Shoppers barred because they don't fit the bill, motorists targeted while real villains win the day, health and safety becoming a sick joke and Big Brother putting a dampener on our freedom, fun and fancies. Yes, we have become a country so politically correct that just about everything we do is criminal. The 'Thought Police' that blight every institution ranging from education and energy to councils and churches now have such a rigid rule book that everyday living is a hazard to us all. Does it all make you so irate that you want to emmigrate? Or do just laugh off the eccentricities that are forever England? (Oh and Ireland, Scotland and Wales too!). In this book we have compiled the headline-hitting harrassment of ordinary folk over the year. We hope you can see the funny side of a 'Credit Crunch' country that is suffering from 'Credibility Crunch' as well. Some tales are pitiful, some petty and some just downright pedantic - but all all echo to the refrains of Fool Britannia..

In this fresh and provocative book, Anthony DiMaggio uses the war in Iraq and the United States confrontations with Iran as his touchstones to probe the sometimes fine line between news and propaganda. Using Antonio Gramsci’s concept of hegemony and drawing upon the seminal works of Noam Chomsky, Edward Herman, and Robert McChesney, DiMaggio combines a rigorous empirical analysis and clear, lucid prose to enlighten readers about issues essential to the struggle for a critical media and a functioning democracy.

In the 1940s, at the height of segregation, Charles Preston became the unlikely newest worker at a black owned-and-operated newspaper. Preston, a white man and, unbeknownst to most of his colleagues, member of the Communist Party, quickly came face to face with issues of race and injustice that would profoundly impact his life and change the way he understood society in the United States. This fictionalized account of his experience tells readers what it was like to be the only white worker, and a communist at that, at a black newspaper, while unflinchingly depicting the racism that was so common and accepted in the 1950s.