IT was Scotland v. England last week. The opening ceremony saw football commentators talk about “the two national anthems” before God Save The…
a mere 12,112 votes across the whole of the country, fielding two candidates. The Church of Scotland reached its all-time high membership of 1.3 million, with the 1951 census finding that 57.8% of Scots were church members compared to 22.9% in England and Wales.
Alongside this, a new generational politics of protest and radicalism emerged which saw young people rebel against the conformity of their elders. This provided a significant influx to those who marched with CND, and who in Scotland were galvanised by the decision to base American nuclear weapons and Polaris in the Firth of Clyde.
Scotland’s Tipping Point at Hampden and Murrayfield MAYBE though, an even more fundamental set of changes occurred, that were engineered by gatherings of Scots at international football and rugby matches at Hampden and Murrayfield, and witnessed on TV and radio by hundreds of thousands more. Where football fans ventured, the more middle-class supporters of rugby at Murrayfield eventually followed. This was not tidy and consensual at the time but contested, with football fans in particular being told in time-honoured patronising manner to “behave themselves” and “not embarrass the nation and team”.
He went on: “The sequence of events suggests it was the political developments and events like the winning of the Hamilton by-election which led to them rather than the competition in sports leading to nationalism.”ANOTHER musical watershed came when The Proclaimers appeared for the first time on Channel 4’s cutting-edge music programme The Tube in January 1987.
Sandie Blair of Kirkcaldy said: “I was just blown away by this performance. Brilliant lyric, harmonies and delivered with total conviction.” The story of the Proclaimers has contributed to the musical and political landscape of Scotland. I’m Gonna Be has become a song of collective celebration and what Barbara Ehrenreich would describe as “collective joy”: so potent and powerful that authorities, corporations and advertisers have tried to claim it for their brands but can never completely appropriate it.
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