those deeply involved in the kwaito culture. This article concludes that kwaito significantly influences black youth by promoting self-expression, community cohesion, entrepreneurial enterprise, and introducing new role models. It emphasises kwaito‘s impact on South African culture and music, contributing substantially to the discourse of African musicology. Keywords: Kwaito, Kasi, South Africa, Cultural Phenomenon, Methodology, Music Scholarship, Socio-Political Context.

Reviewed by: The Open-Ended City: David Dillon on Texas Architecture ed. by Kathryn E. Holliday Joel Barna The Open-Ended City: David Dillon on Texas Architecture. Edited by Kathryn E. Holliday. (Austin: University of Texas Press, 2019. Pp. 448. Illustrations, notes, index.) David Dillon, with a Ph.D. in literature from Harvard, came to Dallas to teach at Southern Methodist University in 1969. In 1980, he wrote an essay for D Magazine, provocatively titled “Why is Dallas architecture so bad?” In 1981, he became the full-time architecture critic for the Dallas Morning News, a position he held until 2006. During that twenty-five-year stretch, he wrote more than one thousand articles for the newspaper, while also contributing to national and regional architecture magazines and other publications. In the mid-1990s, he moved back to Massachusetts, where he taught at the University of Massachusetts-Amherst and continued his prolific writing output. He died in 2010. The quality and the volume of his writings, which have touched on and helped shape many significant changes in Dallas and the North Texas region, made Dillon respected in his field and beloved in the city that was his sometime-home. In 2011, donors came together to fund creation of the David Dillon Center for Texas Architecture in the University of Texas at Arlington’s College of Architecture, Planning, and Public Affairs. University buildings and programs are almost never named for anyone but a big donor any more. In that context, the existence of the Dillon Center is testimony to the impact of his career. The Open-Ended City was edited by Kathryn E. Holliday, an associate professor of architecture at the University of Texas at Arlington and the founding director of the Dillon Center. In her introduction, Holliday says that she chose the sixty-odd pieces that make up the book with the goal of showing Dillon’s role as an interpreter of architecture outside the confines of the profession, and as a key figure in creating a new tradition of architectural criticism in Texas. Holliday’s argument is bolstered by an afterword, “The Tradition of Architecture Criticism in Texas,” by architectural historian Stephen Fox of Houston, who writes: “Dillon demystified architectural criticism in Dallas. He demonstrated that the goal of criticism was not stylistic commentary but a clarification of the processes through which decisions are made about how the public landscape is shaped” (406–407). Though mostly centered on contemporary projects in Dallas and Fort Worth, Dillon’s essays tackled issues that affect virtually all American cities. The early1980s was a wild time in land development in Dallas and throughout Texas. New buildings were going up fast, driven by one of the state’s periodic oil booms and, most of all, by a bubble in financing from newly deregulated banks and savings and loan institutions. Much of the building was nondescript, and as the boom continued, block after block [End Page 491] of old buildings were razed, leaving scattered new towers amidst acres of surface parking lots. Some downtown streets held no more urban vitality than freeway ramps. Throughout Texas, cities became, in Dillon’s words, the hole in the doughnut. The architectural press played a role as gatekeepers—independent assessors of taste who could translate the cloistered traditions and aesthetics of architecture for the public and also stoke the market. But over time, architectural criticism decreased until it had largely retreated to specialized academic and professional journals. However, things have changed in Texas downtowns, largely for the better. People have moved into them by the thousands; entertainment districts bring people from the suburbs to what in the 1980s had been a frightening wasteland. As the essays in The Open-Ended City show, David Dillon played an important role in making that transition happen. From the first essay to the last, he condemned simplistic “big-picture thinking” (the reason he thought Dallas architecture was so bad in 1980) and argued for design that would bring actual human connection back to city streets. Holliday writes that Dillon “maintained a persistent belief in the ability of an engaged citizenry to demand higher quality and greater accountability for urban context,” and that he championed...

