Sep 032012
 

Fifty members of HM Royal Marine Band will be playing at the International School Aberdeen on Wednesday 5th  September to benefit the charity, Combat Stress. With thanks to Susie McKay.

Combat Stress helps service veterans who live with the unseen scars of war.

Many veterans find it difficult to move on with their lives; for some, their lives change forever and due to Post Traumatic Stress Disorder (PTSD), they may lose their families and end up on the streets, homeless.

Too many end up in prison.

The concert will be a very intimate event with only 250 guests. There will also be a pre-concert reception at 6:45 pm.

Tickets are £30 and are available in advance from Catherine at 07879 854 927,
email cylross@btinternet.com

Combat Stress would like to hear from any potential volunteers, fundraisers, or from anyone who may benefit from its services.
http://www.combatstress.org.uk/pages/contact_us.html

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.
  • Comments enabled – see comments box below. Note, all comments will be moderated.
Feb 102012
 

Old Susannah wades in with her chainsaw rattling in the direction of Union Terrace Gardens, but the elms need not fear, she is only out to cut through the misinformation presented as ‘myth busting’ by the City Garden Project.

By Suzanne Kelly.

Old Susannah has been busy with Union Terrace Gardens this past week, like so many of us.  Another few short weeks, and the people will have voted one way or the other as to whether or not our environment, heritage and common good land are better served up with concrete ramps or not.

Then I can get back to the important work of singing the praises of our elected officials, unelected quangos and council officers, and local millionaires.

Before I get down to the Gardens situation, I thought I’d look back at all the wonderful artwork that the City’s children sent in for the Christmas time art competition and event in the gardens, organised and funded in large part by the Bothwell family.

Hundreds of children sent in their artwork, and at this chilly time of the year with Christmas past, they make a cheerful reminder of a great day, and what it’s like to be a child again.  And each and every one of the childrens’ artwork exceeds by miles the A3 takaway flyer sent by a group of anonymous business people telling you we must vote for the granite web.

Do have a look – you will be glad that you did.
http://oldsusannahsjournalchildrenschristmasartwork.yolasite.com/

On with some definitions then.

Propaganda:  (noun) Material, slogans, misinformation designed to advance a particular point of view often by discrediting or ignoring opposition.

My email inbox is bursting this week with details of employers who are sending their employees all of the leaflets, letters and testimonials which support the garden project.  Most of these are written in the names of associations or groups which have – but crucially do not declare in the literature in question – a member or members who are directly involved with promoting the scheme.  This is very clever indeed.

An employee wants to be told by their boss how they should think and want and vote.  It would therefore be most unfortunate if the employees were given some way to read the many arguments against going ahead with an undefined project with an undefined budget using an as-yet untested in the UK financial borrowing mechanism with a debt-ridden city council borrowing money.

Let us hope therefore that suitable precautions are taken to prevent employees reading the literature from different groups available at the following:-
http://oldsusannahsjournal.yolasite.com/

Myth:  (noun) work of fiction, often including gods, goddesses and challenges and tasks.

Not since the rainbow bridge of Asgard joined heaven and earth, not since the legend of Hercules and his impossible labours has there been a tale as far-fetched as that of the granite web that launched 6,500 jobs and paved the streets annually with £122,000,000.  Sure, it may look more like one of the circles of Hades or the Minotaur’s maze, but the web is already passing into myth.

Those clever people who bring us this gift from the gods are worried we mortals can’t undertand the benefits, and are misunderstanding (or mythunderstanding) their benevolent intentions.  They’ve written a handy guide (something called a ‘blog’) The City Garden Project – The Myths, dispelled’ which can be found at:-
http://www.voteforcitygarden.co.uk/blog/17-the-city-garden-project-the-myths-dispelled

And to its words in bold italics, are my little responses.

The City Garden Project – The Myths, dispelled.

  • We want you to make your decision based on truth, not incorrect claims, speculation and downright nonsense!

Fine – we are all in agreement.

  • Myths have been at the heart of the campaign against the City Garden Project and if some of them were true then the opposition could be justified.

Which myths and what are they?  Where did you get them from?  I remember the initial consultation:  we were shown a beautiful, expensive colour brochure (which the taxpayer had funded) – the cover of which had a flat concrete giant square with some plants in planters.  Later on we were told the project was not going to look like the picture.  Maybe we could have saved some taxpayer money and time by waiting for a consultation and poll until such time we knew what the proponents had up their collective sleeve.  But it is not for us to question the gods.

