The speed camera digression was about the notion of symbolism in general and its role in cultural subversion in particular; as such it really ought to have been in parenthesis.

When I think of Kodak Pocket Juniors, the image is one of innocent sea-side fun with jolly chaps and happy flappers promenading along the front at (say) Lytham St. Anne's, having a spiffing time of it (cue soundtrack of 'Yes Sir, That's my Baby!' as recorded by Ace Brigode and his Fourteen Virginians on April 30th, 1925...). The Pocket Juniors (etc) were the mobile phone cameras of their day, 'kecking' and 'happy-slapping' notwithstanding one would hope, and whilst the photographic archive does bear testimony to a more 'glamorous' purpose, this is surely no less than one would expect given the legacy of photography from its earliest days.

I once knew an old lady who proudly displayed artful (and often 'au naturel') shots of herself as a young girl, taken by her beau with his Pocket Kodak Junior (which was also part of the display) as they roamed the hills and dales of Northumbria in his father's Bentley Vanden Plas in the heady days of the 1920s. No speed cameras back then of course - but such iconic innocence endures even in these most cynical of times, which is why I find it ever-so slightly disconcerting that the speed camera is symbolised in such a way; at least with the train the purpose remains the same.

Badger in Bag were some band that's for sure, though in Whapweasel something of their legacy endures; and 'Dancing' Jim is present on their CDs and website with his superlative graphic designs, ever evocative of the West Northumbrian wilds...