With business seemingly everywhere on television, from the risks of the retail and restaurant trade to pitching for investment or competing to become the next 'apprentice', The Television Entrepreneurs draws upon popular business-oriented shows such as The Apprentice and Dragons' Den to explore the relationship between television and business. Based on extensive interviews with key industry and business figures and drawing on new empirical research into audience perceptions of business, this book examines our changing relationship with entrepreneurship and the role played by television in shaping our understanding of the world of business. The book identifies the key structural shifts in both the television industry and the wider economy that account for these changing representations, whilst examining the extent to which television's developing interest in business and entrepreneurial issues is simply a response to wider social and economic change in society. Does a more commercial and competitive television marketplace, for instance, mean that the medium itself, through a particular focus on drama, entertainment and performance, now plays a key role in re-defining how society frames its engagements with business, finance, entrepreneurship, risk and wealth creation? Mapping the narratives of entrepreneurship constructed by television and analysing the context that produces them, The Television Entrepreneurs investigates how the television audience engages with such programmes and the possible impact these may have on public understanding of the nature of business.

Quotations from the UK national press and magazines from 1974 to 2014 are used to show one possible reason why the general public is often confused about the global warming concept. Is this because usually it is only the contradictory and therefore newsworthy reports that are printed?

Reviewed by: Empire Baptized: How the Church Embraced What Jesus Rejected (Second–Fifth Centuries) by Wes Howard-Brook Susan (Elli) Elliott wes howard-brook, Empire Baptized: How the Church Embraced What Jesus Rejected (Second–Fifth Centuries) (Maryknoll, NY: Orbis, 2016). Pp. xxv + 342. Paper $35. In this volume, Wes Howard-Brook describes the early centuries of Christian history using the contrast of a "religion of empire" and a "religion of creation" described in his previous work, "Come Out, My People!": God's Call out of Empire in the Bible and Beyond (Maryknoll, NY: Orbis, 2010). Some readers may find his dualistic construction oversimplified and may question his positive valuation of apocalyptic views. Yet H.-B. uses his dichotomy to raise an important set of questions for understanding the development of Christianity in its formative centuries, and his contextualized reading is far from simplistic. After an introduction that reviews the schema of his previous work, H.-B. provides, in the first chapter, an overview of some religious aspects of the Roman imperial context, [End Page 135] followed by a second chapter that explains his choice of Alexandria and Carthage for the place-based exposition that will follow and offers a contextual overview of each location. In the third chapter, H.-B. provides a cogent discussion of how choices of approach to the interpretation of Scriptures laid the foundations for imperial Christianity. Subsequent chapters unfold the development of Christianity as a "religion of empire" chronologically at each of the two focal locations. H.-B. notes the complex role that responses to persecution played in these developments. Howard-Brook's place-based approach allows him not only to examine the trajectory of ideas but also to reveal how key figures' thought was integrally related to social, political, and economic factors and events in their specific locations. His account reveals how these influential church "fathers" articulated ideas about Scripture and theology in ways that served their elite interests both in internal ecclesial power struggles and in larger political and societal affairs. The picture that emerges is not the "imperialization of Christianity" in the abstract but the concrete story of how elite male classes gained control of church structures and framed "orthodox" Christian identity according to their privileged assumptions both as church leaders and as theologians. Even as H.-B. traces the trajectory of orthodoxy as it moves toward the Christian empire, he is careful not to reinforce the notion of the "church fathers" defending an orthodoxy traceable to Jesus and his disciples against multiple threats of heresy. Instead, at many turns, he points to contradictions between teachings of Jesus and those of later thinkers who became identified as orthodox. Overall he views these later thinkers' perspectives as betraying the teachings of Jesus. He frequently identifies this betrayal as a turn to an individualist religion with an emphasis on the ascendance of the individual soul to heaven, an emphasis that proved to be consistent with an imperial church. As one example, he shows how Clement's allegorical interpretation of Scripture denied the plain meaning of Jesus's teachings on the redistribution of wealth in favor of a Stoic view of wealth as a tool for the development of the (wealthy person's) soul, a view well adapted to the ideological needs of imperial elites. This question of economics is one of the issues H.-B. brings to his examination of each of the "church fathers" he discusses. He questions the views of each thinker about such topics as economics and wealth; views of the "others" (women, pagans, Jews, "heretics"); sexuality and the body; violence and war; and earth and creation. These questions are rooted in his commitment to the "religion of creation" as he defines it. His use of this yardstick reveals not only the trajectory of the development of Christianity as a "religion of empire" but also some glimpses of alternatives. In these discussions, he integrates views of women, the body, and sexuality with other political and theological perspectives. While his dichotomy proposes two alternatives, his exposition reveals variants among a few of the Christian groups whose views are mostly lost in the historical record. Readers will not find a full treatment of these...