  • But, whether by mischief-making or simply misinterpretation, the rumours have been rife.

So here we have an implication of mischief-making.  Was it the god Loki at work?  Or of the opposition being too thick to be able to ‘interpret’ what is proposed.  I have not personally heard ANY RUMOURS.  I have read serious questions about the project’s economic, ecological, sociological and regeneration benefits.

I have read people asking where the ventilation will be for underground car parking.  That is one example of the sort of criticisms and questions that I’ve experienced.  ‘Dante’s Inferno’ has a version of heaven, hell and earth without any ventilation, so I guess these miracles can happen here as well.  

  • So, let’s dispel some of these myths! 

Fantastic!  Let’s go!

1. The “green lung” of our city will be lost – FALSE. 

The City Garden will double the amount of green space in our city centre. The new “green lung” will be more usable, more accessible and brought into the sun-light. New garden areas will be created, including a colourful, blossoming area, a forest, a Learning Garden, a quiet tree-lined Bosque area with street furniture and open green space for relaxing in or having a picnic.

Patches of grass do not clean the pollutants and particulates out of a city – established, large, leafy trees do.  As the goal posts keep moving on what trees are to be lost by the City Garden Project engineers, it is hard to imagine which trees are going.

I am still very disappointed we will not have a MONOLITH at which we can make sacrifices to the gods.  I guess we’ll just have to sacrifice the trees, animals, birds, and money to these new gods instead.  But are you going to be reassured that the existing mature trees are somehow going to be replaced overnight by trees with equal pollution / C02 management capabilities by people – sorry gods – who think they can plunk a pine forest in the midst of a city centre?

Most people question where the trees’ roots will be – nearly all trees have extremely large, spreading root systems which require soil.  By the way these roots and soil are what prevents flooding.  I have read points made by experts who say it is not viable to grow a pine forest in the middle of a city centre for a number of reasons.  I don’t know the science – but I look forward to the City Garden Project team showing me examples of such cities.

  I do enjoy looking at the photos of people sitting on the concrete wedge over the ‘stage’ area which is covered with a bit of sod.

There are examples of cities with great open plazas which flood as there is insufficient soil / tree roots to absorb  heavy rains.  At least rain isn’t much of a problem here in North East Scotland.  As to bringing everything into the sunshine, err, the sun shines in the valley as it is – with the added advantage of the valley providing a very valuable wind break.

At Tullos Hill the soil matrix is very poor – which in the words of the soil report prepared by the Forestry Commission leaves any trees planted subject to ‘wind throw’.  If the roots don’t have a good firm earthy soil to hold onto, then a strong wind – like the kind that will inevitably blow across any area brought to street level – may well bring trees toppling on top of the granite web – or people.

Just by elevating a hunk of potato-chip shaped concrete and putting a few inches of sod over it, you are not creating a natural green lung/habitat/area,  even if it is the prettiest thing you’ve ever seen.  As far as doubling the space of the gardens, I do enjoy looking at the photos of people sitting on the concrete wedge over the ‘stage’ area which is covered with a bit of sod.

There is a woman sitting in a chair – a very neat trick indeed for such a steep slope.  Maybe she has a specially-constructed chair with short legs at the back and longer ones in the front?  Perhaps she is a goddess and is floating?  But as many observers point out, the ‘concept’ drawings are inconsistent in this and other ways, such as changing scale.

No, if you are losing the mature, healthy trees that are there – which are home to animals such as EU protected bats and rooks – you are indeed losing a major part of what makes the park valuable to our health.  There is no doubt of this in my mind, so I’m glad we have such a great team of pro-garden project personnel ready willing and able to explain all.  They’ve just not got round to it yet.

2. The city can’t afford the City Garden Project – FALSE.  ( Seriously? )

We have a once-in-a-lifetime opportunity to get a £182m investment in our city at NO cost to the City Council or the citizens of Aberdeen.

One way or the other, the citizen is going to pay.  IF the scheme somehow goes perfectly to plan and we have a bunch of new shops (without hurting further the existing ones) the business rates will be used to repay a loan – a loan at an unknown rate of interest on an as-yet to be determined sum.

