Drug dealers are commonly presented as 'dealing in death', preying on the young and innocent and spreading addiction with little care or regard for those they entangle. Drug markets are commonly depicted as being hierarchically organized and riddled with unscrupulous practices and chaotic violence. While a strong case has been made in recent years that the powers of particular drugs have often led to an unreasonable demonization of drug users, there has been little by way of understanding drug dealers as part of that same process. Who is a drug dealer? How does the dealer operate in the drug market? What if many common perceptions, both about dealers themselves and drug markets more generally, are either incorrect or unreasonably distorted? Reviewing recent research into the minutiae of drug dealing and drug market operations, Pusher Myths suggests that these overly simplistic characterizations of who the drug dealer is, what drug dealers do, and the context within which they operate serve to perpetuate unhelpful ideas of what the drug problem is and, thus ultimately, how it should be resolved. Focusing on issues such as dangerous drug adulteration, the pushing of street drugs onto the young and innocent, the provision of free drugs to hook new clients, and the legend of the Blue Star LSD Tattoo, this book goes in the direction of recasting our understanding of the drug dealer as one that has been unreasonably demonized and de-humanized. This book also provides a contemporary analysis of how the various myths (untruths) surrounding drug dealers may be understood within the broader conceptual analysis of the place of myth in modern society.

Set in the years between the meteoric launches of Madonna and Courtney Love, Petal Pusher takes readers on a stirring journey across rock and roll, from the big-haired 1980s to the grunge-filled 1990s, when Laurie Lindeen brought her all-girl band, Zuzu's Petals, to compete in the indie rock arena. Minneapolis in the eighties was a musical hotbed, the land of 10,000 lakes and 10,000 bands that gave birth to Prince, the Replacements, and Soul Asylum. For Laurie Lindeen it was the perfect place to launch her rock-and-roll dream. She moved to the city with her best friends Phyll ("Annie Oakley meets Patsy Cline") and Coleen ("former cheerleader gone off the arty deep end") to crash in decrepit apartments and coax punk rock from crappy used guitars. But unbeknownst to her friends, Laurie has a secret in her past -- a diagnosis of multiple sclerosis that fuels her passion to make it big on the local, national, and international rock scene. With inspiring determination, Laurie and her Zuzu's Petals survive the many challenges of being underdogs in a man's world. Then Laurie is thrown a curveball when she falls for Paul Westerberg of Replacements fame and reevaluates exactly what it means to "make it big." By turns hilarious and heartrending, Petal Pusher is a brilliant behind-the-scenes look at music on the front lines, and the awe-inspiring tale of one woman's fight against disease and the disillusionment of life in the rock underground.

One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

Drug prohibition emerged at the same time as the discovery of film, and their histories intersect in interesting ways. This book examines the ideological assumptions embedded in the narrative and imagery of one hundred fictional drug films produced in Britain, Canada, and the U.S. from 1912 to 2006, including Broken Blossoms, Reefer Madness, The Trip, Superfly, Withnail and I, Traffik, Traffic, Layer Cake, Harold and Kumar Go to White Castle, Trailer Park Boys, and more. Boyd focuses on past and contemporary illegal drug discourse about users, traffickers, drug treatment, and the intersection of criminal justice with counterculture, alternative, and stoner flicks. She provides a socio-historical and cultural criminological perspective, and an analysis of race, class and gender representations in illegal drug films. This illuminating work will be an essential text for a wide range of students and scholars in the fields of criminology, sociology, media, gender and women’s studies, drug studies, and cultural studies.

Focusing on a number of contemporary research themes and placing them within the context of palpable changes that have occurred within football in recent years, this timely collection brings together essays about football, crime and fan behaviour from leading experts in the fields of criminology, law, sociology, psychology and cultural studies.

Though drug use was widespread in the nineteenth century, the negative influence of narcotics was mostly unknown. Cinema of the early twentieth century was instrumental in making viewers aware of the harmful effects of drugs. Throughout the decades, images of drugs such as marijuana, LSD, and heroin in films impacted—both negatively and positively—the national perception of their use. In fact, the use, popularity, and opinion of certain drugs often follow their status on the big screen. In Hooked in Film, John Markerttakes a close look at the correlation between social policies and the public view of drugs and their portrayals in film. In this volume, Markert examines the changing social attitudes toward illegal drugs and their cinematic depictions from as early as the 1894 film Chinese Opium Den to the present. The first section of this book focuses on the demonization of drugs between 1900 and 1959, followed by an assessment of marijuana on the big screen after 1960, when the drug was shown as part of everyday life with no serious consequences. Post-1960 depictions of heroin use, which have remained consistently negative, are also analyzed. Markert then takes a close look at the portrayals of powdered cocaine after the 1960s and the emergence of crack in the mid-1980s. Finally, Markert discusses hallucinogens, Ecstasy, and methamphetamines and their roles on the big screen. Tracking hundreds of films spanning more than a century, Hooked in Film looks at camp classics like Reefer Madness, comedies such as Cheech and Chong’s Up in Smoke, Dazed and Confused, and Pineapple Express, and dramas, including Panic in Needle Park and Requiem for a Dream. Scholars and students of cinema, popular culture, media studies, and sociology will find this book a valuable examination of how cinematic portrayals of drugs have changed over time, and how those images have influenced public perception of drugs and even public policy.

The ebook edition of this title is Open Access and freely available to read online. The digital revolution has transformed the selling and buying of illicit substances, upending how the market is policed and regulated, as explored in this book.

Drawing on rich qualitative data, this book presents a novel way of understanding the drug market-related harm of ‘cuckooing’, providing a theoretically informed account of this increasingly high-profile area. Applying the framework of the ‘risk environment’, the book examines why people become cuckooed, how it is responded to and how this exploitative practice is socially produced. In doing so, a diverse range of environments and features relevant to cuckooing are analysed, including the role of housing, political economy, drug policy, policing and social exclusion. By interrogating how these constrain and enable the actions of people who are affected, the book develops a critical analysis that recognises the complexity of cuckooing while eschewing superficial explanations of why it occurs. Resisting simplistic solutions, it also considers what an enabling environment capable of reducing the harms of this exploitative practice might look like. Cuckoo Land will be of interest to academic researchers in the fields of criminology, victimology, social work and drugs. It will also be essential reading for policymakers and practitioners working on the issue of cuckooing.

This book examines the drug dealer in contemporary society from an interdisciplinary perspective and considers the increasingly blurred demarcation between illegitimate and legitimate drug markets. It explores the motives and drivers of those involved in drug supply and dispels common and stereotypical myths and misconceptions surrounding illegal drug markets and those who operate within them. The drug dealer has become one of our foremost contemporary ‘folk devils’. Those who trade in substances prohibited by law are the subject of array of inaccurate myths and urban legends. Criminology has tended either to shoehorn drug dealers into neat typologies or portray them as ‘victims’ of an uncaring, predatory post-modern society. In reality, we know relatively little about the complex and diverse world of drug markets and our concentration inevitably falls on low-end ‘retail’ dealers who operate in the most visible sectors of the illegal economy. Bringing together an international group of experts, this book considers perspectives from around the world, including UK, USA, South America, Spain, India and Australia. This book will be of interest to students and researchers across criminology, law, sociology, criminal justice and public health, and will be essential reading for those taking courses on drugs, drug markets and substance misuse.

Winner of the British Society of Criminology Book Prize, 2015 Fleetwood explores how women become involved in trafficking, focusing on the lived experiences of women as drug mules. Offering theoretical insights from gender theory and transnational criminology, Fleetwood argues that women's participation in the drugs trade cannot be adequately understood through the lenses of either victimization or agency.