The authors of the conceptual article took up the topic of the sectoral model of chambers of commerce (of trade, of industry and commerce, etc.). This proposal complements the taxonomy of chambers present in the literature, based on three main models: continental, Anglo-Saxon and mixed. A comparative worldwide analysis of chambers of commerce indicates their significant diversity, but also the significant impact of historical and social conditions on their organization, position and effectiveness. Therefore, their system should be designed adequately to the needs of a given country, rather than directly transferring foreign or historical solutions into the domestic context. Present Polish chambers of commerce function as voluntary organizations associating entrepreneurs at various levels: sectoral, national, regional, local and bilateral (as Polish-foreign chambers). However, this solution does not provide effective communication between entrepreneurs and public authorities. Polish studies propose the creation of chambers of commerce in the continental model, which is based on the 19th-century regional structure. The authors argue that this concept is outdated in the era of global economic interconnections. The concentration of knowledge and competences needed today can be more effectively provided by the sectoral model. Sectoral chambers of commerce enable expert specialization appropriate to the needs of entrepreneurs and public authorities. They are also an effective platform for the decentralization of public administration. This model is an original concept of the authors in the discussion about possible evolution of chambers of commerce in the Polish context. Its implementation requires, i.a., proper definition of chambers’ tasks and the inclusion of entrepreneurs in the process of their creation. The discussion in the national press and industry magazines shows that these inquiries are valuable not only for science, but also for entrepreneurs and people responsible for the legislative process. Therefore, the aim of the conducted research was to justify the implementation of the sectoral model in the context of the current Polish practice and the increasing role of expert knowledge.

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsMaggie TonkinMaggie Tonkin is a Lecturer in English at The University of Adelaide. She has written substantially on Angela Carter, is the author of Angela Carter and Decadence (Palgrave Macmillan, 2012), and is co-editor of a collection of essays on Victorian literature, Changing the Victorian Subject (Adelaide University Press, 2014). She has a background in dance, writes regularly for the national industry magazine Dance Australia, and is in the process of co-authoring a history of the Australian Dance Theatre with Garry Stewart, the company's Artistic Director. Email: Maggie.tonkin@adelaide.edu.au

This chapter considers the role of women in British silent film comedy from 1895 to the end of the 1920s and their legacy into the early sound period. It argues that women comedians became increasingly marginalized as cinema developed into an industry, with the codes, form and style of the “mature silent cinema” restricting women into a narrow range of stereotypes that negated female agency and prioritized looks and glamour over personality or character. The dominance of a few male directors in British cinema, particularly Asquith and Hitchcock, narrowed opportunities for comedic women with their preponderance for objectifying women. It commences with a resume of women performing slapstick and physical comedy, using the Edwardian Tilly Girl comedies as case studies, arguing that women enjoyed relative comic freedom until the Great War, despite the plethora of stereotypes—coy young ladies, “old maids,” suffragettes, domineering wives etc—that characterized their representation in early cinema. Florence Turner is presented as a key figure in the pivotal period immediately following World War I, before falling victim to one of British cinema’s periodic recessions. Betty Balfour’s ingenue “Squibs” is emblematic of the early 1920s, but even her star wanes as she outgrows her youthful persona, becoming the butt of jokes around ageing in A Little Bit of Fluff (1928).

Hattie Jacques was a key figure in British postwar popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British postwar politics, culture and identity are explored here in relation to Jacques's complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques's star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the Matron.

Jules Bledsoe, one of the great African American singers, composers, actors, and activists in twentieth-century US culture, is often missing from historical reports of his time. Yet he originated the role of Joe in Show Boat, performed in the first European tour of the operatic version of The Emperor Jones, and composed and arranged important operas, spirituals, and an “Ode to America,” dedicated to President Roosevelt. In spite of these accomplishments, Jules Bledsoe has not been given the attention he deserves as an artist of talent, determination, and indomitable spirit. This article seeks to write Bledsoe back into the historical record more broadly and into O'Neill studies in particular. In so doing, I show that the role of Brutus Jones haunted Bledsoe throughout his career, from his rise to stardom abroad as an opera singer to his untimely death at the age of forty-three. In excavating the Emperor's remains, it becomes clear that Bledsoe was a key figure in the rise of modern American theater, opera, and in the struggle for racial equality.

