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Edinburgh Reporter
20-05-2025
- Entertainment
- Edinburgh Reporter
The cycling musician who is pedalling for the planet
Sarah Small doesn't do anything by half measures. Faced with the dilemma that pursuing her career as a classically trained professional musician could mean touring the world with multiple flights, she got on her bike! Her current tour – which comes to North Yorkshire and the North East and then Edinburgh this month – will see her cycling to venues over a 2,500-mile, 69 day journey. The route takes her from Northamptonshire to Stornoway, and from Unst at the top of Shetland down via Cumbria and Wales to Southampton in Hampshire. The issue she is highlighting through her actions is the considerable impact the cultural sector has on the environment. According to the representative body UK Music, it is estimated that the music industry produces 405,000 tonnes of greenhouse gas emissions in the UK every year. On an individual basis it calculates that the average touring DJ emits 35 tonnes of CO2 a year alone. To put those figures in context, the average UK person currently has an annual carbon footprint of around 13 tonnes. But can one woman's efforts really make a difference? I caught up with Sarah before she set off and asked what she hoped to achieve from her efforts? 'I'm very aware that me just cycling instead of say, driving, isn't actually making a huge impact on its own but I hope that, through the concept of the whole tour, I can appeal to people's conscience, about how they travel and think about how they get to venues. 'Also the programs that I've chosen, especially the solo program, is music that I think is just incredibly beautiful and inspired by the elements. I've got a piece that is called The Weathervane which sounds really tumultuous and I think it is just perfect for the instability that we're experiencing at the moment.' A love of the natural environment and simply being outside provided the inspiration for Sarah to look for alternatives to the standard way of touring. And this concert series isn't her first such experience. ' I like being outside, I notice a lot of things, and I notice when they're not there. That worries me a lot. It's that simple, really. 'Last summer, I cycled to a concert instead of flying with the rest of the ensemble. The conversations that I had along the way were great. It can seem like we feel we're a minority, until we speak to somebody else, and then we realise that most of us are actually really concerned about what's going on. By cycling I'm showing that this alternative way of touring is out there.' Via Instagram, Sarah will also be documenting the tour and observing how the country is changing with the climate. She'll also be linking up with some RSPB reserves along the way including at Flamborough Head where she hopes to experience the nesting puffins to highlight their plight. On the practical challenges How can a single bike be packed with essentials for two months of travel never mind a large, delicate viola da gamba instrument? 'It's all all on my bike, I'm completely self supported. I've done some trial runs like around the Midlands, and then also, I cycled around in Cornwall and checked everything worked – there's quite a lot of hills there! 'So my gamba goes on one side of my pannier rack, my tent (because I'll be doing some camping as well) on the middle. I see it as my house – so the back is, like my kind of sleeping arrangements and clothes and everything. Then at the front I have my kitchen and my office and my repair shed, and then essentials on the handlebars. That's just everything I need.' If you want to see Sarah perform, the full programme can be seen here and if you'd like to support her with a donation, there is a Ko-Fi page. Sarah will be performing at Pianodrome in Edinburgh on 27 May at 7pm. For more information and resources about flight-free travel: Flight Free UK educates the public about the climate impact of aviation, and gives information and inspiration for travelling by other means. Scientists, academics, and members of the public who either don't fly or who fly less: No Fly Climate Sci A community of aviation workers and enthusiasts who care about the future of our industry and our planet: Safe Landing A former pilot, Todd Smith speaks in a podcast by Sci4XR Pete Knapp, here This article was first published by Sarah Hartley on the Northern Eco Substack and is republished here with permission. Both Sarah and The Edinburgh Reporter are fellow members of Independent Community News Network (ICNN) the industry body for independent journalism. Sarah Hartley This author does not have any more posts. Like this: Like Related
Arab Times
18-05-2025
- Entertainment
- Arab Times
Elton John slams UK's AI copyright plans, warns of ‘theft' on a large scale