And if it doesn’t go well, and Aberdeen gets its very own Trams project fiasco to match Edinburgh’s – the City has to find a way to pay for the TIF.  As far as the donations from private sources are concerned, at last report Sir Ian had promised to put the £50 million he pledged into his will.  Well, if I were one of his children, I’d contest the will if it ever came to that:  an ageing parent throwing £50 million on concrete webs should convince any court that something is wrong upstairs, and a will might get thrown out.

  Some say taking a loan is borrowing money.  But seems we would just be ‘unlocking’ funds – so no problem there.

But who is our mystery £5 million pound donor?  If this is a public project (debatable – the Aberdeen City  Gardens Trust is a private limited company with two people in it), then the public should know where all of the money is coming from.  If someone pledges money, what guarantee is there it will come in?  Some of our current millionaires are feeling the economic pinch, sad but true.

And if are they using this £5 million promise as a lever to tip the balance of public opinion towards the scheme  – then if they stand to gain personally, then we should be told.

I hear varying reports that other private people are pledging something like £20 million.  Now that’s a myth I’d like more info on.

Once in a lifetime?  How on earth is that conclusion reached?  That claims sounds  very much like the scaremongering the pro garden project have been accusing others of.  There are six trial TIF schemes at present.  There may well be more.  But if this were a once in a lifetime chance, then all the more reason to take our time and make a cohesive, desirable bid, perhaps even one based on something less nebulous than a scheme that has a forest one week, an ice rink the next – and so other many unknowns to it.

TIF is only in the pilot stage in Scotland – so let’s get in there first!  Test case Aberdeen!  Some say taking a loan is borrowing money.  But seems we would just be ‘unlocking’ funds – so no problem there.

A minor detail, as we’ll all be rolling in dosh in no time, but do we know the interest rates on the £182 -192 million pounds Aberdeen City Council is going to borrow?  I’ve not been told.  Over to you, City Garden Project.

Again I will say that mere mortals choose to live in an area that is clean, safe and has excellent schools and hospitals.  I must have missed the part when someone proposed to the City Council that it should cut services and schools, and replace green space and our environmental heritage for concrete.

I don’t remember agreeing to continuously expand the City’s footprint into its green space while there are so many empty buildings in the city centre.  I guess I wasn’t paying attention that day – probably got distracted by reading about a cute baby competition in the news or something.

  • 40% of the cost of the City Garden has already been secured. The Scottish Government have pledged that, if the development is supported by the public, a TIF will be used to fund the rest of the costs for the City Garden Project. 

Fine.  Let’s see the legal papers showing exactly how much has been pledged and how ironclad or otherwise these pledges are.  Forty percent?  What is the figure?  We still do not have any genuine, concrete, specific project (no timescale, no costings done, and no precise scope – these are what you learn in ‘Projects 101’ are the building blocks).  You cannot  possibly say you have 40% of the money you need for something which you don’t even have defined or costed.  Not without godlike wisdom anyway.

  • TIF is a bit like a mortgage. The cost of the “property” is £182m. The “property” is the City Centre Regeneration Scheme (Aberdeen Art Gallery, St Nicholas and North Denburn redevelopments, the new public realm and the City Garden Project). The £55m of philanthropic donations already secured for the City Garden, along with the £15m to follow from the private sector, is the deposit.   

First, please define ‘the new public realm’ for me – just so that we are all talking about one specific defined term, thanks.  I’ll bet TIF is a bit like a mortgage:  if you don’t pay up, you lose your property.  Again Aberdeen City Council are going to borrow the money via TIF.  Not Ian Wood.  Nor the private limited ‘Aberdeen City Gardens Trust Company’.

Just as well we’re told it will bring in over a hundred million a year – we’ll be needing it.

Back to the mathematics.  OK – let’s assume the £55 million is £50m of Ian Wood’s, plus the mystery philanthropist.

We should also be told who the £15 million is coming from, but leaving that aside, that’s apparently £70 million pounds.

Some people would question what kind of tax breaks if any will be given to the donors, and whether or not the tax that does not get into the treasury (because it’s being put in a hole in the ground) would be of benefit to our ever-dwindling services instead.

Right – 70 million is forty percent of 175 million.  We have just been told that the ‘cost of the property is 182 million’.  Sorry – I would have thought that the 182 million is the value of the assets, but there it is.  Just for the record: forty percent of 182 million is 72.8 million.  And just so you know, Scottish Enterprise had by May of this year spent over £420,000 on this project on consultations and PR and the like, and the City Council have just agreed to spend up to £300,000 of our money on the legal costs.

