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Friday, 17 October 2014
I AM MAX POWERS.
WHEN I WEAR THESE GLASSES AND PUT ON MY SUIT...
I AM MAX POWERS.
I KNOW THAT I HAVE SPECIAL ABILITIES AND THAT I SHALL NEVER AGAIN BE 'JUST MAX.' AND THE MORE I SAY IT THE MORE THE WORLD, AND I, SHALL UNDERSTAND WHAT IT MEANS.
I AM MAX POWERS.
I AM MAX POWERS.
I KNOW THAT I HAVE SPECIAL ABILITIES AND THAT I SHALL NEVER AGAIN BE 'JUST MAX.' AND THE MORE I SAY IT THE MORE THE WORLD, AND I, SHALL UNDERSTAND WHAT IT MEANS.
I AM MAX POWERS.
MAX SHOWED US THE WAY WITH HIS PREVIOUS BOOKS, BUT THIS TIME HE ABDICATED HIS AUTHORITY. THE PRECIOUS FEW OF US WHO WERE THERE, WHEN WE SAW MAX DIVEST HIMSELF OF POWERS AND GAVE US THE RIGHT TO SAY...
I AM MAX POWERS.
I might be feeling a bit vulnerable at this moment: I have realised that my great dream of romantic love must be put to own side as I am getting on a bit, and I don't have that swagger I used to have and my knee aches and when I look in the mirror...
I AM MAX POWERS.
I ONLY HAVE TO BELIEVE IT FOR IT TO BECOME TRUE. THERE ARE THREE STEPS TO BEING MAX
But I can't remember them just now. There was something about smashing Max in the face with a brick and that time his mother left him.
BUT MAX NEVER LET THAT STOP HIM, HE SAW THE GLASSES AND THE SUIT AND PUT THEM ON AND, THE COSTUME MAKETH THE MAN.
I AM MAX POWERS.
Is it this - if we pretend hard enough it all becomes real and so we don't have to face our essential alienation?
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
I AM MAX POWERS.
FEAST YOUR EYES! A sexy fundraiser for food.
There are two things in life that I can't do without: sexy wrestlers and food. It was only a matter of time before someone brought them together - and added Glasgow's greatest rapper, The Wee Man, as a side-dish.
FEAST YOUR EYES! A sexy fundraiser for food.
Following all the excitement of the Referendum, the cabaret and wrestling and burlesque and magic and sideshow and comedy communities have teamed up to ' use all that energy and hope and sexiness and turn into into a fundraiser for the incredible, independently run Greater Maryhill Foodbank.'
I not sure I agree with the next line - 'the words sexy and fundraising don't often go hand in hand' - since fundraising has long been the best chance for activists to meet the non-ideological love of their lives. However, the good cause is matched by the quality of the performers.
IMPORTANT INFO
Entry only 5 SMACKEROONIS adv!
DRESS CODE: BE SEXY! DRESS UP, DRESS TO IMPRESS.
Entry only 5 SMACKEROONIS adv!
DRESS CODE: BE SEXY! DRESS UP, DRESS TO IMPRESS.
THERE WILL BE A PRIZE FOR THE BEST DRESSED COUPLE ♥
Bring non-perishable food items, we are having a raffle with very sexy prizes, you can swap each food item donated for a raffle ticket!
The GMF especially needs:
Toiletries, Coffee, Sugar, Fruit juice (carton), Pasta sauces
Sponge pudding (tinned), Tomatoes (tinned), Cereals, Rice pudding (tinned) ,Tea Bags/instant coffee, Instant mash potato, Rice, Tinned meat/fish, Tinned fruit, Jam, Biscuits or snack bar....many other non perishable healthy food items. IF POSSIBLE NO DRY PASTA OR SOUP AS THEY HAVE PLENTY AT PRESENT.
STARRING
Morrigan Hel
Lottie Kixx
The Wee Man
Bring non-perishable food items, we are having a raffle with very sexy prizes, you can swap each food item donated for a raffle ticket!
The GMF especially needs:
Toiletries, Coffee, Sugar, Fruit juice (carton), Pasta sauces
Sponge pudding (tinned), Tomatoes (tinned), Cereals, Rice pudding (tinned) ,Tea Bags/instant coffee, Instant mash potato, Rice, Tinned meat/fish, Tinned fruit, Jam, Biscuits or snack bar....many other non perishable healthy food items. IF POSSIBLE NO DRY PASTA OR SOUP AS THEY HAVE PLENTY AT PRESENT.
STARRING
Morrigan Hel
Lottie Kixx
The Wee Man
Legendary rapper and comedian, also a bit handy in the wrestling ring.
Miss Hell's Belle
Miss Hell's Belle
A familiar face and physique on the burlesque scene, mistress of the Gatsby Club and a sinister delight.
Chris Dinwoodie
Chris Dinwoodie
Once he was a computer programme, but in 2007 turned to the less arcane mysteries of magic.
