Nov 142013
 

On Saturday the 9th of November the ‘This is Me’ 2014 charity calendar had its official launch at The Albyn Bar in Aberdeen. Over 180 supporters and sponsors packed the venue to listen to presentations outlining the project’s aims and objectives.

Afterwards, Jacqueline Fulton, the project’s head, talked to Duncan Harley about the motivation behind the initiative.

this is me launch duncan harleyIn today’s society we all can feel the pressure to look a certain way. Airbrushed images bombard us constantly and it is very easy to be persuaded that the only way to be is to emulate them. Sometimes there are disastrous results when people become ill in the process, and then need help and support to combat what can be quite a lonely illness.

“I wanted to do something to promote positive body image in ladies to get the message out there that everyone is beautiful, whatever shape or size they are. I have had my own personal struggles with body image and am really against the airbrushing and the ‘one size’ models that are used in the retail industry” says Jacqueline.

The ‘This is Me’ positive body image project has made and printed a ‘Calendar Girls’ style calendar, using models of all shapes and ages who are proud to say ‘this is me.’

Jacqueline continued:

“Through working on this project I have learned to accept my body and am happier now with how I look.  I really hope that through this project we have been able to encourage and empower women to ‘BeYOUtiful’ and also raise awareness for eating disorders, which are not often talked about in our society.

“An eating disorder can be a very lonely illness however support groups such as NEEDS can offer a safe place to talk, thereby reducing the isolation.” 

If you or someone you know is affected by an eating disorder and would like support please contact NEEDS on:

Tel. 01224 557672
Email: nhsg.needsadministrator@nhs.net
Web:  www.needs-scotland.org

You can buy the ‘This is Me’ 2014 calendar from the online shop at http://thisisme.mysupadupa.com .

‘This is Me’ is on twitter @ThisIsMe20134 and facebook

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Nov 142013
 

Dave Innes reviews Peterhead – The Inside Story of Scotland’s Toughest Prison, (Black & White Publishing).

Jeffrey Peterhead book cover

Who’d have thought that Scotland’s most notorious prison was founded for altruistic reasons?
This altruism was not connected with any soft notions of prisoner rehabilitation or second chances in the grim 1880s. Rather, it was the Blue Toon’s geographical situation that brought about the establishment of those grim grey blocks.

The dangers to shipping, including whale boats, during unrelenting North Sea winter storms, and the losses incurred, one suspects, of revenue as well as the rather more expendable human life, were well-known.

Calls were made for a Harbour of Refuge to be built on the corner of NE Scotland to which shipping could head for safety when weather asserted its mastery over the flimsy human-built vessels daring to challenge nature.

And how best to provide cheap labour for this large-scale engineering and construction task? First you build a prison, then you put the convicts to work. You can’t make an oubliette without breaking rocks, it seems.

Jeffrey’s narrative describes the back-breaking, morale-destroying toil involved in constructing both prison and harbour, the latter task taking until 1954 to be completed, 66 years after the prison opened, and locked very quickly, its doors for the first time.

The main narrative, however, tells the tales of some of Peterhead’s more famous occupants, career criminals, casually-violent conscience-free gangsters, sex offenders and other dangers to society.

The names of Paddy Meehan, ‘Gentle’ Johnny Ramensky, TC Campbell, Jimmy Boyle and Oscar Slater are legend. Jeffrey looks behind the often lurid and prurient headlines and popular mythology built around the household names among the incarcerated, and punctures some myths whilst upholding others.

Meehan, for example, whilst framed for a murder committed by McGuinness, was a habitual criminal and his pathos-ridden demise following his pardon and release is almost sad, until you remember the misery he caused during his period as an active criminal.

Ramensky, on the other hand, comes in for more sympathetic treatment, the author almost admiring his athleticism, barrack-room lawyer articulacy, efforts to right injustices within the system and resigned acceptance of his fate on every recapture.

Jeffrey describes, using eye-witness details, the series of riots and prisoner rebellions that have marred ‘The Hate Factory’, including the swift SAS action taken to end the riot and release a warder hostage in 1987. It’s scary stuff.

