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The print edition of The Skinny is a monthly free magazine covering the best in culture and lifestyle across Scotland and beyond. In October 2005 the first issue of The Skinny Scotland hit the streets providing up to date listings, previews and in depth features about events and artists in Edinburgh and Glasgow, and nearly 150 issues later we still provide the best way to keep up to date on the best of your local scene. Find out what’s in this month’s magazine by reading the digital edition below, along with this month’s editorial introducing what’s inside.

THE SKINNY: March 2019

Has it really been seven months since I tried to make someone else write my editorial on the morning of print day? How time flies when you’re being screamed at by a baby. I’m back! Everything seems very familiar and simultaneously very odd. Can I still write? What is this magazine? What are we doing? Who am I?

I’d like to start by leading a very loud round of applause for Peter Simpson, who has helmed The Skinny in my months of absence most admirably, and continues to keep things on track as I try to remember what my job is. My apologies for bringing this particular reign of terror to an end.

If it’s spring (is it? Or is it second winter?) then it must be time for New Contemporaries at the RSA. We lead with a brief survey of some of the graduate artists who are brought together by this year’s installment of the career-developing exhibition to display new work in the grand neoclassical galleries of the Mound. Other eagerly anticipated visual art for March includes Scotland’s first solo show by celebrated American artist Senga Nengudi – we meet the exhibition's curator to hear about the joys of working with a practice so broad and diverse.

Glasgow’s Transmission are continuing their work to represent marginalised groups by offering up their windows and gallery space to a selection of local community organisations, who have kindly shared some of their plans and aims with us. And, in a sort of design / travel mash-up, our Local Heroes column returns after a brief hiatus to tell us all about the geographically peripheral creative communities they’ve been off exploring in Japan in the name of research.

In Music, first up we’ve got C Duncan, here to talk collaboration ahead of the release of his third album Health. Japanese punk band CHAI explain the concept of NEOkawaii, which promotes self acceptance over the at-times narrow cultural ideology of kawaii. Self Esteem’s Rebecca Taylor introduces debut solo Compliments Please, and discusses embracing her love of pop. We also meet Jessica Pratt, Edinburgh three-piece Stillhound, Brazil’s MC Carol and the brains behind online journal / IRL magazine Gold Flake Paint.

If it’s March it must *also* be time for Glasgow Comedy Festival, which brings with it an annual effort to come up with a headline for an article about comedy in Glasgow which is better than Glasgow Smiles Better. This year’s proposals included the very literal – Glasgiggles, Glahahahahahahahahahahasgow; the increasingly obscure – Jest Coast, St Fungo; and the very, very niche – The Fish That Always Laughed (referring to one of the city’s many mottoes, the fish that never swam, see?). All great ideas, but we went with Glasgow Smiles Better as usual.

Film, still in the midst of GFF madness, somehow has the energy to look forward to Glasgow Short Film Festival. We take a look at a pair of films using archival samples to make something new – director Guy Maddin tells us about re-making Vertigo with found footage of San Francisco, and Soda_Jerk discuss causing controversy with TERROR NULLIUS, their critique of the Australian myth. We talk to Chiwetel Ejiofor about The Boy Who Harnessed the Wind, his directorial debut which offers a new way of viewing African village life, while Carol Morley discusses Out of Blue, her police drama adaptation of a Martin Amis novel.

As we hurtle towards plunging out of the EU, apparently, against everyone’s better judgement, we take a look at how this will affect the world of theatre. We also investigate National Theatre Scotland’s new trio of sci fi plays, Interference, and meet some of the artists of Scottish Ballet as they celebrate their fiftieth birthday.

Books meets Chimene Suleyman, co-editor of The Good Immigrant USA, a sibling anthology to the UK release of the same name which brings together a host of marginalised voices to share stories of race and identity in this particular social and political context. In Intersections, we assess the abiding pereception of renaissance artist Artemisia Gentileschi, while one writer considers how to reconcile veganism with disordered eating. A couple of pages later, Food approaches veganism from an entirely different angle by rigorously testing as many vegan sausages as they can find in the sensitively titled Sausage Party.

It’s all about the diversity of perspective round here – I for one am very happy to be back. [Rosamund West]

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