Leggy Pee and Charlie
Leggy Pee and Charlie
The dreamy duo, led by Charles Montgomery, a roue who could tell you a thing or two about what really goes on during luxury cruises.
Snookie Mono
Snookie Mono
You won't believe what he can do with a balloon or a sword.
Tom Harlow
Tom Harlow
He sings, he dances, he is the slim sultan of boy-lesque.
Kim Khaos
Kim Khaos
Anarchic and darkly sensual burlesque.
Tootsie Annie
Tootsie Annie
As seen at Pride Scotland
Timm Wylie and Mikey Whiplash(PRO wrestlers)
The Owen twins(ICW and British Boot Camp)
Timm Wylie and Mikey Whiplash(PRO wrestlers)
The Owen twins(ICW and British Boot Camp)
All pretty handy in the square circle
Rachel Renegade and Charlie
Glamour and weaponry together at last...
Wednesday, 15 October 2014
Morris Minors
I take one day off and David Cameron starts hanging around with morris dancers. Frankly, I was hoping that morris dancing was one area that could remain safe from the manipulation of politics - at least, until the arts council gives it some cash - but the inevitable argument happened.
Blackface, as folk historians will relate at length, has a different narrative in the UK. While it is associated with the minstrel show in the USA (a rather racist strand of musical that had both black and white performers parodying African-American culture), the black-face of the morris dancer (in Molly and Border traditions) is presumed to be a disguise.
I read somewhere, in an ambitious history, that this goes back to the Luddites, who would dress up in women's clothing and black up so that no-one recognised them when they smashed up machinery.
The Molly dancers had a habit of turning up at the local lord's house and threatening to plough up his garden if he didn't pay for a song and a dance. They were so disreputable that the establishment pretended that Molly dancing didn't exist for a long time.
I am fascinated by how this became a story - to be honest, I enjoy David Cameron baiting, but moaning at him for hanging out with morris dancers is low on his list of objectionable behaviours. Compared to, say, preparing the National Health for asset stripping, the whole 'is this a bit racist?' discussion is pretty trivial, and a chance for real racists to bemoan political correctness and leftists to looked pleased and pretend that Cameron is a racist rather than a politician who seems to be so out of touch with the public that he thought coming to Scotland in the last week of the Referendum was going to convince people that he cared about them.
I'm disappointed in the morris dancers. They were in camouflage - if that is the point of blackface - and had sticks. I'm sure that they could have encouraged Dave to explain a few of his less compassionate policies, or where he stands on environmentalism (a matter he seems a bit confused about). Instead, they got stuck in a row that allows everyone everything they want: little Englanders to complain that no-one cares about English culture, Guardian journalists to stir up a fuss and then lecture their readers on history...
I seem to remember the folk music movement being radical, once upon a time.
Blackface, as folk historians will relate at length, has a different narrative in the UK. While it is associated with the minstrel show in the USA (a rather racist strand of musical that had both black and white performers parodying African-American culture), the black-face of the morris dancer (in Molly and Border traditions) is presumed to be a disguise.
I read somewhere, in an ambitious history, that this goes back to the Luddites, who would dress up in women's clothing and black up so that no-one recognised them when they smashed up machinery.
The Molly dancers had a habit of turning up at the local lord's house and threatening to plough up his garden if he didn't pay for a song and a dance. They were so disreputable that the establishment pretended that Molly dancing didn't exist for a long time.
I am fascinated by how this became a story - to be honest, I enjoy David Cameron baiting, but moaning at him for hanging out with morris dancers is low on his list of objectionable behaviours. Compared to, say, preparing the National Health for asset stripping, the whole 'is this a bit racist?' discussion is pretty trivial, and a chance for real racists to bemoan political correctness and leftists to looked pleased and pretend that Cameron is a racist rather than a politician who seems to be so out of touch with the public that he thought coming to Scotland in the last week of the Referendum was going to convince people that he cared about them.
I'm disappointed in the morris dancers. They were in camouflage - if that is the point of blackface - and had sticks. I'm sure that they could have encouraged Dave to explain a few of his less compassionate policies, or where he stands on environmentalism (a matter he seems a bit confused about). Instead, they got stuck in a row that allows everyone everything they want: little Englanders to complain that no-one cares about English culture, Guardian journalists to stir up a fuss and then lecture their readers on history...
I seem to remember the folk music movement being radical, once upon a time.
The Fringe is not a festival...
The Fringe is not a festival. In the sense that a festival has a limited time period, and is the result of careful curatorial programming, the Fringe is more like an experiment in free market capitalism, designed to test whether natural selection operates within cultures. Edinburgh's blithe boast that it is the festival city only works if the Fringe is sub-divided into a series of smaller festivals.
This is the bit I like, because the audience becomes their own curator. The critic, meanwhile, has a rare experience of power. The cultural capital I've built up over the past seven years has a sudden moment of value. By reading my blog, a potential audience can assess my tastes, realise I am a pompous clown, and work out whether they are likely to agree with my recommendations.
