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Purpose: This chapter provides a contextualized understanding of the gendered anxieties expressed by elite sport regulators that motivated the formulation of sex testing policies in sport between 1937 and 1968. The focus is on complicating the claim that sex testing was first instituted to prevent explicit male bodies from fraudulently masquerading as women in sport. Rather, the chapter argues that sex testing policies were formulated in response to anxieties over sex binary pollution.

Methodology: The chapter is based on a genealogical study of the female category in elite sport, built on archival research conducted at the International Olympic Committee (IOC) historical archives and online newspaper archive collections.

Findings: Boundaries around female embodiment were navigated and written into sex testing policy in response to threats to presumed ideas around gendered and sexed normality in sport. These threats were embodied by athletes who polluted or crossed the border between female and male, to the extent that their bodies were rendered hermaphroditic, excessively masculinized, or hybrid. These bodies caused gendered anxieties for sport regulators, who reacted with policy responses that aimed to purify the sex binary from category pollution or sex abnormality.

Implications: As long as sex binary policing in elite sport continues, awareness of the contextual history of sex testing is essential for understanding the underlying ideas upon which sex binary policing in sport has been built.

This paper considers whether the prospective services provided by a football player on behalf of the club holding his registration can be recognised as an accounting asset. The first section of the paper considers the appropriateness of treating these prospective services as intangible assets within the terms of the UK Accounting Standards Board criteria for definition and recognition of assets. In the second section, four valuation methodologies are evaluated using case study data made available by a major Scottish club. Each of the methods evaluated is either currently used in accounting practice by some clubs, or is used in some form in the existing market place for players. The historical cost model involves capitalising players acquired by the club via the transfer market on the balance sheet at their cost of registration. The earnings multiplier model applies a multiplier to a player's earnings to produce a current valuation of that player. The third model involves capitalising players at directors' valuation, while the independent multiple player evaluation model involves obtaining valuations for players from various informed sources, knowledgeable on those particular players. The paper concludes that there are convincing arguments for the conceptualisation of the services provided by football players as accounting assets, and recommends an system of valuation in which players are valued at their realisable value by independent experts.

The term Canterbury Sound emerged in the late 1960s and early 1970s to refer to a signature style within psychedelic and progressive rock developed by bands such as Caravan and Soft Machine as well as key artists including Robert Wyatt and Kevin Ayers. This chapter explores Canterbury as a metaphor and reality, a symbolic space of music inspiration which has produced its distinctive ‘sound’.

Drawing on ethnographic fieldwork, particularly observations and interviews with music artists and cultural intermediates (Bourdieu, 1993), we suggest that the notion of the Canterbury Sound – with its affinity for experimentation, distinctive chord progressions and jazz allusions in a rock music format – is perceived as a continuing artistic and aesthetic influence. We interpret the genealogy of the Canterbury Sound alternativity through discussions focused on the position of the ‘Sound’ within contemporary heritage discourses, the metaphorical and geographical implications of place in relation to popular music, and cultural longevity of the phenomenon.

This book chapter reflectively explores the challenges of studying provocation, satire, bad taste and offence in stand-up comedy. The author’s sociological lens on the topic is situated within the broader field of humour studies, which is a relatively small yet creative and innovative field within the human, cultural and social sciences. This lost ethnographic project contains shelved and dormant interview data with a number of stand-up comedians, including the controversial and emotive late Bernard Manning and an early career Steve Coogan. The project also explores the author’s autoethnographic journey into rant poetry, as both a hobbyist and, on further reflection, a way of keeping the project informally but theoretically alive. The issues of censorship, political correctness and informed consent are key ones in the author’s confessional type analysis. Finally, the value and richness of loss, failure and resilience as marginalised yet significant and unacknowledged learning resources in our academic adventures are frankly discussed. The call here is for more lost ethnographic projects to be recognised and appreciated in academia.