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Posts tagged ‘Malcolm Chisholm’

Address to Edinburgh Regulatory Committee and Campaign Statement

Address and campaign statement billboard
The deputation address which you will find below has been copied from the Facebook event page ‘PEL – Council Regulatory Meeting – OPEN TO THE PUBLIC‘, where you can find further useful information, including the following:

Edinburgh Campaign Statement March 9th 2012

The Edinburgh Stop Public Entertainment Licence Changes Campaign welcomes the positive outcome of their deputation to CEC’s Regulatory Committee on March 9th 2012, at which the public gallery was standing room only.

The Campaign also welcomes the Committee’s unanimous acceptance of the amendment to their original report, and looks forward to it being implemented following a consultation period which the Campaign encourages all of Edinburgh’s creative community to take full part in.

The Campaign also notes, however, that concerns over the changes to PELs remain, and will be continuing its dialogue with CEC in this respect.

The Edinburgh campaign will also be working at a national level with groups in other areas of Scotland to help facilitate dialogue with other local authorities as well as the Scottish Government.

As the First Minister has already indicated in his response to Malcolm Chisholm during First Minister’s Question Time on March 8th, when local authorities make their decisions regarding PELs, “we expect them to take account of the impact on cultural activity and small scale events in their areas, in order to continue to support the fantastic individual, grass-root and community based artistic talent we have in Scotland.”

In this Year of Creative Scotland, the Campaign trusts that all thirty-two local authorities in Scotland will ensure that their response is consistent with this aim.”

Here is the excellent address made by Neil Cooper for the deputation to the City of Edinburgh Council’s Regulatory Committee at their meeting of 9th March 2012. The issue under discussion was the Public Entertainment Licence changes and how these affect the arts.



Good morning Councillors.

First of all, I’d like to thank the Committee, on behalf of the Edinburgh Campaign against Public Entertainment Licences changes, for allowing me to speak on their behalf today.

It’s a pleasure, both for me to have the privilege to represent the group, and to see that the Regulatory committee is taking an issue which actually isn’t of its design so seriously.

Things have moved on considerably since the potential misinterpretations of the forthcoming legislation was first brought to Councillor Munn’s attention by the Edinburgh campaign.

Last week I think the message from Edinburgh’s creative community was really brought home at a packed public meeting at Out of the Blue, one of Edinburgh’s great independent art-spaces.

This led to a very positive dialogue with Councillor Munn and a great deal of press attention, while just yesterday, there was a question raised about the new legislation at First Minister’s Question Time, while the Minister for Culture was asked about it at a press conference over at The Hub.

But – today – I just want to reiterate the importance of Edinburgh’s grassroots arts scene, and how it informs some of Edinburgh’s bigger artistic events and institutions.

I also want to try and illustrate some of the potential – and indeed actual – absurdities of the legislation when it’s left open to interpretation the way it has been in this case.


As an arts journalist by trade, one of my great joys is being able to move between events and spaces great and small.

One night I can be at the Royal Lyceum or the Traverse, the next I can be at an opening at the Embassy Gallery or one of the other independent spaces, the next I can be watching a band or a piece of live art in the same space.

Being able to flit between spaces like that I think allows me a sense of what’s going on all around Edinburgh.

The larger spaces, like the Usher Hall or the Queens Hall, are really important, as are too the assorted international festivals that Edinburgh so proudly trades on, and which makes it one of the most exciting cities in the world.

But there’s also a loose-knit network of events that are equally thrilling.

These are far smaller, and range from literary readings in libraries and book-shops, gigs in record shops, and DJs and bands who play at the opening nights of art-shows in ad-hoc spaces that exist around town.

These are arguably where the real exciting work is produced, in social and creative hubs where artists are still finding their voice before they go on to the next stage.


One of these artists is Craig Coulthard, who trained at Edinburgh College of Art.

Craig was one of the original collective who founded the Embassy, which is still an artist-run space that allows its artists to do things on their own terms – and indeed to find out how to do them – in a way that they couldn’t in one of the larger institutions.

That’s presuming the institutions are interested in new, living artists, because – although things have improved hugely over the last decade – that’s not always the case.

And if the institutions aren’t interested, as history has taught us time and again, you do it yourself.

That’s exactly what Craig Coulthard did.

And that’s exactly what a young music and arts collective called FOUND did.

