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Tuesday 16 March 2010
Laughter is never very far from Jo Clifford’s lips these days.
Historically, the BBC SSO’s Hear and Now series is the most formidable, if not forbidding, strand in the SSO’s concert season.
The old gag about a drummer being someone who hangs around with musicians was unceremoniously crushed here.
Homegame, Various Venues, Anstruther, East Neuk of Fife
On Wednesday morning, Edinburgh International Festival director Jonathan Mills will unveil his programme for 2010.
A high-scoring rendition of an Oliver!
Television presenters Kirstie Allsopp and Phil Spencer have stepped away from the company that discovered them to create their own Glasgow-based independent production company to produce new reality shows.
In the reception of BBC Scotland’s headquarters in Pacific Quay, Glasgow, two men are sitting nervously on a crescent-shaped sofa.
As anyone who has hyperventilated their way through a Bourne movie knows, Matt Damon and director Paul Greengrass have impeccable timing.
When he comes to write his memoirs, there is one unfortunate episode comic book writer Mark Millar will almost certainly omit.
Her name is Fiona Baxter.
Who knows how it happened, but the position of astronomer has become thoroughly tangled with that of the venerable institution of the “British eccentric”.
Almost unremittingly difficult to watch, this latest piece from the Bafta-winning True Vision stable of documentaries is a worthwhile examination of a conflict that is often more known than it is seen.
During Neeme Jarvi’s recent return visit to the RSNO, the concert he gave in Glasgow featured something striking: a rivetingly detailed performance of Sibelius’s suite drawn from the incidental music the Finnish composer wrote for a staging of Maeterlink’s symbolist play Pelleas et Melisande.
Berkeley rehearsal studios, now based on the Broomielaw, are something of a Glasgow institution.
Most bands, when they play a festival, use it as an excuse to trot out a greatest hits set, hoping to please most of the people most of the time.
Entering the O2 Academy when the venue is hosting an evening of pop-punk is akin to gatecrashing a slumber party.
Trombones are evil, trumpets are bad and even triangles are a bit naughty.
When stars issue riders – contractual demands that must be met or else – they tend towards the “bouquets of white lilies in the dressing room” or “no-one can look at me, speak to me or touch me” commands that make for an awkward tyranny back stage.
Something intriguing has been going on in the north.
The Arches are on-site again, in time for Nikki Milican’s New Territories season with National Review of Live Art 30 (from Wednesday), preceded last week by what felt like a prologue: Into the New, where current graduating students from the RSAMD’s Contemporary Performance Practice course showed their own devised work.
This month a new edition of Stephen Vizinczey’s erotic novel In Praise Of Older Women was published as a Penguin Modern Classic.
Sara Paretsky is discussing the man who used to be her state Senator.
‘Why do you keep saying that?” As we near the end of our conversation Hanif Kureishi, novelist, screenwriter, one-time (and one time only) film director (of the little-loved, little-seen London Kills Me in 1991), father, son, former wild boy, seems to be annoyed that I’ve mentioned his age again.
Much harder-hitting and more factually-based than Natasha Walter’s Living Dolls, Barnyard’s blow for feminism is aimed at those who comfortably assert that women have achieved all they need to.
Mercurio’s version of the Kennedy marriage is told in a non-fiction style, referring to the legendary womanising leader of the United States as “the president” or “the subject” throughout.
“It’s an old human habit, genocide is,” writes the 1997 winner of the Booker Prize for the novel The God Of Small Things, in this volume of essays stretching from 2002 to 2008.
Age may have matured him, but his youthful appetite for mischief and the macabre has not deserted Ian McEwan.
What could have been a mess of a book, with poems, snatches of prose and very short stories piled in together, works well in a truly experimental fashion, mainly because of Murray’s control of his work, his ear for language and his fondness for the more surreal aspects of Hebridean life.
The subtitle of this comic-but-serious tale is “Twenty Years, Two People”: Dexter Mayhew and Emma Morley are two graduates at Edinburgh University in the late 1980s who spend a night together.
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