{"JP":[ {"NewsSection":{"name":"whatson","detaillevel":"full", "Articles": {"count":25,"detaillevel":"full","articlesList":[ {"article": { "url":"http://www.scotsman.com/regions/inverness-highlands-islands/last-year-s-runner-up-wins-mod-gold-medal-in-showpiece-event-1-4264329","id":"1.4264329","articleHeadline": "Last year’s runner-up wins Md Gold Medal in showpiece event","commentCount":0,"publishedDate":1477001174000 ,"articleLead": "

The tension was running high at Lewis Sports Centre in Stornoway on Wednesday night as the judges of the prestigious Gold Medal competition at the Royal National Mòd collated their marks for the eight finalists, but there was joy for Carol Maclean and Hector MacKechnie when the marks were finally delivered.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4264326.1477003659!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Carol Maclean and Hector MacKechnie were the winners of the Gold Medal at the Mod's showpiece event for fluent Gaelic singers. Picture: John Maclean"} ,"articleBody": "

Mr MacKechnie, a ferryman with Calmac from Lochaline, just missed out on the prize when he was runner-up in the men’s final in Oban last year, and his relief was visible when this year’s result was announced.

Ms Maclean, from Tobermory, received her ladies’ final medal from Deputy First Minister John Swinney, while Mr MacKechnie was presented with his prize by Mary Sandeman, the accomplished singer who first found fame as Aneka when she reached the top of the UK charts in 1981 with Japanese Boy.

Both winners also picked up a cash prize of £75, and will be offered financial assistance by Mòd organisers An Comunn Gàidhealach to attend the next Mòd USA in Washington DC.

The Gold Medal competition, blue riband of the Mòd, is open to fluent Gaelic speakers who sing one song of their own choosing and one prescribed.

Mr MacKechnie and Ms Maclean shared the Archie Maclean Memorial Salver for the highest marks in the final.

Second place in the men’s competition went to Seumas Mactaggart of Lewis, third place to Alasdair Martin Christopher Currie of Islay, and fourth to Marcas Mac an Tuairneir, of Inverness. In the ladies’ final, Ceitidh Smith of Inverness was second, Isabel Macleod of Carloway, Lewis was third, and Ainsley Hamill of Cardross fourth – the third consecutive year that this trio have shared the second, third and fourth runners-up places, although in different orders each year.

In other competitions on day seven of the event, rural choirs took to the stage, and in only their second time at the Mòd, Barra Gaelic Choir won the Lorn Shield.

John Morrison, chief executive of An Comunn Gàidhealach, said: “It’s been a quick but great seven days since the Mòd started. We’ve seen some fantastic performances in all the competitions, and the Gold Medal was truly outstanding; huge congratulations to Carol and Hector. As we reach the final few days here in the Western Isles, there are still some great competitions to come. The atmosphere around the Western Isles has been wonderful, and we look forward to the last few days at this year’s Mòd.”

Parts of the Mòd also took place in Harris yesterday, with Sir E. Scott School hosting the Highland Dancing competitions.

Friday is the penultimate day of competition, with the highlights being the area choirs competitions for the Lovat & Tullibardine Shield and the Margrat Duncan Memorial Trophy. The Weekly Scotsman Quaich, donated to An Comunn Gàidhealach by The Scotsman’s sister newspaper in 1948 for annual competition at the Mòd, will be awarded to the choir with the highest marks in Gaelic in the Lovat & Tullibardine competition.

Meanwhile, CalMac will run additional ferry services on Saturday from Lewis to accommodate the volume of traffic travelling from the Mòd.



GS224 Gold Medal Finals (Women)

1 Carol Maclean, Tobar Mhoire.

2 Ceitidh Smith, Inbhir Nis.

3 Isabel Nicleoid, Càrlabhagh.

4 Ainsley Hamill, Càrdanros.

GS224 Gold Medal Finals (Men)

1 Eachann MacEachairn, Samhairidh.

2 Seumas Mac an t-sagairt, Leòdhas.

3 Alasdair Martin Christopher Currie, Ìle.

4 Marcas Mac an Tuairneir, Inbhir Nis.

Archie Maclean Memorial Salver - Carol Maclean, Tobar Mhoire and Eachann MacEachairn, Samhairidh.

Innis MacLeod, Shawbost, Prize for Gaelic and Music (A220, A221, A222, A223 and GS224) - Carol Maclean, Tobar Mhoire.

SS254 Silver Pendant Final (Learners)

Women (Catherine Gemmell Memorial Trophy)

1 Fiona Ross, Glaschu.

2 Eileen Duncan, Tunga.

3 Mairi McGillivray, Ìle.

Men (Alasdair MacInnes Memorial Trophy)

1 Fergus Muir, Bogh Mòr.

2 Coinneach MacLeòid, Lunainn.

3 Campbell McKenzie, Steòrnabhagh.

A230 Traditional (women) (Moray Trophy)

1 Claire Nicamhlaigh, Nis.

2 (equal) Saffron Hanvidge, Inbhir Nis, and Emma MacLeod, Sgalpaigh.

4 (equal) Mary Bauld, Dòrnach, Emma NicLaomainn, Uibhist a Tuath, and Isabelle Bain, Am Bac.

A231 Traditional (men) (Lochaber Rotary Club Trophy)

1 Torquil MacLeod, Steòrnabhagh.

2 Dòmhnall Iain MacRàth, Siabost.

3 Eoghan MacIlleathain Stiùbhart, Inverness.

A233 Puirt-a-Beul (Duncan Johnston Memorial Trophy)

1 Anne Bennett, Dùn Dè.

2 (equal) Saffron Hanvidge, Inbhir Nis, and Donna Dugdale, Tobar Mhoire.

3 Sandy NicDhòmhnaill Jones, Uibhist a Deas.

A234 Lorn Bard (fluent, men and women) (“Oban Times” Gold Medal)

1 D-I Brown, Glasgow.

2 Linn Phipps, An Rubha.

3 Carol Maclean, Tobar Mhoire.

A272 Former Prizewinners, Local Mods (Lochewe Branch Cup)

1 Donna Dugdale, Tobar Mhoire.

2 F. Ann MacLean, Lios Mòr.

3 Mikie MacEanruig, Mid Keiss.


A275 (Neil MacLean and Jenny M. B. Currie Trophy)

1 Emma A C Deans & Raonaid M J Deans, Comar nan Allt.

2 Màiri Macleod & Shona Macmillan, Càrlabhagh.

3 (equal) Cath Fish & Calum Watt, Leòdhas, and Ronald Murray & Riona Whyte, Muile & Leòdhas.


A300 Lorn Shield

1 Còisir Ghàidhlig Bharraigh.

2 Còisir Sgir’ A’ Bhac.

3 Còisir Ghàidhlig Mhealbhaich.

Dalriada Cup for Gaelic - Còisir Sgir’ A’ Bhac.

Captain Angus Stewart Trophy for Music - Còisir Ghàidhlig Bharraigh.

Mrs Catherine C. MacDonald Silver Baton - Lisa MacNeil.

A303 Sheriff MacMaster Campbell Memorial Quaich

1 Còisir Ghàidhlig Ìle.

2 Còisir Ghàidhlig An Eilein Mhuilich.

3 Burach

Selma Shield for Gaelic - Còisir Ghàidhlig Ìle.

Grace Robertson Memorial Baton for Music - Còisir Ghàidhlig Ìle.

A305 Grampian TV Trophy (Women)

1 Còisir Sgir’ A’ Bhac.

2 Còisir Ghàidhlig Thunga.

3 Còisir Ghàidhlig nan Loch.

Angus MacTavish Memorial Trophy for Gaelic - Còisir Ghàidhlig nan Loch.

Blairgowrie Rotary Club Trophy for Music - Còisir Sgir’ A’ Bhac.

A306 Puirt-a-beul (Aline MacKenzie Memorial Trophy)

1 Còisir Ghàidhlig nan Loch.

2 Còisir Sgir’ A’ Bhac.

3 Còisir Ghàidhlig Ìle.

John Young Memorial Baton for conductor of winning choir - Ronald Murray.

Calum Robertson Memorial Trophy for Gaelic - Còisir Ghàidhlig nan Loch.

Evelyn Huckbody Memorial Trophy for Music - (equal) Còisir Ghàidhlig nan Loch and Còisir Ghàidhlig Ìle.

Hamish Graham, Strath, Trophy for Gaelic (A300, A305 and A306) - Còisir Sgir’ A’ Bhac.

Sandy Heron Cup for Music (A300, A305 and A306) - Còisir Sgir’ A’ Bhac.

John Lockie Trophy for Gaelic (A303, A305 and A306) - Còisir Ghàidhlig An Eilein Mhuilich.


A200 Poetry Recitation (Ali Abbasi Memorial Cup)

1 Margaret Macdonald Bell, Pàislig.

2 Pierre Fuentes, Dùn Èideann.

" ,"byline": {"email": "" ,"author": "DONALD WALKER"} ,"topImages": [ {"image": {"url":"/webimage/1.4264326.1477003659!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4264326.1477003659!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Carol Maclean and Hector MacKechnie were the winners of the Gold Medal at the Mod's showpiece event for fluent Gaelic singers. Picture: John Maclean","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Carol Maclean and Hector MacKechnie were the winners of the Gold Medal at the Mod's showpiece event for fluent Gaelic singers. Picture: John Maclean","landscapeurl":"/webimage/1.4264326.1477003659!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4264327.1477003662!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4264327.1477003662!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Isle of Mull Gaelic Choir had an impromptu sing-a-long after competing at the Mod, and were conducted by their honorary mascot, 16-month-old Archie. Picture: John Maclean","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Isle of Mull Gaelic Choir had an impromptu sing-a-long after competing at the Mod, and were conducted by their honorary mascot, 16-month-old Archie. Picture: John Maclean","landscapeurl":"/webimage/1.4264327.1477003662!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4264328.1477003664!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4264328.1477003664!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Barra Gaelic Choir celebrate their victory in the Lorn Shield, at the Mod in Stornoway.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Barra Gaelic Choir celebrate their victory in the Lorn Shield, at the Mod in Stornoway.","landscapeurl":"/webimage/1.4264328.1477003664!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/politics/john-swinney-no-place-for-hostility-towards-gaelic-in-scotland-1-4263156","id":"1.4263156","articleHeadline": "John Swinney: No place for hostility towards Gaelic in Scotland","commentCount":0,"publishedDate":1476951593000 ,"articleLead": "

John Swinney has declared that there is no place in Scotland for hostility towards the Gaelic language, after being “horrified” by the negative response to a recent funding announcement.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4263155.1476903392!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Swinney said he was 'horrified' by the negative reaction to a recent Gaelic funding announcement. Picture: John Devlin"} ,"articleBody": "

The Deputy First Minister pledged to help increase the number of Gaelic speakers during keynote speech at the Royal National Mòd in Stornoway yesterday, and also announced £700,000 of extra government funding for Glasgow’s two Gaelic schools.

But he had clearly been stung by an anti-Gaelic backlash, mainly on social media, to the award of “modest funding” of £33,000 last month to Fèisean nan Gàidheal, a group which takes Gaelic into schools.

“I announced some additional funding to enhance and expand the excellent work they are doing,” said Mr Swinney, as he delivered the Angus Macleod Memorial lecture. “It would hardly have broken the bank, but I was horrified to read many hostile responses to this announcement.

“I know many of you have encountered this hostility to Gaelic. You will be familiar with the negative points - ‘it is a dead language’, ‘it was never spoken here’, ‘it is a waste of money’, ‘it is being shoved down our throats’, ‘it is a divisive SNP plot’. These views are often found and shared on social media, but sadly sometimes enter into political exchanges and mainstream media.

“These views are as groundless and unwelcome as they are inaccurate and misleading. They betray a poor understanding of our country, its history and the respect we should show to minority communities. My very clear view is that hostility to Gaelic has no place in Scotland.

“Let me set the record straight. Gaelic is a language of daily use. The support for Gaelic is a good use of public funds. Gaelic offers a range of benefits to Scotland. It is a valuable language to learn and it deserves the support of people of all political backgrounds in Scotland. And it will have that support from this Scottish Government and from this Deputy First Minister of Scotland.

“Gaelic belongs to Scotland, and we should all unite behind the effort to create a secure future for Gaelic in Scotland.”

Mr Swinney, who assumed ministerial responsibility for Gaelic earlier this year, added: “The picture of Gaelic development through the years has progressed from campaigning for recognition, to putting structures and projects in place. Now that we are at the point where we have good structures in place, we must ensure these are effectively used to strengthen the language and to reap the rewards of its contribution to the diversity that exists in Scotland’s culture and language.

“(Gaelic) has been spoken in this country for well over 1000 years and I believe this places a duty and a responsibility on us as custodians of this heritage. This is not special treatment or favouritism or a nationalist plot. It is simply the steps that should be taken to secure a measure of fair treatment for our minority language that has been with us for a long time.”

And he quoted a 2014 report which said that Gaelic had the potential to bring £150 million of economic value to Scotland each year, saying: “I cite these examples of positive economic impact to make an argument, that confounds the critics of Gaelic and demonstrates the relevance and significance of Gaelic to our society.”

The money for the Glendale Gaelic School and Sgoil Ghaidhlig Ghlaschu will go towards imporving facilities for current learners and upgrades to help tackle an increasing demand for places.

Since the introduction of the Gaelic Schools Capital Fund in 2008, the number of young people in Gaelic medium education has increased nationally by 32 per cent.

Meanwhile, Bòrd na Gàidhlig, the national agency set up in partnership with the Scottish Government to promote Gaelic, has announced an award of £115,000 to support Gaelic drama development at professional, community and school levels.

“The primary aim of this project is to produce a professional Gaelic drama that will tour communities across Scotland, whilst at the same time offering on-the-job career development opportunities for those interested in working in the sector,” said David Boag of Bòrd na Gàidhlig.

Last night, Mr Swinney was one of the guests of honour at the Mòd’s showpiece event, the Gold Medal competition, which was screened live by BBC ALBA. The Deputy First Minister presented the ladies medal to Carol MacLean of Tobermory, while Mary Sandeman - aka 1980s pop star Aneka - presented Hector MacEachern of Morvern with the men’s medal.

Earlier on day six of the Mod, the Silver Pendant medals were awarded to Fiona Ross of Glasgow and Fergus Muir of Bowmore. In the competition for adults who have learned Gaelic, entrants are required to sing two songs, one prescribed and one of their own choosing.

Anna Nicolson, 15, of Portree High School won the Junior Advanced Clarsach competition, as Comunn na Clàrsaich (The Clarsach Society) welcomed an increasing interest in clarsach playing. Celebrating their 85th anniversary, the society reported a 20 per cent increase in competition entries from the last time the Mòd was held in the Western Isles in 2011.



A222 Oran Mor (women) (Mr and Mrs Archibald MacDonald Memorial Trophy)

1 Carol Maclean, Tobar Mhoire.

2 Ainsley Hamill, Càrdanros.

3 Ceitidh Smith, Inbhir Nis.

4 Catherine Tinney, Dùn Èideann.

Joyce Murray Trophy for Gaelic - Carol Maclean, Tobar Mhoire.

A223 Oran Mor (men) (F.S. Cameron-Head Memorial Trophy)

1 Seumas Mac an t-sagairt, Leòdhas.

2 Eachann MacEachairn, Samhairidh.

3 Marcas Mac an Tuairneir, Inbhir Nis.

A270 Kennedy-Fraser Cup (Johanna Fortune Memorial Trophy)

1 Nicola Pearson, Calanais.

2 Donna Dugdale, Tobar Mhoire.

3 (equal) Jackie Cotter, Dùn Èideann, and Anne Bennett, Dùn Dè.

