The festival kicks off with a tenth anniversary screening of the multi-award-winning documentary ‘You’ve Been Trumped’ on Friday March 18.
In her tenth annual Christmas Satire Aberdeen Voice’s Suzanne ‘Old Susannah’ Kelly revisits the events of the past year and revisits last year’s satire, ‘A Night At Storybook Glen’.
In that tale last year we learned how Angus performed on his first shift at the night security guard at Storybook Glen. Tonight we join Angus at his new job.
Angus straightened his tie, gave his lapels a pull to straighten his jacket and stepped off the No. 19 Hydrogen bus onto Union Street. Then he promptly slipped on the permanent temporary wooden decking, cracking his head on the wooden parklet (in other words a bench with a planter container filled with vandalised plants, fast-food wrappers and cigarette butts).
“Oh! ma heid!” he muttered, getting up and staggering towards the Souless bar, where he intended to have a quick weak beer before his 9pm shift at The Aberdeen Museum & Art Gallery would start.
Celebrating his new job since leaving Storybook Glen seemed a good idea.
“What’ll it be?” shouted the bar person over the heads of the noisy shouting/hugging throng.
“Ah’ll jist hae a Nanny State Shandy, mak it a half,” he smiled.
Just then a round-faced ginger-haired man in foggy spectacles popped his head around the bar.
“Oh no, my old pal Angus here wants something a wee bit stronger, don’t you pal? I hear you’re that new night security guard at the Musuem; you’ll be wantin tae stay awake.
“Here, have one of my Torry snowballs,” he said, pushing a glass to Angus.
Angus cocked his head to one side, and looked at the drink a bit dubiously.
He suddenly remembered the last time he’d had one of Pablo’s cocktails was last year at Storybook Glen’s drinks marquee, where he wasn’t sure whether half the things he’d seen that night were real or not.
He hadn’t been able to sleep properly for days afterwards, and found himself talking as long and as nonsensically as any ACC councillor.
“Pablo, ta aa the same, but Ah’m startin’ ma new job i noo, an’ need tae look sharp. By the wye, how did ye ken Ah’m on nights i noo?”
“Both the Night Time Economy Manger an’ the Alternate Night Time Economy Managers told me. Now just get that down yer neck an’ you’ll have a crackin’ time at the museum.”
Thinking both ‘fit’s an ‘Alternative Night Time Economy Manager’ and ‘Ach why nae?’ Angus downed the drink, thanked Pablo, and went on his merry way.
Who knows? Who cares? It’s a free dinner at the Marcliffe.
The snowy streets were dark, and here and there a fallen over pensioner, woman in high heels or people with mobility issues moaned for help as they slipped, slid and fell on the wooden pavements.
‘Anither normal night in the Deen’ Angus thought, watching brawling men spilling out of a pub swinging at each other and shouting.
Before long, turning down the beautifully illuminated street sign that read ‘elmo tree’ hanging over Belmont Street (one of twelve English-made signs a snip at £400k the lot), Angus found himself approaching the front of the Art Gallery.
He could see the curator standing just inside the doorway.
“It’s 2 minutes and 17 seconds to nine – I hope you’re going to be more punctual tomorrow night Angus!” the curator impatiently simmered, tapping at his watch.
“Angus, I think you met Tom, Dick and Harry; they’ll take it from here. I’m off to the award ceremony.”
“Thank you sir,” said Angus
“Err, which award ceremony is that?”
The curator gave a sign and an eyeroll, answering:
“Who knows? Who cares? It’s a free dinner at the Marcliffe.” And off he went.
Angus said ‘hullo’ to the three guards who stood before him. He had met them on his interview.
Angus heard a ‘SPLAT’ and the whole museum suddenly got eerily darker
They were all retired, but like so many people these days, chose to work minimum wages for the fun and excitement of it rather than enjoying their retirement.
Tom spoke first.
“Fine seein’ ye Angus; welcome. Ah ken ye’ve got yer flashlicht, an’ ere’s the keys.”
Dick chimed in:
“An’ ye’ll be needin this instruction manual; tells ye aa ye need tae ken aboot workin here at nicht. Can get a bittie spooky, ken – “ he broke off.
“But ach, ye’ll be jis’ fine.”
Finally Harry spoke, thrusting a bag at Angus, saying:
“Ye’ll hae a gran’ time Angus, jist dinna mind ony noises ye hear or onythin’ funny ye think ye micht be gan on. Sometimes the lichts play funny tricks.
“An’ if yer feelin’ i cauld, jist hae some o’ this BrewDog Tactical Nuclear Penguin or Sink the Bismarck – we thocht ye micht like a wee gift fae us on yer first day.”
They toured the museum, now devoid of the last of its visitors. Tracey Emin’s artwork, basically a neon sign,made entirely by others based on a scrawled few words of hers through neon light which reflected strangely on a nearby copy of Michelangelo’s David, a statue of Robert the Bruce, and a few paintings.
‘Fit is it wi’ Aiberdeen thinkin neon signs should be elevated tae expensive artwork an’ road signs?’ Angus thought.
For a fleeting moment the light almost made it seem as if the statues could talk – and wanted to. He shook his head and the effect was gone.
The four men meandered through the museum’s many rooms and floors, they passed priceless artworks by Scottish masters, portraits, battle scenes.
They stood under the great glass oculus window when Angus heard a ‘SPLAT’ and the whole museum suddenly got eerily darker as the light seemed to lower.
The three other security guards laughed.
“Aye, ye looked spooked already pal; that’s jist a seagull splattering the windae wi’ sh*te.” Tom laughed.
“Aye, it came as a huge surprise tae the architects that seagulls sh*te near the sea. Fa wid hae thocht?”
“Didnae stop them gettin’ plenty o’ awards though – fer gettin’ rid o’ the auld marble stairs veneer, an putting a pottycabin on the roof. The original architects are nae thrilled at aa” added Harry.
Tom broke across him:
“Ya mean the original architects widna be thrilled.”
“At’s fit Ah’m sayin’,” Harry answered.
Angus thought the three exchanged a quick glance, but then they ushered him onward.
Peering at the Inventory, Angus thumbed through
They were now in the basement, or ‘Subterranean Treasure Hub No 19’ as a sign read. Huge mountainous shelves were piled high with items the museum had collected.
There were old sewing pattern books, pieces of granite, an old A-Z, unsold copies of the Evening Express from 1973, some old glass jars and more. Angus couldn’t help wonder why anyone in their right mind would keep this junk.
Almost as if sensing Angus’ misgivings about the quality of these items, Tom volunteered:
“Tae some fowk thon auld boots wi’ hols in em, auld used tin cans an’ the like are jist rubbish.”
‘Too right’ thought Angus.
“But,” continued Tom, “we ken they’re valuable, cause the city accepted thon donations an’ officially logged them here in this invinterry.”
They had gone through a door labelled ‘SECURITY’ and Tom pointed to a printed document marked ‘Inventory’. This was a few hundred pages in size.
Peering at the Inventory, Angus thumbed through it read a few lines as the other three men stepped into an ante room marked ‘NO ENTRY NOT EVEN YOU – KEN!’
“Afore we leave ye tae it, we’re, errr… jist gan tae git a few things we … err … left ahind, like ma piece box an ma shoppin’ fae Poondland.
“Noo, Angus, ye lisnin? – ye can ging onywye ye like in i museum, but nae past ess door.
“Nivver! – nae metter fitivver happens! Ye hear ma?”
Angus just shrugged, and left them to it. As he heard banging, and scraping noises from that room, he thumbed through the inventory:
ABDMS095514 Gilda Le Fevre Label, 1920-1980
ABDMS095515 Jane Doe’s Thimble, 1920-1940
ABDMS095516 Jane Doe’s broken Thimble, 1886
ABDMS095517 Pattern for Six-Section Hat, 1936-1980
ABDMS095518 Pattern for Six-Section Hat, 1936-1980
ABDMS095519 Oval Hat Pattern, 1936-1980
ABDMS095520 Jane Doe’s Brim Pattern, 1936-1980
ABDMS095521 Jane Doe Sewing, 1990
ABDMS095522 Photograph of Gilda LeFevre, 1990
ABDMS095523 Photograph of Jane Doe, 1936-1980
ABDMS095524 Photograph of Gilda LeFevre and Employees, 1990
ABDMS095525 Photograph of Gilda LeFevre and Employees, 1990
ABDMS095526 Photograph of Pantomime, 1944
ABDMS095527 Photograph of Pantomime, 1944
ABDMS095589 Results Past, 2017
ABDMS095590 Comment No 20.
ABDMS095591 Comment No 15.
ABDMS095592 Comment No 16.
ABDMS095562 Valuable Gift, 2011
ABDMS095533 Income Tax Record, 1944-1945
“Fit’s a hat maker’s broken thimble daein in a museum?” He asked
“Nae idea, but ye can be sure it’s worth a fair few bob.” Tom shouted back
“Fits somebody’s auld tax record daein’ here?”
“Nae idea.” answered Dick
“Fit’s ess aboot? – items ca’d ‘Comment 20’ an’ hunners o’ blank lines?”
“Dinnae fash yersel loon, the important museum curator staff an’ cooncil will understan’ aa thon technical stuff.”
“Hey – how come there’s aa this stuff marked ‘missin’?” Angus asked.
Tom, Dick and Harry had stepped out of the back room.
Each now had on a huge backpack. Tom had a suitcase on wheels.
Dick had a big cardboard box with what looked like a gold frame sticking out of the top of it, and Harry had a big sack.
“Angus, jist bide here, watch i telly, hae a drink an’ a nap, and we’ll see ye aboot 9 the morn’s mornin. Dinna worry aboot onythin’ an’ pey nae heed tae ony noises ye think ye micht be hearin’.” Tom said
“Aye, an’ read thon instruction manual if onythin’ … errr … unusual pops up. See ye the morn.” said Dick.
“An’ mind fit Ah tellt ye. BIDE OOT O’ ESS ROOM…. Guid Nicht!” said Harry, shutting the door to the forbidden room.
The three turned to leave when with a clatter a selection of silver spoons fell out of Dick’s coat’s sleeve. Scooping them up Angus said:
“Hemen, hing on, looks like ye drapped summin. Ah think ah got ’em aa. See yiz the morn … an’ thanks for the drink an’ yer help.”
The three men traded furtive looks and off they went out the security guard entrance. For some reason they turned off the light outside of the exit door, and the street outside was in darkness.
Angus watched as they pulled on their covid masks (‘for safety no doubt’ Angus thought), and drew their hats and scarves over their faces, their uniforms covered by their long dark coats. They threw their bags and boxes into the back of the van. Jumping in, they sped off into the night.
“Hey, ye’ve nae switched yer heidlights on”- Angus called after them, but they had sped out of sight.
Angus sat down and opened the bag he’d been left; pulling out a bottle of Tactical Nuclear Penguin he thought ‘At least this will be a bit more normal than Storybook Glen was’.
He thumbed through the inventory half-interested by the repeated words ‘missing’, ‘damaged’, ‘stolen’. On the desk he saw an old Press & Journal; its headlines read ‘Wood to save Torry by turning it into an industrial zone – Hoorah!’ and ‘Exclusive whitewash of oor role in Trump Menie development’.
Folding the paper up into a pillow, he put his head down and soon was fast asleep.
# # #
Angus slowly woke from a dream
He thought he heard voices.
Grabbing his flashlight and having a quick swig from his hip flask, followed by more fortified beer, he stealthily made his way to where the sound was coming from.
Approaching the centre of the building, he stopped to listen; he heard men and women chattering, the pop of a champagne cork, and glasses clinking.
Angus stood out of sight around a corner. The lights were on, and a few dozen well-dressed men and women were milling around the entrance foyer.
“.. so we donated 400 grubby auld cigarette cards, an’ got a 10k tax break; it wis hilarious!”
“I ken, right?,” said a woman’s voice “We donated some auld bits o’ stationery we were gan tae fling oot – seriously, an auld eraser, some index tabs. Chucked in a cigarette lighter or twa, and ken? We didnae hae tae pey tax fer a year. I’m affa gled ye suggested it; thanks again!”
Laughter ensued. Glasses clinked.
“Fit a crackin’ award ceremony; wis richt fine hearin’ Stew tell mair o’ his hilarious jokes doon the Marcliffe. Cooncil pickin’ up the tab Ah’d expect, aye?”
Angus kept hidden out of sight; he realised that these people were some of the town’s great and the good – and a few councillors.
“Hey, div ye still hae thon siller punch bowl roon at yer place? Ah widna mind a shottie o’ it in a couple o wikks fer the big ONE Christmas perty, if ye can spare it?”
Angus stayed out of sight and caught snippets of further conversations.
“Looks a richt sotter, dis it nae? Lik tuppence o’ mix. A metal box on tap o’ a MacKenzie mesterpiece? Nae cohesive use o’ materials, nae relation tae the existing proportions or aesthetic. It wis bound tae win awards. Did ye ken MacKenzie’d daen the Waldorf?
“D’ye think they’d let some hacks come alang an’ stick a metal box on tap o’ the Waldorf?”
Further laughter followed; Angus heard more glasses clinking.
“Fa’s carin’ fit it looks like?” a woman’s voice could be heard asking,
“The point is it wis a much-needed consultation an’ construction job – an’ fit’s mair vibrant an’ dynamic than a few extra crisp Jane Austen’s in your wikkly brownie?”
“The £36 mil wis weel spent – Ah mean, it’s nae like ony o’ us or we’re faimilies will hae tae pey for it.”
“A shame it didna help like we thocht it wid though … tae push the £180 million revamp o’ thon gerdens, Ah mean that wis the original plan, wis it nae?”
“Ach weel, at least the gerdens are aa dug up noo; thon space-hoggin, unprofitable trees awa – well maist o’ them, an’ thankfully some shops are gan in. Mair consultation, mair construction, an’ … errr …. some mair goodies up for grabs an’ aa.”
“Mind, ‘at was richt sleekit o’ ye tae announce with nae prior warning that the gallery wid fa’ tae bits if it didna get a new roof an’ a new a’thin else. Weel done.”
“Aye, an’ thon lottery ticket sellin’ racket wis genius an’ aa.”
“Foo lang dis onybody think ess new buildin’ work will stan’ up? That windae better be water ticht, an’ let’s hope that despite fit it looks like, that box winna ivver cause ony funny stresses or load issues ower time.”
“But twa years owerdue – how’d ye sell ‘at tae the public again?”
“Get this.” A short balding man said.
“We got the P&J tae say – an’ Ah hae tae laugh – we were ower spent an’ owerdue because ‘We had to get it right!’”
The room erupted in laughter.
Just then the doors burst open and three people, looking a bit the worse for wear staggered in, arms over each others’ shoulders, singing.
“Here’s oor Wullie!” one of the revellers shouted.
“Aye, an’ the Alternative Night Time Manager sure seems tae hae livened him an’ Al up a bit, aye?”
Angus guessed it must still be snowing, as the newly-arrived trio were covered in white powder. The conversations continued.
“So fylst the average mannie in the street says ‘oh fit a bonny buildin! ‘it’s won an award’ or ‘we get tae see a heap o’ local artwork’ an’ aa that crap, we get some tax write affs for donating tat, a wee thank you fae the commissioning an’ construction folk, AND…”
The voice paused for a moment
“An’ aa the priceless airtwork, siller an’ nick-nacks ye could ivver want or need tae decorate wi’, or use tae pad up yer retirement fund.”
An anxious woman’s voice was heard next
“But will fowk nae twig that it’s aa o’ us fa’s donating absolute rubbish? Will they nae catch on that the good stuff’s naewye tae be found?”
The man who’d just spoken answered her,
“Nah, nah, dinna worry yersel; hae anither scoof o’ bubbly. Aa the donations are anonymous – unless somebody’s gan for a big publicity stunt; an’ naebody’ll ivver ken fa donated aa thon auld muck.
“Efter aa, thon auld bits o’ auld crap, unsellt papers, broken thimbles an’ fit hiv ye, are of course – should onybody ask – IMPORTANT PIECES O’ OOR HERITAGE.
“Onybody says stuff’s gan missing? Weel: fa’s gan tae clipe? Certainly nae oor local papers – by the wye, gled tae see yiz aa here the nicht an’ hope yer likin’ yer Marischal Square offices. We were happy tae help ye get thon rent breaks an’ perks; fit’s a few mill between chums? The morn, Ah’ve some mair stories for ye tae rin, but the nicht’s a social occasion. Here’s tae us!”
“HERE’S TAE US!!” the room answered back.
As Angus slowly crept away he heard a voice:
“Love how the granite an’ marble looks in yer gerden; lucky for yersel it’s aff limits an’ yer nae subject tae ess right tae roam stuff like the rest o’ us, as befits a mannie in yer position….”
“Ye’ll be in the hoose o’ heroes afore lang; oor very ain king o hydrogen…”
“…chose affa weel indeed… nah, nae The Shamen – drug references, ye ken? The beer brewing fowk – nah, too critical o’ Donald an’ made a few ither controversial missteps as weel …. St Machar the founder? Nah, nae famous enough. If we’d brocht up Glover fowk micht start askin’ aboot eez hoose an’ its contents…. nae punk musicians obviously – that would hae a toxic effect… an’ certainly nae St Fittick…”
Angus decided not to tangle with this crew and silently backed away into the darkness of the museum.
Reaching his guard room again, he tried to make sense of what he’d just overheard. ‘Far’s tha instruction manual?’ he muttered, and finding it started to read.
1. Ye see nithin, ye ken nithin
2. If summin’s wrang an’ ye want to report it tae the line manager, dinna!. Mind, ye’ve got a job an’ jobs are hard tae come by. The cooncil’s the biggest employer roon here.
3. If ye feel ye need tae report summin an’ canna trust yer line manager, jist tell the local papers. They’ll keep a lid on it for us. Better still, see Rule 1.
4. If ye can follae Rule 1, we’ll be sure ye get a nice pat on the heid fer daein fit yer tellt, ken fit ah mean?
However, the various drinks he’d had this evening were starting to make him feel woozy, so he reached for another one, and had a few swigs from a few bottles.
He was putting his head down as the loud voices seemed to go away.
He thought he heard the museum’s door shut, and soon it fell silent.
Angus went back to sleep, the words ‘hoose o’ heroes’ echoing in his mind.
Alas, Angus had only started this security job before the museum refit! The B.R. Premier Oil Lamp (now missing) was actually a magic lamp. When it had been in the museum, at midnight it’s magic brought ALL of the collection to life, kind of like that Ben Stiller series of films.
This included the (now missing) painting of the Gods on Olympus, 1798 by William Williams, including the (missing) Apollo and Daphne, also by Williams.
The architect who so carefully planned the Art Gallery, Mr Mackenzie, once roamed the halls when they were under construction shouting and screaming about his jewel being cannibalised and desecrated to the other gallery inhabitants when the magic lamp brought him to life; but he is heard no more.
The (missing) portrait of Sir Thomas More [sic] by Francesco Bartolozzi RA, After Hans Holbein, came to life and spoke with eloquent logic.
Back then the (now missing) Scottish Maid by an unknown master sat down to enjoy a (now missing) Still Life With Candlestick & Bread by Oskar Kokoschka with the handsome (now missing) James, Fifth Earl of Fife by Alexander Brodie.
Highland Cattle came out of (now missing) paintings and huge, beautiful artworks were filled with life.
During the day, some of that magic could be seen by visiting school children, some of whom might once have been inspired to make similar work. Some of these pieces could have provided historical information to artists, researchers and family historians. And heck, some people might just have enjoyed looking at these now missing windows on another world and time.
nasty glass-box architecture rose
But today no one will see their beauty or magic again: save the people who know where these and 1,577 items are that belonged to Aberdonians.
While this is a satire with no relation to anyone living or dead, should anyone in possession of stolen valuable, irreplaceable art taken from the public ever read these lines, may they encounter the karma they have earned.
As to those who were paid to protect the art that belongs to all of us, but whether by ignorance, negligence or deliberate acts stole, turned a blind eye or otherwise allowed this betrayal of trust, may such judases eventually get their karmic rewards too.
Anyone who knows where any of the missing 1,577 items are but who is keeping quiet is an accessory after the fact to theft. Time to unburden yourselves and fess up.
In Angus’ dreams hundreds of valuable portraits disappeared out of the museum into nowhere. Bits of old papers, bus tickets, broken biros were put in gilt frames in place of the fine art and hung on the gallery walls. And he dreamed people were in awe of the elevated rubbish because they were told it was art.
He dreamed that the things of real value in his beloved city were being stolen, bulldozed, built over, sold cheaply and cheap, nasty glass-box architecture rose over what was once a collection of historic, unique buildings.
He dreamed the land once loved by heroes and literal saints was now governed by incompetents, venal, greedy self-serving sneaks, egotistical ward- and attention-seeking narcissists and sex offenders.
He dreamed that the historic was written off as old-fashioned and the cheap, profiteering projects destroying the greenbelt and its wildlife, as well as the once-unique city scape, were hailed in a bought-and-paid for biased press as ‘vibrant’ ‘dynamic’ and ‘job-creating’.
He dreamed that same press had abandoned any pretence of journalistic independence, integrity and impartiality by taking millions from the taxpayer and were happy to mislead the public when it suited them if there was money in it.
Then Angus saw it was morning and that he wasn’t dreaming.
Angus decided he’d had enough. He picked a few causes to fight, some wrongs to try to right, and he set off to lobby, to investigate and to run for office.
He might not succeed, but he was going to try.
# # #
Follow up on the 2018 Christmas Satire ‘The Snowman’
The above video Aberdeen Voice satire covered some of the awful events of 2019 worldwide. There are at least two happy endings – the Russian caging of beluga whales is over, and the cages destroyed: public pressure did this.
And happily Donald J Trump is out of office and in court – many courts – and may soon be convicted of crimes.
Here’s to a little people power: just what Aberdeen needs. Elections are in May. You can still register to run.
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Duncan Harley Reviews ‘North East Scotland At War’ 2 by Alan Stewart.
There are plenty of books out there which record the difficult years between the 1938 Chamberlain peace accord and the Soviet conquest of Berlin. Osborne’s ‘Defending Britain’ and Gordon Barclay’s ‘If Hitler Comes’ are the classics.
But this book is slightly different and there is certainly room for further historical accounts of the dark days when Hitler threatened our shores.
A year or so ago I reviewed Alan Stewart’s first book. Titled ‘North East Scotland at War’.
Five years in the making, the publication took a decidedly local slant and launched the reader into the minutiae of the defence of the North East against what was, for a brief few years, perceived as the Nazi threat.
The archaeology of those distant times was laid bare for perhaps the first time in a single local volume and various documents which record those difficult days inhabited the pages. At the time of publication, Alan was already working on Volume Two and that has now been published.
Relentless detail and an eye for wartime links to the North East of Scotland characterise this new book.
Subtitled ‘Events and Facts 1939-1945’, that is exactly what is contained in the text.
When reviewing book one, I glossed over the typos and the difficult grammar in favour of the content. In the big scheme of things, it contained shedloads of information gleaned from years of research and plus many previously unknown or forgotten stories.
Book two, I am happy to say, contains many fewer issues and is certainly worth a read.
Spanning years of research and containing many local wartime stories, Alan Stewart’s new book ‘North East Scotland at War 2’ will appeal to anyone even remotely interested in the history of the North East of Scotland.
Profusely illustrated and replete with a plethora of new information gleaned from both local and national records, this is a local history book which I am pleased to include on my bookshelves.
North East Scotland at War 2 – by Alan Stewart is available from the Gordon Highlanders Museum in Aberdeen @ £21.99.
Cover image © Alan Stewart
By Suzanne Kelly.
An 18-year-old student in Aberdeen believed she had been spiked with a needle in an Aberdeen club, and Police Scotland were investigating.
Gilfeather, a retired boxer whose strapline was ‘The column that packs a punch’, took exception to a proposed Thursday night boycott of clubs for a girls’ night in protest and a petition to search clubbers.
In a column filled with misogynist mockery, he wrote:
“…surely it is the responsibility of the individual to keep themselves safe?”
While such incidents have been reported across the UK, Frank dismissed data on such attacks as being ‘sketchy at best’ concluding women suggesting full body and bag checks don’t ‘live in the real world.’
Unsurprisingly there was anger on social media.
The 23 October issue of the paper carried a full-page apology for Gilfeather’s column in lieu of its normal letters section. In ‘Frank Gilfeather’s column – apology’ editor Craig Walker announced Frank’s departure as the ex-pugilist refused to renounce his position. Walker declared:
“We are deeply sorry that our usually stringent editorial processes – the same processes which meant the column was not published on our website failed in the case of the printed edition.”
“We pride ourselves on the quality of the journalism we publish…”
and on being
“… a trusted and constructive part of public debate.”
Readers with long memories were unconvinced. Former EE editor Damian Bates’ contributions to public debate and quality journalism included numerous puff pieces for Donald Trump while omitting that his wife Sarah Malone was the tycoon’s employee.
In 2007 the tabloid carried the headline ‘You traitors – fury as councillors kick out Trump’s £1bn golf plan’ with the faces of Aberdeenshire councillors who dared to vote down Trump’s initial golf resort plans.
The Evening Excess may have apologised for publishing Gilfeather, but it has never owned up to its persecution of these councillors, years of duping readers about the Bates/Malone connection or freezing protest group Tripping Up Trump out of the public debate Walker claims the paper values.
Such was the outrage over the spiking portion of his column that its other content was overlooked. Opining on the ‘let’s find something to offend us crowd’ Gilfeather was apoplectic over news that the National Theatre of Scotland had banned the word ‘spooky’, Writing:
“… but best impose a ban – just in case. Don’t you just love the flakiness of it all?”
Alas, the NTS had confirmed the story was untrue as per the Scottish Sun on 21 October, the same day Gilfeather was published.
Perhaps the EE’s stringent editorial policies and fact-checking still have a way to go?
‘Flakiness’ is the word for it.
Review and photographs by Craig Chisholm.
Sunderland art-rockers, Field Music, returned to Aberdeen after a 9 year hiatus to play to a receptive crowd at The Tunnels on Carnegie Brae. Having released their 8th studio album – Flat White Moon – last April the band would have been relieved to finally get the show on the road in support of it, with this date being the opening night of a full UK tour.
First up, however, was local musician Steven Milne.
The Little Kicks frontman was drafted in early that afternoon after original support act – Galaxians – were unable to perform.
Milne is at pains to point out this is his first live appearance in 19 months. Coupled with the late call up, it could have proved to be a recipe for disaster.
However, he is nothing but naturally talented and that talent shone through in his solo performance.
Sitting behind a keyboard, he was captivating and engrossing as he ran through a set of Little Kicks tracks and a cover version of The Blue Nile’s ‘Tinseltown in the Rain’.
And it’s a credit to his song writing skills that his own material more than held its own even beside the sublime Blue Nile track.
A new Little Kicks album is due for April and should be on everyone’s shopping lists.
Brothers Peter and David Brewis have released 8 albums in the last 16 years under the moniker Field Music and tonight’s gig showcases songs across that time span.
Swapping roles between vocals / guitar and drums, there’s a real chemistry and understanding between the two siblings.
The music, the humour – it’s all interchangeable and on the same level between and during tracks. They’re the anti-Gallagher’s in that respect – brothers in music with no friction or individual ambition tearing them apart.
But that’s where the comparison begins and ends – the Brewis brother’s music isn’t steeped in conservative, classic rock, like Noel and Liam are, but in art-rock futurism and forward thinking of bands such as Talking Heads or Scritti Politti.
The set itself leans heavily on the recently released ‘Flat White Moon’ but there’s a dive into their back catalogue, with tracks such as ‘A House is not a Home’ and ‘(I Keep Thinking) About a New Thing’ given an airing.
The late, great musical genius Prince once tweeted their track ‘The Noisy Days Are Over’ without comment to his millions of followers – and that says a lot.
If anyone could recognise good music, you’d expect it from someone like him.
And the crowd recognise it tonight – it’s a magnificent set that has them clapping enthusiastically and begging for more.
After a good few years without a visit North to the Granite City, it was a joy to see them here again – hopefully they return sooner than later.
Just over three decades ago, The Quireboys released their debut album ‘A Bit of What You Fancy’.
Tonight, they revisited their commercial high point with a date at the Lemon Tree in Aberdeen.
First however, the crowd are entertained by up-and-coming slide guitarist Troy Redfern, backed with drummer Finn McAuley and bassist Keira Kenworthy.
Redfern is a virtuoso guitarist.
But it’s not just a show in histrionics and shredding, it’s raw, gritty, heartfelt blues filled with emotion and belief.
Watching him, you know that he believes in the music he is singing, that he feels it – and that’s important.
It shows authenticity and a love for the genre.
For him to light up the guitar, he needs a strong groove and foundation to sit upon and his rhythm section are more than up to the job – they provide a solid, thunderous backbone to Redfern’s solos and slide guitar masterclass.
Closing his half hour set with a cover of Jimi Hendrix’s classic ‘Voodoo Chile’ you can see he’s made some new fans in the audience, many of whom are queued up minutes later to meet him and purchase his music.
“It’s 7 O’clock and time for a party” as their song goes – well, it’s not, it’s 9 o’clock when they hit the stage, but the party is most definitely on.
It was halcyon times for the band back then – the album hit no.2 in the charts, singles went Top 40. There were support slots with the likes of Aerosmith and The Rolling Stones, on the bill of the Monsters of Rock festival at Castle Donington, appearances on Top of The Pops and huge headline tours of the UK, Europe and beyond.
But time moves on and tastes change – at the height of grunge in the early 90s, the band parted ways and went on an extended hiatus for a few years.
But The Quireboys are nothing but tenacious and not ones to shy away from a challenge.
Certain musical styles never go away either – and in the case of their bluesy, classic rock it’s a style that will always have its fans.
And the fans are out tonight as they revisit their debut, changing the running order to bring new focus on old songs and remind everyone why they had so much success with it.
And there’s moments of poignancy and reflection such as the emotional ballad ‘I Don’t Love You Anymore’.
‘Whipping Boy’ is a particular highlight – low down and dirty slow blues, underpinned with some bass that reverberates through your soul.
The band seem to be enjoying it – lead singer Spike seems particularly happy to be on stage again after Covid’s shutdown of live music.
Between songs he’s humorous and friendly, speaking directly to members of the crowd, always with a twinkle in his eye.
He also seems to be slightly lubricated; shall we say – despite his quips about having not drank for 10 years.
But it’s Friday night and most of the crowd are on the same level as him and it endears him to them even more.
Once a song starts, however, he is back to being the professional showman and singer. Every song is nailed perfectly, not a note dropped or lyric forgotten. And his voice, that raspy, 20 fags a day sound is spot on.
Despite tonight being a celebration of the past, it also points that there’s a strong future for the band – their unique take on that classic Stones or Faces sound, rooted in the blues, R&B and Country will always have listeners. And with over a dozen albums behind them and the potential for a dozen more, so will The Quireboys.
With thanks to Craig Chisholm.
The Quireboys finally make it to Aberdeen after rescheduling due to Covid restrictions.
They will be appearing at The Lemon Tree on Friday, Oct 15, and will be performing their landmark album “A Little Bit Of What You Fancy”.
To celebrate the 30th Anniversary of that iconic debut album the Quireboys recently released a re-recorded version with their distinctive gypsy rock and roll sound.
“A Bit of What You Fancy is where it all began for the Quireboys,” says the band’s frontman Spike.
“It was an incredible album that launched our career. However, the way we sound and play now doesn’t do it justice. Henceforth, it has been a pleasure updating it to our modern-day gypsy rock and roll sound. I’m sure everyone will enjoy this new version in all its glory, marking its 30th Anniversary.”
The Quireboys have always remained true to their roots from the start. The boy’s mission is simply to keep the spirit of good time rock ‘n’ roll alive and kicking into the 21st century.
The 30th Anniversary Edition of “A Bit Of What You Fancy” can be pre-ordered from www.offyerrocka.com/product- category/artists/the-quireboys
Troy Redfern and his three-piece band will support The Quireboys at all shows.
Hailed as Britain’s King of Slide Guitar, Hereford-based singer songwriter, Troy will perform songs from his critically acclaimed new album “The Fire Cosmic” which features the single “Ghosts” that was playlisted on Planet Rock and many other radio stations.
Says Music News.com:
“Troy Redfern is one of the country’s best players and writers and the album is a blast from start to finish.”
Taking up the guitar as a teen, Troy quickly absorbed his musical influences of the early blues pioneers and the energy of the 70’s and 80’s rock icons. The turning point came when he discovered open tunings and slide guitar.
“I immediately felt like I’d come home the moment I put a bottleneck on my finger and started playing slide, it instantly felt completely natural to me. This style of playing helped me find my true voice on the instrument”
The last few years has seen Troy shift into creative overdrive releasing five full length albums in 2020 alone, all receiving worldwide airplay and overwhelmingly positive reviews from the international press, “Island” and “Thunder Moon” both receiving multiple 5-star reviews.
Tickets are available in person at Aberdeen Box or online at https://www.aberdeenperformingarts.com/whats-on/the-quireboys/
By Craig Chisholm.
After taking a brief hiatus from crowds last year – the event was online instead – it was encouraging to see people back in the Music Hall, Lemon Tree and numerous smaller venues and enjoying live music once more.
The number of events is slightly stripped back this with less late-night shows and no shows at The Tivoli Theatre but what was missing in quantity was more than made up in quality.
The Lemon Tree is the venue for the opening Thursday night event – a triple bill featuring Lavender Lane, Edinburgh’s Swim School and the indie pop of headliners Peaness. Providing the perfect start to usher in the weekend.
Friday night provides an even more varied bill. Opening musical proceedings is Aberdonian Katie Mackie.
Sat behind a keyboard she provides a short set of soaring baroque, chamber-pop that features a cover of Steely Dan’s ‘Dirty Work’.
Scottish / Kenyan multi-instrumentalist and poet Beldina Odenyo performs under the moniker Heir of the Cursed. Tonight, she plucks on heavily reverbed guitar and her operatic, hypnotic voice is soothing, expansive, and ethereal.
Despite a light-hearted between song gripe about the cost of salad in Aberdeen, her set is calm and transgressive, taking the crowd to a higher spiritual and musical space.
Singer-songwriter Ayanna Witter-Johnson is another rare talent.
Using a loop pedal she sounds like an entire band as opposed to one woman and an instrument.
Despite an unexpected power cut, Witter-Johnson delivers a strong, inspiring set that uplifts the audience.
Saturday night is the first of the Music Hall gigs.
Opening act Rachel Sermanni plays an intimate, minimalistic set. She somehow manages to make the cavernous Music Hall seem small and cosy, drawing the crowd into her private space.
A unique Scottish talent, she returns to The Lemon Tree in December.
Headliner John Grant is magnificent.
He cuts quite an imposing figure on stage – a large, hirsute bear of a man – but his voice is soothing but powerful.
Alternating between piano led torch songs and disco influenced bangers, he runs through a 100-minute set of dark humour, heartfelt confessionals, and unbridled joy. A stunning performance well deserving of the standing ovation at the end.
For those still looking to party into the night then the Lemon Tree is the place to be. Local rapper Ransom FA headlines an evening of beats, breaks and raps with support from DJ Home Alone, Bemz and Sean Focus.
Sunday night at True North is the traditional tribute night, curated and performed by a star performer.
Looking radiant in a sparkly gold sequined dress, Bailey-Rae is every inch the superstar.
But this is not about her tonight, and she happily gives over the spotlight to guest vocalists such as Paix, Angus Munro, Jalen N’Gona and Little Acres.
And each more than hold their own and breathe new life in the songs of Stevie Wonder. The hits are all there – ‘Signed, Sealed, Delivered’ and ‘Don’t You Worry About Thing’ by Bailey-Rae are particular highlights – but there’s also plenty of deep cuts, forgotten classics and album tracks to keep the die hard Wonder fans happy.
The night – and the weekend – is brought down with a rousing, run through of Wonder’s classic ‘Superstition’ that has the crowd on their feet, hungry for more and ecstatic at the collective feeling of joy.
Yet again, True North has proved to be a success and a jewel in the crown of the Aberdeen Music Scene.
With next to no concerts in the last 18 months, it’s been a cathartic and joyful event, a light at the end of a very long, very dark tunnel and credit is due to the organisers, the venues, and the performers for pulling it all together in such a short, potentially unpredictable time.
Here’s to True North 2022, long may it continue!
Glasgow’s The Ninth Wave release new single “Piece and Pound Coins”, a new taster of their next full length body of work, due 2022. By Craig Chisholm.
A compelling piece, “Piece and Pound Coins” was produced by the band themselves and mixed by Max Heyes (Massive Attack, Doves, Lucia & The Best Boys, Primal Scream). Amidst a distinctly chilling atmosphere, rolling piano lines weave their way through chugging percussion with the track standing as a stark examination of grief and loss.
