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“It is perhaps surprising that in eighteenth century travellers' accounts Glasgow is most often compared with Oxford for the beauty of its prospect and the excellence of its ambience. It was post-industrial Revolution accounts of the city that began to articulate the 'Glasgow discourse' which was to become hegenomic. Initially signalled in urban planning and public health reports of the nineteenth century, this discourse was powerfully accelerated by tabloid journalistic accounts of gang warfare in interwar Glasgow and by folkloric embellishments of these. The result was that a monstrous Ur-narrative comes into play when anyone (not least, it should be said, Glaswegians themselves) seeks to describe or deal imaginatively with that city. In this archetypal narrative, Glasgow is the City of Dreadful Night with the worst slums in Europe, its citizens living out lives which are nasty, brutish and short. The milieu of Glasgow is so stark, so the narrative runs, that it breeds a particular social type, the Hard Man, a figure whose universe is bounded by football, heavy drinking and (often sectarian) violence. The image of Glasgow, which beckons, Circe-like, to any who would speak or write of that city, is one of men celebrating, coming to terms with or (rarely) transcending their bleak milieu. An order of marginalisation, if not exclusion, is served on women.”
― Colin McArthur, The Cinematic City