Latest news with #TheLastFlight
Scotsman
5 days ago
- Entertainment
- Scotsman
Public Service Broadcasting Glasgow Kelvingrove Bandstand Stage Times: Gig set times, support, weather forecast, tickets, likely setlist
Public Service Broadcasting have a date with Glasgow. | Tim P. Whitby/Getty Images for Sundance London The band are well known for their live performances. Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The brainchild of frontman J. Willgoose, Esq., Public Service Broadcasting were formed in London in 2009 and released debut album Inform-Educate-Entertain in 2013. They use archival footage from old films and documentaries to create their music, covering topics as disparate as space exploration and coal mining. Advertisement Hide Ad Advertisement Hide Ad So far the band have released five studio albums, most recently last year's The Last Flight - about aviator Amelia Earhart's final, ill-fated journey in 1937. They are currently touring in support of that album and there's good news for Scottish fans - with a date in Glasgow. Here's what you need to know. When are Public Service Broadcasting playing Glasgow? Public Service Broadcasting play Glasgow's Kelvingrove Bandstand as part of the Summer Night series on Wednesday, August 6. Who is supporting Public Service Broadcasting at the Kelvingrove Bandstand? Public Service Broadcasting will be supported in Glasgow by Scottish composers Andrew Wasylyk & Tommy Perman. What are the stage times for Public Service Broadcasting at the Kelvingrove Bandstand? Here's how the evening will play out: Advertisement Hide Ad Advertisement Hide Ad Doors: 6.30pm Andrew Wasylyk & Tommy Perman: 7.45pm Interval: 8.30pm Public Service Broadcasting: 9pm Finish: 10.40pm at latest Can I still get tickets for Public Service Broadcasting's Glasgow concert? If you are looking for a late ticket you are out of luck - it's a sell out. You can check for last minute availability and resale tickets here. Are there age restictions for Public Service Broadcasting's Glasgow gig? Children under the age of 6 will not be admitted and it's suggested the show is only suitable for those over the age of 14. Under 16s must be accompanied by an adult over the age of 18. What's the weather forecast for the Public Service Broadcasting gig? It looks like it should stay dry for the concerts, with only a small chance of rain at 10pm. Otherwise it'll be light cloud with temperatures of around 18 degrees. There might even be a spot of sun. What is the likely Public Service Broadcasting setlist for Glasgow? Public Service Broadcasting tend to play slightly different setlists each night. Having said that, expect to hear the majority of the following in Glasgow - which they played in Edinburgh earlier this year.
Winnipeg Free Press
12-07-2025
- Entertainment
- Winnipeg Free Press
The final chapter
American author Julie Clark's latest thriller, The Ghostwriter, is a perfect read for a summer vacation whether at the beach, cottage or simply on your couch. Be prepared with a cold drink nearby, as this engrossing novel is a true page-turner. The Ghostwriter is Clark's third novel. Her previous books, The Last Flight and The Lies I Tell, are international bestsellers translated into over 25 languages, and The Last Flight was a Target Club Pick and Book of the Month selection in the U.S. An eye-catching feature of The Ghostwriter is artwork printed on the edges of the pages. Flames seem to be destroying typed words, reflected in the cover art; the image of a burning manuscript hints at this novel's fiery nature. Jesse Dittmar photo Julie Clark The story hinges on a terrible tragedy occurring on June 13, 1975 in Ojai, Calif. On that night, as many families are having fun at a carnival a short distance away from the Taylor family's home, 17-year-old Danny and 14-year-old Poppy Taylor are fatally stabbed. Their murder is never solved, but public suspicion focuses on the surviving sibling, Vince, who is 16 when the murder happens. The rumours refuse to disappear as years pass; as an adult, Vince's daughter Olivia says a 10-year-old classmate whispered the secret of her father's alleged crime to her, hoping to shock her. Vince becomes a highly successful author of horror stories but remains in Ojai, with Olivia eventually following in his footsteps as a writer. Olivia, however, is a ghostwriter, preferring to help others, primarily professional women she admires, to tell their life stories. She lives in L.A. and rarely contacts her father, retaining the surname from a brief marriage so she can further distance herself from her father. Even her literary agent doesn't know Vince Taylor is Olivia's father when she unwittingly offers Olivia the chance to be a ghostwriter — assisting Vince to write his next book. 'I've worked hard to create a life separate from my father, living abroad until I could be certain the American media had forgotten Vincent Taylor ever had a daughter,' Olivia says. A public outburst at a writers' conference and subsequent bitter social media battle results in Olivia being ordered to pay $500,000 in compensation to another writer. With no writing contracts since that time, she feels financially forced to accept the offer to work with Vince. It isn't until she drives back to Ojai and meets her father that she finds his mental and physical abilities are deteriorating rapidly due to Lewy body dementia, the reason he had his publishing company ask Olivia to help him tell his final story. But rather than writing another horror story or his memoir of his experiences as a bestselling writer, as Olivia expects, he surprises her. 'The memoir isn't about my career. It's about my childhood, Specifically, it's about my family and the months leading up to the murders of Danny and Poppy,' he tells Olivia. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. He hands Olivia a huge stack of legal pads covered with his handwriting. Rather than simply transcribing and editing as he instructs her to do, she discovers most of Vince's memories are incomplete and incoherent. She's chilled when she reads, 'I wanted to kill Danny.' The Ghostwriter This sentence sends Olivia on a search to track down and interview the Taylor children's friends, her mother and others who were involved in the initial murder investigation. She's compelled to uncover the true story and trying to reconcile that with her father's fading memories. Throughout her research, she's haunted by the belief that Vince might be the murderer. Her work is also hampered when her relationship with Vince becomes public knowledge, leading to fallout with those in her orbit as it becomes clear she's not been honest. As Olivia gradually unearths new information, and Vince shares his own version of events, The Ghostwriter takes many unexpected twists, and is sure to keep readers guessing until the last chapter. Andrea Geary is a freelance writer in Selkirk.
Daily Mirror
28-06-2025
- Entertainment
- Daily Mirror
Marion Cotillard and Guillaume Canet split after 18 years and issue statement
Oscar award winnng actress Marion Cotillard and French film director Guillaume Canet have confirmed their split after 18 years and two children together in a statement Oscar winnng actress Marion Cotillard and French film director Guillaume Canet have called time on their realtionship after almost two decades together. Cotillard, 49, and Canet, 52, had been together since 2007, but have now announced they are going their separate ways. The couple, who share son Marcel, 13, and daughter Louise, eight, released a statement via their reps on Friday (June 27) revealing the end of their relationship. The statement confirmed they were making the public announcement 'in order to avoid all speculation, rumours and risky interpretations.' 'After 18 years together, Marion Cotillard and Guillaume Canet have decided to separate by mutual agreement,' a statement made by their reps to the made by their reps to the Agence France-Presse news agency said. 'This decision was made with mutual goodwill.' Although the pair started dating in 2007, they had been friends for more than a decade before things turned romantic. Canet was married to Diane Kruger from 2001 to 2006. Prior to their relationship, the pair had worked together in the 2003 dramatic comedy Love Me If You Dare. During their time together, the couple worked together on 2009's The Last Flight. Their latest collaboration came earlier this year when Canet directed his partner in the upcoming film Karma, which is said to have reportedly finished shooting in May. Months earlier, Cotillard was seen walking the Berlin International Film Festival carpet alone. Cotillard has starred in a number of acclaimed French films, but rose to international stardom when she landed roles in major Hollywood films including Inception and The Dark Knight Rises. Despite being together for two decades, the couple were never married or engaged, despite widespread speculation over the years. They welcomed their first child, son Marcel in 2011, and welcomed their daughter Louise six years later. Prior to her relationship with Canet, Cotillard's first high profile relationship was with actor Julien Rassam. Between 2000 and 2005 she was Stephan Guerin-Tillie, another thespian who also works as a director. Marion then dated French singer Mathieu Blanc-Francard for two years up until 2007, until she began her almost two-decade long relationship with Canet. In a candid interview in 2011, Canet gushed over his partner, calling her the love of his life. 'One moment you're moving in a particular direction with a person, then one day you wake up and say: 'She's the love of my life.' I never saw it coming,' he told the Guardian at the time. 'For me, I need to be with someone who is searching, who is wide awake.'
