RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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Attila the Stockbroker Diary: May 31, 2024
A shameless plug for Glastonwick festival, and a close shave at the Bar at the End of the World
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IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
SUMMER’s here, festival season’s here, and this weekend sees the one I have co-run for 29 years, Glastonwick, in the beautiful surroundings of Coombes Farm, West Sussex.
Our annual Beer, Music, Poetry & More Beer Festival: established in 1996 by co-founders beer guru Alex Hall, music/poetry co-ordinator yours truly and the late Roy Chuter, and based around a very simple idea, albeit one pioneering at the time.
It was the mid-1990s. I had performed at countless music festivals where the beer was the undrinkable urine of Satan and we had all attended vast quantities of beer festivals where it was a matter of iron principle that “the entertainment” had to start every song by informing the audience that they “woke up this morning” in a fake US accent.
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