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Urban myths. They could have happened anywhere, but you know they could all have happened in Glasgow. In this new collection of the best Glasgow urban myths, truth is often stranger than fiction, but can you work out which stories really did happen to a friend of a friend of an enemy of a friend of a friend? Glasgow urban myths, like the one about some Edinbuggers being occasionally pleasant, are as many and varied as Glaswegians themselves. And all the best are gathered in this collection of mirth and myth, like the one about the wasted willie and the pylon, or the one about the car thief and the opera tickets. Glasgow Urban Myths is full of all the hilarious stories that ever happened to a friend of a friend of an enemy of a friend of a friend in Glasgow - hard truths and blatant lies, albeit in a sort of hit and myth style, but you will laugh, and you will repeat them.
Monsters, lunatics, vampires, werewolves and evil dolls, stones entombing bodies, faces appearing in walls, curses and meetings with the Devil – all this and more are contained within this book of myths and ancient legends. Well-known storytellers Grace Banks and Sheena Blackhall recount a range of intriguing tales from the top to the bottom of Scotland, from ancient times to the present day. Folklore embeds itself in a local community, often to the extent that some people believe all manner of mysteries and take them as fact. Whether they're stories passed around the school playground, through the Internet, or round a flickering campfire, such legends are everywhere. Scottish Urban Myths and Ancient Legends is a quirky and downright spooky ride into the heart of Celtic folklore.
A huge collection of Scottish Urban Legends, Myths and True Stories. The definitive guide to the legendary stories that reveal Scotland's mysterious past. Featuring 50 captivating Scottish folklore stories, you'll embark on a journey through the shadowy alleys of Edinburgh, the misty moors of the Highlands, and the forgotten corners of Glasgow, discovering the secret myths and legends of Scotland that have been passed down through generations. Each tale is dazzlingly retold for a modern audience. Gather around the fireside and hear incredible stories from a land filled with magic and mystery. Feel the rich history brought to life through folktales passed down through generations. Hear the true stories that lurk amongst these myths, things that the author has witnessed with his own eyes, revealed for the very first time. Where is the most haunted road in Scotland? Who got caught cheating while playing cards with the devil? Which ancient rhyme can summon a violent poltergeist? Haunted places, ghost stories and Celtic folklore, this enchanting collection has them all. From spooky tales of great battles to pagan rituals that are still performed today. Discover the cursed locations where you can see and feel these experiences for yourself if you dare. Huddle closer to the fire, immerse yourself in the dark history of Scotland, and discover which of these unforgettable legends are true.
Presents descriptions of hundreds of urban legends and their variations, themes, and scholarly approaches to the genre, including such tales as disappearing hitchhikers and hypodermic needles left in the coin slots of pay telephones.
A mere forty miles apart, these cities have enjoyed a scratchy rivalry since wistful Edinburgh lost parliamentary sovereignty and defiant Glasgow came into its industrial promise. Crawford brings them to life between the covers of one book, in a tale that mixes novelty and familiarity, as Scotland’s cultural capital and largest commercial city do.
Glasgow is the largest city in Scotland. It is a city of culture, of impressive architecture, enterprise and endeavour, and is one of warm-hearted, generous people. But it also has a dark side. Beneath the busy streets, the Victorian sandstone and urban trendiness lies a black heart that beats in rhythm with the roar of the traffic and the echo of footsteps on concrete. It is a black heart pumped by greed and lust, violence and murder. And it has beaten since the city first sprang up on that dear, green place on the banks of the Molendinar Burn. This is the epic story of Glasgow crime. Beginning in 1624 when the Tolbooth was built at Glasgow Cross to house the courts and town jail, author Douglas Skelton covers four centuries of Glasgow's hidden history, tracing the formation of the first paid police force in Britain, the Black Assizes of the circuit court and the formation of the city's own High Court of Justiciary. Here you will find the pimps and pushers, gangsters and gangleaders, rioters and robbers who flooded the veins of the city. Famous felons rub shoulders with their less notorious, but equally vicious, counterparts. Here also are the thief-takers, cops, lawyers and judges who tried to stem the gushing flow, some with more success than others. These stories may not be what the City Fathers would like to see on Glasgow's CV, but they are as much a part of its traditions and its legacy as the fish, the bell and the tree.
Urban Legends is a remarkably complete collection of the modern myths that make the rounds in offices, college dorms, and every other place where people tell the stories that spring from our deepest fears and fascinations. Every culture has its folktales including ours. Except, instead of involving gods and goddesses or princes and princesses, ours involve "some guy my sister's best friend knows" or "someone who woke up in a motel room." They happened, supposedly, to real people, usually recently, in a particular place. And they touch the most sensitive nerves of our psyches with ironic twists, gross-out shocks, and moral lessons learned the hard way. From the classic tale "The Mexican Pet" in which the "dog" turns out to be no Chihuahua to the more unappetizing story of condoms as fast-food burger garnish, from surgically skilled kidney thieves to sexual experiments that end in the emergency room, Urban Legends relates more 300 of the most enticing, macabre, and unforgettable tales. Expertly told, they are arranged in such chapters as "Crazy Little Thang Called Sex," "Oh, Scare Me," "Campus Capers," "Corporate Convolutions," and "So Much For Comfort Food." Fascinating, chilling, and occasionally repulsive, Urban Legends has all your favorites and hundreds more.
Glasgow has one of the bloodiest and most tumultuous histories on record, riddled with plagues and pirate attacks, religious divides and reconciliations, bombs, executions, fires and floods. A city of slums and grandeur, of razor gangs and rebels, of sectarian violence and cultural assimilation, here you will find the best of the worst of Scotland’s greatest city.
Cinema from Scotland has attained an unprecedented international profile in the decade or so since Shallow Grave (1995) and Trainspotting (1996) impinged on the consciousness of audiences and critics around the world. Scottish Cinema Now is the first collection of essays to examine in depth the new films and filmmakers that have emerged from Scotland over the last ten years. With contributions from both established names and new voices in British Cinema Studies, the volume combines detailed textual analysis with discussion of industrial issues, scholarship on new movies with historical investigation of unjustly forgotten figures and film from Scotland’s cinematic past, and a focus on international as well as indigenous images of Scottishness. Responding to the ways in recent Scottish filmmaking has transformed the country’s cinematic landscape, Scottish Cinema Now reexamines established critical agendas and sets new ones for the study of Scotland’s relationship with the moving image in the twenty-first century.
Traditional Storytelling Today explores the diversity of contemporary storytelling traditions and provides a forum for in-depth discussion of interesting facets of comtemporary storytelling. Never before has such a wealth of information about storytelling traditions been gathered together. Storytelling is alive and well throughout the world as the approximately 100 articles by more than 90 authors make clear. Most of the essays average 2,000 words and discuss a typical storytelling event, give a brief sample text, and provide theory from the folklorist. A comprehensive index is provided. Bibliographies afford the reader easy access to additional resources.