A271 Mull or Iona Song (Sarah Weir Memorial Trophy)

1 Anne Bennett, Dùn Dè.

2 Donna Dugdale, Tobar Mhoire.

3 Carol Maclean, Tobar Mhoire.

A251 Learners (men) (Katie Stewart Memorial Trophy)

1 Fergus Muir, Bogh Mòr.

2 Coinneach MacLeòid, Lunainn.

3 Campbell McKenzie, Steòrnabhagh.

A253 Love Song (men) (Bank of Scotland Cup)

1 Fergus Muir, Bogh Mòr.

2 Campbell McKenzie, Steòrnabhagh.

3 Coinneach MacLeòid, Lunainn.

A221 Fluent (men) (Caledonian MacBrayne Trophy)

1 Alasdair Martin Christopher Currie, Ìle.

2 Seumas Mac an t-sagairt, Leòdhas.

3 Iain Gordon, Inbhir Narann.

A250 Learners (women) (Margot Campbell Trophy)

1 Eileen Duncan, Tunga.

2 Fiona Ross, Glaschu.

3 Mairi McGillivray, Ìle.

4 Lynn NicDhòmhnaill, Ìle.

A252 Lament (women) (Catherine M.B. Dunlop Quaich)

1 Eileen Duncan, Tunga.

2 Fiona Ross, Glaschu.

3 Mairi McGillivray, Ìle.

4 Lynn NicDhòmhnaill, Ìle.

A220 Fluent (women) (Mary C. MacNiven Memorial Salver)

1 Ceitidh Smith, Inbhir Nis.

2 Ainsley Hamill, Càrdanros.

3 Carol Maclean, Tobar Mhoire.

4 Saffron Hanvidge, Inbhir Nis.

A248 Traditional (learners) (George Clavey Memorial Quaich)

1 Donna Dugdale, Tobar Mhoire.

A274 Skye or Sutherland Song (John D. Gillies Memorial Trophy)

1 Anne Bennett, Dùn Dè.

2 Jennifer Mary Speirs, Siabost.

3 Krista NicAonghais, An t-Eilean Sgitheanach.


Solos (Junior)

B320 With Gaelic Songs (Glendale Quaich)

1 Màiri Callan, The High School of Glasgow.

2 Lili McShea, Àrd-sgoil Sheumais Ghilleasbuig.

3 Bronwen Stahl, Sgoil Naoimh Sheòrais, Dun Èideann.

B321 Beginners (Helmsdale Trophy)

1 Mairi Anna Binns, Sgoil Sir E Scott.

2 Iseabel NicRath, Bun-sgoil Phort Rìgh.

3 (equal) Flynn Conroy, Bun-sgoil Taobh na Pàirce, and Cara MacLachlan, Sgoil MhicNeacail.

B322 Elementary (Florence Wilson Trophy)

1 Ròsaidh Mackintosh, Bun-sgoil Taobh na Pàirce.

2 Esther MacLeod, Bun-sgoil Taobh na Pàirce.

3 Eimear McShea, Bun-sgoil Taobh na Pàirce.

B323 Intermediate 1 (K. Barry Milner Trophy)

1 Erin NicGillIosa, Àrd-sgoil Phort Rìgh.

2 Bronwen Stahl, Sgoil Naoimh Sheòrais, Dun Èideann.

3 Sorcha Thompson, Àrd-sgoil Sheumais Ghilleasbuig.

B323A Intermediate 2 (Lawrence MacDuff Cup)

1 Jessica Muir, Àrd-sgoil Greenfaulds.

2 Fiona Bell, Àrd-sgoil Dhùn Bhlàthain.

B324 Advanced (Duncan Chisholm Trophy)

1 Anna NicNeacail, Àrd-sgoil Phort Rìgh.

2 Màiri Callan, The High School of Glasgow.

3 (equal) Ciorstaidh Chaimbeul, St Mary’s Music School, and Sophie MacDonald, Acadamaidh Drochaid an Easbaig.

B332 Wire Harp (Sir Philip Christison Trophy)

1 Anna Tait Westwell, Dùn Èideann.

Solos (Senior)

B325 Elementary (Jean C. Campbell Award)

1 Claire Whyman, Am Bac.

2 Janet Cameron, Càrlabhagh.

3 (equal) Morag Philips, Sruighlea, and Helen McNeil, Taigh an Uillt.

B326 Advanced (Elspeth A. Hyllested Trophy)

1 Anne Stephen, Obar Phuill.

B329J Original Composition (Margaret Balfour Trophy)

1 Anna Pearson, Bun-sgoil Taobh na Pàirce.

2 Anna Tait Westwell, Dùn Èideann.

3 (equal) Ròsaidh Mackintosh, Bun-sgoil Taobh na Pàirce, and Esther MacLeod, Bun-sgoil Taobh na Pàirce.


B330 under 13 (Lord Birsay Trophy)

1 Mollaidh Nicholson & Sorcha Thompson, Àrd-sgoil Sheumais Ghilleasbuig.

2 (equal) Anna Pearson & Isla Thompson, Bun-sgoil Taobh na Pàirce, and Matthew Gilmour Wright & Finlay Penman, Bun-sgoil Taobh na Pàirce.

3 Eimear McShea & Seona MacDonald, Bun-sgoil Taobh na Pàirce.

B333 Senior (Drumelzier Quaich)

1 Anne Stephen & Morag Philips, Obar Phuill.



C90 Conversation (13-15)

1 Marion MacCorquodale, Sgoil Lionacleit.

2 Eòin Coinneach Cuimeanach, Àrd-sgoil Gheàrrloch.

3 Dòmhnall Lachlann Beaton, Acadamaidh Rìoghail Bhaile Dhuthaich.

C40A (11-12)

1 Finlay MacLennan, Bun-sgoil Ghàidhlig Inbhir Nis.

2 John Varwell, Bun-sgoil Chille Mhoire.

3 Rae MacIver, Sgoil Gàidhlig Ghlaschu.

C40 (9-10) (Ewen Dingwall Memorial Trophy)

1 Daniel J Macleod, Sgoil a’ Bhac.

2 Korin Weir-Stewart, Sgoil Ghàidhlig Ghlaschu.

3 (equal) Anndra Uisdean Cuimeanach, Bun-Spoil Gheàrrloch, and Alec Dòmhnallach, Bun Sgoil Ghàidhlig Ghlaschu.

C93 Prose Reading (13-15)

1 Eòin Coinneach Cuimeanach, Àrd-sgoil Gheàrrloch.

2 Hannah C Macleod, Sgoil MhicNeacail.

3 Dòmhnall Lachlann Beaton, Acadamaidh Rìoghail Bhaile Dhuthaich.

C106 Bible Reading (13-15)

1 Eòin Coinneach Cuimeanach, Àrd-sgoil Gheàrrloch.

2 Anna NicIain, Sgoil Lionacleit.

3 (equal) Marion MacCorquodale, Sgoil Lionacleit, and Hannah C Macleod, Sgoil MhicNeacail.

C92 Poetry Recitation (13-15)

1 Cathal Callan, The High School of Glasgow.

2 Eòin Coinneach Cuimeanach, Àrd-sgoil Gheàrrloch.

3 Blythe Wilson, Acadamaidh Inbhir Pheofharain.

C42A (11-12)

1 Kitty Anne Maciver, Sgoil a’ Bhac.

2 Finlay MacLennan, Bun-sgoil Ghàidhlig Inbhir Nis.

3 Eve Byrne, Bun-sgoil Chondobhrait.

C42ii (aged 10)

1 Mary Sophia Morrison, Bun Sgoil Lacasdail.

2 Lexy NicLeòid, Bun-sgoil Stafainn.

3 Korin Weir-Stewart, Sgoil Ghàidhlig Ghlaschu.

C22Aii (aged 8)

1 Màili MacLennan, Bun-sgoil Ghàidhlig Inbhir Nis.

2 Jenny Macleod, Sgoil an Taobh Siar.

3 Isla Duke, Bun-sgoil Chondobhrait.


C72 Two-part Harmony (under 13) (Mrs Ann Grant of Laggan Memorial Trophy)

1 Sgoil Sir E Scott.

2 Còisir Eilean an Fhraoich.

3 Còisir Bun-sgoil Ghàidhlig Ghlaschu.

C73 Puirt-a-Beul (under 13) (Mrs Schroder Cup)

1 Sgoil Sir E Scott.

2 Rionnagan Rois.

3 Còisir Òg Thròndairnis.

C71 Unison (under 13) (Aberfoyle and District Branch Trophy)

1 Sgoil Sir E Scott.

2 Rionnagan Rois.

3 Còisir Eilean an Fhraoich.


C95 Girls (13-15) (An Comunn Gaidhealach Silver Medal)

1 Màiri Callan, The High School of Glasgow.

2 Elizabeth Donner, Sgoil MhicNeacail.

3 Marion MacCorquodale, Sgoil Lionacleit.

C96 Boys (13-15) (An Comunn Gaidhealach Silver Medal)

1 Samuel MacAoidh, Sgoil MhicNeacail.

2 Eòin Coinneach Cuimeanach, Àrd-sgoil Gheàrrloch.

3 Ruairidh Gray, Sgoil Lionacleit.

C145 Traditional: Girls (16-18) (Iain Morrison Memorial Trophy)

1 Catriona Bain, Sgoil MhicNeacail.

2 Kathryn Morrison, Sgoil Sir E Scott.

3 Cara Morrison, Sgoil MhicNeacail.

C94A Girls (13-15) (Traditional Silver Medal)

1 Màiri Callan, The High School of Glasgow.

2 (equal) Allison NicAoidh, Sgoil MhicNeacail, and Ava MacKinnon, Àrd-sgoil Greenfaulds.

C94B Boys (13-15) (Traditional Silver Medal)

1 Eòin Coinneach Cuimeanach, Àrd-sgoil Gheàrrloch.

2 Cathal Callan, The High School of Glasgow.

3 Rory MacDiarmid, Sgoil Ghàidhlig Ghlaschu.

C70Aii Girls (11-12)

1 Alice Nic a’ Mhaoilein, Còisir Òg an Rubha.

2 Erin Nic’Illiosa, Bun-sgoil Stafainn.

3 Laura Robertson, Bun-sgoil Ghàidhlig Lochabair.


C155 Girls (16-18) (Highland Society of London Trophy)

1 Catriona Bain, Sgoil MhicNeacail.

2 Claire MacLeod, Sgoil Sir E Scott.

3 Emily Robertson, Còisir Òg na h-Eaglais Brice.

C156 Boys (16-18) (Highland Society of London Trophy)

1 Alex John Moireasdan, Sgoil MhicNeacail.

2 Duncan Macleod, Acadamaidh Rìoghail Bhaile Dhuthaich.

3 Jonathan Fairgrieve, Sgoil MhicNeacail.

C171B Precenting a Psalm (Under 19) (Allan C. MacLeod Memorial Trophy)

1 Samuel MacAoidh, Sgoil MhicNeacail.

2 Catriona Bain, Sgoil MhicNeacail.

3 (equal) Lauren Matheson, Sgoil MhicNeacail, and Alex John Moireasdan, Sgoil MhicNeacail.

C171A (under 13) (Jonathan MacDonald, Kilmuir, Trophy)

1 Erin Nic’Illiosa, Clann Thròndairnis.

2 Ross MacLeòid, Clann Thròndairnis.

3 Megan NicÌomhair, Clann Thròndairnis.


C144 (16-18)

1 Eilidh Macdonald & Anna Macdonald, Bun-sgoil Port Ilein.

2 Duncan Macleod & Rona MacLeod, Acadamaidh Rìoghail Bhaile Dhuthaich.

3 Alex John Moireasdan & Koren Murray Pickering, Sgoil MhicNeacail.

C97 (13-15)

1 Kirstyn Howarth & Faith Elson, Acadamaidh Rìoghail Inbhir Nis.

" ,"byline": {"email": "" ,"author": "DONALD WALKER"} ,"topImages": [ {"image": {"url":"/webimage/1.4263155.1476903392!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4263155.1476903392!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "John Swinney said he was 'horrified' by the negative reaction to a recent Gaelic funding announcement. Picture: John Devlin","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "John Swinney said he was 'horrified' by the negative reaction to a recent Gaelic funding announcement. Picture: John Devlin","landscapeurl":"/webimage/1.4263155.1476903392!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4263200.1476912822!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4263200.1476912822!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The coveted Silver Pendant medals were awarded to singers Fiona Ross of Glasgow and Fergus Muir of Bowmore at the Mod yesterday.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The coveted Silver Pendant medals were awarded to singers Fiona Ross of Glasgow and Fergus Muir of Bowmore at the Mod yesterday.","landscapeurl":"/webimage/1.4263200.1476912822!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4263201.1476912825!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4263201.1476912825!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Anna Nicolson of Portree High School, winner of the Junior Advanced Clarsach competition at the Mod.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Anna Nicolson of Portree High School, winner of the Junior Advanced Clarsach competition at the Mod.","landscapeurl":"/webimage/1.4263201.1476912825!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/transport/free-trams-laid-on-for-edinburgh-s-hogmanay-revellers-1-4263154","id":"1.4263154","articleHeadline": "Free trams laid on for Edinburgh's Hogmanay revellers","commentCount":0,"publishedDate":1476895853399 ,"articleLead": "Free tram rides are to be laid on in Edinburgh for the first time since the controversial service began operating - for the city’s Hogmanay revellers.","articleThumbnail": {"thumbnailUrl":"/webimage/1.4263153.1476895945!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Up to 4000 Hogmanay revellers will be able to use the free tram service"} ,"articleBody": "

Operators agreed to run the trams through the night for the first time since the network began running in 2014.

And up to 4000 passengers will be able to use the special five-hour service, which will start on the stroke of midnight.

Extra staff will be brought in to work on the trams and at tram stops to ensure the smooth-running of the extra service, which will run between Shandwick Place and Edinburgh Airport every 20 minutes.

Organisers expect the service to be used by people heading home or to hotels on and around the tram route.

They are urging people travelling into Edinburgh for the festivities to consider leaving their vehicle at the park and ride site at Ingliston, which has its own tram stop.

The tram service, which is unable to operate on Princes Street on Hogmanay, has been halted between Haymarket and the airport before midnight in the last two years.

Its operators faced criticism over the new service in 2014 when it emerged that the trams would not be operating any later than its normal last service at 11.30pm during the Edinburgh Festival.

However this year it agreed to run trams as late as 1.10am to accommodate crowds leaving events like the Fringe and the Tattoo.

The tram service will complement the free Lothian Buses services which run from just after midnight until 4am on New Year’s Day.

Al Thomson, director of Unique Events, said: “More and more people have been using the free buses - they carried around 18,000 people home last year.

“We’ve found that a lot of people stay out near the airport because there is no accommodation available in the city centre.”

George Lowder, chief executive of Transport for Edinburgh, the parent company of Lothian Buses and Edinburgh Trams, said: “With so many additional visitors coming to the capital we are keen to help both tram and bus passengers travel safely by offering a free late-night timetable that means they can make the most of what’s on offer.

“We expect thousands of locals and tourists to make use of the free service, making sure everyone’s night ends well.”

Lea Harrison, general manager of Edinburgh Trams, added: “It’s important to us that everyone who comes to the capital for ‘the bells’ is able to make the most of their night and that’s why we’ve decided to help by offering this extended free service.”

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4263153.1476895945!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4263153.1476895945!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Up to 4000 Hogmanay revellers will be able to use the free tram service","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Up to 4000 Hogmanay revellers will be able to use the free tram service","landscapeurl":"/webimage/1.4263153.1476895945!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/politics/scottish-six-would-boost-independence-claims-tory-mp-1-4262172","id":"1.4262172","articleHeadline": "Scottish Six ‘would boost independence,’ claims Tory MP","commentCount":0,"publishedDate":1476864159000 ,"articleLead": "

MPs have rejected an attempt to increase the pressure on the BBC over a ‘Scottish Six’ news programme as the SNP attached a demand for broadcasting to be devolved in the corporation’s latest charter agreement.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4240261.1476824193!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: John Devlin"} ,"articleBody": "

One Conservative MP slammed the nationalists’ bid, branding the move the latest ‘tool adopted by a party hell-bent on destroying the UK’

Seeking to amend the motion agreeing the latest ten-year deal on BBC funding, the SNP’s Westminster culture spokesman John Nicolson claimed the BBC was ‘not delivering for Scotland’.

And South Leicestershire MP Alberto Costa was mocked by SNP members after claiming a ‘Scottish Six’ would deny Scots the chance to see the ‘good work’ of the Conservative government elsewhere in the UK.

Mr Costa also argued against the SNP’s wish for changes to the news output in Scotland, with the nationalists calling for the next BBC charter to offer ‘maximum devolution of broadcasting’, including the so-called ‘Scottish Six’ news bulletin.

Mr Costa vowed to speak to Conservative MPs who had backed a ‘Scottish Six’, adding that they may have ‘unwittingly fallen foul of the SNP’s propaganda to pretend this will somehow further devolution.’

Mr Costa added: “All [the amendment] wants to do is drive a wedge between Scotland and the rest of the United Kingdom.”

Matt Hancock, the minister for culture, communications and creative Industries, told MPs that ‘the BBC is the nation’s broadcaster’ and hit out at efforts to exert ‘political control’ over its output.

Mr Nicolson, a former BBC Breakfast presenter, said audiences and BBC staff wanted greater control over programming in Scotland.

The move was rejected by both the government and Labour.

The BBC is already preparing a new set of pilot programmes in an effort to enhance its news coverage in Scotland, which is led by the Reporting Scotland broadcast that follows the national news.

Mr Hancock said: “The new charter includes the implementation of recommendations from the Smith Commission, which did not recommend that broadcasting or the affairs of the BBC be devolved.

“It is vital that the BBC is editorially independent so that politicians cannot interfere in editorial matters, and a vote for the amendment is a vote for political control of the BBC.” He added: “The SNP may want political control of the BBC, but we say no.”

A report by the Commons culture committee backed a Scottish Six, and the SNP amendment to the draft agreement for the next BBC charter called on the government to “deliver maximum devolution of broadcasting” for Scotland, including its own evening news bulletin.

During a Commons debate, Labour’s Ian Murray also suggested Mr Nicolson was politically interfering in the BBC, but the SNP spokesman insisted it was ‘perfectly reasonable’ to argue for ‘structural changes’ such as full devolution of broadcasting.

Mr Nicolson said: “I believe in the concept of a separate Scottish Six, but at that point politicians should stand back and allow the BBC to decide the form of that programme and the content.

“For a significant period of time it’s been clear the BBC is not delivering for Scotland in the way it should be.

“Without a fairer share of the licence fee, without greater control over its own budget, without the authority to make commissioning decisions, BBC Scotland too often relies on the decisions of executives in London.

“Meaningful editorial and financial control must be transferred north of the Border.”

He added: “You don’t have to take my word for it – that’s what the BBC says itself, and it fully acknowledges that this is a problem.”

Mr Murray, Labour’s former Scottish secretary, suggested the amendment was ‘pushing the government to make a decision about the Scottish Six, rather than leaving it in the hands of the editorial commissioning of the BBC.’

" ,"byline": {"email": "paris.gourtsoyannis@jpress.co.uk" ,"author": "Paris Gourtsoyannis"} ,"topImages": [ {"image": {"url":"/webimage/1.4240261.1476824193!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4240261.1476824193!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: John Devlin","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: John Devlin","landscapeurl":"/webimage/1.4240261.1476824193!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/ken-loach-to-get-bafta-scotland-honour-1-4262357","id":"1.4262357","articleHeadline": "Ken Loach to get BAFTA Scotland honour","commentCount":0,"publishedDate":1476861576492 ,"articleLead": "

Ken Loach, one of Britain’s most celebrated filmmakers, is to get an outstanding achievement award at Scotland’s film and TV Oscars for the movies his company has made north of the border.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4262356.1476861664!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Laverty and Ken Loach will be honoured at next month's BAFTA Scotland ceremony."} ,"articleBody": "

The award-winning director and two of his main collaborators - screenwriter Paul Laverty and producer Rebecca O’Brien - will be honoured at the BAFTA Scotland gala ceremony in Glasgow next month.

Their glittering track record of Scottish films includes Sweet Sixteen, Carla’s Song, My Name Is Joe, The Angels’ Share and Ae Fond Kiss.

Loach has been credited with discovering a host of Scottish acting talent, including Martin Compston and Paul Brannigan, who had no previous experience when they were cast in Sweet Sixteen and The Angels’ Share respectively.

He has also worked with leading actors like Robert Carlyle, Peter Mullan, Cilian Murphy and Ricky Tomlinson.

Loach, Laverty and O’Brien, whose company Sixteen Films will be honoured with an outstanding contribution award, are all expected to attend the gala ceremony in Glasgow on 6 November, which will see the likes of Brian Cox, Kate Dickie, Ashley Jensen and Peter Capaldi compete for major prizes.

Crime drama Shetland and American time-travel series Outlander, which is filmed across Scotland, will each be competing for several honours, including best TV drama.

BAFTA Scotland will also honour hair and make-up artist Christine Cant for a glittering career that has seen her work on the likes of I’m Alan Partridge, Absolutely Fabulous, Father Ted, Poirot, Jeeves and Wooster and The Royle Family.

Laverty, who joined forces with Loach most recent on I, Daniel Blake, which won the prestigious Palme d’Or award at the 2016 Cannes Film Festival, said: “This is a total treat and a wonderful recognition of collaboration – the essence of film-making. We all swim or sink together.

“And it’s a double treat to think of the big Scottish family over the years.”

Cant said: “I was thrilled to hear I was to receive the outstanding contribution to craft award at this year’s British Academy Scotland Awards. The awards are always very special to me and to be amongst so many talented people once again is a true honour.

“I’m really looking forward to what is undoubtedly going to be a fantastic evening back home in Glasgow.”

Jude MacLaverty, director of BAFTA Scotland, said: “We have a tremendous amount of talent in Scotland, so we feel extremely privileged to be presenting Christine Cant and Sixteen Films with our outstanding contribution awards.

“Both have excelled in their chosen fields and they’re leading the way for future generations of our television, film and broadcasting industries in Scotland.”

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4262356.1476861664!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4262356.1476861664!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Paul Laverty and Ken Loach will be honoured at next month's BAFTA Scotland ceremony.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paul Laverty and Ken Loach will be honoured at next month's BAFTA Scotland ceremony.","landscapeurl":"/webimage/1.4262356.1476861664!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/still-game-star-lines-up-chilling-halloween-treat-for-tv-viewers-1-4262341","id":"1.4262341","articleHeadline": "Still Game star lines up chilling Halloween treat for TV viewers","commentCount":0,"publishedDate":1476860741901 ,"articleLead": "He is best known as one half of the comedy duo currently pulling in millions of viewers to watch Still Game’s return to the nation’s TV screens.","articleThumbnail": {"thumbnailUrl":"/webimage/1.4262340.1476860828!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Julie Wilson Nino, Lorne McFadden, John Gordon Sinclair and John Michie will star in West Skerra Light."} ,"articleBody": "

But now Greg Hemphill is set to send shivers down the spines of viewers with a Halloween horror story - his first full-length drama as a director - set on a remote Scottish island.

Gregory’s Girl star John Gordon Sinclair, Balamory favourite Julie Wilson Nimmo, Deacon Blue singer Lorraine McIntosh and former Taggart star John Michie are among the star-studded cast assembled for the BBC Scotland drama West Skerra Light.

Lewis Howden and Tam Dean Burn are among the host of familiar faces from the Scottish acting world in the nerve-jangling story, details of which have been kept firmly under wraps by the BBC until now.

The “black comedy” revolves around the unnerving owner of a haunted lighthouse and the incomers who descend on her isolated home for the night and soon find themselves battling for survival.

Hemphill, a self-confessed fan of horror films, has made West Skerra Light six years after he a musical version of the cult 1970s favourite The Wicker Man was brought to the stage by the National Theatre of Scotland. He has reunited with his co-writer on that project, Donald McLeary, to pen the script for West Skerra Light, his second project behind the camera.

Last year Hemphill directed fellow Glasgow comic Frankie Boyle in Gasping - a short film about a recovering alcoholic.

The new hour-long drama also features rising stars Lorna Craig, who also appeared in Gasping alongside McIntosh, whose previous acting credits include My Name Is Joe and Wilbur Wants To Kill Himself, and Lorne McFadden, who is playing England World Cup idol Bobby Moore in a forthcoming ITV drama series.

A spokeswoman for BBC Scotland, which joined forces with Glasgow-based Hopscotch Productions to make West Skerra Light, said it was intended to “embrace the spirit of Halloween.”

A spokeswoman said: “A group of city dwellers arrive on the Isle of Skerra to view the local lighthouse which is up for sale. Young lovers Lana and Gregor, unhappily married husband and wife Bill and Joan and businessman Tom all have their sights set on the unusual property and are met by lighthouse owner and local oddball Frances McGilvary.

“However, what they don’t realise is that all who set foot in this lighthouse are cursed. And before the night is out, they will have swapped their superficial city worries for an altogether bigger dilemma – how to escape the malevolent presence stalking West Skerra Light.”

John Archer, owner of Hopscotch, said: “After Gasping, I thought the next thing we should do with Greg was a Hogmanay special, as that time of year is a opportunity to do something a bit different. But then it became much more suitable for Halloween.”

Carolynne Sinclair Kidd, producer of West Skerra Light, which was filmed on location at the Corsewall Lighthouse in Wigtownshire and the Cuan Ferry in Argyll, described it as a “comedy horror.”

She said: “This is only the second thing Greg has directed, but he is just the most generous, appreciative and thoughtful director you could ever hope to work with. People loved doing their best for him.”

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4262340.1476860828!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4262340.1476860828!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Julie Wilson Nino, Lorne McFadden, John Gordon Sinclair and John Michie will star in West Skerra Light.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Julie Wilson Nino, Lorne McFadden, John Gordon Sinclair and John Michie will star in West Skerra Light.","landscapeurl":"/webimage/1.4262340.1476860828!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/royal-national-mod-lives-up-to-its-name-as-prince-charles-flies-in-1-4262139","id":"1.4262139","articleHeadline": "Royal National Md lives up to its name as Prince Charles flies in","commentCount":0,"publishedDate":1476821050000 ,"articleLead": "

The Prince of Wales was a surprise guest at the Royal National Mòd in Stornoway yesterday, where he presented an Italian cyclist with the Gaelic learner of the year award.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4262135.1476821023!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Lord of the Isles meets Mod competitors at the Nicholson Institute in Stornoway."} ,"articleBody": "

Charles, known as the Lord of the Isles when in the Western Isles, handed the Gaelic learner award to Carmine Colajezzi in recognition of the significant steps he has taken to becoming fluent. The Prince also officially opened the Isle of Harris distillery in Tarbert, where he sealed a cask marked “Lord of the Isles 18.10.16”.

Mr Colajezzi was born and raised in Abruzzo, Italy, before moving to Scotland five years ago.

The 30-year-old began to study Gaelic after getting hooked on the language while on cycling tour of the Western Isles and last year moved to Skye and enrolled at Gaelic college Sabhal Mor Ostaig to boost his fluency.

The prince, first Royal visitor to the Mòd since 2013, arrived by helicopter and spent an hour at the Nicholson Institute when he met young Gaelic singers and Highland dancers as well as volunteers and staff from Mòd organisers An Comunn Gaidhealach.

He also cut a cake to mark the 125th anniversary of An Comunn Gaidhealach, the national Gaelic organisation.

John Macleod, An Comunn Gaidhealach president, said: “It’s an honour to have had His Royal Highness, The Lord of the Isles, attend this year’s Royal National Mòd.

“Today has been a significant day in the history of the Mòd, and I’m sure for the people of the Western Isles too.

“Carmine is a worthy winner of the Gaelic learner of the year award, his hard work and commitment has been remarkable.

“The level of competition already this year has been outstanding and we’re delighted to have witnessed such high levels of Gaelic being spoken in the younger generations.”

The highlights on day five of the Mòd were the Traditional Silver Medal competitions, with the girls medal won by Màiri Callan, 15, of the High School of Glasgow, with Eòin Cuimeanach of Gairloch High School winning the boys award.

Màiri also picked up the An Comunn Gàidhealach Silver Medal on a very successful afternoon for the 13-year-old.

Over the past two days ‘The Children’s Mòd’ has seen hundreds of under 19 Gaelic speakers taking part in over 50 competitions in storytelling, poetry and singing, with entrants coming from backgrounds as far and wide as Spain and Zimbabwe, as well as one competitor travelling from Abu Dhabi.

The adult competitions start today, with the showpiece Gold Medal Final taking place in the evening.

Meanwhile, a series of films to help teach Gaelic to children learning it in primary school outwith Gaelic Medium Education was launched yesterday at the Mòd.

The films star, and were made by, senior school pupils who have come through Gaelic Medium Education and are now passing on their language skills to youngsters who are just beginning to learn it.

The films, made with the support of media professionals, form part of the Go! Gaelic programme, a comprehensive online resource developed by Gaelic educational resources organisation Stòrlann Nàiseanta na Gàidhlig.

They can be viewed online, at www.go-gaelic.scot, alongside powerpoints and lessons on core language, to help learners get the strongest grasp of key words and phrases. A Go! Gaelic App has also been developed to complement the programme.

Stòrlann chief executive Donald Morrison said Go! Gaelic “fills the gap” between Gaelic and English Medium Education, providing “those outwith Gaelic Medium with the opportunity to engage with Gaelic.”



C75 Prose Reading (under 13)

1 Anndra Uisdean Cuimeanach, Bun-sgoil Gheàrrloch.

2 Emily Macdonald, Bun-sgoil Shlèite.

3 Molly Fox, Bun-sgoil Phort-rìgh.

C43 Bible Reading (9-12)

1 Arabella Manchester, Sgoile Bhaile a Mhanaich.

2 Seumas Caimbeul, Bun-sgoil Chille Mhoire.

3 Rae MacIver, Sgoil Gàidhlig Ghlaschu.

C42i Poetry Recitation (aged 9)

1 Amy MacRitchie, Sgoil Lìonail.

2 Muireann Dalton, Sgoil Ghàidhlig Ghlaschu.

3 Ellie Cameron, Sgoil na Pàirce.

C22Ai Poetry Recitation (aged 7)

1 Ruairidh Sommerville, Bun-sgoil Ghàidhlig Inbhir Nis.

2 Jenna Yule, Bun-sgoil Chondobhrait.

3 (equal) Beth MacDonald, Bun-sgoil Lacasdail and Tormod Macleòid, Sgoil nan Loch.

