Kerr's Corner

MILTON JONES: Lion Whisperer

2011-08-14T19:24:46Z

Milton Jones, Lion Whisperer

Assembly Hall, Mound Place, Venue 35

Hall

MILTON JONES is the king of one-liners and absurdity. They just keep coming out of the man so fast that it's hard to keep up. If you're too helpless laughing at the last one, you might miss the next one. Introduced by 'his grandfather, the warm-up man' who shuffles onto the stage in long coat, flat cap and shopping trolley, any latecomers arriving get told the same joke; 'I had a nephew who lived in Leith. He doesn't trust banks so kept all his money under the mattress. He reckoned that nobody will look for it in the front garden.'

After 'granddad' Milton bounds on to the stage in a strikingly loud shirt. He keeps up a steady stream of one-liners, enlivened with a few props from the shopping trolley and one of those large jotter pads on an easel you see at earnest meetings and seminars.

Some of his lines falls into a pattern, so the audience can anticipate what's coming and still enjoy it; 'Not all horses are Trojan horses... I know that now... That was a messy afternoon'; later, 'Not all pigs are piggy banks...' and 'Not all ducks are toilet ducks...' It's wonderful surreal stuff. Milton Jones is just the tonic you need after a stressful day.

Reviewed by David Kerr

***** Five Stars

Time for the Good-Looking Boy

2011-08-14T17:37:44Z

Time for the Good-Looking Boy

Box Clever Theatre Company

Pleasance Dome Jack Venue23, Bristo Square

YOUNG mixed-race men from London; especially those speaking in cod-Jamaican patois and dressed in 'gangsta-rap' gear and hoodies aren't getting a good press at the moment what with recent disturbances and outbreaks of looting in and around the city.

Coming in with all this baggage, it's natural for the audience to prejudge Time for the Good-Looking Boy. Many may dismiss it in Daily Mail terms as, 'probably some soft, leftie claptrap making excuses for the kind of scum who are looting and wrecking all round them in London'. Well, it's not.

Lloyd Thomas plays the nameless 'good-looking boy'. He's brash, but he doesn't want you getting the wrong idea, 'I'm Mr Average. Mr Ordinary.' He does nice things like nice boys are supposed to do. Occasionally breaking into rap he says, 'I ain't no bad boy wanting to cause midsummer madness'. He loves his mum, who has brought him up, 'real proper'. He's likeable, as well as good-looking.

In a light-hearted manner he tells the audience how he has had a fight with his girlfriend, Sammie. Not a 'fight, fight', though; a word fight. A member of the audience was persuaded to provide her words, 'What time do you call this?', Why didn't you phone? Don't you have a watch? We get the picture. It's good knockabout stuff and the packed audience laps it up.

As more details unfold, the mood changes subtly. We hear more about the party, his kid sister who thinks that he bosses her about to much and his best mae. As details of the young mans's story emerge the audience starts to notice odd things;little details about his white trainers with coloured laces. As we're listening to this young man's story of how he loved his girlfriend, his kid sister and his mum, we realise that something terrible has happened. Why have the police called at his mum's door? Why did she go off with them?

As he relates the drive home from the party it all becomes shockingly clear. The effect on the audience ispalpable. Thomas gives a flawless performance in this haunting story. This is my Pick of the Fringe. If you see only one play, make it Time for the Good-Looking Boy

***** Five Stars

Box Clever

I, the Dictator

2011-08-13T14:59:11Z

I, the Dictator

Teatr Wiczy

New Town Theatre, George street. Venue 7

JUST THREEpeople turned up to see this woeful production. Perhaps I ought to have taken this a warning. A man clad only in underpants stood centre-stage clutching a length of celluloid film. He's Charlie Chaplin, apparently preparing to shoot the last scene of his film, The Great Dictator which satirised Hitler's Germany and Mussolini's Italy.

There were elements of tapdance, jazz and mime but your reviewer was past caring by this time. I was startled back into wakefulness when the solo performer stood bullock-naked in front of me with his trousers around his ankles. I couldn't see any relevance to the plot. Great Dick-tator perhaps? Mercifully the end came and three intrepid theatregoers were able to make our escape out into the heavy Edinburgh rain.