LONDON, May 18: Sir Elton John has strongly criticized the government, calling ministers 'absolute losers' and expressing his feelings of being 'incredibly betrayed' over proposed plans to exempt technology companies from copyright laws. In an exclusive interview with Sunday with Laura Kuenssberg, the music legend warned that if ministers proceed with the plans, which would allow AI companies to use artists' content without compensating them, it would amount to 'committing theft' on a significant scale. The government recently rejected proposals from the House of Lords, which called for AI companies to disclose the material they use to develop their programs. A government spokesperson responded by stating that 'no changes' to copyright laws would be considered unless they are 'completely satisfied they work for creators.' Generative AI technologies, which learn from vast amounts of data like text, images, and music to create new content, have sparked concerns among artists. Sir Elton John highlighted the danger for emerging artists, many of whom lack the resources to challenge large tech firms. 'It's criminal, in that I feel incredibly betrayed,' he said. Earlier this week, the House of Lords voted overwhelmingly in favor of amendments to the Data (Use and Access) Bill. These amendments aimed to introduce transparency measures, ensuring that copyright holders would have to provide permission for their work to be used by AI systems. However, this change was rejected in the House of Commons, and the bill will continue to be debated between the two Houses until a resolution is reached. Sir Elton John condemned the government's stance, accusing them of potentially "robbing young people of their legacy and their income." He described the government's actions as 'absolute losers' and expressed his anger over the issue. The singer also urged Prime Minister Sir Keir Starmer to 'wise up' and referred to Technology Secretary Peter Kyle as 'a bit of a moron.' He made it clear that if the government persists with its current approach, he would be prepared to take legal action, stating, 'we'll fight it all the way.' Playwright James Graham, speaking alongside Sir Elton, expressed frustration with the government's approach, saying ministers "do understand the value of creativity" but seem either complacent or unwilling to confront the power of Silicon Valley tech companies. Tom Kiehl, Chief Executive of UK Music, warned that the government was on the verge of sacrificing the country's music industry to appease American tech giants. He stressed that the Prime Minister must protect the future of British artists by updating copyright laws to shield their work from exploitation by AI technologies. In response to the growing concerns, Sir Elton and over 400 other British musicians, writers, and artists signed an open letter calling on the Prime Minister to update copyright laws to safeguard their content from being used without permission by AI systems. Sir Paul McCartney, a fellow signatory, has also raised concerns about the risk of creating a 'Wild West' environment where artists' rights are unprotected. The government spokesperson reiterated that they want both the UK's creative industries and AI companies to thrive. They noted that they are consulting on a set of measures aimed at balancing the interests of both sectors. The spokesperson also emphasized that the government is working on a report and economic impact assessment to examine the broad range of issues and options in the debate. As discussions continue, the future of artists' rights in the face of rapidly advancing AI technologies remains uncertain, with many in the creative industries fearing that the government's proposed changes could undermine copyright protections and threaten their livelihoods.
BBC News
18-05-2025
- Entertainment
- BBC News
What the hell happened to UK Eurovision entry Remember Monday?
Oh no, not the third year in a row, the UK has crashed out at Eurovision, taking 19th place out of a possible feels particularly cruel this time because our contestants, Remember Monday, got a lot of things notably, they could sing – and I mean, really, really Holly and Charlotte hit every harmony in their song, What The Hell Just Happened, with pinpoint precision, drawing on a decade of West End experience that's seen them star in everything from Matilda to Phantom Of The toe-curling performances from Olly Alexander in 2024 and Mae Muller in 2023, their vocals were as strong as a lion's roar. So strong, in fact, that they caught the attention of former Eurovision winner Conchita Wurst."Harmonising on the Eurovision stage has hardly worked out in the past, but they're spot on," he enthused before the final."Their confidence is incredible. You immediately trust them, because when you feel the artist is nervous, you get nervous as a viewer. But they are just so light and so sharp."So what went wrong? The chief culprit, if I'm honest, was the song.A manic mish-mash of musical styles, it sped up in the verses, and slowed down for the choruses, with all the consistency of a jelly in a not to say it's a bad piece of writing. Indeed, all of the UK's 88 points came from professional juries of songwriters, whose job it is to recognise compositional have recognised all the clever British touches the band crammed in – Elton John-style piano crescendos, a Beatles-esque mellotron riff, and a vocal callback to George Michael's Freedom ' lyrics were clever and witty, too. Reminiscent of Katy Perry's Last Friday Night (TGIF), or If I Were a Bell from Guys and Dolls, it was all about the drunken mistakes you make while trying to get over an ex."Broke a