Ringing Out the Changes 334 words, 2 minutes read time.
Accompanied by Susannah, Eli and Geoffrey on handbells, the playwright Jo Clifford, (author of the controversial The Gospel according to Jesus, Queen of Heaven), reflects on the role of bells in the cycle of our lives. Each of the handbells has a name: Justice, Courage, Humility, Faithfulness, Continence, Patience, Reverence, Loyalty, Hope, Peace, Joy, and Love. It’s all in the bells. Let’s live our lives in justice, have courage to make it happen, keep hoping, walk in peace, walk in joy, and live in love. To the sound of various sets played by the three bell ringers, Jo gives a fascinating account of the use of bells in history. Bells conjured up unhappy school memories for Jo. Some of her audience might have similar miserable recollections.
Bells often ring out to signify changes, good and bad. Church bells celebrated Victoria’s Diamond Jubilee and the bloody triumphs of Empire. Bells – specifically the bells of St Mary’s Cathedral in Edinburgh – tolled for the thousands of young men butchered in the trenches of the world wars. Bells rang out to celebrate victory in those wars. Bells rang to mourn Queen Elizabeth’s death and to celebrate the coronation of Charles III. Bells were controversial in the early conflicts between Christianity and Islam and later around the Reformation. John Knox wasn’t a fan, but things moved on. Bells eventually found a place in the Protestant churches. Jo tells the story of St Mary’s Cathedral, a testimony to two powerful women, Barbara and Mary Walker who led a quiet revolution. They inherited their father’s business and used the money to build the West End of the New Town. They set aside money to build a cathedral in their late mother’s name. They knew that there was more to life than just making money. They never lived to see the magnificent gothic revival cathedral take shape, but they had the vision to see it through. Who knew that bells could be so interesting?
Netflix’s Department Q is a gripping crime drama that reinvents Nordic noir by relocating its cold-case investigations to Edinburgh. Based on Jussi Adler-Olsen’s bestselling novels, the series follows Detective Chief Inspector Carl Mørck, who is assigned to lead a newly formed cold-case division after a traumatic incident leaves his partner paralyzed and another officer dead. Rather than a promotion, his reassignment to Department Q is a way to sideline him—a bureaucratic maneuver to keep him out of the way.
Initially, Mørck is given little support, with only Akram Salim, an administrator, assigned to assist him. However, as the cases unfold, Akram proves to be far more than a desk-bound bureaucrat, bringing sharp investigative instincts and a quiet determination to the team. Alongside Detective Constable Rose Dickson, they begin to unravel long-forgotten crimes, exposing deep-seated corruption, class prejudice, and institutional neglect.
Their first case is the disappearance of Merritt Lingard (Chloe Pirrie), a high-profile prosecutor who vanished four years prior while traveling on a ferry with her disabled brother, William. Initially presumed dead, her case was dismissed as a likely suicide. However, as Mørck and his team dig deeper, they uncover disturbing inconsistencies. The investigation leads them to Lyle Jennings and his mother, Ailsa, who have been holding Merritt captive in a hyperbaric chamber—a twisted form of punishment rooted in Lyle’s own traumatic childhood. Lyle, a deeply disturbed individual, blames Merritt for the death of his brother, Harry, and has spent years psychologically tormenting her.
Merritt’s disappearance is tied to events from her teenage years. She had once planned to run away with her boyfriend, Harry Jennings, escaping their troubled home lives. The plan involved stealing a valuable ring from Merritt’s estranged mother, but at the last moment, she told Harry not to go through with it. He did anyway, breaking into her home—only to be confronted by her brother, William. In the ensuing chaos, Harry was attacked, and his younger brother, Lyle Jennings, retaliated violently, leaving William permanently brain-damaged.
Harry took the blame for the assault, but as he fled from the police aboard a ferry, he fell overboard and drowned. Lyle and his mother, Ailsa, blamed Merritt for Harry’s death, believing she had orchestrated the events that led to his demise. This resentment festered for years, culminating in Merritt’s abduction. While Merritt is undoubtedly a victim, the series does not shy away from the fact that her choices played a role in the suffering of those around her. Her indecision regarding the theft set off a chain of events that led to William’s injury and Harry’s death. Her career as a prosecutor, built on a rigid sense of justice, contrasts sharply with the moral ambiguity of her own past. The show forces viewers to question whether Merritt is merely a victim or if she bears some responsibility for the tragedies that shaped her life.