Speaking on the release of “Piece and Pound Coins”, singer Haydn Park-Patterson said:
“I wrote this song about a friend who passed away a number of years ago. I’ve never really felt like I wanted to/could write about him for a number of reasons, but I guess the main one was because that for a long time, I wouldn’t have known what to write.
“Writing about death is a world away from writing about heartache/love/friendships because there’s nobody to listen to the song and wonder “is that about me?”.
“It’s a strange feeling, to write a song about someone that you know can’t ever hear it. The song also touches on the thought of wondering what he’d be up to now, 5 years on in his life, and how weird a thought it is that we’ve all continued on with our lives but his had a start and end point, and that’s it. No more memories to be made.
“The song also lets out a bit of confused anger that I felt not long after he passed, as I watched how a few people reacted to his death and the way in which they talked about it. That’s the meaning behind the line ‘death makes some people sad and some people ugly / and some people took your name for their own sake’.
“I like to think that he’d like the song, as he was one of the most supportive and positive-minded people I’ve ever had the pleasure of knowing.”
The track has been released alongside a stunning video directed by Rianne White. She commented:
“I feel completely in awe of this song and Haydn’s ability to frame such an immense feeling. Embraced by the catharsis of nature, the heights of grief and identity are expressed through a journey of Haydn’s internal growth accompanied by a symbolically poignant lone wolf.
I like to think of Hayden and the wolf as one, both finding their way back to their truest states of being with wild untamed hearts of companionship and eternal loyalty. “
The new single arrives off the back of the band’s recent singles ‘Everything Will Be Fine’ and ‘Maybe You Didn’t Know’; their Faris Badwan (The Horrors)-produced EP ‘Happy Days!’ (2020) and their AIM Award and Scottish Album of the Year-nominated debut album Infancy (2019).
Constantly developing and pushing their sound into exciting new territory, sonically The Ninth Wave are challenging expectations and preconceptions of their music with this new material.
Leaning toward influence from contemporaries such as Massive Attack, Young Fathers, Mount Kimbie and Portishead – the quartet assuredly retain their own distinct songwriting craft and approach.
Lyrically the new material also promises to be more upfront than ever before.
Celebrating honesty and real life, The Ninth Wave want their listeners to find comfort in their music. They want their fans to feel safe; to be confident in who they are, and to know they’re not alone with their feelings and anxieties.
“It’s a cathartic thing for both us and the listeners; we want to help with normalising being emotional and finding comfort within your stadness”, the band went on to say.
The Ninth Wave are widely praised across the board from The Guardian to Wonderland Magazine, NME, Dork Magazine, DIY Magazine and more – with radio support from BBC Radio 1 (Jack Saunders, Huw Stephens, Phil Taggart and Abbie McCarthy), BBC 6 Music (Steve Lamacq), and Radio X (John Kennedy).
Elsewhere the band’s music has been remixed by The Horrors, Dream Wife, The Twilight Sad, Mogwai, Low Spirits and Working Mens Club, along with tours and shows with Editors, Pussy Riot, CHVRCHES, Franz Ferdinand, Suede, The Magic Gang, Yonaka, and The Blinders.
The band play a date at Aberdeen Tunnels on 19th October.
Tickets are available here.
Band Website – https://theninthwave.online
Watch, “Piece and Pound Coins”: https://youtu.be/Sods9jZatuw
Stream, “Piece and Pound Coins”: https://theninthwave.lnk.to/PAPC
Duncan Harley reviews Slains Castle’s Secret History, a new publication by Mike Shepherd and Dacre Stoker.
Slains Castle on the very edge of the Buchan coastline is a widely misunderstood edifice and a confusion of associations with Dracula do little to explain the history of the place.
This new book by Mike Shepherd and Dacre Stoker is a gamechanger.
Readers of Mike’s previous books and followers of Dacre Stoker’s work – which includes Dracul, a Dracula prequel written in collaboration with J.D. Barker of Fourth Monkey fame – will already be aware of the Cruden Bay Dracula links.
But few however, will be aware of the true history of that Slains Castle we all love to associate with the Gothic Horror genre.
An extraordinary set of stories lie within these pages. Churchill visited as did Johnson and Boswell. The cutting off of the heads of dead Danes, an epic story of religious strife and a shambolic plan to surrender Scotland to the Spanish Crown inhabit this book. And the ‘tussle’ for the souls of the living takes centre stage.
There are tales of a French conspiracy to Anglicise Scotland and the role of the Earl of Errol in shaping Scotland’s future is explored in major detail. But no spoilers here.
This is in essence a history of Scotland as told through the lens of Slains. The castle itself dips in and out of the tale, and it’s only on page 197 that we get to the essence of the Dracula connection.
I would have preferred an earlier link if truth be told. And this perhaps suggests that the authors were conflicted in purpose. In part diary, there is however much to recommend in this book.
Spanning from 1164 to the present day, this take on the untold history of Slains is an important addition to the history, and the mythology, of North East Scotland.
With a foreword by Alan Hay – archivist of Clan Hay – Slains Castle’s Secret History, is published in paperback by Wild Wolf Publishing on 20th September and, if you’ll excuse the pun, is a book to get your teeth into.
Highly recommended. Five Stars.
Slains Castle’s Secret History by Mike Shepherd and Dacre Stoker.