heel, lost my keys, scraped my knee / When I fell from the chandelier."In three short minutes, the trio rattled off half a dozen memorable hooks, endowed with the unbreakable bond of their as seasoned Eurovision watcher Jonathan Vautrey noted in a review last month, the song was simply too busy."It's hard to latch on to exactly what they're selling when you're too busy reeling from the constant whiplash of hearing an almost brand new song every 30 seconds," he wrote on the Wiwibloggs fansite."Although I've been able to settle into the entry overtime, and now appreciate the theatricality of it all, first impressions matter at Eurovision."That's an opinion I heard more than once. But still, I had hope. Catching a tram to Basel's St Jackobshalle arena on Saturday, I was stopped by a Swedish woman who'd spotted my UK media wanted to tell me how she'd dismissed Remember Monday's song when auditioning this year's Eurovision songs on Spotify. Then she saw their spirited performance in the semi-final "and I understood".Good enough for one vote, then. So why didn't more people connect with it?The staging was put together by Ace Bowerman, who is one of the UK's most respected creative directors – responsible for Blackpink's Born Pink world tour and Dua Lipa's lockdown spectacular, Studio before the final, she told me the performance deliberately made a virtue of the girls' friendship."As soon as I met them, I was like, 'Please be my friend!'" she told me,"They are electric people, they have such a special bond. So the one thing I want everybody to take away from the performance is how much fun they are – because the audience will want to be their friends as well."It was camp and fun, but lacked the scale of Finland's Erika Vikman, who soared above the audience on a giant phallic microphone, or the drama of Austrian winner JJ, who was tossed around the stage in the stormy sea of his own emotions. "The UK's staging wasn't flat at all but, as with the song, it was maybe a bit too much," says Alexander Beijar, Eurovision reporter at Finnish broadcaster Yle."It was like, we have three minutes, and we'll show you everything we can do on this stage: We'll start in bed, we'll dance on a chandelier, we'll strut down the catwalk, and we'll end up in the bed again in the end."I think maybe tone it down just a nod for next year. "Then again, as a Finn, with the biggest microphone you can find in the whole of Switzerland, maybe I shouldn't give advice!" Was it political? And what about that wrinkly old Eurovision chestnut: Politics?Vote trading is an age-old tradition at the contest. Since Sweden first took part in 1958, for example, more than one-fifth of its votes have come from Norway, Finland, Denmark and the situation is complicated. Political tensions persist in the Balkans, "but the cultural connections seem to have trumped the political divisions", Dean Vuletic, author of Postwar Europe and the Eurovision Song Contest, recently told the AFP news agency."I would say that this is because these countries do share a music industry." The UK's music industry isn't particularly well integrated with Europe, tending to ride roughshod over its less influential neighbours. When it comes to friendly neighbours, our reputation took a hit after Brexit - although Luxembourg has always been a reliable source of votes, for reasons that aren't 100 per cent here's the thing: You can only vote for a country in Eurovision, not against Monday were good, but were they good enough to make your personal Top 10? If so, then great – you'd have given them some points. Otherwise, it's a struggle to accrue any momentum. In the end, that was Remember Monday's fate: Another zero-point where does that leave the UK going into next year? Well, we laid good foundations. Remember Monday didn't come with a copycat Eurodance hit, or an insipid ballad. The vocals were strong. The staging conveyed personality. Their 88 points almost doubled last year's score - and marked the highest total we've achieved since 2017, Sam Ryder's second place victory in 2022 other words, we shouldn't be too down then on the UK's chances at Eurovision, as Scott Mills and Graham Norton discussed on Radio 2 this weekend."I thought they were spectacular, so I don't really mind where they place, because it's not embarrassing," said Mills."I'm with you," Norton agreed. "Whatever happens they walk away heads held high."And Mills cautioned against cynicism taking over."There's a section of fans [who] will complain every year, whatever the UK does: 'Oh, the song's too generic, the vocals aren't great.'"We could send Adele and they'd have something horrible to say."But the whole thing about Eurovision is that it's fun and it's joy through music… so please don't spoil it. Go and be miserable somewhere else."And that's exactly the attitude we need. The UK's never going to attract world-class talent if all we do is look down on the contest and approach it with a defeatist attitude. Luckily, three people have already put their names in the ring for next year."Listen," said Remember Monday's Lauren Byrne when I bumped into her backstage on Thursday."If we do really badly, we're just gonna keep coming back until we win."We'll remember, Remember Monday. See you in Vienna next year.
