Graduate Fashion Design GSA
Tuesday 23rd January, 6pm
A work in progress show hosted by graduate fashion students at Glasgow School of Art,
a snapshot of their processes as they work to produce their final collections and showcase at Graduate Fashion Week
Andrew Mill & Friends, Stephen McLaren, Henry and Fleetwood, Errant Boy
Thursday 25th of January, 7pm, £7
Errant Media presents Upstairs
Popular Leith night goes west for an eclectic Glasgow special with globetrotting musician Andrew Mill backed by his rockabilly-fusion band, strident vocals and piano from Stephen McLaren, subtle, atmospheric pieces from Henry and Fleetwood (De Rosa/State Broadcasters collab) and Errant Boy’s melodic guitars and lyrical unease.
Civil Disobedience presents…
Tuesday 30th January, 7pm
Persistent & Nasty
A script reading and debate series for the female-identified voice in stage and screen. Male, male-identified, and gender fluid audience members are also very welcome.
Persistent & Nasty is a platform with a focus on the voices of female-identified humans working, writing, and performing in the stage and screen industry. It was born from the frustration and anger of four actresses/writers, fed-up with the treatment of women across the industry; from the lack of profile female writers get, to the way that women are treated in the casting process.
All are welcome to this first event in our Persistent & Nasty series (men/male-identified people are encouraged to join us too). Just come on the evening of the event and pay a small (£3-£5) donation on the door.
HOW THE EVENT WILL WORK
The format of the evening is in two parts. First there’ll be a rehearsed reading of a piece of writing for theatre or film by a female-identified writer. This will be followed by an open forum discussion with an invited industry guest, addressing any issues the work points to and that affect women on a cross-industry level. Audience members will be encouraged to take place in this debate.
Our goal is to create an event that is safe and supportive, but that is also an act of protest. We’ve reached a tipping point in our culture where misogyny and the silencing of marginalised voices will no longer be tolerated. The event will be recorded for an accompanying podcast that will serve as documentation of our thoughts, ideas and grievances. We intend to be heard.
WE’RE LOOKING FOR FEMALE WRITERS
We’re currently inviting female-identified writers to submit scripts for the reading part of the event. The organisers (see below for more details) will select a script from the submissions that they will read at the event.
CRITERIA FOR THE WRITERS:
- Only female and femme-identified writers will be considered.
- Scripts should be 15-30 minutes in length (approximately 20-30 pages).
- The script can be written for theatre or for film.
- Priority will be given to scripts that explore themes of gender equality, challenge traditional gender roles, and/or examine feminist issues.
- Priority will be given to scripts that have more than one female character.
- Casting will be age, ethnicity and disability blind.
- If the submitted script is an excerpt from a longer piece, the excerpt should be able to stand alone and be understood.
- Please use as close to industry standard formatting as possible. Minimum requirements are 12pt font size, double line spacing, and page numbers.
- Alongside the script itself, please provide the following:
- a brief synopsis
- character descriptions
- a few words on what inspired you to write this particular piece
- a short biography
HOW WRITERS APPLY:
Please send the above information to Louise Oliver at:
Deadline for submitting scripts is 5pm on Friday 15 December 2017.
“Representation of the world, like the world itself, is the work of men; they describe it from their own point of view, which they confuse with absolute truth.” Simone de Beauvoir, The Second Sex
Dbh, Rocky Lorelei, Irma Vep
Heart Beach, Jutland Songs
Their show at the Eagle Inn will celebrate the release of their rand new LP “Haircut” and will be playing with Jutland Songs.
“There’s something very satisfying about a band that limits itself to a simple aesthetic and builds a world with what they have” (Rolling Stone)
“Like The Smiths, like Joy Division, this music is oddly and often wonderfully uplifting. Almost every song starts with a drawn-out chord poignant enough to break Rupert Murdoch’s stony heart. It takes a brave, thoughtful band to sound this vulnerable. Heart Beach are beautiful, beautiful, melancholy babies. Treasure them.” (The Guardian ★★★★)
Hiip Priest Party
Saturday 3rd February, 2pm – 11pm, £7
HIIP PRIEST PARTY
Real Life Entertainment
The Kidney Flowers
EXPOSURE: Exploring Glasgow’s Underground Through a Lens
Sunday 11th February, 4pm – 10pm, £1 (All proceeds will be donated to charity.)
