Lucy Robinson – författare

'The new Marian Keyes . . . romantic and laugh-out-loud hilarious' CosmopolitanFran's turning 30 and life is good. She's somehow bagged herself a Very Posh Job and her outlandishly handsome and talented boyfriend Michael is taking her to the Ritz, with something that looks suspiciously like a ring box in his pocket. But by the end of the evening Fran is sobbing in bed with a bottle of cheap brandy and one of Michael's old socks. EVERYTHING has gone wrong and she doesn't know what to do. But then her friends come up with a plan, and so begins the greatest love story of all time . . . Fans of Sophie Kinsella, Rosie Walsh and Mhairi McFarlane will love this heartwarming, romantic and funny novel filled with twists and turns. 'An absolute must-read' Huffington Post'Refreshingly playful' Red'Many novels claim to be laugh-out-loud funny, but this debut actually is . . . Prepare for public-transport belly laughs' Glamour

Sometimes you fall in love when you least expect it . . .Charley has worked hard to create a perfect life - she has The Flat. The Job. The Wardrobe.Best of all, her boss has asked her out after seven years' hard flirting and a covert fumble in a mop cupboard. But then she breaks her leg in three places, watches her boss propose to someone else and is forced to hand over her job to her nasty deputy. Workaholic Charley thinks she will soon go mad. Dangerously bored and desperate for something to do, she discovers a talent for helping people who are talentless at internet dating.Then William arrives in her inbox and rocks her world. Helpless, she watches herself fall in love with him and discovers that perhaps she't not exactly who she thought she was. But is she brave enough to turn her back on her old life? And for a total stranger?Fans of Marian Keyes, Rosie Walsh and Sophie Kinsella will love this hilariously funny and gorgeously romantic story. Praise for Lucy Robinson'The new Marian Keyes . . . romantic and laugh-out-loud hilarious' Cosmopolitan'We laughed, we cried, we fell in love' Heat'Fans of Marian Keyes will love Lucy Robinson's giggle-inducing humour and relatable characters' Glamour'You'll be laughing one minute and crying the next' Lucy Diamond

Available in paperback for the first time, his book demonstrates how the personal became political in post-war Britain, and argues that attention to gay activism can help us to fundamentally rethink the nature of post-war politics. While the Left were fighting among themselves and the reformists were struggling with the limits of law reform, gay men started organising for themselves, first individually within existing organisations and later rejecting formal political structures altogether. Culture, performance and identity took over from economics and class struggle, as gay men worked to change the world through the politics of sexuality. Throughout the post-war years, the new cult of the teenager in the 1950s, CND and the counter-culture of the 1960s, gay liberation, feminism, the Punk movement and the miners' strike of 1984 all helped to build a politics of identity. There is an assumption among many of today's politicians that young people are apathetic and disengaged. This book argues that these politicians are looking in the wrong place. People now feel that they can impact the world through the way in which they live, shop, have sex and organise their private lives. Robinson shows that gay men and their politics have been central to this change in the post-war world.

This book brings together historians, sociologists and social scientists to examine aspects of youth culture. The book’s themes are riots, music and gangs, connecting spectacular expression of youthful disaffection with everyday practices. By so doing, Youth Culture and Social Change maps out new ways of historicizing responses to economic and social change: public unrest and popular culture.

This book brings together historians, sociologists and social scientists to examine aspects of youth culture. The book’s themes are riots, music and gangs, connecting spectacular expression of youthful disaffection with everyday practices. By so doing, Youth Culture and Social Change maps out new ways of historicizing responses to economic and social change: public unrest and popular culture.

A wonderfully witty and gorgeously romantic story of facing your fears and falling in love, for fans of Sophie Kinsella, Marian Keyes and Rosie Walsh. Sally is an incredible singer, but nobody has ever heard her. The thought of singing in public fills her with dread. But then something happens one summer which changes everything. No longer able to hide in the shadows, Sally must return home to London to fulfil a promise she cannot break - to share her voice.But just when she's ready to start her new life, a beautiful man turns up on Sally's doorstep with a sheepish smile and a mysterious hand-written message.How did he find her and why is he here? Does he hold the truth to what happened back in New York? And will she still have the courage to step into the spotlight?__________'We want to climb the highest mountain and shout about this book to the world. We laughed, we cried, we fell in love' Heat 'You'll be laughing one minute and crying the next; this book will stay with you' Lucy Diamond'I flaming loved it. If you like cheering on heroines to meet their goals, find love and battle life into submission - you'll love this!' Milly Johnson

