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Purpose – Cory Booker will likely step down as mayor of Newark in 2014 or 2018. When he does, the possibility of a strong Latino candidate emerging is quite likely. There are a number of black politicians who would like to succeed Booker as well. This chapter identifies eight potential successors to Booker and assesses their ability to create a multiracial electoral coalition using prior vote performance in citywide elections.Design/methodology/approach – This study regresses district (or precinct) level vote preferences for the aforementioned potential successors in previous elections on the racial and ethnic composition of the district, using voter district demographic data from 2000 and 201011The 2010 data is still incomplete at the time of publication. As such, this data will be used sparingly. compiled by the US Census Bureau and the Minnesota Population Center.Findings − There is a decade’s worth of evidence suggesting racially polarized voting among blacks and Latinos in Newark. The racialized black and Latino candidates examined in this chapter had much stronger support in districts with large coethnic populations. In contrast, the more deracialized candidates often had softer support in districts with high concentrations of coethnic voters, but often performed better in districts with higher concentrations of non-coethnics.Originality/value − While the author cautions against reading too much into the findings, the results do portend a future of racially polarized voting in Newark, especially as the city’s population diversifies and as different factions vie for power.

In 2015, Idris Elba declared ‘I’m probably the most famous Bond actor in the world … and I’ve not even played the role’. Speculation about Elba taking on the role of the world’s most famous spy has circulated for over a decade, fuelled by current Bond Daniel Craig’s assertion that the role has ruined his life. This chapter will examine the role of fans in driving hype about the future of Bond, focusing on the case study of alt-right outrage at the potential casting of Elba. The anti-Elba camp have framed their outrage as informed by authorial intent, and the desire to maintain canon, with claims that Ian Fleming’s Bond was, and should always be white and Scottish. Bond’s expansive narrative universe has remained constant since its inception, enabling fans of the series to form an emotional connection and sense of ownership over the text as a cohesive brand, a form of ‘affective economics’ (Hills, 2015; Jenkins, 2006a). By situating the debate over Elba’s suitability within the timeline of the Bond franchise, the author will posit that the rigid casting and structure of the film series to date enables feelings of fan ownership to flourish. Whilst the influence of vocal fan groups has altered the future direction of numerous popular texts, this chapter will suggest that the sameness of Bond-as-brand provides the justification for fan backlash towards potential change. In sum, this chapter will highlight the Elba-as-Bond rumours as a reflection of the contemporary political moment which seeks to flatten out difference under the auspice of protecting the canon and tradition of ‘brand Bond’.

This is about the authors’ son James’ life. The purpose of this paper is to share a story of misfortune and a battle to find answers in which the greatest enemy was ignorance. Such experiences are not uncommon. It is the authors hope that sharing this will make some small contribution to bringing about change.

The authors discuss the experiences of care placements, and the battle to understand “challenging behaviour”.

Reflecting upon James’ experiences of the care system, it is clear that the system is fragmented and operates in silos that do not work together. Decision makers were all too often individuals not qualified to assess James’ needs and therefore implement appropriate solutions. The outcome was repeated failure which resulted in the view that he was a lost cause.

Such cruelty as James has experienced should be recognised and banished forever.

This paper aims to examine interaction patterns in two activities at home and one activity at school when a seven‐year‐old boy with autism and learning disabilities was supplied with a speech‐generating device (SGD).

Activity‐based communication analysis (ACA) was used as the basis for analysing and discussing of communicative behaviours in video recordings made before and during SGD intervention. The coded communicative behaviours were engagement in activity, role in turn‐taking and communicative form, function and effectiveness. Conversational topics were also analysed.

Activity characteristics seemed important for the outcome. In the two more structured activities (story reading at home and morning circle at school), the child could use the SGD to communicate more effectively within the given frames. During mealtime at home, topic length increased and the instruction to the parents to also use the SGD resulted in positive changes in this activity. ACA highlighted some important issues related to SGD intervention, such as use for expression of communicative needs and access to suitable vocabulary. There also seems to be a need for more guidance to communication partners with respect to the use of communicative strategies to support communication and machine‐mediated interaction.