A pop-up, one-day exhibition which focuses on local talented photographers showing unique and innovative perspectives of the city of Glasgow through their lenses. We argue that “Underground Makes Glasgow” – celebrating the different, the unseen, along with various other aspects of the city which are not commonly witnessed.
Damon & Naomi with Richard Youngs
Saturday 17th February, 7pm
Tickets £10 advance or £12 on the door
Buy Tickets HERE
Damon Krukowski and Naomi Yang started playing music together as the rhythm section, co-songwriters, and sometime singers in Galaxie 500. When that band ended, they continued as a duo, first recording for Shimmy Disc and then on a series of albums for Sub Pop Records. In 2005, they formed their own label (20/20/20) and have since released four further Damon & Naomi albums The Earth Is Blue, Within These Walls, False Beats and True Hearts, and Fortune alongside reissues of their own and the Galaxie 500 back catalogue.
Live performances start at 8.30pm
7pm – 8pm
Damon will be joined by David Keenan to discuss their recent books ‘The New Analog: Listening and Reconnecting in a Digital World’ by Damon Krukowski, and ‘This is Memorial Device’ by David Keenan. There will be a chance for audience questions as well as readings from the books.
‘The New Analog: Listening and Reconnecting in a Digital World’.
What John Berger did to ways of seeing, well-known indie musician Damon Krukowski does to ways of listening in this lively guide to the transition from analog to digital culture
Having made his name in the late 1980s as a member of the indie band Galaxie 500, Damon Krukowski has watched cultural life lurch from analog to digital. And as an artist who has weathered the transition, he has challenging, urgent questions for both creators and consumers about what we have thrown away in the process: Are our devices leaving us lost in our own headspace even as they pinpoint our location? Does the long reach of digital communication come at the sacrifice of our ability to gauge social distance? Do streaming media discourage us from listening closely? Are we hearing each other fully in this new environment?
Rather than simply rejecting the digital disruption of cultural life, Krukowski uses the sound engineers distinction of signal and noise to reexamine what we have lost as a technological culture, looking carefully at what was valuable in the analog realm so we can hold on to it. Taking a set of experiences from the production and consumption of music that have changed since the analog erathe disorientation of headphones, flattening of the voice, silence of media, loudness of mastering, and manipulation of timeas a basis for a broader exploration of contemporary culture, Krukowski gives us a brilliant meditation and guide to keeping our heads amid the digital flux. Think of it as plugging in without tuning out.
Spinning Coin, Order of the Toad, Heir of the Cursed
Sunday 4th March, 8pm
Tickets £7 on the door or £6 advance. Buy tickets here
Order of the Toad.
Gemma Fleet from The Wharves joins Robert Sotelo and their talented flatmate Christopher Taylor in a quasi-medieval communion, exploring the perfect aural intersection between early REM, Laurel Canyon hippiedom and baroque musicality.
Heir of The Cursed is a caulbearer born of an apparition, a primordial memory, a penny drop. She makes songs influenced by the strange nuances of life, rooted in grief, Scottish weather, the constant and the inconstant.
Over the space of three years, two singles and countless gigs, including tour supports with Teenage Fanclub and Real Estate, Spinning Coin have determinedly made their music heard: beautifully rough-hewn guitar pop that takes in frustration and escapism, but also gracefulness and splendour. Their first album, Permo, recorded with Edwyn Collins at his AED Studios, and at Glasgows Green Door with Stu Evans, captures this balance perfectly. Its an album both of bold steps and of simple gestures, coming from a group who have found, seemingly effortlessly, a confident, unpretentious way of working together.
