Alter/Native

CONTENTS FROM COUNTRY ROADS TO CITY LIGHTS THE ART OF WAR OUR FAIR GLASGOW

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IT’S A DRAG

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PLAY THE GAME

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THE VINYL FRONTIER

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SHETLAND: THROUGH THE EYES OF A SKEPTIC

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LIFE IN THE SLOW GEAR

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THE FLYING DUCK

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THE SUB WAY

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FROM COUNTRY ROADS TO CITY LIGHTS Niamh Harnett

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Rocker Joe Watt on the road to the big time 4

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s a young boy growing up Joe Watt was surrounded by music. From his country singing mother, to his punk band father, he was immersed in it from birth. It’s a talent that was honed amongst the serene Isles of Shetland and has now come to blossom in Ayrshire, where by day he studies audio engineering and by night unravels the Glasgow music empire gig by gig. He finds himself inspired by what he simply describes as “the enjoyment of watching people express themselves”.

Asked to described himself, Joe pauses for a moment and gives a broad and simple answer - he’s “an artist.” It’s an accurate summation of his work. Joe’s music is a medley of many different influences, mixing jazz fusion, hip-hop and death metal. It’s a combination that defies the differences of it’s individual elements, forming a sound that works.

While generally unassuming, Joe is quick to assure that he is not necessarily an amateur musician.

He not only harbours a passion for music but holds a knowledge that not many eighteen year olds can boast, with much of his work drawing from a Jazz influence.

It’s something that can be experienced in “Confabulation” one of his collaborations with

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Wind-Up Projectiles. The phrase Zappa-esque (named after Frank Zappa) is not far from true with his weird and witty sound and Joe is sure of his place within the two different scenes that he is a part of.

“In Shetland there is more of a community. It seems more people per head there are musical than here. People there are really talented so you are definitely gifted by that, but here on the mainland it’s definitely more exciting - you see more innovative creativity down here. Shetland’s more of a close knit group, it’s a social outlet. On an international scale, what the people in Glasgow are doing is so exciting”.

Since coming to the mainland Joe has been focusing on the more technical side of the industry.

This has as much to do with his interests, as it does with ongoing vocal issues. August 2014 saw Joe playing a gig at The Shetland Buffet, which is essentially a rock festival, however it was also when he first lost his voice.

“I was worried I had vocal nodules and I’m only starting to get my voice back now, but I actually had damaged my vocal chords at that gig, I’m really trying to take care of my voice now, especially before a gig. I’ll make sure I drink plenty of hot water, no alcohol and very little talking”.

Rather than let his voice problems

get him down, Joe took it as an opportunity to expand his horizons and has focused a lot of his attentions on the other side of the microphone, learning the logistics involved with producing music, which has given him the possibility of a more varied career.

“Doing the audio engineering has opened up my options a bit and part of it is from the stress of losing my voice. I found that after that gig it was getting harder to perform. I’m a really over the top performer and I sang with really bad technique, I wasn’t healthy enough to do that.”

The time spent focusing on the technical side of music production has led Joe to a part-time career as a self-employed audio engineer.

Eager to get as much work as he possibly can he’s even doing it for free.

“Gigging became a bit of a chore, but working as an audio engineer I found more satisfaction from taking someone’s idea and using my experience to make it sound better.”

Joe is currently producing an EP for acoustic act Bella and The Bear, which launches in the Ayr union on this April. At the beginning of his career, Joe is paving a path that is a long way from his home in Lerwick and fond memories of his grandfather singing “The Ugly Bug Ball.”

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Martin Cunningham

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f you ever go a drive by the Firth of Clyde, you will see fantastic views of the sprawling sea-lochs and munros that map out the coast of southern Argyll. But you could be left bemused whilst enjoying this beautiful Scottish scenery when you come across the twelve foot high fence, lined with barbed wire and helpfully labelled to remind you that on the other side there are armed guards and attack dogs waiting for anyone foolish enough to climb it.

This of course is Faslane or as it is officially known, ‘Her Majesty’s Naval Base, Clyde’ which is where the United Kingdom’s nuclear submarines and Trident missiles are based. It’s high fence travels almost the full length of Loch Gare, blocking travellers from the view of the waters below. What you can see is unconstructed barracks, docking bays, towering industrial warehouses and oddly enough ‘Faslane Children's’ Nursery’. All pretty uninspiring - until you reach the end of the fence and you discover a new kind of base.

Faslane Peace Camp could almost be mistaken for a forgotten Butlins caravan park, shrouded in a wall of greenery and a multicoloured picket fence. Caravans decorated in patterns and politically motivated murals are dotted throughout with a huge banner overhead reading ‘Trident Blockade: No 2 Nuclear’.

It is so eye-catching in contrast to what lies along the shores of the loch.

But why is the artwork there? Who created it? And who lives in the tiny caravans in the picket fenced camp? Brian Anderson, a resident of the peace camp talks about the artists themselves and what the art portrays.

“The artwork at the camp is comprised of contributions from many of the people who have stayed here over the years, which includes visiting artists as well as enthusiastic amateurs,” he says. “There's a wide range, from sophisticated semiotics referencing resonant history and politics, to snappy slogans in spray-paint. It's all part of presenting a colourful, and hopefully informative and

interesting, cultural resistance. This, in turn, provides the framework for practical efforts - direct action against nuclear weapons and the military.”

Action against nuclear weapons and the military is what the peace camp was set up to do. Founded in 1982 it has been the epicentre of the nuclear disarmament movement within Scotland. It is where most of the protests and blockades are arranged, the most recent being in April of this year.

The protest saw over 200 people take part along with many of the residents. Over 40 protesters were arrested, with high profile campaigners such as the Scottish Greens leader Patrick Harvie helping to block one of the main gates into the naval base.

But as the protests and protesters themselves gain media attention, it is worth asking about the the attention the protest art is attracting.

“The artwork here is clearly on display to the civilian staff and military who work at the base, as well as passing tourists, media, and visitors to the camp.” says Brian “Pictures of the camp have been featured in the press internationally and shared online. Decoration of the base itself and its surroundings is a form of action and part of demarcating and protesting nuclear weapons; this kind of art is usually fairly temporary but can communicate a strong message,” a wry smile comes across his face, obviously proud of what the camp has achieved.

“One of the best painting actions of the last two years was the midnight adornment of a visiting submarine with a peace symbol, but the Faslane fence has also been inscribed several times in the last few months in daylight, the protesters here always accept they are accountable for their actions.”

