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This chapter is an examination of what is meant by the term ‘Good Farmer’ and whether or not this is compatible with being a good businessperson. The term ‘Feckless Farmer’ is introduced to describe someone who is the opposite of a Good Farmer. And all of this is considered with reference to the farmers of the village of Ambridge in the West Midlands, with special emphasis on the practices of Brian Aldridge and his recent issues with contamination of his land and neighbouring watercourses. This work starts by defining key terms before moving on to consider the similarities and differences between farms and other types of businesses. The different philosophical paradigms that can underlie different definitions and practices of a Good Farmer are also explored. The ways that the economies of farms differ from most businesses will also be discussed. With some conclusions being drawn as to whether Mr Aldridge is a Good Farmer or a Feckless one, and if he deserved to be lauded as an award-winning businessperson.

To provide an overview of the Japanese publishing industry and to compare it with the publishing industry in the United Kingdom to see whether similarities and differences are industry- or culture-specific.

The paper provides detailed descriptions of the activities of the three main players in the Japanese publishing industry (publishers/editors; distributors; and booksellers). This tripartite structure of the industry encourages divide-and-rule mechanisms also found in the Japanese advertising industry. At the same time, a comparison with the UK publishing industry reveals certain structural differences between it and the Japanese publishing industry.

Three developments that have affected trade relations in the UK publishing industry (retail chains, literary agents, and mergers and acquisitions) do not have such great impact in Japan. In Japan, wholesale distributors are extremely powerful – something not noted, but possibly overlooked, by Thompson for the UK publishing industry. Comparative material between Japan and the United Kingdom, as well as across industries within Japan, suggest certain cultural influences prevail in the organization of Japanese publishing.

The Japanese publishing industry appears to operate under certain cultural constraints that inhibit cross-cultural comparison, while enabling cross-industry comparison within Japan. Why this is so needs further research. Can the parallels between advertising and publishing industries be extended to other forms of cultural production in Japan? In particular, the way in which money is circulated within an industry has an influential effect upon its structure.

A useful source of information for practitioners and academics interested in the functioning of a non-Western publishing industry. The paper also provides food for thought for those interested in trying to better the organization of publishing in Japan and/or the United Kingdom.

A hitherto undocumented comparative study in English of the Japanese publishing industry.

Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.

Purpose – To explore how young men negotiate the matriarchal domain of fashion consumption and self-presentation, observing techniques adopted by these men to navigate this feminized space and construct their identity project.

Methodology/approach – Engaging Foucauldian theory, a constructionist approach is followed to analyze qualitative interview data with the understanding that a consumer's narrated experience is embedded in a social web of possible interpretation. Rather than seeking to discover a respondents “essential self” within interview data, this research takes a narrative analysis approach, considering individuals storytelling within the context of circulating discourses and power relations.

Findings – As young, fashion-forward men navigate new configurations of power relationships and adopt new modes of performing masculinity, they come to legitimate themselves by forging new categories of existence. They engage various techniques to include the arts and the art of irony in an effort to constitute their masculine subjectivity within discourses of fashionable self-presentation practices.

Social implications – By exploring the social context wherein consumer choices are made, we see consumer identity projects are in fact constricted and influenced by a myriad of sociocultural forces.

Originality/value of paper – Within consumer culture theory, there is much focus on the agency of consumers and their identity projects. However, there is a dearth of work that considers the social and cultural context wherein these identity constructions take place. This study makes a contribution toward addressing this gap.

The Internet and social media have fundamentally transformed the ways in which individuals find jobs. Relatively little is known about how demand-side market actors use online information and the implications for social stratification and mobility. This study provides an in-depth exploration of the online recruitment strategies pursued by human resource (HR) professionals. Qualitative interviews with 61 HR recruiters in two southern US metro areas reveal two distinct patterns in how they use Internet resources to fill jobs. For low and general skill work, they post advertisements to online job boards (e.g., Monster and CareerBuilder) with massive audiences of job seekers. By contrast, for high-skill or supervisory positions, they use LinkedIn to target passive candidates – employed individuals who are not looking for work but might be willing to change jobs. Although there are some intermediate practices, the overall picture is one of an increasingly bifurcated “winner-take-all” labor market in which recruiters focus their efforts on poaching specialized superstar talent (“purple squirrels”) from the ranks of the currently employed, while active job seekers are relegated to the hyper-competitive and impersonal “black hole” of the online job boards.

In this concluding chapter, we draw together the various contributions presented in this volume, discuss the broader implications of our findings, and reflect on how this builds upon Willy Brown's work. The chapter examines how the patchwork of rules has been altered by new and emerging challenges, such as the COVID-19 pandemic, the rise of global supply chains and new forms of business. We return to the central objective of this volume of identifying and analysing the viability of various institutions for addressing these challenges and discuss how these might form the basis of a new web of rules for protecting labour standards in the future.