Dec 212012
 

Peter Jackson’s The Hobbit arrived in cinemas recently; could it live up to Jackson’s Lord of the Rings epic work?  Aberdeen Voice’s Andrew Watson shares his thoughts.

It was my first visit to Vue on Shiprow in a while, and it was to see what many regard as the blockbuster of the year, The Hobbit.

Although it was excellent on the whole, in the realms of fantasy and science fiction it doesn’t quite surpass the mastery of this year’s earlier blockbuster, Prometheus.

Without being patronising, veteran director Ridley Scott has a few more Hollywood years under his belt than Peter Jackson.  It’s inevitable in my eyes, therefore, that, as supremely talented as the latter is, his capacity to create new worlds doesn’t quite excel that of Scott –  Yet.

The Hobbit takes quite a long time setting the scene, though mercifully most of the backstory on show is quite intriguing:  particularly that of the Dwarves, cast from their homeland by a fire-breathing dragon.

I couldn’t help but draw comparisons of the Dwarves’ story to that recounted of the Israelites during the time of Moses, that of a nomadic race with no place to call their home.  This is in fact a central plot to the film, contrasting their instability with the home comforts of Bilbo Baggins (played by Martin Freeman), before setting out on his Unexpected Journey.

The sedate country life of Bilbo is very twee, and as I found in the first Lord of the Rings film, rather irritating and sickly in its happiness.  Thankfully this quickly comes to a close when wizard Gandalf (Ian McKellen) invites the Dwarves over, in the hope that Baggins will join them in their quest to reclaim their home.

This conclusion of Bilbo’s sanctuary from conflict is done with a touch of humour, too.  Most of the Dwarves sport Scottish or Irish accents, marauding Bilbo’s food store then greedily slurping his beer before setting out on their adventure.

In fact The Hobbit consistently goes out its way to amuse the viewers, though sometimes you find yourself amused out of politeness.  Key moments, however, include the rather amusing Cockney-sounding Trolls who eat snot and belligerently assail anyone, friend or foe.

The key moment, though, is also probably one of the most anticipated parts of the film, the introduction of Gollum: one of the principal characters, despite the relatively small part he plays throughout the duration of the film.  The role, played by superbly versatile Andrew Serkis must not only be demanding; but is an absolute joy to watch.

He’s already won many plaudits for his acting in this film, and it’s easy to see why.  Battling a split personality, his character verges from the menace of Gollum and his wretched, demonic teeth to the arresting innocence of Sméagol and his big, blue eyes.

His game of ‘riddles’ with Bilbo isn’t only integral to the development of the plot and, therefore, Baggins’ survival, it’s also supremely humorous.  The battle of wills inside Gollum/Sméagol’s head is as volatile as it is side-splitting, and he still manages mental gymnastics in his battle of minds with Baggins.

Finally, comes a spoiler alert of sorts.  Or, rather, myself trying my utmost to prevent my blabbing.  Anyway, and this little detail might be rather insignificant for most, the end of the film is heralded with a scene evocative of  the omnipotent ‘eye’ which features throughout the Lord of the Rings trilogy.  I won’t tell you how or why it comes about though.

I genuinely look forward to parts two and three of this new trilogy, although I hope the plans to release all a year apart won’t affect the quality of output.  The thinking being, I suppose that you keep the audience waiting too long and they’ll lose interest.

Personally, I think if you make a film as well as you can, taking your time and deliberating over every detail, anticipation will be palpable and interest will soar!

Dec 212012
 

On Friday December 14, The Tunnels played host to Bin Laden’s Daughter plus a generous selection of four support acts. Andrew Watson was in attendance to review for Aberdeen Voice.

My inaugural visit as a gig reviewer to The Tunnels could be described as time spent in a shite venue reviewing reasonably good bands.
Anyone who gigs regularly will tell you that, usually, venue quality ascends from the pits of The Tunnels, to Cafe Drummond, The Moorings and then The Lemon Tree. After that, you’re usually in the limelight in places like the Music Hall and the AECC.

The only place possibly worse than The Tunnels is Cellar 35.  Not only is the sound crap in the latter, but there’s barely any room to move.  Forget nonsense about intimacy and all that!

