{"JP":[ {"NewsSection":{"name":"whatson","detaillevel":"full", "Articles": {"count":25,"detaillevel":"full","articlesList":[ {"article": { "url":"http://www.scotsman.com/news/fire-festival-under-threat-from-strict-regulations-1-4401800","id":"1.4401800","articleHeadline": "Fire festival under threat from strict regulations","commentCount":0,"publishedDate":1490278380000 ,"articleLead": "

A PAGAN fire festival is threatened by new proposals around public gatherings in the Capital, organisers say.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4401797.1490278374!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Copyright Dan Mosley for Beltane Fire Society"} ,"articleBody": "

The free Samhuinn show, held every Halloween on the Royal Mile, is thought to be at risk from city council plans outlining no music after 6pm and no moving processions.

Yet the council have assured the consultation they launched is to clarify existing rules rather than any new crackdown.

Samhuinn organisers The Beltane Fire Society are now urging people to back their event in feedback to the council before the end of the month.

“We fully understand the council needs to do everything it can to make sure local residents and businesses aren’t unduly inconvenienced by activity in the city centre,” said Beltane Fire Society chair Erin MacDonald.

“We support that and have a positive relationship with the council but it’s about striking a balance with maintaining our cultural heritage.”

Ms Macdonald said a ban on music after 6pm posed particular problems for fire festivals.

“We’re used to adhering to strict regulations,” she said. “But the thing about fire festivals is they have to have drums and have to be at night.”

The need to give 12 weeks’ notice for events, meanwhile, risked favouring big corporates with better planning resources over community groups, she added.

“We fundamentally believe the proposals in their current form are inconsistent with freedom to assemble in Edinburgh,” said Ms Macdonald.

“Community events need to be protected and maintained on the Royal Mile because otherwise you’re saying it’s only for corporate or military events.

“That it’s only for tourists and for people with money - and that would be a huge shame.”

Ms MacDonald said it would be “insufficient” for the council to provide Samhuinn special dispensation as a long-standing event, while other community events are affected.

She said the Help Save Samhuinn campaign has already attracted support on social media in the first 24 hours since launch.

“We want to translate that into the people of Edinburgh stepping up to protect our cultural heritage. We want to keep Edinburgh for the people of Edinburgh,” added Ms MacDonald.


200 Voices: find out more about the people who have shaped Scotland

" ,"byline": {"email": "" ,"author": "ANDY SHIPLEY"} ,"topImages": [ {"image": {"url":"/webimage/1.4401797.1490278374!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401797.1490278374!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Copyright Dan Mosley for Beltane Fire Society","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Copyright Dan Mosley for Beltane Fire Society","landscapeurl":"/webimage/1.4401797.1490278374!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4401798.1490278375!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401798.1490278375!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Copyright Dan Mosley for Beltane Fire Society","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Copyright Dan Mosley for Beltane Fire Society","landscapeurl":"/webimage/1.4401798.1490278375!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4401799.1490278376!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401799.1490278376!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Copyright Dan Mosley for Beltane Fire Society","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Copyright Dan Mosley for Beltane Fire Society","landscapeurl":"/webimage/1.4401799.1490278376!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/avengers-stars-show-off-stunts-on-cockburn-street-1-4401708","id":"1.4401708","articleHeadline": "Avengers stars show off stunts on Cockburn Street","commentCount":0,"publishedDate":1490274611000 ,"articleLead": "

PICTURES from on location filming of the new Avengers movie in Edinburgh show a stuntwoman flying through the air and into a shop window.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4401704.1490274601!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Filming for the new Avengers film is underway in Cockburn Street Edinburgh. Picture: W Marr/Deadline News"} ,"articleBody": "

The photos from the set of the £400m blockbuster show Scarlet Witch with a long cable attached to her back.

The sequence shows the stuntwoman, standing in for actress Elizabeth Olsen, as she is pulled off her feet high into the air and backwards, crashing into a shopfront in the city’s Cockburn Street.

Another sequence of photos shows one of the main characters, believed to be the actor Paul Bettany, who plays superhero Vision.

The red-coloured alien is be seen hiding under an umbrella wearing a jacket, as he is being escorted and directed by people around him.

Under the working title Mary Lou, the new Avengers movie is being filmed on different locations around the capital including Cockburn Street and Waverely Station.

Shop signs are being removed and painted in Cockburn Street and a huge crane is being used as a platform for cameras to shoot from the air.

The street is shut until 28 March and locals have been warned about the use of drone cameras and that “small explosions” will take place on April 2 and April 6.

The huge action flick features an A-list cast including Robert Downey Jr (Iron Man), Chris Pratt (Star-Lord) and Scarlett Johansson (Black Widow).


200 Voices: find out more about the people who have shaped Scotland

" ,"byline": {"email": "" ,"author": "RUSSELL JACKSON"} ,"topImages": [ {"image": {"url":"/webimage/1.4401704.1490274601!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401704.1490274601!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Filming for the new Avengers film is underway in Cockburn Street Edinburgh. Picture: W Marr/Deadline News","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Filming for the new Avengers film is underway in Cockburn Street Edinburgh. Picture: W Marr/Deadline News","landscapeurl":"/webimage/1.4401704.1490274601!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4401705.1490274603!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401705.1490274603!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Wullie Marr/Deadline News","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Wullie Marr/Deadline News","landscapeurl":"/webimage/1.4401705.1490274603!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4401706.1490274605!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401706.1490274605!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Wullie Marr/Deadline News","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Wullie Marr/Deadline News","landscapeurl":"/webimage/1.4401706.1490274605!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4401707.1490274608!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401707.1490274608!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Wullie Marr/Deadline News","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Wullie Marr/Deadline News","landscapeurl":"/webimage/1.4401707.1490274608!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/film/film-reviews-the-lost-city-of-z-mad-to-be-normal-all-this-panic-age-of-shadows-eyes-of-my-mother-1-4400819","id":"1.4400819","articleHeadline": "Film reviews: The Lost City of Z | Mad To Be Normal | All This Panic | Age of Shadows | Eyes of My Mother","commentCount":0,"publishedDate":1490263200000 ,"articleLead": "

James Gray avoids many of the genre clichés in his biopic of a doomed explorer in The Lost City of Z, while All This Panic sweetly charts the growing pains of a group of Brooklyn girls

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4400818.1490265005!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Charlie Hunnam as Percival Fawcett in The Lost City of Z"} ,"articleBody": "

The Lost City of Z (15) ****

Mad To Be Normal (15) **

All This Panic (15) ****

Age of Shadows (15) ****

Eyes of My Mother (15) ***

As a director, James Gray is best known for making studiously crafted New York crime dramas that hark back to the 1970s in their mood if not their settings. For his latest film, The Lost City of Z, he’s stepped out of that comfort zone to apply his classical sensibility to the story of Percy Fawcett, an early 20th Century British explorer who disappeared without trace in the Amazon while searching for evidence that the indigenous peoples of the Americas were as socially advanced as their British and European counterparts.

Starring Charlie Hunnam as Fawcett, the film spans 20 years in his life and covers the three major expeditions he undertook to the Amazon, but it also dedicates a lot of time to his domestic situation, and particularly his relationship with his proto-feminist wife Nina (Sienna Miller), whose strong presence in the film highlights the short shrift women usually get in such tales.

Gray’s approach is fascinating, too, in the subtle way his use of old-school film grammar comments upon cinema’s historically problematic approach to colonialism: in taking care not to exoticise the landscape or the indigenous people who live there (certainly not in the way a movie like this might once have done), the film reinforces Fawcett’s own, more enlightened, world view.

The downside for some will be the way this approach slows the movie down. But while it’s not a virtuosic piece of revisionist cinema in the manner of The Revenant, there’s real artistry on screen and a lot to unpack thematically, something actually aided by the pacing, which gives Gray and his cast – which includes Robert Pattinson as Fawcett’s regular companion and Tom Holland as his grown-up son – the time to create fully rounded characters. Hunnam in particular has never been this good on the big screen. Despite his matinee idol good looks he convincingly plays Fawcett as a flawed man driven at first by his lack of social mobility, but eventually by his hardening antipathy towards a society that seeks to rank and undermine anyone it doesn’t understand.

David Tennant’s curious inability land films that match the prestige of his television and theatre work continues with RD Laing biopic Mad to be Normal. Cast as the controversial Scottish psychotherapist whose establishment-challenging treatment of mental illness made him a counter-culture celebrity in the 1960s, this may be a dream role (Tennant certainly gives it his all), but the film around him just isn’t very good. Picking up his story after finding fame with the publication of his landmark book The Divided Self, the film proceeds to explore whether Laing’s dedication to the patients he lived amongst at his Kingsley Hall clinic in London was born out of a desire to fix himself or his charges. What emerges is a rather dreary portrait of a contradictory maverick whose advocacy of compassion didn’t extend to his own estranged children.

Writer/director Robert Mullan plays fast and loose with the truth in some major ways, mostly in failed bids to give the rather shapeless story some emotional heft. Similarly Elisabeth Moss – cast as a student admirer turned girlfriend – feels like more of an emotive narrative; her potential victim status amid the (at one-point literal) moon-howlers dubiously exploited for dramatic tension. Gabriel Byrne and Michael Gambon provide starry support, but the TV movie scope ensures most of the subplots fall by the wayside, much like the film itself, which ends unexpectedly and unsatisfactorily in the middle of a scene.

Following a group of teenage girls in Brooklyn over a three-year period, All This Panic offers a wonderfully witty and wise documentary portrait of its subjects as they reckon with the intense transition from life in their mid-teens to life as legal adults. Shot in artful close-ups by photographer-turned-director Jenny Gage, what’s remarkable here is how raw and vulnerable and funny and honest the girls are – and how much empathy the film generates for them as they grapple with various issues related to their sexuality, their families and their futures. It never feels exploitative, just nurturing. By the end you’ll just want to give them a big hug and tell them things are going to be alright.

Director Kim Jee-woon is known as a bit of a genre-hopper in his native South Korea, turning his hand to horror (A Tale of Two Sisters), gangster films (A Bittersweet Life) and even westerns (The Good, The Bad and the Weird). Now he’s returned with Age of Shadows, a period espionage drama set during the Japanese occupation of Korea in the 1920s. Revolving around a morally conflicted police captain (Song Kang-ho) charged with infiltrating the Korean resistance, the convoluted story takes a while to get to grips with, but once the beautifully orchestrated action kicks in, it’s frequently dazzling – and fairly extreme.

There’s more extremity in art-horror movie The Eyes of My Mother, a twisted portrait of a 1950s American family gone very wrong. Shot in stark black-and-white, debut director Nicholas Pesce’s sick little flick follows Francesca (Kika Magalhaes), a lonely woman whose emotional life has been stunted by childhood encounters with rogue surgical procedures, a serial killer and an uncommunicative father. Zeroing in on her misguided efforts to re-engage with the outside world, the proceeding film doesn’t hang together in entirely satisfying ways, but its odd camera angles, minimal dialogue and gory compositions do build towards a chilly exploration of the detrimental effects of isolationism that feels strangely timely.

" ,"byline": {"email": "" ,"author": "Alistair Harkness"} ,"topImages": [ {"image": {"url":"/webimage/1.4400818.1490265005!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4400818.1490265005!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Charlie Hunnam as Percival Fawcett in The Lost City of Z","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Charlie Hunnam as Percival Fawcett in The Lost City of Z","landscapeurl":"/webimage/1.4400818.1490265005!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/art/syrian-refugee-donates-paintings-in-aid-of-edinburgh-art-school-1-4401101","id":"1.4401101","articleHeadline": "Syrian refugee donates paintings in aid of Edinburgh art school","commentCount":0,"publishedDate":1490229734000 ,"articleLead": "

He was one of the first Syrians to arrive in Scotland in 2015 as refugees fled the war-torn country.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4401100.1490229729!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Artist Nihad al Turk gives paintings to Leith School of Art charity auction."} ,"articleBody": "

Now an artist who has carved out a career in Edinburgh since fleeing Aleppo is to donate some of his work to a charity auction.