Whilst the grimness and often-squalid conditions within the jail are always in the background and its harsh, inhospitable location a constant reference, there is room for humour, often cruel, but at times ingenious. Jeffrey relishes describing how long-term guests of Her Majesty would relieve the boredom, almost admiring the simple but audacious scams and practical jokes perpetrated by otherwise hard, desperate men.

This may be the biggest human tragedy of all, obvious intelligence and resourcefulness ultimately wasted on lives of crime and long periods of non-productive incarceration. The author, in juxtaposing institutions where rehabilitation and preparation for reintegration to society are the aims, poses questions that are relevant even in the more enlightened UK prison regimes and culture of the 21st century.

Peterhead – The Inside Story of Scotland’s Toughest Prison by Robert Jeffrey
Black & White Publishing
244 pp
ISBN 9 781845 025380

£9.99

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Nov 052013
 

Andrew Watson continues to spend his time in the dark with an unfeasibly-voluminous bucket of popcorn to bring us his thoughts on local film The B Project premiered at the Belmont Picturehouse.

B ProjectAs with most events of this sort, the cinema wasn’t short of people who seemed to have contributed to the film in some way. The audience lapped it up from start to finish.

Among us were Alison Telfer and Dan Greavey, who opened and closed proceedings by thanking cinema-goers and those who participated in making The B Project.

They are co-directors of this Right Here Productions film, shot on the streets of Inverurie, with Greavey explaining:

‘It’s a black and white, 50s B-movie musical, with references to 1980s films and songs throughout.

‘The reason for the 80s references is that the soundtrack consists of covers of songs by my favourite childhood group, Five Star.

‘We were lucky to enlist the services of some of the top musicians in the NE to create and record the soundtrack, and our cast of talented actors and singers were incredible from day one.’

Indeed it’s a heady mix of musical and comedy, as if Sunshine On Leith had been spliced with plenty of uproarious Spinal Tap moments. It’s all delivered in faultless American accents to boot.

Anyway, the story goes that a down-on-his-luck scientist is fighting his peers to secure funding for his latest invention. One day, the power of confidence dawns on him, after being willed by his girlfriend to think positively in advance of his upcoming review.

He then goes on to make an electric chair-esque contraption to transform him from lovable loser to unbearable upstart, losing his friends in the process.

Overall, this is a feel good film with an edgy bite. One can only hope that the mammoth effort put in by the actors leads one day to their personal big time.

Nov 012013
 

This is only the second time I’ve ever watched a DJ gig, and the first time I’ve critiqued one. This time at least DJ Format turned up punctually unlike my recollection of a late DJ Yoda many moons ago. Andrew Watson reviews this late-night Tunnels show from 27 October.

DJ-Format-on-the-decksWarming up was a local DJ, Mike emblazoned on the back of his shirt. There were, as predominates in hip-hop, James Brown samples galore, and even some Gil Scott Heron. The seguing of songs was almost seamless, and the eclectic mix of tribal/world music tested and pleased the ear.

At first I was rather confused, as there were two guys behind Mike, the stage partially belonging to two randoms and a performer.

It wasn’t until about an hour into the set that it became apparent that DJ Format was waiting in the wings for the support slot to end.

He urged those sitting beyond the stairs leading down to the dance floor to come forward.

Personally, I was rewarded for my compliance with a spin of a somewhat modulated version of Eazy-er Said Than Dunn by Eazy-E.  More often, though, it was a case of turning to my friend to ask whose song the Southampton DJ was playing.

Though not necessarily a bad thing, sometimes his ear for nearly-inaccessible, ear-to-the-underground samples alienated me. On the other hand, lack of familiarity with the material played wasn’t a pre-requisite to enjoying the show.

Things picked up, however, when he blasted a piano-driven instrumental of Sam and Dave’s Hold On, I’m Comin’. The pricking of interest amongst those on the dance floor was palpable.

DJ Format, real name Matt Ford, was a canny man demonstrated by his chopping and changing of samples to run with whatever music he was playing alongside. For example, I recognised a guitar lick belonging to another song that I had in mind. He eventually played that song after permuting it for other purposes.

My only criticism would be that when he did eventually play Wrath of Kane by Big Daddy Kane he cut it too soon, leaving out the best verse, but one of the strengths of music is its occasional unpredictability, going in direction other than anticipated.

