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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.

In this chapter, we will look at how the indirect approach can enable us to find a way to learn about young people's lives. The setting for this chapter is informal youth work, reminding us of the value of a wide range of practices with young people, and the findings are equally relevant to formal and informal education as guiding principles for good practice. We will look at the skillful interactions practitioners establish with young people and how they can be developed and promoted. Reflective practice for practitioners is identified as beneficial in adding the value of young people's voice, whilst building relationships. The nature of young people's participation and power is argued to benefit from a co-constructed and socio-cultural understanding; majoring on the importance of context, indirect method and equality literacy framework. We will suggest how the indirect approach can improve young people's lives in schools and/or youth provision.

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.

This paper aims to explore the experience of one large Irish youth work organisation, Foróige, to measures introduced during the initial phase of COVID-19 in 2020. In the face of the unprecedented crisis including the closure of schools and curtailment of many youth services, this paper examines how the organisation responded and adapted its service offering.

Qualitative semi-structured interviews were conducted with 12 senior managers and youth officers in Foróige to explore their perspectives on the organisation’s response. Participants were purposively sampled from across the operational management functions and also from regional levels and youth workers engaging in work “on the ground”.

Shifting from a face-to -face, relationship-based to a distanced mode of engagement with young people, colleagues and volunteers required significant adaptation of Foróige’s service model. Innovation took place both in the delivery platform and fundamentally, in its service orientation. The accelerated move to online youth work brought about by the pandemic enabled the organisation to embrace and learn from the challenges and opportunities posed by digital technology. Responding to the immediate and tangible needs of young people in receipt of services, staff found themselves working with families at the more basic levels of intervention.

This paper provides new insights into the nature of non-profit service innovation during a time of unprecedented crisis management. It highlights characteristics of organisational agility that can assist organisations in managing crises, while also pointing the way towards a more flexible operating model for youth work service delivery.

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.