Just as well we’re told it will bring in over a hundred million a year – we’ll be needing it.  Hands up anyone who suspects this project will have many little extras here and there.  Do you think at the end of the day the estimates we are getting now (nebulous as they are) will:  a.  stay exactly the same, b.  decrease and cost less than we think, or c.  cost more?

  • The City Council takes out a loan to pay for the remainder. This loan is paid back over 25 years using the income from the new business rates raised. The City is therefore being given both the deposit and the income to pay back the loan – clever eh? That’s why TIFs are so widely used in the States and promoted in Scotland by the Government. But remember a TIF can only be used for this – not for anything else and if we don’t use our TIF, other cities will!

Well, it is indeed time for some myth- busting, because depending on who you listen to, this either is or is not a commercial venture.  TIF is supposed to be for commercial ventures – and it is unclear how anything but a commercial venture can make the millions in loan repayments we would need to make.

In fact, I seem to recall seeing a video of one of the ‘philanthropists’  saying this is ‘Not a commercial venture’.  ‘Clever eh?’  – I am not exactly convinced.  I do think risky, untested, potentially fiscally disastrous.

And overall, unnecessary to my way of thinking.  Nothing is wrong with the gardens.  We could regenerate the city’s shops by lowering our extremely high business rates.  Making more shopping spaces, eating places and entertainment venues creates more competition for the venues we have.

Did you know we as taxpayers are subsidising the AECC and the Lemon Tree – and now they want us to borrow money to build competition for these venues we’re already paying for?  It would be to my way of thinking like betting on several horses in a race.  You might win on one of them, but you will lose money.

3. The City Garden is a commercial development – FALSE

This is about creating a new civic space and gardens that will be brought back into daily use… 

(note – see definition above of ‘propaganda’)

…and become part of the daily life of the people of Aberdeen. The space will include exciting new venues for everyone to use and enjoy including a cultural and arts centre, a 500-seat black box theatre and 5,000 seat amphitheatre and stage.  

See my quotes above about these theatre/stage options.  We don’t need them.  We’re already paying for such venues.  The writer of this paper has first set out to ‘bust myths’.  However, they are lapsing into emotive, subjective prose when they say how wonderful this will all be.  We don’t know that – we don’t know anything of the kind.

But now we get to the ‘venues for everyone to use and enjoy’.  Right.  At present, we can come and go as we please when the gardens are open.  No one can prevent us from enjoying the space as we see fit – no one can charge us any fee to use the gardens.  Why?  Because they belong to each and every one of us as Common Good Land.  Are these ‘non-commercial’ theatres going  to be free of any admission charge?  If yes, then fine – they are not commercial.  If no – then they can’t make money and pay off the TIF loan.

And if they charge you money to be on your common good land, then whoever holds the deeds to the land, it is no longer common good land in reality.  Are we going to borrow millions to make a theatre that is free to go to?  If so, why don’t we just close the AECC and Lemon Tree and be done with them?

Who is responsible for joining up all these fuzzy, competing concepts – and why aren’t they actually doing it?

  • The land and all the facilities will remain in the ownership of the City of Aberdeen and its citizens.  

Oh yes, we’ll still own it – but better, wiser, richer people will control it.  You might own it – but try going to a concert for free or getting one of the 25-30 car parking spaces free.  There is every possibility that one private entity or another (why does the two-person Aberdeen City Gardens Trust spring to my mind?) will get a very long lease at a very low rate.  In terms of ownership, ‘possession is 9/10 of the law’.

4. Union Terrace Gardens will be turned into a giant car park – FALSE.

I don’t know where our friends picked up this ‘myth’  – I’ve not heard it.  But there you go.

Parking is at a premium in the city and while many people would indeed wish to see more car-parking in the centre, it will not be in the City Garden. There will be between 25 and 30 underground parking spaces to service the new development.  Old Susannah is no mathematical genius like the ones who work out our city’s budgets; but if we are putting in a 5,000 seat venue and a smaller venue in a city centre already pressured for car parking spaces, then I predict some car parking and car congestion problems.  Wild conclusion I know.