Arguably, one of the strongest draws were his connections to Los Angeles collective Jurassic 5. He was their bus driver, before later finding acclaim and opening for DJ Shadow.

Work done with the former was showcased, shifting emphasis and giving him ample room to display his renowned scratching technique.

Performance-wise, the only blip of the night was a skipping record. He launched it into the crowd and my friend got him to autograph it at the end of the show.

This was an exhausting gig, given the 2300 Sunday start time, and it was a tad pricey at £10. There was some break-dancing to entertain those in the crowd keener to keep their feet together and just watch.

Oct 282013
 

Vue on Shiprow was an apt setting for viewing Tom Hank’s seafaring thriller Captain Phillips, writes Andrew Watson.

vuepicAlthough this is a tad more intelligent than recent fellow claustrocore film Escape Plan, it didn’t entertain to the extent that the combined brawn of Stallone and Schwarzenegger did.

Captain Phillips is based on a true story, or at least on the written account of a man taken hostage by Somalian pirates.

What should be borne in mind with such accounts is that embellishments to known facts don’t illuminate actual events.

It’s more shocking, for example, to know for a fact that three people really died in an incident than that six perish in a fictionalised account.

I daresay that Mel Gibson’s Braveheart would have benefitted hugely from a massive dose of truth given the factual historical inaccuracies in that film.

Anyway, Richard Phillips (Hanks) is the merchant sea captain of MV Maersk Alabama which runs into difficulty when being pursued by opportunistic ransom seekers during a routine exercise that turns into a real life threat.

On the other side of the story, it’s interesting to see that the Somalian pirates originate from a community bullied by warlords to whom they owe money, a somewhat sympathetic perspective offering a rationale for their seeking ransom money from merchant vessels.

The efforts of the pirates eventually see them board the Maersk Alabama, via a mobile ladder clasped to the side of a ship that dwarfs their own vessel.

What follows is a glorified cat and mouse chase, as Hanks’s character sends his crew down to the engine room in a bid to avoid capture. They eventually overcome the boarders who are forced into retreat, taking just the captain with them on the emergency lifeboat.

Basically, the film is divided between the single setting on the Maersk and on the lifeboat, the compactness of the latter, of course, defining claustrocore filming.

Towards the end, a protracted stand-off between the pirates and the US Navy SEALs, climaxes when the SEALs eventually outmanoeuvre and outwit the boarders who number fewer than half a dozen.

To sum up, Captain Phillips is at times frustratingly dull, yet at others engaging.

 

Oct 242013
 

Vue on Shiprow was almost vacant as I sat down this afternoon to watch Stallone and Schwarzenegger’s Escape Plan. Andrew Watson reviews.

vuepicI was a bit dubious about this example of situation genre, popularly dubbed ‘claustrocore’, where most or all of the film is shot in the one setting. Think Phone Booth.

There was enough variety in this action thriller, however, to assuage negative assumption.

Ray Breslin (Stallone) is the movie’s protagonist and co-owner of a firm testing the infallibility of maximum security prisons. Rapper 50 Cent (Curtis Jackson), makes a glorified cameo appearance as Ray’s business partner Hush.

Breslin successfully escapes one of many prisons he’s testing without a hitch.  A more lucrative offer comes in, and although the stakes are far higher than usual, both sides deal in.

Once on the inside, Ray meets fellow inmate, Emil Rottmayer (Schwarzenegger).  Favours between the two are drawn as Stallone’s character scopes out the nooks and crannies of his toughest challenge yet.

Their contrasting roles, with stonefaced and serious Sly and amiable Arnie, ensure that the onscreen chemistry bubbles.  They bounce off each other quite well, and the film is almost totally devoid of any big-time ego clashes.

The pair are pitted against jail warden Willard Hobbs (Jim Caviezel), and his second-in-command played by ex-football hard man, Vinnie Jones.

Standing, or rather hiding, between good and bad is Dr Emil Kyrie (Sam Neill).  Paid to oversee the wellbeing of the prisoners, with his employers bent on doing the opposite, he cuts a perplexing insight into the psyche of a beleaguered conscience. It’s a pity the role is so minimal for such a fine actor.

Among the highlights is a punch -up between the two megastars, before they’re rounded up and thrown into isolation.

