There is a profound relationship between language and culture, and neither Partridge nor Paul Beale, editor of the 8th edition, seem to have assimilated the cultural changes that began at the end of World War 2. This left them without the cultural knowledge needed to understand the language that they were recording. Their lack of cultural understanding accelerated with time, and this is sadly reflected in the later entries.
The response of Hollywood was to embrace some of this material. A
landmark move was the decision by Columbia to distribute Easy Rider
(1969), a project originally destined to become another biker picture
for AIP. The success of Easy Rider helped convince the studios to invest
in a new generation of ﬁlmmakers seen to be more in touch with
the youth audience affected by the 1960s counterculture. Hollywood
learned other lessons from the independents in this period.
Car rental companies and mass transit and traffic authorities are watching where we go, sending us automated tickets, finking us out to busybodies, cops and bad guys who gain illicit access to their databases. The Transport Security Administration maintains a "nofly" list of people who'd never been convicted of any crime, but who are nevertheless considered too dangerous to fly. The list's contents are secret. The rule that makes it enforceable is secret.
Their lack of cultural understanding accelerated with time, and this is sadly reflected in the later entries. Beatniks and drug addicts, and their slang, baffled Partridge and Beale, who lacked either the personal experience or historical perspective needed to understand underlying countercultures.
Stealing Empire poses the question, "What possibilities for agency exist in the age of corporate globalisation?" Using the work of Antonio Negri and Michael Hardt as a point of entry, Adam Haupt delves into varied terrain to locate answers in this ground-breaking inquiry. He explores arguments about copyright via peer-to-peer (P2P) platforms such as Napster, free speech struggles, debates about access to information and open content licenses, and develops a politically incisive analysis of counterdiscourses produced by South African hip-hop artists.