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Bill Douglas: The Film Poet of a Mining Town

By
Diana Kanishcheva
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The story of Bill Douglas is inextricably linked to the story of his films. Raised by his grandmothers and deprived of a stable home or family warmth, he sought solace in cinema from an early early age. Later, the hardships he endured, his friendship with Peter Jewell, and his passion for film history became the primary sources of inspiration for the director’s work, which is characterized by its autobiographical nature, visual economy, and deep humanism. Read more at edinburgh-trend.

The Guardian

Childhood, Military Service, and Meeting Peter Jewell

Bill Douglas was born on April 17, 1934, in Newcraighall, a mining village near Edinburgh, Scotland. His childhood was far from easy: initially raised by his maternal grandmother, he moved to live with his father and paternal grandmother after her death. The harsh living conditions, poverty, and lack of family affection largely shaped the future director’s worldview. It was during this period that cinema became his sanctuary from everyday struggles.

One of the pivotal moments in Bill Douglas’s life was his service in the British Army in Egypt during the 1950s. While stationed in the desert, he met Peter Jewell. Their friendship blossomed into a profound creative partnership that inspired numerous projects. A special place in their lives was occupied by collecting memorabilia related to moving images. Over the decades, they amassed one of Europe’s largest collections of film history materials, including posters, photographs, cinematic artifacts, documents, and rare items tracing the evolution of world cinema.

The Autobiographical Trilogy and Bill Douglas’s Signature Style

Upon returning to the UK, Bill Douglas moved to London, where he began working as an actor and screenwriter. In 1969, he enrolled at the London Film School. It was there that he penned the screenplay for a short autobiographical film titled “Jamie.” In this work, he drew upon his own childhood memories, adopting a realist narrative style grounded in personal experience. The project initially faced severe funding challenges. However, the tide turned when the script caught the attention of Mamoun Hassan, the head of production at the British Film Institute, who championed the project and helped secure the necessary financial backing.

True international acclaim came to Bill Douglas with his celebrated autobiographical trilogy. The first film, originally conceived as “Jamie,” was retitled “My Childhood.” Its success at international film festivals paved the way for two subsequent installments: “My Ain Folk” (1973) and “My Way Home” (1978). Together, these films form a cohesive coming-of-age story of the protagonist, Jamie, who closely mirrors the director himself. Through his personal lens, Douglas explores themes of loneliness, poverty, and the quest for one’s place in the world. Of particular significance in the trilogy’s finale is Jamie’s acquaintance with Robert, a young Englishman from a more affluent background. This friendship opens up a new world of books, culture, and knowledge for him.

Despite rave reviews from critics, the trilogy’s success did not guarantee financial stability. Like many auteur filmmakers, Bill Douglas struggled to find funding for new projects. During this period, Mamoun Hassan again played a crucial role in his life. In 1978, Hassan invited the director to teach at the National Film and Television School. Here, Douglas quickly earned a reputation as a gifted mentor, inspiring students not only with his professional expertise but also through his own creative example.

After years of searching for financial support, Bill Douglas finally received the opportunity to realize his most ambitious project—the historical drama “Comrades” (1986). The film’s plot is based on the real-life events surrounding the Tolpuddle Martyrs. These were six agricultural laborers from Dorset who were arrested in 1834 for attempting to form a trade union to protect their labor rights. Following a trial, they were sentenced to transportation to Australia. As in the Jamie trilogy, the director explores the human capacity to maintain inner strength even in the most brutal circumstances. Consequently, critics hailed the film as a true “poor man’s epic,” blending historical scale with deep humanism.

Following the release of “Comrades,” Bill Douglas continued to actively develop new creative concepts. Among his most ambitious projects were a screenplay about the cinema pioneer Eadweard Muybridge, whose photographic experiments played a vital role in the birth of the moving image, as well as an adaptation of James Hogg’s celebrated novel “The Private Memoirs and Confessions of a Justified Sinner.” However, he was not destined to see these ideas come to fruition. On June 18, 1991, Bill Douglas passed away from cancer.

Light Industry

Recognition and the Legacy of Bill Douglas

The legacy of Bill Douglas continues to thrive not only on the screen but also within academic and cultural spheres. A special place belongs to his unique artistic style, which blended a restrained visual language, minimal use of dialogue, and meticulous attention to frame composition. Critics frequently describe his cinema as poetic due to his ability to convey emotions through light, silence, expressive imagery, and the details of everyday life, rather than through exposition or dramatic monologues. Following the director’s death, the exceptional collection he built alongside Peter Jewell became the foundation for The Bill Douglas Cinema Museum at the University of Exeter, which opened its doors six years after his passing. His films, archives, and collections have become an essential part of British cinematic history, and the name Bill Douglas remains synonymous with creative independence, artistic integrity, and an unyielding devotion to the art of film.

BBC

Why Greenhouse Records Became a Cult Haven for House Music Fans

By
Inna Hananova
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For many music lovers, Greenhouse Records is synonymous not just with quality house music, but with a genuine love for vinyl. The Edinburgh-based label and record store have become a vital meeting point for collectors, DJs, and anyone hunting for rare releases. It is a place where musical discovery perfectly aligns with supporting independent artists. Read more on edinburgh-trend.