Yahoo
12-04-2025
- Entertainment
- Yahoo
LIVE REVIEW: Public Service Broadcasting @ New Theatre Oxford: Sky-high electro-rock
LIVING in such strange and uncertain times it often seems there is little cause for cheer. Constantly confronted with the weird, confusing and downright horrible, we could be forgiven for sinking into a despondent slump. We desperately need a shot of positivity – a reminder that there is much to celebrate in the field of human endeavour; reassurance that people are capable of great things – ambition, invention, industry, courage, creativity, resilience and strength of spirit. READ MORE: Public Service Broadcasting's J Willgoose says why he has written new album about an unsung aviation legend Who would have thought that fortifying jolt of optimism could come in the shape of a band? Public Service Broadcasting do precisely that, celebrating uplifting achievements, forgotten stories and inspiring exploits. And they do it to an absorbing soundtrack of exhilarating electronica, driving guitar rock and tender instrumental introspection – studded with samples borrowed from old news reels and recorded archives. By Tim Hughes Since appearing on the radar with the juddering electronica and soaring guitar of breakthrough tune Spitfire, the South London outfit have taken listeners on audio journeys from the dark days of the London Blitz to the avant garde clubs of Berlin. They have introduced us to the heroes of the US-Soviet space race, the hardy miners of our now vanished coal industry, and, now, pioneering aviator Amelia Earhart. The ringmaster for this enlightening circus of invention is musical genius J Willgoose. Smartly turned out in trademark tweed, corduroy and bow tie, J shuns the role of the traditional rock frontman. He stands to the side of the stage and communicates with the audience through a computerised voice simulator. Over the years he has expanded his live outfit from two-piece to a full band – and on their visit to the New Theatre Oxford on March 20, they lay on a powerhouse show. Their new album The Last Flight focuses on the final journey of America's pioneering adventurer Amelia Earhart who, aged just 25, flew higher than any woman before her. The first female to fly solo across the Atlantic and Pacific, she set multiple speed and distance records. And her feats feature front and centre in the show. The stage is lit by a striking set resembling a flight deck – dials showing altitude and airspeed turning into screens displaying archive footage, punchy visuals and, in the case of Earhart's last 1937 flight, maps showing her journey around the world. And to a soaring symphonic soundscape, we are taken to the skies with her. We open with a piece about her plane – Electra – and follow her journey through Towards the Dawn, The South Atlantic, Arabian Flight and Monsoons. It is by turns intimate, epic, exciting and moving. The new tunes flow effortlessly into tunes from their other aerial extravaganza, The Race For Space. Sputnik is slow-building and epic, E.V.A. bubbly and dreamy, and The Other Side sparse and tense. Stylised gems from Berlin-inspired Bright Magic set a change of tone and style. Spitfire, their tribute to the victor of the Battle of Britain, energises the crowd and fits the airborne theme. We also get a taste of coal dust with Progress from the excellent From Every Valley album. But this is really a show with its head in the clouds and the wind in its hair – expansive narrative pieces lit up by shimmering interludes of live vocals and bursts of brass. They finish with a trip back to Mission Control for the punchy anthemic Go! But the best is yet to come with an encore featuring Bright Magic's bouncy People, Let's Dance and the funk-fuelled Gagarin – complete with dancing cosmonauts resplendent in full space suits and helmets. PSB. By Tim HughesThe set was a soaring celebration of aerial and cosmic endeavour, but to the delight of longstanding fans they returned to earth – albeit at its highest point – for final tune, Everest. This musical tribute to Edmund Hillary and Tenzing Norgay's conquest of the world's highest peak is epic, rendered euphoric by triumphant trumpet and trombone. It was simply beautiful, a towering orchestral masterpiece inspired by an heroic feat. And, like the rest of the show, for just a while it succeeded in raising our spirits, cheering our souls and making the world a better place.
