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36. As Newton (1972) explains, ‘if sex-role behaviour can be achieved by the “wrong” sex, it
logically follows that it is in reality also achieved, not inherited, by the “right” sex’ (103).
37. ‘(You Make Me Feel Like) A Natural Woman’ was written by Gerry Goffin, Carole King, and
Jerry Wexler. Carole King’s recording of the song is on her album Tapestry. Aretha Franklin’s
version is on her Greatest Hits album.
38. Hume is referring to Francis Williams, who graduated from Cambridge University with a
degree in mathematics.
39. For a fuller version of this argument, see Storey (2002b).
40. The rise of religious fundamentalism is difficult to locate in Lyotard’s postmodern condition.
41. For a critical introduction to the Enlightenment, see Porter (1990).
42. See Ricoeur (1981).
43. In the eighteenth-century opera, pastiche was a very common practice. See Storey (2006).
44. The expansion of the market in DVD ‘box sets’ has undoubtedly contributed to this development.
45. See Easthope (1991), Connor (1992) and the debate on value between Easthope and
Connor in Textual Practice, 4 (3), 1990 and 5 (3), 1991. See also Frow (1995).
46. See Thomkins (1985) and Smith (1988).
47. The Four Tops, ‘It’s The Same Old Song’, Four Tops Motown Greatest Hits, Motown Record
Company.
48. See Storey (2003).
49. What McGuigan calls neo-Gramscian I prefer to call post-Marxist.
50. Operating in a slightly different register, but making the same point, two friends at the uni-
versity where I work, who, to be fair, have had to endure much mocking with regard to their
long-term devotion to Doctor Who, have recently shown signs of resentment at the apparent new
popularity of the TV series. It would seem that the new democracy of enjoyment threatens
their, admittedly embattled, ‘ownership’ of all things Doctor Who.
51. Here is an example of the ‘tactics’ of secondary production: Although my parents always
voted for the Labour Party, for many years at elections they invariably voted separately. The
reason is that my father always accepted a lift to the polling station in a large grey Bentley
driven by a Conservative member of the local council. My mother, born and brought up in
a mining village in the Durham coalfield, who had lived through the bitter aftermath of the
General Strike of 1926, refused to even countenance the prospect of riding in a Tory’s Bentley
– ‘I would not be seen dead in that car.’ My father, who had grown up amidst the general
hardship of life in the part of urban Salford depicted so well in Walter Greenwood’s Love on
the Dole, always responded in the same way: he would insist that there was much humour to
be had from being driven by a Tory to vote Labour.
52. Andy Medhurst (1999) describes this way of teaching, quite accurately I think, as the ‘mis-
sionary imposition’ (98).
53. See Storey (1999a).
54. Jenson (1992: 19–20) argues convincingly that it is possible to be a fan of James Joyce in
much the same way as it is possible to be a fan of Barry Manilow.
55. Audiences for classical music and opera had to learn the aesthetic mode of consumption. See
Storey (2006).
56. See Perryman (2009) for a discussion of how Doctor Who fans helped to bring back the pro-
gramme to television.
57. For an informed and polemical debate between cultural studies and the political economy
of culture, see Critical Studies in Mass Communication, 12, 1995. See also ‘Part Seven’ of
Cultural Theory and Popular Culture: A Reader, 4th edn, edited by John Storey, Harlow: Pearson
Education, 2009.

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