It isn't much power, but, as an anarchist, I would not be comfortable with anything more. Then there is the fun of making up mini-festivals from what is already planned...
Today's mini-festival is based on the first five emails I find in my inbox.
Starting off with I Knew A Man Called Livingstone
Celebrating the life of David Livingstone, from the perspective of his African friends
Date: Friday 14th June 2013 Time: 18:00 – 19:00
Venue: National Libraries of Scotland, George IV Bridge, Edinburgh
This powerful piece of storytelling theatre, from Scots/Kenyan company Toto Tales, weaves together stories from the life of David Livingstone, told from the unique perspective of the African people who encountered him, and knew him best.
Seen through the eyes of his faithful companions Susi and Chuma, who undertook the long and dangerous journey across Africa, to return his body home, ‘I KNEW A MAN CALLED LIVINGSTONE’ vividly brings to life characters such as the fierce Princess Manenko, and Chief Sekeletu, who made possible Livingstone’s explorations of the Zambezi; to reveal a man of determination, conviction and tremendous humanity.
Dynamic, interactive, theatrical storytelling, with an original sound design, combines to produce a vibrant, moving and magical production.
Part of the David Livingstone 200 celebrations. http://www.davidlivingstone200.org
Performers: Isla Menzies and Mara Menzies
Director: Annie George of Wave Theatre
Sound Design: Pete Smith (http://www.thesoundspace.co.uk/)
Toto Tales Productions: www.tototales.co.uk Toto Tales is an Edinburgh-based, international, touring company. Passionate about bringing African stories to life in a unique theatrical storytelling style, it was founded by Scottish/Kenyan sisters, writer and performer Mara Menzies and fellow performer Isla Menzies.Together they have created works that have toured Scotland and beyond (Singapore, Kenya, Sri Lanka, Ireland and England, with this production going to Malawi in September 2013 for the City of Stars festival). This production has been developed for schools and community venues with support from Creative Scotland.
Recent Productions: Starbird (a co-production with Mull Theatre 2013), Tyi Wara (Edinburgh Mela), Under the Baobab Tree (collaboration with iTheatre, Singapore / Fringe 2011/Singapore ACE Festival 2011).
Twitter: https://twitter.com/TotoTales
Facebook: http://www.facebook.com/pages/Toto-Tales
This is the bit I like, because the audience becomes their own curator. The critic, meanwhile, has a rare experience of power. The cultural capital I've built up over the past seven years has a sudden moment of value. By reading my blog, a potential audience can assess my tastes, realise I am a pompous clown, and work out whether they are likely to agree with my recommendations.
It isn't much power, but, as an anarchist, I would not be comfortable with anything more. Then there is the fun of making up mini-festivals from what is already planned...
Today's mini-festival is based on the first five emails I find in my inbox.
Starting off with I Knew A Man Called Livingstone
Celebrating the life of David Livingstone, from the perspective of his African friends
Date: Friday 14th June 2013 Time: 18:00 – 19:00
Venue: National Libraries of Scotland, George IV Bridge, Edinburgh
This powerful piece of storytelling theatre, from Scots/Kenyan company Toto Tales, weaves together stories from the life of David Livingstone, told from the unique perspective of the African people who encountered him, and knew him best.
Seen through the eyes of his faithful companions Susi and Chuma, who undertook the long and dangerous journey across Africa, to return his body home, ‘I KNEW A MAN CALLED LIVINGSTONE’ vividly brings to life characters such as the fierce Princess Manenko, and Chief Sekeletu, who made possible Livingstone’s explorations of the Zambezi; to reveal a man of determination, conviction and tremendous humanity.
Dynamic, interactive, theatrical storytelling, with an original sound design, combines to produce a vibrant, moving and magical production.
Part of the David Livingstone 200 celebrations. http://www.davidlivingstone200.org
Performers: Isla Menzies and Mara Menzies
Director: Annie George of Wave Theatre
Sound Design: Pete Smith (http://www.thesoundspace.co.uk/)
Toto Tales Productions: www.tototales.co.uk Toto Tales is an Edinburgh-based, international, touring company. Passionate about bringing African stories to life in a unique theatrical storytelling style, it was founded by Scottish/Kenyan sisters, writer and performer Mara Menzies and fellow performer Isla Menzies.Together they have created works that have toured Scotland and beyond (Singapore, Kenya, Sri Lanka, Ireland and England, with this production going to Malawi in September 2013 for the City of Stars festival). This production has been developed for schools and community venues with support from Creative Scotland.
Recent Productions: Starbird (a co-production with Mull Theatre 2013), Tyi Wara (Edinburgh Mela), Under the Baobab Tree (collaboration with iTheatre, Singapore / Fringe 2011/Singapore ACE Festival 2011).
Twitter: https://twitter.com/TotoTales
Facebook: http://www.facebook.com/pages/Toto-Tales
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