Meddle: Obscured by the Dark Side

 

It's Friday the 13th but I'm not really superstitious these days so I'll just walk under a ladder and head out onto a limb and launch this little piece: People, well most people (to be honest I’ve not actually spoken to all that many) often treat Dark Side of the Moon as Pink Floyd’s unquestionable, statistically and plaudit winning high spot. Number one album for x amount of weeks etc. I can understand why, it's all true. That’s simply because it’s their most popular, polished and arguably commercial bit of work done within an album format. Maybe just not their most inspired. I think that Meddle is the record in which Pink Floyd actually comes together with their best mix of material. It’s the perfect one side of shorter pieces and the flip side being the single longer work, “Echoes,” that sets it out as my model for listening perfection.

Meddle is Floyd’s alternative take on the then still developing prog rock landscape, where their drifting experimentation finally locks into something more advanced without losing the eccentric edge that always made them one of the most interesting bands of their time. They arguably created their own genre here and built the album around it. If Dark Side brings together the philosophy, the message, and the soundscapes; Meddle invents and test-pilots them.*

The clearest evidence is the track “Echoes” itself. Nothing on Dark Side comes close to its ambition or tonal range. It isn’t just a long track, it’s a journey, moving from calm to disorientation to something almost spiritual without ever feeling contrived or forced. Dark Side is full of brilliant songs that link together to illustrate a set of concepts, but none of them travel quite as far as “Echoes” does. If albums are judged by their highest peak, Meddle wins outright.

There’s also a difference in how the two albums feel. Dark Side is immaculate, but that perfection can feel stylized and cold. Meddle breathes. Tracks like “A Pillow of Winds,” “One of These Days,” and “Fearless” are lived in rather than engineered, as if the band is discovering the music as it unfolds instead of executing some master plan. That looseness gives the album a warmth and humanity Dark Side sometimes sacrifices for its precision.

Thematically, Dark Side aims for universality and some ultimate explanation of things: time, money, madness, death. No explanation ever comes; it just is. It’s profound and disturbing. There’s nothing wrong with that, but Meddle’s message is quieter, more measured, and more inward. It doesn’t explain itself or push a message; it only invites you to go along with it. That makes it less immediately accessible but far more rewarding in the longer term. I’m never bored with any of the Meddle material, after a whole lot of listens across decades.

Dark Side of the Moon fully deserves its reputation; the sales and the numbers are crazy, but reputation isn’t the same as greatness. It is Pink Floyd at their most perfect, and it will never be repeated. Meddle is Pink Floyd probably at their most freely creative and adventurous, before the big bucks, big stages, and bigger disagreements came along. If what you value is risk, atmosphere, and genuine exploration rather than flawless execution, Meddle isn’t just better, it’s the album that made everything that followed it possible.

Please note I’m not saying it’s been downhill for Floyd all the way since Meddle; that would be nonsense. Their subsequent work has produced great and lasting material; a lot of heat and a few duffers, but… Meddle wins it for me.

* For clarity, I should add that one album sits squarely between Meddle and Dark Side, that being Obscured by Clouds, which came out in 1972. As it’s a soundtrack album, some might say it doesn’t really count as part of their progressive and creative lineage. I’d disagree with that, it’s an album I always quite liked, though it can be seen as a bit of a sidestep. That might also be said of More, another soundtrack album, but again, well worth a listen.

I Might Redo This

Everyone struggles with Captain Beefheart because they expect music to behave. They also expect other people to behave at funerals, to back away when they lose and arguement and for mayo never to be seen on top of mashed potato. It's a "follow the yellow brick road" reaction. The thing is that music does not behave, it can be wonderful and disturbing at times. Maybe at the same time but not so often at conventional funerals where music serves a more reflective purpose. Nothing to do with our Don though or his hat size.

Click the picture above and you can go on to read this in a more agreeable font, depending on your taste.

Most listeners want a tune to give comfort or order. They want to tap on the steering wheel at the lights. Beefheart refused this. He broke songs apart and left the pieces where they fell. These were recorded eventually. There is some melody, but it limps. There is rhythm, but it fights against itself and the listener's expectations. This can make people uneasy. 

Audiences might need to unlearn a few things. Would that be useful? They feel the ground move whilst standing on an earthquake free (for the time being) continent and do not like it. Horses are spooked. The mind hears chaos and tries to reject it, but we were all born into chaos. The ear looks for a handrail and finds none. Unsighted at the top of a long staircase. Listeners may be simple people with heavy loans and outgoings. Weight in the wrong places is such a bad sandwich.

