Tour: The Pyramid at Anderston

The Pyramid at Anderston on a sunny day

Friday 21 June 2024 | 18:30-20:00 | The Pyramid at Anderston, 759 Argyle Street, Glasgow G3 8DS

Step Inside the Pyramid: Where Community and History Meet

Have you ever wondered about the unique pyramid-shaped building in the heart of Glasgow? Now’s your chance to uncover its secrets! Join us for an exclusive tour inside this architectural marvel.

Back in the 1950s, the Church of Scotland promoted constructing less hierarchical church buildings, leading to an open-plan Modern design with Brutalist traits. This vision was brought to life by the architectural firm Honeyman, Jack & Robertson, resulting in the stunning Anderson Parish Church, now known as The Pyramid at Anderston.

Completed in 1968 as part of Anderston’s redevelopment, this distinctive structure houses twenty-two rooms used as meeting and workspaces, along with three spacious community halls, including the beautiful Sanctuary space with its distinctive shape and coloured stained glasses. From 1968 to 2019, the building operated as the Anderston Kelvingrove Parish Church. In 2018, a new chapter began with the formation of The Pyramid at Anderston Trust, a community membership organisation. A year later, with a grant from the Scottish Land Fund, the Trust purchased the building, ensuring it remained a vital community hub.

In June 2020, the Trust secured a £1.1 million award from the National Lottery Community Fund, kickstarting essential renovations. GCHT also provided a grant of £90,000 to work on the iconic reinforced concrete bell tower, some of the deep concrete fascia bands, and to an area of roof that corresponds to the main entrance foyer.

Join us for a one-hour tour to discover the history, architecture, and vibrant community spirit of The Pyramid. Refreshments will be served afterward in the beautiful and atmospheric Sanctuary space.

Step inside and be part of The Pyramid’s ongoing story!

£16 per person, booking essential.

You might also be interested in…

Glasgow Historic Environment: A Snapshot – 2019

Ever wondered which buildings in your neighbourhood are listed, or even on Scotland’s Buildings at Risk Register?

Our new interactive map shows data collated between February and April 2018 which gives a snapshot of the current state of Glasgow’s historic built environment.

Blog Post: Ghosts and Zombies

Read our latest blog post about our Ghost Signs of Glasgow project, pondering the nature of ghost signs and what they tell us about the urban landscape.

Enjoy Family Fun with our Kids Trails!

Download our Kid’s Heritage Trails!

Become a Friend of Glasgow City Heritage Trust

Each year, our events help over 2000 people to understand and appreciate Glasgow's irreplaceable built heritage. Can you help us to reach more people?

We are hugely grateful for the support of our Friends whose subscriptions help cover the costs of these events, thereby ensuring accessible pricing for everyone in Glasgow in these challenging times.

The easiest way to support the Trust’s work is to join our Friends scheme. Our tiered loyalty scheme means you can choose the level that’s right for you.

Ceramic Tile Making Course

A photo of four hexagonal ceramic tiles with a colourful, abstract pattern.

Friday 26th January – Friday 16th February 2024 | 18:30-20:30* | Glasgow Ceramic Studio, 77 Hanson Street, Glasgow, G31 2HF

Love tiles? Fancy the chance to create your own?

Tiles are a unique element of Glasgow’s built heritage which have adorned our closes and homes for centuries. 

Glasgow City Heritage Trust have teamed up with Glasgow Ceramic Studio and artist Alison Gray to deliver a practical course to to create your very own set of handmade tiles! The course will take place on a Friday evening for 4 weeks.

Join us for a chance to learn more about ceramic tiles as you experiment with colour, shape and surface treatment.

The cost of the 4 evening sessions is £150 per person. Price includes clay, glaze, plaster and two kiln firings. Space is limited to 10 places, booking essential.

We encourage you to bring along your own designs and materials for inspiration, or alternatively just have fun and experiment as you go!

Alison Gray, Glasgow Ceramic Studio, is a ceramic artist who has been working with clay for over twenty years. She has a long interest in tiles used in homes and Victorian buildings and has created tiles for kitchens and school wall plaques.

Breakdown of each week: 

Week 1: Friday 26th January, 18:30- 20:30 – Introduction and Learning
In this first session you will be introduced to Glasgow Ceramic Studio and start to get familiar with handling clay. We will take a look at some examples of how tiles have been used throughout history, with particular reference to Glasgow’s rich tile heritage. Then it’s time to experiment with a variety of different making techniques for cutting, creating images, surfaces and textures, to create your master tile ready for replication.

Week 2: Friday 2nd February, 18:30- 21:30* – Plaster Mould Making
This session will focus on creating a plaster mould of your tile design so that in week 3 we can produce multiple replicas ready for glazing and firing. Alison will guide you through the process of creating a frame and mixing the plaster prior to creating your very own tile mould.

*Please note the duration of this session will be up to 3 hours

Week 3: Friday 9th February, 18:30- 20:30 – Tile Reproduction
With plaster moulds created, it is now time to set the production line in motion to create your set of identical tiles. These will then be bisque fired ready for adding a colour in week 4.

Week 4: Friday 16th February, 18:30-20:30 – Decoration & Finishing
After a run through of some basic decorating techniques, now is the time to bring your tiles to life by adding some colour.  Once the tiles are decorated Alison will then glaze fire your pieces ready for collection at a later date.

You might also be interested in…

Glasgow Historic Environment: A Snapshot – 2019

Ever wondered which buildings in your neighbourhood are listed, or even on Scotland’s Buildings at Risk Register?

Our new interactive map shows data collated between February and April 2018 which gives a snapshot of the current state of Glasgow’s historic built environment.

Blog Post: Ghosts and Zombies

Read our latest blog post about our Ghost Signs of Glasgow project, pondering the nature of ghost signs and what they tell us about the urban landscape.

Enjoy Family Fun with our Kids Trails!

Download our Kid’s Heritage Trails!

Become a Friend of Glasgow City Heritage Trust

Each year, our events help over 2000 people to understand and appreciate Glasgow's irreplaceable built heritage. Can you help us to reach more people?

We are hugely grateful for the support of our Friends whose subscriptions help cover the costs of these events, thereby ensuring accessible pricing for everyone in Glasgow in these challenging times.

The easiest way to support the Trust’s work is to join our Friends scheme. Our tiered loyalty scheme means you can choose the level that’s right for you.

Understanding Ghost Signs: Ghost Signs of Glasgow Tour and Sign Writing Workshop with Women’s Type Foundry

Saturday 20th August 2022 | 10.30am to 5pm | Ghost Signs of Glasgow tour meeting point: George Square | Followed by lunch and sign writing workshop: GCHT office, 54 Bell Street, Glasgow, G1 1LQ.

Join us for a full day all about ghost signs!

This one day event will consist of a tour of Glasgow’s city centre ghost signs led by Ghost Signs of Glasgow, followed by a sign writing workshop with Women’s Type Foundry.

Ghost Signs of Glasgow is a project which unearths the stories behind old signs and shopfronts of the city by researching and documenting them. These ghost signs, the fading remains of old painted signs on buildings, provide an invaluable insight into Glasgow’s architectural, social and cultural history. Many ghost signs hide in plain sight in the urban landscape around them, leaving a tangible part of Glasgow’s heritage vulnerable to being lost forever.

The two hour tour will start from George Square at 10.30am and will end at the GCHT office at 54 Bell Street, where lunch will be provided.

In the afternoon you’ll get to participate in a sign painting workshop with Women’s Type Foundry, a female-led design, research and typography studio based in Glasgow.

The four hour workshop is inspired by signage and lettering, including ghost signs. You’ll get to learn about the history of sign painting and the main brush strokes used in sign writing. At the end of the workshop, each person will get to take home their own hand-painted sign!

Booking essential

Lunch included in the price

£59 per person

[ESPRESSO_TICKET_SELECTOR event_id=21295]

Please note: Payment is taken via PayPal but you do not need to have a PayPal account to pay online. 

You might also be interested in…

Glasgow Historic Environment: A Snapshot – 2019

Ever wondered which buildings in your neighbourhood are listed, or even on Scotland’s Buildings at Risk Register?

Our new interactive map shows data collated between February and April 2018 which gives a snapshot of the current state of Glasgow’s historic built environment.

Blog Post: Ghosts and Zombies

Read our latest blog post about our Ghost Signs of Glasgow project, pondering the nature of ghost signs and what they tell us about the urban landscape.

Enjoy Family Fun with our Kids Trails!

Download our Kid’s Heritage Trails!

Become a Friend of Glasgow City Heritage Trust

Each year, our events help over 2000 people to understand and appreciate Glasgow's irreplaceable built heritage. Can you help us to reach more people?

We are hugely grateful for the support of our Friends whose subscriptions help cover the costs of these events, thereby ensuring accessible pricing for everyone in Glasgow in these challenging times.

The easiest way to support the Trust’s work is to join our Friends scheme. Our tiered loyalty scheme means you can choose the level that’s right for you.

Live podcast recording: “Preserving historic hospitals: the Royal Infirmary”- Friends of Glasgow Royal Infirmary in conversation with Niall Murphy

Wednesday 24th August 2022 | 7pm to 8.30pm | Friends of Glasgow Royal Infirmary Museum, old Royal Infirmary Entrance in Cathedral Square. Disabled access via main hospital entrance off Castle Street.

Join us for an exclusive live recording event of a new episode of GCHT’s very own podcast, ‘If Glasgow’s Walls Could Talk, Series 2’.

‘If Glasgow’s Walls Could Talk’  explores the relationships between the city’s historic buildings and places and its communities. Each episode focuses on a specific area or type of building, not only from a historical and architectural point of view, but also from the perspective of the community.  The informal yet informative style of the podcast has engaged a wide range of listeners, with over 4000 downloads since the launch of the first series in October 2021.

This event will consist of a live recording of a new episode about the rich heritage of historic hospitals in Glasgow, with a focus on the Royal Infirmary. You will have the chance to listen to GCHT Deputy Director Niall Murphy interviewing Dr Hilary Wilson and Dr Kate Stevens, both Trustees of Friends of Glasgow Royal Infirmary.

Friends of Glasgow Royal Infirmary  is a charity established in May 2020 with the aim of celebrating the history of Glasgow’s oldest hospital. The Friends of Glasgow Royal Infirmary Museum was founded in May 2022.  

Glasgow Royal Infirmary hospital opened its doors in 1794 and has a fascinating history with multiple discoveries made within its walls. Many of these have had an impact worldwide, such as the setting up of the first X ray Department in the world, Joseph Lister’s discovery of antiseptic, William Macewen’s first successful brain surgery, and Rebecca Strong’s revolutionary nursing training.

The charity has a commitment to sustainability and has a gardening project at the hospital, with four beehives and plans for a ‘health, heritage and honey’ trail.

Booking essential

£7 per person, concessions £5

[ESPRESSO_TICKET_SELECTOR event_id=21370]

Please note: Payment is taken via PayPal but you do not need to have a PayPal account to pay online. 

You might also be interested in…

Glasgow Historic Environment: A Snapshot – 2019

Ever wondered which buildings in your neighbourhood are listed, or even on Scotland’s Buildings at Risk Register?

Our new interactive map shows data collated between February and April 2018 which gives a snapshot of the current state of Glasgow’s historic built environment.

Blog Post: Ghosts and Zombies

Read our latest blog post about our Ghost Signs of Glasgow project, pondering the nature of ghost signs and what they tell us about the urban landscape.

Enjoy Family Fun with our Kids Trails!

Download our Kid’s Heritage Trails!

Become a Friend of Glasgow City Heritage Trust

Each year, our events help over 2000 people to understand and appreciate Glasgow's irreplaceable built heritage. Can you help us to reach more people?

We are hugely grateful for the support of our Friends whose subscriptions help cover the costs of these events, thereby ensuring accessible pricing for everyone in Glasgow in these challenging times.

The easiest way to support the Trust’s work is to join our Friends scheme. Our tiered loyalty scheme means you can choose the level that’s right for you.

In Person Tour and Talk: Exploring Historic Interiors at Holmwood House **Sold Out**

**Sold Out** Wednesday 6th July 2022 | 6pm to 9pm | Holmwood House | 61-63 Netherlee Rd, Glasgow G44 3YU

Join us for an exciting night in the exclusive venue of Holmwood House, one of the most architecturally significant historic villas in Scotland, owned by the National Trust for Scotland. The night will consists of an in person tour of the house and a lecture on historic interiors and wallpapers.

The one hour in person tour will be led by National Trust for Scotland Visitor Service Manager, Ana Sanchez De la Vega, and will be followed by a fascinating talk about historic interiors and wallpapers, by National Trust for Scotland Curator Emma Inglis. Refreshments will be provided.

Located in the Southside of Glasgow, Holmwood House was designed by Scottish architect Alexander “Greek” Thomson, whose profound influence can still be detected everywhere in the city. This masterfully designed family home has impressed visitors for decades with its carefully curated design, and it is widely regarded as the architect’s finest domestic creation.

Alexander ‘Greek’ Thomson first designed the villa for paper magnate James Couper and his wife in 1857–8, and the architect’s penchant for Grecian styling and symmetry is found throughout the villa, where the bold opulent decoration echoes the colours seen in ancient Greek temples.

The tour will focus on the relationship between Thomson, Holmwood House and Glasgow, and give you an opportunity to learn about the legacy of his creative genius.

After the tour you will be invited to join NTS Curator Emma Inglis for a talk on historic interiors. The talk will explore two hundred years of wallpapers and major fashions and influences; from the exquisite Chinese papers of the 1720s to the mass produced patterns of the 1920s.

Emma Inglis is a curator for the National Trust for Scotland, and works with multi-disciplinary property teams to deliver interpretation projects, interior redecoration schemes, temporary exhibition programming and creative use of collections. She is involved in the research of collections and interiors, with a particular interest in domestic textiles, eighteenth and nineteenth century social history, and decorative interiors.

Booking essential 

Refreshments included in the price 

£18 per person, £14 concession

[ESPRESSO_TICKET_SELECTOR event_id=21009]

Please note: Payment is taken via PayPal but you do not need to have a PayPal account to pay online. 

We are using Zoom to broadcast our on line live talks. You can join these events as a participant without creating a Zoom account. You do not need to have a webcam or a microphone to join the event as a participant.

All events are subtitled. We aim to make our events as accessible as possible but if you feel that you might need some additional help, please let us know when you book your ticket or get in touch in advance. We’re open to feedback and would welcome your ideas on how we can improve in this area.

You will receive instructions on joining the event by email. If you haven’t received anything by midday on the day of the event, please check your spam folder and then contact us.

All events are recorded and everyone who has booked will be sent a link to the recording to watch again after the event. We are a small team and this can take a couple of weeks so please bear with us!

You might also be interested in…

Glasgow Historic Environment: A Snapshot – 2019

Ever wondered which buildings in your neighbourhood are listed, or even on Scotland’s Buildings at Risk Register?

Our new interactive map shows data collated between February and April 2018 which gives a snapshot of the current state of Glasgow’s historic built environment.

Blog Post: Ghosts and Zombies

Read our latest blog post about our Ghost Signs of Glasgow project, pondering the nature of ghost signs and what they tell us about the urban landscape.

Enjoy Family Fun with our Kids Trails!

Download our Kid’s Heritage Trails!

Become a Friend of Glasgow City Heritage Trust

Each year, our events help over 2000 people to understand and appreciate Glasgow's irreplaceable built heritage. Can you help us to reach more people?

We are hugely grateful for the support of our Friends whose subscriptions help cover the costs of these events, thereby ensuring accessible pricing for everyone in Glasgow in these challenging times.

The easiest way to support the Trust’s work is to join our Friends scheme. Our tiered loyalty scheme means you can choose the level that’s right for you.

Support us

Like many other charities, the coronavirus outbreak is having a major impact on our activities, threatening our crucial work to protect, repair and celebrate Glasgow’s rich built heritage. As a result, we expect to lose an important part of our income this year.

We are therefore asking that if you are able to support our conservation and outreach work,
please consider donating to the Trust.

Online Talk: A Bird’s-Eye View of the Development of Glasgow University: The Gilbert Scott Building

Wednesday 22nd June 2022 | 7.30pm BST | via Zoom

Taking Thomas Sulman’s 1864 bird’s-eye view of Glasgow as a starting point, this talk will explore a pivotal period in the history of development of both the city and the University. As Sulman’s balloon drifted above the city, the University was already planning its flight from the congested and polluted High Street site to the then rural Arcadia of Gilmorehill.