'Fans of Marian Keyes will love Lucy Robinson's giggle-inducing humour and relatable characters. With a twist that will leave you speechless, this is a must' GlamourTWO GOOD FRIENDS. TWO BIG SECRETS. WHAT ARE THEY RUNNING AWAY FROM?Annie has a secret. But if she's not going to tell, we won't either. It's a heart-breaking secret she wishes she didn't have - yet Annie isn't broken, not quite yet. Especially now there's someone out there who seems determined to fix her.Kate has run away. But she's not going to tell us why - that would defeat the point of running, wouldn't it? It's proving difficult to reinvent herself, however, with one person always on her mind.Scratch beneath the surface and nobody is really who they seem. Even Annie and Kate, two old friends, aren't entirely sure who they are any more. Perhaps you can work it out, before their pasts catch up with them for good . . .If you love Rosie Walsh, Marian Keyes and Paige Toon you'll love this! ____________'What a book! Fabulous characters, dark secrets and a clever, compulsive plot that will take you completely by surprise. Read it!' Lucy Diamond'I couldn't put this book down: a fabulously original love story' Lucy Dillon'Enthralling from the get-go and packed with an irresistible blend of brilliant characters, intriguing drama and a plot twist that will slam-dunk your brain into the middle of next week' Isabelle Broom 'Intriguing and uplifting - a real page-turner full of humour and mystery, with a pair of heroines you'll welcome into your heart' Julie Cohen

Now that’s what I call a history of the 1980s tells the story of eighties Britain through its popular culture. Charting era-defining moments from Lady Diana’s legs and the miners’ strike to Glastonbury’s Pyramid Stage and Adam and the Ants, Lucy Robinson weaves together an alternative history to the one we think we know. This is not a history of big geopolitical disasters, or a nostalgic romp through discos, shoulder pads and yuppie culture. Instead, the book explores a mashing together of different genres and fan bases in order to make sense of our recent past and give new insights into the decade that defined both globalisation and excess. Packed with archival and cultural research but written with verve and spark, the book offers as much to general readers as to scholars of this period, presenting a distinctive and definitive contemporary history of 1980s Britain, from pop to politics, to cold war cultures, censorship and sexuality.

Now that’s what I call a history of the 1980s tells the story of eighties Britain through its popular culture. Charting era-defining moments from Lady Diana’s legs and the miners’ strike to Glastonbury’s Pyramid Stage and Adam and the Ants, Lucy Robinson weaves together an alternative history to the one we think we know. This is not a history of big geopolitical disasters, or a nostalgic romp through discos, shoulder pads and yuppie culture. Instead, the book explores a mashing together of different genres and fan bases in order to make sense of our recent past and give new insights into the decade that defined both globalisation and excess. Packed with archival and cultural research but written with verve and spark, the book offers as much to general readers as to scholars of this period, presenting a distinctive and definitive contemporary history of 1980s Britain, from pop to politics, to cold war cultures, censorship and sexuality.

This book assesses the legacy of Dick Hebdige and his work on subcultures in his seminal work, Subculture: The Meaning of Style (1979). The volume interrogates the concept of subculture put forward by Hebdige, and asks if this concept is still capable of helping us understand the subcultures of the twenty-first century. The contributors to this volume assess the main theoretical trends behind Hebdige’s work, critically engaging with their value and how they orient a researcher or student of subculture, and also look at some absences in Hebdige’s original account of subculture, such as gender and ethnicity. The book concludes with an interview with Hebdige himself, where he deals with questions about his concept of subculture and the gestation of his original work in a way that shows his seriousness and humour in equal measure. This volume is a vital contribution to the debate on subculture from some of the best researchers and academics working in the field in the twenty-first century.

This book assesses the legacy of Dick Hebdige and his work on subcultures in his seminal work, Subculture: The Meaning of Style (1979). The volume interrogates the concept of subculture put forward by Hebdige, and asks if this concept is still capable of helping us understand the subcultures of the twenty-first century. The contributors to this volume assess the main theoretical trends behind Hebdige’s work, critically engaging with their value and how they orient a researcher or student of subculture, and also look at some absences in Hebdige’s original account of subculture, such as gender and ethnicity. The book concludes with an interview with Hebdige himself, where he deals with questions about his concept of subculture and the gestation of his original work in a way that shows his seriousness and humour in equal measure. This volume is a vital contribution to the debate on subculture from some of the best researchers and academics working in the field in the twenty-first century.