The Sun
16-05-2025
- Entertainment
- The Sun
Three best UK Eurovision entries of all time named – did your favourite make the cut?
THE best British Eurovision entries of all time have been revealed following the results of a new poll. Bucks Fizz's Making Your Mind Up, Sam Ryder's Space Man and Brotherhood of Man's Save Your Kisses for Me came top of the pile. 6 6 6 6 Cliff Richard's first Eurovision entry in 1968, Congratulations, and Katrina and the Wave s' Love Shine a Light, the last Eurovision win for the UK in 1997, make up the remainder of the top five, in a study of 2,000 adults. Others to feature in the top UK Eurovision songs include Lulu with Boom Bang-a-Bang from 1969, and Sonia's Better the Devil You Know, which finished an agonising second place in 1993. Cheryl Baker, who won Eurovision as part of Bucks Fizz's hit in 1981, said: 'That's fantastic! It's amazing it was 44 years ago that we won. 'Katrina was a lot more recent, my favourite was Sandie Shaw with Puppet on a String, and I was so excited when I got to meet her. 'Brotherhood of Man were the biggest selling of the Eurovision entries – I think they sold six million records! But it's an absolute honour and a privilege that people think of our entry as the best of British. 'There's been so many great songs which have come from the UK over the years, and it makes me so proud that people think of Bucks Fizz when they think of Eurovision.' Speaking at the WhichBingo Awards, she also lifted the lid on how the UK's entry, Remember Monday, would perform – and which nation she thinks will win Eurovision this year. Cheryl said: 'Who knows – with Eurovision, I've never picked a winning song yet. I think the girls are fantastic, and the song is really good. 'I know the bookies are only giving it a one per cent chance – but you never know. 'I love what the girls wear, it's almost theatrical, and historical in a way – it could be something from Bridgerton. Eurovision fans spot huge technical blunders in UK entry Remember Monday's performance ahead of final 'But they're up against Sweden and they put everything in – it's not just the song and the singing, it's all in the production. 'I think they could possibly nick it, which would make them the most successful Eurovision country ever, and they'd love to take that crown – but we'll give them a good run for their money. 'It all depends on if the song's good enough – When Sam did it, his song and performance were great, and had it not been for Russia invading Ukraine, we could have won that year.' TOP 10 BRIT EUROVISION ENTRIES 1. Bucks Fizz – 'Making Your Mind Up' 2. Sam Ryder – 'Space Man' 3. Brotherhood of Man – 'Save Your Kisses for Me' 4. Cliff Richard – 'Congratulations' 5. Katrina and the Waves – 'Love Shine a Light' 6. Lulu – 'Boom Bang-a-Bang' 7. Sonia – 'Better the Devil You Know' 8. Olivia Newton-John – 'Long Live Love' 9. Bonnie Tyler – 'Believe in Me' 10. Cliff Richard – 'Power to All Our Friends' 'I'd like to think Making Your Mind Up will still be popular in another 44 years – the bit they always show on the telly is when the skirts come off, as simple as that was – it made that performance and that moment is what stuck in people's memories.' The research found the most important elements to a Eurovision-winning entry includes a catchy, memorable chorus (38 per cent), a strong hook melody you can't forget (34 per cent) and an emotional or powerful vocal performance (24 per cent). Other vital ingredients include a charismatic performer you can root for (20 per cent) and a sense of fun and chaos (19 per cent). It also emerged the UK is a Eurovision-loving nation, as 38 per cent either watch it every year or most years. And there's confidence among fans that the UK could end its 28-year wait for a Eurovision win, with 15 per cent believing Remember Monday could win. Almost a third (32 per cent) want Ed Sheeran to compete for the UK at Eurovision – ahead of Adele (29 per cent) and Harry Styles (20 per cent). WhichBingo spokesperson, Charlie Shakespeare, added: 'We're backing Remember Monday to go all the way, but how cool would it be if Ed Sheeran stepped out for Britain one year? 'As our research shows, there's a few different factors which go into a knockout Eurovision performance. If they can stick close to them, there's no reason Britain can't go all the way.' 'It's been great hosting so many stars at our awards ceremony this week. There's been a real buzz about the place with everyone chatting and having so much fun together.' 6 6
The Sun
15-05-2025
- Entertainment
- The Sun
How the UK is able to enter the Eurovision Song Contest after Brexit