Anyway, enough bashing of The Tunnels because the sound wasn’t too bad this time round.

First up were Dead Hermit Peepshow, fronted by Obscenities guitarist Johnny Morrice:

Dead Hermit Peepshow are NOT a blues band.  Blues was developed by black musicians. Goth was developed by musicians who dyed their hair black.  Important distinction.

Yeah, a quirky lot they were. They were an engaging opening act, playing riffs a night crawler would probably use as a backdrop to a totally dastardly, though slightly comical, jewel heist – shifty eyes, and all! Even just the novelty of hearing headbanging guitar work played out on a semi-acoustic was enough keep punters interested.  The crowd asked Johnny if the instrument in question was the one with the hole in it…

Erm, well it had an excellent varnished surface.  Maybe a mahogany table put together with pinewood neck and cheese wire strings? Ironically, they’re best described as melding the lyrical mores of ‘goth’ bands like The Cure, spider-eating-me-for-dinner and all that, and well…the blues!

Certainly one number that stuck out, towards the end of the set, had the rhythm of the blues infused with the subversive, youth corrupting values of films like the The Rocky Horror Show. Did I tell you they also, complete with a corset-wearing woman sharing vocal duties with our Johnny, concluded with ‘Time Warp’?  A sight to behold!

Next up were The Obscenities.  Forgive this writer if he’s got slightly more insight into this band than the others, for he used to be the bassist! Anyway, currently touring their The Judge Is Guilty EP, they did what could only be described as blowing the door off the hinges.  Debuting a much faster, more intense version of the aforementioned title track, they rocketed through their set with panache.

A lot of pent-up angst and frustration was particularly personified by the singer

The world of difference between a band that often ended their performances with this barnstormer, and this new-look line-up, was sizeable. The audacity to begin proceedings with this song paid off as the reaction surpassed anything they ever received from the punters when deploying this ‘finale’ previously.

Bry Parasite, switching from guitars to his first instrument, the bass, played with an almost overwhelming electricity on his overdriven four-stringer. New boy Johnny gave, to put it bluntly, a clarity to the six-string scratchings, originally penned by Bry, unseen until now.  Put succinctly, the band were far more comfortable in their playing than they’ve ever been.

They flagged somewhat between the middle and end of the set, but recovered remarkably. Whether that can be put down to yours truly contributing bass on one of the tracks, I couldn’t possibly say!

Slave System came on afterwards, and were a band said to be performing for the last time. They had the mark of a band amidst an acrimonious swansong.  A lot of pent-up angst and frustration was particularly personified by the singer and how he interacted with the guitarist, “No. You’re playing the wrong song,” etcetera.

Without doubt the focal point, the singer had an androgyny about him that was a cross between David Bowie and Trent Reznor of Nine Inch Nails. The guitarist was more like his glam rock foil:  white jeans, cowboy boots, scarf.  All very T-Rex.  Or perhaps more like Bowie’s late axeman, Mick Ronson?

Truth be told, I wasn’t looking forward to this band.  The last time I’d seen them was my last gig with The Obscenities, and they didn’t seem to have the courtesy to ‘blood’ their bass player properly. By that, I mean have mercy on them and let them gel into the band, before exposing them to the potential ridicule from an audience.

This is nothing to do with whether or not they only picked up a bass yesterday or the day before, but giving them sufficient time to absorb song structures and riffs. If you have the attitude that it’s ‘only’ the bass so-and-so’s playing, then your performance will suffer and it will be your fault, not theirs.

But I digress.  Slave System now had yet another bassist, and, thankfully, he seemed to get right into the pocket rhythmically for most of the songs.  It’s strange, though, how his difficulty with some of the material, probably sprung on him the night before, complemented the performance. The undercurrent bubbling away seemed to come to the fore, in an explosion of what could only be described as awkward. When he figured out what he was meant to be playing, the song kind of lost its magic!

Way up the fretboard, his high-register fills were a joy to watch

It was only venerable members of established instrument shops embarrassing themselves in drunken stupor that enhanced viewing pleasure during the rest of the Slave System set.