Although the residents of the camp are considered peaceful protesters there have been calls from those who support the Trident program to have the campers evicted and the settlement tore down. It was originally there legally but after council boundary changes in 2010 the site has had repeated threats of eviction and removal by

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authorities.

Brian gets up and goes into the little café in the centre of the camp, it’s lined with an old sofa and tattered woodwork furniture, it’s walls covered in messages and posters promoting ‘Bairns not Bombs’ and Greenpeace.

The café designed for residents but also to encourage visitors is not the only surprising luxury you’ll find at the peace camp.

“The camp boasts hot and cold running water, wood-fired heating throughout, flush and compost toilets, solar power, telephone and internet, gas and wood stoves, electric lighting, and a fleet of bicycles. I can’t think of a modern

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convenience we are lacking in!”

Despite ‘modern conveniences’ galore being readily available at the camp, hundreds of protesters have dwelled with the colourful caravans, highlighting that although staying there is to some a valiant thing to do, it is indeed not a permanent residence.

“You need to take sufficient breaks from living here from time-to-time” Brian continues. “You need to be a part of normal society as well or you end up resenting the place! The criminal consequences of living here can also affect a camper’s shelf life. The longest anyone’s lived here is 15 years over two separate periods.”

A lack of stable, permanent tenants could be considered a problem for the upkeep of the facilities the settlement provides, the campers already rely on donations and raiding bins of the big supermarkets for food, so how do they decide who has takes on what role?

“The camp's run collectively by its residents. Roles are rotated and skillsharing is encouraged to ensure the camp isn't dependent on any one individual or group.”

But you don’t necessarily have to live at the peace camp to help out. “Most of the people involved at the camp have been around at various times in the last few years, but we have very new people as

well. The camp's wider support includes campaigners who lived here in the early days of the camp; founder members visit regularly and attend the various protests and blockades throughout the year.”

The upkeep and preservation of the art has also been a very important factor for residents, some feel attached to particular pieces with others feeling that the art should be changing and evolving constantly.

“I personally like the works I can associate with specific campers -- people who were here a long time ago and are still involved -- but it's important to balance preservation of 'historical' pieces with the refreshment of new ones, so

the camp feels like part of a vital and vibrant tradition and not a museum,” he states. “We're redecorating at the moment in the nice weather -- restoring old works and making new ones. There are a few caravans and a whole fence which need attention, and some new banners for demonstrations, and to hang around the site, would be very welcome.

It's therefore a great time for anyone who is at all inspired to come and pitch in, to add their own contribution to the patchwork of positive dissent which is the peace camp.”

It is all very well to change and preserve the art of the peace camp, but why do the residents believe that their creations

are making a difference? What drives them to continue in their artistic crusade against nuclear weapons?

“With the nuclear submarine base across the road representing a long-established monument to human nihilism, it's important to offer an alternative, and represent the majority who reject Trident. Making the camp colourful, in every sense of the word, is a big part of this. Contrast the fences here and at the base -- theirs is double-layer weld-mesh steel, topped with razor wire, and fitted with sensors and infra-red cameras. Ours is bright and friendly. Theirs is to keep people out -- ours is to invite them in.”

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idden within the depths of Glasgow’s West End is the beautifully maintained oasis that is The Botanical Gardens.

On sunny days you find the gardens packed with locals and tourists alike, taking time out of their days to bask in their surroundings. On days more associated with the bleak Scottish weather the gardens still maintain their allure with many people visiting to wander around the spectacular selection of flowers, or to take in a show at the Bard in the Botanics festival which sees Shakespeare brought to life within the 50 acre grounds.

However one of the most popular and regularly visited events is Books at the Botanics, an admission free book fair that runs yearly from February to December.

The fair is run in the Hopkirk Building of the Botanics and is brim full of second hand and antique treasures that any book lover would adore. The proceeds from the fair go to five independent, full and part time online book sellers and the

funds received for renting the building is used for the up keep of the gardens.

A joy for all ages the fair boasts a relaxed, friendly environment where pottering around for two hours is encouraged and the bustle of everyday life quickly disappears. The event is especially popular with the local student population. Fraser McGuinness, an English student at Strathclyde University, has been attending the fair since he was a young child.

“It’s always a highlight of my year, there’s such a relaxed atmosphere and so many books to choose from.” says Fraser “I would always busy myself with the Beatrix Potter books while my dad spent what felt like hours going through maps.

Now I’m more interested in the politics section and with most of the books in great condition, for less than five pounds you really can’t go wrong”.

The variety of books is extensive, ranging from solely Scottish sections of history, politics and geography to world renowned authors; without fail a range of interests are catered for. Mary Foley

has been working at the fair for the last ten years and says every year brings old and new faces.

“It feels like you’re greeting family after a while, many of these people come every month of every year.” Mary explains “You don’t just have to love books to enjoy what the fair is all about. It’s a community and people are friendly and passionate about what they experience.

The prices are the real goldmine; you can leave here with a stack of books, in excellent condition that cost less than ten pounds. The beautiful location is a bonus.”

The other worldly utopia that the gardens become on days when the sun shines and what seems like the whole world come to join you on the grassy knolls is, on its own, worth venturing out for. Events such as the book fair simply provide the cherry on the top of an already overflowing sundae.

Information on the dates of the fair can be found at www.BooksAtTheBotanics. co.uk.

OUR FAIR GLASGOW

NiAmh Harnett

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IT’S A

DRAG

Neil Dallimore

Drag artist Bee Fiarse takes us on a journey through the wild, creative world of drag, from the effort in front of a mirror to the glamour of the stage.

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n the narrow kitchen of his cosy flat, Bryce Meek is putting the finishing touches to his latest creation. His breakfast bar is dusted with coloured powders, a fabric scroll is unrolled with a wide range of brushes on top, paints and plastics are scattered around but close to close to hand; it’s the typical scene of any artist working on a piece. With the bright glow of a shadeless lamp lighting his face, Bryce explains that; “There’s quite a bit of math involved in the face.” He shifts the mirror “If you make a flick that isn’t quite right, you have to compensate somewhere else.” In a moment he’ll be ready to get dressed and finish the look with one final piece. “It’s strange. As soon as I put on that wig, it’s just wow! It’s even strange for me.” This is a work that will require the artist to present to an audience while singing, dancing and, depending on who’s performing, making people laugh with standup comedy. Bryce is now Bee. Bee Fiarse and she’s getting ready to go to work at Underground in Glasgow’s Merchant City.