Three paintings by Nihad Al Turk will be part of a benefit at the Lyon & Turnbull auction house in the city’s New Town on Friday night.

He has agreed to donate them to the sale, all proceeds from which will go towards Leith School of Art, as a “thank you” for the welcome he has had since he arrived in the city with his wife Sawsan and their young daughter, Sara.

The 45-year-old, who was offered studio space at the art school shortly after arriving in Edinburgh, has also revealed plans to create a 75-metre long mural of his adopted city.

His paintings will be going under the hammer alongside work donated by leading Scottish artists like Toby Paterson and Calum Innes.

More than 3,000 students attend classes every week at Leith School of Art, which was set up in 1988 by two art teachers in an old Norwegian church to provide an alternative to the major art institutions.

Al Turk, who has previously served time in a military jail for his opposition to the Syrian regime. is an award-winning artist who has staged exhibitions in Damascus, Beirut and Dubai, and has also had his work shown in New York.

However, all of his previous work was lost when he was forced to uproot his family from Syria for their own safety. They fled from Aleppo to Beirut before eventually being brought to safety in Edinburgh.

His work, which is influenced by literature and philosophy, is described as multi-layered compositions which explore “the endurance of man amidst the power struggles of good and evil”.

Al Turk, who taught himself to paint,s said: “I worked hard for many years to build my career as an artist at home. But the war meant all that was lost and it became too dangerous to stay there.

“But I am determined not to surrender. I managed to bring some art materials with me to Scotland and within four days I started work again. My aim now is to start all over again and build my reputation in this new country that has been so kind to us.

“We have been made so welcome in Edinburgh, and the support I have had from Leith School of Art has been wonderful. I wanted to say ‘thank you’ to everyone, and the best way I can do that is through my art.”

Phil Archer, principal of Leith School of Art, said: “The generosity of all the artists contributing to the auction has been tremendous.

“It is particularly inspiring that Nihad, who arrived with almost nothing, is helping support our charitable work. We were introduced when he first arrived in 2015 and I have been impressed by his talent and determination to build his career in a new land thousands of miles from the home he was forced to flee.

“The auction will raise funds to support the school’s central aim to create a nurturing, supportive art school community with a strong tradition of passionate and quality teaching.”

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4401100.1490229729!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4401100.1490229729!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Artist Nihad al Turk gives paintings to Leith School of Art charity auction.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Artist Nihad al Turk gives paintings to Leith School of Art charity auction.","landscapeurl":"/webimage/1.4401100.1490229729!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/film/t2-trainspotting-sets-and-props-up-for-charity-auction-1-4400871","id":"1.4400871","articleHeadline": "T2 Trainspotting sets and props up for charity auction","commentCount":0,"publishedDate":1490201469000 ,"articleLead": "

It’s a unique opportunity to own a part of one of the biggest films ever produced in Scotland.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4400868.1490201461!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Davie Bain, director of Calton Athletic, in Renton's bedroom. More than 300 items from T2 Trainspotting will go under the hammer to raise money for two charities, including Calton. Picture: John Devlin/TSPL"} ,"articleBody": "

More than 300 props from T2 Trainspotting will be auctioned off on Saturday to raise money for two charities with close links to the blockbuster production.

Items going under the hammer range from the iconic railway engine wallpaper in Renton’s bedroom to the interior of Sick Boy’s pub, the Port Sunshine.

There’s also a variety of Hibernian memorabilia belonging to the characters, including a picture of George Best during his spell at Easter Road, and a souvenir poster issued by the Evening News to commemorate the club’s 1972 League Cup triumph.

Everything in the auction was featured in the long-awaited sequel to Trainspotting. The film, directed by Danny Boyle, was released in January to critical acclaim and reunited the stars of the original film such as Ewan McGregor, Jonny Lee Miller, Ewen Bremner and Robert Carlyle.

Proceeds from the event at Mulberry Bank Auctions in Glasgow will be split between The Junction, a Leith-based charity which works with vulnerable young people, and Calton Athletic, a Glasgow-based organisation which supports the recovery of drug addicts.

None of the items have a reserve price - meaning lucky fans could snap up a piece of cinematic history for just a few pounds.

“We’ve had interest from around the world,” said Kirsty Harris, director of Mulberry Bank Auctions, based at Hillington industrial estate in the south-west of the city. “All the items can be viewed and bid for online.

“To my knowledge, there has never been an auction like this in Scotland before. It’s very exciting.

“You might get the odd item from a film that comes up at auction - but not a full range like this, including complete sets.”

Irvine Welsh, the author whose works inspired the film, said: “The Trainspotting films have embedded themselves as integral to modern Scottish culture and UK cinematic history.

“This memorabilia sale gives people the chance to literally own part of those iconic movies, while helping out great charities that provide assistance and empowerment to the young, vulnerable and disadvantaged people.

“Get a piece of this action.”

Welsh is patron of The Junction, the Leith-based organisation which will benefit from the sale.

Founder Sam Anderson said it was a huge gesture of support.

“Irvine is very supportive of us and Leith in general,” she said. “We work with a lot of young people who are the children of the Trainspotting generation.”

Davie Main, director of Calton Athletic, was an extra in both Trainspotting films. His charity helps individuals to overcome their drug addictions via mentoring and outdoor activities.

“The makers of Trainspotting have kept in touch with us over the last 20 years,” he said. “Their support has helped save hundreds of lives.

“We heard shortly after the T2 premiere there would be an auction of the props, and we were asked if we would like to share the proceeds with The Junction.

“It’s an invaluable gift for us. We don’t have self-generated funds, we don’t get government funding. We rely on support from businesses and incredible gestures like this.”

" ,"byline": {"email": "" ,"author": "CHRIS McCALL"} ,"topImages": [ {"image": {"url":"/webimage/1.4400868.1490201461!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4400868.1490201461!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Davie Bain, director of Calton Athletic, in Renton's bedroom. More than 300 items from T2 Trainspotting will go under the hammer to raise money for two charities, including Calton. Picture: John Devlin/TSPL","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Davie Bain, director of Calton Athletic, in Renton's bedroom. More than 300 items from T2 Trainspotting will go under the hammer to raise money for two charities, including Calton. Picture: John Devlin/TSPL","landscapeurl":"/webimage/1.4400868.1490201461!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4400869.1490201463!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4400869.1490201463!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The horseshoe bar from Sick Boy's pub, the Port Sunshine, is among the larger items up for auction. Picture: John Devlin/TSPL","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The horseshoe bar from Sick Boy's pub, the Port Sunshine, is among the larger items up for auction. Picture: John Devlin/TSPL","landscapeurl":"/webimage/1.4400869.1490201463!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4400870.1490201466!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4400870.1490201466!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Several Hibs match tickets are among the smaller items up for sale. Picture: John Devlin/TSPL","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Several Hibs match tickets are among the smaller items up for sale. Picture: John Devlin/TSPL","landscapeurl":"/webimage/1.4400870.1490201466!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/edinburgh-festivals/new-meccano-style-venue-created-for-edinburgh-fringe-1-4400750","id":"1.4400750","articleHeadline": "New Meccano-style venue created for Edinburgh Fringe","commentCount":0,"publishedDate":1490197237569 ,"articleLead": "

A new “flat-pack” pop-up theatre venue is to make its debut at the Edinburgh Festival Fringe this summer.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4400749.1490197306!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The new pop-up Fringe venue will be unveiled at the Pleasance this summer."} ,"articleBody": "

A new “flat-pack” pop-up theatre venue is to make its debut at the Edinburgh Festival Fringe this summer.

The Pleasance Theatre Trust has bought the new “Meccano-style” venue for its main courtyard site in the south side of the city.

It has joined forces with a leading theatre design firm, Triple E, to create the bespoke new venue, Project 33.

It will host up to eight shows a day in Edinburgh in August after being showcased for the first time at the Association of British Theatre Technicians trade fair in June.

The venue, which will be built up to a height of 14 ft, will also be used as a new rehearsal and performance space by the Pleasance at its base in London.

The new Pleasance venue has been announced 11 years after another promoter, Underbelly, created a venue shaped like an upside-down purple cow for the Fringe. It has returned every year since and has also hosted shows for Underbelly in London and Hong Kong.

Anthony Alderson, director of the Pleasance Theatre Trust, said: “For 33 years, we’ve crammed the most fun we could find into the maximum number of spaces.

“This year we’ve taken a plunge and invested in a brand new, state of the art modular theatre designed specifically for the courtyard venue and which we think provides really exciting opportunities for the work of the Pleasance Theatre Trust both in Edinburgh in August and in other places throughout the year.

“Eight shows each and every day will have a bigger and better space than we could previously offer them, and audiences will have a chance to experience not only the bright minds on stage but the bright minds that conjured up this modular theatre.

“The design and its possibilities are very exciting and will give us opportunities to expand our thinking for the venue and for the Pleasance generally.”

David Edelstein, managing director at Triple E, said: “The history of the Pleasance is all about making the most out of found spaces and exploiting available sites for performance with the tightest of budgets.

“The Pleasance has never commissioned a bespoke venue before, but Anthony Alderson was immediately enthusiastic when I explained Project 33, which we will build and hand over at the ABTT show.”

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4400749.1490197306!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4400749.1490197306!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The new pop-up Fringe venue will be unveiled at the Pleasance this summer.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The new pop-up Fringe venue will be unveiled at the Pleasance this summer.","landscapeurl":"/webimage/1.4400749.1490197306!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/every-major-tv-show-of-2017-and-when-they-re-on-1-4369001","id":"1.4369001","articleHeadline": "Every major TV show of 2017 - and when they’re on","commentCount":0,"publishedDate":1490187235000 ,"articleLead": "

There’s more choice than ever on TV, thanks to the rise of Netflix, Amazon Prime and other streaming platforms.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4360473.1490187232!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The 'Droughlander' is nearly over for fans of hit show Outlander. Picture: Starz"} ,"articleBody": "

200 Voices: find out more about the people who have shaped Scotland

To help you plan your viewing, we’ve put together a list of the most anticipated shows of 2017, which we’ll update as we know more.


Lena Dunham’s back for a final season of her ground-breaking comedy-drama about a group of young women in New York.

Start date: February 13

Where to watch: Sky Atlantic

READ MORE: Revealed: The ‘secret’ Netflix codes to unlock new shows and movies

Outlander (Season 3)

The time travelling romance set in Jacobean Scotland is set to return later this year.

Start Date: September

Where to Watch: Starz


Britain’s answer to The Man in the High Castle? This detective thriller set in a Nazi-controlled London could be another hit for the BBC.

Start date: February 19

Where to watch: BBC One

Billions (Season 2)

Starring Paul Giamatti and Damian Lewis, this drama revolves around New York’s ego-driven financial district, and returns for a highly anticipated second series.

Start date: February 21

Where to watch: Sky Atlantic

Inside No.9

The new black comedy from two of the makers of The League of Gentlemen, with a new story – and cast – every week.

Start date: February 21

Where to watch: BBC2


For the third and final series, that murder takes a back-seat as a fresh crime is committed – this time the rape of a middle-aged divorcee played by former Coronation Street actor Julie Hesmondhalgh.

Start date: February 27

Where to watch: ITV

Unbreakable Kimmy Schmidt (Season 3)

The Tiny Fey created sitcom returns for a third season, continuing the story of Schmidt’s adjustments to life in New York City.

Start date: March 6

Where to watch: Netflix

Love (Season 2)

Judd Apatow created rom-com series is a “down-to-earth look at dating”, and set to run for at least two more seasons.

Start date: March 10

Where to watch: Netflix

Iron Fist

The fourth in a series of Marvel adaptations from Netflix that will lead up to The Defenders crossover miniseries in mid-2017.