His voice does not try to please. It growls and shouts. It speaks like an animal that learned words with its tongue but kept all it's spikey teeth. Like being uncomfortable and drunk at a stranger's wedding, one your partner casually brought you along to. I doubt it's true that he had a tin trumpet that he would use to communicate with the dead. That was probably someone else.

The band (the Magic Band in various forms) always sounded loose, but it was not loose. It was controlled and hard. Let's not talk about the actual process involved. That's now chewed up history and TV talk show content. We know history loves warfare and abuse more than detail. Man's inhumanity etc. This situation was not at all perfect and it's the survivors right to tell their story or at least make it interesting and fanciful while people are alive enough to still care. I for one was almost 5164 miles away at the time.

Sometimes people value a delivered gift more than a personal visit. That just might explain his wordiness and lyrics.

To enjoy Beefheart you must stop asking if it could ever be pretty or easy. You must listen the way you look at rough countryside, derelict buildings, or bad weather. You accept it. It exists. Then you may begin to like it. After a while, you wonder if you could live there.

Some Beefheart tracks like these below might make this whole process run more easily:

“Her Eyes Are a Blue Million Miles” is gentle and sad and almost kindly.
“Clear Spot” has a groove you can sup with a honey straw.
“Big Eyed Beans from Venus” swings, even while it mutters. Has lunar influences.
“Electricity” is strange but hypnotic. Like the real thing.
“Nowadays a Woman’s Gotta Hit a Man” has humour and bite without losing the plot.

These are places to start. They give you a door instead of a wall. Having said that, walls are important parts of construction theory. Tap or lean on one today to test this out. Use an orange claw hammer.

In the end, or the ending, Don Van Vliet, aka Cpt. Beefheart, is not for everyone. That is part of his strength. He did not ask to be liked. He had a conditional condition and only asks that you listen and walk away if you have to. This kind of applies to all music and the wider world of artistic efforts in general because sometimes the coffee jar is too deep for the spoon.

Upbeat Lo-fi

The Magic Band and Captain Beefheart - colourized somewhat but not by me. Their music is a bit of an acquired taste. A taste that many never do quite acquire and I can fully understand that. I often think I should write something meaningful about this school of strange art and weirder music based on my own observations and listenings, but that's not happened so far. Mainly because the problem describing Beefhart's many erratic works (or Don van Vliet, as he would have preferred) is that in many ways it's all pretty much indescribable.
 

The famous (in my head anyway) wolf and fox moment of almost bonding from "The Fantastic Mr Fox". A book and film I rather like.

A seemingly badly rendered version of Pittenweem's coat of arms. The old style fishing industry is front and centre. My mum's family came from Pittenweem and I know very little about them. 

How feels when you're over seventy and it's bed time. Fortunately I'm not stranded on Mars.

The Greatest Album You’ve Never Heard

"It must have been around 1973 (it was). I was working in an electronics factory for an American company that made medical potentiometers. Music mattered more. I was moon-lighting as a roadie-cum-humper with a band called Ashes, doing pop covers in village halls and small venues across Scotland. Every gig swung between travel monotony and crisis. I even plunked along on bass for a while, but as always happens, everything and everybody moved on ..."

If your interested in reading more about my fevered but honest opinions on Terry Reid (RIP), please click on the image above and journey all the way to the strange and wonderful land of Substack. You could like the post or even choose to leave a comment of some kind. 

Crimson Kinks

Why waste your time listening to King Crimson? 

Petty and ill informed: All you really have to do to read this small but wonderful article and/or opinion piece is click the image above. It's on Substack (I know about their bad press and I apologize up to a point) I ask you, what could be simpler? It's also free, there's no charge, nothing at all. I promise that there's no major ranting or earth shattering truths here, just a few rumbling thoughts that have been released into the wild and it's fully complete, none it has been redacted either, well so far. I can't be sure you'll like the font or the actual content but that's life. You don't know anything until you read it. I'm also thinking of getting the graphic below made into a bumper sticker.

Plus: How about tribute band that do Kinks songs in the style of King Crimson? The Crimson Kinks or Kink Crimson.

Brioche Conflict

Ah, sweet mysteries of life. Why is it that a slightly toasted brioche bun works very well with a beef burger? A great pairing, only discovered in the early but late part of the 21st century (by me, anyway). But the same brioche bun, prepared the same way with a feather-light toasting, does not work at all well when paired with scrambled eggs. (Should there be a question mark here, as this whole thing is just a rambling kind of question?) This just isn't sensible whatsoever, and I’m now worried that my senses of taste and texture are buggered up in some way and I may never fully recover. Now that this view has been aired in the open world of blogland, I can get back to thinking about why I’ve never really liked King Crimson, and that, though I find Robert Fripp interesting, I also think he’s a bit creepy.