The main support act for the night, [ ], or Wall, are a powerful duo of drum and bass.  The casual observer would probably draw comparisons to Death From Above 1979, though I’d say, bar overdriven and effects-laden bass, there’s slightly more to them than that. The sound they produced wasn’t too far off from the thump you’d hear in a club, yet the drummer was a powerhouse and very inventive. This belied the general focus upon brutality and rhythm, rather than melody.

When the bassist broke free from holding down three jobs – bassist, lead and rhythm guitarist – he was somewhat reminiscent of Chris Squire from prog-gods Yes. Way up the fretboard, his high-register fills were a joy to watch. If Chris Squire roared like a lynx, you’d get to somewhere approaching how this ace of bass sounded when he began introducing vocals to an almost entirely instrumental set.

Think Anders of In Flames before those death metal gods began toying with keeping with the times and, erm, nu-metal.

The front of the stage draped with a Palestinian flag, and lead singer resplendent in an emerald green IRA t-shirt, headliners Bin Laden’s Daughter looked every bit as controversial as they sounded. Though your erstwhile reporter was likened to a member of the National Front, he enjoyed himself as much as one could after such an accusation.

If I were a tad more self-conscious I wouldn’t have had any fun at all.  Seeing as I couldn’t respond in affirmation of whether or not I was a Chelsea-supporting Head Hunter, what, with my track record of poking fun at sons of Rangers legends, my reputation as a fairly upstanding member of society remained intact!

However, my position as contributor to Aberdeen Voice is perhaps under threat due to my positive response that I was indeed a fan of The X-Factor. Well, if he can have a joke at my expense, why not vice versa?

All round, a good night!

Dec 212012
 

With thanks to Pete Coutts.

If the world doesn’t end on 21st December, then Christmas and New Year are right around the corner.

Why not spend your Hogmanay at the Hogmanay Hootenanny?

The Hogmanay Hootenanny stars Smokin’ Catfish, Catford, The Jellyman’s Daughter, and is Monday 31st December 8.30pm till late at The Blue Lamp, Gallowgate .

The entry fee is £15.

Smokin’ Catfish – local 5-piece bluegrass outlaws Smokin’ Catfish have been surprising audiences in Aberdeen since summer 2008 with their stunning harmonies and foot-stomping live performances.

This traditional bluegrass line up with its inbuilt rock ‘n’ roll attitude will wear out your dancing shoes in an explosion of high-octane, string-pickin’ fun.

Catford play songs with an emphasis on creamy vocal harmonies, textured rhythms, vivid melodies, and all underpinned by great musicianship and packed with soul.

This recently-formed band of four diverse multi-instrumentalists – hailing from the North-East of Scotland – blend American and Scottish folk influences with rhythms borrowed from across the globe to create a potent mix that sets them apart. Featuring local singer/songwriters Steve Crawford and Davy Cattanach, augmented by the amazing Jonny Hardie (Old Blind Dogs) and local multi-instrumentalist Pete Coutts

The Jellyman’s Daughter are a unique new duo from Edinburgh. Their interweaving vocal harmonies are complimented by an interesting mix of cello and acoustic guitar. One of the distinguishing features of The Jellyman’s Daughter is the innovative rhythmic style of cello playing providing a catchy percussive backbeat to some of their songs, contrasted by the intimacy of others.

Dec 102012
 

Two fantastic cultural events take place at the Old Torry Community Centre this weekend.

Hidden Aberdeen Tours and The Lemon Tree Writers present an evening of spine tingling Victorian Ghost stories.

Friday 14 Dec at 7.30pm

Tickets are £5 and £2.50 for concessions.
Available from the Torry Library or you can email us to reserve.
Also available on the door on the night.

Quids In will be performing a multi media production of A Christmas Carol by Charles Dickens.

Saturday 15 Dec at 7.30pm

Tickets £8. Concessions available.
Tickets can be purchased from The Torry Library or http://www.skiddle.com.

Email oldtorry@gmail.com to reserve.

Old Torry Community Centre,
2 Abbey place,
Aberdeen,
AB11 9QH

Tel. 01224 894925
Email oldtorry@gmail.com
Facebook. https://www.facebook.com/oldtorrycommunitycentre

Dec 032012
 

Old Susannah casts her beady eye around the ‘Deen – and this week, far beyond! By Suzanne Kelly

Tally Ho! Apologies for the late-running of this service but Old Susannah has been in New York and Glasgow over the past 10 days or so.