Bee Fiarse is one of Glasgow’s many drag queens and their’s is an art form that is often reduced to crude, non-appreciation, the “boy in a dress” stereotype or the assumption that it is mostly just an image for an audience to look at and laugh, mockingly. It is a scene that struggles to find audiences outside of the LGBT community, but one that needn’t be pigeonholed as belonging to only certain sections of society; should any art be restricted from anyone? As Bee sings to the crowd in Underground, wooing the room and giving them a living, breathing painting rather than one on a static canvass, there’s no reason the audience shouldn’t be made up of everyone who appreciates creativity and wants to be entertained.

This performance is coming after 3 hours of preparation that begins with Bryce belting out Edwin Starr’s ‘War’

(a song that has often been part of Bee Fiarse’s, sometimes politicallycharged, performances) as he showers and shaves. The comes the application of eyebrow plastic and a pan stick to give him a “blank canvas”. Next, contouring of the all the areas that catch the light - a skill of considerable learning and often done wrong - and the dulling down of those that will cast shadows.

This is followed by blowing drying the face, the application of powders, more contouring, more blow drying then the eyes, which will be meticulously applied; Bee’s look tonight has a faintly Scottish feel around the eyes as the saltire’s colours take shape.

Now each eyebrow is shaped out, individual wisps applied with speed and precision, forming a perfect arch; Bryce has done this before and it shows. This is all in aid of creating (or revealing) a character, four years in the making, that comes from multiple women in Bryce’s life, from friends and celebrities, to his closest of female relations. While drag queens like Bee Fiarse are still underexposed, things are shifting.

As society slowly moves toward accepting the LGBT community more, it can’t be underestimated how much a show like ‘RuPaul’s Drag Race’ is contributing to that progress. An american show that plays like the X-Factor for drag queens, ‘Drag Race’ sees queens perform different tasks each week, showcasing their ability to design costumes, sing, lip-synch (often as challenging as singing), sew, dance, act, perform stand-up and of course create different looks. The variety displayed is wide to say the least. Queens come in many shapes and forms, ages ranging from 18 to 50, bringing different characters, with names like ‘Porkchop’, ‘Sharon Needles’, ‘Jinxx Monsoon’ and ‘Ginger Minj’, who will all reveal different expertise. It’s a show that relies less on heavily critical comments and creating embarrassing situations and more on moments of comedy,

emotion and individual talent and it’s all guided by the mothering RuPaul, arguably the US’s biggest drag queen. It has gone from a low viewership to being the most watched show on the Logo channel. With it’s addition to the Netflix line-up it’s available to everyone, from every gender and sexual orientation and it’s a wakeup call to those that think drag is just for the gay community.

As a form of artistic expression, drag seeks to challenge perceptions of gender and therefore break down barriers, the ultimate result of which is to bring people together. If drag is to be appreciated by a wider public, it’s a battle that begins with the challenging of ignorance.

These are challenges the LGBT community has fought against for decades, and ones Bryce knows all too well, as his experience during the run-up to the Glasgow Commonwealth Games attest.

“The director of Pride phoned me and said ‘The Riverside Show want us to come on and talk about Pride, I’ll go on and I’ll bring you with me.’” says Bryce.

It was two days before Pride and as far as Bryce knew, Bee Fiarse was about to appear on STV’s teatime chat show, to talk about the Pride festival, the visibility of the LGBT community in the upcoming games and of course, about the art of drag.

Before filming, the show’s producer phoned back and said they had concerns about having a drag queen come on.

Pride’s director was quick to reassure the producer that Bee would be on her best behaviour - no bad language, no teatimeinappropriate conversation - but that wasn’t the issue.

“He said ‘It’s not that.’” Bryce explains “‘We’re just concerned in case there’s parents watching with their children.’” Pride’s director

cut the phone call short and broke the news to Bryce, who let Bee’s fans know and the story spread around social media, prompting STV to release a statement which said Bee Fiarse was never invited onto the show in the first place, a claim Bryce admits is “technically” true.

“They asked Pride for a representative for the show and they designated me.” It’s a shun that Bryce says is based around an acceptance of the LGBT community, but only if it is confined to what is seen as normal. “It was ridiculous to question parents watching with their kids, because, do kids not go to pantomimes? See panto dames? See queens on tv? Lily Savage? Dame Edna?”

Edna and Savage are two of the most (perhaps only) famous drag queens the Scottish public can point to and they came some thirty years apart; going by that trend it could be another five to ten before we see the next. Not one to be beholden to trends, Bryce has a mission for Bee Fiarse.

“That’s what I wanted when I started, to be part of a culture.” says Bryce of Bee’s place in Glasgow. Before her, there was no drag act in Underground and she’s been instrumental in the success and become a staple of, Menergy, one of the few places you can go and enjoy drag in Glasgow; it’s become so successful that many of ‘RuPaul’s Drag Race’ alumna perform there. While drag can be a hobby for some, a way to earn extra money for others, for Bryce, Bee is a work of passion and she is his full-time means of earning.

“There’s queens who do ladies nights, which I hate because it’s a freak show. It’s ‘Oh look! It’s a man in a dress!’ as opposed to an entertainer.” It’s a complaint not directed at the (perhaps) innocent pleasure brought on by

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the humorousness felt on seeing a man in a dress, rather it’s an exhaustion from the fact that that, is all that is felt and for Bryce, the extra cash that can be gained from such performances is not worth the compromise.

In the cosy space of Underground, Bee Fiarse’s honeyed voice sings out Dinah

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Washington’s ‘Mad About the Boy’ as she glides around the glittery, candy coloured stage. At first it seems that not everyone is paying attention.

“I’m feeling quite insane and young again and all because I’m mad…” Bee sings out, then uses the pause in the lyrics to tell the audience, “I’ll just stand here while

you aw chat tae each other. ‘A spent three ‘oors puttin’ ma face on and gettin’ in heels for nothin.” Bee belts out the song’s finale “ABOUT THE BOY!” It’s a moment of perfect comic timing and the audience erupts in applause.

It’s not hard to understand why this act draws in a full crowd. Bee’s a vision - a

pleasing concoction of colour, glamour and of blurred lines between gender norms; the audience knows and loves her. On the way to Underground, Bee was recognised by people in bars and restaurants that dot the path to work. It’s clear to see and feel that Bryce’s hopes for creating an established drag culture in Glasgow are materialising.

“One day I’m going to have my own TV show, a chat show.” says Bryce of the future “And I want to have my own drag bar, ‘The Bee Hive’” Bryce’s Bee Fiarse is part of a growing scene in the city that is offering people a new way to enjoy themselves via a craft that is centuries old and seeing her on stage, every bit the glamour puss Bryce set out to design, a

fan begins to wonder: where does Bryce end and Bee begin?