Stallone, the smaller of the two, takes a while to overcome Arnie, who initially laughs off the the assualt.

Schwarzenegger’s feigning Christian babble is hilarious, as the subtitles translate his almost-incoherent German cries.  All part of the ruse, whilst Stallone plots an escape route.

The nailbiting conclusion has you wondering if both will survive, but no spoilers from me.

On the whole, not the most earth-shattering piece of cinema you’re likely to see this year, especially, in terms of script complexity, as its overall simplicity is definitely the most prominent feature.

Oct 112013
 

As the Home Office trembles under the criticism of the Advertising Standards Authority ‘s (ASA) latest adjudication, Duncan Harley reports on one aspect of the Home Office’s campaign against illegal immigrants.

home office billboard3

The ASA received a total of 224 complaints related to the Home Office billboards.

The ASA has yet again proved itself to be a toothless tiger in the relentless quest for fairness and honesty in public domain advertising in the UK.
Most of the media are reporting that Home Office vans, replete with slogans on the sides proclaiming ‘go home or face arrest’ and ‘106 arrests last week in your area’, which were driven around six London boroughs earlier this year, have been banned by the ASA.

The facts, however, say otherwise.

The boroughs of Barking and Dagenham, Redbridge, Barnet, Brent, Ealing and Hounslow were targeted by the Home Office campaign in July 2013 and advised readers, ‘We can help you to return home voluntarily without fear of arrest or detention’.

The posters were criticised by many, on the basis that the wording was likely to spread fear and unrest. Others such as Shadow Home Secretary Yvette Cooper warned that the campaign was reminiscent of the 1970s National Front approach to racial tolerance, whilst some others viewed it as a throwback to the dark days of Enoch Powell’s Rivers of Blood rhetoric of 1968.

Be that as it may, the campaign to persuade illegal immigrants to phone the Home Office to give themselves up drew extensive media attention from the outset and the resulting complaints to the ASA show that at the very least, some people in the UK see the advertising watchdog as a force for fairness in the face of misleading marketing campaigns.

Promogroup, the company who owned the vans on which the Home Office displayed the posters, also received a number of complaints about the campaign during its pilot week. Illustrative perhaps of how misleading the information on the posters might seem to some, Promogroup itself received several phone calls from illegal immigrants wishing to give themselves up.

reminiscent of slogans used by racist groups

The company has not to date revealed whether or not any of its drivers received surrender requests from concerned pedestrians during the week-long campaign.

The ASA received a total of 224 complaints related to this issue. These were from groups representing migrants in the UK, legal academics, members of the public and the Labour peer Lord Lipsey. Complainants challenged

  1.  whether or not the poster and in particular the phrase ‘go home’ was offensive and distressing because it was reminiscent of slogans used by racist groups to attack immigrants in the past.
  2.  whether or not the poster was irresponsible and harmful, because it could incite or exacerbate racial hatred and tensions in multicultural communities.
  3.  whether or not the claim ‘106 arrests last week in your area’ was misleading and could be substantiated.
  4.  whether or not the qualification regarding the areas the arrests occurred in was presented clearly, because it was not legible on a moving vehicle
  5.  whether or not the poster was misleading, because it implied that arrest was the automatic consequence of remaining in the UK without permission.

In response to the complaints made to the ASA, the Home Office claimed the posters were part of a pilot scheme run between 22 and 28 July 2013 which sought to encourage those with no legal right to be in the UK to depart voluntarily and to increase awareness of the voluntary departure route. It added that the material was similar in tone and content to previous material it had produced on voluntary departures.

The mobile billboards in question were part of the pilot which covered targeted areas and were designed to improve awareness of local immigration enforcement activity, so that those with no legal right to be in UK were made aware that there was a real and present risk of being arrested.

The campaign had targeted six London boroughs which the Home Office claimed have either significantly above average, or very low, uptake of the voluntary departure route for illegal immigrants.

Additionally, the pilot scheme was, said the Home Office, designed to test the media used and to identify which areas produced the highest response rate, to target specific areas where illegal immigrants or people seeking work illegally were known to congregate, and high streets.

there is nothing to prevent the government using the vans again

As for the 106 arrests issue, the Home Office supplied the ASA with data claiming that there had indeed been that number of arrests made in the areas targeted and elsewhere during a typical week preceding the campaign, that is, the week of 30 June to 6 July 2013.