FOUND performed at art openings, made crazy constructions and mixed up artforms like mad professors who’ve spent to long in the lab.

And yet –

As I speak, Craig Coulthard is a recipient of a major Cultural Olympiad commission for a new large-scale work.

As for FOUND, well, last year, they won a BAFTA for a science-fiction sounding project they call Cybrathon.

FOUND too have also just received a major Creative Scotland commission.

And that’s how it starts.


But such success stories that have come from the grassroots are hardly a new thing.

In 1994 I was approached by a photographer called Neil Riley, with a view to setting up an exhibition of some of the young writers who were causing a bit of a commotion at the time.

I’d stumbled onto this scene in the back room of The Antiquary pub in St Stephen Street, where a host of writers were performing their work in a way that was a million miles away from the received idea of a poetry reading.

It was free admission and free to put on, which was just as well, because no-one involved with it – including myself – had any money, and certainly wouldn’t have had a clue about how to fill in a form.

This scene later developed to presenting work in community centres and other places, and – through Kevin Williamson – inspired a magazine called Rebel Inc that eventually became an imprint of Canongate publishing house.

Around the same time as I was approached by Neil, I was alerted to a new gallery that had just opened on Blackfriar’s Street.

That gallery was called Out of the Blue, and was the sort of shop-front artist-run gallery that is exactly the sort of space that this legislation puts under potential threat.

I approached the two women then running this new gallery, and proposed an exhibition of images of Edinburgh-based writers.

I also proposed that there be a series of events to go with this exhibition.

We got the gallery for a week, and set things in motion.

Over the course of that week – called by Neil The Apostolic Club – the gallery would be open in the daytime, while at night, there would be readings, recitals, musical performances and live art.

It was free to enter, people brought there own drinks, and stayed in the gallery till about ten o’ clock, after which they’d make a pilgrimage to Black Bo’s bar down the road.

The Apostolic Club was an amazing week.

The photographs had each of the writers posed in a unique way.

One was pictured up a tree; another with a box over his head, with the box featuring pasted-on images of himself; another merely leaning against the wall of the St James Centre.

The performances were equally eclectic if slightly chaotic, and by the end of the week I was both exhausted and elated.


The point of this reminiscence is two-fold.

Firstly, that exhibition and week of events was run on a shoe-string.

If I’m honest, it was actually run off mine and other people’s dole cheques

One thing that never happened that week was that at no point did anybody come up and ask me to fill in a form to ask permission to do all this.

Nor did anyone ask me to pay a fee – not even a minimum fee of fifty pounds – to do so.

If they had, it’s doubtful whether all the people in the room could have come up with such a sum.

Like me, most people were on the dole, and fifty quid was a lot of money then, just as, to some people, it’s a lot of money now.


The second point of this story is what might have been missed if a fifty pound licence had prevented The Apostolic Club from happening.

Because a couple of years later, five of the writers whose photographs appeared on the walls of Out of the Blue – which itself moved onto bigger things, first with the original Bongo Club in New Street, then with the Drill Hall on Dalmeny Street – five of the writers appeared on the cover of the New Yorker magazine.

One of them – Alan Warner – is currently Writer in Residence at Edinburgh University.

Another – Irvine Welsh – had already written Trainspotting.

All of these put Edinburgh on a world literary map in a way that hadn’t been done since the Enlightenment.

This wasn’t because of the free events they took part in, but those events certainly helped them hone their craft.

They also set the tone for the next generation of writers.


Two years ago, I was approached by Nick Barley, the director of Edinburgh International Book Festival.

It was shortly after the sad death of a writer called Paul Reekie, who’d been one of the writers who’d appeared on the cover of the New Yorker, and Nick asked about the possibility of doing some kind of tribute event to Paul.

Nick wanted to put on a series of free events at the Book Festival, and get all the local literary scene in to perform in a cabaret style environment.

Sound familiar?

Some of us helped put on a night at the Book Festival called Love’s Rebellious Joy, after a song that Paul wrote.

The night was packed out, and I suspect it’s probably the only Book Festival event ever that’s ended with the audience singing Hibs songs.


Nick Barley recently spoke about this night to the Guardian newspaper, using it as an example of how Edinburgh Book Festival was reaching out to people who lived in the city.