C22 (5-6) Poetry Recitation (Rev Donald Stewart, Duntulm, Memorial Quaich)

1 Hannah Jane MacLeod, Bun-sgoil Chondobhrait.

2 Coinneach Mackenzie, Sgoil a’ Bhac.

3 Sarah Ann Mackenzie, Sgoil an Taobh Siar.

C41A Storytelling (11-12)

1 Kaitlin MacDonald, Bun Sgoil Lacasdail.

2 Molly Fox, Bun-sgoil Phort-rìgh.

3 Erin Nic’Illiosa, Bun-sgoil Stafainn.

C41 Storytelling (9-10)

1 Isabella Sommerville, Bun-sgoil Ghàidhlig Inbhir Nis.

2 Korin Weir-Stewart, Sgoil Ghàidhlig Ghlaschu.

3 Innes John Begg, Sgoil Lacasdail.

C21 Storytelling (5-8) (Alasdair Macinnes Memorial Cup)

1 Jessica MacKay, Sgoil Sir E Scott.

2 Seumas Stiùbhart, Bun-sgoil Taobh na Pàirce.

3 Fiona Langley, Sgoil Sir E Scott.

C89 Folk Tale (13-15)

1 Ruth M Mackay, Sgoil MhicNeacail.

2 Ruairidh Gray, Sgoil Lionacleit.

3 Marion MacCorquodale, Sgoil Lionacleit.

C39 Folk Tale (9-12)

1 Molly Fox, Bun-sgoil Phort-rìgh.

2 Nuala Macdonald, Bun Sgoil Ulapuil.

3 Alasdair Stiùbhart, Bun-sgoil Taobh na Pàirce.


C111 Two-part Harmony (13-18) (‘Oban Times’ Challenge Trophy)

1 Sgoil MhicNeacail.

2 Sgoil Sir E Scott.

3 Còisir Sgoil Lionaclait.

Mrs Hobbs Cup for Gaelic - Sgoil MhicNeacail.

C110 Unison (13-18) (Mrs Campbell Blair Trophy)

1 Sgoil MhicNeacail.

2 Sgoil Sir E Scott.

3 Còisir Sgoil Lionaclait.

Angus M. Ross Trophy for Gaelic - Sgoil MhicNeacail.


C175 Puirt-a-Beul (under 19) (Martin Wilson North Berwick Trophy)

1 Còisir Òg Ghàidhlig Ìle.

East Kilbride District Council Trophy (C173, C174 and C175) - Còisir Òg Ghàidhlig Ìle.


C44Aii Girls (aged 12) (Kenneth Brown Memorial Prize)

1 Alice Nic a’ Mhaoilein, Còisir Òg an Rubha.

2 Rhianna Porch Boyle, Sgoil Ghàidhlig Ghlaschu.

3 Erin Nic’Illiosa, Bun-sgoil Stafainn.

C44Ai (aged 11) (Maybury Gardens Cup)

1 Andrea MacDonald, Bun-sgoil Inbhir Pheofharain.

2 Eve Byrne, Bun-sgoil Chondobhrait.

3 Anna NicLeòid, Rionnagan Rois.

C44ii (aged 10) (Nancy Craik Memorial Trophy)

1 Mary Sophia Morrison, Bun-sgoil Lacasdail.

2 Emily Macdonald, Bun-sgoil Shlèite.

3 Caitlin Yule, Buns-sgoil Chondobhrait.

C44i (aged 9)

1 Isabella Sommerville, Bun-sgoil Ghàidhlig Inbhir Nis.

2 (equal) Evie Kellett, Comunn Gàidhealach Mhuile and Muireann Dalton, Sgoil Ghàidhlig Ghlaschu.

3 Seona Brown, Sgoil Ghàidhlig Ghlaschu.

C45A Boys (11-12)

1 Tormod MacIllinnein, Sgoil MhicNeacail.

2 Finlay MacLennan, Bun-sgoil Ghàidhlig Inbhir Nis.

3 Seumas Caimbeul, Bun-sgoil Chille Mhoire.

C45 (9-10)

1 David Chisholm, Rionnagan Rois.

2 Matthew Gilmour Wright, Bun-sgoil Taobh na Pàirce.

3 Anndra Uisdean Cuimeanach, Bun-sgoil Gheàrrloch.

C23Aii Boys and Girls (aged 8)

1 Luke Johnson, Sgoil Sir E Scott.

2 Fiona Langley, Sgoil Sir E Scott.

3 Isla Duke, Bun-sgoil Chondobhrait.

C23Ai (aged 7)

1 Ruairidh Sommerville, Bun-sgoil Ghàidhlig Inbhir Nis.

2 Maeve McKenzie, Bun-sgoil Chondobhrait.

3 Tormod Macleòid, Sgoil nan Loch.

C23 (5-6)

1 Hannah Jane MacLeod, Bun-sgoil Chondobhrait.

2 Flora Scott, Sgoil Sir E Scott.

3 Seumas Stiùbhart, Bun-sgoil Taobh na Pàirce and Seonaidh Forrest, Bun-sgoil Shlèite.

C146 Traditional: Boys (16-18) (Neil MacLaine Cameron Memorial Trophy)

1 Mìcheal Callan, The High School of Glasgow.

2 Duncan Macleod, Acadamaidh Rìoghail Bhaile Dhuthaich.

3 Alex John Moireasdan, Sgoil MhicNeacail.

C70B Boys (under 13)

1 Finlay MacLennan, Bun-sgoil Ghàidhlig Inbhir Nis.

2 Seumas Caimbeul, Bun-sgoil Chille Mhoire.

3 John Angus Morrison, Sgoil MhicNeacail.

C70Ai Girls (10 and under)

1 Ellie-Ceit Johnson, Sgoil Sir E Scott.

2 Arabella Manchester, Sgoil Bhaile a Mhanaich.

3 Seona Brown, Sgoil Ghàidhlig Ghlaschu.


C102 Girls (13-15) (James C. MacPhee Memorial Medal)

1 Lucy Smith, An Eaglais Bhreac.

2 Iona Scott, Bogh Mòr.

3 Abbie Morris, Ìle.

Alexander Hamilton Trophy for Gaelic (C102 and C103) - Lucy Smith, An Eaglais Bhreac.

Jean Graham Trophy for Music (C102 and C103) - Lucy Smith, An Eaglais Bhreac.


C74 (under 13)

1 Ellie-Ceit Johnson & Luke Johnson, Sgoil Sir E Scott.

2 Alice Nic a’ Mhaoilein & Kirsty Nicolson, Còisir Òg an Rubha.

3 Caitlin Yule & Johanna MacIver MacLeod, Bun-sgoil Chondobhrait.


C104 (13-15) (Donald Ross Memorial Trophy)

1 Holly Smith & Lucy Smith, An Eaglais Bhreac.

2 Abbie Morris & Elizabeth MacMillan Currie, Ìle.

3 Oscar Tormod Fish & Juliet Rose McKenzie, Sgoil MhicNeacail.

" ,"byline": {"email": "" ,"author": "DONALD WALKER"} ,"topImages": [ {"image": {"url":"/webimage/1.4262135.1476821023!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4262135.1476821023!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Lord of the Isles meets Mod competitors at the Nicholson Institute in Stornoway.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Lord of the Isles meets Mod competitors at the Nicholson Institute in Stornoway.","landscapeurl":"/webimage/1.4262135.1476821023!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4262136.1476821237!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4262136.1476821237!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Prince Charles cuts a cake to mark the 125th anniversary of An Comunn Gaidhealach, with An Comunn president John Macleod.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Prince Charles cuts a cake to mark the 125th anniversary of An Comunn Gaidhealach, with An Comunn president John Macleod.","landscapeurl":"/webimage/1.4262136.1476821237!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4262137.1476820955!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4262137.1476820955!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Traditional Silver Medal winners Eoin Cuimeanach and Mairi Callan.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Traditional Silver Medal winners Eoin Cuimeanach and Mairi Callan.","landscapeurl":"/webimage/1.4262137.1476820955!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4262138.1476820958!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4262138.1476820958!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Gaelic learner of the year Carmine Colajezzi, from Italy","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Gaelic learner of the year Carmine Colajezzi, from Italy","landscapeurl":"/webimage/1.4262138.1476820958!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/opinion/aidan-smith-bay-city-rollers-deserve-a-break-1-4260936","id":"1.4260936","articleHeadline": "Aidan Smith: Bay City Rollers deserve a break","commentCount":0,"publishedDate":1476773010000 ,"articleLead": "

It feels strange to be thinking about the Bay City Rollers when Bob Dylan has just been awarded the Nobel Prize for Literature, when Rod Stewart has just been knighted and when lots of deeply important bands have just got together for Desert Trip, billed as the mega-gig to top them all. But then again maybe not that strange.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4260934.1476740206!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Bay City Rollers drove their fans wild in their tartan-trimmed heyday. Picture: Vinnie Zuffante/Getty"} ,"articleBody": "

The Rollers would never have been invited to join the Rolling Stones, the Who et al in Indio, California. From the first indecisive chord, from the first keelie warble, they lacked credibility. All the cool people thought them an embarrassment to Scotland. In terms of harm done to cultural image they were the equivalent of five William McGonagalls. They were a quintet of Ally MacLeods. They were Fran and Anna teamed up with the Krankies with Shughie McPhee from Crossroads on drums.

But consider this from John Peel, the DJ who was the arbiter of cool right through the 1970s: “I just thought: ‘If I live to be 200 years old I am never going to experience anything like this again. As a kind of cultural event, this is almost without parallel in our century.” Who was he talking about? Our toothsome Shang-a-Lang boys, no less, when they performed at a Radio 1 Fun Day.

Rod Stewart turned up for his investiture in a pair of tartan breeks – trademark clobber for the man many regard as a Scottish icon, not least those who earn their living from sales of tartan. But Stewart has never claimed to be Scottish; the Rollers are. Every date on their tours was Tartan Day; no one has done more to promote the plaid, even if thousands of teenybopper girls with checked scarves round their wrists and mad lust in their eyes maybe wasn’t the desired image.

Surely, though there is nothing which links the band whose most memorable lyric is “Doo-wop-be-doobie-doo-ay” with His Bobness? Well, in the pre-fame days the Rollers were a bit different. They covered songs by the cooler bands, Cream and Crosby, Stills & Nash. The driving force then was Davie Paton, who also introduced Dylan’s Positively 4th Street and The Times They Are a-Changin’ to the Rollers’ set. The reaction of the girls to lines like “Come writers and critics who prophesy with your pen” is not recorded but in any case, the band wore black sheer lace see-through shirts, inspired by a trip to Paris and knocked up by fellow Roller Nobby Clark on his mum’s sewing machine, so the girls probably weren’t listening to the words.

This Paton was a proper, serious musician, as evidenced by his later career, from the band Pilot onwards. The other Paton, Tam, the manager, preferred pop to rock, mayhem to expertise. “When there’s so much trouble, terrorists blowing up things, kids want entertained,” he told the New Musical Express. “They want to go to a concert where they can scream, wet their knickers and have a great time. Isn’t that what music’s really about?”

These words have been dug up by Simon Spence for his book The Dark History of the Bay City Rollers (Omnibus Press). You can imagine Simon Cowell saying them, can’t you? There’s a lot that Paton said and did in the early days that was conniving, manipulative – and if this was Brian Epstein, manager of the Beatles, we were talking about – brilliant. The book doesn’t scrimp on the dark, sordid, horrible stuff which emerged later and led to Paton being dubbed a monster.

Who knew the story would turn out so bad? Not me or anyone else who saw “Bay City Rollers” graffiti-ed on Edinburgh’s Waverley Steps and, in brief ignorance, didn’t know what one of them was. And, after Paton had got rid of the musos and recruited more wan boys, transforming the band into a half-mast-trousered threat to public order, my little sister didn’t know it either.

On a night this eminent professor of nursing is often teased about, she was dropped off by our mother at the cinema where she was supposedly meeting her friends – only for them to sprint across town and change into their Rollers-apeing outfits in a phone-box for the concert she’d been strictly forbidden from attending.

I was a big musical snob when Bye Bye Baby topped the charts but the Rollers were my sister’s idols so I didn’t sneer when Les or Woody or Eric – lads who started out being driven around in Paton’s potato lorry and rehearsing in his potato factory – paraded their potato faces on Lift Off with Ayshea. These were pan loaf faces, faces we knew, real, actual pop stars from our town, bringing their gormless grins and Clermiston accents to national television. What’s not to like?

My sister, demonstrating the perceptiveness she’d demonstrate in her career, was struck by how guitar leads popping out of the backs of instruments during the hysteria of the show didn’t bring the music to a juddering halt. The Rollers were dogged by jibes about them not having played on their biggest hits while the Monkees never suffered like that.

The Rollers were dogged often. They became a national joke, a cringe-inducing expression of Scottishness like Brigadoon and were blamed, along with our footballers after the Argentina World Cup debacle, of causing a nation contemplating independence to lose its nerve. Hang on, they wailed, we’re just a daft pop band! And then they got ripped off.

The book, together with a recent TV tribute and play, is causing us to think again about their daft pop music – the best kind – and the band have reformed and are cashing in. Good luck to them.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4260934.1476740206!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4260934.1476740206!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Bay City Rollers drove their fans wild in their tartan-trimmed heyday. Picture: Vinnie Zuffante/Getty","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Bay City Rollers drove their fans wild in their tartan-trimmed heyday. Picture: Vinnie Zuffante/Getty","landscapeurl":"/webimage/1.4260934.1476740206!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4260935.1476740208!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4260935.1476740208!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Bay City Rollers were loved by their fans but became a symbol for all things wrong with Scottishness. Picture:: Getty Images)","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Bay City Rollers were loved by their fans but became a symbol for all things wrong with Scottishness. Picture:: Getty Images)","landscapeurl":"/webimage/1.4260935.1476740208!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/tv-radio/ken-loach-criticises-state-of-tv-drama-1-4261198","id":"1.4261198","articleHeadline": "Ken Loach criticises state of TV drama","commentCount":0,"publishedDate":1476771485000 ,"articleLead": "

Filmmaker Ken Loach has criticised the current state of TV drama.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4261197.1476772080!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ken Loach. Picture: Getty"} ,"articleBody": "

Broadcasters have enjoyed success with a wave of period dramas, from Downton Abbey and Victoria on ITV to Call The Midwife and Poldark on BBC1.

Asked about Downton, the 80-year-old told Radio Times magazine that broadcasters were putting the brains of their viewers to sleep.

“This rosy vision of the past, it’s a choice broadcasters make. It says, ‘Don’t bother your heads with what’s going on now, just wallow in fake nostalgia’. It’s bad history, bad drama,” he said. “It puts your brain to sleep. It’s the opposite of what a good broadcaster should do, which is stimulate and invigorate. You might as well take a Mogadon (medicine) as watch it. TV drama is like the picture on the Quality Street tin, but with less quality and nothing of the street.”

The filmmaker, whose gritty, landmark television play Cathy Come Home was shown on BBC1 in the 1960s, also complained that bosses interfered too much in the making of BBC dramas.

“Now the drama is produced by outside production companies and horribly micro-managed,” he said. “The directors I know in television say it’s a 
nightmare. That’s true for all the broadcasters, but the BBC is a rotten place for a director.”

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4261197.1476772080!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4261197.1476772080!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Ken Loach. Picture: Getty","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Ken Loach. Picture: Getty","landscapeurl":"/webimage/1.4261197.1476772080!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/paolo-nutini-adds-second-edinburgh-hogmanay-show-due-to-demand-1-4260867","id":"1.4260867","articleHeadline": "Paolo Nutini adds second Edinburgh Hogmanay show due to demand","commentCount":0,"publishedDate":1476745211000 ,"articleLead": "

HOGMANAY headliner Paolo Nutini is set to play a second night due to ‘overwhelming demand’.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4260866.1476721953!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paolo Nutini at T in the Park in 2014. Picture: Lisa Ferguson"} ,"articleBody": "

Tickets for the new ‘Night Afore Concert’ in West Princes Street Gardens on December 30 will go on-sale on Friday at 10am.

The Concert in the Gardens on the December 31 sold out in a record three hours, with organisers saying they were snapped up be revellers from around the world.

Nutini said today: “I was in the desert when I heard about the response to the first show.

“I was overwhelmed and am incredibly grateful for the support of all you great people.

“I was then asked if we would do a preceding show on the 30th as there could be others who never got tickets.

“I said I was up for it and I hope that we get to play to as many as we can that weekend.

“It will be a time to make some music, have a dance and celebrate a lot the good that’s been done this year and hopefully celebrate a lot of the sh*** being resigned to the past. Also, there will be more acts to be announced as soon as possible. Can’t wait.”

