"I Forbid You To Like It:" The Smiths, David Cameron, and the Politics of (Mis)appropriating Popular Culture

The Smiths were a critically acclaimed 1980s “indie” band that achieved cult-status within the five years they were musically active. Several studies on fandom have focused on The Smiths, particularly its frontman Morrissey, whose “apostles” are among the most committed on the popular music circuit. Yet British Prime Minister David Cameron’s repeated claims to Smiths fandom have been rebuked by fans, and the band themselves, as being incompatible with his right-wing political program; former Smiths guitarist and songwriter Johnny Marr tweeted: “David Cameron, stop saying you like The Smiths, no you don’t. I forbid you to like it.”

This article proceeds from the possibility that David Cameron was not being cynical in professing his admiration for The Smiths and considers music’s role in the embodiment of a social identity. Drawing on recent examples in the UK and the US, the article explores politicians’ problematic relationship with popular culture, alongside the notion that when an artist’s music is appropriated, they themselves are appropriated.

Chapter Six – The Increase of Exotic Zoonotic Helminth Infections: The Impact of Urbanization, Climate Change and Globalization

Zoonotic parasitic diseases are increasingly impacting human populations due to the effects of globalization, urbanization and climate change. Here we review the recent literature on the most important helminth zoonoses, including reports of incidence and prevalence. We discuss those helminth diseases which are increasing in endemic areas and consider their geographical spread into new regions within the framework of globalization, urbanization and climate change to determine the effect these variables are having on disease incidence, transmission and the associated challenges presented for public health initiatives, including control and elimination.

Fashioning a city of culture: ‘life and place changing’ or ’12 month party’?

The current trend in public policy is to valorise culture as a tool for social, economic and political transformation. This paper offers a direct contribution to debates that seek to unpack and problematise cities of culture. We adopt a more circumspect approach towards some aspects of the anticipated transformative powers of culture, and in particular the tendency to fetishize the economics of culture. Our empiricism is grounded in a detailed study of Derry~Londonderry as the inaugural UK City of Culture in 2013. We question whether City of Culture was ‘life and place changing’ or a ’12 month party’, and reveal different interpretations of success. In our view there is more potential in viewing culture as a peace resource for overcoming divisions in a socially and culturally segregated city, rather than its ability to tackle entrenched economic problems. Moving beyond the specifics of the case study we also provide lessons for future cities of culture and more generalizable insights for the academic and policy literatures.

Advertising Colonial Romance and Imperial Masculinity: The Promotion of Philip Meadows Taylor's Novels in Britain

The comments of Charles Kegan Paul, the Victorian publisher who was involved in publishing the novels of the nineteenth-century British-Indian author Philip Meadows Taylor as single volume reprints in the 1880s, are illuminating. They are indicative of the publisher's position with regard to publishing - that there was often no correlation between commercial success and the artistic merit of a work. According to Kegan Paul, a substandard or mediocre text would be commercially successful as long it met a perceived want on the part of the public. In effect, the ruminations of the publisher suggests that a firm desirous of acquiring commercial success for a work should be an astute judge of the pre-existing wants of consumers within the market. Yet Theodor Adorno, writing in the mid-twentieth century, offers an entirely distinctive perspective to Kegan Paul's observations, arguing that there is nothing foreordained about consumer demand for certain cultural tropes or productions. They in fact are driven by an industry that preempts and conditions the possible reactions of the consumer. Both Kegan Paul's and Adorno's insights are illuminating when it comes to addressing the key issues explored in this essay. Kegan Paul's comments allude to the ways in which the publisher's promotion of Philip Meadows Taylor's fictional depictions of India and its peoples were to a large extent driven in the mid- to late-nineteenth century by their expectations of what metropolitan readers desired at any given time, whereas Adorno's insights reveal the ways in which British-Indian narratives and the public identity of their authors were not assured in advance, but were, to a large extent, engineered by the publishing industry and the literary marketplace.