England/Scotland 1960 offers a visionary insight into the very heart of English and Scottish cultures. Reflecting a postwar era in which the revolutions of the 1960s had hardly yet filtered into the mainstream, Davidson's photographs reveal countries driven by difference--the extremes of city and country life, of the landed gentry and the common people--and lucidly portrays the mood of these times in personal and provocative imagery that is as fresh today as it was in that time.
The Fab Four: George, John, Paul and Ringo, a quartet of working-class kids whose magical songs and revolutionary influence still inspires four decades on. More has been written about The Beatles than any other rock group in history and it is difficult to imagine that there remains anything new to say, but lifelong Beatles fan Ken McNab reveals for the first time, in intimate detail, the pivotal part Scotland played in the genesis of the group and the extraordinary connections that were fostered north of the border before, during and after their meteoric rise to global fame. McNab follows The Beatles as rough and ready unknowns on their first tour of Scotland in 1960 - when they were booed off stage in Bridge of Allan - and again, in 1964, as all-conquering heroes. He also discovers that the momentous decision to break up the band was made in Scotland and provides details of the McCartneys' lives in Mull of Kintyre and Lennon's childhood holidays in Durness.
Originally published in 1977. The Travellers, from those living in bow-tents and horse-drawn caravans to those dwelling in motor caravans and permanent homes, are an important source of traditional music. Their society means that songs that have died out in more settled communities are preserved among them. Ewan MacColl and Peggy Seeger, widely known as two of the founding singers of the British and American folk revivals, here display a vast fund of folklore scholarship around the songs of British travelling people. Resulting from extensive collecting in southern and southeastern England and central and northeastern Scotland in the 1960s and 70s, this book contains 130 songs with music and comprehensive notes relating them to folkloristic and historical points of interest. It includes traditional ballads and ballads of broadside origin, bawdy, tragic and humorous songs about love, work and death. Most are in English or in Scots dialect with four in Anglo-Romani.
Is the 'United' Kingdom really as united as its name suggests? For many people in the UK, increasing nationalism in Scotland has come as rather a shock, raising questions about what Britain is, and where its future lies. In "The Road to Independence? Scotland since the Sixties", Murray Pittock not only gives an account of modern Scottish nationalism, but also explains what Scotland's role in Britain has been historically, and why it has changed radically in the last fifty years where the debate about independence has come to the fore. The author relates the economic, social and cultural history of Scotland, the rise of modern Scottish nationalism and the reasons for it, the recent history and differing character of Scotland's cities and cultural industries, the impact of multiculturalism on Scottish as distinct from British society, and the changes wrought by devolution, including the reasons for the election of Scotland's first-ever nationalist government in 2007. "The Road to Independence?" is the only history of Scotland available with a truly contemporary focus. In dealing with everything from modern painting to political structures it is remarkably comprehensive; in explaining the rise of modern nationalism it is of great importance to policy-makers and the wider public. It will be of interest to students of politics, history, law and social science, and to all who want to understand the rapidly changing face of Britain
Scotland has often been regarded throughout history as "the violent north", but how true is this statement? Does Scotland deserve to be defined thus, and upon what foundations is this definition based? This book examines the history of crime in Scotland, questioning the labelling of Scotland as home to a violent culture and examining changes in violent behaviour over time, the role of religion on violence, how gender impacted on violence and how the level of Scottish violence fares when compared to incidents of violence throughout the rest of the UK. This book offers a ground-breaking contribution to the historiography of Scottish crime. Not only does the piece illuminate for the first time, the nature and incidence of Scottish criminality over the course of some three hundred years, but it also employs a more integrated analysis of gender than has hitherto been evident. This book sheds light on whether the stereotypical label given to Scotland as 'the violent north' is appropriate or in any way accurate, and it further contributes to our understanding of not only Scottish society, but of the history of crime and punishment in the British Isles and beyond.
Craig Richardson here addresses key areas of cultural politics and identity in a way that not only illuminates the development of Scottish art, but teases out another strand of the plurality of developments which led to the success of artists throughout the UK in the 1990s. It is of the highest relevance whether one's perspective is that of the development of the Scottish art, British art or European art of this period. The book adds significantly to our knowledge of the art of this period in a way that will aid not only our historical understanding but our understanding of the dynamics of art practice today. Providing an analysis and including discussion (interviewing artists, curators and critics and accessing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted 'exemplary' works which outlines a self-conscious definition of the interrogative term 'Scottish art.' Among the artists whose work is discussed are John Latham, Simon Starling, Alan Johnston, Roderick Buchanan, Glen Onwin, Christine Borland, William Johnstone, Joan Eardley, Alexander Moffat, Douglas Gordon, Alan Smith, Graeme Fagen, Ross Sinclair and many others. The discussion culminates in a critically original demonstration of the scope for further research and practice within the subject, facilitating national cultural debate on the character of Scottish-national visual art.
This book considers the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-1970s, focusing on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard and Bob Cobbing. It will be a vital resource for students and scholars of modernism, intermedia art and British literature.