However, if there are 30 underground spaces, they will still need ventilation.  Nothing like that is shown on the plans I’ve seen yet.  But back to the maths.  If we have 5,000 people going to see a Robbie Williams tribute act in the brand new space and 30 parking spaces available at the venue, there just might be a little bit of an issue.

That nice Mr Milne (owner of Triple Kirks – soon to be developed, Chair of ACSEF, one of the anonymity-seeking businesspeople behind the beautiful Vote for the City Gardens Project…) seems to need some car parking space for his beautiful glass box offices which will be adjacent to this great ‘non-commercial’ granite web.  I guess the 30 spaces will take care of that nicely.  Either that, or there will be more than 30 spaces.  A lot more.

As I posted on Facebook this week, it comes down to these points (leaving out the environmental carnage and the Common Good Status, that is):

  • 1. Is TIF a tried and tested financial model in the UK? Not yet.
  • 2. Do we know exactly what this project will cost? No – because the scope is unknown and ever-changing. That is one of the main flaws with Edinburgh’s trams scheme – it kept changing – and now we are looking at nearly one billion cost for it.
  • 3. Is the design fully fleshed out enough for anyone who supports it to fully explain the engineering (vents, how will trees – esp. pines grow, how will ramps be made safe, etc)? No.
  • 4. As the taxpayer is already propping up entertainment venues with tax money, venues that cannot survive without financial aid, does it make any financial sense to create venues to compete with them? No.

So – if you’re not sure about any of these points  – and who is? – then maybe we should not rush into anything.

Dec 162011
 

With thanks to Dave Macdermid and  Friends of Duthie Park.

Anyone wishing to join the Friends of Duthie Park can do so at no cost until the end of this month, after which Family Membership will be available for £5 per annum and Senior Citizens at £2 per annum.

Anyone wishing to join should contact: info@friendsofduthiepark.co.uk

This month’s Christmas Carol Concert will take place on Saturday 24th December,  with two performances, at 11 am and 2 pm.

Following the ‘Friends’ successful Inaugural Open Day in the summer, next year’s event has been confirmed for Sunday 19th August. 

Dec 012011
 

Last year Aberdeen City Council proposed the complete closure or privatisation of Aberdeen Instrumental Music Service. After a strong campaign, the council was persuaded of the senselessness of its proposal. We were assured that the existence of the Music Service would be safeguarded, provided the Music Service made cuts requested by Aberdeen City Council. It did. The service was saved for a year, but it is once again under threat. Kathryn Reid tells Voice about the Come and Play Protest

On Tuesday 6 December, the Council’s Finance and Resources Committee will meet to discuss Priority Based Budgeting: Draft financial budget 2012-2013 5-Year Business Plan budget.

Once again it contains a proposal to ‘withdraw music tuition’.

We want to demonstrate to councillors how much musical talent is thriving in Aberdeen thanks to the Aberdeen Instrumental Music Service, and we aim to do this in the most obvious way – by playing and singing!

We are planning a Peaceful Playing Protest in Union Terrace Gardens, from 12noon to2pm at the same as the budget meeting is taking place. We are inviting as many people as possible to attend so we can really make an impact. If you are a member of an instrumental or vocal musical group, please come along with your friends and lend your talents.

More information and details are available from rona.h.cook@gmail.com

A FEW THINGS TO REMEMBER…

This is a peaceful protest. Bring a smile and your best behaviour!

Union Terrace Gardens doesn’t have facilities for an orchestra, so take along music stands if you need them.

Neither chairs nor a PA system can be provided, so remember this when planning your performance.

Union Terrace Gardens managers have been kind enough to let us use the space, let’s show our gratitude – don’t leave behind litter or damage the area!

It’s Aberdeen, and it’s December….wrap up warm!

OTHER THINGS YOU CAN DO TO HELP…

Write to councillors on the Finance and Resources Committee giving your point of view

Write to your MSPs

You can find addresses and links for councillors and MSPs at
http://www.friendsofaberdeeninstrumentalmusic.co.uk/
 

Sign the online petition at:
http://www.gopetition.com/petitions/no-withdrawal-of-music-tuition-in-aberdeen.html

Tuesday 6 December,
12noon – 2pm.
Union Terrace Gardens, 

HOPE TO SEE YOU ALL THERE!

Dec 012011
 

Tayside troubadour Michael Marra performed at The Lemon Tree Cafe Bar on 24 November. Mike Gibb, local playwright and friend of Voice, was there, and here’s what he made of it.