The biggest news of the week is the annual Glenfiddich Spirit of Scotland Top Scot award going to Michael Forbes, Menie resident and nemesis of Donald Trump. Many congratulations on an award well deserved.

It was disheartening to see New York in such a state; there is a huge, under-used park at the very centre of Manhattan.

Because this central park hasn’t been successfully transformed into a vibrant, dynamic, iconic web, New York is closed for business. Retail trade is down, with many small family-owned, non-chain store businesses operating throughout the greater Manhattan area instead of multinationals and pound shops.

This park also has major connectivity problems. Some if it is actually below street level! Yes, really. Other parts have a wall separating the park from the street, and people have to travel a few blocks to get to the next entrance.

To make things even worse, some of the park is even higher than street level. I hear a delegation from New York will travel to Aberdeen soon to look at the web plans, and see if the Granite Web can’t be built over Manhattan.

Until such time, New Yorkers will have to suffer the consequences – little tourism, hardly any business, and not much going on culturally.

If they were to just set up their own version of ACSEF, I’m sure the local taxpayers would be happy to fund an unelected quango that knew better on all issues than elected officials, and do whatever it said without question.

Then it was on to Glasgow.

For some reason, the streets there don’t have much going for them. Well, not in the way of litter, potholes and broken pavements anyway. The public transportation is affordable, clean and frequent – even after 6pm!

One really tough-looking guy on the underground strode purposely near where I was standing – to put a used ticket into a used ticket bin. Must have been something wrong with him.

Returning to BrewDog on Monday evening, I bought the last two bottles of Ghost Deer. This truly delicious beer is the world’s strongest fermented beer (and it has fetching artwork).

I also managed to buy one of the last limited edition Ghost Deer t-shirts, so I am well chuffed at having something to wear when I next see Aileen Malone.

Ghost Deer is marketed as ‘an audacious blend of eccentricity, artistry and rebellion.’ It reminds me of someone, I just can’t figure out who.

 Want a few weeks off work? Stop washing your hands when you use restrooms and stop disinfecting surfaces

The deer theme continued at Aberdeen Art Centre as I attended an opening of work by Nicky Cairney and her mother, Angela Cairney. The show was well attended and the work is very varied, with themes of nature, man’s interference with nature, and environment the overriding themes.

Please do go and see it, especially the silhouette work concerning Tullos Hill and golf. When lit in different ways, these dioramas throw powerful shadows with more than a little hint of political commentary.

Before moving on to some seasonal definitions, something seems to be wrong with the council. When the first icy days hit us, salt and sand were being used on the roads AND pavements. I really don’t know what they’re playing at – you didn’t get this kind of thing happening when Kate Dean was convener. Let’s see if they keep it up.

Cold weather also can mean an increase in viruses. A few unpleasant illnesses are doing the rounds, so try and stay well. Here are some definitions which may help.

MRSA Virus (noun) a strain of the staphylococcus bacterium which can cause serious infections in people, and which is becoming increasingly immune to antibiotics.

Want a few weeks off work? Stop washing your hands when you use restrooms and stop disinfecting surfaces. Also forget all that nonsense about using a tissue once, throwing it away, and then washing your hands. That’s for wimps.

It’s an awfully good thing that Aberdeen Royal Infirmary and Grampian NHS ensure all the wards in our area are spotless. I was told you could eat off the floor in Ward 49, for instance. Bring a knife and fork.

It’s important to remember that if you get an infection that needs antibiotics, the doctor doesn’t really want you to finish the whole course of medicine. Just take a few pills, stop after a day or two, then be totally surprised when you don’t get better. You’re doing a good deed for biodiversity by making bugs stronger and stronger. Result!

However, there is a more serious hospital virus going around. At present, there is only one known case.  This case is, however, in our area – so do be vigilant…

MRCS Virus (noun) new strain of hospital virus causing computers to imply doctors have more qualifications than they do. Pity poor Doctor (???) Muhammad Ishaque.