Start date: March 17

Where to watch: Netflix

Samurai Gourmet

Netflix’s first Japanese live action series, based on Masayuki Kusumi’s essay and the manga of the same title.

Start date: March 17

Where to watch: Netflix


This Spanish-language political drama stars Kate del Castillo as the President of Mexico’s wife.

Start date: March 24

Where to watch: Netflix

13 Reasons Why

The first two episodes of this Selena Gomez produced drama are being helmed by Spotlight’s Oscar-winning director Tom McCarthy.

Start date: March 31

Where to watch: Netflix

Big Little Lies

Nicole Kidman, Reese Witherspoon and Shailene Woodley all star as three mothers whose apparently perfect lives unravel to the point of murder.

Start date: March 2017

Where to watch: Sky Atlantic


This is a Charlize Theron produced, Britt Robertson starring drama based on Nasty Gal CEO Sophia Amoruso’s autobiography.

Start date: April 21

Where to watch: Netflix

Dear White People

TV series version of the 2014 film of the same name, which aims to satirise so-called “post-racial America”.

Start date: April 28

Where to watch: Netflix

Doctor Who

The legendary Time Lord returns to screens once more – confirmed as Peter Capaldi’s last outing as the Doctor.

Start date: April (TBC)

Where to watch: BBC1

Sense8 (Season 2)

The second season of the Wachowskis’ globe spanning science fiction looks to continue the mind-bending events.

Start date: May 5

Where to watch: Netflix


Historical drama based on the 1908 novel Anne of Green Gables by Lucy Maud Montgomery.

Start date: May 12

Where to watch: Netflix

I Love Dick

Comedy-drama based on the novel of the same name heralded as both “radical” and “gossipy” by critics, so hopefully the TV version will be equally boundary pushing.

Start date: May 12

Where to watch: Amazon Prime

Twin Peaks

The utterly unique, utterly weird David Lynch show returns after 27 years away, with most of the original cast intact.

Start date: May 22

Where to watch: Sky Atlantic

House of Cards (Season 5)

The show that started the binge-watching trend returns for its fifth season with Kevin Spacey as President Frank Underwood.

Start date: May 30

Where to watch: Netflix

Star Trek: Discovery

The brand new Star Trek TV show is heading to Netflix UK in May, after its American run on CBS.

Start date: May (TBC)

Where to watch: Netflix


Rob Delaney and Sharon Horgan’s hilarious marital sitcom returns for a third series.

Start date: Spring 2017 (TBC)

Where to watch: Channel 4

The Last Kingdom (Season 2)

The second series of the adaptation of Bernard Cornwell’s historical novels series The Saxon Stories is being co-produced by BBC America and Netflix Start date: Spring 2017 (TBC)

Where to watch: Netflix

Line of Duty

The hit crime thriller makes the jump from BB2 to BBC1 this year as Martin Compston and Vicky McClure return.

Start date: Spring 2017 (TBC)

Where to watch: BBC1


Ewan McGregor and Harry Potter’s David Thewlis join the already stellar cast of the US drama for its third instalment.

Start date: Spring 2017 (TBC)

Where to watch: Channel 4

Top of the Lake (Season 2)

Nicole Kidman joins the ranks for the crime-drama’s tense second series, as the action shifts from New Zealand to Sydney and Hong Kong.

Start date: Spring 2017 (TBC)

Where to watch: BBC2

Orange is the New Black (Season 5)

The fifth season of the women’s prison set comedy-drama is far from the last; OITNB has been renewed for a sixth and seventh run.

Start date: June 9

Where to watch: Netflix

Game of Thrones (Season 7)

The violent fantasy epic returns for its penultimate season, in a later summer slot than it is used to.

Start date: Summer 2017 (TBC)

Where to watch: Sky Atlantic

Poldark (Season 3)

Filming is well under way on the new series of the Aiden Turner starring period drama, and reports suggest the BBC may move its broadcast date forward to avoid clashing with another high-profile show.

Start date: Summer 2017 (TBC)

Where to watch: BBC1

Stranger Things (Season 2)

Netflix’s mysterious pop-culture smash returns to screens with a fitting Halloween start date.

Start date: October 31

Where to watch: Netflix

Cold Feet

The second series of the reboot that took most people by surprise last year should be with us by the end of 2017.

Start date: Autumn 2017 (TBC)

Where to watch: ITV

Victoria (Season 2)

ITV’s lavish period drama about Queen Victoria is set to return for a second season later in the year.

Start date: Autumn 2017 (TBC)

Where to watch: ITV

The Crown (Season 2)

The big-budget regal drama won acclaim when it debuted last year as Netflix’s most expensive original production to date, and it’s due to return later in the year.

Start date: November (TBC)

Where to watch: Netflix

This article first featured on our sister site.

" ,"byline": {"email": "" ,"author": "ALEX NELSON"} ,"topImages": [ {"image": {"url":"/webimage/1.4360473.1490187232!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4360473.1490187232!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The 'Droughlander' is nearly over for fans of hit show Outlander. Picture: Starz","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The 'Droughlander' is nearly over for fans of hit show Outlander. Picture: Starz","landscapeurl":"/webimage/1.4360473.1490187232!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/edinburgh-festivals/rent-hike-forces-fringe-music-venue-out-of-long-time-home-1-4399324","id":"1.4399324","articleHeadline": "Rent hike forces Fringe music venue out of long-time home","commentCount":0,"publishedDate":1490140800000 ,"articleLead": "

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4399323.1490136060!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Michael Marra is among dozens of musicians who have played to Acoustic Music Centre audiences. Picture: Rob McDougall"} ,"articleBody": "

One of the few dedicated live music venues at the Edinburgh Festival Fringe has been forced out of its long-time home, after council chiefs hiked up the cost of hiring it by more than five times.

Michael Marra, Dick Gaughan, Tam White, Bert Jansch, Rab Noakes, Roddy Woomble and Blue Rose Code are among the acts to have packed out the Acoustic Music Centre over the last 12 years. But its promoter has pulled the plug on shows at the St Brides’s Centre in protest at their treatment by the city council.

A scaled-back Fringe programme will now be going ahead at a Ukranian community centre in the city. It is understood the St Bride’s venue, close to Haymarket railway station, may now be “dark” for the summer festival period – in the year the Fringe celebrates its 70th anniversary.

The council has been accused of charging well over the odds for the use of the venue, just days after a senior councillor warned that the Fringe had “sold its soul” by becoming too corporate.

Gordon Munro said the festival had become too dominated by middle-class male comics, exploited by “Old Etonian” promoters and was in decline because the financial model operated by many Fringe promoters was broken.

The row over the Acoustic Music Centre has emerged weeks after it was revealed that the Famous Spiegeltent would not be at this year’s Fringe after its promoters were unable to find a suitable alternative in the city centre when it was ousted from St Andrew Square Garden and.

The demise of the 300-capacity Acoustic Music Centre also emerged days before a key city centre music venue owned by the city council closes its doors. Officials have agreed to let the Fruitmarket Gallery take over the site occupied by Electric Circus on Market Street for a multi-million-pound expansion, although work is not expected to get under way until 2019.

Acoustic Music Centre founder John Barrow, who has been promoting music in Edinburgh since the mid-1960s, accused the council of having “jacked up” the cost of hiring the St Bride’s Centre by treating it as a commercial operation rather than a Fringe venue.

Mr Barrow said: “We’ve effectively been kicked out because of the amount the council wanted to charge for the Fringe. When they told me what they wanted to charge I just said, ‘That’s it – I’m out of here.’ I was a bit worried at the time because I didn’t have any alternatives. I was very fortunate to find the Ukranian Community Centre.

“I’m really hacked off about it. St Bride’s is a lovely venue which provides a really good service for the local community. The council is now highly unlikely to get anyone else to take on that venue for what they are looking for it.”

A spokeswoman for the city council confirmed the St Bride’s Centre was still available for this year’s Fringe.

She added: “The cost of hiring the St Bride’s Centre has risen for the first time in more than a decade, bringing it in line with other, similar council venues. The new charges fairly reflect the cost to the council of the space and the worth of the popular venue.”

" ,"byline": {"email": "" ,"author": "BRIAN FERGUSON"} ,"topImages": [ {"image": {"url":"/webimage/1.4399323.1490136060!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4399323.1490136060!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Michael Marra is among dozens of musicians who have played to Acoustic Music Centre audiences. Picture: Rob McDougall","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Michael Marra is among dozens of musicians who have played to Acoustic Music Centre audiences. Picture: Rob McDougall","landscapeurl":"/webimage/1.4399323.1490136060!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/sport/football/teams/celtic/rod-stewart-to-headline-celtic-tribute-concert-1-4399022","id":"1.4399022","articleHeadline": "Rod Stewart to headline Celtic tribute concert","commentCount":0,"publishedDate":1490109845000 ,"articleLead": "

Sir Rod Stewart will headline a charity concert at the SSE Hydro in Glasgow on Thursday 25 May to mark the 50th anniversary of Celtic’s historic European Cup victory.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4399021.1490109842!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Celtic's Scott Sinclair joins Lisbon Lions Jim Craig and John Clark to launch a 50th anniversary celebration event. Picture: SNS"} ,"articleBody": "

Keep up to date with all our sport news on The Scotsman’s Sport page on Facebook

The veteran rock star, a lifelong Celtic supporter, has agreed to perform a short set at the event which will also feature tenor Russell Watson, Les McKeown’s Legendary Bay City Rollers and Scottish singer-songwriter Eddi Reader.

Sir Alex Ferguson will also appear on stage to offer his reflections on Celtic becoming the first British side to win the European Cup. The concert, with net proceeds going to the Celtic FC Foundation charity, will take place 50 years to the day since Jock Stein’s side defeated Inter Milan 2-1 in Lisbon to lift the trophy.

The Hydro event will be the centrepiece of a week of Lisbon Lions celebrations. Glasgow City Chambers will host a civic reception on 24 May as well as a tribute lunch in the city two days later. Surviving members of the Lions squad will also attend a celebration evening in London on 31 May.

“We are absolutely delighted with the arrangements the club has made to celebrate this anniversary year,” said Jim Craig, right-back in the 1967 final side. “It is very humbling to be honoured in this way and I’m sure this will be an emotional but fun evening with team-mates, friends, families and the best supporters of all.”

READ MORE - Rumour Mill: Dave King company fined | Ferguson and Brown in mix for Rangers role | Sunderland want Cummings

" ,"byline": {"email": "" ,"author": "STEPHEN HALLIDAY"} ,"topImages": [ {"image": {"url":"/webimage/1.4399021.1490109842!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4399021.1490109842!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Celtic's Scott Sinclair joins Lisbon Lions Jim Craig and John Clark to launch a 50th anniversary celebration event. Picture: SNS","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Celtic's Scott Sinclair joins Lisbon Lions Jim Craig and John Clark to launch a 50th anniversary celebration event. Picture: SNS","landscapeurl":"/webimage/1.4399021.1490109842!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/music-review-adrian-sherwood-1-4398896","id":"1.4398896","articleHeadline": "Music review: Adrian Sherwood","commentCount":0,"publishedDate":1490104162000 ,"articleLead": "

For such a lovely man, Adrian Sherwood has a fearsome reputation. There were acolytes in this eager audience who still speak in dazed tones about his disorientating contribution as sound engineer to a venue-quaking Voodoo Rooms concert by his fellow Bristolian agitator Mark Stewart a few years ago. Some are still trying to locate their displaced internal organs.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4398895.1490104159!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Adrian Sherwood"} ,"articleBody": "

Adrian Sherwood ***

King Tut’s, Glasgow

Alas – or mercifully, depending on one’s appetite for disturbance – there was little in the way of sonic disruption at this headline show. As founder of the On-U Sound label and sound system, Sherwood has been a passionate ambassador for dub reggae shot through with punk spirit since the late 1970s, but this appearance was less a display of his sound manipulation skills than a diverting DJ set from a knowledgeable fan with a superior record collection – well curated but polite, and frankly far too quiet by his foundation-shaking standards.

