Peter Stanfield is a professor of film at the University of Kent and the last of the MacMahonists. He has a truant eye for pulp culture, and a fine collection of vintage denim jackets. He has written two monographs on the Western, with a third on postwar dirty westerns under development. Recent publications include Maximum Movies—Pulp Fictions: Film Culture and the Worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson (2011), which takes a long look at our fascination with a pulp aesthetic, and The Cool and the Crazy: Pop Fifties Cinema (2015), which examines cycles of sensational movies produced to capitalise on current events, moral panics, and popular fads. His latest monograph, Hoodlum Movies: Seriality and the Outlaw Biker Film Cycle, 1966-1972, draws on his two previous books and further develops ideas on film cycles and pulp cinema. Popular music’s interaction with film is a key theme in all of his outputs, whether that is a singing cowboy’s blue yodel, the siren song of a torch singer behind a veil of smoke and tears, the calypso beat of a juvenile delinquent pic, or the grease and chug of an outlaw biker movie soundtrack. He is currently working on a study of The Who and Pop Art: a band with built-in hate.