MILLIONS of Brits settle down to enjoy the seasonal spectacular as an sensational selection of singers takes to the stage to represent their countries at Eurovision. Some people are unsure of why the UK can still enter the continent's premier Song Contest following Brexit — here's everything you need to know. Girl band Remember Monday is representing the UK in Eurovision 2025 Credit: PA Some music fans were worried that the UK would not be allowed to enter the Eurovision Song Contest after Brexit. This is despite the fact that many non-EU countries take part in the singing competition including Russia, Israel and Australia. As a major TV partner, Britain is guaranteed a place in the grand final each year. Before the referendum vote, former Prime Minister David Cameron reassured fans of the show that the country would still be competing in the contest. During PMQs he told MPs: 'I think that would not only be very sad but I think given that Israel and Azerbaijan and anyone anywhere near Europe seems to be able to – (even) Australia – I think we're pretty safe from that one.' The president of the UK Eurovision fan club, Alasdair Rendall, also told fans Britain's place is not under threat. He said: 'No, we would not be barred. All participating countries must be a member of the European Broadcasting Union. 'The EBU, which is totally independent of the EU, includes countries both inside and outside of the EU, and also includes countries such as Israel that are outside of Europe. 'Indeed, the UK started participating in the Eurovision Song Contest in 1957, 16 years before joining the then EEC.' And Theresa May put everyone's mind at rest when she said the country would not be dropping out of the popular contest. Eurovision 2025 UK entry REVEALED as girlband sign up to represent Great Britain The other former prime said the UK would still be a part of the Eurovision Song Contest after Brexit. Asked if Britain would leave Eurovision during the 2017 General Election campaign, she replied: "No.' However she did admit that the UK's decision to pull out of the European Union might cause problems for our entry. Mrs May joked: 'Although in current circumstances I'm not sure how many votes we'll get.' 4 Eurovision 2025 is being held in the Swiss city of Basel Credit: AFP Why the UK can still enter Eurovision The UK's continued participation in Eurovision following Brexit is a subject that often prompts confusion, largely due to misconceptions about the contest's relationship with the EU. In reality, Brexit has not affected the UK's eligibility to compete in Eurovision in the slightest. The reasons for this are rooted in the structure and rules of the contest itself. First and foremost, it's important to note that the Eurovision Song Contest isn't run by the European Union, nor is it restricted to EU member states. 4 The semi-finals are already underway, with the second to be held on the evening of May 15, 2025 Credit: Splash Instead, Eurovision is organised by the European Broadcasting Union (EBU), which is a separate entity entirely. The EBU is a collective of public service media organisations, with its membership extending far beyond the borders of the EU. For example, countries including Norway, Switzerland and Iceland are not EU members, but are Eurovision regulars. Even nations geographically outside Europe, such as Israel and Australia, have been invited to compete due to their broadcasters' EBU membership and do so regularly. 4 Brexit has had no effect on whether the UK can enter the competition, but it probably hasn't helped with the scores provided by judges in the competition Credit: AFP Eligibility for the Eurovision Song Contest is determined by EBU membership, not EU membership. The BBC is one of the founding members of the EBU, as well as one of its most prominent, so as long as the BBC remains an active member of the EBU, which it has been since the organisation's inception, the UK is entitled to participate in Eurovision. The EBU's rules state that any active member broadcaster from countries within the European Broadcasting Area, as defined by the International Telecommunication Union, or from a member state of the Council of Europe, can participate. Selection process The process by which the UK selects its Eurovision entry is managed entirely by the BBC. Over the years, this has ranged from televised national competitions to internal selections involving music industry professionals. The method of selection is at the discretion of the broadcaster and is not influenced by the UK's status in the EU or any other political body.