Mindtrip

The Roots of Greenhouse Records and Its Musical Philosophy

Greenhouse Records was founded in 2003 by DJ, producer, and music enthusiast Andrew Macari. From day one, the project had a clear mission: to bring people together from different cultures and countries to foster the growth of the underground electronic scene. Driven by his distinct vision of modern sound, Macari quickly earned a reputation for crafting deep, soulful jackin’ house. Working under various aliases, he dropped tracks that seamlessly blended high-energy dance house with elements of funk, jazz, and soul.

Joshua Gehman played a pivotal role in shaping Greenhouse Records, stepping in to co-manage the label alongside Andrew Macari. An experienced selector and avid music collector, Gehman heavily influenced the project’s unique curation policy. He draws inspiration from a vast spectrum of genres:

  • Roots Reggae;
  • Dub;
  • African music;
  • Latin rhythms;
  • Indie music;
  • Experimental club electronics.

This eclectic approach allowed the label to carve out a signature style, offering listeners music that pushes far beyond standard club templates.

The Vinyl Shop, Events, and Championing the Indie Scene

Another landmark project for Greenhouse Records is Habitat, a regular party series hosted in Edinburgh. The event quickly won over fans of high-quality sound thanks to its meticulously curated sets, intimate vibe, and sharp attention to detail. Meanwhile, the physical shop carved out a niche in global underground music, drawing in DJs and audiophiles looking for an original sound. Unlike massive commercial club nights, Habitat focuses on musical diversity, showcasing fresh talent, and creating a welcoming space for true electronic culture purists.

A core mission of Greenhouse Records is introducing customers to music they would likely never encounter in the mainstream space. The team puts massive effort into digging for fresh releases, independent artists, and boutique labels operating under the commercial radar. Thanks to their non-stop research into the global music scene, the shelves are regularly stocked with rare and obscure pressings. This is exactly why so many visitors discover entirely new genres, artists, and music cultures the moment they step through the door.

In a 2024 interview with VinylPackman, Andrew Macari emphasized the importance of building a welcoming environment for those just starting their vinyl journey. He noted that beginners can often feel intimidated, especially when exploring dance electronics. Shelves are frequently packed with “white labels”—releases featuring minimalist packaging and next to no info about the artist or tracklist. To bridge this gap, the shop’s team is always on hand to recommend releases tailored to individual tastes, offer in-store previews, and share the stories behind the artists and labels.

Record Store Day—the international celebration of independent record shops and vinyl culture—holds a special place on the store’s calendar. On April 18, 2026, Greenhouse Records joined the global festivities by hosting a massive musical evening for the local community. The event brought together crews from Umbrella Vinyl, Beat Generation, and the Greenhouse Records team. Guests treated their ears to handpicked gems from the personal collections of local DJs and collectors. The lineup covered a sweeping array of styles:

  • Funk;
  • Soul;
  • Disco;
  • Afrobeat;
  • Highlife;
  • Dub;
  • Tropicalia;
  • Bossa nova and related genres.

Josh, Laura, Nick, Ross, and Mark took over the decks, spinning their ultimate record selections and creating a vibrant, festive atmosphere for everyone present.

MSN

The Legacy and Impact of Greenhouse Records

Over more than two decades, Greenhouse Records has evolved into a vital hub for house music, vinyl culture, and the underground scene, winning deep respect from both listeners and industry insiders. One of the label’s crowning achievements is its massive discography, featuring releases from standout acts like The Craftsmen, Groove Federation, Craig Hamilton, Vernon & Dacosta, Lil’ Mark, Guided Methods, DeMarcus Lewis, and many others. A true testament to the label’s authority is how frequently its tracks are licensed for mix compilations by the world’s top DJs. Music from the imprint has been featured by iconic house figures like Mark Farina, DJ Sneak, and DJ Heather. On top of that, Greenhouse Recordings tracks have dropped on legendary labels like Om Records, Ministry of Sound, Transport, and Flower, marking a major step toward global recognition for the brand.

Mindtrip

Dauphin Magazine — a music archive of Edinburgh’s alternative scene in the early 2010s

By
Diana Kanishcheva
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In an era of rapid digital media growth, Dauphin Magazine carved out its own path by championing independent music and local creative communities. It consistently spotlighted emerging artists, intimate venues, and Edinburgh’s festival scene. As a result, the magazine became a vital piece of the city’s cultural ecosystem and its musical history. Read more at edinburgh-trend.

@lesnanarchistes

The Launch of Dauphin Magazine in the Digital Era

Dauphin Magazine emerged in the late 2000s as an independent digital publication dedicated to covering alternative music culture and supporting up-and-coming talent. Edinburgh’s music scene held a special place in its coverage. At a time when music journalism was shifting dramatically—with most major outlets focusing on major-label signings, commercial releases, and massive festivals—the magazine consciously went against the grain. It regularly covered gigs in small clubs, performances at local underground spots, and events driven by the DIY community.