This was all true, but without the free nights at the Antiquary, without Rebel Inc and those nights at Out of the Blue, it’s doubtful a night like that at the Book Festival could have happened in quite the same way.


But let’s go back even further.

Let’s go back to the early 1960s, when a young American G.I. was posted to Edinburgh, where he fell in love with the city so much that he decided to open a bookshop.

The bookshop he opened was roughly I think on the site of where Edinburgh University’s Informatics Centre now stands, proudly heralding the future in its own exciting way.

The shop was unique because it was the first paperback bookshop in Britain, making literature more readily accessible to all.

It was also unique, because its proprietor, who by now had left the army and fallen in with a crowd of artists, writers and performers, began having readings in his shop – not just of poetry and literature, but of plays as well.

These just weren’t any plays, but were the sort of experimental absurdist plays which at the time you could only see in Europe.

Those events arguably opened up Edinburgh’s nascent artistic community to an entire new world that had hitherto been hidden away.

Again, no-one asked for a licence.

As for health and safety, as far as I’m aware, the only casualty came when several ladies from the Salvation Army turned up at the shop where they took several copies of DH Lawrence’s Lady Chatterly’s Lover and set fire to them outside.

When Jim Haynes – who was that soldier turned book-seller – met Richard Demarco – Edinburgh’s entire artistic history was turned upside down via the Traverse Theatre – which grew directly out of the Paperback Bookshop – the Demarco Gallery and the international literary conferences they organised.

The Traverse, Haynes and Demarco are all internationally renowned now – and rightly so – but here we are – a Unesco City of Literature – and after April 1st we might not even be able to have a free reading in a book shop without having to pay and plan for it months in advance.

If that had been the case in 1960, I suspect Jim Haynes would’ve stayed in the army and found another city to set up shop in, and who could blame him.


Walking up to the City Chambers today, my route took me up from Waverley Station – up the Scotsman Steps and up past the National Museum of Scotland.

Both of these places have undergone a transformation of late.

If I could go on a slightly wyndy route for a minute, let’s look at the recently re-opened National Museum.

It’s a beautiful renovation of an already beautiful space, and it’s quite rightly just been announced that since it reopened its had the highest attendance figures of any similar institution outside London.

Now, that’s quite a feat.

One of the main attractions of the National Museum since it reopened is Museum Late.

Museum Late, as the name hints at, is a monthly Friday night shindig, at which members of the public come into the Museum after hours.

Once in the Museum, they can enjoy looking at the exhibits accompanied by a glass of wine, a couple of bands, some DJs, and – so I’m told – the novelty of being able to touch real life lizards and other wild animals.

Yes, it’s a pay-in event.

And, yes, I have no doubt that it’s licenced to the hilt, but, as it’s the National Museum, one presumes they can afford this.

Museum Late sounds like a wonderful event, but again, it’s not a new idea.

Most weekends in Edinburgh for at least the last decade, pretty much every small-scale artist-run space in town has something similar going on, with art, music and drink making for an equally exciting social hub.

The only differences are in what are somewhat appositely named Private Views is that these are – a) free to enter, – b) don’t charge for the drink, – and c) have no wild animals.

If these small-scale spaces are forced to apply and pay for licences, without the resources which the National Museum of Scotland has, the energy and the will might not be there anymore to put on these small-scale events.


Now – moving up the road from the National Museum of Scotland – the steps officially called the Scotsman Steps have recently been transformed into something else again.

As I’m sure this committee is already aware, when Turner Prize winning artist Martin Creed was commissioned to effectively rebuild these steps with a hundred and four different types of marble, eyebrows were raised.

The end result, however – which may well be known forever after as Martin Creed’s Steps – is a staggering example of how art and the environment can co-exist.

Here, after all, is a public thoroughfare that is used every day by the citizens of Edinburgh, but which is also a work of art in what is effectively a permanent exhibition, and which – to some – might also be quite entertaining.

You can go up, you can go down, you can go back up again, all the while taking in the different types of marble on show.

But how – under the new legislation – would we define Martin Creed’s Steps?

It’s a public thoroughfare, but it’s also an artspace showing work for free in exactly the same way as a cafe or one of the small artspaces might show work – albeit in a temporary fashion – and which are branded by this legislation as places of public entertainment.

So what do we do?

Do we get the people who commissioned Martin Creed’s Steps to pay a licence?

Given that this would mean asking the Fruitmarket Gallery, Creative Scotland, the Scottish Government and City of Edinburgh Council itself to pay a licence fee – how would that work?

Or do we just ask the citizens of Edinburgh who walk up and down Martin Creed’s Steps whether they think they’re walking through – a) – a public thoroughfare, – b) – a work of art in an exhibition, – or – c) – a place of public entertainment – and then charge them a fee depending on whether they answer A, B, or C ?

As absurd and ridiculous as this sounds – as absurd, perhaps, as one of the plays that were read in Jim Haynes’ Paperback Bookshop – if you take this legislation on public entertainment licences to its logical limit, that’s where it ends.


Just the other day in the Highlands, a community group was informed by Highlands and Islands Council that they would be charged a three-figure sum for an Easter egg hunt and bonnet-making competition…

Now, Highlands and Islands have since realised the error of their ways, with one councillor – perhaps with egg on his face – declaring that – and I quote – ‘We are not going to be charging 435 pounds for a bouncy castle.’

But – it happened, and – unless the changes to the legislation are acted on – could easily happen again.


I was hoping today that one of the people sitting in the public gallery would be an artist called Jenny Soep.

Unfortunately Jenny can’t be here today due to other commitments, but if she had, I was hoping she was going to draw the proceedings of this meeting.

Jenny Soep’s main body of work comes via an initiative she calls Drawing The Experience.

For Drawing The Experience, Jenny sits discreetly at a gig or a performance or an event of description, and does exactly that.

She draws what’s going on, as it happens.

The results of Jenny Soep’s work have been exhibited in shops, cafes, public libraries and art spaces all over the world – sometimes in the very space she drew them.

Now, if Jenny had been here this morning, drawing the experience of this meeting, that would effectively be turning this meeting of City of Edinburgh Council’s Regulatory Committee both into a piece of performance it arguably is anyway – and into a living artwork and piece of entertainment.

If Jenny Soep had been here, would this Committee have then had to apply for a public entertainment licence six months ago from today?

I’m sure you take my point.


Back in the 1980s, I used to sit on a body called Edinburgh District Arts Council.

That was a body run by what I think was then Edinburgh District Council.

The function of Edinburgh District Arts Council – or EDAC as it became known – was to provide small grants to small-scale and community-based arts group.

At that time, that sector – if we wish to define it thus – was thriving.

The annual Spring Fling arts festival – designed to showcase work across all the arts by Edinburgh-based talent – took place at the Assembly Rooms and community venues and spaces across the city.

Throughout 1986, the Commonwealth Arts Festival – run alongside the Commonwealth Games, hosted in Edinburgh that year – produced a plethora of free events, from concerts in Princes Street Gardens most weekends, to cabaret nights in the Assembly Rooms to readings in libraries to exhibitions.

They were exciting times, and – personally speaking – provided me with much of my early artistic education.

Spring Fling and EDAC are long gone now.

As is usually the case, the money ran out, and here we are.

But that lack of money doesn’t stop people having ideas.

If anything, it makes them have more.

Because – when people haven’t got any money, the only thing they can do is make their own entertainment.

Again, this isn’t a new idea.

That’s how every culture began, from cave drawings onwards.

And that’s exactly what the artists behind this campaign against the public entertainment licence changes are doing.

For once – you might say – artists aren’t asking for any money here, because they know there isn’t any.

They’re asking that their work is allowed to exist without having to fork out money they haven’t got.

With that in mind I trust the Committee will ensure that common sense prevails, and that, in this Year of Creative Scotland, in this Unesco City of Literature, art of all kinds and at every level is allowed to flourish.”


Telling the Truth to Power – Edinburgh Public Meeting: Stop Public Entertainment Licence Changes

Notice for Edinburgh 'Stop public entertainment licence changes' meeting, 1st March

Links to report by Song, by Toad Records

The public meeting on March 1st at Out of the Blue Drill Hall, Edinburgh, about new legislation changes due to come into effect on 1st of April, received a very strong turnout. A number of people were able to ask questions after panel members (listed below) had spoken briefly on their view of the current Public Entertainment Licence (PEL) fee legislation and how it can / should be applied and amended.

Unsurprisingly, the basic agreement among all those who spoke and, indeed – judging by the reactions from all those who didn’t speak – from everyone present, was that licence fees for small-scale arts and community events are completely unjustifiable. The legislation at Scottish Government level was intended to deal with large-scale events where greater Health and Safety controls may well be helpful, however the wording of the legislation leaves local authorities without sufficient guidance on implementing changes. It is, however, down to local councils as to how they go about putting the legislation into practice, and different councils are dealing with different ‘resolutions’ – lists of events covered by licensing. More on ‘resolutions’ later.

Dangers mentioned about such a licence fee system covered the stifling of both spontaneous and longer-term planned events within grassroots arts and communities due to the necessary effort and heavy admin involved in applying, the time necessary for gaining a license, the sheer daunting prospect of even attempting such applications and the money involved when there is no monetary return (with some hilarity following mention of a notion – thankfully dismissed prior to this meeting – of putting in a fee structure that depends upon the ‘success’ of an event).

There were further considerations also: that legislation for the arts is state interference in what must remain free expression and that, whatever the reasons for such legislation and the intentions at this time, such legislation creates the possibility of future political interference tantamount to censorship.

A major theme, recurring throughout the meeting, was a call for clarity – both from the Scottish Government to assist councils and from councils to state what is actually involved in applying for a licence and the penalty if one does not. Such clarity has yet to be established, but this is…

Where matters currently stand

Councillor Rob Munn, Convener of City of Edinburgh Council Regulatory Committee, said that the road he would like to see taken would reach a point where this Public Entertainment Licence would not be applied to the grassroots arts and community events discussed. En route, however, the current advice to the Council from ‘officers’ – apparently advising on legal implications – is that a licence must be required and so, attempting to address this, the Council is considering an interim measure of non-fee licences. As was immediately made clear in responses, this does not in any way address the immense problem of the administration in such form-filling, the application time before grant of licence and the seriously off-putting affect that such a measure would have, temporary or otherwise.

Councillor Munn stressed that his presence at the meeting was so that he could feedback to the Council, and everyone else stressed that this temporary measure is unacceptable and that should be what he feeds back. When questioned as to why Glasgow could decide not to enforce the new legislation immediately – a temporary measure that has not resolved the issue, but which allows time for a review – Councillor Munn focused on each council’s resolution being different. These resolutions are, apparently, a list of events previously covered by licensing and they differ nationwide. This means that there is, perhaps, no single solution that would suit every council – each area must look at the events that they have on their list. It is for this kind of review to take place that the temporary measure of licences for which one does not pay has been suggested.

However, the need for such a measure was not fully clear. It was felt that there is time before 1st April for the Council to amend their ‘resolution’, taking off the events in question so that they would not be affected by the new legislation. Also, why can these events – if they cannot be immediately removed from the resolution – not be exempted, this being a power the Council reputedly has?

In the end, further action depends on the outcome of the meeting of the City of Edinburgh Council Regulatory Committee scheduled for 9th March. It is possible for a deputation to address their concerns to this meeting – a matter that went to further discussion after the meeting had ended, so watch out for information on that.

Suggestions for action should the result of the Committee’s meeting not be satisfactory include flooding the Council with licence applications come April Fool’s Day (something that may be rather harsh for staff and Councillors, such as Rob Munn, who are also against such increased bureaucracy) and the opposite: simply ignoring any such requirements and so operating ‘illegally’ – something many seem prepared to do if forced, but there was also strong indication that people would rather stay within the law. A practical, pro-active suggestion – from Chair Neil Cooper – was to put on the very events under discussion over the week-end 31st March and 1st April, without licences: for more on this, see the ‘What can YOU do?’ section below.

This is a basic overview (written up in the early hours of the morning) of what I, Danielle Farrow of Discover Fine Acting, understood of the meeting and it does not do justice to the passion, dedication, intelligence and concern of those present.

