Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
Honouring Ian Spink (1948-2023)
MATTHEW HAWKINS pays tribute to an inspirational dancer and choreographer
INSPIRATIONAL: Ian Spink during a rehearsal in the Schoolhill Studio, Aberdeen
[Colin Thom]
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
GLENN FOSBRAEY recommends a biography worth reading for both existing George Michael fans and those yet to be converted
FRANCIS DEVINE introduces a new collection of essays that draws on Pease McKenna’s example to indicate future paths for the movement
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
JAMES WALSH recommends an exceptional documentary about the experience of Western doctors in Gaza
THE Ian Spink Group emerged in London circa 1980. The troupe’s flyers featured an image of an unpeopled thoroughfare curving away enigmatically, yet the show the image heralded was (as I then saw) rich with dancing, new music and handmade design.
Dead Flight fixes in my memory, with its installed transverse section of aircraft fuselage and its pencil-skirted crew enacting deadpan variations on post-armageddon duck-and-cover scenarios.
I caught The Blue Table, a bureaucratic flourish featuring cashmere twinsets, filing cabinets, handbags, dog-biscuits, and verbal patter.
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![DEFIANT: Dan Daw and Christopher Owen in The Dan Daw Show [Pic: Jess Shurte]](https://www.morningstaronline.co.uk/sites/default/files/styles/desktop/public/2025-08/crip%20joy%20web%281%29.jpg.webp?itok=OcQcfsb0)
Given the tawdry push and pull around disability benefits, MATTHEW HAWKINS relishes Dan Daw’s defiant celebration of body and sexuality