There was a time, not so long ago, when Michael Marra was described as ‘Scotland’s best kept secret’.

Fortunately, that’s no longer the case as a packed Lemon Tree clearly displayed. It was obvious that the audience included a fair sprinkling of aficionados keen to listen, once again, to Marra’s unbeatable blend of music and humour.

You may know most of the stories but he delivers them with such warm, natural charm that you simply can’t help laughing along.

It was clear though, from the number who had to ‘rehearse’ the communal singing of Baps n Paste and Hermless, that there were many new faces there too. And after witnessing Marra’s masterful performance, they’ll be back next time Dundee’s finest export ventures north – even forgiving him for his jibes at Aiberdeen in I Don’t Like Methil and If Dundee Was Africa.

The two sets featured many of the finest moments from Michael’s vast and varied repertoire. Yet he began with an inspired rendition of Yip Harburg and Jay Gorney’s depression-era anthem Brother Can You Spare A Dime, very relevant given today’s economic turmoil. There followed a masterclass in songwriting – brilliant lyrics married to fascinating tunes, perfectly performed on piano and guitar with hilarious introductions populated by characters from Michael’s past, including The Bothy Cat, The Angry Cat, The Man With No Nickname and The Singing Moth.

Devotees’ favourites abounded. The wonderful unaccompanied tribute to Dundee drunks, Muggie Sha’, the imaginative linking of Mexican artist Frieda Kahlo with a less-salubrious Dundee drinking establishment in Freda Kahlo’s Visit To The Tay Bridge Bar and his tribute to a castrated and wayward cat, Pious Porteous.

Then he treated us to Farlow, The Lonesome Death of Francis Clarke, Bob Dylan’s Visit to Embra, Big Wide World Beyond The Seedlies, a hilarious testament to the perils of lonely hearts columns in He Said, She Said, and a new song, the ravishing Heaven’s Hound, inspired by the Mississippi travels of long-time Marra friends from Kintore.

Michael left the stage to a tumultuous, well-deserved and heartfelt ovation. His encore paid tribute to his own songwriter heroes Gerry Rafferty, in Mary Skeffington, and a poignant treatment of Hoagy Carmichael’s Rocking Chair, before he finally departed with the Marra anthem Hermless, to my mind the saddest comedy song I’ve heard in many a long day.

The audience could have stayed all night, so haste you back Michael. When he does return I’m sure all who attended will be there once again bringing friends with them.

Michael Marra is no longer Scotland’s best kept secret. He is one of Scotland’s greatest treasures. 

 

Sep 302011
 

With Thanks to Linda Allan.

The lilting strains of “Harmonise the World” with its powerful musical message for today’s world, can be heard at the close of every gathering of the body of women singers called Sweet Adelines International.
Audience members in Deeside will be treated to an example of this international spirit this autumn, when the Jazz Group Conference-of-Swing from Dresden and Aberdeen Chorus of Sweet Adelines team up for two evenings of lively Jazz vocals and superb close harmony.

This all came about when Riki Gohrbrandt one of the German Jazz Group, found an outlet for her musical talent by singing with the Aberdeen Chorus in her spare time while working for a year as a Foreign Languages Assistant in Aberdeen. 

She enjoyed the experience so much, and had become such firm friends with the singers, that she was determined to keep up her links with the Chorus and encourage her fellow singers in the Jazz Group to consider a trip to Scotland culminating in a joint concert with her musical friends from last year.

Several months and many reams of emails later, this plan has come to fruition.  

The Aberdeen Chorus – fresh from their success at the Edinburgh Fringe and their Show in the Music Hall Aberdeen – is soon to play host to the group of 25 talented singers from Dresden, and provide accommodation with lots of sightseeing opportunities, culminating in two concerts in the Banchory area.

On Monday 3 October at 7:30pm the two groups will make music together in Peterculter Church.  Both groups are particularly excited not only about the chance to hear each other, but also the chance to perform together as one and demonstrate to audiences what is so near to all singers’ hearts in the lyrics of Why we sing with its echoes of “Harmonise the World”.

On Tuesday 4 October at 7:30pm, Riki will sing with her group Conference-of-Swing at the Woodend Barn Banchory. 4 Quartets from the Aberdeen Chorus, Vocal Zone, Shindig, Chimaera and Singularity are also excited about sharing the stage then and this promises to be an entertaining and very harmonious event.