Avalon is Better

Just nobody mention Art School Rock ever again, that’s a bad badge to be presented with: Roxy Music’s debut album and Avalon, their final fling, feel like they were made by two different bands who happen to share the same rather fetching name. I know this because, while I’ve chosen not to listen to all their stuff endlessly, too many pithy live albums, I’ve lived with much of it chuntering along in the background. We all have our personal struggles.

The first album is all nervy, jagged-edge pop, married to a kind of blithering chaos. A group of slightly too old glam-rock weirdos shouting, “Why haven’t we made it yet?” as they press various buttons that do nothing. It’s mostly entertaining stuff, but it’s also scrappy and confrontational, all for a calculated purpose. “Creating pictures in your head like nobody else” was the infamous but accurate press tagline they became stuck with.

Songs veer off at odd angles, names are dropped, Eno’s synths gurgle and pop, Ferry sounds like he’s just learning about singing by grinning and sneering, and everything is constantly threatening to stall and tailspin in flames. That rawness is part of their eccentric charm, but it also means the album feels more like a day out from a young offenders’ institution than a sophisticated statement. You admire it for its fun and aural invention, even when it’s a bit exhausting to listen to end to end. Overall, it’s hard work for the listener, like hosting a big party in your small flat.

Ten years on, along comes Avalon. It sounds like a band that has nothing left to prove, everything under total control, and a reasonably generous studio budget to play with. Where the debut pushes and pokes at the listener, Avalon is all about seduction. The sound is polished without being cold: crystal guitars, easy bass, soft-focus porn synths, and a sense of space that lets everything breathe. It’s not just better produced; it’s more emotionally confident and it’s the 1980s. All that ’70s shit is so… ’70s.

Ferry’s voice has aged into something warmer and less wounded, and that maturity gives the songs an easy anti-gravity quality that the earlier material didn’t have. Instead of throwing mad ideas at the wall and bickering about musical outcomes, Avalon seems to know exactly what tiny details matter and quietly allows them to shimmer. The bigger the budget, the better the album? I doubt it, but Avalon works nicely as a full set; there’s no obvious filler.

Another thing about what makes Avalon the stronger work is how unified it feels. The first album is thrilling but fragmented, like a precise blend of influences and spikey tones. Avalon is a mood you can sink into from start to finish. Every song feels like it belongs, there in that fictional and poetic twilight world of longing, regret, and misplaced love. There’s a restraint to it that takes producer discipline, knowing when to play less, to add less, and when to let go. Just let the groove spiral or a bass line do the work on its own. That kind of subtlety is much harder to pull off than the slapstick style and wild experimentation in their first recordings. Avalon was something that Roxy could only grow into, and it only took eight studio albums and ten years to get there. Most bands never did do that.

So while the debut is essential to understand the language and quirks of Roxy Music, Avalon is where they finally arrive, fully translated and understood. It distils years of experimentation into something that sounds good today; rich, rewarding, and effortlessly stylish 40+ years later. The first album announces a fascinating band that, frankly, back then I found hard work at times. The Avalon Roxy sounds so much better: shaken, stirred and experienced, with demons duly exorcised and fully aware of their own power, and confident enough to whisper instead of shout.

LIFE

Life can be brutal*. Man is a wonderful but brutal creation. What we create is often brutal. How we act is often brutal. There are many sides to the shapes of things. People can find peculiar beauty in brutalism as a design statement. But nobody wants to live within a brutal regime - unless you're the ruler or have some powerful role in the regime. Then you're a brute. It's a strange world and brutal is a strange word. 

*Photo by TB, Kraków, Poland.

Brutal.

Adjective -

Extremely ruthless or cruel.

Crude or unfeeling in manner or speach.

Harsh; unrelenting.

God is Nowhere

“God is the name of the blanket we throw over mystery to give it shape.”

Said by Barry Taylor.

I liked his quotation. I though I'd experiment. So I threw a blanket over an armchair. Then over a vase on a table. Then I put the blanket on my head. I threw the blanket over a cat. The cat ran from under it, as you'd expect. I'm close to getting nowhere. I'd created ghost shapes. The blanket hides and masks the shapes beneath it. Lumps and bumps to stop the dust from building up and then settling down. The same dust that was floating around when the universe began. We're all just tiny space specs. Without a distinct shape. Viewed from a distance. Perhaps.

