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Based on an ethnographic study of a restaurant called the “Hungry Cowboy,” I examine how servers make use of sexual harassment claims within a sexually overt work culture. Focusing on the dynamics of a specific case, I explore how participation in sexual talk and touch provides positive rewards for some workers, operating as a source of craft pride, while laying the groundwork for exclusion of other workers. This study reveals how intersectionality plays out in the day-to-day behaviors and practices that make up workplace cultures, how white workers use a gendered tool to filter racism, the intentional manipulation of workplace culture by workers, and the unintended outcomes of sexual harassment laws.

The iconic vigilante Paul Kersey (Charles Bronson) returned to cinema screens via Death Wish 2 (Michael Winner) in 1982 and vigilantism would remain a key theme in American urban action films throughout the 1980s. Susan Jeffords subsequently argued that Hollywood's ‘hard bodied’ male action heroes of the period were reflective of the social and political thematics that distinguished Ronald Reagan's tenure as America's President (1994, p. 22). But while Jeffords' arguments are convincing, they overlook contemporaneous films featuring female and ‘soft’ bodied urban action heroes.

The Angel trilogy (Angel, 1984; Avenging Angel, 1985; and Angel III: The Final Chapter, 1988) features three such understudied examples. Indeed, the films' diverse and atypical range of action heroes demand that they are interrogated in terms of their protagonists' gender, sexual orientation, lifestyle choices and age. Featuring narratives about the prostitutes and street folk who frequent Los Angeles' Hollywood Boulevard, the films' key characters are a teenage prostitute and her guardians: a transvestite prostitute, a lesbian hotelier and an elderly cowboy. All three films feature narratives that revolve around acts of vengeance and vigilantism.

This chapter will critically discuss the striking ways in which the films' ‘soft’ bodied and atypical protagonists are presented as convincing action heroes who subvert contemporaneous ‘hard’ bodied norms. It will also consider to what extent their subversive rewriting of typical urban action film narratives and character relations might be understood to critique and deconstruct the themes and concerns that usually characterized such films during the Reagan era.

The 1986 Financial Services Act (FSA), operational since the end of April 1988, was an Act designed to protect investors from “cowboys” such as life insurance salesmen whose interests do not extend beyond their commission cheques, and offshore investment companies who fail to keep proper accounts. This image lies in sharp contrast to the large established institutions who, under the avowedly self‐regulatory regime, have important responsibilities for ensuring high standards among their staff and representatives. In this brief polemic we explore the validity of this contrast since we do not believe it is simply stereo‐typical cowboys who threaten the investor, and question whether, even within the limited terms of this stereotype, the Act can be seen as effective in the sphere of collective investment products. In providing this account we draw upon our academic research into the financial services industry.

Argues that fundamental mistakes have been made in the way in which business school professors have been managed in many schools. The effects of our well‐meaning actions in enhancing income and conditions for this fortunate group of people has exploded in our faces and left us with many professors who contribute little to their universities, their disciplines or professional groupings, or to industry and commerce. It may not be too late to rebuild the academic leadership of the key business disciplines so they fulfil their promise, but this first demands that this problem should be recognised and addressed.

This performative chapter offers three movements that celebrate aspects of Norman Denzin's prolific and influential career: an ode to an aging cowboy that signal's Denzin's work on the West and Native Americans, a corresponding piece that signals Denzin's commitments to performance studies and autoethnography, and a litany of his scholarship as a bibliography of worship with his commitment to critical and creative forms of writing.

This essay weds conceptions of justice within Public Administration to the theme of revenge in the Hollywood Western, arguing that the revival of the genre in the 1990s reflects changes in the public conception of due process and equality before the law. The Western genre’s evolution is illustrative of the way definitions of justice are socially, contextually specific. Unforgiven illustrates this shift because the violence in the film symbolizes the vengeance culture so anathema to American notions of procedural justice and explores shifting conceptions of justice through a 19th century allegory of injustice, the heart of which is the treatment of a person as property. This fantasy of the violent resolution of conflict is examined against Public Administration's insistence upon resolving competing conceptions of the good through peaceful, deliberative modalities.

Increasingly, product managers and promotional strategists weigh the impacts of homogeneous products and uniform promotion coupled with the unique character of specific market segments. This is especially crucial in an era when many products are advertised in identical ways and consumed in analogous manners over diverse cultural areas. In order to explore the influence of cultural variations on marketing, discusses the conflicting ways in which an international advertising icon, “the Marlboro man”, is interpreted in three different cultural settings. The resulting analysis has both theoretical and practical value.

Many studies have investigated the impact of celebrity endorsers on consumers’ purchase intention. None, however, has studied the effects of an association endorsement. This research examined the effect of the Professional Rodeo Cowboys Association’s (PRCA) endorsement of products on consumers’ purchase intentions. Survey data were collected from 1,456 respondents attending six rodeos across the USA. Binary logit regression revealed that individuals who attended rodeo frequently and those with less than a college degree were the most likely to accept the association endorsement. The findings are explained within the social influence framework.

A brand exists through the values it reflects. These can be outlined in a brand character statement (BCS) to provide guidance to the brand’s speech. This article discusses the application of a tool from psychiatry for the development of a BCS. In addition, we present steps for implementing and evaluating a branding strategy consistent with the BCS principles. Concludes that the concept of a “brand” and that of a “product” are diametrically opposed and rewards will go to those who do successfully build a brand.

What may be another kinship of law and death? To suggest that death is a work may allow us (I hope misleadingly) to suggest, by way of something more than coincidence – but less than perfect parallel – that law is the very definition of absolute limit. In this sense law would be death’s shadow, a shadow cast by the sun of life as it shines on death, a sun toward which Giorgio Agamben seems to have been moving in his recent writing. (1998) And yet, as if in presumptive rebuttal, Michel Foucault convincingly suggested years before Agamben’s intervention, in a meditation on Maurice Blanchot, that “The law is the shadow toward which every gesture necessarily advances; it is itself the shadow of the advancing gesture” (Foucault, 1987, p. 35). Every gesture directs our attention away from the sun’s light and toward the cave of the everyday, where the fire may come, when it comes and if it comes, from places otherwise.