His signature bass tremors were often sidelined in favour of some sweet roots reggae or classic dub cuts such as Max Romeo’s Chase the Devil, memorably sampled a quarter of a century ago by The Prodigy on their Out of Space single, with these tuneful but tame reverberations occasionally supplemented by the thwack of a single drumstick on a synth pad.

Later in his 90-minute set there were moments when Sherwood ramped up the reverb and deepened those bass frequencies to more arresting levels, but such gratification was too delayed to turn this pleasing club set into an immersive live show.

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4398895.1490104159!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4398895.1490104159!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Adrian Sherwood","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Adrian Sherwood","landscapeurl":"/webimage/1.4398895.1490104159!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/film/festival-review-glasgow-short-film-festival-1-4398660","id":"1.4398660","articleHeadline": "Festival review: Glasgow Short Film Festival","commentCount":0,"publishedDate":1490094205000 ,"articleLead": "

In movies like Blade Runner, Strange Days and The Matrix, the future always seems to be happening in derelict areas of industrial rain-lashed cities. It seems appropriate, then, that the Glasgow Short Film Festival should exploit such spaces in its on-going mission to pioneer not just new short works, but also new modes of watching films.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4398659.1490094202!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Circuit at Glasgow Short Flm Festival"} ,"articleBody": "

Glasgow Short Film Festival ****

Various venues, Glasgow

Celebrating its tenth anniversary edition over the weekend, Scotland’s best annual showcase for short-form filmmaking certainly had its eye on the future when it transformed a dimly lit, former snooker hall in Glasgow’s Chinatown into a virtual reality movie house.

Crumbling plasterwork, exposed piping and a fading poster behind the bar of snooker legends Steve Davis, Terry Griffiths, Tony Meo and Dennis Taylor gave the Joytown Grand Electric Theatre the playful tech-noir vibe of an abandoned space repurposed for illicit activities – something enhanced by the fact that the virtual reality (VR) experience itself was housed in a curtained-off area at the back of the blacked-out hall. With participants sitting on swivel chairs and wearing VR goggles with headphones attached, it was a curious mix of low and hi-tech, but once plugged in, VR’s potential as a fully immersive cinematic experience did become a little clearer.

Among the films screened was Scotland’s first VR short, The Circuit, a documentary about Ayr races showcasing a typical day in the life of a working jockey. Though the film didn’t put you on the horse, it did allow you to move 360 degrees around the environment, so within each scene you effectively become the camera­person, with the freedom to choose where to focus your attention – something that can make for unsettlingly voyeuristic viewing if you happen to miss the entire race because you’re too easily distracted people-watching.

Other films screened included a narrative short about an android entitled I, Philip (in tribute to Philip K Dick) and Indefinite, a documentary that attempted to use VR in a meaningful way to highlight the uncertain plight of refugees caught up in the British detention system. Thought the overall experience still feels like a novelty, it’s going to be interesting to see where this all leads.

Of course one of the arguments against pursuing fully immersive cinema is that film is already a pretty immersive, interactive artform, one frequently enhanced by communal ways in which we experience it. That was reinforced on Saturday night with the return of A Wall is a Screen, a mobile pop-up cinema that projects films onto the sides of buildings. Last at the festival in 2015, the Hamburg-based collective that run it led more than 100 film fans on tour of the Merchant City and beyond, screening site-specific works on the sides of shipping containers, parking garages, apartment blocks and Glasgow’s oldest pub, The Old College Bar.

The films screened, each just a few minutes long, highlighted the weird, unpredictable energy of a city after hours. And with the rain teeming down and the crowd moving through yet more derelict spaces, it also functioned as a reminder that film’s expansive and escapist qualities will ensure its future for a long time to come.

" ,"byline": {"email": "" ,"author": "Alistair Harkness"} ,"topImages": [ {"image": {"url":"/webimage/1.4398659.1490094202!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4398659.1490094202!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Circuit at Glasgow Short Flm Festival","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Circuit at Glasgow Short Flm Festival","landscapeurl":"/webimage/1.4398659.1490094202!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/music-review-the-bbc-scottish-symphony-orchestra-john-wilson-and-benjamin-appl-1-4398650","id":"1.4398650","articleHeadline": "Music review: The BBC Scottish Symphony Orchestra, John Wilson and Benjamin Appl","commentCount":0,"publishedDate":1490093719000 ,"articleLead": "

Young British conductor John Wilson earned his stripes with his authentically technicolour accounts of classic Hollywood film scores, with his own John Wilson Orchestra. But he’s an equally fine conductor of more traditional classical repertoire, as his bracing afternoon concert with the BBC Scottish Symphony Orchestra ably demonstrated.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4398649.1490093715!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Wilson"} ,"articleBody": "

The BBC Scottish Symphony Orchestra, John Wilson and Benjamin Appl ****

City Halls, Glasgow

Not that there was much “traditional” about the gargantuan, kaleidoscopic Symphony in F sharp (surely receiving its Scottish premiere) by Korngold, the Austrian child prodigy who fled Vienna when the Nazis arrived, became one of Hollywood’s most successful screen composers, and wrote this often overwhelming symphony on his return to his homeland in 1950. There were nods to Dukas, Shostakovich, Debussy, Weill and plenty more in this demanding score – which sounded, not surprisingly, a bit like the soundtrack to an imaginary film. But Wilson carried it all off magnificently in a sharply defined, thoroughly convincing performance that propelled you breathlessly from one vivid scene to the next, conveyed with bristling commitment by the BBC SSO players.

Before the interval, Wilson had opened with a lustrous Mendelssohn Hebrides Overture – maybe a little on the slow side, but that only allowed you to wallow in his exquisitely balanced watery imagery. Austrian baritone Benjamin Appl followed with exceptionally beautiful, sensitive accounts of Schubert songs orchestrated by Reger, Liszt and others – his traversal of the famous horror story of Der Erlkönig was especially chilling. It was a shame, then, that Wilson’s rather enthusiastic accompaniment sometimes simply drowned him out. Still, it was a challenging but deeply rewarding concert.

" ,"byline": {"email": "" ,"author": "David Kettle"} ,"topImages": [ {"image": {"url":"/webimage/1.4398649.1490093715!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4398649.1490093715!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "John Wilson","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Wilson","landscapeurl":"/webimage/1.4398649.1490093715!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/music-review-elvis-costello-1-4398612","id":"1.4398612","articleHeadline": "Music review: Elvis Costello","commentCount":0,"publishedDate":1490092525000 ,"articleLead": "

For those fans investing in a slice of late-period Elvis Costello live action – and there were many of them here – it’s an all-or-nothing experience. Anyone hoping for a cheery, nostalgic run-through of the wide range of punk-pop hits Costello wrote around 1980 will be … well, not disappointed, because Costello is an astute curator of his own legacy and most of them appeared here.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4398611.1490092523!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Elvis Costello PIC: Rob McDougall"} ,"articleBody": "

Elvis Costello ****

Festival Theatre, Edinburgh

Yet every other Costello appeared too: the latterday rock anthropologist delving into genres from Creole blues to Southern gospel and Irish folk; the capable crooner who duetted with Burt Bacharach; and Declan MacManus, his real identity, Irish-­Liverpudlian son of music hall performer Ross MacManus and grandson of cruise liner trumpeter turned street ­corner Depression-era busker Pat MacManus.

That Costello was here for this third-from-final date on his Detour tour without any other musicians only added to the sense of biographical intimacy. Dressed in black shirt and trousers and a bright red fedora, his occasionally over-studied sense of showmanship hadn’t deserted him, but the rawness of two dozen songs for guitar or piano spread out over two-and-a-half hours told a tale; these were songs which held stories for him as well as for the audience, making for a deeply immersive experience.

He delved into the mind of a wealthy presidential autocrat amid A Face in the Crowd and Viceroy’s Row; remembered his father, “Birkenhead’s musical link between Dizzy Gillespie and Jimmy Shand”, before the sublime lyrical precision of he and Bacharach’s Toledo; delivered Veronica with breakneck briskness and Alison while off-mic with hymnal delicacy; and brought almost funereal levels of heartache and regret to I Can’t Stand Up For Falling Down and Oliver’s Army.

" ,"byline": {"email": "" ,"author": "David Pollock"} ,"topImages": [ {"image": {"url":"/webimage/1.4398611.1490092523!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4398611.1490092523!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Elvis Costello PIC: Rob McDougall","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Elvis Costello PIC: Rob McDougall","landscapeurl":"/webimage/1.4398611.1490092523!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/theatre/joyce-mcmillan-my-country-a-work-in-progress-promises-a-fascinating-snapshot-of-post-brexit-britain-1-4392920","id":"1.4392920","articleHeadline": "Joyce McMillan: My Country – A Work in Progress promises a fascinating snapshot of post-Brexit Britain","commentCount":0,"publishedDate":1490092326000 ,"articleLead": "

March 2017; and around a table somewhere in Broadcasting House, a group of critics are on the radio, agreeing that – with the new show that has just opened at the National Theatre’s small Dorfman auditorium – the NT’s artistic director Rufus Norris is attempting “something new”.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4398606.1490103486!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The cast of My Country A Work in Progress (with Stuart McQuarrie front row left), which comes to the Citizens and the Traverse"} ,"articleBody": "

What he has done, in the aftermath of the UK’s Brexit vote last June, is to commission a mountain of verbatim interview material from voters in Scotland, Wales, Northern Ireland, the south-west of England, the north-west and Leicester, and then work with Poet Laureate Carol Ann Duffy to pull it together into a 75-minute show that is part documentary, part political cabaret, featuring the words of real-life voters intercut with monologues written by Duffy for each of the actors representing different parts of the country, quotes from leading politicians, and a few songs, thrown in for good measure.

The result – now playing in London before a UK-wide tour that begins in Glasgow next week – is a show called My Country - A Work In Progress; and the fact that it can be described as “something new” speaks volumes both for Norris’s commitment to making the National Theatre a forum for public debate, and about the extent to which huge chunks of Britain’s theatre tradition – including the groundbreaking political work of Theatre Workshop, 7:84 and other radical fringe companies of the 1960s and 1970s – have traditionally gone unrecognised on London’s main stages, or had their contribution quickly marginalised and forgotten.

So the current NT director’s passion for using theatre as a live forum for trying to understand the Brexit shock is a welcome development; and so is his willingness to wade into controversy by using the phrase “my country,” at a time when Scotland and Northern Ireland are riven with debate about the very meaning of those words, and different parts of England have radically divergent views of what their country is, or should be. And as the actor playing Caledonia in the show, the London-based Scot Stuart McQuarrie – perhaps best known as Gav in Trainspotting, among scores of other roles – finds himself in the eye of that storm, speaking for Scotland in the words of UK laureate Carol Ann Duffy (herself born in Glasgow), and representing a group of predominantly Remain-voting interviewees, in a show which, in the interests of dialogue, leans slightly towards exploring the views of those who voted to Leave.

“When Rufus Norris first called me in to discuss this,” says McQuarrie, “I actually had my doubts. I’d never worked on a verbatim show before, and that’s because I always wondered just how much you can really bring to that kind of performance, as an actor; you’re speaking the words of real people, and that puts you under a strong obligation not to distort that, or to impose your own interpretation on it.

“So far, though, I’m finding it tremendously interesting, and audiences certainly seem to be responding very strongly. You do get some London audience members saying that they don’t see their feelings represented, but that is deliberate; the idea was to listen to those parts of the UK that have not been heard enough.

“And I think what all of us have found, during eight weeks of work on this show, is that we’ve kind of fallen in love with the voices of the people we’re representing. In a lot of cases, what they say seems almost like a cry for help. Many of them felt that they were voting without much information, so they were sometimes just parroting what they’d read in the media, but also often digging deep into their own life experience, in a way that’s very interesting, and very moving. They’re talking about what it means to be British, and about the real hardship many of them have suffered. And there’s a big sense of people voting because they are angry at being misrepresented, or not represented, or just completely ignored.”