Reviewed by David Kerr

** Two Stars

www.wicza.com

www.universalartsfestival.com

Macbeth

2011-08-13T14:44:55Z

Macbeth

Icarus Theatre Collective

New Town Theatre

George Street, Venue 7.

SHAKESPEARE'S plays are often regarded as worthy but boring. That's what comes of reading them in school rather than watching them performed. Given the right treatment, Hamlet, Julius Caeser and Macbeth can be as gripping as any Hollywood blockbuster.

This production fits the bill perfectly. The high-octane opening battle sets the scene for this dark tale on intrigue and violence. Despite the limitations of a small cast of seven, the cast have the choreography so perfect that they can switch roles in seconds with quick alterations of costume. In a red dress, Sophie Brooke is Lady Macbeth; with a cloak over her head she becomes one of the Three Witches. With other variations of her costume she becomes a Murderer or Rosse. The action is fast-moving and unrelenting, so pay attention.

Five Stars alone are due to the designers of the simple set and the expressive mood-setting lighting and sound. You'll find out what a bane-moon looks like.

***** Five Stars

www.icarustheatre.co.uk

ww.universalartsfestival.com

THE CRUCIBLE

2011-08-11T21:55:56Z

THE CRUCIBLE
American High School Theatre Festival

Pilrig Studio Venue 103, 1b PIlrig Street

ARTHUR MILLER'S play The Crucible, set in the time of the infamous Salem Witch Trials of 1692 was intended as an indictment of Senator Joe McCarthy's blacklisting of persons accused of communist sympathies in 1950s America.

This modern dress production is presented by a talented bunch of High School students from Pius XI High School, Wisconsin. Despite their youth, they have total mastery of the script.

Young Alex Sobczak's manipulative accuser Abigail Williams was so convincing that the audience were scanning the ceiling for the imps and devils she claimed to see. Roc Bauman was every inch the stout God-fearing farmer who knew that the accusations of witchcraft against his wife Elizabeth and scores of others were nonsense; Connor could not make himself heard against the clamour for blood. Instead he came under suspicion too, especially as he could not remember all of the Ten Commandments. According to Reverend Hale, his examiner, 'Theology is a fortress. No crack in the fortress can be allowed.'

The Crucible still speaks powerfully today as there will always be people who act or look different from the norm for one reason or another. Such folk can become objects of suspicion, fear and hatred and can be vulnerable to victimisation by unscrupulous manipulators with a score to settle or in pursuit of power and influence.

***** Five stars

Devil in the Detail

2011-08-11T10:28:25Z

DEVIL IN THE DETAIL

Meta Morpho

Zoo Roxy, Venue 115, Roxburgh Place

What on earth is going on here? That was my reaction when this play opened. This was a puppet show, for goodness sake. I don't like puppets, except maybe Captain Scarlet and Thunderbirds when I was a child. However, any initial bafflement melted away as things began to make sense.

Devil in the Detail has live actors in huge masks, a bit like the Tweenies, but this story is not for children. There is no dialogue. Changes of mood. Changes of pace. All the performances are led by the musical soundtrack.

The action unfolds like an old Brian Rix Whitehall farce -as adapted by Quentin Tarantino or the Coen Brothers, with opening and closing doors and characters just missing one-another. Two tenants, a crooked accountant who is skimming money off a sexy gangster and a dozy night security man, both rent the same flat from a dodgy landlady and her shopaholic daughter. Neither one knows about the other. It's great knockabout stuff. Look out for a runaway snake, a barking dog, murder and mayhem in this riot of fun.

**** Four Stars

www.metamorpho.co.uk

GUTTER JUNKY

2011-08-11T09:48:29Z

GUTTER JUNKY

Presented by Dream Epic and Salida Productions

GOD alone knows what the title means, It's not important. This fast-moving, hard-hitting play has much to say about the road to hell being paved with good intentions.

Harry, an enthusiastic young, naïve writer bunks up with Bill, a jaded, washed out old hand - a friend of a friend in the chief city of a strategic South American city on the verge of revolution. Within a few weeks, however, he has become single-minded enough in pursuit of his story to go into the south of the country and 'rescue' a girl from the unfolding chaos.