“There’s a natural change that happens when I become Bee.” says Bryce “Bee’s different in how she behaves with people. There’s a demeanour change and it’s a little more grand than me. There’s that difference and of course, Bee’s big dirty laugh!”

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PLAY THE GAME

Cameron McInnes

At one point, Scotland played host to a golden age of video game development - could we be on the verge of another?

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f you were to ask the average consumer to associate video games with any particular country, you might already anticipate the answers.

Japan would most likely reign supreme, being the homeland of Mario and the current residence of industry titans Nintendo and Sony. Or maybe the most common answer would be America, where the deluge of current triple-A titles is produced.

Unfortunately, it’s unlikely that Britain, let alone Scotland, would make the cut. In this era of £20 million titles, the efforts of the little guys are being swept under the rug.

This was not always the case however – and soon it may be no longer.

To look into a potentially rose tinted future, it is important to look back to the days gone by. Despite the current industry, there was a time where Scotland was an integral part of a thriving indie game scene, largely due to a wonder of gaming invention; the ZX Spectrum.

Invented in 1982, the Spectrum was a relative marvel in game development. Originally conceived as a traditional home computer, the Spectrum made the novel decision to allow users to save all manner of data on to tapes. While such technology seems downright primitive compared to the USB drives of today, it gave users the novel ability to share information, and more relevantly, creations with ease.

While this method meant that games had to be small enough to fit on the limited storage that tapes provided (for comparison, the standard tape of the time could hold about 128kb – the latest Grand Theft Auto clocks in at a 60gb, or

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roughly 46,800 tapes.)

For the games of the time though, size really didn’t matter. The relative ease of use and distribution allowed budding developers to quickly set up a thriving community of creators and consumers.

Tapes could be traded on the playground, sent cheaply in the post, or be bundled easily with the gaming magazines of the era.

This in turn created what could now be referred to as the beginnings of the first Scottish game development golden age. The ZX Spectrum would in this time play host to some wonderfully quirky titles; Frantic side scrolling space shooter R-Type, which saw players command a lone ship against unstoppable alien hordes; Dizzy, in which players control a personified egg who must jump over obstacles; LAWN which put players in charge of a man tasked with mowing his lawn, over and over again, while fending off the most hostile neighbours in existence.

While these titles seem limited in market appeal, potentially alienating consumers with odd or vague premise, it was these types of titles which excelled on the Spectrum (R-Type continues to receive sequels even to this day.)

This success would prove to be a double-edged sword – the success of such titles would ironically lead to the death of the industry that created them. With companies such as Nintendo and then-competitor Sega looking to get into more international markets, they began taking talent from the Scottish indie scene and importing it to America.

Many developers who began developing for the Spectrum would be recruited to bigger but more trans-Atlantic things

– companies such as Crystal Dynamics and Rare would be plucked would be assigned to quintessentially American properties.

And so the story would have ended if not for the efforts of one Scottish developer: Rockstar North.

Based in Edinburgh, though founded in Dundee, the studio had success in 1991 with the release of Lemmings, a point-and-click game which saw players attempt to guide a group of almost creatures to an end goal without allowing them the opportunity to grievously harm themselves by falling into pits.

While Lemmings was a minor hit, it would not be until 1996 that Rockstar North would stumble onto the game that would come to change the games industry. While developing racing game Crash ‘n’ Dash, the team discovered a peculiar glitch, wherein the in game police, normally relegated to simply keeping the player from terrorising pedestrians, would become abnormally aggressive. While the team debated taking the glitch out, they soon discovered that play testers were intentionally triggering the error in order to bait the in game police into wild car chases.

The team wisely decided to change the direction of the game to further incorporate this. While Crash ‘n’ Dash is now relegated to the annals of ‘What-If’ history, the game that came in its place is one familiar to almost everyone: Grand Theft Auto.

Grand Theft Auto had an almost immediate impact on the Scottish public. Thanks to some cheeky PR work, tabloids blazed with scandal about a game that allowed the player to run rampant performing

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crime sprees and terrorizing the innocent.

The success of GTA only thrived from there. The third iteration of the franchise, which saw the games make the leap to the third dimension, was a worldwide bestseller, and the latest entry, Grand Theft Auto V, continues to break sales records.

With Rockstar North currently bringing the international spotlight on to the Scottish game scene, it seems inevitable that a new generation of golden age titles could soon be upon us.

This notion is further helped along by the emergence of a totally new market in the games market, the mobile appstore. The rise of the app has given developers new ground to conquer, and new audiences to market to.

Ross McCrae is one developer hoping to get on to the market. His first creation, Ultimate Breakout, has garnered some attention, but he really hopes to break out with his latest project despite the challenges; “It’s next to impossible to get into the games industry without having created your own successful title, which in itself isn’t easy either; games take many months to create.

“Everything from the grass to the goblins must be individually created.

It can be a very long and strenuous process that will often stop most games from ever being completed. The

ability to be self-motivated is key -in my opinion- to actually being able to finish a project.”

Another challenge is an industry bolstered with savvy consumers; “Looking at indie games that have been created over the past few years, the bar has certainly been raised: players largely won’t just settle for ‘retro’ graphics anymore, as seen in notable titles such as Terraria or Fez. “Games featuring ‘retro’ graphics have often been an easy way for developers - particularly novice developers - to quickly hash out a game and get it making money, often featuring extremely basic graphics and sound that is meant to be reminiscent of some older games. I feel that although the development time is increased, developers should refrain from using this style of graphics. We have the technology to create drastically more visually pleasing games, why not use it?”

Just as the Spectrum provided a chance for Scottish developers to trade content in new ways, without money as an obstacle, so does the internet now: “No matter what games developerssolo or in a team- decide to create, the fact that an entire game can be made for totally free, and shared effortlessly, is very exciting to me.

The only thing that is limiting you is your own imagination with freeware such as Gimpshop (an alternative to Photoshop). For example, the multi-

million pound game Minecraft was created by a man totally on his own at home, for free. Grand Theft Auto V is definitely a success for Scotland, but it’s eclipsed by the success of an indie game like Mincraft.”

“Although creating a game can be an incredibly lengthy process, there is a huge number of environments to help would-be game makers to create games easily. An example of this would be Game Maker, made by the Scottish company YoYo games. Game Maker is a very simple example that allows developers to make very fast games.

It is very good for novices, however can make very in-depth games also.

Things like this are what put game development in Scotland ahead of other places – it’s about giving people the tools to make game development easier.”

The push to educate developers is also reflected in the realms of higher education – most major universities in Scotland now offer some form of video game design course, with the courses at Glasgow Caledonian and Abertay receiving international attention for their quality.

While it remains uncertain if Scotland can emerge once again as a true hub for indie game development, with heavyweights like Rockstar North working in the same continuity as indie developers like Ross, it can at least be said that game development north of the border is going strong.

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Shaw Rooney

Is Vinyl on the rise again? One shop in Glasgow certainly hopes so....

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alking in is like entering another time zone; colourful covers drape the walls as patrons flick through countless options on show and the ambient music mixes with the chatter and laughter all around. Stepping over box after box of records, climbing up tiny stairs into a packed room with the constant noise of a running tap in the background, as a chair is pulled up and dust is blown off another in order for the interview to begin.

Vinyl, to some, is seen as the ultimate in music appreciation, the perfect way to listen to music and give it the

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commitment and respect it deserves. The crisp and clear sound of The Who fills the room as Stacy shows of the wares and ways of this little pocket rocket store that is, Love Music.

Sitting on a little corner next to one of Glasgow’s busiest train stations, it usually goes totally unseen, this is because of the strange artifacts they sell that nowadays are seen as old relics of an age gone by.

Vinyl was once the mainstay of any home with a bit of class. Another mainstay in the store is Stacy Saunders, who has worked at the store for over four years and seen it go from scraping the bottom of the barrel to exploding into one of

the top indie record stores in Glasgow.

The main question about all this is why?

Why has a store that sells what many see as a dead way to listen to music, all of a sudden burst into life and become the thriving throng of chatter that has to be fought through to reach the counter?

“I think a lot of people get into vinyl because of sound and the fact that it’s a lot more fun to own it because it’s something you can hold and display in your house, plus you get a lot of wacky coloured records which are cool to have and it’s the best way to support the band” says Stacy as the sun beats down on the small room shining light in the

mountains of records stacked high to the ceiling.

Vinyl has suddenly come out of the shadows into the light and continues to build an ever-increasing reputation it once wore proudly. So what’s caused this sudden unearthing of the distant art of music on vinyl now after so many years being underground, popular with only those loyal and devoted to the vinyl cause keeping it alive?

“It is trendy to have vinyl now and as soon as you get into vinyl you get into indie stores and the whole scene” Stacy says of the sudden rise in the use of indie in the past few years.

There’s the possible claim that the popularity in older music genres and styles is also another contributing factor to the revival of the vinyl cause, with many of the new generation becoming infatuated with the mod scene and those like it. It could be seen that buying vinyl is just another piece of the puzzle to fully experience these cultures that were so huge in the 60’s and 70’s. Or is it another trend, which we know will come to an end? Just how long will it last?

“There will always be people who think vinyl will die out but it won’t, there will always be the people who buy and now that record day is becoming more popular more people are getting into it”.

Record store day, for those that are novices of the record scene, is when record companies issue and reissue work onto vinyl specifically for this day which makes it quite limited and sought after, with the day really being about celebrating indie stores and indie stores thanking their loyal customers. With stores giving local bands a chance to get their name out there via live shows or the exclusive opportunity of submitting records either as singles or albums for customers to browse through.

This again shows what local record stores do for local bands, and the local people, giving them the chance to find bands and music unknown to even the supremo’s of most high street stores, while helping bands get their name mixed in with the scene by playing to upwards of 500 people like the crowds that swarm Love Music on Saturdays.

Yet what is the cornerstone of any

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fledgling business? Good PR? An online presence? No the lifeblood of any store especially an independent record store is of course the customer. The people who spend their hard earned coppers on vinyl and record players galore are the ones to be heralded as the heroes of the revival of the vinyl and record store scene. So what makes people spend their money in Love Music compared to easily accessible and cheaper high street stores?

“We need indie stores, where else can I get such amazing selections of vinyl? The good thing about shops like Love Music is, if they haven’t got it then they will try their hardest to get it, you don’t get that

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in the big stores” is the answer from a die hard fan, as he sifts through a row of records. “That in a nut shell is really what makes indie stores stand out from the crowd.”

It isn’t just their attention to detail or their mountains of high quality vinyl that make a store like Love Music such a commodity, it’s the fact that it feels like your part of something bigger when you walk into the store, that you’re part of a family that feels as passionate about music as you do. To have somewhere like that to go, that makes you feel so welcome, where people know you by name and you’re not just another

number in the corporate machine, where your business is truly appreciated and so is your friendship, that’s what makes a shop more than just a shop and has people coming back again and again.

So descending the stairs into the cauldron of laughter and music where everybody is smiling and genuinely happy in the embrace of a place that give a sense of belonging, a place were time stops just long enough to bask in the glow of the low setting April sun and walking out with the feeling of true tranquility and proper understanding of what it is to Love Music.

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SHETLAND

THROUGH THE EYES OF A SKEPTIC A

constantly windy, empty piece of land, hills everywhere you look and no doubt a very dodgy phone signal.

Shetland hardly conjures up images of rich culture, of fun or excitement. For a lot of people, tourist or resident, Shetland will be an unseen place as foreign to them as Scotland’s heatwaves. But that would all be cynical assumption.

North of Scotland’s mainland, Shetland is indeed windy, the sun is a disgraceful tease and a dodgy phone signal is a hand to God fact. However, it is also home to people who live their lives as if every day matters and who consider rush hour to be four

cars idling along and can tell you the family history of Bob down the road, better than Bob himself.

As it turns out, a city dweller or a person more used to living it up in fun seeker’s paradises like Ibiza will be surprised when they find this place isn’t just people who think sheep shearing is the best you can get. It’s not for the visitor to open the eyes of the local to a better way of life somewhere else, but for them to have their eyes opened in this out of the way, way of life.

Within such a community it is easy to feel shunned, you may feel like you scream outsider as you carefully pick your way

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through the bog, worried about getting some mud on your wellies.

Let go of that and you’ll realise this is not the case. People are interested, they are helpful and they smile. This isn’t just another island, this is another world.

Breathing in air swept straight off the sea causes the heart to race and the lungs to work like they never have before.

As the island assaults your senses, your eyes treated to views that are all frame worthy, clean air rushing

through tubes too used to city pollution, a visitor’s ears aren’t left without new experiences either.

Being asked if you want a “peerie tattie and “sleekit bannok we saat bif” is a challenge even to ears accustomed to the high speed and creative slang of Glasgow; part of the experience is working out if the lady brandishing the wooden spoon is angry or offering you dinner.

It’s difficult not to realise and be surprised by the wealth this small

island boasts. The discovery of the North Sea Oil in the 1970s significantly boosted Shetland incomes, employment and public sector revenues; as wealth goes, this feels like it’s being spent as it should. Unemployment is almost nonexistent, the young and the old have a sense of responsibility that comes with a practiced trust.

With the limited time a trip into a different culture brings, there is a lot to fit in. From walking all over the sprawling plains of Burra,

to investigating the history at Clickimin Broch and the wonder that is the rocky cliffs of Eshanessonce an active volcano some 390 million years ago. There’s rarely time to worry about a lack of signal or Facebook status.

By evening, if a traveller has put their feet to work, a ravenous appetite will be begging to be satisfied and the famous ‘Frankie’s’ is just the place. Locals and visitors (two Chinese men travelled half the world to eat there) both claim it has the best fish and chips in the world. Then there’s the Lerwick local Fort chip shop which, again, has fans speaking about its food with godlike reverence.

As it happens the fish melts in your mouth and reminds one why the fishing industry is central to the island’s economy, despite

feeling some struggle due to the rising cost of quota. Mackerel makes up more than half the catch in Shetland yet significant landings of Haddock, Cod, Herring and many others push the boat along. Crab is also popular and seeing a bulky Spaniard beat one against the table, revealing that the outside is more pleasing than the inside, is a sight not quickly forgotten.

To some extent, Shetland will be what many people expect it to be. It is blustery, quiet (so much so that you might feel as if it is abandoned at times) it has dodgy phone signals and there are many sheep just waiting to be sheared.

Being there for just a fews hours is enough to alter a visitor’s feelings on these points though and they quickly stop being inadequacies and instead become highlights.

Shetland’s winds can be cold and they can be strong, but they can also be exhilarating. The quiet is an experience all of its own and a person simply has to…hear it, to understand what a joy it can be. And in an age when people are constantly looking at their phones, perpetually updating their status on social media, only a lack of signal forced upon you by Shetland’s remoteness can make you appreciate the importance of being cut off from that world once in a while.

From the uninhabited islands of St Ninian’s Isle, the largest active tombolo in the UK, to the bustling streets of the capital Lerwick, Shetland breeds individuality and an old way of thinking that is little seen today. Time spent there, in this old and rich culture will not only be a trip for all your senses, it will open your eyes.

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LIFE IN THE SLOW GEAR

Neil Dallimore

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I

n the small rehearsal space of an out of the way Edinburgh based music studio, cramped with various bits of kit that makes the room feel more like a big storage cupboard, the setting feels right for a band free of ego, in it purely for the art. There’s an endearing modesty about the two songwriters of Slow Gear and it might just be down to their age as a band, now just over a year since it’s creation, but it’s easy to relate this humbleness to what they are trying to achieve in their music.

A seven piece instrumental ensemble, Slow Gear melds jazz with progressive rock, blues with funk, to create a sound that is both familiar and fresh, from the shapeshifting, bluesy feel of ‘Pantuvarali’ (a name that speaks to the variety of styles employed by the band generally) to the fast, ethereal funkiness of ‘Celestial’. But, without lyrics and a sound not often heard in the mainstream, will Slow Gear appeal to tastes less accustomed to hearing anything past the latest X-Factor finalist? “I’ve been listening to Stewart Lee a lot lately.” says Frazer Knox, 27 “He says that in the past four or five years he’s come to terms with the fact that certain kinds of people enjoy his work and he doesn’t want the other people that expect something of him, that he doesn’t have, to come to the gigs.” Frazer, who plays guitar in the band as well as cowriting the music, relates to the sentiment behind the comedian’s comment, rather than the desire to limit his audience.

“Music is so wide and varied that you’re never going to please everybody” explains Frazer “The people who enjoy pop, might find something they enjoy in us, but probably not. I’m quite happy to aim it to the people who will

enjoy it, for whatever reason.”

The band is a labour of love for both Frazer and his co-songwriter and drum player Scott Jamieson, 24. Both pay the bills by teaching music and playing wedding gigs when they’re not rehearsing as a band and as a way of making money, it’s a mixed bag.

“If you’re playing ‘Brown-eyed Girl’ three times a week, it can sometimes make you not want to play drums.” says Scott with a smile “But it’s also positive, because you’re getting tighter with the band and getting practice.”

Frazer and Scott established Slow Gear during their time on an audio production course, based in the very studios where they now rehearse, ‘The Depot’.

They both had a fondness for instrumental bands and decided to try a jamming session with friends. Quickly they went from guitar, bass and drums to adding a keyboard, a trumpet, double saxophone and began writing the songs. “It’s always a separate process,” says Scott of the way the music is written, “we have our ideas and then we present them to the band.

It’ll either stay the same, which it usually doesn’t or something will change. It depends on how simple something is. When I first started, I was writing things that were just way too complex for anyone to know what the hell was going on. I found it’s better to start simple and then expand on that.”

It’s a fitting process for a sound that feels constructed, but is performed fluidly, avoiding rigidity. It’s a process that has had to grow in confidence and Frazer admits to having had nerves about taking new songs to the rest of the band in the beginning.

“When we were still only three or four people and I showed them

pieces I’d written over the course of years, I was a little bit nervous about that.” says Frazer. “But now that we’ve worked together, everyone knows what the band is and what fits. I think we’re all on the same page.”

Frazer and Scott may be playing a sound that isn’t common, but are quick to stress that they are not doing anything groundbreaking or wholly original; theirs is not a new experimental sound. There are strong influences a listener notices in the songs, including an Indian feel that is often brought to the mix and at times, you’d be forgiven for thinking of John Coltrane’s free beats. It’s a sound that is all too easy to imagine being lost on many in a culture where pop seems to dominate.

Indeed, the duo admit that a lot of their audience is made up of other musicians, which puts a particular kind of pressure on them.

“If you’re playing to a nonmusically educated audience, little slips in a performance will probably go unnoticed,” explains Frazer “but when you’re playing to people that have masters degrees and PHDs in music and jazz, one beat out and they’ll notice it.” It’s a reason that wedding gigs can be an easier experience, as the band’s main events are aimed so high. Why is it, like Stewart Lee in comedy, they are (for now at least) musician’s musicians? “I wouldn’t say our music is overly complex.” says Scott “I think there’s complex areas in the music that will definitely attract musicians into the audience. But at the same time, I know plenty of non-musicians that enjoy our music as well. Even though I do like music that does it, we’re not looking to challenge the listener. I think there’s got to be some sort of balance. I think you’ve got to have something that you can

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relate to as a non-musician.”