Tickets £8(£6) for the Peterculter Event from Peterculter Church, Riah Hair Design, Bridge St. Banchory, Kathy Davis 01330 823967, and at the door.

Tickets £10 (£8) (£5) for the Wooded Barn Event from The Woodend Barn Box Office 01330 825431, from the Website www.woodendbarn.co.uk, and at the door

 

Jul 152011
 

Charlie Mingin, the Auchnaclatt Bugle’s ‘Weel-Chilled Chiel’ columnist, guests for Voice this week, giving the bebop lowdown for hep cats and byre tabbies, doffing his hiply-angled Panama in the direction of The Fast Show’s Louis Balfour. Fingerprints on Cattle Cake’s ‘bone believed to be those of George Anderson….

Jock Kerouac and the Beet Generation on the road again after sell out concert in Daviot

Within twenty minutes of going on sale, both tickets for Coos in the Park had been snapped up amid fears that a surge in demand might crash Ticketmaster’s system.

I was one of the lucky ones. The minute the ticket tumbled through my letterbox, a vibe in these old jazzman bones of mine told me that something crazy was about to go down in Daviot.

And was I right, Daddy-O?

The concert in The Byre, the north east’s premier teuchter-jazz club demonstrated that Jock Kerouac and The Beet Generation were right back on top where they belonged. On the night, their fusion of bothy ballads and sixties jazz really razzed my berries.

Yes, there were mistakes. Somewhere approaching the middle eight of the opening number, Lousin Time, and half way through his third reefer of the night, Jock realised that the double bass he thought he’d been playing for the last half hour was actually still in the tipper truck that ca’d neeps during the day and transported the band to gigs in the evening. Undaunted, he rattled off the piece’s twenty minute double bass solo on his galuses. Beat that for improvisation.

I’ve been a fan of The Beet Generation since I first saw them perform at Gamrie’s Clockin Hen nightclub in 1987. Granted, nobody asked them to play but they managed to knock off their own rewrite of a Billy Joel classic, In the Midden of the Night before the bouncers got Jock in a headlock, huckled him head first out through the fire exit and into the car park where they pinned him down until the police arrived.

The band’s line up hasn’t changed since the Gamrie gig:

Jock Kerouac on double bass
Ronnie ‘The Rooser’ Roberts on Stylophone
‘Cattle Cake’ Collins on slide trombone
‘Sheep Dip’ Danny Dawkins on trumpet, electric bongos and steam harpsichord.

The first set was an intoxicating blend of old and new material, kicking off with three of my favourites: Lousin Time; Let’s Get Yokit! and Fa Cut Yer Hair an Cried Ye Baldy?

The lads ended the set with the title track from their latest album, We’re Aa Up the Wrang Dreel Noo.

Haste ye back, Jock, we can hardly wait for your next concert.

At the risk of rekindling the trad-bebop wars of the early sixties, Sid Rawlins, music critic of the Crovie Chronicle has given Voice an alternative view.

Bad Tunes A Go-Go as Kerouac’s Beet Generation Bomb at the Byre

Hepcat Harrison and the Kittlins were treated for shock at Turriff hospital last night following the murder of their teuchter-jazz classic, Let’s Get Yoakit! at the hands of jazz fraudsters Jock Kerouac and the woefully unmusical Beet Generation who somehow managed to make this classic track sound like a badly-tuned piano falling down a spiral staircase.

The scene of the crime: The Byre Club, Daviot.
Time of death, 7:30 pm Formartine time (GMT minus seventy years).

Bad jazz stands out like a toonser wearing nicky tams. And make no bones about it, this was jazz at its worst. The evening was not helped by the fact that Cattle-Cake Collins stopped mid-honk during Lousin Time to spray WD40 on his trombone slide.

I sort of liked the Beet Generation’s new project, We’re Aa Up the Wrang Dreel Noo. Yet overall, a lacklustre performance by over-rated musicians.

As Ray Charles would have said had he hailed from Kemnay, ‘Hit the road Jock, and dinna come back ony mair.’

Image credits:  
Trombone © Chris Johnson Dreamstime.com,
Double Bass Scroll © William Davis | Dreamstime.com 

Dec 032010
 

By Pete Thomson.