Using contemporary 19th-century photographs, engravings and paintings, Nick Haynes will guide us around the extraordinary complex of 17th-, 18th- and 19th- century buildings in the Old College, and set the scene for the construction of Scotland’s largest Gothic building on Gilmorehill.

Nick Haynes is a historic environment consultant, author and amateur photographer, who has recently joined property consultancy Montagu Evans as their Heritage Partner for Scotland. In 2013 he wrote the book Building Knowledge – An Archtectural History of Glasgow University, following the story of the Old College buildings in the High Street, through Gilbert Scott’s great palace of learning on Gilmorehill, to the newer adjoining campus at Hillhead.

Free, booking required, donations welcome. 

[ESPRESSO_TICKET_SELECTOR event_id=20952]

Please note: Payment is taken via PayPal but you do not need to have a PayPal account to pay online. 

We are using Zoom to broadcast our live talks. You can join these events as a participant without creating a Zoom account. You do not need to have a webcam or a microphone to join the event as a participant.

All events are subtitled. We aim to make our events as accessible as possible but if you feel that you might need some additional help, please let us know when you book your ticket or get in touch in advance. We’re open to feedback and would welcome your ideas on how we can improve in this area.

You will receive instructions on joining the event by email. If you haven’t received anything by midday on the day of the event, please check your spam folder and then contact us.

All events are recorded and everyone who has booked will be sent a link to the recording to watch again after the event. We are a small team and this can take a couple of weeks so please bear with us!

You might also be interested in…

Glasgow Historic Environment: A Snapshot – 2019

Ever wondered which buildings in your neighbourhood are listed, or even on Scotland’s Buildings at Risk Register?

Our new interactive map shows data collated between February and April 2018 which gives a snapshot of the current state of Glasgow’s historic built environment.

Blog Post: Ghosts and Zombies

Read our latest blog post about our Ghost Signs of Glasgow project, pondering the nature of ghost signs and what they tell us about the urban landscape.

Enjoy Family Fun with our Kids Trails!

Download our Kid’s Heritage Trails!

Become a Friend of Glasgow City Heritage Trust

Each year, our events help over 2000 people to understand and appreciate Glasgow's irreplaceable built heritage. Can you help us to reach more people?

We are hugely grateful for the support of our Friends whose subscriptions help cover the costs of these events, thereby ensuring accessible pricing for everyone in Glasgow in these challenging times.

The easiest way to support the Trust’s work is to join our Friends scheme. Our tiered loyalty scheme means you can choose the level that’s right for you.

Support us

Like many other charities, the coronavirus outbreak is having a major impact on our activities, threatening our crucial work to protect, repair and celebrate Glasgow’s rich built heritage. As a result, we expect to lose an important part of our income this year.

We are therefore asking that if you are able to support our conservation and outreach work,
please consider donating to the Trust.

CPD: Accessibility in the Historic Environment

Support us

Like many other charities, the coronavirus outbreak is having a major impact on our activities, threatening our crucial work to protect, repair and celebrate Glasgow’s rich built heritage. As a result, we expect to lose an important part of our income this year.

We are therefore asking that if you are able to support our conservation and outreach work,
please consider donating to the Trust.

"No Access" sign on wooden fence, on green background

Wednesday 25th May 2022 | 12.30-1.30pm | GCHT Zoom Meeting

Historic buildings and heritage spaces make up a major part of our housing, offices, commercial and recreations spaces. Unfortunately, a lot of these buildings are inaccessible to disabled people, creating barriers to housing, employment, and the enjoyment and appreciation of heritage, culture and art.

What can we do to create spaces that are truly accessible and inclusive of everyone? What makes a space and experience accessible and what are the steps to achieve this status?

In this CPD, Emily Yates, Head of Accessibility and Inclusive Design at Mima, will discuss disability and the historic built environment, regulations for accessible buildings, what sort of adjustments might be needed in a historic building, and how to make adjustments that don’t cause hardship to the user or exclude them.

A great believer in inclusive end-to end experiences that benefit both the user and staff member, Emily has experience of auditing transport networks (Rio 2016 and Northern Rail), and football stadiums (Watford, Liverpool, West Ham). She has also delivered disability awareness training sessions (Dubai Expo 2020), digital access audits and created inclusive policies and standards for organisations to improve their internal and external accessibility (Heathrow Airport, National Railway Museum).

The CPD will be recorded and available to all ticket holders after the event.

£15 per person / £10 for students.

[ESPRESSO_TICKET_SELECTOR event_id=20850]

 

All sessions are recognised by the Institute of Historic Building Conservation (IHBC) as being capable of contributing to the obligatory CPD requirements of Full Members (see www.ihbc.org.uk)

We are using Zoom to broadcast our live talks. You can join these events as a participant without creating a Zoom account. You do not need to have a webcam or a microphone to join the event as a participant.

We aim to make our events as accessible as possible but if you feel that you might need some additional help, please let us know when you book your ticket or get in touch in advance. We’re open to feedback and would welcome your ideas on how we can improve in this area.

You will receive instructions on joining the event by email. If you haven’t received anything by midday on the day of the event, please check your spam folder and then contact us.

You might also be interested in…

Glasgow Historic Environment: A Snapshot – 2019

Ever wondered which buildings in your neighbourhood are listed, or even on Scotland’s Buildings at Risk Register?

Our new interactive map shows data collated between February and April 2018 which gives a snapshot of the current state of Glasgow’s historic built environment.

Blog Post: Ghosts and Zombies

Read our latest blog post about our Ghost Signs of Glasgow project, pondering the nature of ghost signs and what they tell us about the urban landscape.

Enjoy Family Fun with our Kids Trails!

Download our Kid’s Heritage Trails!

Become a Friend of Glasgow City Heritage Trust

Glasgow City Heritage Trust is an independent charity and your support is crucial to ensure that our charitable work promoting the understanding, appreciation and conservation of Glasgow’s historic buildings for the benefit of the city’s communities and its visitors continues now, and in the future.

The easiest way to support the Trust’s work is to join our loyalty scheme. Our tiered loyalty scheme means you can choose the level that’s right for you.

Episode 1: Are you dancing? Yes, we are asking, with Norry Wilson, Lost Glasgow

Hello, and welcome to Glasgow City Heritage Trust podcast, “If Glasgow’s Walls Could Talk” a new series about the relationships, stories and shared memories that exist between Glasgow historic buildings and people.

Niall Murphy  

Hello everyone, I’m Niall Murphy and welcome to “If Glasgow’s walls could talk”, a podcast by Glasgow City Heritage Trust about the stories and relationships between historic buildings and people in Glasgow. 

In this episode we’ll be talking about historic music venues and ballrooms as spaces of interactions and connection. So how many of your favourite memories are linked to a music venue? And how important are these spaces for our collective memory and who knows about lost memories better than Norry Wilson from Lost Glasgow, Norry  is a journalist and social historian with a lifelong fascination with his home city, Glasgow. 

Norry  claims he first fell down to vintage photography rabbit hole while working on the Evening Times since then, following the launch of the Lost Glasgow Facebook site, he has gone on to stage a variety of exhibitions and talks on the subject. Even hosting a very popular photographic exhibition at Glasgow City Heritage Trust’s headquarters in 2017. Now with almost a quarter of a million online followers, the Lost Glasgow Facebook page continues to tickle the city’s collective memory, teasing out old stories, forgotten facts and lost legends, which are embedded in the photographic record of all Glasgow. Lost Glasgow’s Facebook page is an exceptionally good example of the use of social media as a crowdsourcing means to collect memories and stories from people and ultimately add to the rich fabric of Glasgow’s historic built environment. Because buildings are not just made of stone and brick, but also by people’s experiences and lives. 

So this is particularly true for buildings and spaces focused on social interactions like ballrooms and music venues. So the period between the start of the First World War in 1914, and up to the mid 1950s, is known as the golden age of social dancing in Glasgow. The city’s dancing boom peaked during the Second World War when Glasgow had at least 80 dance halls. But by the mid 1950s, as the ballroom dancing declined in popularity, to adapt to the ever changing times, a lot of the most popular ballrooms had to turn into music venues to survive. Nevertheless, they remained faithful to their identity as places of fun and social gathering. To name just a few of these places. We have the former Locarno on Sauchiehall Street, later known as Tiffany’s, and now the Genting Casino. The ballroom opened on the site of a former cinema, the Charing Cross Electric Theatre in 1926, and for many years was considered one of Glasgow’s top dancing venues. In the 1960s, the name was changed to Tiffany’s as discotheques became more fashionable. Sadly, the last dance ended when the building was converted into a casino in the 1970s. 

Then there is the hugely famous Barrowland Ballroom, opened on Christmas Eve 1934 by Maggie McIver, the Barras queen. As legend has it, the businesswoman decided to open the Barrowland Ballroom, after the usual venue for her Christmas party for the workers of the Barras  and their families was fully booked. Sadly, the ballroom was destroyed by fire in 1956, but was rebuilt in 1960. And it is now one of the most iconic music venues in Europe, where the likes of Bowie, Oasis, U2, Simple Mind, Mogwai, Bob Dylan and Metallica have played gigs. And what about the buildings that did not survive like the Dennistoun Palais, or the ones that still work as a space of interaction and fun where you can dance away your worries like the Grand Ole Opry. So have you ever wondered how much of the buildings we inhabit, how much, they shape our lives and our memories. So that is what we’re going to discuss with this and other topics with Norry today. So welcome, Norry.

Norry Wilson  

Hello, nice to be here.

Niall Murphy  

It’s good to have you Norry. So first up in your questions that we have for you today. Do you think that the progressive loss of these spaces of interactions has changed the way we interact, date and flirt? And if so, is this for the better or the worse?

Norry Wilson  

Eh, it’s one of these strange things because obviously with the rise of the Internet and social media and online dating and all the rest of it, the historic meeting dating game has probably changed beyond all recognition. It certainly has, from my teenage years there’s something I think, to me at least fairly sterile about that, because there’s, there’s nothing beats that sort of magic moment on a Friday or Saturday night when you, you catch somebody’s eye and there’s that awkward sort of dancing around each other. Trying out your best moves and your best part and hoping that you’ll land a lumber.

Niall Murphy  

Yes, very much it is. Yeah, it’s a human connection!

Norry Wilson  

Yeah and it’s it’s as old as time itself,  the way that you, yeah as I see you, you see a pretty girl or a pretty girl sees a pretty boy sees a pretty boy sees a pretty boy sees a girl, that sort of human connection, as I say I mean that that goes right way back further down the years,  if you were in Glasgow in the 1600s listening to a piper and a drummer, or  on the 1700s in all your finery in the old assembly rooms in Ingram Street. It’s all part of the mating and dating and the dance, the dance to the music of time. 

Niall Murphy  

Indeed Yeah, absolutely. I’m thinking of two, two kind of quotes that kind of make me think about all of this says that the great American urbanist and to Andrew Dunay is one of the few urbanists who was over in Scotland in the 2000s. He’s a he’s a really interesting character. And he used to say, he used to totally scandalise, his kind of audience at lectures about the saying, you know, ultimately what a great city is about. They’re about people meeting each other, obviously, but they’re also about sex. You know, it’s people looking for a mate, and that’s what this is all about. And that’s what you know, dancing is all about it was and this is the other great architect. Is he, Metzstein of, you know, Gillespie Kid and Coia, Yes. Oh, he always used to joke about this about you know, plans and sections whoever in architecture school and he would say guys basically it’s like dancing. It’s the vertical expression of a horizontal intention. Which is. It was a great gag but it’s absolutely spot on because that’s exactly what all of these spaces were all about. You know, you were selling your wares basically. 

Exactly. Okay, right. In your experience with Lost Glasgow. Are people keen to share their memories about ballrooms? And can can you give us a good example.

Norry Wilson  

People love talking about their dancing days, mainly because they were the most vital days of their life, they were they were young, they were carefree, fresh of face, fleet of foot, with no aches and pains, few responsibilities. And it’s strange enough, it’s it’s not only older followers, who do remember the Locarno and do remember the Albert Ballroom and do remember the Plaza over in the South Side? Yeah, as times have changed, I have couples on Lost Glasgow, who met and fell in love at the Arches or at  the Sub Club,  and are both parents in their late 40s. And are now dropping off their own teenage children at venues around Glasgow. So what we think of, what I certainly think of as very recent history is actually already history, I mean, I remember staggering down to the the opening night of the Sub Club, thinking let’s let’s check out this new venue. But of course, it’s not a new venue. I’m trying to remember what it was called. just before the Sub Club, but the venue itself. Yeah, in the basement of the classic, classic grand cinema. You know, it was operating as a jazz club back in the 1950s right,  and in the 1970s, It was the Jamaica Inn and it was one of the first proper discotheques in Glasgow, and all the sort of early radio Scotland DJs and Radio Clyde DJs used to do the Friday and Saturday night sessions in there, at 11 o’clock, or whatever it was, they would have to send out plates of spam and chips to get by the licensing laws. So you can see until one or two in the morning.

Niall Murphy  

Absolutely. It makes me think of Denise Mina “The long drop”, and how she kind of describes this 1950s version of Glasgow in her book which is just incredibly fascinating because it’s, it’s, it’s like, it’s like any great city you kind of get a layering up of history. And in these different you know, spaces which now are very different, were previously occupied by other aspects of a society. And it’s that kind of fascinating kind of layering of history that you get in places like the Sub Club there was, it had a previous incarnation in that same space, which was you know, occupied by a different generation who experienced it completely differently.

Norry Wilson  

And it’s, it’s also worth remembering though,  most Glasgow dancehalls,  pretty well all Glasgow dancehalls, right through until the mid to late 60s, were unlicensed, you couldn’t, you couldn’t get a drink in them. You went to the pub, and then you went to the dancing, if you were lucky, you try to, if you had  a girlfriend, you try to have to smuggle in a half bottle and a quarter bottle in her  handbag because it was it was only soft drinks.

Niall Murphy  

Right? I had no idea. That’s fascinating. Yeah. So how was that?

Norry Wilson  

The usual Glasgow Presbyterian licensing laws. Okay? You can either have drink or you can have dancing but never the twain shall meet. Right? Bizarre!  Glasgow has got this, even though we love to dance, the  city fathers have always been slightly suspicious of people enjoying themselves. Yeah, as I say it goes back to that sort of Presbyterian,  if you go right back to the 1700s, and I’m trying to remember the chaps, but the guy who set up the first proper dancing school in Glasgow, where you actually had to go and learn how to do a gavotte, or whatever the dances were of the day, right? 

The only way he managed to get a licence for his dancing school was under this condition: the council laid down the condition that there to be no mixed classes with women. Women learn to dance with each other in the morning. And men would dance with each other in the afternoon. And at no point were they ever ever allowed to dance together. It is it is dancing school!

Niall Murphy  

Oh my goodness. How paranoid is that? That’s an absolutely, that’s that’s hilarious. Okay, well, good. Turning back to what we were talking about with the Sub Club. And this is you know about the evolution of spaces. And how things shifted from, you know, as fashion changed from, from ballrooms to music venues or something else, you know, does that ultimately reflect these kind of important changes in society? And if that is the case of this has always been happening in the past, what what does the future hold, particularly after you know, the pandemic?

Norry Wilson  

Spaces and  places  where you  dance and listen to music are always changing, they’re always adapting to meet the needs of new audiences. And that that’s part of the excitement, it is a young person’s game, they always want to bring new ideas to the table. They don’t want to do the same things the way that the parents did. And that’s always refreshing. 

I remember being slightly horrified in my early clubbing days, my favourite destination of a Friday night was Maestro  in Scott Street upside the Art School. I had my mom who was at the Art School in the 1940s. She said she said, where are you going? I found this really good new trendy night club  full of my tribe. And mum said where is it? Scott Street on the side of the Art School, and she said, Oh, we used to go dancing in there in the  1940s. I was absolutely horrified that this exciting underground venue that I discovered, had been my mom’s hangout 40 years previously. 

But I mean, particularly at the moment, obviously, I mean, COVID had a devastating effect and Glasgow is nighttime economy, pubs, clubs, venues, promoters, musicians DJs. And the whole army of technical crews, who we never usually see but who make it all happen. Yeah, I mean they’ve, they’ve had a hell of a couple of years. Yeah, they really have, I was out having pints yesterday on my first visit to the pub in over a year with Bobby Bluebell from the Bluebells. Oh, wow. Now with the Fat Cops, and they, I mean, they are desperate. They haven’t played a gig properly in two years. And when when you live by live music, I mean, I mean, so many folk have managed to take things online. I mean, over lockdown I’ve been listening to DJ Andrew Divine’s monthly, a sort of Divine’s at a distance nights, where each month is there a different theme. But it’s a three hours live set all old, old seven inch vinyl played over the Internet. And I find that is brilliant, it is me dancing, dancing alone in my stockings, in my living room. It doesn’t replace the excitement of being, you that five minutes that you walk up the stairs into a dark hall and you hear music from a distance and then the doors open and there’s the lights and there’s the thump of the base.