Dr. Rachel Irving (Kelly Macdonald) plays a crucial role in Mørck’s journey, serving as his therapist and one of the few people willing to challenge his emotional defenses. Their sessions are tense, often resembling verbal sparring matches rather than traditional counseling. Mørck, deeply cynical and emotionally closed off, treats therapy as an obligation rather than a necessity. Rachel, however, refuses to let him dismiss his trauma so easily. Their dynamic is one of the most compelling in the series. Rachel sees through Mørck’s sarcasm and self-destructive tendencies, pushing him to confront his guilt over the Leith Park shooting that left his partner paralyzed and another officer dead. She also forces him to acknowledge the emotional weight of the cases he investigates—particularly the Merritt Lingard disappearance. Over time, their sessions evolve from reluctant exchanges to something more meaningful, with Rachel becoming one of the few people Mørck trusts.
Mørck’s relationship with his teenage son, Oscar, is another source of emotional tension. Since the shooting, Mørck has struggled to connect with Oscar, who resents his father’s emotional distance and inability to be present. Their interactions are often brief and strained, with Oscar pushing back against Mørck’s attempts to re-engage. Oscar’s frustration stems not just from Mørck’s absence, but from his father’s inability to express vulnerability. He sees Mørck burying himself in work, avoiding personal conversations, and refusing to acknowledge the emotional damage he carries. This leads to moments of conflict, particularly when Oscar begins acting out, testing boundaries in an attempt to provoke a reaction. Despite their difficulties, there are moments of quiet understanding between them. Mørck, though emotionally stunted, clearly cares for his son, and Oscar—despite his anger—wants his father to be present. Their relationship doesn’t resolve neatly, but the series allows space for small steps toward reconciliation, making their dynamic one of the most realistic and affecting in the show.
What makes Department Q stand out is its refusal to offer easy resolutions. Mørck’s therapy sessions don’t magically heal him, his relationship with his son remains complicated, and the Merritt Lingard case leaves behind more questions than answers. The series thrives on moral ambiguity, forcing its characters—and its audience—to grapple with the emotional weight of justice, trauma, and accountability.
The Edinburgh Fringe Festival is renowned for its vibrant culture and the plethora of shows that it brings to the forefront of the performing arts scene. This year, in 2024, the festival is set to welcome back a number of shows that have previously been reviewed by Counter Culture, offering audiences another chance to experience these remarkable performances.
And They Played Shang-A-Lang – This musical extravaganza by the Edinburgh Little Theatre takes you on a nostalgic journey through the 70s with a soundtrack that’ll have you dancing in your seat. It’s a heart-warming tale of friendship and music, returning to captivate audiences at the Hill Street Theatre – Alba Theatre from August 2-25.
Get ready to be dazzled by the most exciting children’s show of the year, Science Magic: Messy Mayhem! This is not your ordinary science class; it’s a whirlwind of fun that combines the wonder of science with the hilarity of comedy, all wrapped up in a spectacularly messy package. Hosted at the Laughing Horse @ The Three Sisters – Maggie’s Front Room, this show promises to be the highlight of your child’s summer. With shows running from August 1-13, 15-20, and 22-25 at 11:00 am, there’s plenty of opportunity to catch the magic. Each show lasts an hour, making it the perfect length for young attention spans.
Chamberlain: Peace in Our Time – A poignant historical piece by the Searchlight Theatre Company that delves into the life and times of Neville Chamberlain. This true-life drama provides a compelling look at the events leading up to WWII, staged at the Palmerston Place Church from August 21-24.
Trainspotting Live – The gritty and raw adaptation of Irvine Welsh’s novel returns, immersing audiences in the lives of Edinburgh’s most notorious residents. Presented by King’s Head and In Your Face at the Pleasance at EICC – Cromdale Tunnel, this site-specific performance runs from August 1-6, 8-13, 15-18, 20-25.