Within a decade, his book has become a bestselling advocate for war against the new South American ideology. He realises his role as a prophet of fear and paranoia and tries, claims he was sick at the time, and tries to enlist Bill to help,

James Cunningham plays Bill with unrelenting world-weary cynicism. James Maxted carries off Harry's early-years Tony Blair-style 'Bambi' to perfection. Andrea Pelaez combines fear, uncertainty and indignation in a perfect mix.

**** Four Stars

www.salidaproductions.com

www.assemblyfestival.com

RIOT

2011-08-10T07:06:29Z

RIOT

The Wardrobe Ensemble, Bristol

Zoo Roxy Venue 115

TIMING is everything. The producers of the production could not have imagined that riots in London and other English cities would be the top item in the news just as Riot opened in Edinburgh. Whether this boosted the audience or not is hard to say but the players performed to a full house.

This entertaining story is based on the events in Edmonton, north London in 2005, the year of the Crazy Frog, when a riot broke out at the midnight opening of a new outlet of a large Swedish furniture company. You know the one; lots of blue and yellow.

The lure of sofas for £45 on the opening night drew enormous crowds. People fought over items as inexperienced staff and overwhelmed police failed to cope with unexpected numbers.

The players capture the absurdity of the whole affair in a tight script that has lots of laugh-out-loud lines. Gin (like the drink), the nervous supervisor tries to warn his boss that things might get out of hand. She is full of New Age crap so she doesn't want to hear any 'negativity'. She sacks Gin and orders the doors opened to let everyone in at once rather than in stages. Big mistake! Mayhem takes over.

The flawless action is tightly choreographed with simple props of Ik** lights, folding chairs and a hanging wardrobe. Some of this was sheer genius. Who would have thought that two unfolded chairs could function as shaking doors holding back an angry mob?

Riot is one of the highlights of the Fringe. Book now and you won't have to beat the doors down to get in.

***** Five Stars

www.wardrobetheattrensemble.com

www.bit.ly/riotplay

Scottish Folk Roots and Offshoots

2011-08-09T07:49:42Z

Scottish Folk Roots and Offshoots

The Royal Oak Bar

1 Infirmary Street

SCOTLAND'S music has travelled all over the world; to Australia, New Zealand, Canada, but most of all to America. Scots settled abroad for many reasons; poverty and religious or political persecution at home, or just in search of a new life. Wherever they settled, they brought their music with them. That's why one of the songs sung for generations in the Appalachian mountains mentions the River Clyde. It's a folk memory. Once there, the music met with other strains, mutated a bit and came back here.

This trend is epitomised by the Singer/Songwriter David Ferrard. An Edinburgh lad himself, his mum is American, and he spent most of his summers as a young man over there, picking ups songs as he went along.

This comes out strongly in his routine which draws together songs from Robert Burns excoriating the politicians of his day as a Parcel of Rogues, romantic Jabobite songs dedicated to the Young Chevalier, Black American freedom songs from the slave era and some of his own composition. Love songs, sad songs, rude songs and silly songs. They're all here.

Ferrard engages with his audience in an understated way that draws them out into singing choruses and participating in 'hand-dancing'. More than half the audience in the intimate venue had seen previous performances and come back for more. What better recommendation can a man have?

www.davidferrard.com

Korean Drum: Journey of a Soul

2011-08-08T11:51:49Z

Korean Drum: Journey of a Soul

Kook Soo-Ho's Didim Dance Company

Assembly main hall, The Mound Venue 35

THERE'S something exciting, primitive and appealing about drums. There's nothing quite like them for quickening the pulse and grabbing the attention of an audience. That's why we 'drum up' support for a cause. That's why armies used to go into battle to the sound of a fife and the beat of a drum. Drums can bolster one side's morale and strike fear into the hearts of their enemies.

Korean Drum, however, was no ordinary drum corps. This small troupe soon had the audience entranced as they showed off their versatility as dancers, acrobats and drummers.

This was much more than a handful of drummers beating rhythms on side-drums for an hour, fun though that might have been to some. One minute the tiny female dancers are floating ethereally in a shimmering riot of brightly coloured silken robes; the next a perfectly choreographed pounding on a huge drum with a frenetic energy that would put the bass-drummers of many an Ulster Blood and Thunder band to shame.

The variety of drum sizes is astonishing. It ranges from little handheld drums through multi-drum frameworks up to the biggest drum you have ever seen. It must have been some eight or nine feet in diameter. It came encased in a large timber frame reminiscent of a four-poster bed and took four people to play it. Wow!