Niall Murphy  

Yeah, absolutely. I mean, it’s one thing, I hope post post COVID that, you know, these kind of spaces, which have by necessity, sadly, because of the pandemic and the nature of the virus. You know, we haven’t been able to utilise these spaces. I hope that you know what’s happened and what you’re describing there with a DJ taking to the internet instead, that they do come back and have a have more of a role to play. And do you think, do you think that’s likely, do you think places will recover?

Norry Wilson  

I hope they do. I mean, I think the bigger venues will recover and but also seeing more of that sort of mixed indoor outdoor spaces. I’m thinking of SWG3 down the Clydeside Expressway, they’ve gotten out outdoor space but partially covered because outdoor events in Glasgow, weather dependent and quite often, the Glasgow weather doesn’t play ball with us. But things like the Queen’s Park arena staging outdoor events, you got the bandstand in Kelvingrove Park, but obviously,  people are talking about you need vent, ventilation, you’ve what’s better ventilated than an outdoor venue.

Niall Murphy  

Absolutely. Yeah, I’m particularly worried about that at the moment because I’ve been carrying lots of bits and pieces about how vandalised it’s getting worse. It’s interesting. The Queen’s Park bandstand has had things going on, during this time, just very small scale things. And it’s been used for exercise classes and things like that. Whereas the one in Kelvingrove seems to have been really quiet and this tide of of graffiti is gradually enveloping, which is a real shame.

Norry Wilson  

Yeah, I mean, there was an exciting announcement just last week. But another new venue very, very similar to the SWG3 idea, which is planned for what’s, what’s know called Morris Park, Polmadie, they, and it’s part of the former site of the Morris furniture (factory). Oh, yeah, yeah. They’re already selling tickets for a Flaming Lips gig in 2022, which should be its opening event. But again, it’s one of these partially indoor partially outdoor spaces, like planning sort of be like an East End equivalent to SWG3.

Niall Murphy  

That would be fantastic.

Norry Wilson  

But what I really worry about and the venues that I absolutely love, are the smaller venues. I mean, rather than spend 50 pounds going to see someone at the Hydro I’d rather, 10 times spend five pounds and go and see 10 different new bands or new djs, in a Glasgow  lovely wee  sweaty basement venues.

Niall Murphy  

Absolutely. Yeah. Reminds me of the story about Prince and his after concert, you know, even just keep the concert going. But in a small venue somewhere. I can’t remember where he did that in Glasgow, but he did do it in Glasgow.

Norry Wilson  

He did it at the Mayfair, right? Okay. which obviously is no the Garage. I’m trying to think if it was the Garage at that point as well. I can’t remember, it was the Garage or the Mayfair. I mean, the Garage is a spectacular case in point. What, what most folk, the young team, get into the Garage and don’t realise is that when they get to the top of that grand staircase and step into the venue, but actually stepping into one of the last remaining Georgian villas in Sauchiehall Street.

Niall Murphy  

Absolutely. Yeah.

Norry Wilson  

And that there is been dancing going on in those rooms since back in the 1700s.

Niall Murphy  

Yeah, there you go. Three, three centuries worth of dancing. Yeah. amazing to think of, isn’t it?

Norry Wilson  

Yeah, yeah. Imagine what the original owner of the villa would say if  ghosts do exist. If he appeared and thought -There are two thousands people in my house going absolutely mental!

Niall Murphy  

What’s that all about then? Exactly? Indeed. Okay. Do you think the success of Lost Glasgow and the kind of characteristic Glaswegian fondness for times gone by, have something to do with all the changes and demolition that Glasgow went through during the 1960s? And 70s? Do you it is something to do with that?

Norry Wilson  

There’s some of that with the older followers on Lost Glasgow, who obviously, remember the pre-motoway city, the city of trams, and all the rest of it that we all of course, imagine, there was some kind of golden time, some sort of perfect good old days and pining for it. But of course, there never was the perfect time in Glasgow. I suspect that most folk would probably think of that, like that 1950s post war baby boom generation. Yeah, as being the perfect time in Glasgow. But Glasgow was going through tough times then as well. Absolutely. 

We sort of look at history through rose tinted spectacles. And we forget, which is the way memory works. The way the brain works. Yeah, I know. I knew myself from various health scares years ago. And being in hospital. I knew that I was in pain. But the brain doesn’t let you remember pain. Yes. Yeah, it is it does like you remember pleasure. So it’s the same with these old memories. People forget that. Yeah, yeah. The city was, the air was thick with soot.

Niall Murphy  

Yeah. Absolutely. 

Norry Wilson  

Yes. To an extent you look back at what they’re actually missing is not the city. They’re missing their own youth. They’re missing their own childhoods, and the people that were around them.

Niall Murphy  

Yet you have to you have to accept the change is going to happen. I mean, it is fascinating that that aspect of Glasgow does, does fascinate me because Glasgow strikes me as being tremendously unsentimental with itself. You know, that whole sections of the of the city  were bulldozed. And there were some protests about it, but, but not as much as in other places. Because people actually were looking forward to a future. So there’s, there’s that kind of unscented mentality and hardness about it. But then after the event, everybody gets dead sentimental about it. And actually, you’re actually quite sentimental after all, because they’re remembering what what it was that that they lost.

Norry Wilson  

It is also that fact that quite often that sentimentality comes from people who never had to live there. Yeah, it’s very, it’s very easy to look at, look at a picture of the urban density of the Gorbals in the 1940s. And say, dreadful. Why did we lose this, but quite often the people that are saying that, are living in a nice semi detached in the suburbs. And even if the old Gorbals still exist in the world, no one would want to live there.

Niall Murphy  

Yeah, absolutely. I’m acutely conscious, I mean, you know, particularly when I look at myself, you know, because I do that. And I see I see the spaces like to Gorbals, and I’m horrified by what got demolished. But I am conscious that, you know, the conditions there were really bad. 

And I recall, there was a fantastic archaeological dig when the M74 extension or completion, depending on your point of view, was going through exactly, when it was going through Eglinton Tall. And they dug up the site where pre Thompson’s, you know, Queens, Park Queen Terrace, and everything they discovered there, and I remember going down and seeing that, that dig and being a woman there who had lived on that site beforehand, and she was talking about, she just turned up for the day, it was all like, and the stuff that they were discovering, and she was talking about her memories of the place. And it was really fascinating, because it gave you a whole different perspective on it, about what kind of mixed community was what a strong community it was, in terms of how everybody supported each other, and that they had the dancing at the Plaza ballroom, literally right next door, and how fantastic that was. But at the same time, they were acutely conscious that there were people living under the railway arches and raising families under the railway arches in absolutely appalling, you know, substandard conditions that nobody should have had to live in. But they didn’t have any choice because there was nowhere else to live in Glasgow.

Norry Wilson  

Glasgow  always had that housing problem I mean, those various photographs from really just post war, of returning soldiers, basically, living with, living with their families in condemned buildings in the Gorbals, with, with, with the water and the gas, and all that and the electricity had all been cut off. Yeah, this is late 40s, early 50s. And they’re living by candlelight, and oil lamps and cooking it up, basically an open fire. And we forget that that’s gets scrubbed from the collective memory.

Niall Murphy  

Yeah, absolutely. So do you think that kind of tendency to look at the past? Do you think it can be a double edged sword? Or is it a point of strength in Glasgow?

Norry Wilson  

It’s it’s a bit of both a, there’s a danger of living in the past and not seeing the good in the present, and the hope for a better future. I mean, we have to, obviously learn from our past mistakes, which is something Glasgow actually hasn’t been very good at. We seem to repeat the same mistakes every 20 to 30 years. Yeah. But I mean, the city as a city has actually a very short memory, myself and generations older than me, all loved  the Apollo, and think of it as this sort of dream gig venue. Most folk under 40. Although they’ve heard of the Apollo, they probably couldn’t even tell you where it was in the city, because it’s it’s been erased. It’s been erased completely. Yes. And in truth The Apollo itself was actually a bit of a dump, but you once once you were in, you didn’t notice that because once you, once you get in this darkened space, that’s it, you’re focused on the band. The band had been, there is stories about the dressing rooms at the back of the Apollo and its latter tdays but it was basically a series of plastic buckets to catch the rain. And you could actually stand in the main dressing room and see out through the roof. Because it had so little money had been spent on it.

Niall Murphy  

Right? Shocking. So what what do you do with all the memories that people share with you  on Lost Glasgow, do you catalogue them in any way or do you just enjoy them and do you find any of that emotionally draining?

Norry Wilson  

I don’t I don’t find it emotionally draining, what it can be, I mean, Lost Glasgow came about by by pure happenstance, I was just getting ready to spit spit the dummy at the Glasgow Herald the Evening Times. But for 14 years I’d written the daily memories page in the Evening Times, so I was well used to dealing with the picture archive and then I discovered a site that’s been going for a couple of years called Lost Edinburgh, which I thought was really really good and doing social media and memory and history in a really interesting new way. And then all of a sudden, I found Lost Glasgow, that I didn’t think it was quite as good as Lost Edinburgh, so one night after perhaps two bottles of wine, I emailed the Lost Glasgow page and said look, this is a really good idea but I think you should be doing more than that Lost Edinburgh have a look at the site and woke up in the morning and of course here’s an email back saying actually we are Lost Edinburgh but we don’t know Glasgow that well

Niall Murphy  

That’s, that’s too good. 

Norry Wilson  

Do you want to come on board and be one of the admins and  of course within about six, within about six months I was I was doing everything on Lost Glasgow. I and I originally thought I tell you maybe 1000s architecture history books themselves on the site but it’s just grew arms and legs, you’re asking it is it emotionally draining, no but I mean, it can be exhausting, right? 

Simply because the fact that you’re most of the time I’m doing a nine to five job, a real job. But at the same time, every day I’m looking for something that I think I can hang up, hang a Lost Glasgow post on Yeah, so you, you’ve constantly got your your focus doing that. Hoping to pick something up and today was easy. Today’s the Sighthill with the Sighthill standing stones. Yep. Yeah. And today’s also Ray Davis from the Kinks 77th birthday, the Kinks recorded a live album, at the Kelvinhall in 67. There’s a picture. There’s a cover of the album and  strangely enough, I saw the Kinks in 1980 at the Apollo. There you go, playing, playing to a half empty Apollo, and it’s still one of the best gigs I’ve ever been out my life.

Niall Murphy  

Brilliant. So what’s the best way to save these memories and past experiences that are linked to specific areas and buildings in Glasgow?

Norry Wilson  

I mean, obviously Lost Glasgow sort of takes a scattergun approach to the whole city. But there’s so many other good really local sites. I come through Govan, does a good one,  Dennistoun site, it’s that sort of usual thing in Glasgow. 

Glasgow itself is a nebulous concept. Glasgow is made up of small villages, and communities. Absolutely, yeah. And it’s only when they all come together, that we are Glasgow, but for the most part, people, if, if you meet a Glasgow person on holiday, and you ask them where they come from, they don’t say they come from Glasgow. They say, I come from Maryhill, or I come from Partick. Yes, yeah, yeah. I come from Cardonalds and I come from Springburn. Yeah, because as soon as you open your mouth, you already know that they come from Glasgow, but you want to know, and they don’t identify you. If an Englishman asked them where they came from, they’d say I come from Glasgow, but a fellow Glaswegian asked him that question and they immediately drill down and see where from Glasgow they come from, because it’s that concept of locality. So important.

Niall Murphy  

Yeah, very, very much. Okay. First loaded question for you. What was your best concert and your best dancing Glasgow, when and why?

Norry Wilson  

It have to be those early, early experiences, that the first experiences. I remember age 14 being spectacularly thrilled to secure a ticket to the second drove on  the stalls to see the Jam playing at the Apollo. Oh wow, at that point, the Jam were just the world to me. But of course because I’d never previously been to the Apollo I didn’t realise that the second drove the stalls, all I’d be able to see was the 14 foot stage and very very luckily  perhaps  twice in a song Paul Weller would come right to the lip of the stage and I’d see the very top of his haircut, I couldn’t see the band at all. 

And eventually about halfway through I realised the bouncers weren’t paying much attention. So basically legged to the back of the stalls, right? Like I could actually see the band on stage. Yeah, because down in the front stalls you’re basically just staring at 14 foot wall which came as a bit of a disappointment. 

And again, I I’m trying to think other great gig, I think it would be the Simple Minds, and again, that would be about 1980 or 81  and they have been out in America recording “Sons and fascination” and “Sister, feelings, call”  their double albums. And they came back to Glasgow and played one night at Tiffany’s, the old Locarno in the week between Christmas and New Year. And it was like stepping into another world because the Simple Minds changed musically since we’ve last seen them maybe 10 months previously. Yeah. And it was the touchdown from another planet. And as soon as they started playing, I travel that sprung Canadian Maple dance floor at Tiffany’s. Remember, you simply couldn’t, if you tried to stand still on it. You were physically bounced because the floor is moving up and down by 2 or 3 inches. Right? and the crow just went absolutely berserk but at the same time, I mean, I think it was I think it must have been possibly their second tour to Scotland.

Niall Murphy  

Again, Simple Minds and U2 were quite close at one point.

Norry Wilson  

We went and saw them, this was before they really any big hit sorry, nothing It was before October had come out, between the “Boy” album and the “October” album.  And we went to see them at Tiffany’s. And the venue was half empty. Right? You mean it was it was genuinely half empty. A Sunday night, a freezing, I remember it was a freezing cold Sunday night in October. And I mainly remember that because Bono, the crowd that were there were absolutely daft for the band. And Bono was coming out on stage throwing buckets of water over us at the front of the stage, which which is fine when we were all hot and sweaty and being lunatics. But then you step out onto Sauchiehall Street in October, and everyone was soaked to the skin and freezing to death, we were all shivering up the road to jump in buses to get home. 

So that that would be the sort of gig memories. And again, the early days of clubbing memories, being sort of 16 and managing to get into again, in Maestro’s on Scott Street, right? Or the very, very early days of the Arches in the Sub Club. When it was it was just it was something completely new, something you hadn’t experienced before. Yes. Particularly the Arches. I think the closure of the Arches, not so much some music venues, I never really thought it particularly worked well as a music venue. But the closure of the Arches as a club venue, I think is been one of the biggest losses to Glasgow in the last 10-15 years. It was an absolute unique space, very much and I had some of the best nights in my life in there. I would say fighting some, some of the best nights but..

Niall Murphy  

Too much information!

Norry Wilson  

But it was, it was that feeling of collectivity of Glasgow, being there, being in the moment, and I very much sweaty, bug eyed, wild exuberance of putting your arms around strangers and just really going for it?

Niall Murphy  

Okay, final question for you and it’s another loaded one. What is your favourite building in Glasgow? And why? And what would it tell you if its walls good talk?

Norry Wilson  

It’s a strange one because when I originally had to look at that question I was I was thinking of club venues, music venues, I did it. It struck me I think my favourite building in Glasgow is actually Central Station.

Niall Murphy  

Right okay.

Norry Wilson  

I mean, it’s it’s Glasgow  great glazed living room. I mean, this this, they used to famously say that if you sat in the front tables, and I’m trying to remember the name of the, the famous cafe in Venice, right in St. Mark’s Square, they said, If you sat there for a year, you would meet everyone who would ever be in your life walking past, but that that’s Central Station, you stand in Central Station for more than 15 minutes, and you invariably bump into somebody, whether it’s somebody you saw last week, last year, or 20 years ago. It’s this wonderful passing place of humanity. And as I say, it’s a great glazed living room. And the fact that that’s been going on since the 1870s. 

Everyone who came to Glasgow passes through that space, or meets in that space. You’re whether you historically it was the shell that everyone used to be meet at, now it is under the clock. But all those stories through love, first meetings, goodbyes and hellos through wartime, everything is embedded in that concourse space. In Central I, I was in it just the other week, it was one of the first trips back into the city centre. It used to be that I’ve been through Central twice a day.

Niall Murphy  

Same here. I really miss it.