Egg and Mozzarella Toast

A solitary egg and mozzarella toastie slice prepared by me. Avacado and monkey comic by @BeetleMoses (featuring a left handed monkey or are all monkeys ambidextrous? Or are all monkeys just left handed and that's it - but it's a cartoon and not real life monkey footage unless it was inspired by an actual event seen by the cartoonist and drawn up afterwards.). 

You may think these are unrelated and peculiar images have nothing to do with each other and you would be quite correct other than that I have chosen to put them together. They have no meaning unless you can provide  one. Here's some more...

Another patchwork of observed nonsense: a lovely bunch of roses, our back garden wall and fence in b&w viewed from close range, a mini-rug pattern collage and a Starbuck's Bear cup that just might be worth a sizable sum of money, or not, as the case may be. Supply v demand etc. There are many ways to waste time but you can't really beat looking around you or out of the window now and then.

Bringing Highway 61 Back Home

 

Non-exact Replica

After well over fifty years of searching, I’ve finally found a complete though not exact replica of the infamous Andy Warhol and VU banana. I can hardly breathe. I’ve looked everywhere, and lo and behold, it came to me as if in a fever dream, hidden within a rather ordinary bunch of bananas at Lidl in Corstorphine, Edinburghshire. The one that used to be PC World. Strange, I know.

Perhaps I shouldn’t be too precise about this discovery, as I may inadvertently trigger some sort of arty fanboy stampede to the store. It was a special moment; singular, fleeting, and quietly profound. Alongside the banana, I also purchased some green salad (is there any other colour?), butter, wine, and cat treats. None of these yielded any artistic content or wider cultural significance, beyond their own status as natural and modest design objects going about their daily business.

Take care out there in the shopping zone. And by the way, I allowed the banana to age gracefully before I ate it. It’s what Andy would have wanted.

Children of Instagram

There is no hiding place. 

No santuary. 

There is no refuge or font of peace. 

Only a quiet anarchy.

But you will  be fine. 

Your truth will prevail. 

Your amusement continues. 

Your contacts still care.

They'll live for your content. 

They'll die for your breath. 

They can't live without you. 

But what's up ahead?

-----:-----

No one is sure.

No thought is pure.

No line is perfect.

No freedom respected.

You'll lose the words. 

And the forms in the text.

Those poor children of Instagram.

They shall be next.*

*To be honest I blame ... well it's everybody.

Ho hum ...

Sometimes

Rainy day: Sometimes the rain just makes you want to do nothing. Maybe nothing more than just watching the droplets run down the window glass and away. Actually doing next to nothing is quite difficult. It needs concentration and focus, both of which are more than nothing. I'm looking at the glass but also looking through the glass. Probably not very good at this. 

 

La Belle Époque

The Beautiful Era.

Was there ever a moment when things were, briefly, as we might think they should be?

Most people can recall a period, sometimes no more than a season, a year, or even a handful of days  when life appeared balanced. Not perfect, but aligned. A time when effort and reward seemed proportionate, when the future felt intelligible, and the present was quietly sufficient.

Is this a common human experience, or a rare and elusive one?

If you have known such a time, you may recognise it only in retrospect. If you have not, you may wonder when or whether it will ever arrive. What conditions are required for such an era to exist? And who, precisely, is permitted to experience it?

For some La Belle Époque is remembered as a personal “Goldilocks moment”, brief, fragile, and easily disrupted. A period that felt unremarkable while it was happening, yet luminous in memory. A time when Camelot was real and not a myth.

But memory is selective. It smooths the surface of the past, sanding away its anxieties and contradictions. What appears serene now may have been sustained only because of other noises, the roar of human traffic, the weight of unplanned events, the demands of survival were temporarily muted. Not everyone heard the silence.

While some reached for this sense of balance, others were occupied elsewhere; with work, with care, with necessity. The daily labour of living can make an era pass unnoticed. You may have lived through the same years as those who later spoke of them with longing, yet somehow missed the moment entirely.

Was La Belle Époque a matter of timing or of privilege?

How did those on the margins experience it? The workers, the peasants, the displaced. Was it ever theirs to begin with? Or is the very idea of a “beautiful era” an illusion available only to those sufficiently insulated from mundane toil?

Can a society, regardless of background or standing, ever share in such a condition? Or does stability for some inevitably depend on instability for others?

If such periods are possible, why is there no government on Earth with a deliberate plan to create them not only for their own citizens, but for humanity at large? If no such plan exists, why not?