The Blondie Story – Relive the rise of one of the most iconic bands of the New Wave era in this gripping narrative. The show chronicles Blondie’s journey, filled with ups and downs, at theSpace @ Surgeons’ Hall – Grand Theatre from August 2-24.
Chopped Liver and Unions – Blue Fire Theatre Company presents a historical solo show that explores the rich tapestry of labor and struggle. It’s a powerful reminder of the past’s influence on the present, showing at Paradise in Augustines – The Studio from August 2-10, 12-17, 19-24.
When Judas Met John: Songs of Dylan and Lennon – A musical homage to two of the greatest songwriters of all time, Dylan and Lennon, performed by the Brothers Broke. This acoustic folk set promises an intimate evening at theSpace @ Surgeons’ Hall – Theatre 1 from August 2-10.
For those who wish to delve deeper into the history and reviews of these shows, Counter Culture provides an insightful look at each performance. You can find the detailed reviews for each show at the following links:
The Edinburgh Fringe continues to be a beacon of artistic expression, and the return of these shows is a testament to the enduring appeal and impact of the performances that grace its stages. Be sure to catch these shows for an unforgettable Fringe experience! Buy tickets here https://tickets.edfringe.com/.
Best known for accompanying Paul Simon on his hugely successful 1986 album Graceland, this nine-man South African Zulu choir held their adoring fans in raptures with a moving range of haunting a capella harmonies expressing universal values and experiences.
As you would expect, one of the songs – Long Walk to Freedom – was a tribute to the late ANC leader Nelson Mandela. However, most of the songs are related to the mundane things of everyday life; to encourage a young man taking cold feet before his wedding to go ahead with it and another extolling the virtues of mothers-in-law.
One or two cultural differences did show up for the Edinburgh audience. The song Lovely Rain may go down well on the parched South African veldt and in the townships, but in Edinburgh? One thing Edinburgh has no shortage of in most years is rain. In fact a house less than a mile away was hit by lightning in a heavy thunderstorm the previous evening.
The choir members interact well with the crowd, gently taking the rise out of one-another and, just before the break, with the audience too. What’s astonishing is that the performers bring out this extraordinary range of harmonisation without any accompanying musical instruments. It’s all done with the human voice alone. Once you see and hear this you’ll never forget it!
SCOTLAND’S music has travelled all over the world; toAustralia,New Zealand,Canada, but most of all toAmerica. 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 theAppalachian mountainsmentions 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. AnEdinburghlad 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 had seen previous performances and come back for more. What better recommendation can a man have?
EDINBURGH’S master story teller, Ian Rankin is back with a bang in his latest crime fiction novel, The Complaints. As always, Rankin’s novels happened in real time. Inspector Rebus aged over the twenty-year interval between his debut in Knots and Crosses and the final story Exit Music. Rebus attended crime scenes uncovered during the building of the new Scottish Parliament at Holyrood and was there in the background when President George Bush fell off his bicycle at the G8 conference in Gleneagles Hotel. He moved in and out of real events.
The same is true of his new police character Inspector Malcolm Fox. Fox is a copper who investigates other coppers; a member of the despised Complaints and Conduct Department, ‘The Complaints’. This story is set around the credit crunch and the virtual collapse of the Bank of Scotland, the Royal Bank of Scotland and the property market. Fox watches DVDs he bought cheap in the final Zavvi sale. He mourns the loss of Woolworths even though he hadn’t actually shopped there for years.
After a successful case against a really dirty cop, Fox is asked to investigate a bright young detective who is suspected of downloading child porn. In a period of two weeks a number of problems in his personal life become intertwined with this investigation. As his investigation proceeds, Fox has to juggle the lives of his frail father and his abused sister, and a murder too close to home for comfort.
I didn’t get to see this when it was on the big screen. Now it’s out on DVD so I got a second chance to take a look. Ge
Film Review: Trainspotting (1996)
Reviewed by Patrick Harrington
I didn’t get to see this when it was on the big screen. Now it’s out on DVD so I got a second chance to take a look. Generally, when the critics say how great a film is it turns out to be a disappointment. Not this time.