The Home Office response also made the point that the poster did not suggest that arrest was an automatic consequence of remaining in the UK without permission, since voluntary departure was a viable alternative.

The ASA’s judgement of the complainants’ objections took the form of an individual response to each of the five points of complaint outlined above.

On point 1, the complaints were not upheld and in conclusion, the adjudicators felt that the poster was unlikely to cause widespread offence or distress.

On point 2, the complaints were not upheld and in conclusion the adjudicators felt that the there was no content likely to condone or encourage racial violence or anti-social behaviour.

On point 3, the ASA upheld the complaints on the basis that the figure of arrests had not been substantiated and had not related to the specific areas targeted in the pilot campaign.

On point 4, the complaints were upheld.

On point 5, the complaints were not upheld on the basis that the adjudicators viewed the risk of arrest to those living in the UK illegally was indeed real and that the posters offered information about an alternative option of a voluntary return home.

In summary therefore, two out of five complaints were upheld and the judgment is that the advert must not appear again in its current form.

The message to Her Majesty’s Home Office is quite clearly to do better in future or face the mighty wrath of the ASA!

Providing the Home Office reviews its use of font sizes and does some rudimentary checking of published statistics, there is nothing to prevent the government using the vans again and it has refused so far to rule out doing so. A government spokesman said:

We are pleased the ASA has concluded that our pilot was neither offensive nor irresponsible.

We have always been clear that this campaign was about encouraging illegal immigrants to leave the country voluntarily and was not targeted at particular racial or ethnic groups. In respect of the ASA’s other findings, we can confirm that the poster will not be used again in its current format.”

As for the ASA, the adjudication has been delivered but it will no doubt require to re-examine the issues should HM Government roll out a second campaign. On its website, the ASA claims to have sanctions available to persuade advertisers to comply with the Advertising Industry Code of Conduct.

The ASA advises that the vast majority of advertisers and broadcasters comply with ASA rulings and that for the small minority who don’t, there are consequences. The main aim is to bring about compliance with the Advertising Codes, it says, rather than punish advertisers. However, some of the sanctions at its disposal can, it seems, be very detrimental to those who choose not to comply.

The ASA claims that one of the most persuasive sanctions it has in its armoury is bad publicity, since an advertiser’s reputation can be badly damaged if it is seen to be flouting rules designed to protect consumers. Presumably the Home Office will be trembling at the thought of further damage to its already tarnished reputation.

The full ASA/Home Office adjudication can be read at: http://www.asa.org.uk/Rulings/Adjudications/2013/10/Home-Office/SHP_ADJ_237331.aspx?utm_source=Adestra&utm_medium=email&utm_term=&utm_content=Home%20Office&utm_campaign=2012%20Wednesday%20Rulings

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Oct 042013
 

For some semi-pro musicians, it’s not unusual for the phone to buzz on Thursday night and the conversation to go along the lines of,

“Davie min….”

“Aye?”

“Got a gig the morn?”

“No, Saturday at The Cragshannoch, Sunday at The Argo”.

“Can you fill in with us at The Bilermakers? Cash in hand, start at 9 o’clock, after the bingo”.

“Aye, go on then, send me your set list. Keys will help. Is Shake Rattle and Roll still in bloody Bb to accommodate your sax player?”

BuskerDave Innes reflects, from fraught experience, on such rattlings and rollings as he flicks through the pages of Graham Forbes’ Rock And Roll Busker.

It was ever thus. Busking, you see, is not solely the preserve of the Oasis-obsessed fellow outside John Lewis’s, or of the tasteful Eastern European accordionist flourishing the bellows in St Nicholas Street.

Busking, to those in the know, is playing along brazen frontedly, with songs you half-know without anything as decadent as a rehearsal, making an intuitive contribution, often taking a leap of faith with chords or fingering, and always having the fallback default option of “muffled E” if you’re a bass player.

This is a seat of the pants world where bum notes are ‘jazz licks’ and mis-timed cues are ‘a bit of funk syncopation’. Audiences never notice. Sssssshhh….

