Peter Campbell
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Peter Campbell
@petersoc.bsky.social
220 followers 110 following 83 posts
Reader @ Dept. of Sociology, Social Policy & Criminology, University of Liverpool.
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petersoc.bsky.social
'It looks like you're trying to read. Would you like help?'
ScienceDirect AI Reading Assistant offers to summarize an article.
November 12, 2025 at 11:44 AM
petersoc.bsky.social
Patricia Routledge was in the Alan Jay Lerner and Leonard Bernstein musical 1600 Pennsylvania Avenue. The show ran for only a week. At the Friday night performance, Routledge sang "Duet for One," in which she simultaneously played two presidential first ladies, Lucy Hayes and Julia Grant. Tony Walton had designed a very clever wig that was a bouffant when it was flipped up and had a hair ribbon and bangs when it was flipped down. Routledge finished the number and the audience cheered. And the applause carried over into the next scene. She left the stage, the scenery changed, and the actors for the next scene came onstage, but the audience would not stop applauding. Finally, she came back onstage because the stage manager realized it was fruitless to start the next scene. She took a bow twice. Once with the bouffant wig and then again with the bangs and hair ribbon, thereby taking one bow for each of the first ladies.
October 3, 2025 at 1:43 PM
petersoc.bsky.social
A Robert Jenrick-supporting child wears a 'We Want Bobby J' hat.
September 30, 2025 at 2:42 PM
petersoc.bsky.social
Saved by the paywall fade
The opening paragraphs of The Spectator's recent Andrew Tate article, available at https://www.spectator.co.uk/article/like-a-cockroach-i-refuse-to-die-a-meeting-with-the-tate-brothers/
September 18, 2025 at 9:52 AM
petersoc.bsky.social
Beyond is milk chocolate?
July 22, 2025 at 9:23 PM
petersoc.bsky.social
As we all are.
"(iii) Living in an acquired gender"
April 16, 2025 at 10:06 AM
petersoc.bsky.social
"The verbose rhetorician exposes with more or less grace, or cleverness, the subjective impressions received from the works he criticises, but is incapable of judging if these works are the productions of a shattered brain"
"Degenerates are not always criminals, prostitutes, anarchists, and pronounced lunatics; they are often authors and artists. These, however, manifest the same mental characteristics, and for the most part the same somatic features, as the members of the above-mentioned anthropological family, who satisfy their unhealthy impulses with the knife of the assassin or the bomb of the dynamiter, instead of with pen and pencil. Some among these degenerates in literature, music, and painting have in recent years come into extraordinary prominence, and are revered by numerous admirers as creators of a new art, and heralds of the coming centuries. This phenomenon is not to be disregarded. Books and works of art exercise a powerful suggestion on the masses. It is from these productions that an age derives its ideals of morality and beauty. If they are absurd and anti-social, they exert a disturbing and corrupting influence on the views of a whole generation. Hence the latter, especially the impressionable youth, easily excited to enthusiasm for all that is strange and seemingly new, must be warned and enlightened as to the real nature of the creations so blindly admired. This warning the ordinary critic does not give. Exclusively literary and esthetic culture is, moreover, the worst preparation conceivable for a true knowledge of the pathological character of the works of degenerates. The verbose rhetorician exposes with more or less grace, or cleverness, the subjective impressions received from the works he criticises, but is incapable of judging if these works are the productions of a shattered brain, and also the nature of the mental disturbance expressing itself by them."
March 24, 2025 at 1:17 PM
petersoc.bsky.social
How will I ever know if I did not write my own work? Such a tricky nut to crack. Finally, a helpful hand.
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March 20, 2025 at 2:38 PM
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Stuart Hall, 1981 ; www.nbcnews.com/news/us-news... ; youtu.be/foK_HYuVCPY ;
"Every now and then, amongst the other trinkets, we find that sign which, above all other signs, ought to be fixed - solidified - in its cultural meaning and connotation forever: the swastika. And yet there it dangles, partly- but not entirely- cut loose from its profound cultural reference in twentieth-century history. What does it mean? What is it signifying? Its signification is rich, and richly ambiguous: certainly unstable. This terrifying sign may delimit a range of meanings but it carries no guarantee of a single meaning within itself. The streets are full of kids who are not 'fascist' because they may wear a swastika on a chain. On the other hand, perhaps they could be . . . What this sign means will ultimately depend, in the politics of youth culture, less on the intrinsic cultural symbolism of the thing in itself, and more on the balance of forces..."
February 10, 2025 at 9:39 PM
petersoc.bsky.social
Oh boy.
January 20, 2025 at 8:54 PM
petersoc.bsky.social
Ernst Gombrich foresees the digital humanities, 1973.
"Once we really decided not to make any distinctions between painted ceilings or, for that matter, assembly halls, we would be so swamped with material that Michaelangelo’s or Wren’s creations would be lost in an ever-swelling card index. We could only tame it by computerization and statistics, the random sample and the graph, showing, maybe, the correlation – negative or positive – between areas of paint and educational expenditure. This might be interesting to the social scientist, but it would not be what we mean by the History of Art."
November 29, 2024 at 2:06 PM
petersoc.bsky.social
Frank Auerbach (1931-2024)
November 12, 2024 at 1:24 PM
petersoc.bsky.social
1918: "It is evident that working-class occupants generally are more and more wishful to eliminate from the living-room the dirty work and particularly the cooking of meals."

books.google.co.uk/books?id=0Hw...
April 12, 2024 at 2:56 PM
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March 19, 2024 at 12:46 PM
petersoc.bsky.social
Just between us Bluesky users... a new article:

"Funding art in post-conflict society: a ‘peace dividend’?"

www.tandfonline.com/doi/full/10....
"In recent years, a range of research and scholarship has suggested a role for art in building peace and achieving reconciliation in societies emerging from violent conflict. As a great deal of funding is available to facilitate reconciliation and peacebuilding from a range of organisations, this paper considers what is, and what can be, known about the level to which such funds are actually apportioned to arts practice – here termed ‘Art for Reconciliation’ (AfR). It considers attempts to locate available data relating to the case of Northern Ireland, and presents indicative findings which suggest that, to the extent that information can be located, the recognition of artistic interventions by funders in this field remains limited, as does our wider knowledge about such interventions and their potential impact. It ends by considering the wider contextual factors that may serve to explain these patterns, and to limit progress in this area."
January 24, 2024 at 9:40 AM