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The current article focuses on the experiences of live music event attendees with visual impairment (VI). It outlines the factors which impact on the accessibility of events and considers how accessibility might be improved for these individuals.

The article reports on findings from a mixed-methods project utilising a structured interview study (N = 20) and an online survey (N = 94). Interview data were analysed using Interpretative Phenomenological Analysis, providing in-depth insight into participants’ experiences before and during events. Quantitative survey data were analysed descriptively and statistically, and Thematic Analysis of open-ended responses was carried out.

Attendance at live events varied amongst participants, and so too did the factors impacting on their attendance. Challenges were identified in relation to several key areas: accessing information and tickets, experiences with staff, navigation and orientation, and the use and availability of disabled facilities and specialist services.

This article is the first to offer in-depth exploration of music event accessibility for individuals with VI. It builds on existing research which has considered the experiences of deaf and disabled attendees but has not yet offered adequate representation of individuals with VI. The article offers practical recommendations for venues and organisers seeking to ensure accessible events for all and contributes to the wider discourse surrounding inclusivity at music, arts and cultural events.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.

Shortly before the Second World War, a woman who had never accepted her orphan status, Gabrielle Bonheur Chanel, nicknamed ‘Little Coco’ by her father and known as ‘Coco’ to her relatives, became the first women in history to build a world-class industrial empire. By 1935, Coco, a fashion designer and industry captain, was employing more than 4,000 workers and had sold more than 28,000 dresses, tailored jackets and women's suits. Born into a poor family and raised in an orphanage, she enjoyed an intense social life in Paris in the 1920s, rubbing shoulders with artists, creators and the rising stars of her time.

Thanks to her entrepreneurial skills, she was able to innovate in her methods and in her trendsetting approach to fashion design and promotion. Coco Chanel was committed and creative, had the soul of an entrepreneur and went on to become a world leader in a brand new sector combining fashion, accessories and perfumes that she would help shape. By the end of her life, she had redefined French elegance and revolutionized the way people dressed.

The word witch conjures up a black-cloaked figure with a pointed hat flying on a broomstick, often with green skin and a hooked nose: the epitome of feminine evil. Although this version of witches was popularised in The Wizard of Oz (1939) and commercialised in mid-twentieth-century North American Halloween costumes, conjecture is that it originated from the slightly greenish hue of applying botanical remedies, or the appearance of witches who had endured bruising and painful torture. During the height of the European witch hunts (about 1450–1750, with the greatest intensity 1550–1650), an estimated 40,000–60,000 witches were executed (Levack, 1987). Although some men factored into this death toll, estimates are that 75–80% of witches executed were women (Gibbons, 1998). Fear and persecution of witches exists globally, dating to Ancient Rome, but the more systematic purges were the result of complex forces, including rapid social and economic changes of the Early Modern era, the Reformation, the Little Ice Age and the Plague (Federici, 2014; Golden, 2006). Those perceived as witches, often impoverished, older, single women, were easy scapegoats for society's ills.

In recent decades, the depth and accuracy of archival research into witch hysteria have improved. Drawing on this research, this chapter examines the place of witch persecutions in the contemporary context. Although people often recognise the injustice of these persecutions, few countries have granted legal pardons or erected memorials to their victims. Why is the acknowledgement of these injustices so slow coming? What fears about witches do we still harbour?

WE begin a new year, in which we wish good things for all who work in libraries and care for them, in circumstances which are not unpropitious. At times raven voices prophesy the doom of a profession glued to things so transitory as books are now imagined to be, by some. Indeed, so much is this a dominant fear that some librarians, to judge by their utterances, rest their hopes upon other recorded forms of knowledge‐transmission; forms which are not necessarily inimical to books but which they think in the increasing hurry of contemporary life may supersede them. These fears have not been harmful in any radical way so far, because they may have increased the librarian's interest in the ways of bringing books to people and people to books by any means which successful business firms use (for example) to advertise what they have to sell. The modern librarian becomes more and more the man of business; some feel he becomes less and less the scholar; but we suggest that this is theory with small basis in fact. Scholars are not necessarily, indeed they can rarely be, bookish recluses; nor need business men be uncultured. For men of plain commonsense there need be few ways of life that are so confined that they exclude their followers from other ways and other men's ideas and activities. And, as for the transitoriness of books and the decline of reading, we ourselves decline to acknowledge or believe in either process. Books do disappear, as individuals. It is well that they do for the primary purpose of any book is to serve this generation in which it is published; and, if there survive books that we, the posterity of our fathers, would not willingly let die, it is because the life they had when they were contemporary books is still in them. Nothing else can preserve a book as a readable influence. If this were not so every library would grow beyond the capacity of the individual or even towns to support; there would, in the world of readers, be no room for new writers and their books, and the tragedy that suggests is fantastically unimaginable. A careful study, recently made of scores of library reports for 1951–52, which it is part of our editorial duty to make, has produced the following deductions. Nearly every public library, and indeed other library, reports quite substantial increases in the use made of it; relatively few have yet installed the collections of records as alternatives to books of which so much is written; further still, where “readers” and other aids to the reading of records, films, etc., have been installed, the use of them is most modest; few librarians have a book‐fund that is adequate to present demands; fewer have staffs adequate to the demands made upon them for guidance by the advanced type of readers or for doing thoroughly the most ordinary form of book‐explanation. It is, in one sense a little depressing, but there is the challenging fact that these islands contain a greater reading population than they ever had. One has to reflect that of our fifty millions every one, including infants who have not cut their teeth, the inhabitants of asylums, the illiterate—and, alas, there are still thousands of these—and the drifters and those whose vain boast is that “they never have time to read a book”—every one of them reads six volumes a year. A further reflection is that public libraries may be the largest distributors, but there are many others and in the average town there may be a half‐dozen commercial, institutional and shop‐libraries, all distributing, for every public library. This fact is stressed by our public library spending on books last year at some two million pounds, a large sum, but only one‐tenth of the money the country spent on books. There are literally millions of book‐readers who may or may not use the public library, some of them who do not use any library but buy what they read. The real figure of the total reading of our people would probably be astronomical or, at anyrate, astonishing.