Norry Wilson  

Yeah, I was, I was standing, standing in this space, we’re waiting for my train to come up on the board. And  I was looking around. And I thought, wouldn’t it be wonderful, even if just once, one night after all the trains have been put to bed to turn that central concourse space into a club space, a gig space and have 1000s of people dancing in the concourse, on the main concourse of  Central Station. I  realise that there are safety implications and all the rest of it. But it’s just such a wonderful space to be in.  Cavernous and beautiful.

Niall Murphy  

Yeah, I’d say Yeah. Like likewise, it’s probably my favourite interior in Glasgow. Yes, it’s like big trusses, all that glass, the kind of the feel of it, and all the people passing through, the busyness of it. I absolutely love it. Because you know, you’re in a big city when you’re in that space.

Norry Wilson  

Yeah. Yeah. It never cease to throw you, I mean, I even when I, when I didn’t used to get the train into Glasgow, I used to get the bus in, but I would always get off the bus a couple of stops early in Oswald Street, and then cut in at the level entrance to Central, literally just to come up the escalator into that space into the central space, because every day it throws me.

Niall Murphy  

Absolutely, it really does. That was I’m trying to I’m struggling to remember his name now. But it was an American architectural historian who was talking about when Penn Street Station was demolished in Manhattan and replaced by kind of Madison Square gardens with a station tucked underneath. And it was how you, you know, used to come into the city like a god. But now you’re scary in like a rat. It was a great quote. And it was somebody was debating with me the difference between living in the West End and living in the South Side. And it was this, well, with the South Side, I come into Central Station every day. And you know, I come into the city like a God, you have an only you come another subway, it’s like you are skirting in like a rat. So you know this, this is the joy of the South Side, you get to pass through Central Station twice a day!

Norry Wilson  

If those walls could talk and tell the story of the last 150 years plus of Glasgow, from the arrival of steam trains into the centre of the city, to departing soldiers to returning wounded and dead soldiers. But it’s also, it’s also a happy space is where people met on first dates. Yeah, it’s, I mean, one of the most moving things I experienced that was a couple of years ago for Remembrance Day, and I’m trying to remember the name of the artist to put the idea together, and I came up the escalator into Central Station, as it is every morning. And here were soldiers dressed in First World War costume,  all right, simply standing about on the platforms, not speaking to anyone, right if you, if you approach them and tried to speak to them, they would simply hand you a piece of paper with the name and the date of birth the date of death of the soldier that they represented. And it was the was moving absolutely, it was wonderfully ghostly and they popped up in various points around the city during the day, sat on the steps of the the Gallery of Modern Art and sang Tipperary and all lose first world war songs together right right and it was just heart stopping absolutely yeah, i’m not i’m not a man it’s easily give them to tears, not many Glasgow men and I don’t think, I was just a bit in buckets. It just took me took me to pieces. And then I thought of my own family tree, both, both grandfather’s First World War veterans that both fortunately made it safe home. But all the boys who didn’t all the Glasgow lads who didn’t, but who ended up back at the Central Station.

Niall Murphy  

17,000of them, you know, yeah. 17,000 plus. So absolute horrific. I mean, when you think about that as a population of Hellensburgh,  Yeah, you know, just just gone over the space of four years. Shocking.

Norry Wilson  

And it’s not just they are gone, but that’s 17,000 Glasgow women, bereft of boyfriends, husbands and families, dancing partners.

Niall Murphy  

All those futures lost, you know, all those possibilities lost as well. Yeah. Which just, it just makes you realise just how absolutely poignant that space is. And yeah, yeah, one of the reasons why I love it so much, too.

Norry Wilson  

I mean, I think it’s up in platform one, there’s a plaque that talks of all the all the arrivals and departures during the two world wars, but it is it the very space just breathes history to me. Yeah. I just love it. It lifts my spirit every time I go through.

Niall Murphy  

Indeed, likewise. Ok Norry, thank you very much. That was a complete pleasure as always with you. So if you enjoyed this episode, please subscribe and share. And don’t forget to follow the hashtag #IfGlasgowsWallsCouldTalk. Thank you very much.

Norry Wilson  

Thank you.

Niall Murphy  

Thank you. That was great. Norry. Thank you very much.

Norry Wilson  

No, that was fun.

Glasgow City Heritage Trust is an independent charity and grant funder that promotes the understanding, appreciation and conservation of Glasgow’s historic built environment. Do you want to know more? Have a look at our website at glasgowheritage.org.uk  and follow us on social media @GlasgowHeritage. This podcast was produced by Inner Ear for Glasgow City Heritage Trust. This podcast is kindly sponsored by the National Trust for Scotland and supported by Tunnock’s.

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Niall Murphy  

Hello everyone, I’m Niall Murphy and welcome to If Glasgow’s Walls Could Talk” a podcast by Glasgow City Heritage Trust about the stories and relationships between historic buildings and people in Glasgow. In this episode we’ll be talking about Glasgow’s difficult history of demolition and urban renewal in the second half of the 20th century and how it affected the lives of Glaswegians. 

After the Second World War for a variety of reasons many of the houses built during the Georgian, Victorian and Edwardian periods were considered a housing problem due to the high density of population, poor sanitation and structural deficiencies which characterised them. 

The living conditions experienced at the time would be unthinkable in modern Scotland, such as overcrowding and inadequate water and sewage facilities. Residents often lived by, four, six, or even eight children and 32 a toilet or 42 a tap. 

The most common solution adopted to solve Glasgow’s housing crisis in the second half of the 20th century was the comprehensive development area. 27 such areas covering roughly 40% of the city were established in Glasgow, with the aim being to sweep away the old tenements and rehouse some of the population while encouraging others to leave. 

Communities either moved into modernist high rise blocks, or the peripheral schemes of Easterhouse, Drumchapel, Castlemilk and Pollock, famously described by Billy Connolly as  “deserts with windaes”, or decanted to new towns new Glasgow or elsewhere in Scotland, such as East Kilbride, Cumbernauld, Irvine and Glenrothes. In the 1960s, the city centre demolitions were increased by the building of the Inner Ring Road now the M8, this new motorway cut through areas like Townhead and charing Cross, isolating the city centre. In the same period Glasgow’s first high rise flats were built, such as Crathie Drive, and Partick from 1946 to 1954, Moss Heights and Cardonald from 1950 to 1954, and the iconic Red Road flats from 1962 to 1970s, which were the highest flats in Europe until they were demolished in 2015. And later years due to a change of political, social and economic climate, the effect of the demolitions of entire neighbourhoods became clearer, and there was a new awareness of the loss of the community spirit that evaporated with the demolition of the tenements.

Today we have two great guests to discuss the architectural structural and social transformations that Glasgow went through and what they meant for the communities who were affected by the changes. 

So our first guest is Reverend Dr. John Harvey, retired minister of the Church of Scotland. From 1963 to 1971, John and his wife Ruth Harvey lived in the Gorbals as members of the Gorbals Group Ministry, an experiment and street level ministry based in the heart of the Gorbals community, which at that time was characterised by overcrowded and poorly maintained tenements and very minimal social facilities. The purpose of the group was to live in what had become a decaying inner city slum, sharing as far as possible the lives of their neighbours, responding to local needs and making available the skills and training they had for the service of the whole community.

The Gorbals is one of the oldest areas of Glasgow, and it’s located on the south bank of the river Clyde, originally built as one of Glasgow’s Georgian new towns, by the late 19th century had it been overwhelmed by people moving to the Big Smoke in search of work in the midst of the Industrial Revolution. At its peak during the 1930s, the wider Gorbals district had a population of an estimated 90,000 residents, reaching an astonishing population density of around 4,000 people per square kilometre, the highest population density in Northern Europe. During this time, the Gorbals became synonymous with violence, squalid living conditions and gang fights, or famously recounted in the novel, “No mean city”. The area later became well known for its unfortunate saga of cyclical demolition and redevelopment, first in the 1960s and 70s, with a series of tower blocks and deck access schemes, including the notorious Hutchesontown tower, designed by Sir Basil Spence as “a ship in full sail with the laundry fluttering with the breeze on the balconies”, and Queen Elizabeth Square. The 20 storey towers were built between 1960 and 1966. But such were the problems with dampness they were explosively demolished with tragic results in 1993. Regenerated once more from the mid 1990s onwards and now known as the new Gorbals and new Laurieston, the area has resumed a more traditional urban pattern of new build tenements and townhouses. However, the neighbourhood continues to live on in the collective memory, almost as a mythical place rich in community spirit and when its own legends and characters, such as the flyweight boxer Benny Lynch, and the weird and wonderful Gorbals vampire running away with children in the southern Necropolis. So John, welcome to the podcast!

Reverend John Harvey  

Thank you. Good to be here. 

Niall Murphy  

It’s a pleasure to have you, John. So first up, how would you describe living in the Gorbals in the late 1960s? And where did you live? And is the tenements still there? 

Reverend John Harvey  

Well, first of all, can I just make a wee correction? My wife’s name is Molly, not Ruth. 

Niall Murphy

Oh, I’m sorry. 

Reverend John Harvey  

That’s okay. Ruth is my daughter. However, no problem. Going into back to your question, Niall. It was a huge culture shock to me to go from Pollokshields in Glasgow, to live in Gorbals, because for most of my youth, and early adulthood, I’ve been told that Gorbals had disappeared. And of course, as you’ve pointed out very clearly, that’s far from the case. 

There was a report done in 1965, I think, by Christian Action Housing, which described it as one of the worst slums in Europe. And, for me, it was, it was, it was quite scary, to be honest. I’d never come across the overcrowding and the disarray of people’s lives that resulted from that situation. The tenement we went to live in, it is long gone, it all went with, with all the rest of the place in the 1970s. But you know, there, it had been a grand old tenement in a lovely broad thoroughfare with colonnaded pillars outside the front, and spacious rooms. We lived in one of the flats there, this was Abbotsford place, this was Abbostsford place. We lived in one of the flats and above us lived a lovely chap, quite an elderly man who was from Ireland, and who came to see me every year to get me to sign a form, me a Church of Scotland minister, to assure the Irish government that he was still alive. So he got his pension for having fought with the old IRA. Below me was a lovely family of people who had been there for a long time, he was a taxi driver, and we got to know them quite well. 

So it was a strange experience, our neighbours were amazing people, courageous, resilient, and resourceful as you had to be, to live in such appalling conditions with no facilities, and every sense of being abandoned, totally abandoned by the local authority, who simply said Gorbals is going and therefore we’re not going to do much about it at the moment. It was appalling. 

Niall Murphy  

Yes, yeah. It’s very similar experience to what happened in the United States in various cities, the United States where entire areas were redlined. And that there is tend to free up social segregation. Those tended to be the African American areas. And the redlining meant that they could not get mortgages, so they couldn’t do anything in those areas. And it’s it’s incredible how that I mean, you know, there were  delegations from Glasgow, which went to, you know, the various cities in the United States, including Pittsburgh. And when you kind of look at those parallels, it’s very interesting to see they took those lessons and then started to apply them here. 

So can you tell us more about the Gorbals Group Ministry, and what your mission was? 

Reverend John Harvey  

Just quickly before before I do that, when we got married, we went up to town to try and buy a washing machine and we were told not to tell the people that we lived in Gorbals, because if we said we lived in Gorbals, they wouldn’t give us credit. It was that sort of situation where it was just a bad, bad word. 

But to come back to your question, Niall, about the Gorbals group. I mean, this, interestingly enough, grew out of one of these areas. You mentioned in America, in New York, an area called East Harlem where there was a big, a big community of Puerto Rican residents. And a few young ministers after the Second World War, had gone to live there in order to see if they could connect with these people in a way that the traditional church organisations of the time just didn’t connect. 

And that’s what the Gorbals Group Ministry was doing in Gorbals, trying to connect with people for whom the church as one woman put it to me “it is just not for the likes of us” . You know, we don’t have the clothes, the money, the, the accent, the language. And not only that, but we’re not up and about at 11 o’clock on a Sunday morning when they all gather and we would just feel totally out of, out, out of our depth. So there was no connection between our neighbours who live there and the traditional churches. Apart from the Catholic Church, I have to say, because the Catholic Church, people went there for mass. But that was about it. There was nothing else that happened. So we, the Gorbals Group as a small group of us, I mean, there was only about a dozen at the most. We all lived in the area in different flats, we shared our money. And we chose to live at the level, the income level of our neighbours, which was national assistance in those days, and this meant that the money that we made from our jobs, and we all had reasonable jobs, we pooled, and that enabled us to do things like run youth clubs and play groups and teach children on how they work with the families as they fought, fought for their human rights, in the face of these appalling, these appalling conditions. We were there alongside them. We didn’t imagine or pretend, to be local people we weren’t. We were encouraged, we could leave whenever we wanted, our neighbours couldn’t, they were there for life. And they had to just get on with it. And as I said before, we were in awe of the courage and the resourcefulness and the good humour of this folks, who really just, what an inspiration to live with, total inspiration. 

Niall Murphy  

Did  you feel that you succeeded in connecting with them? 

Reverend John Harvey  

Yes, at the level of  being neighbours. But of course we did. Because we were there, we share the same, the same conditions, the same ups, the same down. What we didn’t succeed in doing, was what we had originally intended to try and do, which was to set up little street front churches, small groups of people worshipping together. That didn’t happen. There’s a whole variety of possible reasons for that. Something to do with our personalities, something to do with the sheer intensity of the need to deal with the social and environmental demands on us, which were so huge on all of us, that we just had to keep on working on them. 

So as I say, we run youth clubs, we took  folks on holidays, we represented them in the courts. For a wee while I ran a local newspaper, which was a job for which I was completely and totally unqualified and if we hadn’t had the money behind us that we saved, it would have gone bust in about two months. But we tried. It was an attempt to give a voice to the people to say look, we are here we are still here, we are human beings. We have views we have, we have needs, we want we want to be heard.

Niall Murphy  

How do you think the demolition of the entire area affected the community? 

Reverend John Harvey  

Well, it was top down. Of course, it was from the top, that we were told what was going to happen. There was a couple of consultations as I remember it, but they weren’t real consultations. They were just telling us what was going to happen. Basically, what happened was that the community just disintegrated. As you’ve said, it was a very strong community as all these places were. But we were just rehoused all over the place. And our and our tenements.  All of us got together, and we have, we petitioned the council or the local Corporation as then was, if we could be rehoused in the same area together. But we got nothing out of that. So we were scattered about the place about mainly these peripheral schemes you mentioned mainly in the South Side, in Pollock and Castlemilk. 

But it was just, it was a very disheartening experience. We called it the 20th century clearances, because it felt like that.  Yes, yeah, it was basically, and we remember having a very strong argument with some of the local authority people about the new high flats they were proposing to build. And we said to them, these are streets put an end, there are streets which were horizontal being turned vertical. So you should put into the flats, the facilities, which streets had, street corner meeting place, yes, community halls, pubs shops, yes, nothing like that. It was just houses piled on houses piled on houses. And well we all know what happened to them. Absolutely. We watched them being built and they went away and filmed them being blown up 30-40 years later.

Niall Murphy  

Yeah, incredible waste of money. I mean, I’ve spoken to you about this before in the past and how I was brought up in Hong Kong and how the British administration in Hong Kong was having to deal with the kind of the immense population increase with all of the refugees coming in from from China and was taking lessons from places like Glasgow and was applying them there to kind of the next generation of tower blocks but was putting all of those facilities in and yet it we got it so wrong here. And I remember coming to Glasgow in the 1980s and seeing that, the four tower blocks in Laurieston, Norfolk Court, Stirlingfauld Place and being completely shocked that they were just like these huge slabs that were in the middle of effectively wasteland. And there were no kind of amenities for people there. And you just think that that was such a such a huge mistake. I mean, was there anything positive that came out of this? 

Reverend John Harvey  

Well, I mean, people who, folk who went to live in them spoke about the lovely views, because you could see for miles of the city. They liked the internal bathrooms, because many folk came from houses in the Gorbals that didn’t have anything. So there was, there were positives there. But I think they were they were small, really compared to the, the negatives of being forced to live in that sort of way. With lifts which eventually broke down or were very dirty. And like you mentioned Queen Elizabeth Square. Basically, they felt like, like prisons, because it were just long corridors with identical doors. They were called block A,  block B and block C. Rather unimaginatively. People christened them, Alcatraz, Barlinnie and Sing Sing. The names of three most well known prisons, which is kind of sad.

 It is, it is, I mean, when when they were opened by the Duke of Edinburgh, it was described as Gorbals, is a phoenix rising from the ashes. Well, I’m afraid the Phoenix didn’t live long.

