The Scottish Information Commissioner has agreed to investigate Aberdeen Voice’s complaint as Aberdeen City Council claims ‘it doesn’t know’ how much rent Aberdeen Journals Ltd pays for space in controversial Marischal Square.
Several parties have tried to obtain this information; and the information commissioner is investigating Suzanne Kelly’s formal complaint into the city’s recent refusal to disclose details.
According to an article published on Jan 27:
“Marischal Square.. is 75% let [after] just over two years… it is on track to achieve 100% occupancy later this year, defying critics who opposed the scheme and claimed it would become an expensive white elephant…”
Whichever Press & Journal hack wrote this piece praising Aberdeen City Council’s contentious (and ugly) Marischal Square development likely did so from the offices the paper got cheaply from…ACC.
You could be forgiven for thinking a newspaper should not take a free rent deal from a council it should be investigating (and there is plenty to look into), but the P&J and sister paper Evening Express did just that.
The £107 million Marischal project achieved the unthinkable: replacing a hideous 70s building with an even uglier office complex, while managing to immure the 16th c Provost Skene’s House inside a claustrophobic glass tomb. It ruins the setting for Marischal College across the road, as previously reported on by Piloti.
Other businesses thought to be enjoying sweetheart deals and free rent periods include multinationals with Chevron and EY set to move in. Why precisely such firms need to be subsidised is a mystery.
True to form, the city is releasing as little information as possible, however many FOI requests it receives.
It reluctantly admitted:
“Aberdeen Journals have been offered a rent-free period,”
and the current headline rent is £30 per square foot.
What dates the free rent covered, who agreed this deal and other details are ‘confidential’ according to the city. Despite public money being used to create the building and the public purse subsidising multinationals and newspapers, the city has clammed up. The Scottish Information Commissioner’s office is expected to investigate.
ACC insists only management company CBRE knows how much rent each company pays, and that ACC only gets the total figure of rent CBRE collects. CBRE are saying nothing.
We do know that:
“The total rental income received via CBRE for Marischal Square to 30 September 2019 is £849,936.61.”
The start of that time period? ACC aren’t saying.
Exactly how much the building cost to build, how much in debt the cash-strapped city is, and what negative impact Marischal Square has on companies that were already desperate to rent existing office space remains a mystery for now. But, as the P&J reported in January 2020, the building is ‘an award-winning success’.
Things moved on a bit since the paper reported on what it once called a ‘controversial’ and ‘contentious’ project. Councillor Willie Young claimed it would cost millions not to proceed with the project, but the P&J reported on March 5 2015 that there was scope to cancel the plans as some protesters wanted.
What possibly could have changed the paper’s position?
Aberdeen Voice first interviewed actor Declan Michael Laird in June 2012, when he was a determined, optimistic 18-year-old trying to break in Hollywood.
Quite a few films, commercials and experiences have gone under the bridge since then. This catch-up seemed quite overdue.
“I believe that if things are meant to be, they’ll be” he said at the time – while putting in the hard work to make what he wanted to happen a reality.
Glaswegian Declan started out as a rising footballer, playing for Greenock Morton FC on a youth contract; football runs in the family. His brother Stefan is Aberdeen Football Club’s Academy Head and owns his own coaching company, SJL Coaching.
A combination of circumstances, accident, curiosity, luck, and mostly talent led Declan off the pitch and in front of the camera.
“It was all amazingly sudden,” Declan explained in an earlier Aberdeen Voice interview of his first brushes with acting,
“I went to the first filming and decided this was what I wanted to do – the cameras, the actors, being on set was amazing. Football, which had been my aim for 10 years, suddenly fell to the back. I did a few short films back home with independent filmmakers.”
Determination and drive saw him attend the prestigious Stella Adler school on a full scholarship (the previous person on a full ride to the famous school was Robert DeNiro).
Fast forward to our present talk, which comes on the heels of the film ‘Hot Air’ debuting on Amazon Prime Video.
Hot Air is the latest from the inimitable, incisive Steve Coogan. Laird has a supporting role in the film, also starring Neve Campbell and Taylor Russell.
Before I knew Declan was in this film, it had my attention.
Coogan plays a far-right wing, bitter, manipulative, cynical shock jock à la Bill O’Reilly: a man who plays his perpetually furious, far-right wing listeners like a violin, creating ratings from fomenting their anger.
He has some great lines indicting the kind of journalism that is now poisoning American minds in particular (a disease spread by the likes of Breitbart and Kate Hopkins).
As someone who was on the O’Reilly Factor show some years back, I wanted to see if the dirty tricks, psychological games and ruthlessness would be captured.
Coogan’s radio talk show host is emotionally wounded and the cuts have festered over time. The Dei ex Machina appearance of his niece (Taylor Russell), child of his damaged, addicted sister provides a way to see how he wound up so twisted.
He gets some killer lines (‘How do you sleep at night?’ Is answered by him with ‘On a mattress stuffed with cash and the broken dreams of Hillary Clinton’), climaxing in his soliloquy damning politics and far-right media near the end.
This movie has a lot to say, and I like how it does it.
Declan does an impressive turn in this supporting role
It was great to see Neve Campbell as the love interest. You can see in her face her conflicting emotions – fondness, perhaps love for the rather unlovable DJ, and turmoil when he gets things so wrong at different times.
If you remember Trump’s preposterous recent pronouncement that instead of a wall we should have a moat, he may have picked that up from this film
But there is humour, not least supplied by Declan’s character – a trustafarian young Russian man who lives in Coogan’s ultra-exclusive Manhattan apartment building who takes Taylor Russell out clubbing, to Coogan’s chagrin.
Declan does an impressive turn in this supporting role, from his accent, his movements from his hands through his fingertips.
I asked how he got his accent honed.
“I was always the guy doing impressions and mimicking people growing up – it came naturally to me. I did study dialect at Stella Adler as well; there were two years of accent training.”
“I asked the director ‘Do you want me to play it straight or do you want caricature?’ and he said ‘Well, we’re going to put you in an Adidas tracksuit with a thick gold chain.’ – so that told me all I needed to know.”
He was surprised to see Taylor Russell as a fellow actor on the project – he had met her before.
“It was the craziest thing – I met Taylor about three years earlier. We got introduced by a friend of a friend. Then she was in Lost in Space for Netflix.”
He saw her name on the scripts and that meeting came back to him.
“It’s funny how it’s such a small world.”
Ms Russell is in the acclaimed Waves, and has just had a 2020 breakthrough actor nomination for her work on the film in the Gotham Awards.
I didn’t ask Declan the predictable ‘So what was Steve Coogan really like?’ question, but I did ask what it was like to work with him. To many, Coogan is Alan Partridge; to others like me, Alan Partridge is a small part of Coogan’s work.
“He was kind of a quiet person, very polite. He thought I was Russian. When he asked me where I was from and I answered ‘Glasgow’, we got talking more. He was a great person to talk to and had lots of good advice.”
It was a bit odd how Declan landed the role – it was via one Skype call. He had done a reading of one scene with only one read through, and no input came back from the director – which can be very good or it can mean they’re not remotely interested.
“Forty-five minutes later my agent called and said I got it.”
“It was funny… I went to see it in a theatre with my girlfriend and this couple looked at me, and the man did a double-take. I heard him say afterwards to his partner, nodding in m y direction, ‘That’s the guy who was in the film!’ And she said ‘Don’t be ridiculous!’
Declan tells me about his girlfriend – they met in New York; she went to NYU and plans to direct and did casting for Netflix. I ask him if he has any interest in directing.
“Directing doesn’t interest me. I look at acting, writing, producing, and she talks about shots, cinematography, lightning.”
What’s next seems to be more acting and some producing.
“Zak Kadison has taken me under his wing,” Declan says of the producing side.
Acting-wise, he will be appearing in Green Fever next year.
Green Fever is a tale of a marijuana farm in California at a time of transition, directed by Gerard Roxburgh, written by Danny Acosta and Paul Telfer.
It is based on true events, but as Declan puts it
“My role is the only real fiction in it; I play a younger brother of a farm owner. The focus is on politics around the time weed was made legal. It’s an action/thriller/heist film.”
I cheekily ask whether the cast are taking the method acting approach to the project; Declan laughs and replies:
“There was a strong talk from the director to everyone about not smoking!”
A Scottish coincidence arises in the film’s crew;
“Gerard’s (the director’s) family come from down the road from my family in Greenock, and Telfor’s roots are in from Paisley.”
By this time, we’d talked politics, Trump (inevitably), earthquakes, San Francisco, football and more, and before I talked him hoarse, we wound up the call.
It is wonderful in such a time of upheaval and problems, and frisson between generations to see someone like Declan whose mature and hard-working beyond his years getting closer to the nearly impossible dream of Hollywood stardom.
If anyone can get there though, it’s him. I can’t wait to see where he’ll be in a further nine years.
Duncan Harley takes a tour of the newly refurbished Aberdeen Art Gallery
It rained and there was a bag search on the way in to the gallery space, but fortunately we had arrived late and there was no queue. The drenched security operatives cheerfully let me through since I had no bag and just a stick.
A cursory glance into my companion’s crowded handbag convinced them that she was no una-bomber and off we went to see the pictures.
It was day one of the re-opening of the newly refurbished Aberdeen Art Gallery and a tiny sense of foreboding clouded the event – the renovation had included the discovery of plague skeletons – there were 92 of them.
And the original quite splendid white-marbled staircase had it seems been consigned to the dustbin of history.
Clutching our, now soggy, Eventbrite passes we made our way into what might once have been a familiar space.
Various dog-tagged staffers welcomed us into the new space. Commemorative tin-badges were handed out and a quite splendid map detailing the various new gallery spaces immediately made clear that the old, and perhaps dowdy, gallery space had gone to that dusty place where such things go to die.
Seven years and £35m in the making, the new interior is quite breath-taking.
Where the staircase stood, there is now an open central space linking three floors.
Not an atrium in the true sense but not far off in terms of lighting, and acoustically splendid.
Opening morning was accented by a set of coloured musical notes titled ‘The Big Picture’. By Judith Weir – a formidable composer with Boston Symphony and various operas under her belt.
Conducted by John Horton and directed by Roger Williams, the celebratory piece, written specially for the opening of the gallery, took the form of a synaesthesia where listeners were invited to experience five colour-themed movements (Green, Blue, Gold, Red/White and finally Colour) in a cantata for two choirs plus an instrumental ensemble spread amongst the gallery floors.
The resulting sound experience was quite breath-taking, especially when heard for the very first time in a public space.
As Judith’s Big Picture gently reverberated around the building, we headed for the upper floor before making our way down the staircase and through the various new gallery spaces.
There are thankfully a few familiar images amongst the thousand or so exhibits. Eric Auld, Joseph Farquharson, Glasgow Boys and Monet feature. But in the main, the new space is full of new pleasures and a somewhat brave set of decisions.
Photography is allowed – and why should it not be. Accessibility has also been splendidly addressed and the artwork on display boldly embraces most tastes.
Tracey Emin vies with George and George. Martin Parr vies with the old masters who painted Finzean sheep and Victoria’s kilted Albert. And a multitude of previously unseen works inhabit the walls, Dick Turpin amongst them.
And the justice on the cake? The new gallery is free to enter and as often as you like. All we need now is an Aberdeen Museum.
Duncan Harley is author of two books about the North-east of Scotland. Both – The A-Z of Curious Aberdeenshire and The Little History of Aberdeenshire – are available from Amazon.
Now in its 5th year Aberdeen’s True North Festival has long since proved itself to be the most entertaining, eclectic and rewarding event in the music calendar for the North East of Scotland.
Its wide range of events and artists have started to draw in the crowds from afar.
Saturday night headliners, The Twilight Sad in particular attracted fans from across Europe and even as far afield as Australia, albeit via England.
Events kicked off with the now traditional Thursday night performance at the Lemon Tree – one which, quite literally, blew the roof off.
It’s a night of punk attitude and organised chaos as London alternative rock band Shame and hotly tipped up and coming Glaswegian band Rascalton entertained the crowds. Rascalton’s set is an engaging and entertaining blast of no-nonsense Clash inspired garage punk, soaked in Buckfast and Glaswegian street attitude.
They’ve already been hotly tipped by the NME as well as local and national press and it’s not hard to see why as they snarl, shout and pound through a adrenalin fuelled opening set. They’re back in Aberdeen on the 14th December at the Cellar – miss them at your peril.
Headliners, Shame share the same punk ethos backed up with boundless energy and enthusiasm.
The band are championed by the likes of Radio 6 Music DJ Steve Lamaq and contemporaries of bands such as Idles and Fontaines DC.
Frontman Charlie Steen is a blur of energy as he stalks the stage and dives into the crowd on numerous occasions.
And it’s on one of those occasions that he inadvertently brings the roof down by knocking tiles off the ceiling and into the crowd. The tiles are clutched like trophies by the hyperactive mosh pit as they lose themselves in a great energetic set.
Friday –thankfully – starts in a more laid back and relaxed fashion at the wonderful Tivoli Theatre with an opening set by the equally wonderful Martha Ffion.
The Irish born, Glasgow based songwriter runs through a set that’s influenced by classic songwriting, stirring dream pop and the shadow of Glaswegian indie stalwarts such as Belle and Sebastian. Her melodic, catchy songs would have won a few new converts on the night.
Wick rock band Neon Waltz are next up. They’ve already played True North in previous years so will not be strangers to a lot of the crowd. In that time they’ve matured in style and poise and have honed their stage craft, no longer naïve youngsters from the North of Scotland but a band capable of International appeal.
Headliner, Bill Ryder Jones is quite the veteran by now with over 20 years of experience at the still young age of 36.
He started playing with Merseyside rockers, The Coral as far back as 1996, when they formed, and was their guitarist for 5 albums, leaving in 2008.
Since then he has become an accomplished solo artist, standing on his own merits and releasing 5 solo albums and even scoring the music to a few short films. His sound is dreamy and expansive recalling, at times, the sonic adventures of shoegaze whilst still displaying his song writing talents.
From the Tivoli, it’s a quick walk up to the Lemon Tree for the evenings other main performance.
Originally to be headlined by BC Camplight, he had to pull out the day previous due to illness.
Fortunately, local treasure Kathryn Joseph volunteered to step in and perform a short opening set which allowed original opening act The Ninth Wave to step deservedly up to headliner status.
Kathryn should be no stranger to anyone in the Aberdeen music scene, or even to those further afield.
She cut her teeth locally working in The Lemon Tree, performing in bars and venues such as the Tunnels.
Her sparse, haunting minimalist music, consisting mainly of piano and vocals, has led to critical acclaim, winning the 2015 SAY awards album of the year, and to recognition by her contemporaries and her musical influences, even appearing on the bill for The Cure’s feted 2018 Hyde Park concert at the behest of Robert Smith.
As usual she doesn’t fail to deliver with an inspiring set of melancholic songs and her now trademark swear word heavy between song banter. A joy to behold, as was expected.
Headline band, The Ninth Wave transport the crowd back in time to the early 80s New Romantic Blitz Club, whilst pushing forward with their synth heavy retro-futurism.
Their sound and style may not be for anyone old enough to remember the likes of Soft Cell or Japan but their ice cool demeanour and ability to engage the crowd provides an entertaining and enlightening set. .
The weekend brings out the bigger events with both Saturday and Sunday’s early evening performances taking place at the newly refurbished Music Hall.
Headlining on Saturday is Scottish indie rock band The Twilight Sad. It’s a triumphant gig for them, almost a homecoming as lead singer James Graham is no stranger to the area, having members of his Mother’s family staying in the North East.
He looks and sounds genuinely thrilled to be performing at the Music Hall, telling stories of passing it as a youngster and promising to his Dad that he would play there one day.
The band have played various smaller venues in Aberdeen in previous years – working themselves up from the Tunnels and the late, lamented Moshulu through the Lemon Tree and now to here.
Powering through a set heavy on tracks from latest album ‘It Won/t Be Like This All The Time’ and featuring an touching cover of Frightened Rabbit’s ‘Keep Yourself Warm’, it’s an emotional and powerful set that steals the weekend.
Opening for The Twilight Sad are Aidan Moffat & RM Hubbert.
This is the penultimate performance of their collaboration before they return to their solo careers.
To be honest, the two of them can do no wrong whether together or apart and tonight’s show is a wonderful showcase of their respective talents, their eye for a melody and the lyrical genius of their songs.
As much as it’s great they’ll be back performing solo you have to hope that there’s a reformation in a few years which produces new material of an equally high standard.
Late night at the Lemon Tree is more dance orientated the euphoric rave of Free Love and the Electro pop of Self Esteem.
Free Love are an entertaining and engaging live act, refusing to be constrained behind a bank of synths and mixers like most acts of this style.
Flanked by a pair of ladies in robes and holding flowers, lead singer Suzi Rodden throws herself completely into the performance, dancing barefoot into the crowd, writhing on the bar and spreading the gospel of Free Love’s high-NRG utopian dance music. .
No less restrained, but less likely to bump into you and spill your pint whilst you’re at the back of the venue, are Self Esteem. The new project of former Slow Club singer and multi-instrumentalist Rebecca Lucy Taylor, the band is a move from her former indie folk act and into pure pop. Complete with choreographed dance moves, matching red outfits and loads of hooks and melody she easily wins over the Saturday night crowd and keep them dancing well past midnight.
There’s one more gig at the Lemon Tree and that’s late on Sunday night as Ibibio Sound Machine take to the stage.
Fronted by the colourful and flamboyant singer Eno Williams the band perform an impressive set of West African funk and electro. The clash of styles works well and their visual, eye catching style lends to the occasion, giving a cosmopolitan and worldly flair not usually seen in Aberdeen on a Sunday night.
Before that, at the Music Hall, the stars are out in force for a run through of Scottish rock and pop classics under the banner of Rip It Up Live!
Taking their name from the classic Orange Juice track and influenced by the 2018 National Museum of Scotland exhibition, an array of talented Scottish performers, both established and up-and-coming, run a through a 25 track set that covers everything from the Cocteau Twins to Simple Minds; Garbage to The Associates & from the Eurythmics to The Proclaimers it’s an entertaining and rewarding through Scottish pop history.
Curated by Radio DJ Vic Galloway, the all star cast includes TV presenter and frontman of The Skids, Richard Jobson, actress and legendry frontwoman of Altered Images, Claire Grogan, Del Amitri frontman Justin Currie, punk pioneers The Rezillos and many, many more.
Credit again for the festival must go to Aberdeen Performing Arts who have made it yet another weekend to remember. See you again in 2020!
Duncan Harley reviews Tessa Williams’ ‘Hotels of the Stars’.
Months ago, at least it seems like it, I was sent a copy of Tessa Williams’ ‘Hotels of the Stars’. Described in glowing terms as featuring ‘A-list Haunts and Hideaways’ the book, amongst others sat amongst my pile of promised reviews.
Inevitably some never make it to the top of the pile and kindness occasionally precludes that promised review. In the case of Tessa’s tome, a bit of illness got in the way and now that I am much better, I thought it timely to pen a few words.
A journalist by trade she is no stranger to the content having spent a portion of her life penning for the likes of Marie Claire, Elle and Vogue.
There are no Holiday Inn’s or Travelodge’s here and nor should there be.
With an introduction by Albert Roux this book reveals the inner details of that cosseted world of the super-rich and those super-famous-folk who inhabit the likes of London’s Dorchester, Fort William’s Inverlochy Castle and L’Hotel Paris. Raffles, The Chelsea Hotel and the various Ritz’s also feature alongside The Rock at Gibraltar and that iconic Kempinski in Berlin.
Not that I have visited many of the establishments on this list, well maybe – The Balmoral – but, in the big scheme of things, after ruffling amongst these pages, I feel that I have at the very least an understanding of how the other half live.
Replete with quotes such as ‘Venice is like eating an entire box of chocolates in one go’ – Truman Capote and ‘When I was growing up, I had three wishes. I wanted to be a Lindbergh-type hero, learn Chinese and become a member of the Algonquin Round Table’ – John F. Kennedy, this is much more than a coffee table trophy.
In all, there are around 37 featured hotels – each with a historical narrative. And each illustrated with iconic images to salivate over.
For my money, the piece featuring Claridge’s on P48 gives full flavour to the intention of this book. Alongside a descriptor ‘The hotel was also a home for the Hollywood Royalty … including Audrey Hepburn, Katherine Hepburn, Elizabeth Taylor and Cary Grant’, we learn that Spencer Tracy described the place in glowing terms:
“When I die I don’t want to go to heaven, I want to go to Claridge’s.”
You really couldn’t make it up!
Hotels of the Stars by Tessa Williams is available from Amazon @ £35 in hardback. ISBN-13: 978-1909399983
It’s a sad, undeniable fact that if you want to attend certain concerts then a trip to Glasgow is, more often or not, the only option.
This has been especially true the last few years with the Music Hall closed for renovation and the opening of the Hydro in Glasgow which has attracted some of the biggest names to perform there.
Hopefully this situation might be rectified in the future with the newly renovated Music Hall and the soon-to-be opened TECA complex (or is it called the AECC as per the WPR signs? Or the P&J Live as announced last week?) already attracting some big names to the North East.
There is one major glaring gap in the Aberdeen live music scene, however, and that is the staging of outdoor concerts and festivals during the summer months.
Sure, Rod Stewart will be belting his heart – and the odd football – out in the AECC car park this June but, apart from that, and the, albeit excellent, Enjoy festival, what is there in the way of major outdoor music events in Aberdeen?
Glasgow, on the other hand, seems to have an abundance of events – TRNSMT, in the city’s Glasgow Green will host headlining sets by Stormzy, Catfish & the Bottlemen and George Ezra whilst across at Bellahouston Park you can attend sets by The Cure, Foo Fighters and The 1975 as part of the Summer Sessions.
In fact, even more frustratingly, the Summer Sessions are held in two cities just an hour or so away from each other so Glasgow residents could just pop in the car or train to Edinburgh where Florence & the Machine, Primal Scream, CHVRCHES, Lewis Capaldi and James will be performing in Princes Street Gardens.
Weather permitting, which of you wouldn’t rather be lazing in the green grass in a park, on a weekend afternoon rather than a midweek gig in a windswept car park next to the North Sea?
Can you imagine a summer in Aberdeen with acts of that calibre performing in Duthie or Hazlehead Parks?
And it’s not just major festivals that are happening in Glasgow – smaller outdoor events are happening in places such as the SWG3 venue which is hosting outdoor events by bands such as Miles Kane, Foals and the subject of this review, the newly reformed Doves.
SWG3 itself is another revelation and a perfect example what can be achieved with a little creativity and foresight.
Located in the city’s West End, the main space is a repurposed warehouse that can hold up to 1250 people for concerts and will see bands such as Interpol, Ministry, Orbital and Stereolab tread the boards over the summer months. There are also artist studios for hire, design studios to utilise and a smaller warehouse that can hold 450 people for concerts.
Doves, however, are outdoors in the former Galvanizer’s Yard performing their first Scottish gig for nearly a decade as part of reunion tour that has seen them play festivals down south in England and as main support for Noel Gallagher in Heaton Park, Manchester.
Judging by lead singer / bassist Jimi Goodwin’s reaction, however, this night is proving to be the highlight of their comeback as he profusely thanks the crowd from the stage and looks genuinely emotional at the reception they receive.
Well, that’s between the occasions he’s speaking about the seagulls and the passing trains however!
Doves have a back catalogue of four strong albums to fall back on and these contain a fair amount of hits and fan’s favourites.
Top Ten singles such as the anthemic ‘There Goes The Fear’ and the melancholic ‘Black and White Town’ are sang along to word for word by the 5000 strong crowd whilst driving rockers such as ‘Words’ and ‘Pounding’ bring out extra reserves of energy from the fans.
There are also touching moments of real emotion in tracks such as ‘Caught by the River’ and the beautiful ‘The Cedar Room’ that brings a tear to the eye.
Overall, an amazing set and a welcome return to one of the best acts to come out of Manchester on the last couple of decades.
Here’s hoping their reunion is extended longer and they make it up to the North East before long.
Also on the bill are Edinburgh based two-piece Man of Moon.
They’ve been reviewed in the Voice before, when they played at True North last autumn, and the sentiments expressed then are still true – they are magnificent, one of the best young bands to have emerged from Scotland in the last few years.
Their mix of droning, psych, garage and electronica recalls bands such as Suicide, Spacemen 3 and Spiritualized and will appeal to fans of those acts. They’ve played Aberdeen a few times in the last couple of years and if you haven’t made it to any of those gigs then make sure you make it to their next.
So, overall a nice wee trip to Glasgow – the weather held out, the music was outstanding and the venue was fantastic.
But also one tinged with a sense of frustration – OK, we can’t do much about the weather but surely, with a bit of innovation and daring, venues such as SWG3 could come to happen in the Granite City? And maybe we could host summer events that aren’t just hoary old rockers playing to your Granny in a car park?
Doves Set List. Snowden
Black and White Town
Kingdom of Rust
Caught by the River
A coalition of trade unions, political parties, and equality, faith, and campaign groups will hold events in Glasgow and Edinburgh on 13th and 14th of July to coincide with Trump’s planned visit to the UK. With thanks to Suzanne Kelly.
Scotland United Against Trump is a coalition of organisations and individuals that have come together to protest against the policies and politics of Trump and the corporate interests for whom he governs.
It includes the STUC, SNP, Labour, and the Greens as well as Scotland Against Trump, the group which organised protests following his election in 2016.
The SNP has also spoken out to encourage people to stand up for Scotland’s values during the President’s visit.
Dave Moxham, STUC Deputy General Secretary, said:
“All of the organisations coming together for these protests agree that Donald Trump’s presidency is proving every bit as dangerous and divisive as people feared.
“Trump’s administration represents corrupt corporate interests – cutting taxes for the rich, attacking workers’ rights, undermining democracy, endangering action on climate change, and stoking resentment based on racism, sexism, transphobia and bigotry.
“At the very moment when the world needs more solidarity, more cooperation, and a greater commitment to justice, he proposes to build walls and wants to turn us against each other.”
Leader of the Scottish Labour Party, Richard Leonard said:
“There is understandable anger at the prospect of Donald Trump coming to Scotland and a strong desire across the country to show that he is not welcome here.
“Someone who holds such misogynist, racist and anti-trade union views, and withdraws the US from the Paris Climate Change Agreement, should not be given the ‘red carpet’ treatment.
Scottish Labour wants to see a world that stands up to intolerance, injustice and climate change and that is why we are working with Scotland United Against Trump campaign to ensure there is a mass protest if Trump does visit.”
Co-convenor of the Scottish Green Party, Patrick Harvie said:
“Scotland has seen the bullying, arrogant and delusional side of Donald Trump long before his election. Since becoming President the whole world has seen far worse, as he gives political space to white supremacists, and seeks to wreck international cooperation on climate change.
We should unite to show him he’s unwelcome, and demand that the UK Government stops treating this dangerous man as though his politics are legitimate.”
Ian Blackford, the SNP’s Westminster leader, said:
“Scotland and America have historic ties that go back centuries and that will not be undermined by the policies of one President. We share values with the American people of equality, diversity and support for human rights and must always stand up for those values when they are threatened.
The President’s approach threatens international co-operation on key issues like climate change and it is our job to show that we will not be put off our efforts by his opposition.
If President Trump visits we have an opportunity to show that we will never compromise our values and Trump will go back to America with a clear message that in Scotland we build bridges, not walls.”
Kirsty Haigh of the Campaign organisation, Scotland Unite Against Trump, said:
“Trump likes to talk up his Scottish connections – but we are going to show that his politics are not welcome here.
A growing coalition of organisations and campaigns are coming together to say that Scotland will stand united against Trump. Over the next month, we’re going to be building support for two massive days of actions with a rally in Glasgow and national demonstration and festival in Edinburgh.
We will also send a message to the Tory government that we will not tolerate their pandering to Trump.”
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For people who care about animal welfare, supporting an animal shelter seems like a great way to help – but how many know what kind of shelter they are donating to? Last August Zara Brown, who said she was running a shelter, was found to have committed a catalogue of horrific offences.
Investigators found, for instance, a freezer stuffed with seven dead dogs and a cat.
Animals were left in dark, cold buildings with inadequate food and water and without medical treatment.
The courts were told poor Zara was depressed and was unable to cope. She got off very lightly for the cruelty inflicted.
Clearly we cannot have people who are convicted fraudsters handling animals and money.
Facebook posts show that awareness of huge problems at her animal sanctuary existed long before she was ever convicted – why was no action taken?
A recent proposal to the Scottish government would see the SSPCA and police tackle the unscrupulous animal charity. However, is the SSPCA really the right body to deal with this?
One long-running animal welfare group, Animal Concern Advice Line, likes the idea, but opposes SSPCA involvement. It recently told its supporters:
“We oppose this for three main reasons.
“1: The Scottish SPCA is the largest owner and operator of animal rescue centres in Scotland and as such should be regulated and policed by the scheme just like every other rescue and rehoming operation.
“2: Some of the smaller rescue, rehab and rehoming operatives harbour ill feeling towards the Scottish SPCA and would find it extremely difficult to be part of any scheme administered and/or policed by the SSPCA.
“3: Dumping the administration and policing of any scheme on the shoulders of the Scottish SPCA would mean that yet again the Scottish SPCA would be spending charity donations to do work which should be funded by central or local government thus reducing the resources available to the Scottish SPCA to help animals for whom no-one has a legal duty of care.”
Sadly the SSPCA has come in for a lot of deserved criticism of late. Its issues include:
Raising the chief executive’s salary to a whopping £216,000 without any consultation with the army of donors (I collected money for the SSPCA and donated for years – to help animals not to pay a massive salary to an executive – Suzanne). The latest on this is that the chair has left.
Killing a harmless snake which was misidentified as poisonous by putting it in a freezer to die alone in the dark. I asked repeatedly why, when the snake had already been captured could it not have been left alone until an expert could assess it – no answer was forthcoming.
When the salary of the chairman went up, the SSPCA closed its Shetland facility, with Mike Flynn of the SSPCA making the shocking claim that the SSPCA’s role was not to keep a building open in case there was an oil spill.
Keeping the shelter open would have cost a fraction of what the chair’s salary rise was.
Initially Mr Flynn was critical of an Aberdeen scheme to kill deer on Tullos Hill to plant trees (a government report had already said trees could not be established in numbers because of the soil matrix being poor). He was cheered for condemning the move – but when later asked for further comments on the scheme he called ‘abhorrent’ he simply stopped replying to correspondence.
John Robins of Animal Concern Advice Line has been campaigning for licensing and policing of animal rescue centres and sanctuaries for many years.
“I want to see all animal rescue and rehoming centres brought up to a high minimum standard of animal welfare, public safety and financial accountability. Sadly a small number of rescuers get it very wrong causing animals to suffer and the public to lose trust in the whole sector.
“Some put people at risk of death by placing potentially dangerous dogs in totally unsuitable new homes. Others fail to carry out proper home checks and risk placing animals with potential abusers. Most of the problems are caused by well-intentioned people who don’t have the space, skills or finances to do things properly.
“Regretfully a few are criminals who knowingly abuse and neglect animals while conning the public and grant-giving trust funds out of money.
“It is a great pity that the many good and trustworthy rescue centres are going to encounter a bit more red tape and expense to meet a new licencing regime but that is what it is going to take to get rid of the cowboys and criminals.
“One major problem is in finding an organisation to administer and police the licensing scheme.
“The Government wants the Scottish SPCA to run things but that would be wrong as the Scottish SPCA has more animal rescue centres than any other organisation and should not police itself.
“Police Scotland and local authorities, some of which have their own rescue kennels, have legal responsibilities for stray dogs thus rendering them unsuitable to manage the scheme.
“I suggest responsibility be given either to the existing Animal & Plant Health Agency or to a new body created by the Scottish Government.”
A bona-fide animal rescue will either be a registered Scottish charity or will otherwise let you look at its accounts.
A genuine rescue will not be selling animals for slaughter while asking people to donate to save the lives of other animals – it is not possible to do both ethically, morally or logically (how can one pig be worth saving and another pig be worth killing?).
As the Scottish consultation points to the unsuitability of convicted fraudsters handling public donations, no reputable animal rescue will have anyone who has form as a fraudster or confidence trickster taking in donations.
Hopefully a suitable arrangement can be found, but for reasons pointed out by Mr Robins and by this article, the SSPCA should not be involved in regulating an industry it itself participates in – and which has failed in its duty.