Reviews, Festivals, and the Local Underground: Inside Dauphin Magazine

Album and single reviews were a cornerstone of Dauphin Magazine’s work. Its write-ups stood out from typical music journalism due to their distinct style and a desire to convey the pure listening experience through imagery, mood, and atmosphere. Instead of dry technical breakdowns or heavy genre labeling, the writers often took a literary approach to describing music. A key editorial rule was total equality among artists. The magazine gave the exact same real estate to signed indie acts as it did to completely independent, unknown musicians.

Interviews in Dauphin Magazine were also a far cry from standard promotional fluff. Conversations with musicians went way beyond plugging new releases, diving instead into the real challenges faced by independent artists. A prime example was a 2011 interview with the band Black International. During the chat, the band members looked back at their early days, their favorite local spots, and their most memorable gigs. One standout memory was one of their first shows at Cabaret Voltaire for the Dfrnt Drum night. The musicians recalled that the raw energy, the supportive crowd, and the chance to play for a completely fresh audience provided a massive boost early in their career.

Among Dauphin Magazine’s regular features, the “Song of the Day” series occupied a special spot. This format served as the editorial team’s daily music diary, featuring quick write-ups on tracks that absolutely belonged on readers’ playlists. Unlike long-form reviews or deep-dive interviews, these posts offered a quick way to discover new music while picking up cool trivia about the artists or the backstory behind a track. For instance, in their landmark 70th feature, the editors highlighted “Anti Lover” by the Finnish band Satellite Stories. The brief piece focused not just on the song itself, but on the band’s unique flair, roots, and creative identity.

Dauphin Magazine’s editorial direction evolved in tandem with Edinburgh’s cultural calendar. This was most apparent during peak festival seasons. Whenever a major arts forum took over the city, the team shifted into overdrive, churning out previews, top recommendations, and event reviews. A prime example was the 2012 Edinburgh Festival Fringe, during which the website essentially transformed into a go-to guide for the festival’s musical highlights.

Like many independent online outlets of the early 2010s, Dauphin Magazine eventually hit a wall as digital trends shifted. The explosion of social media overhauled how people discovered tracks and consumed content, with audiences increasingly turning to streaming giants and algorithmic recommendations. Over time, updates on the site stopped. However, the project didn’t vanish entirely. Thanks to web archives, a massive portion of its coverage remains available for music historians, journalists, and indie scene fans alike.

Frasers Hospitality

Dauphin Magazine’s Legacy in Edinburgh’s Indie Culture

Over its years of operation, Dauphin Magazine outgrew the boundaries of a simple music blog. It became a true chronicler of Edinburgh’s independent music scene, capturing not just new releases, but the evolution of the city’s cultural infrastructure. The real value of the archive lies in how systematically the team spotlighted underground venues, student hubs, and grassroots initiatives that national media routinely ignored. While the magazine never chased mainstream commercial success, it earned ironclad respect from musicians, promoters, and music lovers. Today, its archives stand as an invaluable case study for researchers, proving just how vital a role independent digital media plays in preserving cultural memory.

@lesnanarchistes

Continental Cinema at The Cameo: Through Celluloid, Dust, and Premieres

By
Diana Kanishcheva
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When the author Irvine Welsh arrived at The Cameo for the premiere of the film Trainspotting, the venue had already long held the status of an important hub for Edinburgh’s cinema culture. It was exactly here that generations of viewers were introduced to independent and European cinema, which rarely made its way into mass distribution. Having first opened in 1914, the establishment has survived two world wars, technological revolutions, and shifting cinematic eras. Despite all of this, its historical character remains almost unchanged. Read more on edinburgh-trend.

byronv2

The Birth and Early Successes of The Cameo

The King’s Cinema first opened its doors to visitors in Edinburgh on 8 January 1914. At that time, it stood out for its innovative technical solutions. In particular, a mirrored screen was installed here—the first screen of its kind in Scotland. The auditorium could accommodate 673 people, and the film screenings for these audiences were accompanied by live music. The famous all-female costumed orchestra of Madame Inge Egger created a truly special atmosphere for the visitors.

Forging The Cameo’s Alternative Repertoire

A new stage of development began in 1947 when the King’s Cinema was purchased by Jim Poole—a representative of a well-known British family that organised touring shows and managed a network of cinemas across Scotland and England. Following a large-scale renovation, the establishment received its new name, The Cameo, and reopened to the public in 1949.

From the very beginning, the new owner placed a strong emphasis on arthouse and European cinema, which rarely appeared in the repertoires of the major cinema chains. That same year, he initiated a close collaboration with the Edinburgh International Film Festival. One of their first joint initiatives was the ‘Continental Film Festival’, during which audiences were able to watch a screen adaptation of Jean-Paul Sartre’s work Les jeux sont faits. Other highly notable examples also included the French comedy Monsieur Hulot’s Holiday (1953) and Woody Allen’s cult film Annie Hall (1977), which drew in a substantial audience.

At the end of the 1970s, Edinburgh’s cinematic cultural landscape began to change. In 1979, the Filmhouse cinema opened not far from The Cameo, and it too specialised in showing arthouse, independent, and international cinema. From then on, the former was no longer the sole venue in the city where aficionados could acquaint themselves with alternative cinematic works from around the world. After many years of leadership, Jim Poole decided to retire in September 1982. Along with the end of his era, the cinema itself temporarily ceased operations. At that time, it functioned as a single-screen venue with 483 seats and was subsequently put up for sale.