It’s clear that ARI takes checking references seriously

This trainee doctor worked in Aberdeen Royal Infirmary, where he picked up this curious disease. Unfortunately, the highly-trained professionals at ARI failed to spot this virus before he was hired. Perhaps a better check-up of incoming doctors is called for.

To most people in the medical profession MRCS means Member of the Royal College of Surgeons.  The implication if you got an email from said trainee was that they were a qualified, recognised surgeon. This trainee didn’t exactly have all of the medical qualifications his computer said he had. Instead, he claimed he contracted the MRCS virus on his computer at the hospital.

This rare virus causes a trainee doctor’s outgoing emails to magically contain the letters MRCS after the trainee’s name. Scientists are baffled at the emergence of this new virus, and are closely studying Ishaque, the only known sufferer in the world.

So by all means clean your hands – but clean your hard drives as well.

I guess it’s no big deal – as the ARI seems to insist – that this person examined people. They say he was always working alongside a fully trained doctor. It’s not as if people expect a person examining them would have been fully vetted before allowed anywhere near the public.

I’m thinking of going along for a job as well – guess if I work with a qualified doctor, no one would mind being examined, advised or probed, would they? It’s clear that ARI takes checking references seriously. Otherwise, we might wind up with people being treated badly in hospital, and that simply couldn’t happen here.

Funnily enough, there is a long-running rumour that a form of this virus may be at work in Aberdeen City Council computers, a rumour that says not all officers have all the qualifications they claim to hold. Obviously the city’s HR team check and double-check all references.

Gift Cards (modern English noun) A procurement card with a given amount of credit, which allows the holder to buy goods and services.

Poor former administration of Aberdeen City Council. Despite having teams of accountants, financial experts, staff of all descriptions and black-and-white procurement procedures, they just couldn’t find a way for some essential purchases to be made. Easy to understand, I’m sure.

Instead of being hassled with procurement rules, they bought and dished out tens of thousands of pounds worth of Tesco gift cards. Result! ACC staff obviously bought just what they needed for their jobs, kept receipts, and filed accurate business expense claims.

Maybe instead of going to work as a doctor for ARI, I should just get a job at ACC and some Tesco gift cards

Old Susannah remembers the story of an enterprising social worker who did their best to stimulate the economy by purchasing much-needed goods. Mind you, technically some of these purchases should have successfully made it into the hands of the people the social worker was caring for, rather than being used by said social worker for personal use.

That’s just splitting hairs, though. Some thoughtful social workers have, so I am led to believe, given a wee bit of help to their clients when it is time to vote as well. What a comprehensive service!

Back to the use of Tesco gift cards. According to STV:

“The fact that money seems to have been spent towards the end of the financial year, that some things were bought that were inappropriate expenditure and the fact that a certain area was stockpiling cards in (sic) unacceptable.”

Another little fact of city council budgeting is that departments might lose funds in the following year if they did anything rash – like not spending all of the money they were allocated in the current year. This is how we encourage departments to do all they can to save money. I’m just not exactly sure how that is working out.

Hmmm. I wonder who gets to keep the Tesco Club card points, worth a fair bit of money, air miles and free pizza? I think we should be told. That’s an awful lot of points someone’s got. Who, I wonder, has them?

Clearly the financial records will show that such points are retained and used by the council, as the purchaser of the gift cards. Maybe instead of going to work as a doctor for ARI, I should just get a job at ACC and some Tesco gift cards.

That’s almost it for this week – but to cheer everyone up, Aberdeenshire Council is ‘manning up’ and getting tough on crime. Yes, at this festive time of year, there can be an upsurge in street crime.

But hooray! The shire is going to save us all from the scourge of – too much bunting, banners and festive lights. According to the council, there will be a crackdown on this kind of unwanted, hazardous, illegal activity.

Meanwhile over at the Menie Estate…

Next week:  more festive definitions.

Confidential note to the person with the Saltire posting fetish: great – good for you – keep putting the Saltire up but can you please stop nailing your signs into living trees? You’re not doing the trees any favours.

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Nov 302012
 

A student-run music website based in the Northeast of Scotland is set to release its third annual compilation of the best music in Aberdeen, free of charge. With thanks to Eoin Smith.

