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Between 2002 and 2018, at a time when UK universities were being increasingly measured in economic and financial terms, Staffordshire University established a dedicated public engagement unit. Staffed by an experienced team of “pracademics” (Posner, 2009), the Creative Communities Unit (CCU) engaged with community members and voluntary organizations through teaching, research, and consultancy. Underpinning CCU practice was a clear set of principles influenced by those of community development, including participation, inclusion, and action-driven practice. However, despite strong community connections the work of the unit remained isolated with little coordination for public engagement at a strategic level in the university.

This chapter charts the work of the CCU over its lifespan and its influence on a strategically embedded Connected Communities Framework through which civic engagement is supported across the institution. It explores how the alignment of grass roots activity through the CCU, shifts in UK policy and a clear, institutional strategic vision for civic engagement enabled the move from public engagement as a small team activity to an institutional commitment. It concludes with a reflection on the enabling conditions that supported the journey toward a civic university.

With confidence in the British Political system in decline, it is more important than ever that the top-down approach to decision-making and service strategy in public services is challenged. In this chapter, we examine how coproduction of services can be achieved using Get Talking, an approach to participatory action research that utilizes creative consultation techniques to engage with publics. We explain how the approach enabled Staffordshire Fire and Rescue Service (SFRS) to involve young people in the development of a Children and Young People’s Strategy. The case study approach, building on qualitative methods including focus groups and semi-structured interviews, demonstrates how creative approaches were used by public sector staff to engage young people and partners in strategy development. Creative consultation techniques were used to facilitate the focus group activity. While using Get Talking as an approach to policy development required a resource investment in terms of staff time, it provided SFRS with insight into the needs of service users. This resulted in a more relevant strategy being developed and a cultural shift in how the organization works with young people. Engagement with the Get Talking process had a positive effect on staff, providing them with a sense of ownership over the resulting strategy, enhanced the reputation of SFRS with partners, and improved relationships with young people through demonstrating that they were valued partners in coproduction. While the approach was well received by all parties, challenges of using Get Talking in a public service setting resulted in pragmatic adaptations to a traditional PAR approach.

Brand metrics are more than just a vehicle to gauge success. They are a vehicle to guide success.

New Labour has launched ambitious anti‐exclusion and crime control strategies which target young people and require detached and outreach workers to ‘deliver the goods’. New funding streams have spawned new projects which have recruited new, non‐traditional, workers. This article, which draws upon the preliminary findings of a study of contemporary detached and outreach work in the UK funded by the Joseph Rowntree Foundation, explores the contribution of this work to community safety and some of the barriers it faces.

In this chapter, we examine several attributes of lone wolf terrorists and how their activities are temporally and geospatially patterned. In particular, we demonstrate how precursor behaviors and attack characteristics of lone wolves are similar and different compared to those of group-based terrorists.

Based on data drawn from the American Terrorism Study (ATS), we examine 268 federal terrorism “indictees” linked to 264 incidents. Three types of loners are identified based on group affiliations and levels of assistance in preparing for and executing terrorist attacks. A series of analyses comparatively examine loners who had no assistance and those actors that did.

The results of this study suggest that lone wolf terrorists are more educated and socially isolated than group-based actors. Lone wolves also engage in less precursor activities than group actors, but are willing to travel greater distances to prepare for and execute attacks. Explanations for why lone wolves are able to “survive” longer than terrorist groups by avoiding arrest may in part stem from their ability to temporally and geospatially position their planning and preparatory activities.

Studies on lone wolf terrorism remain few and many are plagued by methodological and conceptual limitations. The current study adds to this growing literature by relying on lone wolf terrorism data recently made available by the American Terrorism Study (ATS). Our findings are valuable for members of the law enforcement and intelligence communities responsible for the early detection and prevention of lone wolf terrorism in the United States.

From Dr No in 1962 to Spectre in 2015 the opening themes for James Bond movies have always played an important role in marketing, audience expectation and reception. Whether instrumental or sung, brassy or orchestral, upbeat or mellow, the music and/or lyrics, alongside innovative title sequences, function as key signifiers of gender representation in the ongoing series of spy adventures. Bond’s suave machismo, for example, is immediately set out in the opening titles for Dr No created by Maurice Binder. The iconic image of Bond viewed through a gun barrel as a shot rings out, is punctuated by Monty Norman’s theme music with its swinging brass and the tough, machine-gun like sound of electric guitar being played fiercely with a plectrum. Although this theme became synonymous with the character, there was a shift towards songs written specifically to tie-in with subsequent film titles although the lyrics rarely had anything to do with the narratives of the film. The title sequences themselves also became more provocative, invariably focussing on silhouetted, naked or semi-naked female bodies or their component parts alongside gun barrels and bullets, albeit in a highly stylised and artistic manner. This chapter, then, will consider how the theme music functions with the opening credits sequences in relation to the representation of women, race and the image of Bond himself and how the character has changed over time.

Explores the concept of empowerment and raises questions about the reason for its rise to dominance as a current discourse in the UK public services. Notes that empowerment may be a motivational but also a manipulative concept which can be used by the “New Right” as a means of introducing market values into the public services and to attack the welfare state. Questions whether empowerment can be reclaimed to support oppressed groups.

With three credited scriptwriters and five credited directors, the 1967 release of Casino Royale saw a gang of multifaceted James Bond 007s facing off against an army of beautiful, hypersexualised, personality-less female spies, headed by the real James Bond’s neurotic, insecure, American nephew Jimmy. Perhaps this wasn’t Fleming’s intended storyline for Bond’s first outing at Casino Royale, but the resulting parodic outing absorbed and commented upon some of the inherent gendered archetypes of Fleming’s work. What the 1967 Casino Royale accomplishes is a narrative which contrasts varieties of masculinity which are segmented forms of the masculinity defined by Fleming’s Bond. This chapter compares the masculinity of Bond developed in Fleming’s novel, before examining the representations of masculinity inherent within the four key male characters: Sir James Bond (David Niven), Evelyn Tremble (Peter Sellers), Cooper (Terence Cooper) and Dr Noah/Jimmy Bond (Woody Allen). By showing the depictions of masculine elements each of these characters embodies, along with the metanarrative elements of each performer’s persona, this chapter aims to identify how the 1967 Casino Royale both faithfully depicts the masculine elements of Bond while at the same time satirizing Bond’s particular brand of masculinity. This examination ultimately argues that this segmentation of Bondian masculinity is the core point of cohesion in a deeply incoherent, parodic film adaptation of Fleming’s novel.