Monday, November 5, 2018

NAE PASARAN at the GFT

Though the testimonies of the Scottish Workers are moving , inspiring and emotional what really comes out is the stories of the Chilean victims , some of them ardent loyalists of the armed services and establishment up to the point of being arrested and tortured by their own colleagues of only a day before.
Through the filter of speaking to an audience of a different country than their own they relate harrowing experiences that they would probably not even shared with their own extended Families.

You can get various reviews and background story from the documentarys dedicated website.

The video below is from the Scottish Parliament paying a long overdue tribute to the Workers and Film Maker



Tuesday, October 23, 2018

DIGITISING SCOTTISH SLAVE OWNERSHIP IN 18TH CENTURY JAMAICA

Talk by Dr Stephen Mullen from the University of Glasgow, who explained how the digitised Stirling of Keir archives help tell the story of a Scottish plantation owner in Jamaica.
The picture above is Ham(p)den House which was one of the estates of the Stirling of Keir Family that functioned for over a century in Jamaica , the profits were mostly repatriated , or more accurately extracted , to Family and Investments in Scotland.

This article by Stephen Mullen gives a more detailed picture of the slow , onerous though vital task of piecing together Scotlands , often shameful , imperial past.

The video below features Stephen telling the story of Scotlands role , especially challenging the traditional narrative that the defeated Highlanders of Culloden were perpetual victims whereas they had a high proportion of slave owners in the Caribbean


Sunday, November 20, 2016

THE BROTHERS KARAMAZOV at the TRON GLASGOW

I was very intrigued how this seemingly unstageable production could possibly be put on.The Wilderness Of Tigers team put on a rehearsed reading for members of the public.
They treat the story as an intimate Family Drama , leaving off the grand themes , philosophical debates and analysis of the Slav spiritual celestial identity vis-a-vis the material imperial world.So we do not see The Grand Inquisitor , The high debates of the High Priesthood or The Parable of the Onion , which is a wise choice as far as a continuous stageable coherent flow for the audience is concerned.

 The whole production was like a mixture of Frasier , Taggart and Still Game all rolled into one , this may seem an insult for a production based on a Dostoyevsky classic but is really a compliment in how they bring the stripped-bare Karamazov Family Drama to life in an engaging way for a local audience.

This so-called rehearsed reading contained a bristling passion from the cast you would only expect to witness in the most gripping setting of the opening night of a polished full production.The cast seem to really believe in the work and it shows in the gripping way they hold the rapt attention of the audience.


Monday, November 14, 2016

DIARY OF A JAMAICAN SLAVEMASTER IN THE EIGHTEENTH CENTURY by TOM DEVINE



This lecture was based on the 14,000 page diary of an overseer and then plantation owner in western Jamaica. Compiled from 1750 to 1786, it is regarded as one of the most important documents depicting the brutal realities of the lives of black slaves in the Caribbean. The content ranges in remarkable detail across work, health, death, slave rebellion, sex and punishment as well as many other issues.

It is a fact that the slavemaster Thomas Thistlewood regarded himself , and was regarded as a dedicated and valid member of the Enlightenment without question by his peers even though he treated the slaves under his control as little more than labouring , exploitable commodities.

In this video Tom discusses Scotlands historical perceptions in the creation of Empire and its functioning.

Sunday, October 23, 2016

THE CHEVIOT THE STAG AND THE BLACK BLACK OIL

According to the Citizens Theatre website "The highly acclaimed production tells the history and the tragedy of Scotland, performed as a Highland ceilidh. Song, humour and drama are intermixed creating a unique theatrical event that remains as vital and relevant today as it was when 7:84 Scotland first presented it, over 40 years ago.
This extraordinary play looks at the exploitation and economic changes in the Scottish Highlands throughout history. Ruthless evictions of 18th-century Highland crofters in favour of the more economically-viable Cheviot sheep give way to the development of stag hunts in game parks in the 19th century, while the 20th century brings the exploitation of resources during the North Sea oil boom of the 1970s."

The play was first performed to an audience that was the baby boomers of the generation of the late 50s parents who , according to the Historian Tom Devine formed "the high noon of conservative unionism" of the 1957 general election when the Tories were the party of choice for a Scottish electorate believing in Britain , The Establishment and adopting a patriotic servile attitude to their "betters". This does make the dialogue and commentary of the play appear to be a little "spelled-out" and unnecessarily preachy to todays audience that responds more to subtle , implicit messages.