That’s where the yarns in Graham Forbes’s third book will chime with jobbing musos, who share the author’s obsession with playing to an audience, not for the cash but for the buzz that only live performance can impart.

Glaswegian by birth, Forbes grew up in the 1960s and 1970s, when, if players were prepared to travel, they could be playing live every night. As well as traversing Scotland with a series of bands of rock n roll misfits, semi-alcoholic soulmen and cabaret tearaways, Forbes played in a credible line-up of the Incredible String Band and on sessions by household names.

Beyond this, however, his desire was always just to turn up, plug in and rock out.

The associated tales are hilarious, fascinating, and will ring true with anyone who experienced those crazy days and their financially-meagre but often otherwise hedonistically-satisfying rewards, destroyed forever by pub DJs and bloody karaoke.

Forbes is forthright, opinionated and passionate. Those he loves and respects are described affectionately, but he reserves harsh words and a fine level of splenetic disdain for money-obsessed managers, lazy, unreliable band members, young acts concerned only with record deals and for music stands onstage. He likes 1950s valve amplifiers, tanned, long-legged American girls, mountaineering, Fenders and skiing.

As he brings Rock And Roll Busker up to date, he divides his time between Florida and Glasgow, always on the lookout for a gig, whether for the well-heeled in the humid clubs of Saratosa, or the formica-chic of Paisley’s Patter Bar offering punters a few hours respite from the grim deprivation of life in the put-upon West of Scotland. Accounts of his experiences in these starkly-diverse situations show that his love affair with entertaining has diminished none.

My favourite rock n roll books are Deke Leonard’s twin behemoths Maybe I Should’ve Stayed In Bed? and Winos, Rhinos and Lunatics. Rock And Roll Busker is every bit as entertaining and nostalgic and has earned the right to be slotted in next to those seminal tomes on my bookshelves.

ROCK AND ROLL BUSKER
Graham Forbes
(MCNIDDER & GRACE) 
282 pp

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Oct 042013
 

Last week, we presented an article by Mel Kelly on the dangers of Unconventional Coal Gasification (UCG), and the possibility of this being practiced in the UK. This week, we are grateful for Mel’s permission to bring you further news of the nature of investment in UCG and of who stands to gain,  or lose. This article was recently published on the open democracy site http://www.opendemocracy.net/author/mel-kelly and has not been amended for publication in Voice.

CoalSquareThe government is giving away the rights to up to a billion tonnes of coal to a company owned by an ex-Conservative party fundraiser. Rather than filling his pockets, couldn’t this revenue source be used for the public good?

The coalition government is providing a former Conservative Party fundraiser’s new company with licences which secure his company the rights and interests to billions of tons of the nation’s coal for UCG processing.

UCG stands for underground coal gasification – a process to drill wells to set fire to coal underground and extract the gas by-products – both onshore and offshore.

Official reports in 2009, 2011 and 2012 on UCG pilot studies in India, America and Australia resulted in major water contamination with highly toxic carcinogenic chemicals, Benzene and Toluene, (contamination which one private company covered up for 2 months) and the EU trial ending in disaster when they could not control the technology resulting in an explosion and the trial being abandoned.

Just a few weeks ago an independent scientific panel in Queensland advised the state government against the development of a UCG industry until the firms involved can demonstrate the ability to put out the underground coal fires the process creates.

Algy Cluff, the founder of one of the companies recently handed multiple UCG licenses for both onshore and offshore by the Department of Energy & Climate Change, actually stated last week the technology is not proven offshore . Yet, he is about to embark on a UCG offshore test in Scotland. And when we say offshore, this does not mean the North Sea – the test is to be carried out in the Firth of Forth.

UCG licenses are also being issued for the Thames Estuary, SwanseaBay, the Dee Estuary and the Humber Estuary – as well as the North and Irish seas – when the technology still poses risks of major contamination with UCG carcinogenic chemicals as well as explosions and subsidence.

Onshore licences have also been made available for Warwickshire, Dumfries&Galloway, Cumbria and Lincolnshire with Algy Cluff claiming the technology was “proven onshore – despite the Queensland decision.