And McQuarrie says that those feelings also often appear in the show’s Scottish voices, although the context is different. “In Scotland and Northern Ireland it’s almost impossible to disentangle the EU referendum from the question of independence in Scotland, and the legacy of the Troubles in Ireland. The interviewers didn’t ask questions about either of these, but they constantly came up in the answers anyway. So although the fundamental question of how to make yourself heard is the same, it’s framed very differently.”

Along with Edinburgh, Glasgow is one of the cities across Britain where interviews for the show were conducted; so the company is anticipating a very different response from the audience at the Citizens’ Theatre. “There are some very moving sequences, including reflections on the recent big influx of migrants into Govanhill in Glasgow. And when you hear those voices of ordinary people intercut with what various political leaders were actually saying at the time – well, the effect can be very powerful.

“Has working on this show changed my own view, about the referendum vote? No, it hasn’t. But it has made me much more understanding of people that I disagree with. There’s no point in making clichéd assumptions about why people vote a certain way; you just have to listen, talk face to face, and be patient, as you would in a neighbourhood group where you have to keep everyone on board.

“And then you find, if you do that, that most people have similar values, and want roughly the same things, even if they disagree about how to get there. And if this show helps in any way to get people in Britain really listening to one another, after such a divisive vote, then that can’t be bad – whatever happens politically, over the next few years.” ■

My Country – A Work In Progress is at the Citizens’ Theatre, Glasgow, 28 March-1 April, and at the Traverse Theatre, Edinburgh, 11-13 May, www.nationaltheatre.org.uk

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4398606.1490103486!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4398606.1490103486!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The cast of My Country A Work in Progress (with Stuart McQuarrie front row left), which comes to the Citizens and the Traverse","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The cast of My Country A Work in Progress (with Stuart McQuarrie front row left), which comes to the Citizens and the Traverse","landscapeurl":"/webimage/1.4398606.1490103486!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/under-the-radar-be-like-pablo-1-4398592","id":"1.4398592","articleHeadline": "Under the Radar: Be Like Pablo","commentCount":0,"publishedDate":1490091334000 ,"articleLead": "

Few Scottish acts have mastered the art of creating a catchy tune like Forres’ finest, Be Like Pablo. The band mine an inexhaustible seam of poptastic harmonies, underpinned by new wave guitars and a melodious keyboard sound which provides the icing on the cake.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4398591.1490091331!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Be Like Pablo"} ,"articleBody": "

There She Is, their latest single, is no exception. Released on Friday, it is accompanied by an impressive video that looks like it belongs to a much bigger act signed to a major label. According to frontman Ewen Watson, it is the embodiment of what he visualised when he wrote the song. Staring actress Jerry-Jane Pears (Survivor and The Royals) as a woman who comes to life on billboards and in magazines, it was directed by Andrei Staruiala and is well worth a look and listen.

Be Like Pablo play Edinburgh’s Mash House on 22 April. Definitely a date for the diary.

* Olaf Furniss and Derick Mackinnon run music industry convention and showcase Wide Days, which takes place in Edinburgh on 21-22 April. See www.widedays.com for details.

* In association with Tribe Tattoo - tattoo and body piercing studios in Edinburgh and Glasgow, www.tribetattoo.co.uk

" ,"byline": {"email": "" ,"author": "Olaf Furniss and Derick Mackinnon"} ,"topImages": [ {"image": {"url":"/webimage/1.4398591.1490091331!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4398591.1490091331!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Be Like Pablo","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Be Like Pablo","landscapeurl":"/webimage/1.4398591.1490091331!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/interview-jim-reid-on-why-it-took-a-decade-for-the-jesus-and-mary-chain-to-make-a-new-album-1-4392994","id":"1.4392994","articleHeadline": "Interview: Jim Reid on why it took a decade for the Jesus and Mary Chain to make a new album","commentCount":0,"publishedDate":1490090400000 ,"articleLead": "

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4392993.1489864152!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Jesus and Mary Chain's Jim and William Reid. Picture: Steve Gullick"} ,"articleBody": "

It is one thing to treat us mean and keep us keen. In their early days, when they would take to the stage late, drunk and virtually incapacitated to play chaotic 20-minute sets with their back to the crowd, the Jesus & Mary Chain were not known for their high audience satisfaction ratings. At least, in hindsight, there was a delicious frisson to such an unequivocal “f*** you” – and those 20 minutes rocked intensely.

But now that the Mary Chain are older, more accommodating and more inclined to follow the example of many a band of their vintage – that is, to accept an offer to reform the group, play some prestigious festivals and then get to work on new material – this waiting for a mooted new album has been a different test of patience.

To recap: the Jesus & Mary Chain were one of that rare breed – a band of a generation. A surly foursome from the non-cultural hotbed of East Kilbride who rebooted the potent Velvet Underground melody/noise template, they were a thrilling proposition from the off, and then gradually over the years a slightly less thrilling proposition. Their classic debut, Psychocandy, helped fire the starting pistol on the nascent indie scene – in Scotland and well beyond – and was fondly followed up by Darklands, but subsequent releases made progressively less of an impact and the tensions between fractious frontmen Jim and William Reid eventually paralysed the band.

Jim muses: “The music business the way it was back then, it was very hard to stop for a minute or two and just take stock and decide whether you were going in the right direction, because everybody was always telling you you’ve got to keep the ball rolling, you’ve got to keep the balls juggled.”

The Jesus & Mary Chain finally called it a day in 1999, shortly after the release of their sixth album, Munki. But they reformed, not without trepidation, eight years later to headline California’s Coachella festival. Not long after, Jim Reid first mentioned that the group were working on a new album, but a cocktail of parenthood and paranoia were to delay its appearance for the next decade.

Reid quite readily shoulders the blame for the group’s inability to deliver. He was reluctant to spend much time away from his young family, and his unhappy recollections of making Munki cast a long shadow.

“It just about killed me,” he recalls. “It was a very, very painful record to make and that was my last memory of making an album and I wasn’t really in any rush to get back into that situation. I had no reason to suppose it wouldn’t be that way again. We were prepared for World War 3. We went into the studio wearing flak jackets.”

But on this occasion, there was one key addition to their armoury. The brothers chose to work with a producer for the first time in their career, recruiting the redoubtable Youth – ace bassist, studio guru and “a big cuddly hippy,” according to Reid.

“We thought if the shit hits the fan Youth can be the judge. We thought he would be the peacekeeper, the United Nations in this situation. As it turns out, we got on alright. There was no big bust-ups, there was one or two arguments but there was bound to be. It was pretty civilized all in all, for the Mary Chain anyway.”

Given the protracted gestation of the album, now named as Damage and Joy, the results sound remarkably effortless, insouciant even, with all the melodic clout of classic Mary Chain. Job done, reckons Reid. “The only thing that I wanted to do was make it unmistakably Mary Chain – stick the thing on and within about five seconds you would know it was a Mary Chain record.”

One of the advantages of taking so long to step in to the studio was that the brothers had a stellar batch of tunes from which to cherry pick – from the bittersweet War On Peace and blithe harmony of The Two Of Us, to the garagey groove of All Things Must Pass, a song which first surfaced on the soundtrack to TV show Heroes, and the prescient Los Feliz (Blues and Greens) on which Reid drawls “God lives in America, in the land of the free…wishing we were dead instead”.

Reid also shoots from the hip on the more personal opening track, Amputation, which opens with the plea “trying to win your interest back, but you ain’t having none of that”.

“That was written a few years ago, and it sounds like it’s about a relationship, but the relationship is really the band and the music business,’ he says. “It felt at that time as if we were living in exile, as if we were surplus to requirements. It never felt like we were welcome at the party. I suppose when we were younger, that pissed us off because we wanted to be embraced and accepted, strangely enough – it didn’t look like we were trying to be but we actually were. We’ve never really found a place that we fit I think. The eternal outsiders, that’s definitely us.”

Or homecoming heroes perhaps. On the day their first album in almost 20 years is released, the Mary Chain will find themselves back in their old stomping ground of Glasgow, headlining Barrowland on the opening night of the 6 Music Festival. For now, though, Reid is simply feeling relieved that the long promised album has finally been delivered.

“It was like a boil that needed lanced,” he remarks wryly, before careering headlong into another teaser prediction. “There’s another album we could record next week if we wanted to, especially since we’ve done this and it wasn’t anywhere near as scary as we thought it might be. Yeah, I’d like to do more records.”

Damage and Joy is released by ADA/Warner Music on 24 March. The Jesus & Mary Chain play Barrowland, Glasgow, also on 24 March.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4392993.1489864152!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4392993.1489864152!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Jesus and Mary Chain's Jim and William Reid. Picture: Steve Gullick","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Jesus and Mary Chain's Jim and William Reid. Picture: Steve Gullick","landscapeurl":"/webimage/1.4392993.1489864152!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/music-catrin-finch-flies-in-to-add-star-power-to-eclectic-line-up-at-edinburgh-s-harp-festival-1-4392926","id":"1.4392926","articleHeadline": "Music: Catrin Finch flies in to add star power to eclectic line-up at Edinburgh’s harp festival","commentCount":0,"publishedDate":1490007394000 ,"articleLead": "

We’re talking harpist’s hats, metaphorically of course. The topic arises in conversation with the renowned Welsh harpist Catrin Finch concerning her concert at the forthcoming Edinburgh International Harp Festival, when she will appear with Scotland’s ground-breaking ensemble Mr McFall’s Chamber.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4397616.1490007387!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Harpist Catrin Finch is due to play at the Edinburgh International Harp Festival"} ,"articleBody": "

Finch, who was winning international competitions even before she graduated from the Royal Academy of Music in 2002, has gone on to forge a career which has combined acclaim in the classical concert hall with her solo, chamber or orchestral appearances and her arrangement for pedal harp of JS Bach’s Goldberg Variations. She collaborates with contemporary composers such as John Rutter and is a prolific composer in her own right. At the same time she sustains an interest in traditional Welsh music, combines contemporary, classical and jazz influences in her CF47 big band, and in 2013 released a spellbinding collaborative album, Clychau Dibon, with the Senegalese kora virtuoso Seckou Keita.

Finch’s harp festival collaboration with McFall’s, at Merchiston Castle School on 4 April, will present a chamber programme including richly impressionist material by Debussy and Ravel, as well as Saint-Saëns and a distinct chill of the Gothic with André Caplet’s little-heard Conte Fantastique for harp and string quartet, which is based on Edgar Allan Poe’s tale, The Masque of the Red Death, extracts of which will be read by Gillean McDougall.

Conte Fantastique is rather different to the rest of the programme, agrees Finch. “The Debussy and Ravel and Saint-Saëns are all very… kind of luscious, really, and typical of French impressionism – some of the best chamber music we have for harp. But the Caplet is a nice addition, very theatrical, with things like knocking on the harp soundboard when the Red Death is supposed to be at the castle door.”

She’s speaking to me from the Acapela recording studio and venue that she and her husband, sound engineer Hywel Wigley, run in a former chapel on the outskirts of Cardiff. Ask her if there is a particular type of music she most enjoys performing and she points to the Edinburgh programme. “I love playing chamber music and if I was to choose a particular period of classical music, it would be French impressionism.”

Which brings us round to the headgear question. “I’m a musician with two hats, really. If I put my classical hat on, it would be that type of impressionist music that rocks my boat, and if I put my other hat on, which is the one for improvising and other styles of music, then I love the freedom of being on stage with Seckou, in that there is nothing written down; it’s music that comes out of our hearts on the evening and for me, that’s a very inspirational thing to do.”

Her collaborators, Mr McFall’s Chamber – augmented here by flautist Alison Mitchell and Maximiliano Martin on clarinet – can famously boast a multiplicity of stylistic hats themselves, being known to play anything from Purcell to King Crimson, Astor Piazzolla to Weather Report.