This review from The Herald gives a timely appraisal of what is still a very powerful and forceful piece of theatre rightly regarded as one of the most important plays in Scottish Theatre History

"In a show that, with its frequent audience engagement, puts collective action at its heart, it makes plain perhaps more than ever before that the common people have to claim the power back. In terms of updates, there is a brief Donald Trump pastiche, but really there is little need. In a week where oil is back on the agenda, while a headline on a BBC website spoke of the Highland Clearances as "progress", such a piece of serious fun is a necessary pleasure"
 You can see the play in this brilliant broadcast by BBC Alba

Friday, August 26, 2016

MARK THOMAS at EDINBURGH FRINGE

Mark Thomas manages to get a unique balance between sentimentality and sincerity , made me blub a couple of times.

This preview from a Yorkshire paper records the history of the project in the first venue he performed as a budding student comedian and his political journey thereafter.


 This review from the Scotsman captures the show and its mesmeric effect on the audience


For the most part, though, it’s just Mark Thomas, the audience, and the art that conceals art, as he tells his beautifully-paced and structured story of a quest to find a valued part of his own past that he is afraid he may just have invented, or mythologised. His point is that narrative is power; and that if there is to be any chance of fighting back against the dominant right-wing narratives of our time, then the stories told in the cause of a more humane and sustainable future had better be true. In what’s often called a “post-truth” culture, it’s an unfashionable view; but it gives Mark Thomas’s show a weight, a structural strength, and a passionate humanity that surpasses most other work on the Fringe by a long Yorkshire mile, and has many members of the audience wiping away tears, as the story finally reaches journey’s end.

Read more at: http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-mark-thomas-the-red-shed-1-4204269
 In this video Mark Thomas gives his take on the Artists For Palestine UK display advertising the arrest of Palestinian Poet Dareen Tatour for writing a Poem against the ills of the Occupation and Settler Colonialism.


For the most part, though, it’s just Mark Thomas, the audience, and the art that conceals art, as he tells his beautifully-paced and structured story of a quest to find a valued part of his own past that he is afraid he may just have invented, or mythologised. His point is that narrative is power; and that if there is to be any chance of fighting back against the dominant right-wing narratives of our time, then the stories told in the cause of a more humane and sustainable future had better be true. In what’s often called a “post-truth” culture, it’s an unfashionable view; but it gives Mark Thomas’s show a weight, a structural strength, and a passionate humanity that surpasses most other work on the Fringe by a long Yorkshire mile, and has many members of the audience wiping away tears, as the story finally reaches journey’s end.

Read more at: http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-mark-thomas-the-red-shed-1-4204269
For the most part, though, it’s just Mark Thomas, the audience, and the art that conceals art, as he tells his beautifully-paced and structured story of a quest to find a valued part of his own past that he is afraid he may just have invented, or mythologised. His point is that narrative is power; and that if there is to be any chance of fighting back against the dominant right-wing narratives of our time, then the stories told in the cause of a more humane and sustainable future had better be true. In what’s often called a “post-truth” culture, it’s an unfashionable view; but it gives Mark Thomas’s show a weight, a structural strength, and a passionate humanity that surpasses most other work on the Fringe by a long Yorkshire mile, and has many members of the audience wiping away tears, as the story finally reaches journey’s end.

Read more at: http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-mark-thomas-the-red-shed-1-4204269
For the most part, though, it’s just Mark Thomas, the audience, and the art that conceals art, as he tells his beautifully-paced and structured story of a quest to find a valued part of his own past that he is afraid he may just have invented, or mythologised. His point is that narrative is power; and that if there is to be any chance of fighting back against the dominant right-wing narratives of our time, then the stories told in the cause of a more humane and sustainable future had better be true. In what’s often called a “post-truth” culture, it’s an unfashionable view; but it gives Mark Thomas’s show a weight, a structural strength, and a passionate humanity that surpasses most other work on the Fringe by a long Yorkshire mile, and has many members of the audience wiping away tears, as the story finally reaches journey’s end.

Read more at: http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-mark-thomas-the-red-shed-1-4204269

For the most part, though, it’s just Mark Thomas, the audience, and the art that conceals art, as he tells his beautifully-paced and structured story of a quest to find a valued part of his own past that he is afraid he may just have invented, or mythologised. His point is that narrative is power; and that if there is to be any chance of fighting back against the dominant right-wing narratives of our time, then the stories told in the cause of a more humane and sustainable future had better be true. In what’s often called a “post-truth” culture, it’s an unfashionable view; but it gives Mark Thomas’s show a weight, a structural strength, and a passionate humanity that surpasses most other work on the Fringe by a long Yorkshire mile, and has many members of the audience wiping away tears, as the story finally reaches journey’s end.

