Presentation and Interviews by Ricky Ross
BBC Scotland and BBC One Scotland and BBC Two Scotland sketch show from Robert Florence and Iain Connell. 22 episodes 2009 – 2019.
Robert Florence and Iain Connell write and perform this sketch show set in a fictional Scottish location that somehow seems eerily familiar. Burnistoun has its own newspaper, furniture store, gym, pub and all-you-can-eat buffet restaurant, radio station and even an ice-cream van.
Characters include Uncle Willie the man who insists on having his own funeral before he dies, wannabe girl-band singer Jackie McGlade who can make any tune sexy except football songs, and John and Terry two pub pals who insist they do not fantasize about each other sexually.
Other Burnistoun characters include disgruntled serial killer The Burnistoun Butcher, and snippy siblings, Paul and Walter, who share high drama inside their ice cream van.
More about Burnistoun at Comedy UK
Laura Mvula, Nadine Shah, Anna Meredith, Damon Albarn, Karine Polwart, Floating Points, Kathryn Joseph, Caribou and tUnE-yArDs are just some of the highlights from the eclectic lineup of music coming to Edinburgh as part of the International Festival
“The programme we are announcing today represents a carefully organised return to live performance,” says Fergus Linehan, EIF’s director. “It is a collaborative effort between those who live in our city, our artists, the team at the festival, our donors and stakeholders and all who will be coming along to our performances.”
As ever, Linehan and his team will be bringing a world-class selection of work to the Scottish capital, with 170 performances announced this morning, covering everything from classical music and opera to star-studded theatre, dance and spoken word. We’re particularly excited about the eclectic contemporary music lineup, which features an enticing blend of brilliant Scottish artists alongside international talent.
Anna Meredith, Damon Albarn
First to catch the eye are two recent Scottish Album of the Year Award-winners and Skinny favourites: Anna Meredith and Kathryn Joseph. Meredith helped open EIF back in 2018 with the stunning audiovisual piece Five Telegrams, and the composer will be back again this year to perform music from her second album, FIBS. Meanwhile, Joseph will provide beautiful ballads from her debut Bones You Have Thrown Me and Blood I’ve Spilled and its follow-up, From When I Wake the Want Is.
You’ll find more uber talented female voices on the bill with the soulful Laura Mvula, who’ll be bringing her brand of 80s new wave-inspired dance-pop, and Nadine Shah, who’ll be getting the chance to perform tracks from her fourth album, Kitchen Sink, in Scotland for the first time. Widely regarded as the voice of young African womanhood, Malian actress, musician and social activist Fatoumata Diawara, we’re told, will be tackling subjects such as “the pain of emigration, the struggles of African women and life under the rule of religious fundamentalists” with her first EIF performance.
Damon Albarn will be back at EIF this year accompanied by a band and string section. Expect performances of some of the iconic songs he’s recorded as part of Blur and Gorillaz, as well as from The Nearer the Fountain, More Pure the Stream Flows, his current musical project inspired by the landscapes of Iceland, which he completed during lockdown and we’re tod explores “themes of fragility, emergence and rebirth”. And electronic music producer, DJ, and musician Sam Shepherd aka Floating Points will bring his euphoric live show to Edinburgh.
Folk, jazz, dance and trip-hop
Modern UK jazz will be well-represented at EIF this year with performances from Kokoroko, Moses Boyd and The Comet is Coming – the latter returning to Edinburgh with their explosive cosmic jazz rave. Scottish trad-heads, meanwhile, can look forward to Inverness-born fiddle player and composer Duncan Chisholm, Glasgow instrumental folk band RURA, instrumental trad trio Talisk, Gaelic supergroup Dàimh, all-female Scottish-English collective the Kinnaris Quintet, and Glasgow’s Breabach, who’ll be bringing their double bagpipes, Gaelic vocals and step dancing to EIF.
And the moon shines bright, as I rove by night,
To muse upon my charmer.
This is one of Burns earliest songs, although he revised it later for publication. Written in 1775 at the time of Burns’ infatuation with Peggy Thomson of Kirkoswald.
`I spent my seventeenth summer,’ he wrote in his autobiographical letter to Dr Moore in August 1787, `on a smuggling [coast] a good distance from home at a noted school, to learn Mensuration, Surveying, Dialling, etc … I went on with a high hand in my Geometry; till the sun entered Virgo, a month which is always a carnival in my bosom, a charming Fillette who lived next door to the school overset my Trigonometry, and set me off on a tangent from the sphere of my studies.’
Later, he tried out a modification of this early song in honour of Jean Armour; no known copy survives. Going back to the same song, Burns then sent a version which has a number of Scots words in place of the original English diction to be printed in `The Scots Musical Museum’ (vol. iv, 1792, no. 351). Unusually for a love-song, `Now westlin winds’ includes four lines of protest against the `slaught’ring guns’ of sportsmen (ll 21-4). [source: Robert Burns’ poems and songs]
Tune: I had a horse, I had nae mair
Now westlin winds, and slaught’ring guns western
Bring Autumn’s pleasant weather;
The moorcock springs on whirring wings,
Amang the blooming heather:
Now waving grain, wide o’er the plain,
Delights the weary farmer;
And the moon shines bright, as I rove by night,
To muse upon my charmer.
The paitrick lo’es the fruitfu fells; partridge
The plover lo’es the mountains;
The woodcock haunts the lonely dells;
The soaring hern the fountains: heron
Thro lofty groves, the cushat roves, pigeon
The path o man to shun it;
The hazel bush o’erhangs the thrush,
The spreading thorn the linnet.
Thus ev’ry kind their pleasure find,
The savage and the tender;
Some social join, and leagues combine;
Some solitary wander:
Avaunt, away, the cruel sway!
Tyrannic man’s dominion!
The sportsman’s joy, the murd’ring cry,
The flutt’ring, gory pinion!
But Peggy dear, the ev’ning’s clear,
Thick flies the skimming swallow;
The sky is blue, the fields in view,
All fading-green and yellow:
Come let us stray our gladsome way,
And view the charms of Nature;
The rustling corn, the fruited thorn,
And ilka happy creature. every
We’ll gently walk, and sweetly talk,
While the silent moon shines clearly;
I’ll clasp thy waist, and fondly prest,
Swear how I lo’e thee dearly:
Not vernal show’rs to budding flow’rs,
Not Autumn to the farmer,
So dear can be, as thou to me,
My fair, my lovely charmer!
Assault and violence is a living reality for millions of women in every corner of the globe
Consider the fact – recently revealed by the World Health Organisation – that one in three women face physical or sexual violence in their lifetime.
Keep repeating this fact until it settles into your mind. Take a moment to reflect on what this means. It is beyond the realm of our worst nightmares, but it is a living reality for millions of women in every corner of the globe.
Assault, violence, and violation is taking place in a country, a city, a town, a village, a public space, a school, a college, an office, a street, a house, an apartment, or a room near to where you are right now.
If we are to truly end violence against women, then we need a truly global approach. Although I am encouraged to see the recent outcry, new conversations, protest and debate following Sarah Everard’s death, it pains me that it takes a particularly horrific act to trigger a public outrage.
The culture of violence and rape against women has been ‘normalised’ for decades in many countries around the world as these statistics show.