Niall Murphy  

No, no, it certainly doesn’t. It’s one of these things that I mean, you know, having trained as an architect, when I look at an image of them, they look like fantastic pieces of sculpture and enormous pieces of sculpture. But you know, a work of art, a piece of sculpture, that is not necessarily the same thing as somewhere that you would be good or conducive for living in, you know, encouraged kind of communities to kind of arise and I think that’s kind of where, where Spence made his mistake. These huge kind of windswept plazas that just they’re not conducive to actual, you know, conditions to encourage human life and living. So and I think that that that was the that was the problem with them. So going back to the kind of the sense of community in the Gorbals. Do you think it was stronger or different from other areas in Glasgow?

Reverend John Harvey  

Probably not particularly different from the likes of Partick or Bridgeton, or Maryhill or these other areas of so called multiple deprivation? The one thing I think that is quite noticeable about Gorbals, as Gorbals, was always an immigrant community. In the 19th century, the folk from the Highlands came, and then the Irish came to work, there was a big Jewish community. When we went to live there in 1963, there were only a few Jewish families left, but at once we have a very thriving Jewish community. And then laterally, they were folks from the Asian subcontinent coming in. So it was always a place where you had this coming and going of a great, diverse and wonderfully rich human grouping coming in and going out again, which made a difference, gave it a kind of life and a vibrancy, which I mean, I certainly came to appreciate very much indeed, which possibly it wasn’t the same. I don’t know, maybe not quite the same as some of the other areas of Glasgow.

Niall Murphy  

Yes, does make you wonder, doesn’t it? It’s, I mean, it really is quite, I mean, to me, another thing that kind of struck, sort of horrified me slightly was the realisation of this wasn’t, I didn’t realise this until much later on, when I’d finally caught sight of an image on the virtual Mitchell. That that was where Glasgow’s main synagogue was, and there was this huge Jewish school next door to it as well. And all that was was bulldozed in the 1970s. And I was horrified by that because I’ve lived in Berlin for a while and had seen the reconstruction of the synagogue there and you’re thinking, Why on earth would anyone want to bulldoze their main synagogue? That would be something, surely you would be treating with the utmost respect. 

Reverend John Harvey  

And it was just down the road from our, It was just down the road from us in South Portland Street. And when we arrived, it was hardly used at all as synagogue. And there was bingo was played there as well. And we knew the bingo caller, who was one of the last Jewish families in the Gorbals. It was a lovely building. One of the good buildings that has survived is the library, Gorbals library is still there. Yeah. Which is again, just over the way from, from the from the synagogue. Yes. It’s just on the other side of the road. Apart from that on one or two pubs? Nothing else? 

Niall Murphy  

Yes, I know. Yes, yeah, there’s a one tenement that still survives. So the British Linen Bank, which is all now being refurbished, and then there’s the Bedford Theatre. And then you’ve still got I suppose the what survives of the Citizens the, you know, the main kind of theatre box. But beyond that, you know, there’s nothing else except, you know, once you go beyond Norfolk Street, Abbotsford primary school? Absolutely. Just to the south. Yeah. Which is a very beautiful building.

Reverend John Harvey  

Our daughter went there. 

Niall Murphy  

When I walked past that now, I’ve tried to imagine what that for you to the north, because you must have been able to see the South Portland Street Suspension bridge, at the end of all of that, it must have been this really incredible kind of urban access through the southern part of the city, all completely vanished nowadays. So it’s, it’s makes you realise, you know, how different Glasgow and Glaswegians are nowadays for, you know, as a consequence of, of, of what happened, do you think that kind of change was, was it for the better? Or is it for the worse that areas like that disappeared? 

Reverend John Harvey  

Well, in one sense, of course, it was for the better, because they just were unsustainable, they had to go. But as we’ve said, you know, on the other hand, it was so sad to, to see the whole sense of the whole community disappear. And was it possibly the sense of, let’s get together and do something. 

I mean, there was a sense of urgency, a sense of determination to beat this situation, just before the demolition. A few of us set up street action groups, which were local people committed to looking out for the needs of their streets, the potholes, the broken glass, the the shot shops, the damaged infrastructure, and bring this to the attention of the Council. And on one occasion, I remember we all went up to the City Chambers to really try and get something done. And got into big trouble with the local Councillor who said that was his job. And of course, our answer was, well, you’re not doing it. So we’re going to do it. What you doing? Yes, yeah, absolutely. Yeah. 

Niall Murphy  

Is there anything about about kind of past of Glasgow that you’re missing? Is there any way we can bring any of that back?

Reverend John Harvey  

It would be obvious to say, you know, one misses the sense of community. But I think, as I’ve said, what I think is missing now is a sense of, we can we can change this, we can do something about the situation, because it’s still bad. I mean, we’ve got a huge poverty in Glasgow, when a few years ago, it was something like one in three children in Glasgow, living in poverty. And this is this is 2021. And it was just as bad in 1963. And it’s not now just in the Gorbals, but it’s in other areas. It’s in some of the peripheral housing schemes, and places like that. So there’s still a sense of, there’s still a failure to address the, the need to change things. So that this endemic poverty and endemic deprivation and endemic, systemic unemployment is, is dealt with. And that’s that, that sense of urgency and a determination to change things. I don’t see it.

 Because we have been, as it were flattened. We’ve been flattened by consumer society, the fragmented isolation, that we all know live in with our television sets and our iPhones and our iPads. And while we, we acknowledge the great value of these things and the great freedom that they give us in so many ways, we’re separated, were isolated. And there’s no, there’s not a same sense of, let’s get together and really change things. I know that there have been initiatives taken here and there by the council’s, by charities, by volunteer organisations, and you’ve got to admire them and salute them. But overall, I just feel the sense of, we can make a difference is missing. That’s for me, what I would like to see come back. 

Niall Murphy  

Thank you, John. Okay, this point, I’m going to introduce our second guest, Stuart Baird, who is the founder and chair of the Glasgow Motorway Archive. 

The Motorway Archive is the largest private collection of roads and transport records and photographs in Scotland. The scope of the project is to preserve, share and understand these unique artefacts. The website outlines the planning, design and construction of Scotland’s post war road system, shedding light on the social, economic and environmental issues associated with their construction. The construction of an improved roadway system involved the demolition of entire areas of the city in the second half of the 20th century, and what are now considered controversial decisions, were made in the name of progress. Stuart is a chartered civil engineer with a keen interest in the development of Scotland’s post war transport networks and Glasgow’s engineering heritage. He founded the Glasgow Motorway Archive to ensure records relating to the city’s unique urban motorway system be preserved for the future. The archive has since become the largest private collection of transportation records in Scotland. He has published papers on the history of Scotland’s motorway system, and takes part in academic lectures and other public events. So Stuart, welcome to the podcast. 

Stuart Baird  

Hello, thanks for having me.

Niall Murphy  

It’s a pleasure to have you here Stuart. So first question for you. How did the motorway archive started? And where does the materials, you know, where do you have photographs, all the information you have, where does it come from? Is it your own research? Or is it by public submission? How does it work? 

Stuart Baird  

Yeah, well, it kind of grew from my own personal interest in the motorway system, as a child and living in the suburbs of Glasgow, in the Lanarkshire area, whenever we would go into the city centre or beyond, we would travel on this fascinating motorway system. And as a child, looking out the window at some of these phenomenal structures, I remember being fascinated by it. 

And that kind of stuck with me, and and eventually directed me into a career in civil engineering. And it was only when I was actually studying for civil engineering that I really began to appreciate the scale of what Glasgow had achieved with its road system, particularly in comparison to elsewhere in the UK, or even Europe. And that research that came off of the back of that, led me to make contact with a number of the engineers and the planners and designers who’ve been involved back at that time. And was that appreciation of the sort of a unique nature of what we have, became a bit more understood, it was clear that there wasn’t a lot of information available. 

And so I tried to learn more about the system and a bit about its history, you know, going to the Mitchell Library and other places, it was clear that there weren’t many records available. And I started to ask, why is that the case? And it turns out that, you know, large numbers of people,  original private companies who were involved in the design of the construction, the records were simply thrown away, because they weren’t considered important, you know, because they were late 20th century. And that really, really annoyed me. 

And really, the archive grew from that, from my own frustrations with that and trying to do research for a project. And then, you know, thinking, no, we really should be keeping these records. You know, we keep all rail records and other transportation records. Why should these be any different? And an archive has grown from that, now as to be the records come from Initially, it was mostly my own research. I was later joined by a number of colleagues and friends who helped me with that. But lately, the records have started to come from individuals who were involved, you know, retired engineers, and some of the companies who have been involved Scott & Wilson, Kirkpatrick & Partners were key players in the design of the road system and the construction as well, they passed their archive to us a couple of years ago.  So nowadays, I’d say we mostly, we mostly get your record through donations. So we don’t actually have to do much people tend to find us now.

Niall Murphy  

That’s handy. So who would you say your audiences are and who are the people who are interested in the motorway archive? Who are these people who are kind of interested in you? 

Stuart Baird  

You know, it’s a simple answer, everyone. And I know that sounds, that sounds strange because you think well, surely there can’t be so much interest in motorways, but it would amaze you the interest that we get from across the population, not just in Glasgow, not just from the city and just from the outskirts, but across Scotland and indeed across the UK. 

And it’s it’s pretty clear that people focus on the social history aspect of it because you can’t build a motorway in an urban location without the be some effect on the on the urban fabric and the people who live in the area. You know. So I would say that the social history interest which, there is a real interest amongst younger people today, and learning about the past, that is a big part of it. And we have quite a presence on social media. You know, we have 1000s 10s of 1000s of followers across all our social media channels. And people come and they look specifically at the social history. 

But on top of that, we do also have a lot of contact with engineers, people interested in engineering heritage, but also of academics and students, particularly architecture students, and young engineering students. You know, we got a lot of inquiries from the Art School and we have worked with a lot of people from, from the Art School because they’re fascinated by some of the architectural decisions. Because the Glasgow motorway system had a consulting architect, Sir William Halcrow & Partners involved as consulting architects on the entire plant, and nothing could be approved engineering wise without their  approval. 

Niall Murphy  

So do you think that’s where the interest is? You think that’s what the appeal is about the history of, of motor racing? 

Stuart Baird  

Yeah, there’s a very different look to the motorway in Glasgow, it has an aesthetic that you don’t see in the motorways in the cities elsewhere in Britain, you know, if you go to Birmingham, for example, or Leeds, if you look at the retaining walls or the concrete structures, they all have a very bare finish. They’re not particularly nice to look at. You come to Glasgow, and you’ll see that we have sandstone clad retaining walls to try and blend into the landscape or in the Charing Cross area you’ve got aggregate finished wall panels and the likes. And you’ve got their concrete sets and cobblestones are on the base of the lightening masts, you know, things like that that, were the result of direct influence,  unique touches that you can only see in Glasgow. Yes, that’s right. And the motorway system in Glasgow, I mean, we have the most extensive urban motorway system of any city in the UK, some would say more than all the other UK cities combined. It depends how you do the calculation.

Niall Murphy  

I certainly did not did not know that. Yeah, that’s, that’s fascinating. That is certainly extensive. Yeah. Okay. So given given that’s the case, how do you think the M8 transformed Glasgow? And how do you think the city would have developed if the motorway had not been built? 

Stuart Baird  

Yeah, it’s an interesting question. And one one we are often asked, you have to put yourself in the context of the time. Then a motor vehicle traffic was very much on the up at the time through the 1950s and through the 1960s, in particular, in fact, even in the pre war period, Glasgow had some ambitions to improve the road infrastructure. 

We’re in a bit of a strange topographical situation with Glasgow as well, because there’s hills on either side of the city. So everything that’s looking to go east to west or north to south basically has to go through the city to some degree. And historically, if you look back at some of the old roads, like the A8, and A74, and the 77, anything coming from elsewhere in Scotland, basically converged in the city. 

And as motor traffic increased, the corporation realised, you know, we have a significant amount of traffic coming through our area that actually has no business here, because it’s people going to Edinburgh, is people going to Ayrshire and the likes and we really have to try and address that in some way. And that that’s really what led to the development of the, of the urban motorway system. The Ring Road is obviously the part that we focus on the most, the M8 through through the city centre. But the wider plan, attempted to address that issue across entire conurbation by providing or designing a series of more routes and rings and, and the like to try and filter traffic, not just regional and national traffic, but also local traffic because as was mentioned earlier, the construction of the new satellite schemes and the development of the suburban areas like, when thinking of like Newton Mearns and Milingavie, as these places sought to enter the city for leisure purposes, recreation, they have to deal with that, the existing Victorian streets just were not capable of dealing with the levels of traffic that were predicted. 

Niall Murphy  

Okay, I can, I can appreciate all of that. But then the flip side to that is that in terms of you know, the the population in Glasgow, and the actual level of car ownership, it was incredibly low. So it may have been the case that the wealthy suburbs had access to cars and mobility like that, but the people within the city did not. 

Stuart Baird  

But the corporation appreciated that the people in those wealthy suburbs were the people they wanted to come and work in the city centre and spend in the city centre. And there was no out of town shopping centres in those days. You know, Glasgow was the retail hub for the west of Scotland. And the you know, the on street parking situation and the roads and approaching the city like the A8 from Alexandra Parade and the likes, you know, between commuter traffic, people coming for leisure purposes, even the movement of goods, which was increasingly coming off the railways. The corporation knew that if it wanted to thrive and as a city and indeed, as the historic industries were in decline, and they were looking to move forward into new service industries and, and retail and leisure were a big part of that, they knew they had to make this accesses as easy for people as possible. Otherwise they wouldn’t come. You know. So yeah, we do take the point that Glasgow, even know has a very low car ownership figure. Yeah.

But it wasn’t necessarily trying to cater for those people. Right. Okay. And that’s why it’s the, Yeah, and the transport policies of the time, if you look at some of the plans, they are very balanced against public transport options, and particularly the Greater Glasgow transportation study that came along in the mid 60s that looked at motor reconstruction, but it also bounced that against public transportation, because it was known that within the city itself, that public transport had a keen role to play. And that’s we have projects like the reopening of Argyle Line, for example, that came directly from the end of that study, and the balance that cost wise against private transportation, you know, so there were some motorway schemes that didn’t proceed immediately, because they favoured  the public transport equivalent. So the Argyle Line went ahead, ahead, or some of the railroad motorways, for example.

Niall Murphy  

I hadn’t appreciated that this was part for kind of multi layered, transport strategy for the whole city. So that, that was really interesting discovery.

Stuart Baird  

Yes and it remains the largest single transportation study ever undertaken in Scotland. Even to this day, they had something, something like 200 staff working in an office on Queen Street, and they had people who would go to people’s houses and conduct interviews, and ask them how they travelled, what what modes did they use? How did they see themselves travelling in 10 years, they would go to workplaces, they would do roadside interviews, you know, they would interview people in the train station, you know, it was a fascinating process, and all in the days before computers. So all that data was analysed by people and brought together manually by people and calculated and  worked into a plan that was to try and determine a way forward for transportation across the whole conurbation for a period of 40 years.

Niall Murphy  

Right? What was the the actual route of the M8, and the ring road that got only half built in the end. But why was it so tight around the city centre? What was the reason for that?

Stuart Baird  

There’s two, there’s two reasons. One of them is a traffic reason. And they wanted a bypass of the city centre, they also wanted a distributor road. And the further away from the city centre, that that ring road would be, the less benefit the city centre would get from it. So if they built it to three miles out,  Argyle Street, Sauchiehall Street, they would not benefit to the same extent, because people would need to know kind of pass on Suffolk Street to get to the city centre. So thinking of Alexandra Parade, Great Western Road, for example, have they gone much further beyond them, those routes really wouldn’t have benefited too much, because people would still have had to use them to an extent to get to the city centre. 

The other reason really comes down to the comprehensive development areas that were discussed earlier, because the, the fact that the corporation intended to clear all, almost all property within you know, the boundaries of these areas, that’s allowed for and you look at the transportation options within those areas. So thinking of Anderson or Townhead, for example, it would be very difficult to construct a road or a motorway in that area. You know, historically, when you look at the dense population there and the number of buildings there, but when you’re looking to clear all this property from an area, it almost provides a blank canvas, and they are able to see okay, we can assume that Anderson, Townhead, Cowcaddens would be completely empty, we need you to squeeze the road through there. Because we don’t want to build it in areas adjacent to that. So for example, Park Circus, for example, would never, he would never have contemplated the road through there and likewise Garnethill, but any areas in St. George’s Cross and Anderson to the south, you knew that they were going to clear it. 

So the engineers were tasked with squeezing the road through these areas. And you know, even the parts of the system that weren’t built thinking of East flank of the inner ring road through Glasgow Green and the like, there were even for High Street. 

You know, they envisaged that all the area around it at all, for example, was going to be cleared the way so that was going to be very easy for them to squeeze this route through. You know, so the engineers were told they would have this nice blank canvas to work from, and that’s kind of what drove the development of the inner ring road in particular.

Stuart Baird  

Yes, I remember being told a joke by an architectural historian, which was that okay, the Cathedral was going to be isolated on the other side of of the road, but it was okay, because the road would be getting built on Gothic arches to make it blend in. Yeah, that was that was the joke at the time. 

Stuart Baird  

That was one one of Holford & Associates many ways to try and mitigate against the effect ultimately, I think they decided they would actually put the motorway in a tunnel in front of the Cathedral from the, from the Royal Infirmary right down to Glasgow Green, was going to be in tunnel in the end up because, we’re conscious, you know, as one thing that that does frustrate us a little bit as an organisation is we’re trying and explain the history behind these things. They were very conscious of the effect that these roadways were going to have on the surroundings and in the city. And that’s why Horford was there, this is why Holford and the others were there and that’s why you know, you know, there was a lot of discussion about how the motorway could fit in. And a lot of what was built, was built at considerable additional expense, to try and mitigate against the effect of its construction, you know, thinking of Charing Cross where there is that canyon, you know, where the Mitchell Library is and the motorway is ground level, all the interchanges have to be two level, and the upper level is at the level of the ground, existing ground level prior to the motorway. 

Yes, you know, so it was it was things like that, that they didn’t want to dominate the landscape. 

And they also realise that in the report that, again, you mentioned the some of the missions that they had to Detroit and other cities in America. One thing always caught my eye in that report was, the Provost wrote the line that she realised that Glasgow could never have a freeway system in the scale of an American city, because Glasgow had the historic centre, and it had historic buildings that you couldn’t quit away, they were never going to design a motorway that could, you know, take unconstrained growth of traffic, there was always going to be a limitation on the amount of traffic that it would handle. And that’s why they settled on a 30 year period from 1990. And so you know, we’ll build a system to take that but no more. So they never envisaged, for example, that the Charing Cross would ever have to be widen, for example, yes, they knew, they were clearing an area they were putting that in, but it was made very clear that that would be the extent of it, it would never be anything more than that. And that’s why they were able to plan some of the aesthetic choices around that and develop adjacent to the motorway because they knew that this was it. It wasn’t going to get any bigger than scale.

Niall Murphy  

Fascinating. That’s interesting, because kind of that, that where you can cross on the pedestrian bridges of the section, at Kinning Park, kind of between Kinning Park and the industrial estate just to the north of Pollokshields, you really appreciate at that point, the width of the motorway and it does have a real American freeway feeling to it. And that point, which is quite fascinating. 

Stuart Baird  

That was the American influence. John Cullen, who was one of the one of the architects of the of the system and a traffic engineer, grew up in very poor conditions in St. George’s Cross, he was very lucky, he managed to get scholarship and was able to go to night school and learn civil engineering. And he eventually ended up in America and worked on the design of a number of freeway systems and in the States, again, this experience that no one in the UK had, and then when, he then have a bit of Cumbernauld and the Glasgow plans that were coming, he felt that it was his duty to return to Glasgow as as a child of Glasgow with this knowledge, this unique experience and actually helped to develop Glasgow road system because he, having grown up in the conditions that he grew up, in somewhat, the same conditions that some people in Gorbals grew up with, he was determined to try and work with the city to try and drive it forward. And that was very much reaching for the future in his eyes and that American practice because we had no UK design standards for urban motorways, at that time, his American experience and a couple of his colleagues who also worked abroad that filtered into Glasgow plans directly which is why it looks so different.

Niall Murphy  

Yes, very much. Okay, turning to some of the kind of major artefacts that are part of that motorway network last last year, Historic Environment Scotland awarded the Kingston Bridge a C listing for its special architectural and historic interest. Now it was quite a controversial decision. So I’ll read a bit out from the,  when they made this announcement, which was that, “Through listing, the bridge has been recognised as a significant, albeit controversial infrastructure project which, which transformed the city of Glasgow, forming part of the M8 Scotland’s first motorway. Its construction reflected the social and economic changes taking place in Glasgow and in several Scotland cities in the mid 20th century, as private car ownership rapidly rose. What became clear through the consultation is that people feel very strongly about the decision to list the Kingston Bridge, and a number of issues were raised, were raised, raging from the concerns that this would mean the bridge must always remain a motorway. And the climate change impacts of this, to worries that recognising the bridge in this way was insensitive to the effects its construction had on the community  directly affected. What, what is your opinion on these issues raised by the public?

Stuart Baird  

it wouldn’t surprise you to hear that we were very disappointed by by that reaction. And I think people, people have perhaps been a bit short sighted. And I think what we’re in danger of repeating some of the mistakes of the past because 50-60 years ago, we were tearing down lovely Victorian buildings and Georgian buildings without any thought about what, how they had been built or what, the how they might be considered in the future. And the Kingston Bridge is a stunning example of its type of structure designed by a Scotsman, William Fairhurst, you know, famous, famous design unique in many, many ways and and, and I felt that by people saying no, we shouldn’t list that. I think that we are sending the wrong message. Because, yes, there’s a motorway on top of that structure at the moment, that doesn’t need to be in 10 years or 20 years, it could be, it could be turned into a walkway, it could be turned into a public transport hub. It wasn’t so much about the motorway. It was about the bridge itself. Absolutely.

Niall Murphy  

Yeah. Look at the railway infrastructure. And there there’s, you know, there is a lot of surviving unused railway infrastructure in Glasgow and let’s say look at what’s happened in New York with the High Line, I mean, okay, New York’s obviously got different level of density. But you could do similar things with say that the City Union line, you could have part of that used as, as a walking route through the city. So there are other things you can put these huge pieces of infrastructure to, they don’t just have to sit around doing nothing, they could still be of a public benefit to the city. Yeah, in some way.

Stuart Baird  

That’s, that’s absolutely right. You know, and as the focus shifts and transport, you know, changes as it always does, and how, you know, people’s habits change and afford working from home more than the like, the does also, you know, always the possibility that the need for the motorway there may not be required anymore. And as you see, there are many other things that that structure can be used for. And people mentioned the, you know, the climate change implications in the pollution from that, but think of the carbon that would be expended by demolishing a bridge of that size and that scale, you know, we shouldn’t be throwing things away, we should be working to reuse. And that disappointed me, I think people missed the point of the listing. It wasn’t about recognising the motorway. It was about recognising the unique architectural features and technological features of the bridge itself. And it’s, you know, so we were disappointed, I must say, but I’m just glad that it got over the line in the end.

Niall Murphy  

Okay. Right. Well, to lighten things up. What is your favourite Fun fact, or interesting or unusual story about the motorway?

Stuart Baird  

There are so many, but the one I always focus on is the overhead signage. So the overhead sign gantries that you see above the M8, they’re unique, you won’t see them anywhere else in Britain, you won’t see them anywhere else in the world. They were designed by Holford, and in collaboration with one of the consulting engineers on the original scheme. So that we would have overhead signage, and lean signal control. But in a way that was not too visually obtrusive. So they’re all very slender, they’re all very light in colour. And they were designed to blend in because they appreciated,  we’re not going to use these large huge stack signs that they’re using on the M6 around the M4 in London,  we want something that looks a bit prettier. And that was why they adopted this internally illuminated sign box. And there’s over 200 of them still existed as the, but the first of them were constructed as part of the inner ring road in a very minimalist, very much of their time, but they still function very well today. And as I see it,  they are stunning example of a unique Glasgow motorway feature that you won’t see anywhere else.

Niall Murphy  

Fascinating. Okay, I’m gonna bring John back in now, and we’re going to ask both of you, and this is the question we ask all of our guests, and it’s a completely loaded question. So we are really interested to hear your response to this.

 And this is, what is your favourite building, it can be a motorway if you want in Glasgow, and what would it tell you if its walls could talk? So John, do you want to go first?

Reverend John Harvey  

Okay, Niall, I’m happy to do that. And I must say I’ve been fascinated, to listen to what Stuart has been saying. My favourite building in Glasgow is the Pierce Institute in Govan, the PI. 

Built in the 19th, early, early 20th century, as a kind of community hall for the people of Govan. And it’s favourite, for me for a number of reasons. Firstly, I worked there as a student in the 1960s, as a student minister in the 1960s, I was the minister of the church in the 1980s, which was responsible for the building. I had to raise a million pounds with other people to keep it going in the 1980s. And I’m still involved with it as a friend of the PI, but more importantly, my wife owns her very existence to the PI because her parents met there when they were working with George McLeod in the 1930s. So she was brought up with the story of the PI and when she was working with a charity called Glasgow Braendam Link to work alongside families living in poverty, she had an office there and worked there for many years. So for me, I call the PI my, my very own dear building, and if it could speak, it would say to me, thank you to everybody for keeping me alive. Because if the Council have got their hands on me, they’d have pulled me down!

Niall Murphy  

It’s a magnificent building. I love the PI. It’s fabulous. Stuart over to you.

Stuart Baird  

It may not surprise you that I’m going to choose a late 20th century building given that’s my main main field of interest. And I actually have chosen Elmbank Gardens, also known as a Charing Cross tower. Yeah, it’s one of Seifert designs, part of a much original sort of large plan for that Charing Cross area that never really came to anything in the end. But I think it just stands out as a as a stunning monument to that very optimistic time that the city came through in the 60s in particular, reaching into the future with these new modern buildings and saying this is the Glasgow of the future, we’ve got tall buildings now, we can have office blocks that are on a similar scale to New York and in other cities. 

And we are going to do it in style. And we’re going to involve architects that have really, you know, international reputation or whatever. And it’s just it’s one of those ones. For me. It’s always stood there. And again, it overlooks the motorway. So that all comes kind of hand in hand, you know, just the way it stands at Charing Cross. And when you look across the road, and you see the stunning Mitchell Library, it’s just it’s it’s such a comparison to make on the left, you’ve got this late 20th century building and on the other side, you’ve got the iconic Mitchell Library, it just, it’s they do stand out so well together for me, if it could talk. My goodness, what would it tell me? I think it would probably again, like John said, it’s probably feels that still lucky to be there. Because so many buildings of its type and from its years have been pulled down and thrown away in favour of new horrible..

Niall Murphy  

I think you’re right, I think I’ve seen at least ,at least three schemes for its redevelopment, which have never come to anything. No. So there’s an interesting little complex,

Stuart Baird  

It is a lovely  complex, and the fact that the railway station is incorporated within it as well it’s all part of that 60s idea, let’s combined it and bring it all together and make it very easy to get in and out of it. It’s a decent hotel to be in as well with great views across the city.

Niall Murphy  

Very much. Good, good. Well listen, thank you very much to both of you that was an absolute pleasure john and absolute pleasure, Stuart as well, two very kind of different perspectives of, of what has happened you know, since the mid 20th century in Glasgow, and it’s very, very much an absolute pleasure speaking to you both. So also to our audience. If you enjoyed this, please subscribe, and share. And don’t forget to follow with the hashtag #IfGlasgowsWallsCouldTalk. Thank you very much! 

Glasgow City Heritage Trust is an independent charity and grant funder that promotes the understanding, appreciation and conservation of Glasgow’s historic built environment. Do you want to know more? Have a look at our website at glasgowheritage.org.uk  and follow us on social media @GlasgowHeritage. This podcast was produced by Inner Ear for Glasgow City Heritage Trust. This podcast is kindly sponsored by the National Trust for Scotland and supported by Tunnock’s.

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Episode 3: Mapping Queer Glasgow, with Jeffrey Meek, Glasgow University

Hello, and welcome to Glasgow City Heritage Trust podcast, “If Glasgow’s Walls Could Talk” a new series about the relationships, stories and shared memories that exist between Glasgow historic buildings and people.

Niall Murphy  

Hello, everyone. I’m Niall Murphy and welcome to if Glasgow’s Walls Could Talk, a podcast by Glasgow City Heritage Trust about the stories and relationships between historic buildings and people in Glasgow. 

In this episode, we’ll be talking about Scottish Queer History and places and how Queer Stories are researched and interpreted. Today, LGBT+ people in Scotland can marry, adopt children and pursue wonderful careers. Political leaders and public figures openly identify as gay or bisexual and Scotland recently topped two European league tables measuring legal protections offered to LGBT+ people. 

But this is all very recent, as for many years, Scotland was actually behind England and Wales in recognising sexual diversity. Instead, gay and bisexual men and women were starved of acceptance and recognition and subjected to intense homophobia. 

Scotland did not decriminalise gay sex between consenting men until 1980. To quote from James Adair, who was a former Lord Protector of Scottish Morality in Glasgow “Open homosexuality would elicit public disgust, promote male prostitution, and enable perverts to practice sinning for the sake of sinning”. And this is a revealing point of view as Adair, who lived in Pollockshields and was Commissioner from the Presbytery of Glasgow and associated with the National Vigilance Association of Scotland, he was a minority voice amongst the 11 men and women who sat on the committee chaired by Sir John Wolfenden, which produced the Wolfenden report in 1957, which eventually led to the Sexual Offences Act of 1967, which changed the law in England and Wales so that homosexual behaviour between consenting adults in private should no longer be considered a criminal offence. 

So at the same time, there were no laws against gay women and, lesbians were basically invisible, untouched by the law, but victims of the same stigma and discrimination. So looking back, it is important to appreciate that the path to an enlightened Scotland was filled with many obstacles. 

The concept of queerness, as discussed in relation to public space versus private space, in a nutshell was basically, I don’t mind what you do in your own home, but don’t do it in public. So this is the reason why queer spaces, bars, pubs, bookshops have such an important role in queer history. But how can we research and collect queer stories and make them relevant again, and what sort of traces past queer people left behind? 

Today we have a great guest to explore these topics and many more.

 Dr. Jeff Meek is a lecturer in economic and social history at Glasgow University. His area of expertise is LGBT+  history with a focus on gay and bisexual men, religion, medicine and the law, from 1885 to 1980. So Jeff has also been researching male prostitution in Edinburgh and Glasgow for his forthcoming book, “Queer trades society and the law, male prostitution in Interwar Scotland” he is also involved in mapping queer spaces in historical Scotland, and you can check out his work for yourself at www.queerscotland.com.  So on this fascinating website you can find historical maps to queer places and spaces in Glasgow, Edinburgh, Aberdeen, Dundee and across the wider Central Belt. The purpose of these interactive maps is to be able to browse the venues and spaces that have attracted non heterosexual Glaswegians over the past 150 years. 

So after he done talks for Glasgow Doors Open Days festival, last year, Jeff wrote an interesting article for Glasgow Live called “Meet me at the knob”, and this was about the history of Glasgow’s gay scene but in particular about the notorious white hats, a gang of male prostitutes based on the Broomielaw in the 1920s. So in the article, Jeff says that the names that the White Hats used, are interesting because there are mostly a Variety Hall artists who performed at the Empire, Panopticon and the Pavilion. So in the early 20th century, queer people could discreetly socialise at venues such as the Theatre Royal, the Citizens, the Central Hotel and Green’s Playhouse on Renfield Street, as well as in cafes on the Broomielaw, by the 1960s Glasgow’s gay community, included the cocktail bar in the Royal along with guys standing on Hope Street. But by the 1970s you were getting the Scottish Minorities Group opening, the Glasgow Gay Centre at 534 Sauchiehall Street, which was the first such publicly named Centre in the UK. And there were three further places for Glasgow’s lesbian, gay and transexual community, including the Waterloo on Waterloo Street, the Duke of Wellington, which it is just next door in Argyle Street, and Vintners on Clyde Street. But it was only in the 1980s and 90s onwards that more openly gay mixed bars such as Bennett’s now AXM on Glassford Street, ClubX on  Royal Exchange Square,  Delmonicas on Virginia Street and Sadie Frost’s beneath Queen Street Station, started to appear. However, a lot of this is transitory and prone to disappear as the city regenerates, for instance, both Sadie Frost’s and Glasgow Gay Centre, which was later based on Dixon Street, have both recently been demolished for redevelopment. And with that the knowledge of these key spaces for one of Glasgow’s communities also becomes ephemeral. So it’s these suppressed or marginalised stories which Jeff is trying to reveal. Therefore, welcome to the podcast. Jeff.

Jeffrey Meek  

 Thanks very much. Thanks for having me.

Niall Murphy  

It’s a pleasure. So first off, what can you tell me about the Queer Scotland website? How did it start?

Jeffrey Meek  

Well, really, it was, it was a case of historical nosiness. I just finished my PhD and it was a way of keeping myself occupied. While I looked for jobs, basically, I was fascinated by the stories that were coming out from the research that weren’t necessarily going to be central to my PhD. And when you, when you enter academia, you’re never entirely sure if you’re going to revisit these things again. So it can drag you off in various directions. And I was frustrated at that point that that didn’t seem to be much information out there on LGBT+  history in Scotland.

The website was a way of communicating with audiences across the web. And it was trying to capture particular moments in time, particular spaces that, you know, popped out in my research, whether that was through, you know, the interviews I did with gay and bisexual men who lived in Scotland in the 40s, 50s, 60s and 70s. Or through the archival research I did in terms of going to Edinburgh and looking at the archives there and I felt I wanted to share that. And 10-15 years ago, there were so little information out there about LGBT history in Glasgow and in Scotland. To be fair, things hadn’t radically changed in that regards. But I thought at the time the information was much too valuable, important, interesting to sit on a file on my computer gathering digital dust. So that’s how.

Niall Murphy  

I have to say it’s been sometimes, as I’m getting older, I’m kind of become much more interested in it, because it’s about traces of people’s lives and how they kind of disappeared over time. And so yeah, I’ve been been reading of late, things like Gay New York, this one, George, George Chauncey, and the Gay Metropolis by Charles Kaiser, all these kind of books, I’ve sort of gradually sort of developing a little kind of archive of them in my library and it’s because they do tell the story. 

So it’s, it’s really interesting to, to realise that there were those stories here too. And it’s you that’s beginning to tease them out. 

So Okay, next, next question on the website there are all these kind of interactive maps that you put together a Scotland’s queer history, spaces and places. So how did you start collecting that information to populate these maps? And are they still a work in progress and do you still get submissions for them? 

Jeffrey Meek

Yeah, I mean, again, this goes back to when I was doing my research for my PhD, and then latterly, for the book “Queer voices”. And I was trying to find a way to help me and my research of  kind of plotting, of noting, of mapping all the places that sprang out of the research, whether it was particular towns for those particular spots, and particular towns or if there are particular buildings. And I thought the best way of doing that was to actually place them on a map. And so I started placing them on Google Maps just as a way of seeing if we have particular venues for particular cruising areas, we have particular hotspots for arrests, where, over that kind of period, especially the first half of that period, 1885 into the 1950s. Right, so it started with 30, with Glasgow and Edinburgh, just one or two plots at a time. But before long, it was running into into hundreds of different places. And to be honest, it was beginning to take on a life of its own. So I thought I better do something with this, rather than just let it, let it set. So what started as me plotting where sodomy cases where and that was the first thing I did in the late 19th and early 20th centuries, it grew into a map of places and spaces that seemed to me to be important not just as LGBT history, but as a way of kind of representing LGBT experiences as well. 

So then from criminal cases it moved into, you know venues and hostelries, rather than just locations or the fences, or cruising areas. And the men I spoke to when I was doing my PhD research and research for “Queer voices”, were offering up this variety of places and spaces, places that I hadn’t even considered as being important to the LGBT experiences in Glasgow, I mean, I came to Glasgow in what ,1990 and there were places that I had no knowledge of, that  had operated in the decade, this is a couple of decades before. 

So most of the information on the maps does actually come out of my own research. But I do get occasional emails, or comments on the website recommending other places and spaces. And also there was a recent post there by Willie who was reflecting on his own experiences of coming out in Glasgow in  the 1950s, and 1960s. So I’m always very happy for people, that’s, that’s a wonderful person. Yeah, of course, high kicks and law morals. Really, really interesting. Yeah, yep. So that was a great thing. I mean, it was really, really appreciative of really getting in touch to share his story. 

So if people want to do that, then by all means, get in touch, even if it’s just to say -Oh, you’ve missed something from Greenock in the 1970s. That’s great, it adds to the knowledge and kind of builds the momentum of the map. 

And I hold my hand up here and say, you know, because my research focus was gay and bisexual men, it has a very gay and bisexual men leaning, in the sense that most of the information there is about that. And that’s not because I decided, I don’t want to include lesbian, bi, or trans experience, it was simply that I didn’t have the information. So if people have that kind of information, then yeah, I’d be delighted to add, to add a more diverse dynamic to the maps as they stand. 

Niall Murphy  

Sure, absolutely. I mean, it is, it is really interesting to see these maps, it’s also interesting contrast, some say with the Glasgow Women’s Library, brought out a map, an actual guided guided tour, which went through the city centre, and it was interesting. Looking at that, because I was conscious are there some places that are sort of missing off that but of course, you’ve only got so much space when you’re putting one of these leaflets together, so I can understand that. But it also made me laugh too, because it had things like Sadie Frost’s in it, which hasn’t existed for a while, and I’m thinking, oh, I painted the ceilings in Sadie Frost’s, some kind of, you know, that’s how it so it disappears  and part of your own life has disappeared. And that’s, that’s how kind of ephemeral some of these spaces are, or, you know, ClubX, first nightclub I ever went to, doesn’t exist anymore. So it’s, it’s funny, it does change really, really quickly. And that’s just part, part of what the scene is like. 

So moving on, then. In an article that you published in Glasgow Live in February 2021 you said  “It wasn’t all oil and cigarettes, there are more voices that need to be heard”. 

So how do you look for those stories and voices, and is it easy to find queer stories in the city’s archives, or do you do rely mainly on oral history? 

Jeffrey Meek  

I mean, it would be great, you know, to go into an archive and open a file, and a deluge of information pours out about LGBT experience. But of course, that, that doesn’t happen. It never happens like that, you have to pick out small details from material and kind of broaden the parameters of your research. So you end up using a whole variety of sources to try and find out more information about particular people, about particular places and spaces. 

So often, the kind of gay, queer, LGBT dynamic of something is hidden under layers of different materials. Things have kind of changed in the past 10 to 15 years in the sense that, for example, the National Library and the National Records of Scotland have quite handy LGBT research guides, which didn’t exist, you know, 10-15 years ago, which are really helpful if you’re aiming to try and explore LGBT history and experience, and other archives, I think are beginning to follow that pathway. 

It’s come a long way since the days gone past in the early 2000s, or the mid 2000s when I went into an archive, which I wouldn’t mention, and ask the archivist, if they had any LGBT content and the person I was speaking to was was a little shocked, and a little horrified that I was asking that. 

So oral histories are vitally important in that process as well. We need more, I think research that focuses on the diversity of LGBT + experience. The research is not focused on nor white, middle class, gay men. I mean, it’s really difficult, for example, to find a good Scottish, lesbian, bi women’s history, not to mention, not to mention trans histories as well. These are really difficult to get any information about Yeah. But also think one of, one of the best ways to do this is by linking with community groups and heritage organisations as part of that process. Because there is this kind of obstacle sometimes I think that people perceive academics to be set apart in some way from community groups or heritage organisations, that we write for an elite audience. And we’re not interested in  broadening our research this way, I do wish there was a better kind of cooperation between these different, you know, vitally important components and exploring histories, marginalised histories.

Niall Murphy  

Yeah, very, very much. And I think I think that’s, that’s a, that’s a very good point. I know, people like Scottish Civic Trust, have been doing a very similar exercise over the last couple of years. So I think it’s incredibly important. And it’s something that I’m conscious that we have to do as an organisation. It’s to be able to take those histories and present them to  everybody in Glasgow. So it’s not just to an exclusive audience. It can’t just be academic, it’s got to be for everybody. Because, you know, we’re serving everybody. 

Jeffrey Meek  

Yeah, I mean, absolutely. I like to think that when I write, I don’t write terribly academic, in the sense that I think my material is reasonably accessible. I’ve done a fair bit of writing for different organisations and different newspapers, etc. But I think there is a kind of desperateness about LGBT history research in Scotland, for example, if you were to ask me to name four other academics in Scotland, that are examining this, I would really struggle to do that. And that’s been the way it has been for the last 10-15 years. And it’s great that we have organisations such as Our Story Scotland, actively collecting and collating oral histories from the LGBT plus communities across Scotland. But still, in terms of research, in terms of exploring the diversity of LGBT experience, you know, there’s a lot of work that still needs to be done in order to bring that on par with gay and bisexual men’s history. Sure, absolutely. 

Niall Murphy  

No, I mean, from, from personal experience, being an architect, you know, I can count on the fingers of one hand, the number of out architects that I actually know and, and it’s been like that for decades. There’s really not that many. So there are those architecture, LGBT plus who were kind of based down in England, and they are trying to set up with , it’s Mark Cairns from New Practice taking the lead on this at the moment. They’re trying to set up in the city just now. So again, it’s all part of understanding that there is a broader community, but it’s relatively invisible, except for a couple of days a year. And it’s teasing out and say, actually, we’re here all the time, you know. So it’s, it’s, it’s Yeah, it’s all part of that process. So, okay, well, moving on then. 

So what would you say, are the most important iconic, historical places and buildings linked to queer history? I mean, in your article, you talked about the White Hats, gangs and the Broomielaw and you also refer to the knob, which is the monument of Admiral Nelson on Glasgow Green. So can you tell us a bit more about all of that, and how that ties in with gay histories? 

Jeffrey Meek  

Yeah. I mean, it’s actually difficult to think of particular buildings that have some sort of resonance with LGBT experience. For me, it’s more about spaces and places. And I think that Nelson’s monument is a key example of that, because that was, if you like, a gay hotspot, in the late 19th century right through to the interwar period. It features I think, centrally and in numerous cases, in the High Court and sheriff court throughout that period, the police went to significant extremes to seek it out. 

They were hiding in bushes  for hours on end, waiting for some unfortunate couple to engage in sexual behaviours. And it’s interesting that if you were a heterosexual couple, and you were doing the similar type of thing you generally were given a stand talking to and told to go home. They were only really interested in the gay stuff. So that’s and, and also the Rowing Club. I can’t remember the official name of the Rowing Club there. That was also another place that features quite prominently.

Niall Murphy  

How interesting, it is having a restoration at the moment, so they will actually, there are two rowing clubs. So yes, yeah. 

Jeffrey Meek  

Yeah, what  makes it so important. I think it’s because, it was a monument in the sense that it was something that could be seen. It was something it could be accessed. It was, it was a visible presence on the riverside horizon and acted in a way like a beacon in the night hours, and it was part of a queer promenades, effectively that stretched from McAlpine Street for the long Broomielaw linked up with several of the theatres in the city centre, and incorporated Glasgow Green, as well. And that’s where the police kind of focus much of their activity during this period, the police were well aware of what was going on, who was participating.

Niall Murphy  

Well, they had, their headquarters is literally right next door. It’s very handy because the central police station was just out St. Andrew’s Square.

Jeffrey Meek  

And  if it was a particularly slow week, the police knew what could really kick up that arrest figures, which have been popping along to Glasgow green. And what this kind of suggests to me is that places and spaces during this period, extended the shape, they extended the shape of themselves, extending the meaning to bring about an LGBT dynamic to places that the rest of the population would be totally oblivious to. Absolutely, yep. Yes. Yeah. 

Niall Murphy  

It’s fascinating. And it’s, it’s, there are so many histories and cities I can think of that kind of are similar to that. What’s particularly fascinating about Glasgow, I suppose, is that I’m not sure that still happens anymore. I am not, certainly not on my map or anything. But I suspect that some to do with you know, what happened in Glasgow, with the comprehensive development areas, the loss of industry, etc, etc. and a massive loss of population around Glasgow Green, you know, Glasgow Green would have been hemmed in with these very densely populated districts, and none of that’s left now. 

So you, whereas in the past, you know, all of those people in those densely populated areas would have needed that kind of outlet. It’s much more dissipated nowadays. So it’s probably completely changed. 

And again, when you when you look at the Broomielaw in particular, this is the touch on urbanism. When you look at it now, it’s what the Danish urbanist Jan Gehl, would call a 50 miles, miles an hour city, it’s got all of these kind of buildings, which don’t have very many entrances on them, they get one huge big entrance, and it’s all geared being passed at speed in the car. It’s not geared to promenading, which is what you would have wanted back then. And when you look at what historic photographs of what that area was actually like, it’s much more like the Water of Leith than it is now where it’s much more of an expressway with these huge kind of quite anonymous corporate buildings on a completely different area. And that kind of Water of Leith environment would have been much more conducive with you know, small cafes, all these outlets, places you could go to, what you’re talking about than it is now so it just shows you how a city changing can destabilise things and get people to shift their activities somewhere else, by the nature of what you know, replaces the original. 

Jeffrey Meek  

Yeah, very much so that I was you know, plucking out the Broomielaw, McAlpine Street, you know, Clyde Street and these different areas at the time when I was looking at the research material, I was thinking to myself, that’s a pretty risky area just to go wandering about and then realising that, you know, 100 years ago, this was mobbed. There were people there was a throng of people here so it was much more. Yes, you’re able to be anonymous and invisible. When there are more people than it is now, yeah, I did a radio documentary a couple of years ago, kind of briefly introducing the White Hats, we actually went to McAlpine Street to where  the White Hats at the base and McAlpine Street, the worksite of William Paton was the leader of the White Hats and his mother, Agnes run this fish restaurant. So we went there to film,  to record this documentary. And of course, there’s nothing there. It’s just a wasteland McAlpine Street, Yes. But we did manage to find the cobbles that formed the the base of the back court of a two to four Broomielaw, which linked in to the house and McAlpine Street. So despite the fact that there was nothing there, I still felt some sort of connection with the past. And the sense that I’m standing on the cobbles that the white hats would have, you know, clicked along in there in their kitten heels. 

Niall Murphy  

Just stood on as well. Yeah, this again, this is what fascinates me about Glasgow, I got roped in at the very last minute to do a walking tour for the BBC Coast programme. This is a while back, and you know how we begun to be introduced to Neil Oliver and kind of this is your party, off you go. And oh, my God, it was such a difficult tour to do, because there was nothing left. And you were having to describe all of these buildings and spaces and activity, and hope that people could imagine it. And that was a real tough gig. And it wasn’t until we eventually got to the Clyde Port building  and it’s when you do a walking tour, you can you can tell whether people are interested, not because you just have to get the whites of their eyes. And if they start glazing over, you have lost your audience. And it wasn’t until we got to the Clyde Port that they suddenly sprung back up into life again, because that was really having to kind of work it to tell the story of something that they just couldn’t see for themselves, a really difficult thing to do. So. But again, it’s just, it’s, that’s the point that city has disappeared. 

Jeffrey Meek  

It has, it was much easier doing on the radio, of course, when the viewers couldn’t see that there was nothing there. Yes, exactly. That’s probably the gig on radio you get you’ve got to describe it. So yeah, because it was it was fun. But yeah, I mean, it’s so McAlpine, Street, Broomielaw, that part’s gone. The other place that that the white hats congregated or met was  Stobcross Street, I think. And of course, that part’s gone as well. Fundamentally changed. I saw this kind of rush for post war reconstruction and redevelopment has obliterated, you know, many of the buildings that that we, I could associate with LGBT history. And it’s a case of trying to not see that as a significant loss in terms of the story, the story  still exists, the people still existed, that building, these buildings still existed. And it’s trying to, you know, encourage the same level of excitement that I get when I read about it, in other people and assuring them that because the building isn’t there anymore, does not devalue or take anything away from the story, although it’d be much better if it was there. And if anyone, if anyone has a photograph of the corner of Broomileaw and McAlpine Street, when there were buildings there, I’d be very grateful because nobody seems to have a photograph of that venue. So I would still like to see it.

Niall Murphy  

 I wonder to wether our patron, John Hume, Professor John Hume might well do, he was in that 1960s and kind of early 70s, he was photographing everything around there. He’s his kind of Scotland’s top expert on kind of industrial architecture and archaeology. And he just photographed everything. So he’s got it all and he’s given it all to Historic Environment Scotland, so but there are, there are occasional nuggets of gold you can find in his, his photographs and when you see them at all, so that makes sense again, because you appreciate what was once there and what the city was like. But yeah, all very sadly swept away. So okay to go back to the legal side of things. Scotland didn’t decriminalise gay sex between consenting men until 1980, obviously on the back of what happened with Adair and for this reason, queer stories, and this is something that depresses me, are often linked with crime. And very often the only traces we can find are in criminal archives. 

So what would you say is the best way to interpret and highlight these stories and the places they’re linked to?

Jeffrey Meek  

You know, I think it is a bit it is a bit depressing. It certainly, you know, you’re accessing people’s stories through trial and precognition records, medical reports and such like that these men had to go under, I had to go through once they were arrested in a very deep, depersonalising and dehumanising process that’s catalogued and precognition records, yes. You’re extremely limited in that sense. These are the records that we need to use, but a criminal record and a person’s identity, you know, from whenever 1878- 1903, whatever gives us a link to a person. And that person’s story can then be explored in more detail. So it’s linking people to your pull out records to census, supports and finding out more about them. And building another aspect of that person’s identity and character, you know, that slightly shifts them away from the criminal realm and to the kind of human realm Yeah. So for these older records for these older cases for, for these older experiences, you know, sometimes we just have to accept the records that we have and the only records that we will ever have. 

For the slightly later periods, then, you know, oral history is a fantastic tool that can be used to to explore people’s perceptions. Of course, a person reflecting on something that occurred 50 years ago, might not remember things as accurately as, as if you were taking factual notes contemporaneously. But that tells us a lot about what’s happened to that person in their life too. So, you know, it is about exploring the opportunities that we do have, however limited to build more about a person and that identity and the humanity of that experience and and how they’ve interpreted their experiences. 

We can also do things like, if we have a place, a space that we can identify, like 2 to 4 Broomielaw, it’s about finding out who owns 2 to 4 Broomielaw, who rented 2 to 4 Broomielaw. How long did they rent 2 to 4 Broomielaw? What does that tell us about what was happening? And the Broomielaw at that time? So I mean, that’s what I’ve done with the White Hats in the midst of writing the book at the moment. 

And then a few months ago, I laid it all in a table, everything that I had, you know about these individuals, I was thinking, Oh, my God, how am I going to be able to write a book here, but then you start unpicking things. And at the moment, I’m writing about male impersonators on the stage in 1920s 1930s, Glasgow. And there’s a reason for that, because it links to the names that these men used professionally. So you suddenly learned that William Paton or  Thomas Dalgleish  or whomever, must have gone to the Empire or the Panopticon, or whatever, and watch these performers on that stage. And they are immediately. Yeah, you have a human connection, their likes and dislikes. So one little nugget of information, even if it is from a criminal record, can lead you down a path that takes you to find more interesting and kind of human places. 

Niall Murphy  

Yeah, very much. I mean, what came, what came out of that for me, which kind of, I thought was really interesting was that the, you know, the mother and the son, were clearly exploiting these people who are from a very marginalised group. And you can totally understand why people were marginalised. I mean, you know, they want, they wanted to express a core inner part of their being. But the only way they could do that was through an activity that had been criminalised since, you know, 15th century onwards. And, you know, people being at risk of either death, or being, you know, transported to Australia, or, you know, all of these things, inevitably, they’re all going to be marginalised. And therefore, that’s going to make them poor, because they’re outside of the mainstream of society. And it’s how you get your way back into that. So it’s always going to be marginalised. It’s, it’s, it’s really fascinating and, and, again, that ties in with, you know, Adair in what he was doing, because he wanted to silence those voices, and he didn’t want them to be brought out. Because he had a very different idea of what, what he wanted Scottish society to be. And that natural fact it didn’t, didn’t reflect that much, much broader church that actually is…

Jeffrey Meek  

Maybe, Adair is a classic example of kind of, mendacity, and, and all of these things, you know, as a procurator fiscal, he prosecuted many men for sex with another man during the, you know, the first quarter of the 20th century. So for him to boldly state, you know, that this is not a problem in Scotland that we should be discussing, it is just, it’s just hypocrisy of the highest level. Totally. I mean, he was he was he was in constant communication with people like William Merrilees , in Edinburgh, who was waging war on homosexuality in the 20s and 30s. So they knew exactly what the situation was in terms of the number of people that were being criminalised. And that’s certainly a reflection of a small potential percentage of the population, the LGBT population at that time. So for them to, you know, have to maraud through the 50s with blinkers on. You know, it just reflects something very peculiar about Scotland in the 50s. And 60s. Yeah. And only only tells part of the story because there, you know, isn’t the reason that Scotland is different. The it’s a much more complex picture, but it’s yet, it’s people like James Adair, they get all the attention. And I think part of, partially is because he was an attention seeker.

Niall Murphy  

Yeah, yes. Yeah. I suspect you’re probably right. It’s interesting. What William Merrilees.  When I was looking at this, I actually come from a police family kind of on both sides. And my grandfather on my mother’s side was, he was in Edinburgh, and his beat was from, there’s a very beautiful Georgian police station at the bottom of Leith Walk and his beat was all the way up Leith Walk on Princess Street, he was basically in charge of that whole stretch. He must have known William Merrilees. And it was funny because when he eventually I came out to my parents, in kind of the mid 90s, they’re like, don’t you tell your grandfather, he won’t accept it. And looking back on what William Merrilees was like you’re thinking, this is the culture he was immersed in and no wonder he wouldn’t accept it. He would find that really difficult to tolerate and he wouldn’t be able not to say something and I really loved my grandfather and not being able to say something like that to him, was you know, to conceal that was, was really difficult to do. Yeah, yeah. That’s fascinating. Yeah.

Jeffrey Meek  

Yeah, I mean, it really barely is. I remember speaking to someone who told me a story, William Merrilees, was, you know, effectively came to, you know, become a police officer because of his heroics  at Leith Harbour on numerous occasions. He dived into the water to save a drowning boy, I think it was 22 times he did this. And the story I heard was someone in Leith once said, “Yeah, he pushed half of them in” and so probably. But the thing is William Merrilees has been glorified. Even had  his own cartoon strip, William Merrilees became this icon of of respectable Scottish policing. And to the extent that, you know, when people read about his war on homosexuality, there must be some people that think, but he must have been right. He must have been doing the right thing, because William Merrilees was a fantastic police officer. 

Niall Murphy  

Yeah, absolutely. And when you see all that kind of, in the 1960s, on the back of what Adair has been doing with the Wolfenden Commission, and then how he presents it in the press, in the 1960s, you can understand why, you know, there’s so much resistance and it’s so slow. And it’s, it’s, it’s really fascinating because exactly the same kind of pattern re emerges when section 28 of the Scottish Parliament decides to tackle section 28. And you get the whole kind of thing reemerging again, and, you know, we can’t have this, it’s going to, you know, spoil our children not on and nobody actually really explains the whole situation properly in a human way. And, you know, with any kind of sensitivity or understanding, it’s quite depressing.

Jeffrey Meek  

It is. It’s the same narrative that keeps on popping out. Yeah, it is so predictable. You can read it in the 30s. You can read it in the German sexologist work. You can read it in the 50s. You can read it in the 70s. And you can read it in the 80s. You can even read it today and it’s the same kind of narrative. Yeah, very, very much.

Niall Murphy  

Yes. Yeah. Okay, so I mean, going back to what we were discussing with marginalised minorities in history and, you know, queer history, a lot of it is ephemeral and it has been erased, or not documented properly. So what can we do to include these kind of marginalised histories in archives and collective social memory nowadays?

Jeffrey Meek  

It’s a bit of embedding it within Scottish history. It’s, it’s, it’s a bit not seeing as LGBT history. The needs to be separated and focused on in a different way. And it kind of leads on to the issue of LGBT history months and things like that, which are very positive in a sense, but it means that once that month is over, you can put it back in its box and say, well I’ve, we’ve done that. We’ve supported Pride, we sponsored Pride. We’re showing here inclusivity and progressiveness. Yeah, but it only lasts for that month. Yes. And it’s about, it’s about somehow embedding that within history. I mean, I don’t know how many social and cultural history courses that are at universities and colleges across Scotland. But I wonder how many of those social and cultural history courses include LGBT History and experience. Very few, I would imagine.

Niall Murphy  

I would imagine and given, given what you said about academics, you can count on one hand.

Jeffrey Meek  

Well, it will create, I mean, I do a sexuality course and economic and social history in Glasgow and all of a sudden  sounds like I am blowing my own trumpet,  but few of the students have said to me, that’s the first time in two, three years studying history at the university that we’ve encountered anything that, that engages with LGBT experience. And I think that’s part of the problem is that even though it is 2021, it’s somehow being seen as a separate issue. We can lump it with, with, with Gender, and Sexuality Studies, where do we fit LGBT history and experience within the curriculum? And I think that speaks to the, you know, the wider issue about how LGBT experiences still is, in some senses marginalised as no one really know what’s, what to do with it?

Niall Murphy  

Very, very much. Yeah, I mean, I’m thinking of earlier when I realised that where the gay, Glasgow’s Gay Centre had been at 534 Sauchiehall Street, that’s actually a A listed building by Sir John James Burnet, the Albany Chambers, incredibly grand building, you got Quentin Crisp, visiting that centre, you know, all these kind of famous people visit, Tom Robinson, all got, all kind of visited. And there’s nothing there that tells you any of this. There’s no kind of interpretation. And that kind of depresses me a wee bit as well, that we could do. 

And I feel this anyway, about Glasgow, not just with LGBT|+ histories, but with all kinds of histories, we don’t tell our story  very well. And it’s something that we need to do better. And it’s about, you know, making queer history relevant. And and, you know, and emphasising that this is important too, do you think that Glasgow could do better in this regard?

Jeffrey Meek  

Yeah, absolutely. You can walk around Glasgow and not appreciate that there is an LGBT history in the city. I don’t know if it’s a hangover from this kind of industrial Glasgow, machismo, hard man, broken bodies type ideology exists around the city. So it’s only just recently that that Glasgow is kind of engaged with its slavery history, which has been, you know, the elephant in the room, we can go for 200 years, in effect in Glasgow. So yeah, I think Glasgow can do so much more. It’s a bit how we actually do that. But that’s probably the main issue. You know, if I don’t know if students at secondary school are being taught LGBT culture and history, I think it probably comes from people’s demand, to see, and hear more about the city’s LGBT history and such you know, programmes.

Niall Murphy  

The TIE (Time for Inclusive Education) campaign have been doing that in Scotland, but they seem to be kind of coming in for a lot of flack at the moment, unfortunately. Yeah.

Jeffrey Meek  

I mean, you know, some of the outright homophobia, I think, that they’re they’ve experienced on Twitter and other social media platforms has been scary. 

Niall Murphy  

It’s been been quite depressing.

Jeffrey Meek  

But, you know, is that, is that a social media thing? Or does it reflect true, popular opinion in the real world? But it’s still horrific, to experience, whatever percentage of the population it might represent. 

Niall Murphy

Yeah absolutely. I just think, I think what what they do, you know, when I was growing up, there was no kind of positive role models to kind of really look at. And, you know, you had this deep, ingrained sense of shame as a consequence, which you’ve totally defined you as a person when you’re growing up as a teenager, and trying to figure out how to move away of that, I would have been so grateful to have something like that at the time. And I really do wish them luck. I think it’s so important.

Jeffrey Meek

Yeah, I mean, I’ve got similar experience. I grew up in the 70s and 80s, in a rural part of Scotland where, you know, the word gay wasn’t even mentioned very often, let alone anything positive about it. So in some senses, we’ve come a lot. We’ve come a long way and 40 years since decriminalisation but yes, in some regards. Not that far.

Niall Murphy  

I suppose that kind of links us to where we’re going with kind of the last question. And you know, and it’s to do with LGBT+  kind of presence and relationship with about heritage and and how do you tease that out when it is so ephemeral, it’s it’s it’s really not easy, but any suggestions?

Jeffrey Meek  

I think it’s about having the right kind of connections between different organisations and between different people to enable that, that history to be teased out. I mean, I’m, you know, I’m fascinated by space, especially urban space and how that has evolved over a period. And I think that, you know, when you really go to different places, there’s always a queer or LGBT dynamic to it. I was walking through the Necropolis recently, and I began to think about how many of these 1000s of people had a story that is now lost to history entirely. And that kind of depressed me at that point. 

So I think it’s about you know, you know, finding some sort of way of connecting existing world histories, for example, Our Story Scotland, with the built environment, and with how urban, how LGBT people engage with space and place over time. Has that changed? You know, it’s the thing I was doing with the buildings, and titled, Queering, I think, “Queering the architecture of Glasgow” or “Queering the buildings of Glasgow”. And I was thinking about how many buildings in Glasgow have some sort of LGBT+ historical dynamic or history to them. 

SMG for example,  they were moving all around it during that period, of course, you had the the Columbus, the called it in Queens Crescent. 

So you know, there’s, there’s so many buildings, I think, in Glasgow, that could have a Queer or LGBT+ historical dynamic, and there’s a bit teasing that out, so that it’s not all focused on, you know, Nelson’s monument or, you know, the police court there, that can have human dimensions to it. So it’s about, you know, plotting the queer history of Glasgow. And you know, teasing out these yes, these LGBT stories, these histories that are going to get lost completely, unless people do something about them.

Niall Murphy  

Yeah, absolutely. And maybe that is where the maps, growing the map. Maybe that’s the way to go. Because, you know, you can still locate these various stories where they were in the city, but not necessarily, you can locate it on the map, just not necessarily in the same place anymore. Because the buildings disappeared. Maybe that’s one way to do it. So and finally turn to buildings itself. What’s your favourite building in Glasgow? And what would it tell you if its walls could talk?

Jeffrey Meek  

Listen, I’ve got for one for me, because my favourite buildings in Glasgow do not exist anymore.

Niall Murphy  

Oh, go on then.

Jeffrey Meek  

You know if it is, you know, 2 to 4 Broomielaw it is whatever number it is at Stobcross Street. It’s it’s the buildings that tell some sort of story. That is the building. I think it’s I can’t remember now in Garnethill that the Galloway family owned in the 1920s that they’ve drilled a peep hole through the wall to spy on their the guests that were staying there because they suspected he was a homosexual and went to the police with their evidence. It’s these buildings. I think that means so much more to me. Also, and I know I’m taking it back to the crime angle but you know, the Glasgow central police court and police station Yes. For me, it’s a building that I’ve never been in. I tried to get into it to do my talk for Doors Open Days. I’ve been in it. And to me, it’s about you know that there are so many men who passed through that building, whose stories could tell us something could tell us about their experience how that damaged or destroyed their lives. Because so many more men got, 5 pounds fines, or a 15 pounds fines than were ever sent to prison. So you know that it’s these kind of buildings, they must they must have so many stories to tell. So that’s a building that fascinates me.

Niall Murphy  

Absolutely. Yeah, it’s fascinating. That one that is an intriguing building, a developer has, at the moment, is allegedly going to be turning it into some residential with a mix of kind of other accommodation in it. But having been around it, it’s actually going to be a really intriguing building to adapt, because the front part of it that sits on kind of looking towards St Andrew’s Square, which is notionally the posh part of it, it is actually not in a really good way at all because behind that facade, it’s all kind of plaster and timber flooring and the roof is leaking like a sieve. And so it’s dry, it’s riddled with dry rot. And you have to be really careful where you step into the actual courtroom itself, which is a magnificent space is pretty ropey. And yet when you go beyond the courtyard to the kind of the back of the whole complex, that’s where all the cells are. And the cellblock is in fantastic condition, because it was all concrete construction. And so it’s actually in really good nick. But there’s something about it that’s ever so slightly terrifying, would make a fantastic set for a horror film. And they’re, they have used it for for filming inside. But it’s what would you do with those cells and what is not really the kind of thing that lends itself to a residential building, whereas the front part might so I think that’s gonna be a bit of a challenge for them, but very much an intriguing building. So thank you very much, Jeff. This has been a very, very interesting and at times, slightly depressing conversation, but, but yeah, really, really fascinating. And I hope you’ve enjoyed it as much as I have. Yep. So and, you know, to to people who are listening in and if you’ve enjoyed the episode, please subscribe and share. And don’t forget to follow the hashtag #IfGlasgowsWallsCouldTalk. Thank you very much!

Glasgow City Heritage Trust is an independent charity and grant funder that promotes the understanding, appreciation and conservation of Glasgow’s historic built environment. Do you want to know more? Have a look at our website at glasgowheritage.org.uk  and follow us on social media @GlasgowHeritage. This podcast was produced by  Inner Ear for Glasgow City Heritage Trust. This podcast is kindly sponsored by the National Trust for Scotland and supported by Tunnock’s.

 

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