Read more at: http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-mark-thomas-the-red-shed-1-4204269


Alexei Sayle, Dave Allen and the Yorkshire playwright Trevor Griffiths were early influences on his political consciousness and his desire to entertain. “I saw the play Comedians by Trevor Griffiths on TV in which he discusses working class life and working class politics. I thought he was an absolute genius, and it was a sketch by Dave Allen that my dad used to explain to me how apartheid works. I declared myself an atheist at 12, an anarchist at 16 and a Marxist at 18, I spent a year as a Trotskyist and then went back to being a Marxist again. I’ve always been an atheist though.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110


“I’m really proud of some of the things we achieved. We forced Nestlé to change their packaging on baby milk and exposed Labour politician Michael Meacher who was a buy-to-let landlord. In one episode we descended on Sellafield and set up our own exhibition in the visitor centre to highlight the fact that the local seagull droppings contained radioactive isotopes that could only have come from the nuclear power station. They were forced to admit liability and it cost them £1m to clean up their act.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110
“I’m really proud of some of the things we achieved. We forced Nestlé to change their packaging on baby milk and exposed Labour politician Michael Meacher who was a buy-to-let landlord. In one episode we descended on Sellafield and set up our own exhibition in the visitor centre to highlight the fact that the local seagull droppings contained radioactive isotopes that could only have come from the nuclear power station. They were forced to admit liability and it cost them £1m to clean up their act.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110
“I’m really proud of some of the things we achieved. We forced Nestlé to change their packaging on baby milk and exposed Labour politician Michael Meacher who was a buy-to-let landlord. In one episode we descended on Sellafield and set up our own exhibition in the visitor centre to highlight the fact that the local seagull droppings contained radioactive isotopes that could only have come from the nuclear power station. They were forced to admit liability and it cost them £1m to clean up their act.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110

“I’m really proud of some of the things we achieved. We forced Nestlé to change their packaging on baby milk and exposed Labour politician Michael Meacher who was a buy-to-let landlord. In one episode we descended on Sellafield and set up our own exhibition in the visitor centre to highlight the fact that the local seagull droppings contained radioactive isotopes that could only have come from the nuclear power station. They were forced to admit liability and it cost them £1m to clean up their act.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110
“I’m really proud of some of the things we achieved. We forced Nestlé to change their packaging on baby milk and exposed Labour politician Michael Meacher who was a buy-to-let landlord. In one episode we descended on Sellafield and set up our own exhibition in the visitor centre to highlight the fact that the local seagull droppings contained radioactive isotopes that could only have come from the nuclear power station. They were forced to admit liability and it cost them £1m to clean up their act.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110
“I’m really proud of some of the things we achieved. We forced Nestlé to change their packaging on baby milk and exposed Labour politician Michael Meacher who was a buy-to-let landlord. In one episode we descended on Sellafield and set up our own exhibition in the visitor centre to highlight the fact that the local seagull droppings contained radioactive isotopes that could only have come from the nuclear power station. They were forced to admit liability and it cost them £1m to clean up their act.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110
“I’m really proud of some of the things we achieved. We forced Nestlé to change their packaging on baby milk and exposed Labour politician Michael Meacher who was a buy-to-let landlord. In one episode we descended on Sellafield and set up our own exhibition in the visitor centre to highlight the fact that the local seagull droppings contained radioactive isotopes that could only have come from the nuclear power station. They were forced to admit liability and it cost them £1m to clean up their act.”

Read more at: http://www.yorkshirepost.co.uk/news/comedian-mark-thomas-on-how-a-yorkshire-shed-gave-him-his-big-break-1-7719110

Saturday, June 11, 2016

NEIL YOUNG at the HYDRO GLASGOW

If you like guitars then you were not short-changed.

This review from The Herald captures the mood well , with fans in the comments section saying this was Neil Young at his very best.

The Guardian was full of high praise
"Enjoyment of the show’s final act is substantially contingent on an appreciation of protracted instrumentals, but whether you’re a fan of long-form cosmic gnarl or not, you’ve got to agree that nobody does it quite like Young. Come a 15-minute Love and Only Love he’s lost in his own fretboard in front of 13,000 people, deafeningly coaxing out the final chord longer than entire songs had lasted in the show’s opening phase. After that it’s approving dad hugs all round for the band, and a short time later, a curfew-busting encore of Fuckin’ Up – a tractor-strength reminder why every generation that values howling riffs and angry dissent will find inspiration in Young’s evergreen natural anthems."
The songs ive picked are because the recordings were taken from very near where i was.
After The Garden:


Fuckin Up:

Down By The River: