Peter Degnan’s ‘Mother Glasgow’

Trying to keep up to date with the current tumultuous news of life on Twitter it’s heartening to scroll to a Tweet which shows images and catches your eyes. Such has been the way this past week or so when I’ve discovered two photographers posting old images of Glasgow and beyond.  I dropped them both a note, and now have the pleasure of sharing some of their work and a few Q&A’s with them, over the coming days. Hope you enjoy them.

Today we start with the lovely work of Peter Degnan. I look at his images of the Jock Stein testimonial and get jealous; his image of the Granary building bring back memories of myself being on top of it photographing ship launches; and the whelk shop in the Barras, a place I was discussing with someone just recently… Great to see Peter, thank you for sharing it all. – Jeremy Sutton-Hibbert.

Peter introduces himself on his website with these words: 

I have been involved with photography seriously since about 1976 when I bought my first SLR camera, a Russian “Zenith E” with a 50mm lens. I became involved with camera clubs in the early days and although I enjoyed my time in them socially, the competitive and prescriptive nature of them was not always to my liking.

I was predominantly shooting in black and white and processing and printing all my own work at this time.

I am self-taught in both my photography taking and processing and printing and I was fortunate enough to always have a darkroom at home, so more often than not I could be found in there working on new projects. Although I did not set out to profit from my work I did manage to sell a few images following a small exhibition of my work in The Paisley Arts Centre.

Around the late 1990’s until about 2002 I took a break from working at the level I had been for a number of reasons. Firstly I had a major move of jobs and living location, secondly the kids were growing up and finally the dawn of digital photography was starting to take a hold and I was watching with interest.

Although I still had my film cameras and lenses, my first digital camera was to be a Fujifilm Finepix. I was basically dabbling with digital until such time as I switched from Windows computers and bought an iMac and simultaneously took out an Adobe subscription to Lightroom and Photoshop and this gave me the encouragement to start back where I had left off.

Up until about 2012 my taste in photography was wide ranging and included taking landscape, portraits and transport photographs. My passion however is documentary and street photography. I have always endeavoured to record as I was going about my photography and still do to this day. Although street photography can take many forms, it is the documentary element that interests me most. In 2019 I produced my first photo-book entitled “Mother Glasgow” and some of the images it contains can be seen in my My Galleries. This was followed up with a Zine version and both of these can be purchased using the Publications like above.

In 2019, in order for me to try and progress with my documentary/street photography, I decided to end my association with Nikon equipment and purchase a Fujifilm 100X-F camera which is my first mirror-less camera and I am enjoying using it as it is so discrete on the streets. I have recently supplemented this with the purchase of the excellent Fujifilm X-T3 and some lenses.



Govan, July 1977. aken from the bottom of Water Row in Govan this view shows what was the Meadowhall Granary on the north side of the Clyde. This whole vista has disappeared now, replaced by modern flats. ©Peter Degnan.

Govan, July 1977. Taken from the bottom of Water Row in Govan this view shows what was the Meadowhall Granary on the north side of the Clyde. This whole vista has disappeared now, replaced by modern flats. ©Peter Degnan.


Document Scotland – Roughly what period did you shoot these b/ws?

Peter Degnan – All of the photographs were produced between the mid 1970s and the late 80s. It was a very interesting time for Glasgow with lots of changes going on. It was also back in the film era and one regret I have is that I didn’t take more. I have resisted going public with a lot of the images because leaving a gap of over 40 years since I took them makes the contrast in people and places more noticeable.


The Barras, July 1978. This chap could be found roaming around The Barras at the weekend, and was one of many characters that frequented the area. There was so much underhand dealing going on at times in the Barras that his message I fear would fall on deaf ears. ©Peter Degnan.

What was the motivation behind you going out on the streets looking for images, and for attending events such as the Jock Stein testimonial?

From the outset my photography style has always been of the documentary/photojournalistic style. It wasn’t a conscious decision it was just something I felt comfortable doing and always had a fascination for old photographs that recorded life. I was always on the lookout for events. The Jock Stein Testimonial I knew would be a huge event given the love the support had for him so I was determined to get in on that. I have also taken pictures at political rallies, marches and some during the miners strike. I am glad for example that I took photographs of The Barras in its heyday, because it is just a shadow now of what it was.


1978. A full stadium welcomed Jock Stein on the night and his Lisbon Lions. ©Peter Degnan.


Was it easy getting access? You look very close to your subjects, and in amongst it all, what was your approach?

I was basically an amateur photographer trying to get the shots that I wanted so getting in close was required. I discovered that so long as I looked and acted the part nobody challenged me. For example the Jock Stein Testimonial. Myself and a friend noticed that the Daily Record photographers wore red Adidas cagoules when covering games so we bought these out of Millets Stores. On the night we entered the stadium through the turnstiles with our kit and red cagoules on and walked down onto the track around the pitch where the invalid cars would drive. The police just parted and let us through. That is why the pictures look close up, I was standing on the pitch trying my best to look professional and it worked. Probably impossible to attempt now due to security and issuing of accreditation bibs etc.

1978. A full stadium welcomed Jock Stein on the night and his Lisbon Lions. ©Peter Degnan.


Did the work get exhibited much or published back then?

No not really. I was basically doing my own thing and building up an archive of work. I was doing all my own darkroom work at the time as well. I did have a small exhibition of work in the bar of the Paisley Art Centre which resulted in a few sales of prints but that was about it. I never really pushed my work but I knew there could be interest in it at some time.

Were you looking at other photography back then? Who was inspiring you, if anyone?

I would have to say that the biggest influence on my work has been Oscar Marzaroli. I became aware of his work early on in my photography journey and have been an admirer to this day. I met him briefly at the Third Eye Centre in 84. I was looking at one of his photographs and I became aware of him standing beside me. We chatted about his work and I asked him for advice on how maybe some day I could get work exhibited. His simple advice was, “Just keep taking photographs”. I have also been a big fan of Don McCullin. Not so much his excellent war photography but they way he would capture every day life.


Govan, 1981. I took a number of shots in and around Govan capturing the change to that part of Glasgow. It was in the process of loosing its tenement community and ship building industry. This was taken just after a snowfall and captures two policemen wandering down one of the oldest streets in Govan, Water Row, towards what was the ferry landing. ©Peter Degnan


Govan Subway, 1977. As Glasgow was modernising above ground the same could be said for below ground with its Subway system. Major reconstruction meant the old Victorian era wooden rolling stock had to go and this shot was taken capturing this process at the Broomloan Road works in Govan. It shows workmen stripping the bogies off of the carriages and preparing them to be scrapped. ©Peter Degnan


Did you have contact with other photographers, or for in any collective way at all?

Not really, apart from the usual Camera Club experiences early on. I am self taught in both the taking and processing of my work and haven’t studied photography in an academic way. Everything I know and practice has been through experience and trial and error. Social media can be a good way of meeting like minded photographers and I have recently attended a couple of workshops on Street Photography, followed up by sharing my work with the StreetSnappers Collective both on-line and through contributing to a book we recently produced.



Glasgow Loyalist March, 1981. This element of Glasgow life was always something I wanted to capture. Not because I support it but because it is an important part of the sectarian tapestry that blights the city. The march started in North Street and meandered through Bridgeton Cross to Glasgow Green. The contrast of tenements coming down to create a new modern Glasgow is juxtaposed by the March, which was amongst other things protesting about the upcoming visit to Glasgow of Pope John Paul 2nd. ©Peter Degnan.


Glasgow Loyalist March, 1981. This element of Glasgow life was always something I wanted to capture. Not because I support it but because it is an important part of the sectarian tapestry that blights the city. The march started in North Street and meandered through Bridgeton Cross to Glasgow Green. The contrast of tenements coming down to create a new modern Glasgow is juxtaposed by the March, which was amongst other things protesting about the upcoming visit to Glasgow of Pope John Paul 2nd. ©Peter Degnan.


You’ve made a book recently ‘Mother Glasgow’, how did that come about and what was the process?
Did you edit that yourself?

As previously mentioned, I resisted sharing many of my B&W negative film images until I decided the time was right. Last year I decided that the time had come to do this and given it is so easy these days to produce photo books I decided to bite the bullet. I chose around 50 images depicting Glasgow in the 70s and 80s, including a section on The Barras. I edited the book and laid it out using the Book module in Adobe Lightroom. The resulting PDF of the book was uploaded to Mixam and in a couple of weeks time I had my first book which I had titled “Mother Glasgow”. It was really quite emotional to see my work like this after all these years. I realised that not everyone would want to go for the expense of a hard backed book so I decided to produce a Zine of “Mother Glasgow” and these have sold very well. The feedback I have received over “Mother Glasgow” has been very rewarding.


The Barras, April 1985. Taken through the window of one of the many mussel and whelk shops at The Barras. This woman wearing her headscarf whilst working inside the shop was typical of most women at the time. The absence of pre-packed food and scales for weighing loose produce is a sign of the time. ©Peter Degnan.


The Barras, October 1977. At this time The Barras was great for photography, but it could also be a dangerous place with traders often asking if you were from the DSS (Social Security) and even getting “Heavies” to stand beside you watching what you were photographing. This chap had just pointed me out to the crowd as being from the DSS. It gives the picture a sort of Thomas Annan feel with all the people just staring into the camera. ©Peter Degnan


Where can people buy your book?

The hardback version of “Mother Glasgow” is available from Blurb at the following location:

The smaller Zine (A5) version is available to order through my website by ordering using the Contact Me form.

Are you on Social media, if so, what are the accounts?

I have the website as mentioned above and I am also on Twitter @peterdegnan2.


We hope you have enjoyed the above article and images. Since forming in 2012 all the work featured on this site, and the work undertaken to enable it, has been free of charge. Now, times are changing. To continue we feel we need to ask for your support, to help us manage our time and energies, and to continue sharing photography we care about. Please visit our Patreon page and consider being a supporter. Thank you – Jeremy, Sophie, Colin. 

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Marzaroli’s ‘Castlemilk Lads’.

Oscar Marzaroli‘s picture known as ‘The Castlemilk Lads’ is one of the iconic photographic images of Glasgow, and of Scotland. It was with great relish that Document Scotland recently read the story behind the image, a story which has gone untold until Peter Ross, journalist with the Scotland On Sunday newspaper, tracked down the three gents who appear as boys in the black and white image, shot in 1963 by Marzaroli.

With the kind permission of Peter Ross, and of Scotland On Sunday, we reproduce the article below and the tear sheets of how it appeared in the Spectrum Magazine on June 24th 2012.  All  below text and tear sheet images are ©Scotland On Sunday, Edinburgh, Scotland, 2012. Colour photograph of the ‘Castlemilk Lads’ as adults is by Scotland On Sunday staff photographer Robert Perry.

Scotland On Sunday’s Spectrum Magazine, 24th June 2012.


‘Whatever Happened to The Castlemilk Lads ?’ by Peter Ross

IT is early 1963 and a group of schoolboys are standing on a green hill in Castlemilk, Europeʼs largest housing estate, having their photograph taken. They jostle in front of the camera, crowding into the frame, anxious to be in the picture. One stands on tip-toe, leans his chin on anotherʼs shoulder, and stares straight at the lens, defiant.

The photographer, a handsome young man, would stand out anywhere in Glasgow, but at more than six feet tall he towers over these youngsters. He must look curious to them – black beard, Russian hat, dark cape, eyes and hands that are never still. Nevertheless, he has an easy manner, asking about school and football. The boy at the front, the one with the sticky-up hair, is called Charlie and supports Celtic, as does the photographer. Charlie has an interesting face – tough but vulnerable with something in his eyes which suggests heʼs seen things in his thirteen years that no one of that age should witness. When the boyʼs gaze is snagged, suddenly, by something to his right, the photographer knows that this is the moment and takes the picture. Click.

Oscar Marzaroli died of cancer in 1988 and so it is impossible to know for sure what he felt when he first developed this photograph and saw the boys begin to materialise in the darkroom. We can guess, though, that he must have realised he had something special. He called his picture Castlemilk Lads and it has become iconic, appearing in books and on the sleeve of Deacon Blueʼs Chocolate Girl. The Scottish National Portrait Gallery in Edinburgh, when it reopened last year, used the photo prominently in its advertising, and Charlieʼs face, even now, hangs on a banner outside the grand sandstone building.

The faces of the boys, then, are famous, but they themselves remained unknown. Marzaroli did not take their names. He did not wish to intrude beyond taking the photograph. Yet, as the poet Edwin Morgan put it in 1984, “It is impossible not to wonder what the Castlemilk lads are like today”. And as the years have passed, this instinct has grown ever stronger. Are they alive? Have they had good lives? Whatever happened to the Castlemilk Lads?