Al Thomson, Director of Edinburgh’s Hogmanay, said staging a second show was an “incredible achievement”.

“To be adding a second show is just phenomenal, for the festival, the city and most importantly for the thousands of fans who missed out on tickets for Concert in the Gardens on Hogmanay itself.

“With the Night Afore Concert with Paolo Nutini and the Torchlight Procession taking place on December 30, we will have the biggest ever opening to the Edinburgh’s Hogmanay Festival.”

Organisers Unique Events say they are expecting another sell-out three day festival, with 150,000 visitors from over 80 countries visiting the celebrations, bringing an estimated economic benefit of over £40 million to the city.

Edinburgh’s Hogmanay will not only kick-start 2017, but also launches a year of celebrations for the 70th anniversary of Edinburgh becoming the world’s leading festival city.

Councillor Richard Lewis, Edinburgh’s Festivals and Events Champion, said: “With still 10 weeks to go, the demand to celebrate Hogmanay in the Scottish Capital has been phenomenal.

“It is clear the world wants to celebrate the start of 2017 here in Edinburgh and what a year it will be for us as we welcome in the 70th anniversary of Edinburgh, the Festival City.

“It is hugely exciting to be able to host, for the very first time, a second performance from the Edinburgh’s Hogmanay headliner.

“The Concert in the Gardens sold out in a record three hours so it is fantastic to be able to offer Paolo fans another chance to see him live in Edinburgh. His second show will build even more excitement in the city as we count down to the greatest New Year’s party on earth.”

Tickets for Night Afore Concert with Paolo Nutini are priced at £65 (inc. booking fees) for the Enclosure and £55 (inc. booking fees) for the Gardens, and will go on sale at 10am on Friday through edinburghshogmanay.com, by calling Edinburgh’s Hogmanay Box Office on 0844 573 8455 or by calling into the Hogmanay Box Office at The Fringe Office, 180 High Street, Edinburgh.

Tickets for the street party, the Old Town Ceilidh with Belhaven, the Final Fling, Candlelit Concert, pre-booked Torches and wristbands for the Torchlight Procession, are all now on sale and available through the same channels.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4260866.1476721953!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4260866.1476721953!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Paolo Nutini at T in the Park in 2014. Picture: Lisa Ferguson","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Paolo Nutini at T in the Park in 2014. Picture: Lisa Ferguson","landscapeurl":"/webimage/1.4260866.1476721953!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/theatre/tom-waits-threatens-legal-action-against-edinburgh-festival-show-1-4261058","id":"1.4261058","articleHeadline": "Tom Waits threatens legal action against Edinburgh Festival show","commentCount":0,"publishedDate":1476745200000 ,"articleLead": "

A lavish French “equestrian operatic ballet” due to be staged during the 70th anniversary of the Edinburgh Festival could be blocked due to a legal challenge from the American singer-songwriter Tom Waits.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4261467.1476787191!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Getty"} ,"articleBody": "

The veteran rock musician wants to halt a show by an avant-garde Parisian theatre company which uses 30 live horses and 16 of his songs in its latest show.

Waits claims he would never have allowed his material to be used for the production, insisting that it “violates the integrity of my work” and that his songs are being “exploited”.

But its founder, circus performer Bartabas the Furious, has denied any wrongdoing, is adamant that official permission was sought through Waits’ agent and has claimed that 400,000 in euros was paid for the rights to the show.

Waits, 66, failed in an initial bid to stop the production – Acheve Bien Le Anges (They Shoot Angels, Don’t They?) – going ahead in Paris last month. And he has lodged a second claim for 500,000 in euros for using his songs without permission.

The legal challenge could thwart plans to transfer it to Scotland in August, when both the Edinburgh International Festival and Fringe will be marking their 70th birthdays.

The French company, Theatre Equestre Zingaro, took a smaller-scale production to London’s Sadler’s Wells venue last spring.

In a lengthy statement setting out his opposition to the outfit’s new show, currently running in Paris, Waits said: “These songs were not found like driftwood on the beach: they come from good families.

“The songs have value, my name and image have value, my voice has value. The value is cultural, artistic and personal, as well as economic. Often, things that are rare (or even medium rare) are more valuable.

“I turn down all commercial product endorsement offers and rarely collaborate or lend my name or work to other endeavours. It is my choice to get paid or not to get paid. And that value has been taken and exploited for the profit and promotion of Bartabas’s career and for his religious and political ideology, which neither the songs nor I chose to express. In short, it violates the integrity of my work.”

" ,"byline": {"email": "" ,"author": "BRIAN FERGUSON"} ,"topImages": [ {"image": {"url":"/webimage/1.4261467.1476787191!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4261467.1476787191!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Getty","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Getty","landscapeurl":"/webimage/1.4261467.1476787191!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/drop-in-children-s-entries-at-mod-bucks-recent-upward-trend-1-4261074","id":"1.4261074","articleHeadline": "Drop in children’s entries at Md bucks recent upward trend","commentCount":0,"publishedDate":1476735628000 ,"articleLead": "

ROYAL National Mòd organisers expressed surprise yesterday at a year-on-year drop in the number of children’s competitors at Scotland’s biggest Gaelic cultural festival, being held in Stornoway this week.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4261072.1476736883!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Twin sisters Rowan and Rebecca Morris from Port Ellen won the under-13 duet for Gaelic learners."} ,"articleBody": "

As events got underway in 33 poetry, drama, song and music contests for young Gaels aged 5 to 19 on day four of the Mòd, it was revealed that the 1,700 children entered this year is a slight fall on last year’s Mòd in Oban, and ends a trend of increased numbers over recent years.

In contrast, adult participants have experienced a slight rise, to 1,400 this year. The unexpected fall in the number of young performers also comes at time of rising numbers of pupils in Gaelic medium education. But this year’s entries in children’s categories are an increase on the numbers recorded when the Mod was last held in Stornoway, five years ago.

In addition, the last four Mods have been on the mainland, offering easier accessibility for many competitors.

An Comunn officials admitted the year-on-year decrease in entries was a concern which would have to be examined, but added that the longer term trend of annual increases has set the bar high.

“As usual the (overall) numbers are healthy,” said An Comunn chief executive John Morrison. “There was been a slight decrease in youth numbers but we are not quite sure why and we will have to look at that.”

One of the highlights of the children’s competitions yesterday came in duet singing, when the under-13 learners section was won by nine-year-old twins Rowan and Rebecca Morris, of Port Ellen Primary School, Islay. The Murdo Macfarlane Trophy for under-13 folk music was won by Na Rudhaich, a folk group from Point, Isle of Lewis. The award is named after a Lewis-born Bard whose Gaelic poetry, songs and pipe tunes, has been an inspiration for Gaelic artists and musicians. Chair of the Highland Council’s Gaelic Implementation Group, Councillor Hamish Fraser presented a £300 prize to the winning group.

“It’s been a delight to be present here today to see the young people perform to such a high standard,” said Cllr Fraser. “The standard keeps improving each year and all the young people taking part should feel very proud of their performances. I’ve every confidence that they will all progress and become successful ambassadors for Gaelic in the future.”

The children’s competitions continue today, and adult competitions begin tomorrow, with this year’s Gold Medal Final taking place on Wednesday evening.

Meanwhile, the National Library of Scotland announced yesterday that historic information about the history of 125-year-old An Comunn Gàidhealach is being made available online, as the Library continues its commitment to Gaelic which has seen more than 1200 Gaelic books, papers and documents made available online via its website in the past few years.

The Library is digitising An Comunn’s publications in its collection, including all the Mòd programmes - allowing people to search for names of competitors in years gone by. The material is available at http://digital.nls.uk/an-comunn-gaidhealach/

The National Library is also hoping to enrich its Gaelic collection by appealing to everyone at the Mòd to consider contributing any publications or material they may have at home. “We don’t have many Mòd programmes from before 1966,” said general collections curator Jennifer Giles, “and it would be great to fill in this and other gaps in our collection. We would be keen to hear from anyone who can help add to the national collection.”

Last week the Library also announced a new partnership with the popular website Wikipedia to recruit a Gaelic speaker to help develop Uicipeid, the online Gaelic Wikipedia.



C150 Poetry Recitation (16-18)

1 Gillian Maclean, Sgoil MhicNeacail.

C100 (13-15)

1 Ryan Johnston, Bogh Mòr.

2 Elizabeth MacMillan-Currie, Ìle.

3 Rachel Bolton, CGM - Loch Alainn.

C49A (11-12)

1 Mirren Brown, Bun-sgoil Port Ilein.

2 Freya Maclean, Còisir Òg an Rubha.

3 Eve Munro, Bun-sgoil Port Ilein.

C49 (9-10) (Cowal Trophy)

1 Rowan Morris, Bun-sgoil Port Ilein.

2 Tom Davis, Sgoil Shiaboist.

3 (equal) Rebecca Morris, Bun-sgoil Port Ilein and Isla Crosbie, Bun-sgoil Chille Chòmhain.

C26A (7-8) (Falkirk Rotary Club Trophy)

1 Mary Morrison, Sgoil an Rubha.

2 Scott Mac a’ Phì, Bun-sgoil Achadh na Creige.

3 Rufus Hughes, Bun-sgoil Achadh na Creige.

C26 (5-6) (Phemie Wilson Memorial Trophy)

1 Rachel Swallow, Bun-sgoil Chondobhrait.

2 Morven Burns, Bun-sgoil Chondobhrait.

3 Niamh Dalton, Sgoil Ghàidhlig Ghlaschu.

C24 Conversation (5-8)

1 Rufus Hughes, Bun-sgoil Achadh na Creige.

2 Scott Mac a’ Phì, Bun-sgoil Achadh na Creige.

3 Fionnlagh Calum MacDhòmhnaill, Bun Sgoil Ulapuil.

C25 Story Telling (5-8) (Daisy’s Den Trophy)

1 Scott Mac a’ Phì, Bun-Sgoil Achadh-na Creige.

2 Donald Andrew Fletcher, Sgoil Ghàidhlig Ghlaschu.

3 Fionnlagh Calum MacDhòmhnaill, Bun Sgoil Ulapuil.


C77 Two-Part Harmony (under 13) (Susan Paterson Caledonian MacBrayne Trophy)

1 Comunn Gàidhealach Mhuile.

C78 Puirt-a-beul (under 13) (Olive Campbell Trophy)

1 Rionnagan Rois.

2 Port Ellen Primary School Gaelic Choir.

3 Comunn Gàidhealach Mhuile.

C03 Unison (Rural Primaries) (Badenoch and Strathspey Area Committee Trophy)

1 Còisir Ghàidhlig Bun-sgoil Phort Ilein.

2 Còisir Ghàidhlig Bun-sgoil Bogh Mòr.

C76 Unison (under 13) (Donald and Maimie MacPhail Trophy)

1 Rionnagan Rois.

2 Seòid Lacasdail.

3 Bun-sgoil Lacasdail.

Darlington Gaelic Society Silver Jubilee Trophy for Gaelic - Rionnagan Rois.

Morag Robb Memorial Trophy for Music - Rionnagan Rois.


C173 Unison (under 19) (Queen Elizabeth 1937 Coronation Trophy)

1 Còisir Òg Ghàidhlig Ìle.

2 Falkirk Junior Gaelic Choir.

3 Glasgow Islay Junior Gaelic Choir.

C174 Two-Part Harmony (under 19) (Tom Crawford Trophy)

1 Còisir Òg Ghàidhlig Ìle.


C103 Boys (13-15) (James C. MacPhee Memorial Medal)

1 Ryan Johnston, Bogh Mòr.

2 Ross McLeish, Àrd-sgoil an Òbain.

3 Oscar Tormod Fish, Sgoil MhicNeacail.

C51A Girls (11-12) (Ronald MacEachen Memorial Cup)

1 Eve Stewart, Rionnagan Rois.

2 Jessica Gordon, Rionnagan Rois.

3 Kirsty Nicolson, Còisir Òg an Rubha.

C51 Girls (9-10) (Mrs Roderick B. Munro Trophy)

1 Talia Graham, Sgoil a’ Bhac.

2 Anna MacLeod, Sgoil Sir E Scott.

3 Layla MacIntyre, CGM - Loch Alainn.

C52A Boys (11-12)

1 Hamish Kennedy, CGM - Loch Alainn.

2 Nathan Rogers, Bun-sgoil Lacasdail.

3 Alexander Dugdale, Comunn Gàidhealach Mhuile.

C52 Boys (9-10) (Dr Archie MacKinnon, Islay, Memorial Trophy)

1 Seumas Macrae, Sgoil Lìonail.

2 Calum MacLeod, Sgoil Loch nam Madaidh.

3 Don Neil Macdonald, Sgoil an Taobh Siar.

C27A Boys and Girls (7-8) (Hugh Macintyre Memorial Trophy)

1 Aimee MacLeod, Sgoil nan Loch.

2 Verity Lawrence, CGM - Loch Alainn.

3 Alasdair Iain MacKay, Bun-sgoil Àth-Tharracail.

C27 (5-6) (Joan Campbell Memorial Trophy)

1 Sophie Stewart, Rionnagan Rois.

2 Niamh Dalton, Sgoil Ghàidhlig Ghlaschu.

3 Morven Burns, Bun-sgoil Chondobhrait.

C145A Traditional 16-18 (Provost of Falkirk Medal)

1 Mairead MacSween, Acadamaidh Bràghaid Albann.

2 Otilie Lawrence, CGM - Loch Alainn.

3 Laura Nicoll, Acadamaidh Bràghaid Albann.


C177 Previous Prizewinners (Skelmorlie and District Highland Association Quaich)

1 Emily Robertson, Còisir Òg na h-Eaglais Brice.

2 Ruairidh Gray, Sgoil Lionacleit.

3 Katie Macfarlane, Àrd-Ruigh.


C79 (under 13) (Angus MacTavish Memorial Trophy)

1 Rowan Morris & Rebecca Morris, Bun-sgoil Port Ilein.

2 Freya Maclean & Aaliyah MacDonald, Còisir Òg an Rubha.


C87B (under 13)

1 Clann Thròndairnis.

2 Commun Gàidhealach Mhuile.


C172 (under 19) (Allan Thomas Mitchell Trophy)

1 Strung, Drawn & Quartered.

2 Faram.

3 Còmhlan Acadamaidh Dheis.

C172A (under 13) (Murdo MacFarlane Trophy)

1 Na Rudhaich.

2 Ainglean Theàrlaich.

3 Clann Thròndairnis (A).


C180 (under 19) (Harris Tweed Authority Award)

1 Clann Thròndairnis.

2 Còisir Òg an Rubha.


C170A (under 19) (John Niven Anderson Memorial Trophy)

1 Àrd-sgoil MhicNeacail.