Research of the effects of augmentative and alternative communication techniques used in natural interaction is almost non‐existent. This case study, therefore, is an important contribution to the field and provides some insights into the challenge of using an electronic device in natural interaction.

Mohammad Azharuddin's arrival in professional cricket served, to quote Karl Marx, as a reform of consciousness that awakened the sport ‘from its dream about itself’. His expertise with the bat invoked the wide expanse of human sensorium, provoking reactions of shock and admiration among observers. In this chapter, I examine Azharuddin's life in cricket and public through a dialectical probing of the relationship between shock and aesthetics. Azhar and cricket appear as a productive terrain to carry out the analysis, as it pushes the possibility of what or who can be considered as a valid subject for theoretical scrutiny. Taking cues from Walter Benjamin and CLR James, I theorise the shock effects created by a cricketer most unusual. From his wristy wizardry with the bat to his appointment as captain of the Indian men's cricket team during the rise of Hindu nationalism in the country, Azharuddin's presence and popularity extended beyond the boundaries that are often imposed on a sportsperson. Through his involvement in the match-fixing scandal that was exposed at the turn of the 21st century, Azhar (the name by which he was popularly known) challenged the mores of a game that had emphasised Victorian notions of purity on and off the field. For the purposes of this chapter, I discuss how Azhar constructed a bodily discourse that pushes us to reassess our very notions of art and aesthetics.

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.

As Bond scholarship has shown, men’s magazines played a crucial role in shaping images of masculinity that circulated around James Bond from the 1960s onwards (Hines, 2018). More generally, critics have charged both the Bond film franchise and men’s magazines with perpetuating sexist imagery that upholds patriarchal values or erodes the gains of feminism. Yet close readings of men’s magazines and Bond films can produce a more complex picture of masculinity and gender relations, especially since the mid-1990s saw not only the return of James Bond to the screen following a six-year production break, but also scholarly and media attention to masculinity and significant growth in the men’s magazine market, including the rise of lad mags. This research will analyse magazine content relating to Bond in British men’s magazines during the Pierce Brosnan era, beginning with the launch of the 1995 film GoldenEye, to examine the interrelationship between James Bond as a longstanding male icon, and contemporary models of masculinity characterised by this publishing phenomenon. It will argue that these men’s magazines become an important site for (re)negotiating James Bond’s culturally loaded masculinity throughout the Brosnan years.

This case study describes an attempt to use cognitive behavioural therapy (CBT) to treat anger problems in a young man with mild learning disabilities. The skills necessary to engage in CBT were assessed in addition to an assessment of support available, motivation to engage in therapy and belief in ability to make changes. Despite this assessment environmental factors undermined the therapy, which was not completed. Some of the difficulties and dilemmas involved in delivering CBT in ‘ordinary’ community services are discussed, concluding with learning points for consideration by other practitioners.

This paper aims to examine the role of James March and his actor-network in the development of a functionalist paradigm of organization theory (OT). Recognizing the important contribution of March to the development of the field of OT, the authors set out to understand the role that he played in establishing the oft-quoted development of founding a behavioral facet of the functionalist paradigm of management theory.

The authors draw on ANTi-History to study some of the key factors that contributed to the challenges associated with the creation of a functionalist paradigm of OT. ANTi-History is an amodernist method drawing attention to how history is produced, differing from a modernist method for identifying the single-most truth of a series of past events and from a postmodernist method for revealing the relativity of accounts of the past. To that end, the method of ANTi-History is to explore the intersections of a series of human (e.g. scholars), non-human (e.g. a textbook) and non-corporeal (e.g. paradigms) actors to assess their role in producing a version of the past (e.g. a unified field of OT).

The authors reveal how the history, producing the paradigmatic idea of OT as a supposed field of inquiry, is not an account of an actual field of inquiry as much as it is the outcome of the shared and conflicted worldviews of multiple actors.

The unique and original contribution is in the tracking over time of the relationship between a known and important actor James March and the formation of a specific paradigm of OT. In particular, the authors focus on the factors and activities that formed or failed to form OT at points in time and James March’s role in this. In the process, the authors set out to learn not simply what James March achieved but how he achieved it.