A new life for The Cameo began after it was acquired by the company Recorded Cinemas. The new owners invested nearly £150,000 into a large-scale modernisation of the building. After the reconstruction was completed, the cinema was ceremonially reopened in August 1986. The revamped auditorium became much more comfortable for viewers, although its seating capacity was reduced to 420. The further development of the establishment envisioned expanding the capabilities for film screenings. To achieve this, neighbouring retail premises were purchased and fully integrated into the cinema complex. Thanks to this expansion, in the early 1990s, The Cameo transformed into a multi-screen cinema, officially opening its second and third screens.

An incredibly important stage in the history of The Cameo was the year 2006. At that time, the state organisation Historic Scotland granted the building and its interior Category B listed status. Such a decision guaranteed the preservation of the cinema’s historical elements and protected them from any possible radical changes during future reconstructions. The acquisition of this status was preceded by a highly active public campaign. After the owners announced their intention to sell the institution, representatives of the film community and professional organisations stood up to firmly defend the historical landmark. As a result, the owners instead focused on preparing a new development plan and seeking partners to finance further improvements.

A particularly special moment for the establishment was the year 2014, when The Cameo celebrated its centenary. Exactly one hundred years ago on Home Street, doors first opened to the cinema that would become a beloved meeting place for generations of film buffs. The anniversary celebration began with a gala party and a special exhibition dedicated to the rich history of the cinema. Visitors were given the opportunity to trace the exact path of the establishment from the era of silent cinema all the way to modern digital technologies.

Phillip Pessar

The Recognition and Significance of The Cameo

The Cameo is widely considered one of the oldest cinemas in Scotland that continues to operate to this day, as well as, quite possibly, the oldest cinema in the country to have preserved its original interior almost entirely without changes. Thanks to this, visitors have the opportunity not only to watch films but also to genuinely immerse themselves in the atmosphere of the early 20th century. No less important is the vital role the cinema plays in popularising independent, arthouse, and international cinema. From the time of its transformation into The Cameo in 1949, the establishment became one of the main platforms for screening arthouse films and European cinema in Edinburgh. It was exactly here that viewers could see films that so often remained completely outside the repertoire of the large commercial chains.

Forever Edinburgh

ABAGA Records: The Heart of Edinburgh’s Jungle, Dubstep, and Bass Culture

By
Diana Kanishcheva
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ABAGA Records is an independent electronic music label hailing from Edinburgh that quickly cemented itself as a cornerstone of the Scottish bass scene. Founded in 2008 by producer Tactus, the imprint united musicians, DJs, and fans around cutting-edge, heavy-hitting electronic music. Over the years, the label didn’t just drop records; it became a fierce champion for emerging artists, club culture, and grassroots initiatives. Read more on edinburgh-trend.

The Birth and Rise of ABAGA Records

Tactus stands out as a prominent figure in today’s electronic scene, seamlessly juggling his roles as a producer, live performer, and dedicated promoter of bass music. Throughout his career, he has earned respect not just on the dancefloor, but across the wider music industry. His live sets and original tracks have enjoyed airplay on heavyweight British radio stations like BBC Radio 1 and BBC 1Xtra, as well as on fiercely independent platforms like Sub.FM and Dandelion Radio. His track record boasts impressive milestones, including a live session on BBC Radio 1 and hosting international radio shows dedicated to the electronic underground.

A pivotal moment in Tactus’s career arrived in 2008 with the launch of ABAGA Records in the Scottish capital. The project rapidly evolved into a vital launchpad for bass-driven electronic dance music. The label collaborated with both homegrown Scottish talent and international acts, releasing digital tracks in a variety of formats—ranging from free compilations to full commercial EPs. Beyond the music itself, ABAGA Records curated themed mixes, published fanzines, and threw unforgettable launch parties to celebrate their new releases.

In 2011, ABAGA Records stepped beyond standard A&R duties to take an active role in defending Scotland’s independent music scene. That December, the label threw its weight behind a campaign to save BBC Introducing in Scotland on Radio 1—a crucial stepping stone for up-and-coming Scottish acts. The protests were sparked by BBC restructuring plans that threatened to axe the weekly two-hour show, which had been vital for breaking new homegrown talent. Label representatives argued that pulling the plug on the broadcast would be a devastating blow to the country’s grassroots music culture. To shine a spotlight on the issue, ABAGA urged listeners to sign an online petition and released a special charity compilation, with all proceeds donated to Drake Music Scotland.

Alongside its activism, the label continued to grow its own brand and nurture its musical community. In 2013, ABAGA rolled out a fresh line of branded t-shirts for electronic music fans. The design seamlessly blended the label’s logo, crafted by James Keevins, with artwork by Matt Martin—the creative mind behind the ASACKA release visuals. This merchandise was more than just a way to financially support the imprint; it became a staple of the ABAGA Records visual identity within the club circuit.

The final updates posted on the official ABAGA Records website in August 2014 heralded the return of Tactus himself. The producer unveiled the “Relocate EP”, a four-track mini-album that had been several years in the making. Released on a “pay-what-you-want” basis, it gave fans the ultimate freedom to name their price for the download. Musically, the Relocate EP showcased Tactus’s signature sound: a heady mix of jungle breaks, deep basslines, and reggae vocal samples. This release served as a fitting culmination of the artist’s creative evolution over the years.

The Independent

The Legacy and Impact of ABAGA Records

ABAGA Records emerged as a defining force in the Scottish independent electronic scene during the late 2000s and early 2010s. Thanks to the label’s tireless work, its roster of artists secured essential airplay and live sessions on major platforms like BBC Radio 1 and BBC 1Xtra, with top-tier DJs dropping their tracks in club sets worldwide. The imprint organised raves and launch events in collaboration with respected club nights such as Nu-Fire, Split, JungleDub, and Coalition. This not only nurtured the local electronic circuit but also cultivated a dynamic space for genuine creative exchange between artists and clubbers. Furthermore, ABAGA teamed up with the White Knuckle Collective and took part in lectures and educational workshops for the MOBO Tour, playing a crucial role in promoting electronic music and production to a younger generation.

Tactus

The Skinny and Scottish Underground Culture in the 2000s

By
Diana Kanishcheva
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Cultural journalism plays a vital role in shaping the creative landscape and championing grassroots talent. One of Scotland’s standout examples is The Skinny—a magazine that seamlessly blends independent commentary, sharp analysis, and unwavering support for local artists. Its work has profoundly shaped the modern Scottish cultural scene. Read more on edinburgh-trend.

Lewis MacDonald

A Grassroots Initiative and the Early Days of The Skinny

In 2005, a group of Scottish creatives passionate about the local arts scene founded Radge Media. Their goal was simple: to shine a light on the cultural life that mainstream media largely ignored. Bound by a shared drive to create a platform for contemporary Scottish culture, they championed the creative communities that were often overlooked by major publications. The founding team was deeply embedded in the scene, spanning music, film, theatre, literature, clubbing, visual arts, and comedy. Because they were active participants rather than just observers from the sidelines, they wanted this new outlet to be much more than an events guide. It was envisioned as a vibrant hub for debate, critique, and the promotion of homegrown talent.

This initiative soon gave rise to The Skinny, a magazine that made a name for itself by combining in-depth features, interviews, and comprehensive cultural listings. It primarily focused on Edinburgh, Glasgow, and Dundee, guiding readers through the most exciting urban cultural events. The publication quickly gained a loyal following among a younger demographic looking for an alternative to traditional media and craving a deeper dive into contemporary art. A defining feature was its balanced focus on both global superstars and emerging local acts. Even in its early days, the magazine featured interviews with heavyweights like Mogwai, Pearl Jam, Wu-Tang Clan, DJ Shadow, and Muse. At the same time, it was one of the first outlets to champion Scottish bands like Frightened Rabbit and The Twilight Sad, long before they achieved international acclaim.

At the Heart of Scotland’s Cultural Scene

As The Skinny evolved, it became intertwined with world-class cultural events. In 2006, it teamed up with Fest magazine, a publication dedicated to covering the Edinburgh Festival Fringe—one of the world’s most famous arts festivals. During this partnership, the magazine temporarily rebranded as SkinnyFest, before returning to the Fest banner in 2007. This collaboration allowed the magazine to embed itself even deeper into the festival circuit, cementing its status as an essential pillar of Scottish cultural media.

The year 2020 brought an unprecedented challenge, as the COVID-19 pandemic hit independent media and the broader arts sector hard. Due to lockdown restrictions, the magazine was forced to pause its print editions, and most of its staff were put on furlough from April to September. However, The Skinny didn’t just weather the storm; it proved the sheer strength of its community. The team launched a successful crowdfunding campaign, ensuring the magazine could bounce back and resume full operations.

In 2021, the team channelled years of cultural expertise into creating two bite-sized travel companions: The Skinny Guide to Edinburgh and The Skinny Guide to Glasgow. These publications served as cultural maps, blending curated recommendations, local insights, and top tips for discovering the best venues, events, and creative spaces. The guides became an instant hit and are now regularly updated to reflect the ever-changing urban landscape, new cultural hotspots, and current leisure trends. Building on this success, the team released a festive special, The Skinny Guide to Christmas, in 2022, offering an independent take on seasonal events across Scotland.

Expanding its horizons further, The Skinny launched GNAW, a free A5 magazine dedicated entirely to food and drink culture. Rather than simply reviewing restaurants, the team set out to explore gastronomy as a vital part of Scotland’s social and cultural fabric. For instance, the 2025 issue focused on the theme of community, examining how people across different Scottish regions foster a sense of togetherness through culinary traditions. Meanwhile, the first issue of 2026 was dedicated to whisky—arguably the most iconic symbol of Scottish heritage.

The Scotsman

Recognition and Lasting Impact

Over the years, The Skinny has transformed from a modest passion project into one of Scotland’s most influential independent cultural magazines. It has earned a stellar reputation as a go-to source for art, music, theatre, film, and urban culture, all while remaining free and accessible to readers nationwide. The publication has also run educational and writing programmes in partnership with various arts organisations, including Disability Arts Online and the Edinburgh International Festival. Its professional calibre is reflected in the numerous nominations and awards garnered by its writers. Since 2018, the magazine’s journalists have consistently made the shortlist for ‘Young Journalist of the Year’ at the prestigious PPA Scotland Awards.

Lewis MacDonald

From Counter to Label: How Bruce’s Record Shop Broke New Talent

By
Diana Kanishcheva
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0

At a time when access to new music was notoriously difficult, Bruce’s Record Shop proved to be a game-changer. It became a crucial hub for bringing American rock and the underground scene into the UK, and its influence rippled far beyond a single city. Read more on edinburgh-trend.

bruce’s record shop

Early Vinyl and Big Ideas: The Birth of Bruce’s Record Shop

In the late 1960s, Bruce Findlay launched a chain of music stores that would eventually become the legendary Bruce’s Record Shop. The operation was firmly rooted in Edinburgh, but Findlay’s ambitions quickly outgrew the Scottish capital. While his older brother was already involved in the family business, it was Bruce who had the entrepreneurial flair and the drive to expand. Thanks to his sheer persistence, the shops started popping up in other towns, gradually building a highly recognisable brand. Their main selling point was a clear and niche specialism: importing American rock and championing underground music.

Out-of-the-box marketing played a massive role in putting Bruce’s Record Shop on the map. One of their most iconic masterstrokes was the bright red carrier bag emblazoned with the slogan “I found it at Bruce’s”. The idea was to spark curiosity. People saw the catchphrase on the street but didn’t immediately know what it meant. The tactic worked like a charm—within weeks, those bags became a true status symbol. Interestingly, design students even offered to ‘improve’ the look, arguing that the bags needed to actually mention it was a record shop. However, Findlay stuck to his guns, convinced that the mystery was exactly what made the campaign so successful.

The shop’s interior design was just as striking. Stepping into Bruce’s Record Shop felt like entering a futuristic space, almost like the cabin of a submarine. The narrow, elongated layout featured curved walls, arched structures, and a warm colour palette, creating a vibe that instantly set it apart from its high-street rivals. The real showstopper was the central, two-tiered circular display unit—affectionately dubbed the “wedding cake”—which showcased the latest vinyl releases under spotlights. The shop windows also played a crucial role, proudly displaying album artwork, the ‘Record of the Week’, and the latest music charts.

Over time, Bruce’s morphed into a genuine cultural hub, actively shaping the local music scene’s narrative. A prime example of this was the launch of their very own newsletter, Cripes, in 1977. Spearheaded by Bruce Findlay and Brian Hogg, they realised that their audience didn’t just want a place to buy records; they craved a reliable source of music news. The fanzine was a classic product of its era: a DIY, photocopied publication with a brilliantly raw aesthetic. Its pages were packed with release news, reviews, gig listings, charts, and even mail-order sections. Given away for free at the till or popped into bags with purchases, Cripes ran for over a hundred issues, cementing fierce loyalty between the shop and its regulars.

The natural next step was to set up an independent record label. In that same pivotal year of 1977, Findlay founded Zoom! Records—a small but fiercely ambitious platform designed to back local artists. Working on the shop floor every day gave him the unique advantage of spotting raw talent long before it hit the mainstream. The label quickly began signing promising acts from Edinburgh before turning its attention to the burgeoning Glasgow scene. It was here that a little-known band called Simple Minds caught his eye. Signing them proved to be a masterstroke, as the group rapidly shot to fame. By this point, Findlay had evolved from a high-street retailer into a full-fledged band manager.

Crisis and Compromise at Bruce’s

However, music industry success came at a cost. As Findlay became increasingly absorbed in managing artists, his retail empire began to slip. Competitors were quick to copy his ideas and business model. Faced with mounting competition and the strain of over-expansion, the company found itself teetering on the edge of financial ruin by the late 1970s. The saving grace came in the form of a deal with Guinness, who offered to inject cash into the business in exchange for a controlling stake. While this lifeline saved the shops and protected jobs, it fundamentally changed the company’s DNA. For Findlay, it meant surrendering the complete independence that had always been his greatest strength.

Perth & Kinross Archive

The Legacy and Impact of Bruce’s Record Shop

Bruce’s Record Shop wasn’t just a business; it was a cultural phenomenon that left an indelible mark on the UK’s independent music scene. A true testament to its standing was its close collaboration with major industry players, notably Island Records. These connections helped the shop cement its market position and secure the most highly sought-after releases. But the true value of Bruce’s went far beyond mere retail. The shops acted as vital hubs for musical culture—hosting gigs, publishing their own fanzine, and fostering a tight-knit community around new music. The creation of Zoom! Records was the ultimate extension of this influence, paving the way for fresh talent to break through. The meteoric rise of Simple Minds remains the shining example of this legacy, proving Findlay’s exceptional ear for potential and his ability to take local talent to the global stage.

bruce’s record shop

The Royal Oak: Two Centuries of Folk Rhythm

By
Diana Kanishcheva
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0

The Royal Oak opens a gateway to the heart of Edinburgh’s live folk scene. This compact, 200-year-old pub remains largely unchanged since its founding, preserving the warmth of its timber walls and an unwavering spirit of tradition. Here, folk music isn’t just a performance on a stage—it lives among the people. Read more on edinburgh-trend.