Spotlight on Northfield Animal Haven
Despite its continuing threats to close (and its threats and insinuations against its critics), Northfield Animal Haven continues to:
Seek donations, buy animals (wrong for any charity, but wrong for one so apparently short of funds).
Sell animals at Thainstone market, where many if not all will wind up slaughtered.
Here is an extract from a previous article. Despite false claims from Northfield, neither Aberdeen Voice or Suzanne Kelly (myself) have been in any way prevented from writing about the odd goings-on at this place.
That Kelly Cable is a convicted benefit fraudster – this calls her honesty into question;
That Kelly Cable denied signing for a substantial loan – again her honesty was thrown in doubt;
That signs and funding appeals stating ‘all farm animals are rescued are misleading .There seem to be two Northfields – one that keeps some animals as rescues – while breeding for sale from these [6.1-3], and one that sells animals at Thainstone Market and privately where slaughter is the almost inevitable outcome . This schism is condemned by many animal welfare professionals including John Robins of Animal Concern Advice Line .
When cornered on this issue, Kelly has made posts along the lines of ‘everyone’knows that she operates a working farm and that the reason she uses pictures of animals in her appeal such as sheep and cattle that are not to be rescued is ‘people have asked to see all the animals’ . Donors Aberdeen Voice had contact with were completely in the dark on the point, and would never have donated to money to an institution that breeds from its rescue for sales, and raises farm animals for commercial purposes.
That Cable used, without any contact or permission, images of animals she had nothing to do with for fundraising purposes – this calls transparency and honesty into question (the image on the left of an emaciated bovine is not an animal Cable was trying to rescue; it is from 2011 in the USA .
That Cable has claimed to different witnesses to have disabilities and illnesses [11.1-11.4]; she has told several people these illnesses lead her to use cannabis on the farm and that alcohol and drug use by others is tolerated by her at Northfield around the 170 animals she says she cares for single-handedly. This clearly poses threats to animal welfare – and that has led to serious consequences as this article will demonstrate. This drug use should also be of serious concern to anyone using her animal assisted therapy programme.
There are allegations of cannabis sales which the authorities are aware of . (As an aside, cannabis can be a very therapeutic medical boon to some. The appropriateness of seeking public donations while using/selling cannabis on a farm by a disabled woman who purports to single-handedly care for over 170 animals where neglect and deaths have occurred should raise red flags to animal welfare authorities and those concerned with public safety).
Northfield has itself posted about animals that have died ‘from a broken heart’ or overeating.
Northfield has also posted that Suzanne Kelly was involved in going to their farm, damaging fences, locking a pony in a food store where it ate itself to death.
A previous Northfield Facebook administrator, Fiona Manclark, was ordered to pay Suzanne Kelly £15,000 plus costs for repeated libel (Manclark had months in which to simply make an apology without facing any costs, but forced the matter to court). Ms Manclark spectacularly wrote to the court to excuse her failure to turn up, and in her letter she wrote that cannabis is routinely used at Northfield, a claim which fits in with other peoples’ allegations of drug use and dealing. While many people feel cannabis use should be legalised, many would question whether a disabled woman who claims to care for over 70 animals, some of whom have died in her care from exposure and feeding issues – and who offers animal therapy to young people – should mix cannabis with an animal welfare charity offering therapy.
Northfield and its supporters first began to attack Aberdeen Voice and myself when we repeated a press release (the Press & Journal printed it too) merely calling for a voluntary registration scheme for shelters which would ensure animal welfare.
What Northfield will make of mandatory regulation excluding fraudsters from running animal charities remains to be seen, but whether or not the SSPCA is involved, a regulator in this sector will spell the end for any fraudsters operating animal shelter charities.
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Devilhand @ Noah Point Inn, Aberdeen – A review by Doug Down.
What can I say? The name of the venue says it all. This reviewer is lost. Musically, and in terms of Genre, I am between homes, too many homes, and yet I fear I will tonight lie asleep on a bed not of my choosing, in a dwelling I would not choose to visit. Such was the journey ‘Devilhand’ crooked their collected fingers and led us on tonight.
To cut a long story short, which may well be the worst thing a journalist might dare to say, anyone at all sensitive to sound, became time-blind … and possibly went home extremely happy, expecting to arrive home 15 minutes before they left home to attend.
Already, counterclaims have been honoured by taxi firms who have been unable to reconcile timestamps on receipts.
Apologies offered, forthcoming, and possibly further forthcoming …. I have been asked to ‘cover’ an event which appears above cover, undercover, and all around the edges, and to the extent of every corner …. but … I cannot help but express surprise at the fact I have published the above report half way through that darned Devilhand gig, and yet claim to know what happened after, and expect to be taken seriously.
Aberdeen Voice has agreed to publish my account only on condition that I declare thet I am speaking a load of shite …. to which I agree.