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I have just been back to Taylor Taylor London after a 2 year sabbatical and I had forgotten just how great it was , it hasn't lost any of that magic! My hair has been bleached, been straightened and generally my tresses were close to falling out so in desparation I called the Salon. I had a colour appointment with Michelle who told me immediatley that I should go dark and even though I was a very dirty blonde she told me everything would be fine and .....IT WAS BRILLIANT ...I went out that night and my friends had to do a double take as they didn't recognise me and every single one of them are now going to the Salon as they cant believe how good it looked !!! I also had a cut by Stuart who had only just passed his exams as he was their Junior Stylist ...well I tell you what my haircut was 100 times better than a Director that cut my hair at a Toni and Guy Salon recently. To top it all off the service was amazing ..I had coffee and biscuits in the morning and by the time it hit lunchtime I had polished off two of the champagne cocktails ( all free of charge as well !!) and had a big handful of old fashioned sweeties. People who don't like this Salon should go somewhere else for their Blue Rinses ....if you like good music , a glass of champagne ( or even asbinthe ) friendly and cool staff ( no black uniforms here) then get yourself down to Shoreditch ! Oh and prices werent bad either ...My cut was only £42 and my colour was less than £80 , I have paid more than that in a backstreet Hairdresser. A very happy returning customer.
This title provides a reading of the popular fiction of London historicized in its ... more
political and cultural contexts. From the early years of the nineteenth century, cultural pessimists imagined in fiction the political forces that might bring about the destruction of London. Periods of popular protest or radicalism generated novels that considered the methods insurgents might use to terrorise the metropolis. There has been a tendency to dismiss such writings as the lurid imaginings of pulp novelists but this book re-evaluates the contribution of popular fiction to the construction of the terrorist threat. It analyses the high-points for the production of such works, and locates them in their cultural and historical context. From the 1840s, when a fear of Chartist insurgency was paramount in the minds of authors, it moves through the anarchist thrillers of the 1890s, considers writers' fears about Bolshevik revolution in the East End of the 1920s and 1930s, explores fears of Fascism in the inter-war years, and assesses the concerns with underground counter-culture that feature in the thriller literature of the 1970s. It concludes with a re-evaluation of the metropolitan background to the figure of the Islamist terrorist.