Frazer admits to having been more complicated in his writing in the beginning, but now aims for newer pieces to be accessible, with catchy melodies and grooves. While it sounds like the band might be creating songs that are best heard sitting in a comfy chair, sipping your drink of choice and letting the music stir your imagination, there is a different story emerging at performances.

“We did a gig recently and during one of our pieces, ‘Hercules’, there were people in the front row dancing.” says Frazer “For me that was a first. I’ve never had that. And it told me that that particular section of the song had achieved what I wanted it to, which was that it was interesting, but there was enough of an accessible thing going on that people could just dance and enjoy it - they didn’t have to think about it.”

There is already success for Slow Gear. They appeared on BBC Radio Scotland with Steven Duffy (who can now be counted among their admirers) to promote the release of their first EP, ‘Pantuvarali’.

The EP launch itself involved a gig with supporting bands and it was a good first launch for the young musicians. “It would have been better if the EPS arrived on time.” laughs Scott.

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“The physical CDs weren’t printed on time, so we had to do a list of names and send people CDs,” Frazer explains “but we launched with a gig and had support from great bands. The only thing I worried about was whether or not people would turn up and they did.” The biggest joy for them to date is another testament to how grounded these two are as artists, i.e. success measured not by finance but by creative results.

“When we first heard the recordings, that was a good moment,” says Frazer “because it was months of work and you hear what it amounts to. When the recordings were done, mastered and printed, and I put it on in my car, I was like - this sounds like music, this is great!”

Scotland is undoubtedly a bastion of creativity where music is concerned and we are used to a variety, from the folky sounds of Belle & Sebastian, the harder pop of Biffy Clyro and the post rock of Mogwai. Slow Gear represents another member of that rich tapestry, bringing audiences a mixture of old traditions, filtered through new concepts, creating a fresh experience. More gigs are upcoming in Glasgow - the band keep up-to-date with fans via social media - and their EP is available online here http://slowgearmusic.bandcamp.com/releases.

THE FLYING DUCK Martin Cunningham

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N

ot far from the hustle and bustle of Sauchiehall Street, the destination for any student looking for a classic night out in Scotland’s biggest city is a venue like no other.

Blink and you might just miss it, hidden down a secluded side-street, next to where they keep the bins for the adjoining flats, a faded mural of birds flying into the sunset covered in half-torn posters informs you that you have reached The Flying Duck.

The ambiguous doors, painted black, lead down into a dimly lit stairwell. Anyone unfamiliar with The Flying Duck could be forgiven for assuming that they had merely stumbled across the entrance to the cellar of one of the many pubs or shops that lie above it.

As you descend the staircase it’s almost comparable to falling down the rabbit hole, framed pictures of celebrities of the 70’s and 80’s line the walls along with a stand alone one of a llama. German coo-coo clocks tick-tock in the background as you reach the wooden doors labelled “WELCOME” at the bottom. What lies on the other side truly is a wonderland.

You are immediately hit by how dark it is, purple mood lighting gives the room a quiet ambiance. But far across this dark space there is a bright glow of light that is the bar... or is it the kitchen? Fitted with oak cupboards and drawers, ones you might see in a B&Q magazine, the Kitchen/Bar offers a wide range of beverages to quench your thirst. Lined with bottles galore the worktop also has board games, a drum and other essentials for any kitchen. High above are pots and pans caught in a web of fairy-lights with the daily specials written on them. The microwave has

been turned into a remake of the Jaws movie poster while the bar itself could double-take as a families breakfast table.

Nothing is as it seems here, looking around you feel like it could well be ‘yer gran’s hoose’ rather than a thriving nightclub and bar.

Decorative plates and vases of flowers are just some of the ornamental oddities that sit atop cabinets and chests of drawers. A large neoclassical painting of a horse galloping through a field whilst proclaiming “MOO” in a speech bubble sits above a three piece suite as punters slowly sink into the array of frilly cushions.

If the location and decoration haven’t convinced you that The Flying Duck truly is a unique experience then maybe the food will. At first glance the menu seems like any other you would find in bar in the city centre, “Burger and Wedges includes drink” but there’s a twist to this; all the food is vegan. This could put some people off, but rest assured it is delicious. The seeded bun comes with lettuce, onion and tomato whilst accompanied with crisp potato wedges. The burger, made from legume beans, tofu and mushrooms is surprisingly full of flavour and has a soft texture.

The Flying Duck clearly has a lot to offer but what actually attracts people to this secluded, vegan, granny pad? Emma Foster, a Glasgow School of Art student says she’s come here since moving to the city from Inverness a year ago.

“There’s nothing else quite like it” she says.

“As a vegan it’s so nice to find somewhere that caters specifically for people like me.

There are other vegan places around Glasgow but this place is definitely my favourite, it’s not just the food I enjoy- I’ve had some of my best nights out here too!”

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Yes, The Flying Duck also offers a club venue called ‘The Basement’ if the granny flat is not your cup of tea. As you enter the Basement a glowing, multi-coloured sign marked with the names of the various bands and performers that have or will be playing there in the weeks ahead hangs high above your head.

The room itself is in serious contrast to the one you just left behind, almost circular with strange patterns criss-crossing the walls. The only way to really be sure you’re in the same place you originally came in, is the three giant ducks painted on the wall. The stage where you could assume a DJ or band would play is in the centre of the room and is currently occupied by a drama group rehearsing what looks like a Glaswegian version of MacBeth.

“It’s not just bands and DJ’s that play here” Emma chimes as she scoffs her meat free burger. “They have themed nights, like alternative gay nights, where they play indie music or the kind you wouldn’t hear at the Polo Lounge! There’s a pub quiz night and

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even a record sharing night where there’s no DJ, everyone just brings records in and has a listen to them!”

The Flying Duck is one of those places that’s hard to forget, from descending the stairs to walking past the Kitchen/Bar into the circular Basement, you go on a strange journey from the busy city street above. But it’s all very good to stumble down the rabbit hole and enjoy your time in wonderland but why would you make a return trip?

“It’s truly alternative, it’s not like all the other places on Sauchiehall Street, like Jellybaby or Kushion - full of randomers, people you don’t know. Here I feel it’s more like a community, a collective group of like-minded, creative people. Don’t get me wrong, the city centre is a great place to go out and get drunk, have a great time with friends, but for some reason I always find myself coming back to The Flying Duck, maybe it’s because it’s not part of the hustle and bustle. It’s something different.”