And when it comes to eclecticism, the Edinburgh Harp Festival doesn’t shirk. This year’s programme spotlights Brittany, with guests including Tristan le Govic and François Pernel, as well as a celebration of the late Kristen Noguès, who was a considerable influence on harpists here as well as in France.

From Ireland comes the Albiez Trio – harpist Laoise Kelly, fiddler Tola Custy and Cormac Breatnach on whistles – in concert with Italians Adriano and Caterina Sangineto on harp and bowed psaltry. Notable Scots performers include the Corrina Hewat Quartet and the Rachel Hair Trio, plus emerging young artists such as Màiri Chaimbeul with fiddler Janna Moynihan, and Pippa Reid Foster (who recently released an impressive debut album, The Driftwood Harp), while a new event, The Magic of the Harp, showcases the “seed corn” school-age players essential in maintaining the burgeoning Scottish harp revival. ■

The Edinburgh International Harp Festival is at Merchiston Castle School 31 March-5 April, harpfestival.co.uk

" ,"byline": {"email": "" ,"author": "Jim Gilchrist"} ,"topImages": [ {"image": {"url":"/webimage/1.4397616.1490007387!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4397616.1490007387!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Harpist Catrin Finch is due to play at the Edinburgh International Harp Festival","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Harpist Catrin Finch is due to play at the Edinburgh International Harp Festival","landscapeurl":"/webimage/1.4397616.1490007387!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/album-reviews-jarvis-cocker-chilly-gonzales-marti-pellow-inna-de-yard-1-4392978","id":"1.4392978","articleHeadline": "Album reviews: Jarvis Cocker & Chilly Gonzales | Marti Pellow | Inna De Yard","commentCount":0,"publishedDate":1490007252000 ,"articleLead": "

The ghosts of Hollywood haunt Jarvis Cocker’s evocative collaboration, while Marti Pellow calls on ace veteran players for his soulful solo release

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4397610.1490095414!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Jarvis Cocker and Chilly Gonzales. Picture: Alexandre Isard"} ,"articleBody": "

Jarvis Cocker & Chilly Gonzales: Room 29 ***

Deutsche Grammophon

Marti Pellow: Mysterious ***

Arctic Poppy

Inna De Yard: Soul of Jamaica ****

Chapter Two Records

Room 29 is a new song cycle inspired by Chateau Marmont, the legendary hotel on Los Angeles’ Sunset Strip, where the beautiful people have played for the past 90 years, from the stars and celebrities of Hollywood’s golden age, such as Marilyn Monroe, Jean Harlow and Howard Hughes, to rock’n’rollers Led Zeppelin.

It remains the hangout for today’s jet set, nowhere near as scuzzy as New York’s Chelsea Hotel but just as infamous – John Belushi died of an overdose there in 1982. Less dramatically, Cocker was dumped by a girlfriend on one of his stays at the hotel, though Room 29 was inspired by a separate sojourn in the eponymous suite, with its baby grand piano, a mahogany witness to all the decadent glamour and illicit assignations.

In imagining some of these encounters, Cocker adopts his best Book At Bedtime breathy voiceover right in your ear, though he has competition from the taped contributions of film historian David Thomson whose voice is as rich as most actors.

Once again, Cocker casts himself as the outside observer of sad and sometimes seedy goings-on, though his language is far from sensationalist – rather, he homes in on the minutiae. The music for the project came first but is entirely complementary. Chilly Gonzales keeps his playing simple, economical, yet lyrical, with the occasional string embellishment from the Kaiser Quartett.

There’s a throwback music hall feel to Clara, about the travails of hotel resident Clara Clemens, the daughter of Mark Twain, Harlow’s unconsummated second honeymoon with film producer Paul Bern is the subject of Bombshell and the playful and ominous Belle Boy flirts with musical theatre territory. A tantalising taster for the full audio-visual performance in August.

Renowned soul pop cheesemonger Marti Pellow brings the 70s funk on his latest solo album Mysterious, invoking the summery spirit of The Isley Brothers and Earth, Wind & Fire on the freewheeling Just Can’t Turn Back Now and breathy electro funk ballad Sunrise Never Fails. Pellow has an infectious fan’s love of the old sounds and mustered an A-team of ace veteran players, including the Tower of Power horn section, Latin percussion maestro Lenny Castro and bassist “Ready” Freddie Washington, to the sessions in LA’s Ocean Way Studios.

It’s easy to get lost in the innately soulful arrangements, although occasionally the mood spills over into pina colada and white stilettos territory and the Pellow tendency to overegg the vocals slightly mars an otherwise classy production.

Inna De Yard is a feelgood project bringing together reggae veterans and young bucks to create a sort of Jamaican Buena Vista Social Club field recording, with the likes of 
Ken Boothe, Lloyd Parks and The Viceroys revisiting grassroots tunes from the 60s and 70s. Soul of Jamaica was recorded al fresco in a matter of days, capturing the laidback and informal spirit of the music, as well 
as the innate sweetness in the jazz and soul inflections. But though the music is consistently soft and inviting, the message is often harder hitting, ranging from sorrowful lamentations to devotional praise, from the plaintive political pleas of Slaving and Crime to the masterful Boothe’s husky appeal on Artibella and the Caribbean cocktail of Jah Power, Jah Glory. ■

" ,"byline": {"email": "" ,"author": "Fiona Shepherd"} ,"topImages": [ {"image": {"url":"/webimage/1.4397610.1490095414!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4397610.1490095414!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Jarvis Cocker and Chilly Gonzales. Picture: Alexandre Isard","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Jarvis Cocker and Chilly Gonzales. Picture: Alexandre Isard","landscapeurl":"/webimage/1.4397610.1490095414!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/film/glasgow-film-festival-reviews-handsome-devil-all-this-panic-my-life-as-a-courgette-the-age-of-shadows-1-4369755","id":"1.4369755","articleHeadline": "Glasgow Film Festival reviews: Handsome Devil, All This Panic, My Life As A Courgette, The Age of Shadows","commentCount":0,"publishedDate":1489968300000 ,"articleLead": "

This year’s Glasgow Film Festival got off to a lightweight start on Wednesday with the UK premiere of Handsome Devil (**), a chaste coming-of-age tale about a gay teens wlearning to be true to themselves in a rugby-obsessed private school in Ireland.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4369754.1487585625!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Fionn OShea as Ned, a gay teen with friendship problems"} ,"articleBody": "

Starring Fionn O’Shea as Ned, a bullied child who thinks he’s smarter than his casually homophobic classmates, the film revolves around his difficult friendship with new roommate Connor (Nicholas Golitzine), whose status as the rugby team’s new star player is complicated by his determination to keep his own sexuality secret.

While there’s no denying writer/director John Butler’s semi-autobiographical sophomore feature has a nice idea at its core and a positive message to impart, its vanilla presentation and non-specific period setting (the absence of mobile phones and prominence of Suede posters on Ned’s wall suggest early 1990s) doesn’t really do it any favours in terms of giving it an identity of its own – ironic, really, given Ned is scalded at one point by his new English teacher for plagiarising song lyrics in an essay. The film’s one bright spark is Andrew Scott’s arrival as said English teacher. Embracing the inspirational teacher trope, he brings the movie to life whenever he’s on screen.

A much more audacious and authentic portrait of teen life can be found in All This Panic (****), which gets its Scottish premiere at the festival this weekend. Following a group of Brooklyn teenage girls over a three-year period as they negotiate that intense, tricky transition from mid-teens to legal adulthood, it’s a brilliant, funny, witty and wise documentary from photographer-turned-director Jenny Gage. Along with her partner/cinematographer Tom Betterton, she films her subjects in artful close-ups using shallow-depth-of-field to both intensify the insularity of their world at this time in their lives and enhance the bonds of friendship that provide each of them with crucial support.

What’s remarkable is how raw and vulnerable and funny and honest the girls are in front of the camera – and how much empathy the film generates for them as they grapple with various issues related to their sexuality, their families and their futures. It never feels exploitative, just nurturing. By the end you’ll just want to give them a big hug and tell them everything is going to be alright.

My Life As a Courgette (****) also offers a tender and heartbreaking portrait of childhood, this time in animated form. One of this year’s Oscar nominees for animated feature, French director Claude Barras’ stop-motion marvel (which gets another screening at the festival today) counts Girlhood and Tomboy director Céline Sciamma as its screenwriter, who brings a wonderfully judged sensitivity and wit to a delicate tale of childhood resilience in the face of potentially traumatic events.

Its hero is a neglected boy who has been nicknamed Courgette by his alcoholic mother. Her accidental death early in the film results in him being sent to an orphanage, where he meets a band of misfits with similarly troubled histories. Reminiscent of Coraline and Wes Anderson’s Fantastic Mr Fox, but it’s full of its own idiosyncrasies, the film has a very light touch in its treatment of all of this: it understands how capture the anxiety of childhood, but also its vibrancy and its joys.

The Age of Shadows (****) offers a distinct change of pace. The latest from South Korean genre-hopper Kim Jee-woon sees the director of A Tale of Two Sisters and the underrated gangster film A Bittersweet Life delivering typically high-octane and beautifully orchestrated set-pieces, this time in the service of an espionage drama set during the Japanese occupation of Korea in the 1920s. Revolving around a morally conflicted police captain (Song Jang-ho) charged with infiltrating the Korean resistance, the convoluted story takes a while to get to grips with, but once the action kicks in, it’s frequently dazzling – and fairly extreme.

There’s more extremity in Dark Night (***), the title of which deliberately echoes Christopher Nolan’s Batman movies: Tim Sutton’s film is a strange and unsettling exploration of alienation inspired by the mass shooting in a Colorado multiplex during a screening of The Dark Knight Rises in 2012. News reports of the actual shooting play in the background of scenes, which are presented partly as a documentary about America’s disconnected youth, partly as a deliberately banal, Elephant-style dramatisation of a day in the life of several ordinary people whose fates are destined to be intertwined by a loner with too little empathy and too much access to high-powered firearms.

More video installation than narrative feature, it’s a chilling movie, but perhaps too abstract to really nail the pathology that makes these tragedies such a regular occurrence in American life.

" ,"byline": {"email": "" ,"author": "Alistair Harkness"} ,"topImages": [ {"image": {"url":"/webimage/1.4369754.1487585625!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4369754.1487585625!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Fionn OShea as Ned, a gay teen with friendship problems","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Fionn OShea as Ned, a gay teen with friendship problems","landscapeurl":"/webimage/1.4369754.1487585625!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-the-winter-s-tale-1-4369797","id":"1.4369797","articleHeadline": "Theatre review: The Winter’s Tale","commentCount":0,"publishedDate":1489968300000 ,"articleLead": "

It’s a play of two halves, people often say. In truth, though, The Winter’s Tale is a play of at least three halves; and if you reckon that that makes more than one play well then you’re beginning to enter into the strange world of Shakespeare’s great late romance, where things don’t quite add up, and where magical redemption suddenly becomes possible, even in the frozen depths of grief.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4369796.1487584939!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Lyceum's Winter's Tale is a bold and fascinating production"} ,"articleBody": "

The Winter’s Tale ****

Royal Lyceum, Edinburgh

It was always going to be interesting to see two major productions of The Winter’s Tale in Scotland this spring; and now, at the Lyceum, the young London-based director Max Webster gives us a version that could hardly be more different, in mood and style, from Declan Donnellan’s intense and smoothly-sculpted international version, recently seen at the Citizens’.

Here, the differences between the three parts of the story are, if anything, exaggerated, in a rowdy carnival of shifting moods and tones.

So the early scenes, in Leontes’s Sicilian court, are all tightly-controlled executive-suite design in tones of grey, with the court musicians confined to a muffled sound-studio.

But after Leontes’s catastrophic explosion of jealous fury, the cast roll out a Fife greensward, and launch themselves into a Bohemian frolic of gala-day entertainment – partly rewritten in Scots by novelist and poet James Robertson – that draws freely on the Scottish pantomime tradition, and allows Jimmy Chisholm’s Autolycus preposterous amounts of license to jest on at will, regardless of the story.

