JON BALDWIN recommends a provocative assertion of how working-class culture can rethink knowledge
Jim Thumb
CHRIS SEARLE speaks to Glaswegian guitarist JIM MULLEN
Jim Mullen
These are vivid accounts of people’s experiences of far-right violence along with documentation of popular resistance, says MARJORIE MAYO
The Star's critic MARIA DUARTE, JOHN GREEN and ANGUS REID review An Army of Women, Julie Keeps Quiet, The Friend and The Ugly Stepsister
GORDON PARSONS squirms at a production that attempts to update Shakespeare’s comedy to a tale of Premier League football
Above a Gothic bar just down from Brighton station, something spooky is happening, suggests JAMES WALSH
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MIK SABIERS enjoys the theatrical feminist six piece who have a lot of fun that the audience feeds off as the set rolls on
HE’s one of the truly great guitarists of a century of jazz, with a sound all of his own rooted in his love of the songs of Robert Burns. Jim Mullen tells me that he “grew up with his songs and their soulful timelessness.” Just listen to his beautiful millennial album Burns and you’ll hear what he means.
He was born in Glasgow in 1945: “It was the post-war baby boom. My dad was a carpenter, my mum worked in a department store. She would sing along to Bing Crosby and Frank Sinatra on the radio, and when I began playing I half-knew these songs. As a toddler she would offer to read me a story at night, but I would ask her to sing me a song instead.
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