How they managed to keep the frantic pace going for an hour is a mystery. You've no fear of falling asleep in this show!

***** Five stars

Reviewed by David Kerr

www.assemblyfestival.com

Scene of the Titans

2011-08-08T06:40:57Z

Scene of the Titans

By Tim Foley

Faulty Productions

C Venue 34, Adam House, Chambers Street

TIM FOLEY, a member of the Belfast Titans RFC has penned this improbable account of how the famous rugby team was founded. If you're looking for innuendo and jokes about men playing games with odd-shaped balls you've come to the right place. There are some priceless one-liners in this sharp, witty script. Pay attention or you'll miss some.

Loosely based on true events, the story unfolds with Terry - a regular in the Belfast gay bar, the Kremlin - telling a TV crew how he set up the team initially to impress Colin. The goal of the makeshift team was to contest the Bingham World Cup in Dublin (the Emerald City) and do it all in just eight months.

Presented as a Broadway-style musical, each stage of story unfolds in song with some deliberately cheesy dance routines. Just one caveat, the dance scene of the song, My God is Gay may offend some folk. It didn't advance the plot in any way to have one of the dancers appearing in cruciform. You have been warned.

Despite the name, Faulty Productions have managed to pull off (sorry it's infectious) a hit show. The mix of music, humour and pathos is just right with an upbeat and catchy score whose tunes that will haunt you for hours after the show. This show should tour and consider releasing a CD of the soundtrack.

www.sceneofthetitans.co.uk

**** Four Stars

Reviewed by David Kerr

Mark Twain's DIARY OF ADAM AND EVE

2011-08-07T09:03:49Z

Mark Twain's THE DIARIES OF ADAM AND EVE

Adapted by Elton Townend Jones

Dyad Productions

Directed by Guy Masterson

ASSEMBLY @ George Square (Three)

FOLLOWING its success with I, Elizabeth in Fringe 2010, Dyad Productions breaks new ground with this hugely entertaining adaptation of Mark Twain's Diaries of Adam and Eve. Rebecca Vaughan's Eve, is bright, chatty and inquisitive. She experiments with naming things, developing language and engaging with the not-too bright, not-very-talkative, indolent creature she encounters in the Garden of Eden. She's not sure if he's a man or a reptile in this, the original story of human relationships.

This is the ultimate story of how those little and great misunderstandings between men and women have been around since the beginning of time. This is one to see with your husband, wife, or significant other.

***** Five Stars

www.dyadproductions.com

DUST Scargill's dreams and reality. Britain 1984-2011

2011-08-07T08:48:58Z

DUST

Scargill's dreams and reality. Britain 1984-2011

Quidem Productions

The New Town Theatre, Freemasons' Hall, 96 George Street Venue 7

NOTHING divided British society in the mid-1980s more than the bitter Coal mineworkers' strike of 1984. As in 1926, a confrontation between a charismatic leader of the miners' union and the elected government, brought poverty and misery to dozens of mining communities all over Britain. Margaret Thatcher, who became Prime Minister in 1979, was determined to break the power of the miners' union which had forced a previous Conservative government out of office in 1974. Ironically, the Miners' union played a part in bringing Thatcher to power when she succeeded Ted Heath as Tory leader after his electoral defeat in 1974. She determined to break the power of the miners and their famous 'flying pickets'.

Scargill echoes another Arthur, AJ Cook who led the miners to defeat in the 1926 general strike with the famous slogan, 'Not a minute on the day, not a penny off the pay'. Cook, a former Baptist preacher, died at the age of 47 in 1931.

This is the background to Ade Morris's play. Arthur (Michael Strobel) and his publisher Barbara (Lucinda Curtis) are discussing his forthcoming biography of his hero AJ Cook when news breaks that his old nemesis, Margaret Thatcher, has died. Arthur is expecting a visit from Lawrence, one of his old militant flying pickets.

In Doncaster, Chris (John Sackville), a retrained former miner tells his wife Maggie (Alice Bernard) that he is facing redundancy from his health care job.

At times witty and at other times deeply moving, the play probes the depths of each character's soul. Strobil's Scargill is convinced that he was absolutely right and that history has vindicated him. Other characters illustrate the human cost of the miners' struggle.