Some of my less well informed friends have asked why the film is called Trainspotting. I shall tell them, and you. In Leith there is now a Tesco store and Waterworld where once there was an unused and decaying railway yard. Heroin addicts would use this yard to shoot-up and the local joke had it that they were “trainspotting”.
When you sit down to watch this film you can’t help but have questions about whether it glorifies drugtaking; there has been so much comment in the papers and magazines about it. The main characters are heroin addicts and some appear cool. But it’s not the drug taking that makes them cool or aspirational. Indeed the film doesn’t shirk from showing the seedy, nasty lifestyle which addiction helps to build. The neglect of a baby is one case in point. Tommy slowly dying of AIDS is another. Of course his poster of Iggy Pop still looked good as he wasted away.
For me, Trainspotting was a very moral film — it just wasn’t preachy.
Why many on the “right” missed this point is a bit of a mystery. Perhaps it was the honesty of the film. It showed that drugs had attractions too. Well, surprise, surprise would people take them otherwise? Or perhaps it was the fact that the soundtrack was so good. Even a bad life set to the likes of Sleeper’s ‘Atomic’, ‘Temptation’ and Lou Reed’s ‘Perfect Day’, might seem great. There was some irony in that the use of ‘Perfect Day’ was over a scene of an overdose. Having the subtlety and sensibility of a pile of bricks, they might have missed it. The soundtrack fitted the film so well. We just know that heroin addicts at that time and place would have been into this music.
The locations in Edinburgh and Leith were chosen with care. My only disappointment was not to see the addicts hanging around by the statue of Queen Victoria at the foot of the walk. Leith was less well used as a location but hey, the guy who wrote it doesn’t come from there.
What a contrast to the standardised American crap based almost entirely on special effects we are usually bombarded with! It is interesting to note how the British establishment are unable to deal with people who do understand street culture and have honest, thoughtful insights to share. The writer and film-makers would have been listened to far more in other countries. The debate would have been far more intelligent. Will our establishment ever realise that condemning drugs alone is not a solution? It’s just a way of hiding the fact that you don’t have one.
nerally, when the critics say how great a film is it turns out to be a disappointment. Not this time.
Some of my less well informed friends have asked why the film is called Trainspotting. I shall tell them, and you. In Leith there is now a Scotmid store and Waterworld where once there was an unused and decaying railway yard. Heroin addicts would use this yard to shoot-up and the local joke had it that they were “trainspotting”.
When you sit down to watch this film you can’t help but have questions about whether it glorifies drugtaking; there has been so much comment in the papers and magazines about it. The main characters are heroin addicts and some appear cool. But it’s not the drug taking that makes them cool or aspirational. Indeed the film doesn’t shirk from showing the seedy, nasty lifestyle which addiction helps to build. The neglect of a baby is one case in point. Tommy slowly dying of AIDS is another. Of course his poster of Iggy Pop still looked good as he wasted away.
For me, Trainspotting was a very moral film — it just wasn’t preachy.
Why many on the “right” missed this point is a bit of a mystery. Perhaps it was the honesty of the film. It showed that drugs had attractions too. Well, surprise, surprise would people take them otherwise? Or perhaps it was the fact that the soundtrack was so good. Even a bad life set to the likes of Sleeper’s ‘Atomic’, ‘Temptation’ and Lou Reed’s ‘Perfect Day’, might seem great. There was some irony in that the use of ‘Perfect Day’ was over a scene of an overdose. Having the subtlety and sensibility of a pile of bricks, they might have missed it. The soundtrack fitted the film so well. We just know that heroin addicts at that time and place would have been into this music.
The locations in Edinburgh and Leith were chosen with care. My only disappointment was not to see the addicts hanging around by the statue of Queen Victoria at the foot of the walk. London was less well used as a location but hey, the guy who wrote it doesn’t come from there.
What a contrast to the standardised American crap based almost entirely on special effects we are usually bombarded with! It is interesting to note how the British establishment are unable to deal with people who do understand street culture and have honest, thoughtful insights to share. The writer and film-makers would have been listened to far more in other countries. The debate would have been far more intelligent. Will our establishment ever realise that condemning drugs alone is not a solution? It’s just a way of hiding the fact that you don’t have one….