Following the success of two previous releases, Hercules Moments, a student-run online music magazine founded by Eoin Smith and Russell Thom, both 21, is ready to unleash a brand new compilation featuring nine top Aberdeen artists.

The creatively named Hercules Moments: Vol. 3 will be released as a free download on www.herculesmoments.co.uk on 5 December, in a variety of digital formats.

To celebrate the release, Hercules Moments is holding a Christmas-themed launch party in The Tunnels, on Aberdeen’s Carnegies Brae, at 8pm on 5 December.

The evening will feature four fantastic acts who also appear on the sampler – Das McManus, Orienteering, Cara Mitchell and [ ] (pronounced ‘Wall’) – as well as the debut of the Hercules Moments DJs.

Boasting a wealth of talent from around Aberdeen and surrounding areas, the sampler was mastered by award-winning producer Iain Macpherson and also features tracks from Marionettes, Forest Fires, Brothers Reid, Ashley Park and Boy With Compass.

Eoin, an English student at the University of Aberdeen, said:

“We are very excited to be releasing our third sampler this December. There’s a really eclectic mix of music on there, and we can’t wait to let people hear it!

“We started Hercules Moments as a way to share the music we love with a wider audience, and the samplers are really a logical extension of that. We hope everyone who hears the latest one is as passionate about the bands on it as we are.”

Hercules Moments editor Siobhan Hewison, 22, also studying English at Aberdeen University, added:

“Joining the Hercules Moments team in the last year has helped me expand my music collection and awareness of local bands which, as a music lover, is something I greatly appreciate.

“The wide variety of bands covered on the site, the special features, and the professionalism of the whole team make working on Hercules Moments great fun.”

It was in March 2009 that then-school pupils Eoin and Russell launched Hercules Moments: a blog dedicated to the music they loved listening to. The website has since grown into a thriving online music magazine featuring international stars and smaller local artists, and has been nominated for a variety of awards along the way.

Eoin said:

“Looking back on the journey Russell and I have taken to get where we are now, I sometimes have to pinch myself. What started out as a hobby for us has surpassed our wildest dreams: we now work with a four-strong editorial team and an ever-expanding group of enthusiastic and talented contributors.

“Everyone at Hercules Moments is absolutely thrilled with, and humbled by, the feedback we have had over the past three and a half years. We can’t wait to see what the next year will bring.”

Oct 262012
 

All Things Must Pass, wrote George Harrison, and they do.

Sometimes, though, the death of someone who you don’t really know, but who has affected you in some way, can hurt.  That’s the case with Michael Marra, songwriter, performer, actor and artist who was defiantly and proudly Dundonian who died on Tuesday. Voice’s David Innes writes.

His refusal to drop the overt Caledonian influences and references in his writing when employed as a professional songwriter in London in the early 1980s saw him return home to Dundee and hone his talent to razor-sharpness without ever losing his desire to tell life stories, very often set in Dundee and seen through his own off-centre prism.

That was London’s loss.

His songs were supremely-crafted vignettes whatever the subject matter.  Whether a view on the state of humanity like Here Come The Weak, an observation of women at the berries dissing each other’s housing schemes in Baps and Paste, or a message to his great uncle who was disowned by his family as contained in The Lonesome Death of Francis Clarke.  

Equally as entertaining were his introductions to the songs where his clever, self-effacing humour would have audience members in convulsions of laughter.

When he playfully insulted Aberdeen in If Dundee Was Africa and got a laugh for it (even in the Lampie and the Lemon Tree) he would insist that he paid the city a tribute by having the Dons held up as heroes for redeeming the human race in the eyes of the fox in Reynard in Paradise.

His live shows were wondrous to behold.  Always nervous offstage, once he sat behind a piano he became a changed man.  Often, the instrument was his own electronic keyboard, or as he described it once when rippling arpeggios on the Jazz Club grand piano in the Blue Lamp:

 “a piece of plastic on an ironing board”.

He was an inveterate collaborator too.

There have been, and are, musical geniuses in his home city and Michael worked with them all – The Woollen Mill, Skeets Boliver, the Clarks, his own brother the supremely-talented Christopher etc.  These people inspired and were inspired by him and throughout his repertoire there were references to Gus Foy (Hamish the Goalie), Peter McGlone (Peter), Dougie MacLean (Niel Gow’s Apprentice) and Dougie Martin (Julius).