The result is a Winter’s Tale that, despite the odd unfortunate Scots stereotype, neither prettifies nor minimises the class divide crossed by Leontes’s lost daughter Perdita, when she is abandoned in Bohemia to be brought up by shepherds; here, she speaks in a strong working-class Scots that forces us to think about the role of this different, popular energy in making possible the redemptive vision of the final act.

It’s not a flawless production, in other words, but a bold and fascinating one, full of wild, exciting music orchestrated by Alasdair Macrae.

Frances Grey is beautiful, dignified and passionate as Leontes’s wronged wife Hermione, Maureen Beattie unforgettable as the waiting-woman Paulina. And at the heart of the play, there stands the little lost Prince Mamilius, brilliantly played on Tuesday by Will Robertson of the 
Lyceum Youth Theatre; symbol of all the victims of the world’s power-hungry cruelty, and of how the dead can still haunt the living, even at the moment when hope seems possible again.

Lyceum Theatre, Edinburgh, until 4 March.

" ,"byline": {"email": "" ,"author": "Joyce McMillan"} ,"topImages": [ {"image": {"url":"/webimage/1.4369796.1487584939!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4369796.1487584939!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Lyceum's Winter's Tale is a bold and fascinating production","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Lyceum's Winter's Tale is a bold and fascinating production","landscapeurl":"/webimage/1.4369796.1487584939!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-rent-1-4369791","id":"1.4369791","articleHeadline": "Theatre review: Rent","commentCount":0,"publishedDate":1489968300000 ,"articleLead": "

It’s hard to overstate the sheer inspiration behind Jonathan Larson’s musical Rent, which opened in New York in 1996, on the day after Larson’s sudden death at only 35, and on the 100th anniversary of the opera that inspired it, Puccini’s La Boheme. In 1990s New York, harsh forms of gentrification were sweeping away whole communities of young artists who had found makeshift homes in the city and their lives were still being devastated by the AIDS epidemic.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4369790.1487586963!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Billy Cullum (centre) as Mark with the cast of RENT. Picture: Matt Crockett"} ,"articleBody": "

Festival Theatre, Edinburgh ****

The parallels with Puccini’s opera were obvious, as was the poignancy of the story; and Larson’s powerful rock opera is still looking brilliant and timely today, as it rocks the stage at the Festival Theatre in Bruce Guthrie’s fierce and beautiful touring production.

The songs are a touch variable, with not every number managing the lyrical beauty of Seasons Of Love, or the satirical force of Mark and Roger’s big duet, What You Own.

For this production, though, Guthrie has assembled a blazing cast led by Billy Cullum as Mark, Ross Hunter as Roger, and Philippa Stefani as a compelling, fragile Mimi. The ensemble support them with pride, skill and passion. And when Eurovision star Lucie Jones, as Maureen, makes her first storming appearance, with a wild piece of punk performance suggesting the only creative way out of this urban economy gone wrong is to make like a cow and jump over the moon, she speaks for our own time at least as much as for the loud and grungy 1990s. 
Final performances today.


" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4369790.1487586963!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4369790.1487586963!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Billy Cullum (centre) as Mark with the cast of RENT. Picture: Matt Crockett","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Billy Cullum (centre) as Mark with the cast of RENT. Picture: Matt Crockett","landscapeurl":"/webimage/1.4369790.1487586963!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/world/chuck-berry-rock-n-roll-great-dies-at-90-1-4396984","id":"1.4396984","articleHeadline": "Chuck Berry, rock ‘n’ roll great, dies at 90","commentCount":0,"publishedDate":1489945821000 ,"articleLead": "

Rock ‘n’ roll musician Chuck Berry has died after being found unresponsive at his home, police said. He was 90.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4396982.1489945812!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Chuck Berry performs during the "Rose Ball" in Monaco in 2009. Picture: AP"} ,"articleBody": "

St Charles County Police Department, in Missouri, said paramedics tried to administer “lifesaving techniques” on the singer and guitarist but he could not be revived.

Police responded to calls to a medical emergency at his home at around 12.40pm (5.40pm GMT) on Saturday.

A spokeswoman said: “Inside the home, first responders observed an unresponsive man and immediately administered lifesaving techniques. Unfortunately, the 90-year-old man could not be revived and was pronounced deceased at 1.26pm.

“The St Charles County Police Department sadly confirms the death of Charles Edward Anderson Berry Sr, better known as legendary musician Chuck Berry.

“The family requests privacy during this time of bereavement.”

The music industry reacted with sadness.

The Jacksons said on Twitter: “Chuck Berry merged blues & swing into the phenomenon of early rock ‘n’ roll. In music, he cast one of the longest shadows. Thank You Chuck.”

Whitesnake frontman David Coverdale said: “So sad to share the news of the exceptional Chuck Berry’s passing...RIP Chuck...”

Epic Records chairman LA Reid said: “Music was changed forever by Chuck Berry’s indescribable impact. What a great life in music.”

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4396982.1489945812!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4396982.1489945812!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Chuck Berry performs during the "Rose Ball" in Monaco in 2009. Picture: AP","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Chuck Berry performs during the "Rose Ball" in Monaco in 2009. Picture: AP","landscapeurl":"/webimage/1.4396982.1489945812!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4396983.1489945815!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4396983.1489945815!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Chuck Berry performs during a concert celebration for his 60th birthday at the Fox Theatre in St. Louis.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Chuck Berry performs during a concert celebration for his 60th birthday at the Fox Theatre in St. Louis.","landscapeurl":"/webimage/1.4396983.1489945815!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ {"video": {"brightcoveId":"1489945472134"} } ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/martin-compston-i-see-myself-as-a-democrat-not-a-nationalist-1-4393912","id":"1.4393912","articleHeadline": "Martin Compston: I see myself as a democrat not a nationalist","commentCount":0,"publishedDate":1489866385000 ,"articleLead": "

The Greenock-born Line of Duty star chats to Janet Christie about life in LA, why he’ll always be grateful to Ken Loach and his support for indyref.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4393911.1489841954!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Martin Compston Picture: Debra Hurford Brown"} ,"articleBody": "

Martin Compston knows a thing or two about the line of duty. I’m not talking about his role as Steve Arnott in the hit police drama that is back on our screens at the end of this month, promoted from BBC 2 to a Sunday night BBC 1 prime time slot after almost six million tuned in for the finale of season three.

I’m talking about the rounds of media interviews and photo shoots linked with the forthcoming fourth series of Line of Duty, all on the back of filming The Aftermath with Keira Knightley and Alexander Skarsgård in Prague. Compston has just flown in from there and is well and truly jetlagged. However, the Greenock actor is not for whingeing. He’s a professional and gamely poses for the shots, then goes back to his hotel to catch up on some sleep before it all starts again.

Next morning when we talk he’s recovered, but is full of apologies. You get the impression Compston would hate to come across as entitled or stroppy, anything approaching difficult. He might have started his career with an award-winning debut – A Bafta Scotland ‘Best Actor’, British Independent Film Awards Best Newcomer and Critics’ Circle Best Newcomer, in a film that won Best Screenplay at Cannes, but when he calls you darling, it’s definitely “darlin’”.

“Please say sorry to your photographer,” he says, “but I was dying with jet lag and non stop thingmy-ing, and it just hit me. I was absolutely delirious, but she was really, really sweet, so please tell her I’m really sorry.”

Oh it’s all right, she’s used to it.

“I know, but when somebody comes over and has to set up their stuff, they’ve got a job to do as well. But by then I’d probably had about two hours’ kip in two days ‘cos I have to do stuff for America at nights, so by the time I got to her, I just had nothing left in the tank.”

Despite this, in his smart blue suit, he scrubs up well. Still only 32, Compston is an old hand at this game, since he burst onto the scene in his first ever acting role in Ken Loach’s Sweet Sixteen while still at school. He knows it’s part and parcel of promoting the work.

Compston loves his role of Arnott, in Line of Duty, playing an anti-corruption cop alongside Vicky McClure and Adrian Dunbar.

“Steve Arnott has been the role of a lifetime and I feel very happy to have ownership of him. Nobody will ever know him better than me, and when I do that accent and put on that waistcoat in the morning, I can just feel him creeping into me, which is a great feeling.”

Ah yes, the waistcoat. And he has a very nice line in coats too.

“Aye, I’ve done all right the last couple of years for good clobber,” he says.

The show, written by Jed Mercurio, was BBC 2’s best-performing drama series in 10 years before its promotion to BBC 1 this time round when Westworld actress Thandie Newton joins the cast.

“I’m chuffed to bits it’s been a success,” says Compston. “Hopefully this year lives up to expectations. When we started I knew how good the scripts were, and the cast, so I thought if we didn’t basically f*** up what was on the page, we were on to something special. But I had no idea of the response it would have in terms of viewers and that they’d stick with us over the years. We don’t make it easy. They can’t be messing about with their phones and stuff, because every wee detail counts. We have these massive long interrogation scenes that you have to stay with, up to 25 minutes at a time, not to miss tiny wee nuances that affect the whole top line.”

So no checking the footie scores when you’re watching then.

“Naw, naw.” He laughs. (Compston has missed the Celtic game the night before due to yet another “press thing” but the ex-Morton player was kept up to date by his mum and mates texting him every time a goal went in.)

“There’s something to be said for that old style, communal watching, where everybody’s sitting down across the country to watch it at the same time and the old watercooler mentality next day after a cliffhanger…”

Compston’s voice is back to his Greenock roots this morning, in contrast to Steve Arnott’s London accent which is based on the working class aspirational tones of Nick Leeson, the rogue trader. It’s an accent so convincing that when he appeared on This Morning presenter Phillip Schofield had no idea he was Scottish.

“It’s like going to the gym for me; the harder you work the better shape it will be in. I really need to do my research. And I stay in the accent when I’m over in Belfast where it’s filmed. When you get to the point where you start talking to yourself in the morning in the accent, that’s when you know you’ve cracked it. It needs to become just a reflex, so when you’re tired and struggling, that’s the voice that comes out rather than your own. After a couple of pints though, the Scots tends to come out.”

Compston was able to use his own brogue last year in In Plain Sight, the ITV thriller about the notorious Scottish serial killer Peter Manuel, with Douglas Henshall playing his detective nemesis.

“He was a monster in every sense of the word, and a genuine psychopath. But in acting terms it was a gift, because there were so many constituents to the man to really get my teeth into.”

Gripping as it was, they don’t come much darker than In Plain Sight, and Compston has played his fair share of cops and criminals. As well as Arnott, he played James McAvoy’s sidekick Gorman in Filth, and was on the wrong side of the law in The Disappearance of Alice Creed with Eddie Marsan and Gemma Arterton and in the role of Paul Ferris in The Wee Man. But would Compston ever consider doing comedy?

“Funnily enough, somebody actually called me last night about a comedy series,” he says.

Tell us more.

“Well, I’d be up for it yeah, although I’m not a slapstick sort of guy. I could probably play the straight guy in a comedy. But honestly, at the minute, I’ve just done eight months solid back to back and I’m just looking forward to getting home to the wife!”

The wife is Tianna Chanel Flynn, who married Compston last summer in Scotland but is now back in LA where she works as an actor and runs a nightclub.

“Technically I’m based in LA, that’s where Tianna is, but I’ll be lucky if I’ve spent six or seven weeks there in the last 18 months. It’s tough but you can’t complain when the job’s going well. You’ve got to take it. I think in the space of this week I’ve maybe done Italy, Germany, Scotland, London, Utah, LA, you know, so it kind of frazzles yer heid. I’m under no illusion how lucky I am to be doing all that stuff, and that travelling. But at the moment getting home, seeing the wife and walking the dog sounds like bliss.”

The actor has been so busy working since the wedding that the honeymoon has been much postponed.