LAST year, I decided to find out. I put up posters around Castlemilk, forlorn notices of the sort one might make for a lost cat. One day a message was left on my phone by a woman called Emily. “I think,” she said, “you are looking for my brother.”

Scotland On Sunday’s Spectrum Magazine, June 24th 2012. Colour photograph of the Castlemilk Lads as adults, by Scotland on Sunday staff photographer Robert Perry.


Charlie Gordon is 63. He lives with his wife in a suburb of Birmingham, a city that has been his home for the whole of his adult life. He left Scotland at 18 and came down to England to work as a labourer. He had been involved with one of the Glasgow gangs, the Cumbie, and served short sentences for fighting. He never used a weapon, he says, but was once hit on the back of the head by an axe.

Youʼd never know now, to meet Charlie, that he was involved in all that. Heʼs friendly and funny, a grandfather five times over, a burly man with a Brummie accent, though sometimes, as he talks about the past, his native Glaswegian emerges. He had a heart attack in 1999 and his health hasnʼt been great since – “Every day is a bonus for me” – but you can still see the wee boy in him. His hair is silver yet still sticks up. He could never do anything with it. When he takes off his specs, it is possible to make out the small scar above his left eye, visible in Marzaroliʼs shot, which he got when he threw an empty cider bottle into a midden and it bounced back and cut him. “Iʼve got scars all over the place,” he says. “You had to in those days, growing up in the Gorbals.”

He was born in 1949 and spent his early childhood living in the bottom flat of a tenement at 3 Inverkip Street, right by the Clyde, where the Central Mosque is now. Their home was near the John Begg whisky distillery. He remembers the barrels, the smell, the big dray horses, the neon sign that flashed into his bedroom all night – “Take a peg of John Begg”.

Charlieʼs father was a busker. Heʼd play the accordion round the pubs and then come back home drunk and throw a bag of money on the floor. Charlie sometimes worked with his dad in Paddyʼs Market, selling old clothes out of a suitcase. “We had hand-me-down clothes all the time,” he recalls. “Thatʼs why I would never get rid of that coat Iʼm wearing in the photo. I got it bought for me, for either a birthday or Christmas, and it the first brand new thing I ever owned.”

When Charlie was around five or six, he saw his young sister Catherine killed. Loads of local kids were out playing, as usual, by the buses parked across the road. But Catherine ran out between two buses and was hit by a lorry. “When I looked at the ground I was in shock,” he says, “because all you could see was her clothes. Everything was flat. Iʼll never forget it till the day I die. She was wearing this outfit that my mum knitted. A skirt with a big white stripe round it and thatʼs all you could see. I went to my mum and dad and they came running out – ʻOh God!ʼ Mum was in hysterics. It was terrible.”

What sort of effect has it had on him, losing his sister like that? “What can I say? I mean, can you imagine coming out your house and seeing the spot exactly where she died every day of your life till you moved? It does mentally affect you. You think, ʻIf I could have stopped her …ʼ Most of us had the sense not to run out. But she was only little. Three, four maybe. Iʼve blanked it. The year, the date, everything. I didnʼt want it in my head.”

It must have been a relief for to get away to Castlemilk, The family moved in 1959 as part of the massive slum clearance programme, settling into a new home at 17 Downcraig Drive. Between 1961 and 1971, the population of the Gorbals and neighbouring Hutchestown fell from 45,000 to 19,000 as Victorian tenements were razed and teeming streets emptied, a pattern repeated in several other central districts. The Glasgow Corporation aimed to demolish 4,500 dwellings each year, replacing them with multi- stories, and homes in the New Towns and on the vast new peripheral estates – Pollok, Castlemilk, Easterhouse and Drumchapel.

The families moving into their new homes, with their bathrooms and central heating, found them to be mansions in comparison to where they had come from. But it did not take long for problems to emerge, largely because of a lack of amenities and the distance of the estates from work. Too many people were jobless and bored. Newspaper articles from 1963 refer to Castlemilk as a “concrete jungle” and a “cemetery with lights” and report gang violence as a serious issue. The parents of three little boys, noted the Evening Citizen, were “saving like mad to buy a house of their own, miles away from Castlemilk, because they donʼt want their children to grow up here”.

You can see something of this, perhaps, in Marzaroliʼs photograph, taken that same year. The multi-story being constructed in the background is possibly one of the Mitchelhill blocks which were, eventually, demolished in 2005 – part of an ongoing demolition of Glasgowʼs high flats, every blow-down a fresh admission of failure. There is, too, something in the tone of the photograph which seems to speak of struggle and anxiety.

We should be careful, though, not to clart the picture with too thick a layer of our own angst. The Scottish National Portrait Galleryʼs guide to the photograph talks about a dislocated community inhabiting an unfriendly environment, a presumption which Peter Jackson, for one, finds insulting. “Unfriendly enviornment?” he says. “Thatʼs absolute rubbish. I was quite annoyed when I saw that. Flaming cheek.”

Peter Jackson is the second of the Castlemilk Lads, the boy leaning his chin on Charlie Gordonʼs shoulder. Heʼs 62 now, married since 1971, with two children and a grandchild. He worked on the production line of a chemical company until his retirement in 2006, and spends three days a week caring for people with learning difficulties. He always seems to scowl in photos, he says, but wasnʼt the wee hard nut he looks in Marzaroliʼs picture.

He lives in Neilston, East Renfrewshire. At the time of the photo he stayed at 16 Raithburn Road, a first floor flat. He moved to Castlemilk in 1959. He had been living with his paternal grandparents in Howard Street, diagonally across the Clyde from Charlie Gordon, but there was an electrical fire in the tenement and the family were moved to the new housing. His grandparents looked after him because his mother had died of tuberculosis. His father was employed by the cleansing department and would come home with tons of stories and what were known as “lucks” – broken toys that heʼd found in bins – and fix them up for the children.

“I still remember my mother,” says Peter. “Iʼve got vivid memories because she was ill for a long time. I remember going to visit her in hospital, my dad taking us. He would always kid on we were sneaking in, and say that weʼd got to be quiet; he was making it a kind of game. My brother Richard was four years older so he knew more than me. I just thought it was a big adventure. But the funny thing is I remember great laughter in the house when my mum and dad were there. I always remember it being a happy house.”

Mrs Jacksonʼs illness, TB, is a point of connection with Oscar Marzaroli. The photographer moved to Glasgow from Italy in the mid-1930s at the age of two, and worked in the family businesses – a cafe, grocerʼs and fish restaurant. When he was 18 he developed tuberculosis and was bedridden for a year, gradually recovering his health in a sanatorium in Kingussie. This, according to his widow Anne, was a moment of “catharsis”. He saw other patients dying and believed he would be next.

He began to read the great Russian authors – Tolstoy, Dostoevsky, Gogol, Gorsky – and through them developed, it would appear, an interest in becoming a social chronicler in his own way. This would involve a camera. It afforded him, he felt, a chance to preserve moments which would soon be gone. For a young man who had felt the hand of death on his shoulder, the idea that life was fragile, fleeting and ought to be captured for posterity was powerful and pressing. So he began to take photographs.

Marzaroli earned his living as a documentary filmmaker, working for Films of Scotland and the Highlands and Islands Development Board. Stills photography was a personal passion, and it was only in the last few years of his life that he began to be celebrated for his talents. His reputation as arguably Scotlandʼs greatest post-war photographer has grown since his death.

He carried his camera with him at all times. It is said that he had “magpie” eyes, always alert to the possibility of a photograph. He was patient, willing to linger till the light or some other aspect of the composition was right. This he called “waiting for the magic”.

There are 55,000 negatives in his archive, of which only around 1,000 have been printed and published. Remarkably, Castlemilk Lads exists as just a single frame. On the contact sheet there are no other photographs of those boys. The same goes for Golden-Haired Lass, another of his most celebrated shots – a wee blonde girl in wellies trotting past the dark mouth of a Gorbals close.

Marzaroli took many, many pictures of the Gorbals: its closes and courts; its winos and workers and dirty-kneed weans in the streets. He photographed it at the precise moment when it was beginning to disappear, as the bulldozers did their work. He shows lone tenements as islands in a sea of rubble. He shows the gigantic new tower-blocks as a sort of concrete armada, an unstoppable invading force.

“I think what fascinated him about the Gorbals was the fact that it was being destroyed,” says his daughter, Marie Claire. “He loved the community, he loved that whole idea of belonging. Because he was going back and forward to Italy, for a long time I donʼt think he felt he belonged anywhere. But Glasgow was where he belonged.”

Marie Claire was born in 1963, the eldest of Marzaroliʼs three daughters. His wife Anne often accompanied him when he was out taking pictures, but not when he took Castlemilk Lads as she was pregnant with Marie Claire at the time. His many photographs of children may reflect the fact that he himself was starting a family at around this time.

What did he see when he photographed those boys that day? For what magic was he waiting? Perhaps itʼs something to do with Charlie Gordonʼs clasped hands. The picture is a prayer of sorts. It feels aggressive but also plaintive. You might think what you are looking at is a gang. But itʼs not. Though these boys were classmates at Glenwood, they werenʼt really friends. Two years after the picture was taken they would leave school and lose contact with each other.

Robert Carnochan, heʼs the third boy; the one, a little out of focus, behind Peter Jackson. Robert still lives in Castlemilk. He is 61, has been married for 40 years, has two sons and three grandchildren. He worked as an engineer until a few years ago when he was made redundant. Now he does maintenance work. He had a health scare in recent years, suffering from pancreatitis and was lucky to survive, but is much better now. He seems like a quiet and gentle man. You can sort of understand, meeting him, why heʼs at the back of the photograph. “Aye, I like the picture,” he says. “Wish I was at the front, but.”

His dad was a plumber. His mum worked at the Co-op. They lived on Castlemilk Drive; Robert, his brother and sister. The family had come from Carnoustie Street in Tradeston, where they were pulling all the old houses down, and he had attended the Scotland Street school, designed by Charles Rennie Mackintosh, which is now a museum.

He moved to Castlemilk at around the age of five, in the mid-1950s, the early days of the estate. He remembers it as part countryside, part construction site, a frontier territory which kids roamed in packs. He and his pals would steal apples and turnips from gardens, play at fighting, or venture into Burnside and explore the derelict cinema.
“I remember a lot of open spaces,” says Robert. “I remember I got lost. In the woods there by Castlemilk school, the bluebell woods. I would have been eight or something like that. It was scary for a while. There was still a lot of building going on. Thatʼs how you got lost. You were in the middle of nowhere and there was no way to figure out your way home.”

It occurs to me, while talking to Robert, that one day, not too many years in the future, there will be no-one left who remembers the tenement life – the outside toilets and street games and tin baths in front of the fire – and the move to what must have seemed like another world. That exodus is, at the moment, still the dominant folk memory in Glasgow. But for how much longer? These Castlemilk Lads, that generation, when they go, a whole era will fade like an old photo exposed to the sun.

IT is June 16, 2012, and we are on that same hill where, so many years ago, Oscar Marzaroli photographed some pale and freckly boys. The lads are back in Castlemilk, posing in the rain for a recreation of the photograph. Watching them are two of Marzaroliʼs daughters, Marie Claire and Nicola, and his widow Anne.

“Right hand over your left,” Anne tells Charlie Gordon. “Donʼt smile. Iʼll hold your glasses.” “You need to look more grumpy,” Marie Claire says to Peter Jackson. “Itʼs very difficult with false teeth, you know,” Peter replies.

The three talk about old times. About teachers and gangs and how Castlemilk has changed and whatever happened to so-and-so. They are glad to see each other. Though never close, they do have this strange bond in common. Plans are made to keep in touch.

Marie Claire explains that for many years she has had Castlemilk Lads on her living room wall; her children have grown up with it. One of her daughters, Rachael, wrote a school essay in which she admitted to being envious of the boys as they had met her grandfather and she had not. For Marie Claire, the photograph is about courage and pride and sticking together through adversity. “Itʼs a really important picture for us as a family,” she says. “It gives me strength every day.”

Next year will be the 50th anniversary of Castlemilk Lads and the 25th anniversary of Marzaroliʼs death. There are plans for a new collection of photographs, an international touring exhibition, and a little further down the line a permanent exhibition of his work in Glasgow. That, though, is the future. For now, it feels like enough to enjoy this remarkable reunion.

Marzaroli used to talk about waiting for the magic. Finally, on a green hill in Castlemilk, after almost half a century, it has arrived.

Reproduced with the kind permission of Peter Ross, and of Scotland On Sunday. The above article appeared in the Spectrum Magazine on June 24th 2012.  All text and tear sheet images are ©Scotland On Sunday, Edinburgh, Scotland, 2012.



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