Michael was also an actor.

He appeared in Hamish Macbeth and The Big Man and delivered a well-received performance as Jim, the pyromaniac, in Chris Rattray’s acclaimed The Mill Lavvies for which he also wrote the songs.

He was characteristically self-effacing about his painting and drawing skills but he had talent in this area too.

For a man who cliché demanded had to be termed ‘Scotland’s best kept secret’, he was held in high respect and great affection by significant figures in Scottish artistic circles, yet he was a man who would rather discuss Dundee’s League-winning team of 1962, or The Beach Boys, than talk about his own talent and finely-crafted songs.

Michael was a private man, happy to chat with fans, but never keen on the limelight.  Often keen to play piano at the side of a stage helping out others.

The many touching tributes which have been paid by household names in the arts world are proof that this little grey-haired Dundonian with an easy grin, twinkling eye and black beret was regarded as an outstanding talent and, more importantly, one of life’s genuine and generous good guys.

Michael Marra 1952-2012.  Sleep easy, Michael.

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Sep 072012
 

An exhibition of art celebrating the centenary of Alan Turing, the father of computer science, opens this week at RGU’s Georgina Scott Sutherland Library. With thanks to George Cheyne.

2012 is the 100th anniversary of the birth of Alan Turing (1912 – 1954), one of the greatest minds Britain has ever produced.

From inventing the digital computer and helping to decode the German Enigma machine to founding the science of Artificial Intelligence, the world today would have been a very different place without Turing and his ideas.

This exhibition, which reflects Turing’s enduring influence on art and contemporary culture and has previously been shown at Kinetica Art Fair in London, brings together a number of important artists from digital art pioneers such as William Latham to emerging contemporaries such as Anna Dumitriu. 

Jane Kidd, curator of the RGU Arts and Heritage Collections says:

“This exhibition breaks down the artificial barriers between science and the arts.  

“RGU is at the forefront of Computing research today with the School of Computing and at the cutting edge of Art with Gray’s School of Art, so it’s great that we can bring both together in this exciting show to mark RGU’s participation in the British Science Festival.”

The exhibition is showing at the Georgina Scott Sutherland Library, Robert Gordon University, Garthdee Campus, Aberdeen from Wednesday 5th September until Friday 12th October, 2012.

Opening hours:
Monday to Thursday, 10am – 8-pm
Friday, Saturday and Sunday, 10am – 5pm

Aug 162012
 

As another demolition threat looms over Union Street’s once great Capitol, new Aberdeen Voice writer Murray Henderson looks at the fortunes of Aberdeen’s slumbering star of the silver screen.

“Aberdeen’s most prestigious cinema.  Its facade is of classical proportion. In the centre, soaring above the entrance is a simple pediment, which originally carried the name “Capitol” in neon letters. Inside, grand staircases swept up to the lofty circle and stalls foyers.  In the auditorium was the great Compton Organ, whilst Holophane lighting glowed seductively.  The Capitol is unique, an outstanding building which deserves a full restoration.”1

– The Theatres Trust.

The Capitol Cinema once captivated Aberdonians with the latest movies and an Art-Deco interior direct from a Hollywood set.

It is one of the few remaining ‘super cinemas’ from the pre-war boom, akin to the Brixton Academy or the Edinburgh Playhouse.

Though the last film was shown in the 1960s, the Capitol continued to host rock concerts2 as late as 1998.

A hammer blow to the Capitol came in 2002 with the arrival of Chicago Rock/Jumping Jacks and their proposal for two separate nightclubs.  

Despite public objection, Historic Scotland backed the plans and the council voted in their favour,3,4 enabling sweeping modifications to be made to the building.

The auditorium was split horizontally in two and an all new identity, which destroyed much of the original character, was imposed.  The Theatres Trust condemned the alterations as “brutal” and “a disgraceful failure of the historic building control system,” comparable only to one other in the UK, the Philharmonic Hall in Cardiff.5

In 2009, the Chicago Rock/Jumping Jacks owners entered receivership and the clubs were closed.  The credit crunch, the smoking ban and cheap supermarket alcohol were cited as reasons for their demise.2  In 2010 another planning application was submitted for full demolition of the Capitol’s auditorium and an eight storey hotel and office development being built in its place.  The plan was granted approval though never implemented.

