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.
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.
Scotland's Populations is a coherent and comprehensive description and analysis of the most recent 170 years of Scottish population history. With its coverage of both national and local themes, set in the context of changes in Scottish economy and society, this study is an essential and definitive source for anyone teaching or writing on modern Scottish history, sociology, or geography. Michael Anderson explores subjects such as population growth and decline, rural settlement and depopulation, and migration and emigration. It sets current and recent population changes in their long-term context, exploring how the legacies of past demographic change have combined with a history of weak industrial investment, employment insecurity, deprivation, and poor living conditions to produce the population profiles and changes of Scotland today. While focussing on Scottish data, Anderson engages in a rigorous treatment of comparisons of Scotland with its neighbours in the British Isles and elsewhere in Europe, which ensures that this is more than a one-country study.
Two national identities had established themselves by the end of the 11th century in, respectively, the north and south of Britain. The larger southern nation made several attempts on the independence of the smaller and more dynastically-troubled northern state but, after the time of Edward I of England, Scotland held its own. Then in 1603, with the accession of James VI of Scotland to the English throne, an incorporating union seemed to be in prospect, but more than a century passed before a lasting parliamentary union was achieved amid a flurry of intrigue, corruption and power-broking.