Jules Bledsoe, one of the great African American singers, composers, actors, and activists in twentieth-century US culture, is often missing from historical reports of his time. Yet he originated the role of Joe in Show Boat, performed in the first European tour of the operatic version of The Emperor Jones, and composed and arranged important operas, spirituals, and an “Ode to America,” dedicated to President Roosevelt. In spite of these accomplishments, Jules Bledsoe has not been given the attention he deserves as an artist of talent, determination, and indomitable spirit. This article seeks to write Bledsoe back into the historical record more broadly and into O'Neill studies in particular. In so doing, I show that the role of Brutus Jones haunted Bledsoe throughout his career, from his rise to stardom abroad as an opera singer to his untimely death at the age of forty-three. In excavating the Emperor's remains, it becomes clear that Bledsoe was a key figure in the rise of modern American theater, opera, and in the struggle for racial equality.

The controversy over the lands in the Wyoming Valley of Pennsylvania has been the stuff of legend (in stories of the Battle of Wyoming) and the historical record. Scholars in recent years have presented the history of the region as a contest between empires, between monied classes and common people seeking to eke out a living in a border region, and between individuals unsure of the political implications of democratic institutions. Left out of the narratives of the 1780s Wyoming controversy is a key figure who assisted in resolving the dispute: Benjamin Franklin. Biographers of Franklin have omitted discussion of his important intervention in the Wyoming events. Yet Franklin had a significant role to play as the controversy reached its resolution in the formation of the county of Luzerne.

In The Best and the Brightest, David Halberstam describes Rufus Phillips coming before President Kennedy during the Vietnam War and admitting the failures of his own program, in itself a remarkable moment in the American bureaucracy, a moment of intellectual honesty. With that same honesty, Phillips gives an extraordinary inside history of the most critical years of American involvement in Vietnam, from 1954 to 1968, and explains why it still matters. Describing what went right and then wrong, he argues that the United States missed an opportunity to help the South Vietnamese develop a political cause as compelling as that of the Communists by following a big war strategy based on World War II perceptions. This led the Americans to mistaken assumptions that they could win the war themselves and give the country back to the Vietnamese. Documenting the story from his own private files as well as from the historical record, the former CIA officer paints thumbnail sketches of such key figures as John F. Kennedy, Maxwell Taylor, Robert McNamara, Hubert Humphrey, and Ngo Dinh Diem, among others with whom he interacted. Phillips details how the legendary Edward G. Lansdale helped the South Vietnamese gain and consolidate their independence between 1954 and 1956, and how this later changed to a reliance on American conventional warfare with its highly destructive firepower. He reasons that the Americans failure to understand the Communists, their South Vietnamese allies, or even themselves took them down the wrong roads. In summing up U.S. errors in Vietnam, Phillips draws parallels with the American experience in Iraq and Afghanistan and suggests changes in the U.S. approach that the American public can support. Known for his intellectual integrity and firsthand, long-term knowledge of what went on in Vietnam, the author offers lessons for today in this long awaited account that must not be overlooked..

Assesses Moroccan cinema through a transnational lens to reframe its postcolonial legacy Based on interviews with key industry figures and filmmakers Case studies include the controversial Much Loved , and an analysis of its reception within and outwith Morocco Argues that Moroccan cinema has de-orbited from Francophone cinema and Morocco's postcolonial legacy to become a transnational cinema Watch the editors discuss the book in a webinar hosted by SOAS This is the first book length study to consider the transnational dimension of Moroccan cinema. Over the past two decades, cinematic production has increased dramatically in Morocco, with Moroccan films leading at the domestic box office and being selected for prestigious international festivals such as Cannes and Berlin. And yet, Moroccan cinema remains little known outside of its national borders. This book asks why this might be and, in so doing, analyses the actual state of Moroccan national cinema beyond a post-colonial optic. Featuring interviews with filmmakers and key industry figures, such as Hicham Laari, Nadir Boumouch and Tala Hadid, the book explores Moroccan cinema’s transnational reach through a focus on the cultural politics of international co-production, the role of international festivals as alternative distribution networks, piracy and digital disruption, film education and activism. "