As details emerge about the new proposals, the future of the Capitol is once again in the hands of developers and a city council which believes there is neither the money nor the public demand for its restoration.2

According to the British Film Institute (BFI), this story is common across the UK.  Traditional cinemas have been unable to compete with the multiplexes and their closures have contributed to the decline of many city centres.  The BFI attributes this to the multiplex’s larger screen size, improved sound quality, better choice of films and greater all-round convenience.

But typically, their design is uniform and unadventurous, with many resembling industrial warehouses.  Inside, multiplex auditoria are bland, blank voids, utilising the ‘black box’ concept in which the viewer has the least possible distraction from the screen.6

Despite the dominance of multiplexes, there are pockets of resistance.  The old mining town of Bo’ness had, in the dilapidated ‘Hippodrome’, Scotland’s first purpose-built cinema.  After languishing in a state of neglect for 30 years, the cinema was recently restored in spectacular style and this year proudly celebrated its centenary.

According to the Theatres Trust, community stewardship is often a theatre’s best chance of salvation.  However, this takes hard work, dedication, and significant funding, which can come from grants or philanthropic sources.  If the theatre is saved, the hard work continues in maintaining a programme of events and ensuring it is financially viable.7

This model is driving another success story in Glasgow in the Britannia Panopticon, the oldest surviving Music Hall in Britain, which at one time also functioned as a cinema.  With members of the public as curators, a charitable trust has been set up with the goal of full restoration.  Regular shows have resumed and the importance of the building is now being realised by the wider public.8

These examples show that a niche does exist for cinemas like the Capitol. Their distinctive architecture gives a true sense of theatre befitting the drama on screen which the drab, corporate, multiplex cannot rival.  Their survival depends not only on the extent of historical alterations made to them but, perhaps more importantly, on how much they are valued by the public and city councils, as part of our heritage.

It is clear that in its current situation, the Capitol Cinema has a considerable mountain to climb if it is to join the Hippodrome, or the Britannia.  But cinema’s greatest stars do have the habit of making the most unlikely comebacks.  In the Capitol’s case, the show is not over until the curtain comes down.

References        

  1. Theatres Trust “Guide to British Theatres 1750-1950”
  2. Aberdeen Council Planning Decision Notice for Application, Ref: P101757
  3. Aberdeen City Planning Committee Minutes 18th April, 2002.
  4. Aberdeen City Council Meeting Minutes Town House, 1st May, 2002.
  5.  www.theatrestrust.org.uk
  6. British Film Institute Website
  7. email correspondence with The Theatres Trust.
  8. email correspondence with the Britannia Panoptican Music Hall.
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Jun 282012
 

Following the release of the City Garden project business case on Thursday afternoon, youth councillor Kenneth Watt comments on the financial plan.

“The report highlights initial concerns with the City Garden Project. All risks featured in the business case are of high or medium risk.
Most concerning is the risk of running out of private sector donations, which is the most severe risk in the report, at 75%. Aberdeen City Council are expected to gamble over half of the funding through the risky TIF scheme. 

“There’s no substantial back-up plan for failure to capture private investment.”

“Even if capital costs increase by just 10%, the loan won’t be repayable in 25 years and the council will have to increase its borrowing to over £100m. A leading economist said last year that capital projects such as these could easily cost double.
( Ref:
 Neil Baxter, Press and Journal 14/5/2010 )

“This project could really drive the city in to more debt which is not what my generation needs.”

“I’m worried about the long-term impact the project could have on the city. There has been no investigation in to the effect of building another theatre on our existing arts venues. I fail to see real evidence on how over 8000 jobs are going to be created by replacing a park with a park, adding an extra floor to the Art Gallery and improving pedestrian routes in the city centre.”

“The risk is just too high and I remain unconvinced by the business case. People inAberdeenvalue public services and are already feeling the effect of £618m of debt. They don’t need more worry caused by short-sighted economic plans centred around a park pushed only by the city’s out-of-touch wealthy elite.”

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