All those that spoke, panelists and speakers from the floor, are worthy of attention. This is what I can pass on:-


Morvern Cunningham – Grassroots arts promoter and organiser of LeithLate; spoke of how such legislation would impact on the events with which she has been involved and later put forward the important exemption suggestion, which there was not then time to discuss
Neil Mulholland – Head of Postgraduate Programmes and Visual Culture, Edinburgh College of Art; looked at context: the importance of grassroots culture for expression and participation, and human rights issues / interference of state in cultural activity
Chloe Dear – Independent Creative Producer; gave a quick – and very useful – rundown of major items involved in applying for a Public Entertainment Licence, making it very clear how arduous a task this is and how unlikely producers of our small-scale events are to be able to tackle this, even should they be wiling to try
Kevin Williamson – Founder of literary cabaret club Neu! Reekie! (author of article in the Evening News on this issue); spoke of how art and state should be entirely separate – with an amusing story about pigs’ heads and live pornography ridiculing establishment – and warned of the threat of censorship, saying that grassroots arts are about ‘telling truth to power’
Malcolm Chisholm MSP – Member of Scottish Parliament for Leith; raised the issue of unfortunate wording and need for guidance from the Scottish Government to assist councils in implementing these licensing changes, so that the discretion councils can employ in this matter should be very clear; stated that he would be making a big issue of the matter with his colleagues, while he also felt that in the month before April 1st there is opportunity for the Council to act
Councillor Rob Munn – Convener of City of Edinburgh Council Regulatory Committee; see main post – he does seem to be focusing on arts events not requiring licence fees: hopefully this will be a focus of the Council as a whole, and without an ‘interim’ measure which only deals with monetary considerations and not artistic and administration ones
Neil Cooper, Chair of the meeting – Chief Theatre Critic of The Herald; set the scene, including events ongoing at time and difference that has been in place between those events that require licences and those that may soon do so; picked up on need for clarity right at the start and made sure a number of people were able to speak from the floor

Points made by speakers from the floor

The ‘interim’ measure advised is ‘wishy-washy’ – need set action soon for all events already planned; this legislation can push artists, etc. out of Edinburgh; education and higher values are involved here, arts not solely ‘entertainment’; real threat of what this legislation could mean further down the line, when a political company applies for a licence – possibility of politically motivated refusal / censorship; there is some point in comparing Edinburgh and Glasgow Councils – the latter is felt to support grassroots culture, while the former needs to work on this, including making council property available, perhaps – echoed by an ECA student re. needing spaces, including from the council: wants to know has future HERE, in Edinburgh, or will go elsewhere (Dumfries and Galloway, perhaps, which does not include arts events in its resolution!); the arts are already self-regulated (through risk assessments, Public Liability Insurance, etc.), so little worth to claims about there being a need to licence for insurance reasons (Chloe Dear had also mentioned that insurance is another matter, not part of PEL)

Particular points, where I caught the organisations represented:
Tightlaced Theatre – need to know the nuts and bolts of this (clarification!), including what ‘temporary’ actually means, what ‘temporary’ form-filling actually involves, how grassroots organisations are, in practical terms, to deal with this, and what the penalty is for not doing so (see also A Little April Foolery)
Rhubarba Gallery – clarification needed; ‘due notice’ promised, yet won’t know what in place till after meeting of 9th March, so where is this before April 1st?; wants to be operating within the law; there has been a lack of consultation; this is a chance to look at licensing as a whole and improve it overall
Word of Mouth Cafe – impossible to manage the admin involved in applying for licence when already working 50hrs a week; spaces such as this won’t fit regulations; this means loss of great resources
Song, by Toad Records – grassroots organisers provide the environment that grows commercially viable talent and that growth relies on the ‘miasma of people’ who create the grassroots events ‘for the love of it’ – not commercially viable in themselves and not likely to complete the admin obstacle course necessary with this legislation; any interference in this area will kill the important environment and cut off many of those who could go on to be commercially viable; these grassroots people need support and encouragement and not just in Fringe time
Big Things on the Beach – community initiative, where artists are invited to exhibit in locals’ gardens, sheds, etc., already feeling Council is not very encouraging of their efforts, and the complexity of such legislation will push it beyond what residents would sign up for, resulting in a real depression of grassroots culture and citizen participation; this is a chance for the Council to look at all policies that affect this level of cultural participation and start to encourage it

For background on this meeting and the uproar that began in Glasgow, see previous posts:

News: Edinburgh Public Entertainment Licensing Meeting announced

WTF!?! Paying licence fees to do a free event in a shop or cafe?

What can YOU do?

Get involved, anywhere in Scotland, having a great time with A Little April Foolery!

Keep abreast of what is happening about this issue in Edinburgh:

Not in Edinburgh? Find out what is happening in your area – a good place to start is to…

Sign this petition, if you have yet to do so, and read its updates:

And read:

Finally, respond to this blog / pass on the word about the information that is here!

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