C87A (under 13) (Donald MacDonald Memorial Trophy)

1 Clann Thròndairnis.

2 Sgoil nan Loch.

3 Bun-sgoil Lacasdail C.


B360 Piobaireachhd (James R. Johnston Memorial Trophy)

1 J. Decker Forrest, Isleornsay.

2 James MacPhee, Inbhir Nis.

3 Brìghde Chaimbeul, An Caol.

B361 March, Strathspey and Reel (John T. MacRae Cup)

1 J. Decker Forrest, Isleornsay.

2 James MacPhee, Inbhir Nis.

3 Brìghde Chaimbeul, An Caol.

B362 Hornpipe and Jig (Argyllshire Gathering Quaich)

1 J. Decker Forrest, Isleornsay.

2 James MacPhee, Inbhir Nis.

3 Brìghde Chaimbeul, An Caol.

C130 March (16-18) (Royal Highland Fusiliers Cup)

1 Angus Finlay MacPhee, Inverness.

2 Eòghainn Peutan, Àrd Sgoil Phort Rìgh.

3 Calum Craib, Beinn na Faoghla.

C131 Strathspey and Reel (16-18) (Col. Murdoch MacTaggart, Bowmore, Memorial Trophy)

1 Calum Craib, Beinn na Faoghla.

2 Eòghainn Peutan, Àrd-sgoil Phort Rìgh.

3 Angus Finlay MacPhee, Inverness.

C132 Piobaireachhd (under 19)(W.G.G. Wilson Trophy)

1 Angus Finlay MacPhee, Acadamaidh Rìoghail Inbhir Nis, and

2 Calum Craib, Beinn na Faoghla.

3 Eòghainn Peutan, Àrd-sgoil Phort Rìgh.

C108 March (13-15) (Roderick Munro Trophy)

1 Ceitidh M NicDhòmhnaill, Barraigh.

2 Finlay MacVicar, Sgoil Lionacleit.

3 Eilidh Morag Nic a’ Phi, Acadamaidh Rìoghail Inbhir Nis.

C109 Strathspey and Reel (13-15) (Lighting Electrical Cup)

1 Ceitidh M NicDhòmhnaill, Barraigh.

2 Finlay MacVicar, Sgoil Lionacleit.

3 Eilidh Morag Nic a’ Phi, Acadamaidh Rìoghail Inbhir Nis.

C86 March (under 13) (Roderick Ross Memorial Trophy)

1 Joseph Nicholson, Uibhist a Deas.

2 Eala Niamh McElhinney, Sgoil Ghàidhlig Ghlaschu.

3 Laura Robertson, Bun-sgoil Ghàidhlig Lochabair.

C85 Chanter (under 13)

1 Ryan Mac an T-saoir, Sgoil Lionacleit.

2 Heather Ross, Bun-sgoil Inbhir Pheofharain.

3 Mairi NicIain, Sgoil Lionacleit.


C178 (under 19) (Smith Mearns Trophy)

1 Kyle Gordon Rowan, Àrd-sgoil Firrhill.

2 Archie MacKechnie, Acadamaidh Dholar.

3 Duncan Shirkie, Sgoil MhicNeacail.

" ,"byline": {"email": "" ,"author": "DONALD WALKER"} ,"topImages": [ {"image": {"url":"/webimage/1.4261072.1476736883!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4261072.1476736883!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Twin sisters Rowan and Rebecca Morris from Port Ellen won the under-13 duet for Gaelic learners.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Twin sisters Rowan and Rebecca Morris from Port Ellen won the under-13 duet for Gaelic learners.","landscapeurl":"/webimage/1.4261072.1476736883!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4261073.1476736885!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4261073.1476736885!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Islay Junior Gaelic Choir, led by choir master Arlene MacKerrell, won three trophies in choral singing competitions.","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Islay Junior Gaelic Choir, led by choir master Arlene MacKerrell, won three trophies in choral singing competitions.","landscapeurl":"/webimage/1.4261073.1476736885!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/dougray-scott-signs-up-for-tv-adaptation-of-irvine-welsh-s-crime-1-4260680","id":"1.4260680","articleHeadline": "Dougray Scott signs up for TV adaptation of Irvine Welsh’s Crime","commentCount":0,"publishedDate":1476711474000 ,"articleLead": "

Hollywood star Dougray Scott has agreed to star in a TV adaptation of Irvine Welsh’s novel Crime.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4260679.1476711448!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Actor Dougray Scott. Picture: TSPL"} ,"articleBody": "

The Fife-born actor will play a wayward Edinburgh detective who stumbles into trouble when he goes on holiday to Florida.

Scott will portray Detective Inspector Ray Lennox, who becomes embroiled in a paedophile ring protected by corrupt American police officers.

Although much of the action will unfold in Miami, it will be intercut with flashbacks to Edinburgh and a previous abuse case the troubled detective was involved with.

The book is a sequel to Filth, which was adapted into a feature film three years ago, starring James McAvoy three years ago. Jamie Bell played the role of DI Lennox on screen.

Welsh said: “The story is a classic journey from darkness into light and, despite the troubling subject matter, I think an uplifting one.”

Plans for the TV series were unveiled at Mipcom, the world’s biggest entertainment market event at Cannes in France.

Producer Tony Wood said the drama, which is expected to be adapted into a six-part series, would be Welsh’s “toughest yet most life-affirming to date.”

’Like’ The Scotsman on Facebook for regular updates


" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4260679.1476711448!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4260679.1476711448!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Actor Dougray Scott. Picture: TSPL","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Actor Dougray Scott. Picture: TSPL","landscapeurl":"/webimage/1.4260679.1476711448!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/gig-review-arab-strap-barrowlands-1-4260222","id":"1.4260222","articleHeadline": "Gig review: Arab Strap, Barrowlands","commentCount":0,"publishedDate":1476690871000 ,"articleLead": "

If this is what ten years apart can do for a band, then maybe more groups should try reconvening once every decade. Core Arab Strap duo Aidan Moffat and Malcolm Middleton have changed but not beyond recognition. Far from it, they have distilled their distinctive essence – the dynamic contrast between Moffat’s funny, frank, acerbic lyrics and gruff delivery and Middleton’s downbeat soundtracks – and then polished up the display case, all the better to appreciate their individuality.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4260221.1476690845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Arab Strap's \\nAidan Moffat and \\nMalcolm Middleton"} ,"articleBody": "

Arab Strap

Barrowlands, Glasgow

It’s not so much that the Falkirk-born duo have mellowed with age but that they have been shaped by experience so that this 20-year-old incarnation of Arab Strap was informed as much by where their solo careers have taken them as by the beefier, more expansive sound created by their current band.

Following an intro tape of the knowingly cheesy Scottish 1982 World Cup anthem I Have A Dream, that band were heard in full effect on set-opener Stink – meaty bass, powering drums and dramatic violin giving it a dystopian drive, before they powered seamlessly into the next number on a wave of post-rock guitar. You might even call it slick, not an accusation you could have levelled at the group in their late 1990s heyday.

Moffat was a naturally witty host, sharing his anxiety dreams, assessing the song Piglet as “a wee bit childish” and introducing New Birds as an uncharacteristic “song about not shagging” before shifting in to prime sonorous storytelling gear while the band whipped up a moody maelstrom around him.

In their capable hands, Girls Of Summer became a multi-part epic electronic symphony, and Scenery another sonic journey pairing potent bass with jazz-influenced piano playing from Stevie Jones and lashings of distortion, while Blood was souped up with Robert Henderson’s bluesy trumpet.

There were treats galore in the closing stages. Speed-Date, a suitably pacey party tune for ­dancing, was followed by their one sunny singalong There Is No Ending – popular at weddings, noted Moffat – and a slightly adapted version of their original calling card, The First Big Weekend, while the satisfying Shy Retirer and a softly soulful take on (Afternoon) Soaps enhanced the encore.

However, the stand-out line of the evening came from Confessions of a Big Brother, a song that they had not planned to play but which was plucked randomly from a ballot box of audience requests, “I hope you’ll reap the benefits of our ten years apart,” was the parting shot. Mission accomplished.

" ,"byline": {"email": "" ,"author": "FIONA SHEPHERD"} ,"topImages": [ {"image": {"url":"/webimage/1.4260221.1476690845!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4260221.1476690845!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Arab Strap's \\nAidan Moffat and \\nMalcolm Middleton","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Arab Strap's \\nAidan Moffat and \\nMalcolm Middleton","landscapeurl":"/webimage/1.4260221.1476690845!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/news/opinion/brian-ferguson-music-tourism-could-be-a-huge-boon-1-4260049","id":"1.4260049","articleHeadline": "Brian Ferguson: Music tourism could be a huge boon","commentCount":0,"publishedDate":1476646120000 ,"articleLead": "

Linking tourism and music is a winning combination, writes Brian Ferguson

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4260048.1476646095!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Music Tourist Convention will look at the impact of Glasgow venues like the SSE Hydro. Picture: John Devlin"} ,"articleBody": "

You know someone has come up with a winning idea when your immediate reaction is: “Now why has no-one thought of that before?”

That was my exact thought when The Scotsman’s pop and rock critic Fiona Shepherd told me last year about her then-new business venture, Glasgow Music City Tours.

After all, Glasgow has been bursting at the seams with venues, bands, gigs and events for decades. But Shepherd and fellow directors Alison Stroak and Jonathan Trew launched Glasgow Music City Tours last July with the aim of raising the profile of Glasgow’s rich musical heritage and celebrating the acts to emerge from the city.

It was the first time I had come across a fully-fledged “music tourism” business, although the phrase had crossed my radar some time before.

The Edinburgh-based journalist, promoter and convention organiser Olaf Furniss, whose Born To Be Wide seminars have done much to put Edinburgh’s music scene on the map, has had something of an obsession about the two sectors connecting up properly.

I bumped into him in the summer at the Hebridean Celtic Festival on the Isle of Lewis, during a marathon road trip to explore some of the country’s far-flung musical hotspots.

A subsequent newspaper article offered a fascinating insight into the multitude of scenes bubbling under well away from the centre of the Scottish music universe in Glasgow.

But Furniss’s odyssey from Edinburgh to the Outer Hebrides also took him on the trail of Johnny Cash, ACDC’s Bon Scott, Big Country, Barbara Dickson, Dougie MacLean, Jimmy Shand and The Skids.

It looks as if that time on the road, and indeed the high seas, has been time well spent as Furniss has just unveiled plans to stage the world’s first international music tourism summit next month.

Nicking in just ahead of a planned event in Liverpool in February, The Music Tourist Convention will not only be held in Glasgow, but will see the expert guides from that new music tour company take delegates around key locations.

Furniss has ambitions for the two-day event to provide a focal point for the “limitless” opportunities for linking up music and tourism – two vast and booming industries which inexplicably rarely cross over.

As far as he sees it, anyone interested in developing partnerships or exploring opportunities simply does not know where to turn at the moment. But if his fledgling event takes off, then musicians, venues, festivals, promoters and record stores will be brought together with transport companies, travel agents, visitor attractions, business groups and accommodation providers for the first time.

Anyone in the Scottish hospitality trade wondering why they should care about the music industry need only glance at new research showing that 928,000 people went to gigs and festivals north of the border last year, generating £295 million for the nation’s economy and supporting some 3,230 jobs.

Smarter minds than mine will no doubt be generating plenty of ideas for collaborations to bring to the event. But among the suggestions I would throw into the mix would be getting tourism organisations and transport operators to support taking bands to far-flung locations, staging more live music events in the grounds of historic attractions and castles, and developing new festivals and events which combine cutting-edge bands with thrilling experiences.

" ,"byline": {"email": "" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4260048.1476646095!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4260048.1476646095!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Music Tourist Convention will look at the impact of Glasgow venues like the SSE Hydro. Picture: John Devlin","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Music Tourist Convention will look at the impact of Glasgow venues like the SSE Hydro. Picture: John Devlin","landscapeurl":"/webimage/1.4260048.1476646095!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/under-the-radar-whyte-1-4258873","id":"1.4258873","articleHeadline": "Under the Radar: Whyte","commentCount":0,"publishedDate":1476594000000 ,"articleLead": "

Whyte are a Glasgow-based Gaelic/electronica duo comprising Gaelic singer-songwriter Alasdair Whyte (right in the picture) and electronic composer and musician Ross Whyte (no relation).

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4258872.1476469458!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "One half of Gaelic / Electornica duo WHYTE"} ,"articleBody": "

Originally formed via Ceòl’s Craic, an organisation encouraging traditional and contemporary musicians to collaborate, the duo have since performed at TradFest and are currently receiving airplay on BBC Radio Scotland and BBC Radio nan Gàidheal. Whyte’s sound is an interesting combination of ambient electronica with Gaelic song, and it has seen them compared to the late, great Martyn Bennett and Icelandic band Sigur Rós.

Their debut album Fairich will be launched at the Belmont Filmhouse in Aberdeen on Friday as part of the Sound festival, with further performances at Underdog in Aberdeen on 23 October and An Tobar on Mull on 28 October. Listen at https://whytetheband.bandcamp.com/releases or http://www.whytenoise.co.uk

" ,"byline": {"email": "" ,"author": "Olaf Furniss and Derick Mackinnon"} ,"topImages": [ {"image": {"url":"/webimage/1.4258872.1476469458!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4258872.1476469458!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "One half of Gaelic / Electornica duo WHYTE","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "One half of Gaelic / Electornica duo WHYTE","landscapeurl":"/webimage/1.4258872.1476469458!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/the-jingle-jangle-genius-of-nobel-laureate-bob-dylan-1-4259596","id":"1.4259596","articleHeadline": "The jingle jangle genius of Nobel laureate Bob Dylan","commentCount":0,"publishedDate":1476565572000 ,"articleLead": "

Those for whom awarding a Nobel Prize to Bob Dylan is low brow populism just don’t get the poet who opened a new frontier in literary expression, writes Dani Garavelli

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4259594.1476561745!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Bob Dylan performs at the Hollywood Palladium in 2012. Picture: Christopher Polk/Getty"} ,"articleBody": "

On a dank day in June 2004, Bob Dylan – his hair tousled and wearing boots of leather – sat impassively in the Younger Hall in St Andrews University as Professor Neil Corcoran talked of the significance of his oeuvre, and a hard rain fell outside.

Dylan had surprised everyone by turning up in person to collect his honorary degree; but if he was moved by Corcoran’s paean to his talents it was impossible to tell. Later, as scarlet-robed students sang Blowing In The Wind, his face remained a 
mask, and, when it was over, he disappeared through a side door without a word. But then that’s Dylan: messing with our heads since 1961. Anything short of inscrutability would have been a disappointment.

Dylan was performing in Las Vegas last week when the news he had been given the Nobel Prize in Literature broke. He reacted in his usual way; which is to say he failed to acknowledge it, carrying on with his set as if the musical/literary world hadn’t just gone into meltdown.

Surely, though, this thrawn septuagenarian, who has spent his life confounding expectations, must have enjoyed an inward chuckle at the furore the Swedish Academy’s announcement had caused. Within seconds, Twitter was self-combusting, as Dylan lovers and Dylan haters competed to express their joy or distaste.

There were the diehards, who thought it was high time his cultural contribution was acknowledged, and the “meh”-ers who have always believed him overrated. There were the whatabouters, who argued Philip Roth or Margaret Atwood were more worthy candidates, and the contrarians, who just wanted a fight.

The most common response from the naysayers, however, seemed to be the old saw: that Dylan is a fine songwriter, but not your actual poet ; that his words, while often thrilling, work only when set to music.

Dylan – the ultimate shapeshifter – has wilfully fed this false dichotomy, variously positing himself as “a poet first and a musician second” and “more of a song and dance man”. But those observers who tweeted sarcastic comments such as “Can’t wait for Don DeLillo to get his Grammy” seemed to miss these points: Dylan has also written long-form (his “memoir” Chronicles was widely acclaimed) and, in any case, the strict boundaries between different literary forms vanished long ago.

READ MORE: Bob Dylan 1966 Scottish gig recordings to be released

As the late Ian Bell – author of two Dylan biographies, Once Upon A Time and Time Out Of Mind – pointed out in an interview with the Scottish Poetry Library: “Those people who say he is not a poet tend to be using definitions and yardsticks which are positively archaic in the 21st century. Most of the rules for defining what is poetry were blown apart by modernism and have not come back together again.”

Another way of looking at it is that literature has come full circle, from the days before the printing press, when stories and poems were handed down orally. This is what Sara Danils, Secretary of the Swedish Academy, meant when she said: “If you look back 5,000 years, you discover Homer and Sappho. They wrote poetic texts which were meant to be performed, and it’s the same for Bob Dylan.”

A stronger comparison might be with Robert Burns, who plundered the folk tradition to create new verse, and didn’t have to contend with arguments over whether he was a songwriter or a poet; or whether his work was high or low brow.