The History and Evolution of The Royal Oak

Since the 1960s, The Royal Oak has served as a cornerstone of traditional Scottish folk music. During that era, it was owned by former Heart of Midlothian footballer Alan Anderson and operated under the name The Pivot. The pub is nestled within a historic cluster of buildings dating back centuries, to a time when Edinburgh residents rarely ventured beyond the city walls for fear of English raids. This confined space within the fortifications forced the city to build upwards, giving rise to Edinburgh’s iconic early “high-rises.”

A new chapter began in 1978 when Dorothy Taylor and her sister Sandra took over the lease. It was their vision that introduced regular music nights, open sessions, and informal “sing-alongs” that quickly captivated musicians and folk enthusiasts alike. Many future stars of the Scottish music scene honed their craft on the tiny stage of this Infirmary Street pub, which gradually became a symbol and a pillar of the city’s traditional culture. Sandra later recalled that, at the time of the purchase, the sisters were effectively filling a cultural void in Edinburgh.

For nearly a quarter of a century, Dorothy and Sandra remained the soul of The Royal Oak. They decided to sell in 2003 after Sandra—a star of the popular TV show White Heather Club—was advised by doctors to take a long break following a serious health incident near her home. The licence passed to Heather McKenzie, who stayed true to the pub’s musical heritage. Sadly, Dorothy passed away on 7 December 2007 after a long battle with cancer. Her contribution to traditional music and Edinburgh’s cultural life was honoured with a memorial ceremony that brought together musicians, friends, and patrons.

A significant milestone followed in 2008 with the release of the album The Royal Oak: Best of Folk via Magic Park Records. The project was born from renowned Scottish author Ian Rankin’s genuine passion for folk music and the pub itself, which he has long considered one of his favourite haunts. Rankin described his visits as a restorative ritual: after a day of walking the Old Town streets and enjoying dinner, a late-night stop at the Oak offered live music, warm company, and a relaxed atmosphere. The compilation seamlessly blends folk and country, reflecting the deep historical ties between the two genres.

In 2023, the pub’s parent company, Star Pubs & Bars, recognised Mae and Heather McKenzie for their dedication to Edinburgh’s folk scene. Heather, a professional sound engineer, had been a regular patron long before taking the reins. When the future of the pub became uncertain following the previous licensees’ retirement, she stepped in to preserve this vital musical hub. Under the stewardship of the mother-and-daughter duo, it has cemented its reputation as one of Scotland’s premier folk venues. Live music fills the air every night, and the pub remains the proud home of The Wee Folk Club, which has been based there for over 25 years.

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Recognition and Cultural Legacy

The Royal Oak’s greatest achievement is its pivotal role in reviving and sustaining folk music in the Scottish capital at a time when live traditional venues were scarce. Its nightly jam sessions have become a hallmark, fostering an atmosphere of openness, interaction, and spontaneity. The pub has served as a launchpad for many celebrated musicians and a gathering point for a dedicated community of performers and listeners. Among those who once graced its sessions are iconic figures of the Scottish scene, including Kris Drever, Bobby Eaglesham, and Karine Polwart.

Wikipedia

How The Corries Brought the Voice of the Hills to Life and Created a National Anthem

By
Diana Kanishcheva
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The Corries successfully transported the spirit of Scotland’s glens and hills into the urban concert hall. Their music did more than entertain; it breathed new life into history, legends, and the sentiments of everyday folk. Ultimately, their song Flower of Scotland transcended the stage to become the country’s unofficial national anthem. Read more on edinburgh-trend.

The Origins and Evolution of The Corries

The initial line-up, known as The Corrie Voices, consisted of Bill Smith, Ron Cruikshank, and Andy Turner. Their name was a clever double entendre: a nod to Smith’s daughter, Corrie, while simultaneously evoking the Scottish landscape, where a ‘corrie’ refers to a hollow on a hillside. Roy Williamson soon replaced Turner, leading to the formation of the Corrie Folk Trio, who made their debut at The Waverley Bar on St Mary’s Street in Edinburgh. However, just before the Edinburgh Festival, Cruikshank was forced to withdraw due to health issues. To avoid cancelling their appearance, Williamson suggested bringing in Ronnie Brown. They were later joined by Paddie Bell, solidifying the line-up as the Corrie Folk Trio and Paddie Bell.

By the mid-1960s, the group had been pared down to the duo of Williamson and Brown. It was a perfect pairing: Williamson was a multi-instrumentalist wizard, while Brown provided the powerhouse lead vocals. The pair took a hiatus from live performance to dedicate several months to intense rehearsals. Re-emerging simply as The Corries, they unveiled their new sound at the Royal Jubilee Arms in Cortachy, Angus. The warm and enthusiastic reception from the audience confirmed they were on the right track. From that moment on, the musicians secured their own television show and embarked on regular, extensive tours covering the length and breadth of Scotland.

The year 1969 holds a special place in the history of The Corries. It was then that the live album The Corries in Concert featured a track titled Flower of Scotland. The song rapidly gained traction, initially championed by supporters of boxer Ken Buchanan, who sang it as he made his way to the ring. Rugby fans soon adopted the tune, elevating it to the status of an unofficial anthem for the Scottish national team. It later cemented its place on the terraces at international football matches as a powerful symbol of national unity. several versions were released over the years, including a special edition for the 1974 World Cup campaign.