The people of Warwickshire and Fife are up in arms as they have only just found out about Algy Cluff’s plans to burn billions of tonnes of coal underground in their area to extract gas. So who exactly is Algy Cluff and what experience does he have in UCG?

David Cameron has opened the windows of this country once again

Algy Cluff made a fortune in North Sea oil in the 1970s and has been involved in Africa since the 60’s, where he had various mining interests including gold and platinum and “during his time in Zimbabwe he became a friend of the now-despised Robert Mugabe, the country’s president.”

He stood as a Conservative candidate in the 1966 General Election and used to own the Spectator magazine where he had former Tory Party Chairman Norman Tebbit and Francis Maude, the current Minister for the Cabinet Office and the Paymaster General, on his board of Directors

Cluff was the unpaid external director of fundraising for the Conservative Party, securing large donations from prominent Hong Kong businessmen until June 1993 and he also helped fund Kenneth Clarke’s Tory Party leadership campaign in 2005.

Algy Cluff told Country Life magazine “he’s pleased with the Coalition” and of the Labour Party he said ‘I am thrilled that we’ve got rid of those snarling thugs, devoid of humour, manners or judgment. David Cameron has opened the windows of this country once again, and, although there are difficult times ahead, it is possible to hear the sound of laughter.’

After years abroad Algy Cluff returned to set up Cluff Natural Resources in the UK on 21st February 2012, just in time to apply for the new licences to the rights and interests in Britain’s coal for projects which his Board believes could generate significant value for Cluff Natural Resources shareholders – no wonder Algy Cluff predicted the sound of laughter.

The Firth of Forth in Scotland, just one of the coalition government new UCG licensed areas for which Cluff Natural Resources has secured a UCG license, has a target to burn up to 1 billion tonnes of untapped coal.

Despite only being formed in 2012 The Cluff Natural Resources website states: “The Company currently has 100% working interest in five Deep Underground Coal Gasification (‘UCG’) Licences in the UK covering a total of 30,881 hectares of Carmarthenshire and the Dee Estuary, the North Wales/Merseyside border, the Firth of Forth near Kincardine, Scotland, North Cumbria and Largo Bay. Cluff Natural Resources intends to carry out a Scoping Study on the licences and identify an area for test production” using unproven technology which, it has been established, can potentially cause major contamination of groundwater with carcinogenic chemicals, cause explosions and subsidence above and below ground.

fracking is one of the processes used.

Regarding the test site in the Firth of Forth in Scotland, last week Algy Cluff made the claim to a local newspaper, to justify his forthcoming drilling,There would be no introduction of water or chemicals, unlike fracking”.

According to Science and Technology review’s explanation of the UCG process “In the UCG process, injection wells are drilled into an unmined coal seam, and either air or oxygen is injected into the cavity. Water is also needed and may be pumped from the surface or may come from the surrounding rock.”

The UCG Consulting website the UCG process requires “injecting oxidant and possibly steam or water to support combustion and the carbon gasification reactions”. Additionally, section 14 of Shell’s submission to the British Government regarding UCG states that fracking is one of the processes used.

Why is Algy Cluff so desperate to try to distance UCG from its requirement for water and fracking when everyone else in the industry is open and honest about the requirements? How is he able to claim the onshore UCG process is proven when it has run into so many problems around the world?

And why are the Tory MPs in charge of the Department of Energy and Climate Change so desperate to issue licences now, before the technology is determined to be safe? Could it be they are worried that if they wait, they will have lost the next election and the power to issue licences to private companies of their choice before the nation realises what is going on?

Should private companies be handed the rights to nation’s coal reserves without the government consulting the British people? Bearing in mind that, according to a Department of Trade and Industry reportThe UK resource suitable for deep seam UCG is estimated at 17 billion tonnes, or 300 years’ supply at current consumption, according to a Department of Trade & Industry report.”

The government charges telecoms companies billions of pounds just to use the airwaves of Britain for their profit – so how much is the nation’s 300 years worth of coal reserves worth to a country undergoing tough austerity? Rather than privatising our coal reserves to further enrich the wealthy, perhaps this source of revenue might be better used to bolster our empty public purse.

Images courtesy of Freefoto.com.

Click here for video of Mel Kelly being interviewed by Denis Campbell online – re. UCG

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