Simple staging means that a lot more rests on the actors to project the right image and not distract the audience. This experienced cast carry this task off easily. John Sackville stood out. With a change of coat, stance and accent he switched from a preaching, revivalist-style Welsh miners' leader to a defeated, downcast ex-miner from Doncaster and back again.

If you're looking for an agitprop hagiography of Arthur Scargill as champion of the working classes, you'll be disappointed. This is Arthur Scargill and the miners strike, warts and all.

***** Five stars

www.universalartsfestival.com

JACQUELINE SHARP, AKA DJMUSICJAC IN CONVERSATION WITH KARL HEARD, AKA KALKULUS

2011-07-14T20:58:51Z

WORLD PREMIERE
JACQUELINE SHARP, AKA DJMUSICJAC IN CONVERSATION WITH KARL HEARD, AKA
KALKULUS

Question 1

The music in the charts currently seems to sound mostly similar and I
take inspiration from the late seventies and eighties where European
music was diverse, unique and melodic.
http://www.youtube.com/user/djmusicjac  What decade are you inspired by
musically and why?

Answer Q1

It would be easy to say the 80's, as that is the era I grew up in. But
each decade has something that inspired me musically. For example 70's
Kraftwerk/John Foxx/Gary Numan/Fad Gadget. 80's Depeche Mode/Front 242.
  90's Orbital/Aphex Twin. 00's VNV Nation/Anthony Rother. The one
moment in time that inspired me the most musically and in life was May
1979. That was when I first caught a glimpse of the future when I saw
Tubeway Army performing Are Friends Electric? On Top Of the Pops. I
could not take my eyes off the screen. The look and the sound to me,
was as if Aliens were on TV. And I loved it!

Question 2

Modern music in the charts seems to be commercially similar with very
little effort in individuality.   Do you agree that there is a need for
artists to get back to basics, learn how to use musical instruments,
such as synthesizers and encourage artistry, what are your thoughts on
this?

Answer Q2

The charts, to me are redundant. Who really cares anymore? Gone are the
days when we all used to listen to the Top40 and watch Top of the Pops.
  There used to be so much diversity in the charts. Not anymore. As you
said, it sounds mostly similar and clearly not much in the way of
creativity is used to make it. It is the same on Radio. It is like they
play only 3 songs all day long. No matter what time of day it is, you
will hear Adele, Take That and whatever the latest song killed by an
X-Factor contestant is. I call the charts "The Karaoke Charts!" More
than half are bad cover versions.  Sounds like I'm on a bit of a rant
lol.  As for the second part of your question, I agree that Artistry is
suffering because of this. Where is the next David Bowie or Kate Bush
going to come from? Who is inspiring the kids at school today? New
Artists don't seem to last long. Why? What will we be listening to in
10 years time? Jingles? I think our only hope is in the clubs and
online. Somewhere out there are some amazing talents waiting to be
discovered.

Question 3

So where did you get your inspiration for synthesizers, who taught you
how to use them and what models of synthesisers do you prefer and why
do you prefer those particular models?

Answer Q3

Gary Numan, John Foxx and Kraftwerk inspired me to pick up a
synthesiser. I tried bass and electric guitar but found I was no good
at playing either of them. A synthesiser is dead easy to play. All the
sounds are there, it's just learning how to put them together. Anyone
can play one. It just takes
practice. I taught myself how to play. I started by playing along to my
favourite songs. I learnt Gary Numan's, Cars first. Then I would start
to add my own little bits to it and then I started to create my own,
very rough songs. Over time you stop thinking about creating a song
that sounds like so
and so and begin formulating your own style. That's if you stick at it
long enough. Now I won't use any pre-set sounds on my songs. So the
synthesisers I prefer are the ones where you can create your own
sounds. I own quite a few now. The one I use most is the Microkorg. It
is very easy to use,
small enough to sit on your lap and you can create almost anything with
it.  It has a vocoder that, I'm sure it was designed to do, but you can
play anything through it and it will try and turn it into an electronic
noise.

I'm not only talking about my voice but guitars, drums, dogs and even
my washing machine! Some of the subtle sounds hidden underneath my
songs are those created using this method. I also use my Roland D50,
Korg M1 and believe it or not an old Playstation one music program
called Music 2000! It has a built in sampler that shouldn't be able to
do what it does and it only cost me £1 at a bootsale! Samplers are
normally £1000+

Question 4

Are you signed to a record label at the moment or do you hope to remain
independent and are you intending to release any singles in the
forthcoming future?