Its partly down to their history. Starting out in 2014 as a four-piece Sean Armstrong (guitar, vocals), Jack Mellin (guitar, vocals), Cal Donnelly (bass) and Chris White (drums) the members of Spinning Coin have all been involved in collective, DIY music-making. They may have formed out of Armstrongs project, the Sean Armstrong Experience, but their unique sound coalesced quickly, with Armstrong and Mellin both bringing songs to the group. Sometimes, their material is sculpted from jamming in their practice room: its an egalitarian way of working, a politic reflected in much of the members other music too, whether Whites involvement with the Winning Sperm Party collective, Donnellys membership of Breakfast Muff, or Mellins time with Smack Wizards.
Spinning Coin released a few cassettes in 2015, but made their first forays into wider consciousness with two seven-inch singles, 2016s Albany / Sides and this years Raining On Hope Street / Tin, both released on The Pastels Domino imprint, Geographic Music. Taken together, they sketched out some parameters for the groups songwriters Armstrong more melancholic, Mellins songs full of nervous energy with Donnelly and White framing the melodies with deft touches. But initial appearances can be deceiving, and one of the revelations of Permo is its breadth, the way both Armstrong and Mellin are happy to experiment, to take a risk on the next melody, and to see it take flight in unexpected ways.
The fourteen songs on Permo trace all kinds of terrain, though the overarching story might be that of a group looking for escapism, somehow and anyhow, in the midst of a social and cultural climate thats closing down possibilities for difference and community. It opens with the gorgeous Raining On Hope Street, an Armstrong song that dates back a number of years theres an undercurrent to the song, too, as Armstrong reflects that he wanted to write something slightly spooky, ambiguous and open to interpretation. Tin follows, one of many Mellin songs that looks to the outside world and finds things wanting.
Tin is trying to look at the two extremes of privilege and under-privilege, he says. Its a theme that Mellin returns to, with variation, over the course of the album from the deceptively spry Money Is A Drug, whose flecks of country-soul charm conceals lyrics calling out class war and stupid rules, through to Powerful, where Mellin takes on the possibilities of self-empowerment: Im talking about people that do have the ability to maybe quit their shit job and do something a bit better for a while. I know not everyone can do that. What gives Spinning Coins songs nuance, though, is their self-awareness. Im really singing to myself, to be honest, Mellin reflects, and theres nothing didactic about these songs. Spinning Coin write from lived experience, grounding their songs in an understanding that were all finding our way through the world, trying to figure out what the hell is going on out there.
Armstrong takes on similar themes with Starry Eyes, and its blunt lines about how its not the right time to celebrate, when people in the world are dying at the hands of the government, but he also writes some of the albums more peaceable songs, like the sleepwalking reverie of Metronome River, or the driftwork of Floating With You. His songs pour out as stream-of-consciousness: from there, Armstrong continues, Im usually trying to say something positive. I think theres value in being critical, but I dont think Im very good at it. Its an important counterpoint to Spinning Coins more political moments.
Theyve also just welcomed new member Rachel Taylor, who appears on the album, offering, amongst other things, ghostly backing vocals on Running With The World. Thats a typically Spinning Coin development: a group fiercely engaged with community, welcoming new experience into their orbit, and looking for ways to move forwards with a warmth for humanity. Its writ large across Permo finding better ways to live, and to be together in the world, against the odds.
God is My Co-Pilot
Friday 9th March, 8pm
Buy tickets here
|God is My Co-Pilot is a band from New York City that consists of Craig Flanagin and Sharon Topper along with a vast multitude of other musicians.
Describing the music of the band God Is My Co-Pilot isn’t always easy, becasue it does not readily fit into the more common genres people tend to relate to. However, various people on the net have said this about the music of Godco:
Those at The Knitting Factory, where Godco is a regular, say:
Queer Music Explosion says:
The ‘zine Stay Free says:
Howard Beal’s KFJC new album review (November 1, 1995) states: