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By JOHN DEVLIN and MARTYN McLAUGHLIN<br/><br/>Disabled artists across Scotland have called on venues, curators, and further education bodies involved in the visual arts scene to make widespread improvements around access and representation, with several practitioners warning of a lack of understanding of the barriers facing artists and audiences at cultural spaces.<br/><br/>A new documentary for The Scotsman, filmed and produced by John Devlin, reveals how some physically disabled artists have been unable to attend venues due to a lack of disabled access, and left feeling “unwelcome” due to the restrictions in place. They have questioned whether organisations unable to stage accessible exhibitions should continue to receive public funding, and warned the knock-on effect of a lack of representation could discourage young disabled Scots from pursuing a career in the arts.<br/><br/>The issues around accessibility and representation have flared up ahead of the upcoming Glasgow International festival of contemporary art. The programme for the prestigious biennial event includes an exhibition at the Celine Gallery, located on the the third floor of a tenement building in the city’s southside, accessible only by three flights of stairs. One artist, Penny Anderson, described that decision as “wrong.”<br/><br/>The Glasgow-based artist and sculptor, who has multiple sclerosis, said it was unclear who, if anyone, was responsible for ensuring such exhibitions were accessible, and was left frustrated after raising the issue with Glasgow Life, councillors in the city, and Creative Scotland.<br/><br/>Under the Equality Act 2010, art galleries are required to make “reasonable adjustments,” if asked, to ensure that disabled people can use its services. Ms Anderson said the legislation should be followed by Glasgow International. “They have to make reasonable adjustments to allow inclusion, and I think a reasonable adjustment is only including accessible galleries,” she explained.”<br/><br/>Ms Anderson told The Scotsman the accessibility issues went beyond any one gallery, and said there was a widespread lack of knowledge across the sector about how to include disabled artists and visitors. “They don’t understand the different levels of mobility impairment of physical disability,” she added. “I’ve had people say, ‘But we’ve got a ramp’. Ramps make my life even harder. What I need is stairs and a handrail. Even if you have a ramp, wheelchairs might not be able to use the ramp, and I think people think they know, and just assume they know, but they don’t actually ask disabled people.”<br/><br/>Ruth Mutch, an illustrator, who is autistic and has Hypermobile Ehlers-Danlos syndrome - a condition that affects the joints, causing hypermobility, digestive problems and joint pain as well as extreme fatigue - echoed Ms Anderson’s concerns, recounting her experience at college where she was unable to access materials without assistance.<br/><br/>
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A man has ditched dating apps and set himself a challenge to go out to places alone to find \
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When Shaboozey was writing “A Bar Song (Tipsy),” he wanted to keep the arrangements sounding as organic as possible. He built the track around J-Kwon’s 2004 hit “Tipsy,” and within an hour, he had his very own ode to raising a glass — with a country twist. The megahit quickly went viral and topped Billboard’s Hot Country Songs Chart, surpassing “Texas Hold ’Em” by Beyoncé. (Shaboozey had actually teamed up with her for two songs on her recent country LP, Cowboy Carter.) Together, they became the first two Black artists to lead that chart back-to-back.<br/><br/>The Influences <br/><br/>Around the time that he wrote the song, Shaboozey had been listening to a lot of music by artists like Zach Bryan and the Lumineers. But although he was inspired by their stripped-back acoustics, he was also channeling hip-hop heavyweights like Pharrell Williams for the four-to-the-floor instrumental breakdown. (And of course, he wanted to pay homage to J-Kwon’s knack for partying.) “Some people said it reminds them of [Oasis’] ‘Wonderwall,’ ” Shaboozey says. “I don’t hear it.”<br/><br/>All Together Now<br/><br/>In the same way that J-Kwon captured the essence of the club on “Tipsy,” Shaboozey wanted his song to channel the liveliness of a packed dive bar. Shaboozey achieved the stomp-and-shout elements of the single by bringing in friends to layer on vocals. “We love incorporating gang vocals and all our friends singing things,” the Nigerian American musician says. “I think the more energy and the more people you put on a song, the more it’s felt.” He adds that because he was working with producers Nevin Sastry and Sean Cook, the studio “definitely turned into a party by the end of the song, which is a good sign.”
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What are the biggest storylines heading into the NBA Finals for the Boston Celtics? The Tatum vs Luka/Ant apex predator face-off? Kyrie Irving potentially returning to TD Garden? The Celtics' haven't been truly tested until they face a Western Conference team? There are so many spicy narratives heading into the final stage of the Celtics' title run.<br/><br/>Noa Dalzell of CelticsBlog and CLNS Joins us to rank all the major narratives heading into the NBA Finals. <br/><br/>Follow Noa on Twitter/X: https://twitter.com/NoaDalzellNBA<br/>Read Noa's work for CelticsBlog: https://www.celticsblog.com/authors/noa-dalzell<br/><br/>Please LIKE this video and SUBSCRIBE to the channel!<br/><br/>Check out last week's underrated plays vid: https://youtu.be/XW_3RrudGvA<br/>️Subscribe to the podcast: https://podcasts.apple.com/podcast/first-to-the-floor-a-boston-celtics-podcast/id1351038879<br/>Follow us on Instagram: https://www.instagram.com/firsttothefloor18/<br/>Watch live Celtics games with us: https://playback.tv/celticsblog<br/>Check out Spooney's latest column on CelticsBlog: https://bit.ly/3UCITHv<br/><br/>JOIN OUR DISCORD SERVER: https://discord.gg/H75UWjmtya<br/>Buy our MERCH, Support the show!: https://bit.ly/fttfmerch<br/><br/>#bostonceltics<br/>#celtics<br/>#postgame<br/>#firsttothefloor<br/>#jaysontatum<br/>#jaylenbrown<br/>#nba
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Scott Brant
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