Answer Q4

No I am not signed to a record label at the moment. Although in the
last month I have had two offers of a record deal. One from a major and
one from an independent. But I have decided to wait until after my Live
show supporting Orbital. That is only a few weeks away 12/08/11. I
still view my
music as a hobby. I enjoy the freedom of doing it on my own but I may
be reaching a point where I may have to take it more seriously, as I
seem to be dedicating most of my time to it at the moment. I will be
releasing a single sometime soon. I did things in the wrong order I
think. I released my debut
Album, The Value Of X, earlier this year. The single will be Music 4
Machines. As well as my original version it will have two re-mixes done
by other Artists, which are very different and in my opinion, better. I
also hope to include a re-imaging of, what I consider is the best ever
electronic song ever written. John Foxx's Underpass. This re-imagining
has been created by the Artist Stent and myself and will get it's world
premier when we perform it Live alongside the Artist Jenna Leigh-Raine
at the Orbital show.

Question 5

You credit both Gary Numan and Kraftwerk for inspiring you musically.
Both artists can be credited for producing masterpieces and
historically both have a legacy of music that will be around for
decades and centuries.  Does this put pressure on you to produce
material that is of equal quality and could you expand on your own
musical inspirations and aspirations?

Answer Q5

I feel no pressure as Gary Numan, Kraftwerk and John Foxx are unique in
that they paved the way for most, if not all aspiring electronic
Artists. My ultimate goal musically is to create music that I would
like to listen to. I had got tired and bored of finding very little new
music that excited me. So instead of sitting around and moaning about
it, I thought I would have a go.
I felt I had some tunes in me, so I set about creating something that
was different and that excited me. Not easy, but eventually I was happy
with a couple of my efforts. I decided to play a few to some of my
friends and to my surprise, they thought they were great. So on a spur
of the moment, I
uploaded them to the world on a music site called Reverbnation. To my
complete surprise, people were visiting my site, listening and becoming
"Fans!" That gave me so much confidence and spurred me on to create
more songs. I'm no more talented than the next guy or girl. I just
enjoy creating
something from nothing and the buzz that someone else, a complete
stranger may discover my music and enjoy it, well that excitement never
diminishes. I strive to write better songs. Each one is a learning
curve. I take what I have learned through mistakes or feedback and use
that to hopefully improve as a songwriter.

Question 6

Can you tell me more about your forthcoming support gig with the
Orbital for anyone who would like to come along and is this a World
Premiere for you, or have you showcased your tunes elsewhere previously?

Answer Q6

My gig with Orbital is a first for me as Kalkulus. I never intended to
play Live as Kalkulus. It was suppose to be a side-project, separate
 from my main band, Transcript. But somehow Kalkulus has become my main
music project. I have done a few private shows as Kalkulus, just for
fun. The most recent was at "The Secret Nuclear Bunker" in Kelvedon
Hatch. Not so secret now! lol The location there, is amazing. I came
back to "Das Bunker to make the music video for Music 4 Machine. I like
the idea of playing Live in unusual places that no-one has ever played
in before. When the promoter, Mark, from Absent kelly called and
offered me the Orbital gig, it came as a complete surprise mixed with
shock and amazement. I agreed to do it without thinking, how on earth
am I going to do this? When I put the phone down, I jumped and screamed
with joy, then I though OMG! This is massive, and I'm not nearly ready
for this. I quickly came back down to earth with a thud! Ok, this is
too big an opportunity to throw away. I can do this, but not on my own.
I need to bring in someone who can help me make this happen. Only one
person would do. My dear friend and Genius of all things Electronica.
Robert "Stent" Forsith. That I live in England and he lives in Ireland
didn't register with me. I called him up and when I told him, he
dropped the phone!