“Dylan went so far back into the craft of what he was doing he was able to innovate and change it,” says Colin Waters, Dylan fan and communications officer with the Scottish Poetry Library.

“He had a fantastic knowledge of the lyric in ballad form. He knew about the Scottish Border ballads and also what Greil Marcus called the ‘Old, Weird America’; the Appalachian folk ballads and all the civil war songs. But he was also keyed into what was going on in New York at that time.

“He found a perfect marriage between the Beat poetry of Jack Kerouac and Allen Ginsberg and these older ballads forms. And this collision between the modern and the very old was so unusual it created something new and perhaps eternal.”

You could spend hours talking about Dylan’s use of language: the haunting power of lines such as “the ghost of electricity howls in the bones of her face” from Visions Of Johanna, the free-wheeling mysticism of Mr Tambourine Man or the shifting perspectives of the epic Tangled Up In Blue.

There’s his impressive tonal range too: from the scathing contempt of songs such as Like A Rolling Stone and Positively 4th Street to the tenderness of I Want You and Shelter From The Storm; from the anger of protest songs such as The Lonesome Death Of Hattie Carroll and Hurricane to the humour of Clothes Line Saga. “He’s done what every great poet has done: he’s been the political commentator, the romantic troubadour, the comedian, the enigma; he’s exhilarated, infuriated, mobilised, revolutionised, consoled and confused in equal measure,” says Dr Jim Byatt, teaching fellow in modern and contemporary literature at St Andrews University. “And many more people have sung Blowin’ In The Wind than have ever recited TS Eliot’s The Waste Land or Ginsberg’s Howl.”

OK, so I admit it: I am biased. Robert Zimmerman’s songs – played non-stop by my parents – seeped into my consciousness at a young age. I knew Dylan before I knew Roald Dahl, and I was captivated by his motley characters – the ragged clowns and seasick sailors, the empty-handed painters and the blind man at the gate – by the dissonant images and free association of words. From Dylan, I learned about rhythm and allegory; about irony and double meanings. If going to church taught me the concept of redemption, then Dylan taught me about scepticism, disillusionment and beauty.

If this were not the case, perhaps I would be with the many women bemoaning the fetishising of another elderly white man. But we are all shaped by our pasts, and so I will always believe Dylan’s place in the literary pantheon is unassailable.

Thankfully, a whole body of academic work exists to back me up : there is Christopher Ricks’ Dylan’s Visions Of Sin, Stephen Scobie’s Alias Bob Dylan and Do You, Mr Jones? Bob Dylan With The Poets And The Professors, a collection of essays edited by the aforementioned Corcoran. Those essays examine, among other things, “the riffing mind at work”; his names; his literal and spiritual journeys; his uncompromising honesty; and the “last words” of his songs.

Other essays have analysed specific works. Professor Aidan Day, formerly of Dundee University, has drawn parallels between the central character in The Man In The Long Black Coat and Satan in William Blake’s The Marriage Of Heaven And Hell, while Dylan’s song of seduction Lay Lady Lady has been compared to Andrew Marvell’s To His Coy Mistress.

Some suggest Dylan’s influence ranks alongside that of Shakespeare, with lines such as – “You don’t need a weather man to know which way the wind blows” and “money doesn’t talk, it swears”, finding their way into the lexicon. “Even people like my elderly aunt have heard lines like, ‘the answer my friend is blowing in the wind’; they have attained the sort of timelessness great poetry has,” Waters says.

From his early 20s on, Dylan read voraciously, immersing himself in the poetry of Arthur Rimbaud and TS Eliot, the novels of Leo Tolstoy and F Scott Fitzgerald, the short stories of HG Wells. Many of his works make reference to writers and the power of words. In Tangled Up In Blue he compares a book of poems to Dante’s and continues: ‘Every one of them words rang true / And glowed like burnin’ coal / Pourin’ off of every page / Like it was written in my soul’. Desolation Row includes the line: ‘Ezra Pound and TS Eliot / Fighting in the Captain’s tower.’

“I bet there is nobody on this planet who has done more to get people into poetry than Bob Dylan,” says Waters. “I think the very fact he mentions Eliot, Pound and Rimbaud will have led generations to read them.”

Stuart Taylor, doctoral candidate in contemporary American literature at Glasgow University, is also a fan. “Dylan’s body of written work is enormous and his awareness of poets from the transcendentalist Emersonian line, and Edgar Allan Poe and the American Gothic tradition is remarkable,” he says.

“I think the key point, though, is that his own poetic voice has had such an influence on popular culture and the higher end of literary output as well; you can see even it in the likes Thomas Pynchon and Cormac McCarthy.”

Although discussion of Dylan’s work often focuses on the period of intense productivity between 1965 and 66, when Bringing It All Back Home, Blonde On Blonde and Highway 61 Revisited were recorded, what marks him out is his sustained creativity; his ability to keep reinventing himself over six decades.

“It’s this desire not to be pigeon-holed, to play with different personae, which is a defining characteristic of modern literature,” says Taylor. Asked to pick one song that showcases Dylan’s poetic capabilities, he picks Desolation Row, but says another favourite is All The Tired Horses from Self Portrait.

“There’s an incredible two lines which are repeated and repeated: ‘All the tired horses in the sun/ How am I supposed to get any riding done?’ It becomes so hypnotic, there’s a double edge to the words “riding” and “writing”, but you can’t quite place it.”

Accusations of plagiarism continue to be thrown at Dylan by his detractors. Dominic Behan, the brother of Brendan, accused him of appropriating not only the tune, but also the concept of his Irish rebel song The Patriot Game for With God On Our Side. Phrases from Jack London novels have been found in Chronicles.

As Waters points out, Dylan took the opening line of an old Scottish folk song “Oh, where have you been, Lord Randal, my son” and turned it into “Oh, where have you been, my blue-eyed son” in A Hard Rain’s A-Gonna Fall, but in doing so, he created something radically new: a terrifying vision of nuclear annihilation.

“People have no problem with post-modern literature which has this magpie effect of cribbing classical quotes or stories from newspapers and turning them into something new – this kind of collage,” says Taylor. “I think that’s exactly what Dylan is doing.

“What I am really interested in – and what, for me, makes him an artist on another level – is that ever since he began his never-ending tour in 1988, he has addressed his own works, reinventing them and mashing them together. It’s always a dynamic process, he never rests on his laurels.”

There are, of course, those who will continue to see giving Dylan the Nobel prize in Literature as a bad joke. For every writer who rates him – Leonard Cohen said the award was “like pinning a medal on Mount Everest for being the highest mountain” – there will be another who, like Truman Capote, regards him as “that big phoney”. It’s easy to diminish him by mentioning songs such as Wiggle Wiggle or the experimental poems of Tarantula.

“There’s snobbery there and jealousy, and the notion of the struggling artist still pertains,” says Taylor. “Some people struggle with his obvious commercial success with his artistry.”

Another school of thought , however, says, in recognising Dylan as a worthy recipient, the Swedish Academy has broadened creative horizons. “This, hopefully, is a watershed moment,” says Byatt. “It acknowledges the cultural contribution not just of Dylan, but of a whole lineage of intellectually astute songwriters whose collective desire has been to challenge the system through popular entertainment. Dylan is, arguably, the fulcrum point that links Lead Belly to Eminem, Woody Guthrie to the Sex Pistols, Etta James to Patti Smith.”

For now, Dylan obsessives wait with bated breath for their icon’s response to his Swedish anointing. What surprises will the ceremony in December bring? Will he deliver a fascinating exposition of his craft – as he did when he received the MusiCares Person of the Year 2015 Award? Or will he accept it in stony silence?

Whatever he does or doesn’t say, the arguments over his literary merit will rage on. Let’s leave the last word to Bell, whose biographies of Dylan were arguably the finest. “If you reject this writer as a poet,” he wrote in a Scottish Poetry Library blog, “you had better be ready, please, to tell me what counts as poetry.”

" ,"byline": {"email": "" ,"author": "Dani Garavelli"} ,"topImages": [ {"image": {"url":"/webimage/1.4259594.1476561745!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4259594.1476561745!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Bob Dylan performs at the Hollywood Palladium in 2012. Picture: Christopher Polk/Getty","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Bob Dylan performs at the Hollywood Palladium in 2012. Picture: Christopher Polk/Getty","landscapeurl":"/webimage/1.4259594.1476561745!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ {"image": {"url":"/webimage/1.4259595.1476561747!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4259595.1476561747!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Joan Baez and Bob Dylan perform during a civil rights rally on August 28, 1963 in Washington D.C. Picture: Rowland Scherman/Getty","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Joan Baez and Bob Dylan perform during a civil rights rally on August 28, 1963 in Washington D.C. Picture: Rowland Scherman/Getty","landscapeurl":"/webimage/1.4259595.1476561747!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} , {"image": {"url":"/webimage/1.4259614.1476565547!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4259614.1476565547!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Bob Dylan receives an honorary degree of Doctor of Music from Sir Kenneth Dover (right), Chancellor of St Andrews in 2004. Picture: David Cheskin/PA","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Bob Dylan receives an honorary degree of Doctor of Music from Sir Kenneth Dover (right), Chancellor of St Andrews in 2004. Picture: David Cheskin/PA","landscapeurl":"/webimage/1.4259614.1476565547!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/books/book-review-i-am-brian-wilson-1-4259214","id":"1.4259214","articleHeadline": "Book review: I Am Brian Wilson","commentCount":0,"publishedDate":1476538972000 ,"articleLead": "

He gave the world Good Vibrations but Beach Boy Brian Wilson’s life has been one of struggle punctuated by brilliance, writes Chris McCall

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4259213.1476539336!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Brian Wilson at the 54th Annual Grammy Awards in Los Angeles, California. Picture: Kevin Winter/Getty Images"} ,"articleBody": "

The Beach Boys were a band of stark contradictions. Their early hits mythologised the surfing culture of early 1960s California, yet only one of them could use a board. Their best loved songs evoke sunshine and happiness, but were performed by a group riven with sibling rivalry and myriad personal problems. Yet the timeless quality of their best material ensures they win new fans among each passing generation. Their place in the pop pantheon is beyond question. But how did they get there?

Brian Wilson was the Beach Boys’ leader and principal songwriter from the beginning. The eldest of three brothers raised in Hawthorne, California, he taught his younger siblings, Carl and Dennis, to harmonise by listening to the radio in their shared bedroom. While The Beatles grew up with George Formby and Buddy Holly, the Wilsons were obsessed with vocal groups such as the Four Freshmen. The brothers were equally inspired and encouraged – often forcefully – by their father Murry, a songwriter with frustrated musical ambitions.

The Wilsons recruited their cousin, Mike Love, and school friend, Al Jardine, to complete the band line-up. In an era still dominated by crooners working for label-controlled songwriters, a group that wrote and performed its own material was a novelty. But their talent was obvious and they quickly secured a local record deal. That in turn led to a contract with then industry-leading Capitol Records and the pathway to stardom was clear.

Even the most casual of music fans will be able to recite the hits that followed – I Get Around, California Girls, Good Vibrations – and be vaguely aware of the issues that forced the group’s creative force to quit touring and, on several occasions, the music industry itself. Brian Wilson was blessed with a natural talent for writing pop hits, but cursed to suffer from mental illness at a time when the issue was little understood. Few people – family members, record company execs, music journalists – could fathom why one of the most acclaimed hitmakers of the ’60s could seem so miserable.

This biography is as much about Wilson’s reclusive existence in the 1970s and ’80s as it is about the heyday of his band. That he recovered sufficiently to return to regular touring in the early 2000s is one of the most remarkable stories of the pop music era. This is no misery memoir, however – the tone throughout is almost breezy; difficult subjects are dealt with honestly, but never in such detail as to become uncomfortable.

This is the second official telling of Wilson’s life. The first, published in 1991, prompted a string of lawsuits and was later disowned by its subject. This book is unlikely to cause a repeat. Many of the central characters are long dead, and those still alive are dealt with in a scrupulously even-handed fashion.

The strongest section of the book is when Wilson speaks candidly about his relationship with his late father. Many music hacks have speculated about the damage Murry caused his sons, but the reality is more complex. Brian admits he often feared him – beatings, shouting matches and the like were common when he was growing up. But he also acknowledges it was unlikely the Beach Boys would ever have taken off without Murry’s determination to see his sons’ band top the hit parade.

The book is on less firm ground when pages are given over to Wilson’s later solo material. While it’s obvious the recording studio was often his only truly safe space, and songwriting was an essential part of his recovery, even the keenest of Beach Boys fans may struggle to match his enthusiasm for long-forgotten album tracks.

Those fascinated by the Beach Boys’ mid-’60s peak are advised to read Nick Kent’s authoritative extended essay on the subject. But I Am Brian Wilson succeeds in shedding new light on Wilson’s remarkable life – and finally gives one of the great American songwriters the biography he deserves.

I Am Brian Wilson

By Brian Wilson, with Ben Greenman

Coronet, 320pp, £20

" ,"byline": {"email": "" ,"author": "Chris McCall"} ,"topImages": [ {"image": {"url":"/webimage/1.4259213.1476539336!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4259213.1476539336!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Brian Wilson at the 54th Annual Grammy Awards in Los Angeles, California. Picture: Kevin Winter/Getty Images","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Brian Wilson at the 54th Annual Grammy Awards in Los Angeles, California. Picture: Kevin Winter/Getty Images","landscapeurl":"/webimage/1.4259213.1476539336!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/bay-city-rollers-settle-royalties-dispute-with-sony-1-4258894","id":"1.4258894","articleHeadline": "Bay City Rollers settle royalties dispute with Sony","commentCount":0,"publishedDate":1476537497000 ,"articleLead": "

Members of the Bay City Rollers have won less than £70,000 each in an out-of-court settlement of their long-running pursuit of millions of pounds in unpaid royalties, according to a new biography of the 1970s chart-toppers.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4259204.1476537471!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Toby Williams"} ,"articleBody": "

Music industry giants Sony are said to have settled out of court earlier this year after a decade-long battle with the Edinburgh pop outfit.

They sold more than 120 million albums in they heyday, but were left virtually empty-handed in the wake of bitter legal wrangles.

Author Simon Spence spent a year investigating the troubled background of the band for his book, The Dark History of the Bay City Rollers.He says says he discovered a strict confidentiality agreement is in place over a deal, which key members of the band are believed to have won with Sony, parent company of their label Arista Records.

At one point the Bay City Rollers, whose hits included Remember, Shang-a-Lang, Bye Bye Baby and Saturday Night, were reported to have been owed more than £70 million in unpaid royalties.

His book charts the efforts of the various band members - including Les McKeown, Eric Faulkner, Stuart Wood, Alan Longmuir and Derek Longmuir - to recoup their royalties after being plunged into financial ruin when the Rollers split in the early 1980s.

It also lifts the lid on the drug and alcohol addiction problems which dogged the group and the influence of their long-time manager Tam Paton, who was put behind bars for gross indecency against two teenage boys.

Spence says the key members of the Rollers received just one previous royalty payment of £120,000 each when a previous out-of-court settlement was reached in 1987. A new lawsuit was launched 20 years later.

He writes: “In early May 2016, I was told by a reliable source, that the band and Sony had settled out of court. There had been no concrete developments in the lawsuit reported by the media.

“The settlement figure was rumoured to be $3.5 million and the band members were said to have come away with just about £70,000 each. It seemed a believable, if rather limp, ending to their epic struggle with the record industry.

“After all, there had been a similar amount of money on offer from the label for many years. It had been tens of millions they had been chasing.”

Spence said of his book: “I wanted to write a classic rock n roll book about the pop business, an expose.

“It is one of the most depraved and debauched stories in rock history and I was amazed there had not been a detailed book about it.

A new wave of “Rollermania” was triggered last September when a BBC Scotland documentary charted the highs and lows of the band.

Weeks later Les McKeown, Stuart Wood and Alan Longmuir revealed they would be reuniting for a series of festive shows. They then played the T in the Park festival and will be at the Hydro in Glasgow in December.

" ,"byline": {"email": "brian.ferguson@jpress.co.uk" ,"author": "Brian Ferguson"} ,"topImages": [ {"image": {"url":"/webimage/1.4259204.1476537471!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4259204.1476537471!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Picture: Toby Williams","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Picture: Toby Williams","landscapeurl":"/webimage/1.4259204.1476537471!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/dance-review-rosie-kay-dance-company-1-4258817","id":"1.4258817","articleHeadline": "Dance review: Rosie Kay Dance Company","commentCount":0,"publishedDate":1476486059000 ,"articleLead": "

Born in Devon, choreographer Rosie Kay spent her teenage years living in Edinburgh – so in some small way, Scotland can claim her as our own. Her five-star show 5 Soldiers toured the country to great acclaim recently, and it was good to see Kay north of the Border again – even if the double bill the company brought with it this time didn’t deliver on all fronts.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4258816.1476463682!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Dancers Shelley Eva Haden and Oliver Russell"} ,"articleBody": "

Beacon Arts Centre, Greenock ***

Double Points: K was first seen in Scotland at the Fringe in 2008, performed by Kay herself. But the piece started life in the hands of Italian Emio Greco, a unique and special dancer few can emulate. So for those, like myself, who saw Greco perform Double Points: two, those taking on Kay’s re-worked version have much to live up to.

Pushing that aside, dancers Oliver Russell and Shelley Eva Haden attack the choreography with a compelling intensity. Leg muscles work overtime on demi-pointe, arms sweep round like helicopter blades, and the atmospheric lighting gives the piece an almost science fiction feel.

But if Russell and Haden are put to excellent use in Double Points: K, they are entirely wasted in Motel. Inspired by artist duo Huntley Muir’s series of motel room paintings, this highly sexual work has neither an emotional heart nor engaging choreography, leaving the audience at a loss as to what to grip on to. Kay has proved herself many times to be a talent worth watching – but sadly not on this occasion.


" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4258816.1476463682!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4258816.1476463682!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Dancers Shelley Eva Haden and Oliver Russell","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Dancers Shelley Eva Haden and Oliver Russell","landscapeurl":"/webimage/1.4258816.1476463682!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-crude-walking-on-walls-1-4258819","id":"1.4258819","articleHeadline": "Theatre review: Crude & Walking on Walls","commentCount":0,"publishedDate":1476486042000 ,"articleLead": "

Whatever your feelings about the North Sea oil industry, there’s no denying the power of the sheer spectacle it creates, in the mighty drilling rigs and platforms that stand around our coasts, glittering at night like great palaces of industrial engineering. It’s the breathtaking scale of the industry, its drive, energy and hubris, that has partly inspired Grid Iron’s new show Crude, about the recent story of oil in Scotland. Scotland’s leading site-specific company has found the perfect setting for the show in a huge shed at the Port of Dundee, where a giant platform in the process of decommissioning gleams on the shoreline as the audience arrives.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4258818.1476464058!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Crude is far from perfect but it's a memorable show"} ,"articleBody": "

Shed 36, Port of Dundee ****

Oran Mor, Glasgow ***

As a show, Crude has its problems, starting with the decision – a strange one, from a company so expert in promenade theatre – to seat the audience in a conventional theatre arrangement facing into one corner of the giant venue, so that the rest of the space becomes nothing but a dialogue-muffling echo-chamber; the spectacular initial walk down an avenue marked out in gleaming white hard hats suggests a dozen exciting ways in which the vast space could have been used to present the story’s multiple strands.

Then there is the slightly pedestrian quality of the script, which offers several intertwined oil-related stories, along with a factual narrative distractingly presented by an untrustworthy-looking caricature of a Texas oil man; almost all of this material has already been better covered in Scottish theatre, from The Cheviot The Stag And The Black, Black Oil, to Liz Lochhead’s stunning double monologue Quelques Fleurs. And finally, there are aspects of the staging – the distance between the audience and the actors on Becky Minto’s huge platform-like set, or the appearance of aerialist Sarah Bebe Holmes as a symbolic “oil mermaid” – that work less well than they should.

Yet for all that, Crude is a show so timely in its theme, and so ambitious in scale, that it remains an unforgettable experience.

Phil McKee and Kirsty Stuart deliver fine performances as oil man Mike and his discontented wife, Tunji Lucas is impressive as Niger Delta freedom fighter Joel. And the verbatim evidence from the Piper Alpha disaster inquiry, interspersed through the text, is heartbreakingly powerful; in a show remarkable for its bold acknowledgment of both the destructive power of oil, and its huge, seductive appeal, as an energy source powerful enough to transform lives and nations, and to rebuild a whole world in its own gleaming image.

Morna Pearson’s Walking On Walls – the latest Play, Pie and Pint lunchtime show at Oran Mor and the Traverse –is a similarly fascinating and flawed piece of work, although without Crude’s breathtaking scale. As the lights go up, a young woman is standing over a man bound and gagged on an office chair; she is Claire, a self-appointed vigilante, and he is Fraser, whom she has apprehended for some offence that is at first unnamed.

The early part of the play is therefore a shade problematic, as Claire bangs on about her vigilante way of life for a good 15 minutes without explaining why she has arrested Fraser; it begins to seem as though we are in some situationist world where the reason doesn’t matter. Then she whips off Fraser’s gag, and a rather different play begins, a more psychologically realistic story of a girl bullied beyond endurance during her schooldays, who has returned to settle the score. Helen McKay and Andy Clark turn in a striking and thoughtful pair of performances, in Rosie Kellagher’s vivid production. The play ends as finely poised as it begins, in a precise and angry tale of small town life gone wrong.


Crude until 23 October; Walking On Walls at the Traverse Theatre, Edinburgh, 18-22 October.

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4258818.1476464058!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4258818.1476464058!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "Crude is far from perfect but it's a memorable show","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Crude is far from perfect but it's a memorable show","landscapeurl":"/webimage/1.4258818.1476464058!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/music-review-scottish-chamber-orchestra-1-4258835","id":"1.4258835","articleHeadline": "Music review: Scottish Chamber Orchestra","commentCount":0,"publishedDate":1476486025000 ,"articleLead": "

After last week’s underwhelming season opener, the SCO was back on form and running on rocket fuel as they delivered a punchy, effervescent account of Mozart’s Overture to The Marriage of Figaro with conductor Thierry Fischer, stepping in for an indisposed Robin Ticciati.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4258834.1476464530!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Scottish Chamber Orchestra perform"} ,"articleBody": "

Queen’s Hall, Edinburgh ****

The SCO’s principal conductor was instrumental in commissioning Martin Suckling’s Piano Concerto for Tom Poster, given its world premiere here. It is the solo piano’s jagged, dissonant chord clusters anchored to a repeated middle note that sets the tone for the ensuing orchestral mosaic. The fragmentary nature of the music, particular the overly complex rhythms, caused some slippage between the piano and ensemble in the first intermezzo despite the overall precision and attention to detail from Fischer and the players.Poster is an engaging pianist and his superb musicianship shone through, especially in the quieter more structured second intermezzo – Luminous – where the piano was framed by ethereal cut-glass harmonics. At times this ambitious work was uneven and unvaried. It only began to cohere in the final minutes when Suckling started flexing his impressive compositional muscles.

There was detailed substance in the orchestral texture with Poster reeling the music in from the outer reaches of the piano keyboard towards the centre through a thin gauze of shimmering strings. There was more high-octane energy from Fischer and the orchestra, with Poster on piano, as they romped through Richard Strauss’s Le Bourgeois Gentilhomme, which pays tribute to Lully’s music for Moliere’s 17th century play. Delightfully indulgent and excessive in every way.


" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4258834.1476464530!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4258834.1476464530!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "The Scottish Chamber Orchestra perform","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "The Scottish Chamber Orchestra perform","landscapeurl":"/webimage/1.4258834.1476464530!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/theatre/theatre-review-this-happy-breed-1-4258838","id":"1.4258838","articleHeadline": "Theatre review: This Happy Breed","commentCount":0,"publishedDate":1476486014000 ,"articleLead": "

When artistic director John Durnin chose Noel Coward’s patriotic drama This Happy Breed as part of this summer’s Pitlochry season, he can’t possibly have known that Britain would vote for Brexit. Yet theatre often senses which way the wind is blowing long before the fact; and now here we are, receiving a serious final lecture from Coward’s gentle hero, Frank Gibbons, about the alleged sturdy common sense of the great British people, their resistance to foreign rule, and their instinctive dislike of daft radical schemes for improving the world.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4258837.1476464712!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "This Happy Breed at Pitlochry Festival Theatre"} ,"articleBody": "

Pitlochry Festival Theatre ***

Set in the dining room of a house in Clapham between 1919 and 1939, Coward’s good old family drama features arguments over class, an extramarital affair, a son who tangles with radical politics, and a communist son-in-law; and between scenes, Durnin’s production provides striking contemporary images of the real struggles that formed the backdrop to the narrative.

In the world of the Gibbons family, though, the powers that be are respected, and radical ideas kept strictly at arms length. Mark Elstob and Helen Logan turn in touching and convincing leading performances as Frank and his wife Ethel. And at the end, we’re at least left much the wiser about why Coward became so bitter about his own country, after the Labour victory of 1945; hell-bent on crazy utopian projects like the founding of the NHS, it clearly wasn’t his kind of Britain any more.


Final performance at Pitlochry Festival theatre today

" ,"byline": {"email": "" ,"author": ""} ,"topImages": [ {"image": {"url":"/webimage/1.4258837.1476464712!/image/image.jpg_gen/derivatives/box_600/image.jpg","thumbnailUrl":"/webimage/1.4258837.1476464712!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","alt": "This Happy Breed at Pitlochry Festival Theatre","width":600,"height":315,"thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "This Happy Breed at Pitlochry Festival Theatre","landscapeurl":"/webimage/1.4258837.1476464712!/image/image.jpg_gen/derivatives/landscape_595/image.jpg","landscapewidth":595,"landscapeheight":398}} ] ,"bodyImages": [ ] ,"polls":[ ] ,"videos":[ ] ,"imageGallerys":[ ] ,"externalLinks": [ ] ,"relatedList":{"count":0,"list":[ ]} }} , {"article": {"url":"http://www.scotsman.com/lifestyle/culture/music/gig-review-swans-1-4258815","id":"1.4258815","articleHeadline": "Gig review: Swans","commentCount":0,"publishedDate":1476486005000 ,"articleLead": "

American noise rock pioneers Swans have been blowing minds and blowing speakers on and off for the past 30 years, but their current tour will be the final one for the band in its present incarnation – one which includes a charismatic man called Thor on dulcimer.

","articleThumbnail": {"thumbnailUrl":"/webimage/1.4258814.1476463440!/image/image.jpg_gen/derivatives/landscape_170/image.jpg","thumbnailWidth":170,"thumbnailHeight":"auto","imageAlt": "Michael Gira of Swans enjoyed some good vibrations> Picture: Jason Kempin/Getty Images"} ,"articleBody": "

Oran Mor, Glasgow ****

They are an imposing bunch in many ways – their grizzled sage of a frontman Michael Gira has cult leader potential while the rest of this band of warhorses are cut from similar cloth to Nick Cave’s Bad Seeds. You would not wish to tangle with them but they make a mighty devotional racket.

Oran Mor was packed with acolytes primed for a religious experience. The last few Swans’ albums have been triple prog rock epics, so there was no hurry for the sonic slaughter to begin. Rather there was a good half hour of hypnotic hum and rippling electronics in the Eno/Pink Floyd tradition before the bludgeoning began with the doomy toll of bass and guitar and Gira delivering a dread incantation over a controlled explosion of noise.

While the audience felt the vibrations surge through them, the sound on stage was characterised by Gira as “like a megaphone stuck up a baboon’s ass”. The universe rebelled and the power blew not once but twice. The band took it all in good humour before the resumption of hostilities, including another one-chord onslaught and a propulsive Krautrocker which energised proceedings as they galloped into the sunset.


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For some people, we’re the ones who hang upside down from chandeliers and arse around with Renaissance music.” Robert Hollingworth is right to suggest that I Fagiolini, the crack vocal ensemble he founded back in 1986, has a certain reputation for – well, let’s call it theatricality. After all, this is the man who cites Monteverdi and Monty Python as equal influences on his work. And the man who gave his group its “little beans” moniker because of the wholefood diet that early music enthusiasts were reputed to enjoy – only to discover that in Italian the name actually refers to a certain part of the male anatomy.

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Flamboyance and spectacle are central to I Fagiolini’s identity – and they’ll be very much on show in the group’s residency at the St Andrews Voices festival this coming weekend. “We open with a ‘salad’ of Renaissance secular music,” Hollingworth explains, “which has a couple of staged pieces. One is a peal of bells from a Swiss clock tower, which we’ve staged as a sort of – well, remember those little men in Trumpton? Then there’s a Spanish ‘ensalada’, literally a salad, with a mix of languages and music. But the piece is about an exorcism, about the fire of sin that burns in our hearts, and the Spanish Inquisition is called to exorcise the audience’s sins – so we may need to grab a couple of audience members to help with that…”

But despite all of I Fagiolini’s fun and frolics – “I don’t think we should be scared of the ‘E’ word – entertainment – as this music was certainly that at the time it was written,” points out Hollingworth – it’s fun with the backing of deep scholarship, and with a deeply serious intent. “I’m actually quite a hard-nosed authenticist,” he continues. “We don’t know anything about how these pieces would have been performed originally, other than that they were Christmas entertainments at the court of the Duke of Valencia in the 1530s. So it’s about using your imagination to help a contemporary audience who don’t want to have their heads buried in 12 pages of notes and translations to actually enjoy the music – and to understand it through enjoying it.”

With dozens of CDs and several BBC Proms and worldwide tours to their name, I Fagiolini are one of the most respected – and most individual – UK vocal groups. And they’re deeply embedded within the St Andrews Voices festival, giving two concerts plus workshops for both amateurs and professionals. That broadness of reach has always been part of the festival’s aim. Now in its fifth year, it’s bigger and more ambitious than ever before in its celebrations of vocal music: other highlights include a gig from King Creosote, a stop-off for Scottish Opera’s touring Elixir of Love, a sing-along Mary Poppins and an intriguing reboot of The Magic Flute with a new narration from Scottish writer Janice Galloway.

I Fagiolini follow up their Renaissance extravagance with a very different concert the following evening, featuring suave, seductive French music. “It’s long been a passion of mine, and French is the most delicious language to sing in,” says Hollingworth.

He recently unearthed a rarity in Jean Françaix’s witty Ode to Gastronomy – “It’s kind of like written-down jazz, very easy to listen to, but very difficult to put together.” And he pairs it with another typically unconventional offering: a choral arrangement of the heartbreaking slow movement from Ravel’s Piano Concerto in G. “It’s the most luscious piece, with an amazing, flowing melody that Ravel said nearly killed him.”

Hollingworth’s own links with St Andrews are set to continue, too. After directing the city’s St Salvator’s Chapel Choir in the festival’s Sunday morning service, he brings The 24, the choral group he directs at the University of York, to collaborate with the St Andrews choir on some big choral pieces next summer. “Collaborations are good,” he says, “and I like making connections, although – without getting too political – the recent Brexit vote hasn’t helped with that. But given the strength of the choral traditions on our islands, there are plenty of reasons why we should work together. I’m really looking forward to that.”

*The St Andrews Voices festival runs from 20-23 October in various venues throughout St Andrews, www. standrewsvoices.com

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