“Tell me about it!” he says. “It’s one of the things I am contemplating – am I a terrible husband when I’m constantly away in all these far flung countries in eight months, and I’ve still no’ given my wife a honeymoon? But she understands and she’s very patient. It just means I need to spoil her when I get the opportunity.

“I was in Prague for a month and it was stunning, but minus 20 each day, so you just go from set to hotel and on days off you’re just stuck in this room by yourself. But she’s got her own life to live over there, she’s got a job and stuff. She’s an independent girl, she’s not going to be just following me about all the time.”

Compston and Flynn met in the bar she was working in LA, when he clocked the claddagh ring she was wearing. “Well you’ve seen Tianna? She’s mixed race with huge hair and I said ‘what are you doing with that?’ It turned out her dad is Irish, so from that I started singing her a couple of songs from the old country and she was hooked.”

He laughs and won’t be drawn on which particular songs worked their charm.

“She’s mad on her Irish family and when we’re filming Line of Duty in Belfast and she comes to visit, we jump on a train down to County Meath to see them all. It’s beautiful.”

Compston is big on family too. Back in Greenock his dad’s a welder and his mother works at the council. When I ask if they’re proud of their son he concurs. “They’re chuffed aye, but my brother has a son, my wee nephew, and he’s eclipsed me as the family golden boy now, my wee nephew.”

On the Line of Duty set Compston’s co-stars McClure and Dunbar have become close friends and his support network.

“We all live next door and head between each other’s flats at night to eat. We have a blast. Adrian cooks a lot of Irish stuff, champ and all that. And Vicky’s very good at Sunday roasts. I cooked once this year, because Tianna has been teaching me so it’s not all eating out and Doritos every night, and I did lemon pepper chicken with roasted asparagus and mashed totties. They arrived 45 minutes early and it wasn’t till after I sussed it was because they wanted to be sure I was cooking it right.”

When he’s working in London, a kick about with James McAvoy is often on the agenda. “There’s a weekly actors’ game that we try and get along to when we’re in the same neck of the woods.”

Is this the one that Greg McHugh (aka Gary Tank Commander) talks about, the “not the face, not the face” game?

He laughs. “I think the main rule is not the groin, not the groin. And no heavy slide tackles. I introduced Greg to this game – he’s one of my close friends – and the first thing I said to him was ‘no slide tackles’, then the first f***ing kick of the ball he nearly broke a boy’s leg!”

Since Line of Duty, Compston has been filming on location in Hamburg and Prague, for The Aftermath. Based on Rhidian Brook’s international best-selling novel about the aftermath of the Second World War, it’s directed by James Kent and is due out later this year.

“It’s a fascinating period which probably isn’t documented as much as the rest of the events around the war. Germany was occupied by the allies, with the Russians, Americans, British and French divvying it into zones. The British were in Hamburg and a lot of their families came over so German families were evicted. It was a difficult time because Germany was in ruins and there were wild rumours of insurgents called The Werewolves, sort of Hitler’s elite bodyguard troops.

“My scenes are with Keira Knightley, Alexander Skarsgård and Jason Clark. All three of them were fantastic to work with, very generous people with their time, no airs and graces. I really enjoyed it.”

List Compston’s co-stars and it’s a roll call of screen greats: A Guide to Recognising Your Saints with Robert Downey Jr, The Damned United with Michael Sheen and Timothy Spall, Soulboy with Felicity Jones and Alfie Allen, Sister with Gillian Anderson, plus Gemma Arterton, James McAvoy, Jim Broadbent, Ken Loach. It’s quite a CV.

“Yeah, when you say them like that it does actually sound pretty good. I’ve learnt from all of them. Everyone has different skills. One of the first ones I remember was an episode of Miss Marple and Julia McKenzie doing the denouement at the end. She just blew my mind because I looked through it going, right, skip over that, skip over that bit, because it’s about 15 pages long. But when she did it, she committed to every single line. And I thought if she’s been acting this long and is doing that at her age, there’s no excuse for me at my age not to be thinking why can’t I bring every line of this to life?”

Did he ever see himself where he is now, when he was at school and cast in his first role by Ken Loach?

“I love Greenock so I would have been happy to stay, but in my head I always thought somehow I’m going to go out and see a bit of the world. I wasn’t sure this would be the way it would happen. So I feel lucky, but not fazed by it. I talk about this with my friends, they’ve got different jobs – insurance, greenkeeping – and we never knew what we’d do immediately after school, but 15 years later we’re all pretty good at whatever it is. It comes from experience. I’m grateful for where I am and very lucky that people gave me the chance to work on great scripts and believed in me. Because you can have all the talent in the world but unless people give you the chance to showcase it, you’re gubbed.

“But I’ve still got a bit to go in me yet, I’ve still got ambition,” he says, and flags up future roles he’d like to play in Benny Lynch, 1935 flyweight champion of the world, and Edinburgh-born republican and socialist, James Connolly.

“Just in terms of what they both achieved, when you delve into their lives, their stories would make great films. I’m probably just coming up to the right age for Benny and just a few years short of James Connolly, so if somebody could get scripts together I’d be up for it.

“I know there’s a campaign to get a statue to Benny in Central Station, where he arrived back after winning the world title, and I think that’s more than deserved.

“And Connolly’s another. When you read into his life it’s incredible what he achieved, the places he went, the things he saw and the people he inspired – and still inspires today.”

Ask Compston about his defining role and he still plumps immediately for Liam in Sweet Sixteen, the casting that kick-started his career. He also has fond memories of Monarch of the Glen, which followed: “It was sort of my drama school.” Loach remains his hero and he’s full of praise for the director’s latest film, I, Daniel Blake.

“He told me he’d retired, then to come out and do I, Daniel Blake, his biggest hit ever, winning the Palme d’Or and the Bafta, only Ken could

do that. I loved it and it just typifies Ken. Nobody’s brave enough these days to make that type of film, but he’s proved that not only can he get his message across but also that people will go and see it, it can be a commercial success too. He’s proved what he’s been trying to prove his whole career, that you can get your message across and highlight something that is at the core of all the problems we’ve got – this country’s horrible lurch to the right – that you can stand up against it and also make it entertaining.”

Now that the conversation has taken a political turn it’s time to ask Compston about his backing of the Yes campaign in indyref1.

“Yeah, my views are very clear. I was just reading Corbyn and [Sadiq] Khan’s comments and it amazes me how spectacularly out of touch they are, because they keep going on about this thing that there’s no appetite for a referendum in Scotland. We had no appetite for a referendum on our EU membership, but we were forced into that. We’re backed into this ridiculous situation of being dragged out of the EU against our will. 2014 took a lot out of everybody and it was settled for a generation, but it was settled on very clear terms: we were going to be Scotland which was part of Britain, which was part of the European Union. Now that’s no longer the case. So it’s not about appetite, it’s about necessity.

“I hate when it’s seen as a dirty word, but I’ve never seen myself as a nationalist, I see myself as a democrat,” he continues. “I’m tired of governments being forced on us that we don’t vote for, from the South, which in the end make all the big decisions for us – whether we’re going to war, whether we’re being taken out of the European Union. That’s just not a healthy state of affairs.”

As for indyref2, that’s a discussion for another day as our time is up and Compston is racing to the airport to catch yet another plane, this time to Utah for the weekend.

“Yeah, it’ll be a good laugh,” he says. It’s been eight months of madness so me and a couple of pals are going on a promotional thing, kayaking, biking, driving cars. And the wife’s meeting me at the airport for a night, so happy days. Happy days!”

Season four of Line of Duty starts on Sunday 26 March, BBC 1, 9pm

" ,"byline": {"email": "" ,"author": "Janet Christie"} ,"topImages": [ {"image": {"url":"/webimage/1.4393911.1489841954!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4393911.1489841954!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Martin Compston Picture: Debra Hurford Brown","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Martin Compston Picture: Debra Hurford Brown","landscapeurl":"/webimage/1.4393911.1489841954!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/tv-radio/cilla-would-have-loved-paul-o-grady-taking-over-blind-date-1-4396583","id":"1.4396583","articleHeadline": "Cilla ‘would have loved’ Paul O’Grady taking over Blind Date","commentCount":0,"publishedDate":1489839313000 ,"articleLead": "

Cilla Black would have been “very happy” that her close friend Paul O’Grady is stepping into her shoes to host Blind Date, her son has said.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4396582.1489839307!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Cilla Black's son Robert has given Paul O'Grady his mum's blessing to take on the Blind Date show (Photo by Ian Gavan/Getty Images)"} ,"articleBody": "

The entertainment show will return for the first time in more than 13 years to air on Channel 5 with O’Grady as its host.

Black, who died in 2015, fronted the popular dating show from 1985 to 2003.

Robert Willis told the Daily Mirror: “Mum would have been very happy. If there was anyone she’d have wanted to do it, it would be him.

“He’ll make it his own. Blind Date was always about the funny moments. He’s not one of those guys with someone on an earpiece telling him what to say. He thinks for himself, like my mum. She never used those things.

“With Paul at the helm, there’ll be a lot of laughter.”

O’Grady said in an official statement that he was honoured to present the new series.

The revamped show will welcome LGBT contestants for the first time and will deliver some new thematic twists, Channel 5 said.

The broadcaster’s commissioner, Sean Doyle, pointed out that when the show last aired in 2003 dating apps such as Tinder did not exist.

He said: “Social media platforms may have changed the rules of the game for millennials, but on Blind Date you’ve still got to find the real-life chemistry. The show respects its original traditions but there is a contemporary flavour to reflect the world today.”

The transmission date of the new series has not been confirmed.

" ,"byline": {"email": "" ,"author": "Kerri-Ann Roper"} ,"topImages": [ {"image": {"url":"/webimage/1.4396582.1489839307!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4396582.1489839307!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Cilla Black's son Robert has given Paul O'Grady his mum's blessing to take on the Blind Date show (Photo by Ian Gavan/Getty Images)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Cilla Black's son Robert has given Paul O'Grady his mum's blessing to take on the Blind Date show (Photo by Ian Gavan/Getty Images)","landscapeurl":"/webimage/1.4396582.1489839307!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/tv-radio/embarrassing-bodies-doctor-reveals-his-own-body-dysmorphia-1-4396556","id":"1.4396556","articleHeadline": "Embarrassing Bodies doctor reveals his own body dysmorphia","commentCount":0,"publishedDate":1489834090000 ,"articleLead": "

Embarrassing Bodies star Dr Christian Jessen says he has not “fully conquered” his body dysmorphia.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4396555.1489834086!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Dr Christian Jessen (Photo: Ian West/PA Wire)"} ,"articleBody": "

Body dysmorphic disorder (BDD) is described on the official NHS website as “an anxiety disorder that causes a person to have a distorted view of how they look and to spend a lot of time worrying about their appearance”.

He told The Sun’s TV magazine: “I have body dysmorphia and I don’t think I’ve fully conquered that.

“I have been low this last year and that’s when these problems can come back and take over. Social media makes these things worse too. I always get criticism about my appearance, so if you’re already sensitive, that can be tough.”

He also revealed people often stop him in public to ask about health issues.

“I was in The Wolseley having dinner with my mother, and this slightly drunk lady come bounding over and hitched up her skirt and showed me her shaving rash,” he said.

His latest television series, Dr Christian Will See You Now, is set in a state-of-the-art clinic fitted with a fixed camera rig, and follows him as he diagnoses, counsels and treats a variety of patients.

:: Dr Christian Will See You Now launches on channel W on March 22

" ,"byline": {"email": "" ,"author": "Kerri-Ann Roper"} ,"topImages": [ {"image": {"url":"/webimage/1.4396555.1489834086!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4396555.1489834086!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Dr Christian Jessen (Photo: Ian West/PA Wire)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Dr Christian Jessen (Photo: Ian West/PA Wire)","landscapeurl":"/webimage/1.4396555.1489834086!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} ]}}} ]}