I was frozen to the spot wondering what his reaction would be. Then, I
heard his voice shouting,"YEEEEEEEESSSSS, LET'S DO IT!!!" Now I had Rob
onboard, I felt very confident we could not only pull this off, but
play a set that would blow people away. With Stent at the controls I
knew sonically we would be alright. Now I turned my attention to the
visual side. I didn't want it to be just us two stuck behind banks of
equipment. I wanted to add another dimension. Make it a triangle. So I
needed someone who not only would be visually stunning but was a
muti-talented musician in their own right.  Luckily I knew of such
person. My close friend Jenna Leigh-Raine.  Rang her up, and she
couldn't wait to climb aboard. Instead of us all playing just Kalkulus
songs. I suggested we play songs by each of us as this would be very
exciting for us and the audience. We all agreed and our show should
sound and look amazing. A world premiere for all of us.

Question 7

Could you tell me more about Gary Numan's Tour and the Orbital's Tour
for anyone who would like to come along?

Answer Q7

Gary Numan is on tour in the UK in September to promote his first new
album in almost 5 years. Orbital are working on a brand new album at
the moment.  No tour yet, but surprise shows keep poping up! The next
one is when I support them in London at the Brixton Jamm 12/08/11.  If
you check out both of their official websites you will find out all the
details about where, when and how to obtain tickets. I'm seeing Gary
Numan in September and of course I will be playing at the next Orbital
show.  So I hope to see some of you there!

Question 8

It is hard for struggling artists, musicians and smaller record
companies to get their tunes out there to the public and internet music
websites, such as You Tube is a good idea as it encourages artistry
through a wide range of sounds and genres to be heard.  However, at the
end of the day every artist needs a wage packet.   What are your
thoughts about this do you think You Tube should become an Independent
Music Store, similar to I Tunes and that some of the profits should go
direct to the artists?

Answer Q8

You Tube is by far the most powerful tool for all Artists to showcase
their work. Without it I wouldn't be doing this interview now. As
that's where you found me by watching my music video and getting in
touch. http://www.youtube.com/user/djmusicjac  I agree that You Tube
should give something back to the Artists who have created the music or
film. It shouldn't be all one way. Without the people creating, You
Tube wouldn't exist  in it's current powerful form. How you control
what comes back to the Artist is tricky. Most of the clips on You Tube
are taken/stolen? from TV shows, films and records (cd's for you
younger ones!)  No-one seems to be trying to put a stop to it and to be
honest it does do some good. It keeps things alive that would have
disappeared long ago. But something has to be done. As you said, "Every
Artist needs a wage packet."

They should be paid if their work has proved to have been a success.
Maybe limit how many times one person can watch a clip, and if they
want to hear/see it again they have to pay to download it. Or maybe you
can preview part of the clip as many times as you like but to see/hear
the full version you pay to download it. Interesting problem...

Question 9

There is a lot of unemployment and lack of opportunities in the current
economic climate, therefore the government should be working alongside
record companies to form electronic music schools and provide workshops
encouraging musical artistry.  What are your thoughts about this?

Answer Q9

I feel very strongly about this. I feel kids today are leaving school
without a clear idea of what they are going to do, and who they really
are.  As well as having three children of my own, I am a mentor for
"Fresh Start" kids. So I get to hear their frustrations first hand.
Kids learn better when they are having fun. I feel there should be a
time in the week, at school where creativity should be encouraged. Be
it, music, drama, sport etc. Of course you can study these subjects but
not all kids get the chance or may think "it's not cool" to be seen at
these classes. By letting everyone participate in this "Creative time"
the children may find that they enjoy, and are quite good at something
that they never thought possible before.
These "Workshops" would be easy to run. All the equipment is already
there and so are the teachers. You just need to open the doors and be
on hand to lend support as and when the children need you. They will
thrive in this unrestrictive environment. Record and film companies
could sponsor the schools which could end up providing the stars of the
future. The government should be doing so much more but I have become
disillusioned with politics recently. It doesn't seem like anyone is
running the country at the moment.  Anyone who cares. I worry what the
future may bring.

Question 10

Are you ambitious musically and what role do you see yourself as having
within the music industry at present or in the future.  I would love to
be a Chief Executive of a Record Company do you have the same
aspirations?