Motorhead. I only know three of their songs, but I do have a big soft spot for Lemmy Kilmister. When he was kicked out of Hawkwind in 1975 for ‘doing the wrong drugs,’ he formed Motörhead and never looked back. It’s more than 20 years since they were in town and when I hear they’re due to play the relatively cosy Music Hall, I just have to get tickets.

Due to “unprecedented demand,” however, the gig is moved to the infamous AECC. The prospect of an evening in that miserable, miles-from-nowhere hellhole holds considerably less allure but neither Lemmy nor I are in the first flush of youth and I might never get another chance to see him. Not in this world, anyway.

Ms. Ashby and I battle through gale-force winds on the night, stumbling into the AECC minutes before the band comes on. As we enter the arena, a few faces from the golden age of Radars drift by. For a moment the years seem to melt away, but there’s no Rosie behind the bar and beneath the varying degrees of intoxication obvious in my erstwhile drinking buddies there’s a discomforting but undeniable air of decrepitude. None of us is getting any younger.

Motörhead shortly hit the boards to deafening acclaim and launch into being, well, Motörhead. With Lemmy growling famously away beneath his customised cowboy hat, Phil Campbell throws a few guitar heroics while, high over the stage, Mikkey Dee thrashes madly at his kit for all the world like Animal from The Muppets. Nothing new there, then: cacophonous, no-frills rock and roll that sends the moshers about their somewhat less than solemn business of going loopy. Let’s face it, though, your average Motörhead fan is happy as a pig amongst the proverbial as long as they hear Ace Of Spades at some point and everything else at 150 decibels. Fair play to that.

she’s unusually pale beneath the sonic onslaught

But I’m not your average fan. Apart from the light show being downright ordinary, the sound is terrible and it’s dawning on me pretty damn quick why I stopped listening to this kind of stuff 30-odd years ago.

Yes, I can see why their music has been called “a beacon of defiant celebration,” and I do love the punk ethic that underpins everything Motörhead stands for; it’s just that after three numbers, they haven’t got an awful lot left to offer.

Ms. Ashby observes that maybe Motörhead is ‘a male thing’. Here against her better judgement, she’s unusually pale beneath the sonic onslaught but correct. Between hordes of headbangers having a ball and the hundreds of vaguely disappointed punters shuffling around uneasily at the back, there are very few women. Seven songs in, it’s time to go. We leave them to it.

It’s all been a bit of a let down; but that’s the trouble with legends, at least those with whom we’re largely unacquainted. Go see any revered artist without the emotional resonance that comes from hearing them at our most pivotal moments and we’re reduced to little more than interested spectators. Sometimes that works but it can be a recipe for disaster.

I remember how not even the warm intimacy of the Music Hall could save country giant Willie Nelson from being well past his sell-by date. Without that cushion of sentimentality, I saw not the wonderful show I’d hoped for but a tired old man going through the motions. The old trouper’s voice was shot, the show cloyingly contrived. But the majority of the crowd couldn’t care less. They loved him. Like Lemmy, he soldiers on regardless. Somehow, that’s exactly how it should be. Who wants to live forever, anyway?

Nov 052010
 

By Anne Cargill.

A women’s barbershop choir has helped raise almost £6,000 for an Aberdeen charity.

Pictured is Gwen Topp, Director of the Aberdeen Chorus of Sweet Adelines, presenting a cheque for £5828.98 to Elaine Thomson, Chair of Cornerstone. The money was raised at a recent Grand Charity Concert which also featured the Granite City Chorus and the Flying Pigs.

Said Gwen Topp, Director of the Aberdeen Chorus of Sweet Adeline:

“We are absolutely delighted that the show was such a success and that we have been able to support the work of Cornerstone.”

The Aberdeen Chorus of Sweet Adelines International is one of the top women’s barbershop choruses in the UK, attracting women of all ages.

The chorus welcomes new members to their rehearsals every Monday in the Britannia Hotel Bucksburn.

With over 90 members the chorus will be perfoming their Christmas shows in December:

6th December – Mastrick Church,
10th December – Midstocket Church,
13th December – Peterculter Church,
17th December Holburn West Church.

All shows start at 7.45p.m.  Tickets available at the door or from 07941 415516 or tickets@aberdeenchorus.co.uk

Anne Cargill
Publicity Officer
Aberdeen Chorus of Sweet Adelines