Roy Williamson battled asthma for many years, but eventually, his health began to fail him. During their 1989 tour, his condition deteriorated sharply, and doctors subsequently discovered a brain tumour. He spent his final days in Forres, where he passed away on 12 August 1990. Meanwhile, Ronnie Brown continued his creative pursuits in the studio, while also exploring painting and acting. Incidentally, Paddie Bell also returned to the music scene. With the encouragement of friends and the folk community, she began recording and performing once again, quickly reclaiming her status as a prominent and beloved artist.

In 1996, Gavin Brown—Ronnie’s son—personally built the first version of The Corries’ official website. The initiative was born from the realisation that fans struggled to find accurate and comprehensive information about the band. The site quickly evolved into the primary source for news, archival material, and historical facts about the group. Gavin continues to manage the resource independently, ensuring not only that the information remains current but also providing a high level of service for fans ordering official merchandise.

Edinburgh Music Review

The Significance of The Corries

By turning to ancient ballads and historical songs, The Corries did not merely preserve heritage—they actively revitalised it. They penned original compositions in a traditional style and employed bold instrumental choices and experimental methods that would later become standard practice in the folk industry. It is telling that the group’s songbooks were almost as popular as their albums. The duo took control of their creative output early on, recording and distributing their albums independently. Furthermore, by filming their songs in relevant historical and natural settings, they were effectively pioneers of the music video format long before it became a staple of the global music industry.

Brian Shuel

Ballads, Duets, and Ensembles at the Edinburgh Folk Club

By
Diana Kanishcheva
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The Edinburgh Folk Club stands as the premier hub for live folk music in Scotland’s capital. Established in the 1970s amidst the wave of the British folk revival, it has endured as one of the country’s most respected and long-standing institutions. For decades, its stage has shaped musical tastes by seamlessly blending deep-rooted tradition with contemporary sounds. Read more on edinburgh-trend.

The Founding and Evolution of the Edinburgh Folk Club

In the early 1970s, a small but exceptionally vibrant circle of live folk enthusiasts emerged in Edinburgh. Key figures included Kenny Thomson, a songwriter and journalist for The Daily Record; Ian Green, a perceptive ballad singer linked to the Fuzz Folk scene and the future Greentrax label; and John Barrow, a student who was already organising charity folk concerts at Edinburgh University. Following the closure of the Buffs Folk Club, they recognised the city’s desperate need for a new venue. Consequently, in the autumn of 1973, the Edinburgh Folk Club opened its doors in the basement of the Chaplaincy Centre on George Square. Kenny took the chair and MC duties, John handled the secretarial work, and Ian managed the finances.

By the late 1970s, the original venue was no longer fit for purpose—it was cramped, poorly equipped, and situated too far from the city centre. The committee took the bold step of moving to the Carlton Hotel’s function suite. While this demanded more organisational effort, it offered superior comfort: decent seating, a bar at the back of the hall, and greater capacity, despite the recurring battle to silence the overly enthusiastic bar staff.

Interest waned towards the late 1980s, bringing the club to the brink of closure. Financial pressures soon mounted as venues—both old and new—attempted to hike rent to prohibitive levels. Salvation came with a move to The Café Royal, which proved to be a near-perfect home for the collective. It boasted exceptional natural acoustics—so clear that amplification was often unnecessary. Crucially, the bar was in an adjoining room, accessible only to the audience and local musicians sneaking a pint during intervals. It was here that the club hosted the debut Edinburgh performances of The Poozies and Fiddler’s Bid.

The late 1990s marked a turbulent era. Changes to the programming philosophy gradually alienated a portion of the regulars, while management missteps led to significant financial losses. The club was rescued by veterans who remembered its roots. They overhauled the financial model, refreshed the management principles, and restored the focus on the intimacy between performer and audience. Membership and attendance rebounded, securing the club’s financial future. Once again, ancient ballads sat comfortably alongside contemporary songwriting, with a stage open to both established stars and emerging voices.

In 2023, the Edinburgh Folk Club celebrated its 50th Anniversary with a massive series of concerts and special events spanning several months. The traditional Wednesday night gatherings, now held at the Ukrainian Community Centre, took on special significance. The 38-event programme reflected the sheer breadth of the modern folk scene. Backed by support from Creative Scotland, organisers emphasised cross-generational and cross-cultural dialogue, inviting performers of all ages, backgrounds, and experience levels.

Edinburgh Folk Club

Recognition and Legacy

The Edinburgh Folk Club remains a heavyweight in the Scottish live music landscape. Its reputation has been built on consistent quality and a willingness to embrace diverse styles within the folk tradition. In recent years, the stage has hosted both household names and brilliant contemporary acts: from the virtuoso duo Jenn Butterworth and Laura-Beth Salter to the legendary Gene Kirkpatrick, and from the cult band North Sea Gas to internationally acclaimed duos such as Gordie Tentrees and Jaxon Haldane. Over the years, the club has hosted over 2,000 concerts for nearly 100,000 listeners, serving as a stable platform for career development and a milestone venue for countless musicians.

Edinburgh Folk Club
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