Answer Q10

I have ambition in that I will always strive to do the very best I can,
at whatever it is I am doing. I have found that I seem to be leading
the way when it comes to DIM! Doing it myself. lol I wanted to make an
Album. Not just any Album. I wanted the whole package to be perfect.
Just as if you walked into Our Price (Showing my age!) and bought it. I
wanted to design my own artwork, booklet to go with the cd, write,
record, mix, master, produce, everything myself. When I bought an album
in the past it was an event. I would save up my pocket money. Walk into
the record store and spend ages looking at all the cool record sleeves.
When I bought my first Album which was Gary Numan's Pleasure Principle
in 1979. I spent ages just looking at the cover before I actually
played it. This is what I wanted to capture when I made my Album. That
feeling of excitement. And do you know what? I did! It arrived
shrink-wrapped to my door and when I opened the package I was stunned.
It was so much better than I had hoped. The people who have bought the
CD version have left me comments stating that they loved the packaging
and that they appreciate the care and effort behind it. I don't feel I
have much of a role to play in the music industry now or in the future.
I will continue to try and turn my dreams into reality and the only
influence I think I can have, is showing people that you can achieve
things all by yourself. It takes a lot of guts and effort and there are
no guarantee's. But if you achieve what you set out to do. Then it is a
special moment. Even if you fail it is rewarding. Knowing that you may
have come close and that next time you might succeed. If no-one tried
anything where would we all be?
Thank you Jacqueline for given me the opportunity to speak with you. It
was an absolute pleasure and honour. I hope people find something of
interest in the answer's I have given. All the best. Karl x

For more information on Kalkulus, Gary Numan, The Orbital or Jacqueline
Sharp, aka djmusicjac, go to the following wesites:-

http://www.youtube.com/watch?v=kNvas6XWM0A
http://www.reverbnation.com/karlheard
http://www.facebook.com/pages/Kalkulus/154583594560194
http://www.numan.co.uk/
http://en.wikipedia.org/wiki/Gary_Numan
http://orbitalofficial.com/
http://en.wikipedia.org/wiki/Orbital_%28band%29
http://www.youtube.com/user/djmusicjac
http://members.soundclick.com/djmusicjac
http://www.muziic.com/viewchannel.php?channel=djmusicjac
http://www.jamendo.com/en/user/djmusicjac

]]>

Edinburgh Fringe 2010: JOE POWER, THE MAN WHO SEES DEAD PEOPLE

2010-08-27T19:27:46Z

JOE POWER – THE MAN WHO SEES DEAD PEOPLE

****

ASSEMBLY @ ASSEMBLY HALL, MOUND PLACE, EDINBURGH

Aug 7 – 12, 16 – 19, 23 – 25, 30 @ 16.00, (1 hour) £12.00, (£11.00)

Aug 26 – 29 @ 16.00, (1 hour), £14.00, (£13.00)

Reviewed by Jacqueline Sharp

Joe Power, celebrity psychic medium, certainly has his own colourful Aura. He is a colourful character surrounded by Orange-Yellow: he is creative, intelligent, detail oriented, a perfectionist, scientific, with lots of energy, charisma, sense of humour and charm!

I liked his banter, which went down well with the audience. He says a sense of humour “is important in this life, as the messages which come through the other side, come through with humour”.

Being a medium is like a transmitting station he says, as he describes seeing a set of television screen pictures, images, which are stored in his memory, which he communicates to the people in the room.

Joe Power has the power to draw information from the living vibrations of energy around the spirits at earthly levels. He communicates through an adjusted level of consciousness, acute attention mentally to higher, faster vibrations of energy.

An hour on stage was not enough. The venue needed to be smaller.. Too much space and energy was wasted in the large space. A smaller venue would have increased the vibrations of energy. I felt this energy waste put pressure on Joe Power to come up with the goods, in such short space time!

If he had more time in a more relaxed setting perhaps more spirits would come through. The readings that did come through were only partly accurate, possibly because of the energy waste in such a larger venue.

For those considering visiting a celebrity psychic medium, I say go with an open mind! It is possible that a one-to-one private session with Joe Power may be more descriptive and precise.

**** four stars

www.joepower.co.uk

www.assemblyroomsedinburgh.co.uk

http://www.psychics.co.uk/sixthsense.html#sixthsense

http://www.psychics.co.uk/spiritualism/history_of_spiritualism.htm

http://www.psychics.co.uk/media-psychics.html

http://www.psychics.co.uk/psychictests/esp.html

http://www.psychics.co.uk/psychic.html#psychic

http://www.psychics.co.uk/auras.html#aurap://www.psychics.co.uk/mediums.htm#mediums