#gavin marshall

[enjoy-en-suite-kf]

Lazy Dog Gallery Offers Contemporary Durable goods that Combines Frugality and Functionality

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About Micawberish Dog Gallery:<\p>

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[scots-politics]

Dylan and the death of the protest singer

GAVIN MARSHALL takes a look back over Bob Dylan’s career and the role of the protest singer in politics. At last, we have the news that Bob Dylan has begun writing the second volume of his Chronicles autobiography. The first instalment was a mazy, mysterious book that took us through several eras of Dylan’s career. For the second volume, what I’m hoping that Dylan will delve into in detail is his shift from reworking traditional folk songs into achieving the ‘wild mercury sound’ that he always strived for and his subsequent tours with The Band.

This period in Dylan’s history marks the point where he had provided the anthems for a whole generation of people and decided to leave it behind, much to the amazement and anger of his fans. A battle would commence between the two, a battle that Dylan would eventually win, but not without developing some serious wounds and culminating in his motorcycle crash – the dramatic close of the most frenetic and prolific chapter of his career.

Performing night after night, being booed and abused by members of the audience, who believed they had been betrayed, makes these tours an act of protest in themselves and shows that Dylan had evolved the idea of protest not just to take in music, but to make the act of performance itself a protest against his own fans. Now the artist is the oppressed minority, fighting against the audience’s need for the same slogans to be repeated and a status quo maintained. Although we can expect typical candor from Dylan, his insights into these tours would be fascinating.

We may have had Billy Bragg and a few token songs from other artists, but the idea of a songwriter representing a generation of people in the same way that they believed Dylan would, and the hurt caused by his rejection of the label has ensured that we could never place our faith in a performer, despite the numerous political battles that have been waged in the last 50 years.

Watching No Direction Home and listening to the Bootleg Series performance in Manchester sums up the idea of Dylan’s act as a protest. The audience is acting out; the tension is palpable and it culminates in the infamous ‘JUDAS!’ comment. Dylan is brave and resolute in his defiance of the mob, ‘play fucking loud!’ and as the snare snaps and kicks off Like a Rolling Stone, one of the most angry and powerful songs of the 20th century, we know that the king of the protest singers has destroyed his crown completely. The protest singer is dead; all that remains is the artist.

[scots-politics]

Under the tea smoke and racial stereotyping

GAVIN MARSHALL examines the politics of Kerouac’s classic On the Road. It’s more than a too-cool Beat classic; it shows us a man deeply at unease with an emerging America.

Soon a film adaptation of one of the most widely shoplifted books in the Western world will arrive at cinema screens in Scotland and I’m wondering how complete an imagining it’s going to be. One of the most influential books of the 20th century, Jack Kerouac’s On the Road is dense with subjects to explore. My hope is that Kerouac’s underlying themes are not pushed to one side to exploit some casual drug references and how ‘crazy’ all those silly Beatniks were.

For there is a political subtext hiding under all that tea smoke and naïve racial stereotyping. What On the Road explores is the search for meaning and a life that is different from what post-war America was offering at the time. Suburbia was beginning to sprout on the magnificent American landscape, the idea of the nuclear family, with the patriarch of the family bringing home a paycheck while his wife stayed at home and raised kids, was beginning to become a reality. This was a world before the rise of the civil rights movement, the first stirrings of the hippy movement were nearly twenty years away and it seemed like the American people were being handed the golden key as reward for their valiance during the Second World War.

Really, Kerouac’s attitude to the changing landscape of America is in direct contrast to Mitt Romney, and a lot of today’s Republicans – and Kerouac himself was a man who often held highly conservative views. The idea of the 50’s American household and consumerism were anathema to him. His search for the meaning of life was not wrapped up in the home or in material goods, and this was in direct contrast to what was the single biggest change in outlook for Americans.

Now we are able to question the values of consumerism and what affects it has had on society in general, but only with the benefit of hindsight. On the Road explored these themes from the very beginning of this new way of living. Now there is nostalgia for this era, when America grew to be one of the two superpowers of the world and there was an unrivalled upturn in her economic fortunes. The Beats questioned all of this, were able to say that they had chosen to reject materialism before they could ever have been lured by its charms.

You can never really be surprised when a movie is made of a book that you cherish, the biggest surprise will always be if it’s well produced. Kerouac of course tried to adapt On the Road into a movie himself, even attempting to contact Marlon Brando to play Dean Moriarty. So I will approach the cinema next week with a touch of hesitancy and hope that Kerouac’s memory will be enhanced by the movie, rather than playing to the tired image of a travelling lunatic. On the Road can teach empathy, cynicism and hope – all the things that cinema can capture. Hopefully we can see that applied to Jack Kerouac’s most famous work of art.

[scots-politics]

Clubbing in the age of austerity

Every day I hear about the age of austerity – about how our troubles have just begun, how the majority of cuts have not been implemented yet, how people’s living standards have been as squeezed as any time in the last 90 years, that our economic outlook is continually being revised downwards and that there is no way out of this spiralling bad news for the foreseeable future.

Clubbing was born out of some of the same problems in the late 60’s and early 70’s – economic imbalance, poverty, sexual and racial discrimination, but the early clubs went a long way to breaking down these barriers through the use of shared experience and a musical movement that was unique to the time. The Stonewall Riots helped catapult the LGBT movement into the mainstream when it was illegal for two people of the same sex to even dance together. People from different racial backgrounds began sharing physical spaces and experiences together that hadn’t been available before. Clubbing itself was a political act, a celebration of diversity and a utopia that had never before been realized. Nile Rodgers summed it up best:

“I watched this sweeping change where New York morphed from dangerous to wonderful, a hip mosaic,” recalls Chic’s mastermind. “Inside a club, it was nirvana.”

“Back then, the clubs were much more underground and exciting; you could be partying in a meat locker and or in someone’s basement. Most of those involved were true audiophiles but nowadays most sound systems are second rate; the songs you hear played out are all a similar tempo too, it’s ridiculous. In the old days they’d range from 90 to 120bpm and have musicians playing live on them, interacting with one other.”

Being from Glasgow, I have been able to enjoy some of the best clubs that Europe has to offer, and still do, rarely – Melting Pot still tries to tap into those old feelings about disco and Optimo do return every so often after all, but those nights where you can lose yourself in music, meet new and different people and dance until your legs are numb seem to be more difficult to experience. I’m tired of waiting in long lines. I’m tired of rising entry costs and drink prices. I’m tired of having a whole night ruined on the whim of a doorman. I’m tired of being viewed as just a customer.

These idealistic ambitions have been achieved in the early days of disco, with the loft parties of Nicky Siano, Dave Mancuso and the opening of Larry Levan’s Paradise Garage. What we have now in Glasgow is more akin to Studio 54 without the glamour, and in our society our clubs are viewed as nothing but binge-drinking holes. Do we really believe that our clubs have nothing more to offer our local culture than this?

I’m not even sure why I’m so nostalgic for an era that I was nowhere near born in, but what I know is that since I was legally allowed to enter a club, a transformation has occurred that leaves me cold to most experiences that the city has to offer – one club in Glasgow City Centre is even run by a major phone company. It feels like we’re heading to an age where many people are being priced out of clubbing and it is simply an extension of normal consumer culture.

The worsening conditions that people are facing economically usually foreshadow some form of reaction, and what my hope is that a re-evaluation of our clubs takes place. I’ve read about the growing number of parties being held in abandoned spaces in London, and it is hopeful but I fear that it may never be achievable and clubbing itself will continue to be a symbol of only excess without the thought and true passion behind it.