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THE SUB WAY

Shaw Rooney

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D

o you ever get that moment when you’re out for a few drinks with your friends during lunch or just after work and you come out the bathroom and you can’t remember if you came by the barber shop, art gallery or the theatre on your way from the bar to the bathroom? No? Well then you’ve never experienced the totally unique and one of a kind stylings of Sub Hub. The brain child of the promoters and owners of renowned and popular night club Sub Club or Subby, Sub Hub is a place like no other, with a large cafe/bar area soaked in the newest house and EDM music; it’s the centre piece where people can sit with the drink of their choice and listen to a live DJ play sets upon sets of music. Whether you’re a student

relaxing away from the stress of exams and general student life, an artist looking for inspiration and comfort among like-minded people, or just out with friends and want a cool and calm place to begin before heading out for the night ahead, Sub Hub is the place for you.

Hidden away on the sixth floor of the Argyle Arcade, Sub Hub isn’t just your usual place to go for a quiet coffee or pre- drinks.

This little gem is in fact like no other place you’ve ever been.

The rea-son for this being the fact then when you reach the the sixth floor and the elevator doors slide open, you’re given two choices: go to the left or go to the right. To the right is a quirky and spa-cious social area. To the left, is something on a whole different level. Walking around the corner you are hit with the odd sight of a man staring back

at you from a mirror. What’s even more strange is the fact that he’s sitting in a barber’s chair halfway through a haircut. Next to him is a se-rious of striking images and photographs of people all ages, races and sexes.

Take a breath and relax, you haven’t stumbled into another shop or had one too many, this is what makes Sub Hub such an interesting place. It is not only a place to meet up with friends and have a drink but also somewhere to get a fresh cut before a big night out or even take in some abstract photography and art - but wait, there’s more.

The journey continues as a door directly opposite the entrance to the “chop shop” is shrouded in mystery with the red light flowing out of it. Walking through you come to the most unexpected ele-ment of this jack-in-a-box

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masterpiece. A theatre. Yes, a theatre right next door to a barbers adja-cent an art gallery, surrounded by a large meeting space at the rear; it’s the metaphorical cherry on top of a cultural sundae already brimming with an assortment of artistic stimulation and entertain-ment.

Created as a haven for artists of film, photography and hair, who spend their nights raving away to beats within the smokey underground of Sub Club, to express their passion and have somewhere to show off their talent while being able to grab a quick drink at the same time. The owners of Sub Club realised their clientele were often from an artistic background and many had expressed an interest in seeing such a space come to fruition. It’s an experiment and it’s one that has been very warmly received, which is why its fans are about to be in mourning.

The most unusual aspect of all is the fact that Sub Hub is only open for a month and was never created with the intention of become a stalwart of Glasgow’s thronging student life. No, Sub Hub was created purposely as an experiment, a pop up venue able to host extravagant events almost every night without the worry of wearing out their roster of performers and shows to put on. The idea of just being a flash in the pan has given the venue such exclusivity and made it a hot com-modity to those in the know, with packed crowds filling the varied rooms with ease.

It not only displays the work of local artists and uses the skills of local hair stylists but also has screenings of local films and it has all made Sub Hub the place

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to go to show off not only Glaswe-gian talent but also Scottish talent as a whole in it’s very short life; the well sized theatre room bursts at the seams when showing off Scottish influenced and made productions. So, apart from it being a fun, fresh concept, what keeps people coming? “ It’s just so out there and totally by itself in terms of somewhere to go and have fun” was just one of many praises sung by Sarah Jones, an avid fan of the Subby scene and someone who uses Sub Hub whenever she has the time to head down and get a drink or study. “It’s a shame that it’s only open for a short time I really hope that they open it back up at some point during the summer” she went on to say.

This was the cry from many patrons as they have been left baying for more as unlike most venues the’ve become glutinous with the amount going on in the short space of time, that they have now developed a taste for the fast-paced, jam packed venue and the night after night of high quality art-ists and shows put on by Sub Hub. This is the problem that the owners and promoters of the venue now have, that the popularity of the alternative idea of bringing all these types of cultural brilliance together under one roof has ex-ploded into something that simply can’t just be shook off and forgot about as a one off. Now it is something that the public have between there teeth and won’t let go of without a fight because it is truly something worth fighting for.

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WHAT’S ON Cranhill Arts Project: Glasgow Family Album THU 30 APRIL 2015 An exhibition of a continually growing collection of family photos submitted by the people of Glasgow, put together as part of Street Level Photowork’s ‘Commonwealth Family Album’ which took place during the Commonwealth Games in Glasgow.

Venue: Hillhead Library 10:00-17:00, FREE 348 Byres Road, Glasgow G12 8AP 0141 276 1617

Best Use of Timber Awards 2014 20 February – 6 May 10:30 – 17:00, FREE As part of the annual RIAS Awards, Forestry Commission Scotland and Wood for Good sponsor an award encouraging innovative use of timber in new buildings in Scotland, with the exhibition showcasing the winning and shortlisted entries.

A great event for those with artistic visions as well as those interested in supporting a national cause.

VENUE: THE LIGHTHOUSE ADDRESS: 11 Mitchell Lane, Glasgow, G1 3NU PHONE: 0141 276 5360 WEB: thelighthouse.co.uk

MICK PETER: PYRAMID SELLING 12:00 – 17:00 FREE FRI 24 APRIL – SUN 14 JUNE Solo exhibition of a new sculpture by Glasgow-based artist Mick Peter, which, when taken together, set up a conversation between contradictory modes of representation as well as notions of commerce and fabrication.

This event attracts many people of different interests as it draws on a number of sources, including literature, commercial illustration and graphic design.

VENUE: TRAMWAY ADDRESS: 25 Albert Drive, Glasgow, G41 2PE PHONE: 0141 276 0950 WEB: tramway.org

LOVE MUSIC, HATE RACISM: MAY DAY FUNDRAISER FRIDAY 1ST MAY 19:00 – 22:00, £5 A fine contribution from a great line-up of locals helps raise funds for Love Music, Hate Racism. Some acts include PRONTO MAMA, BIGG TAJ & YOUNG PEOPLE’S ARMY as well as many more.

A great night out for an even better cause, not to mention a music enthusiasts dream.

VENUE: Stereo ADDRESS: 20-28 Renfield Lane, Glasgow, G2 6PH PHONE: 0141 222 2254 WEB: stereocafebar.com/

“

Scotland.

This nation brought the world television, the steam engine, golf, whiskey, penicillin, and of course, the deep-fried Mars bar.

It is great being Scottish.

We’re such a uniquely successful race.

”