What, ultimately, are we organising ourselves to achieve? Much of human effort appears devoted to other ends; growth, competition, exploitation, tribal conquests. Methods change perhaps but often with the same result, the steady exhaustion of resources, both material and human.

And yet, most people tell themselves a story. They insist that it did happen once. There was a time when things were just right. Short, sweet, and now irretrievable. A calm imagined more clearly now than it was ever experienced then. Alive only in memory, preserved as a private myth.

If only, they say, they could put their finger on what tiny change ended it all ... and go back.

The Blood of Angels

Selvage Place

Found photo: This old photo is of "Dockyard Houses" in Selvage Place, Rosyth, the first address my parents had when they moved west from Cellardyke in the 1950s. We lived at No. 10 which is pretty much in the middle of the picture. This photo looks to have been taken some time in the 1930s, before WWII. 

By the time I lived there most of those fences were gone, replaced by privet hedges. These homes were about 40 years old then and in need of upgrading. The houses were pretty basic, a coal fire, no proper heating, no hot water system, jammed windows, ill fitting doors, only basic sanitation and primitive electrical wiring ... I could go on.  

One plus point was we had a garden. Nothing special but it was a grassy, private piece of outdoors to play in. As you'd expect and nothing to do with the place, I've not set foot in this street for years. At the time nobody knew any better and just put up with things, after all it was the place we called "home". 

Don McLean didn't have a Chevy. He drove a Saab.

I've just about had enough of American Pies and those old time neighbourhood wars: 

So I'm exploring the eternal question that keeps us all awake at night, (even in daytime 😉) these days anyway. If Britain did go to war in my lifetime (a reasonably real possibility, given the current shit show), who would I trust as a wartime Prime Minister? Who would rally the troops, maintain morale, and lead a nation like ours if we were on a war footing?

What person in the current crop of UK politicians would be the best choice? When you look at the runners, it’s a pretty dodgy field. Slackers, sycophants, and shysters mostly, all lost without their lobbyist handlers. I can’t think of anyone who, as a frontline politician, strikes me as being up to such a task. Starmer it seems is a completely spineless dick; he couldn’t/wouldn’t punch a pensioner's bus ticket. I could be wrong of course - but we’re most likely in trouble. Ugh! What a shower. It may be for the best having our Chinese masters colonize us.

As an alternative and possibly more absurd exercise, I looked at our cats and wondered which one of them might make a good wartime PM:

1. George - reckless but often strangely timid and nervous. Quite curious, good observer, quick to react, unfazed by most people, a bit of a wanderer. Likes to maintain his own territory and borders (good skills). Urinates effectively. Sleeps in a nomadic fashion, a few nights here and a few more there. Very friendly when he wants to be.

2. Zippy - great at jumping but not tree climbing. Elegant mover. Confident when out alone and away from our garden. Acrobatic when going up onto roofs. Returns at high speed when called in for food. Likes to sleep in a box or also likes to sleep where the humans are. Proven hunter / killer: birds, mice, shrews, and butterflies.

3. Bungle - slow but steady. Not fussed about travelling too far but will climb trees easily and quickly if required. Likes to camp out by the bird feeders or in the hedge - mostly doing nothing. Not worried by rain or bad weather. Certainly the muddiest cat of the three after being outside for any length of time. Paws like dirty paint brushes. Takes her own time. Really likes a tummy tickle and a stiff brush.

Hard to pick a winner from a strong but eclectic field. They're all aborable but in the role of PM ...

Perhaps the cats would form a coalition?

Maybe these are all the wrong questions and observations. Being realistic and thinking strategically, it’s more about who would get us the best peace deal after either:

a) our annihilation (not sure how that looks or why we'd need a PM), or
b) a quick surrender when all the conflicted Brits just say “fuck it” and try to walk away (kind of understandable TBF), or
c) a humiliating but not too devastating conventional military defeat.

Get Mark Carney back into the fold (that's the fold that he was never in). He actually has balls ...

Grind, Zen and Mojo.

The clue is in the title: I'd like you introduce you to my new drinking buddies; Grind, Zen and Mojo*. All superior blends. They make me healthy. My mind is clearer. The mist thins out. We are getting on famously but I doubt these relationships will last. The reason being that it's a bit of a one way street. I'm the main beneficiary. They are consumable and disposable. Any kind of further progression is impossible. 

All three will shortly be extinct. As is the way of things. But it was all fine, special even, while it lasted. Farewell old/new friends. Unfortunately this seems to be one of the unspoken principles on which I've built my coffee drinking adult life. Too far into the swamp of existence now to change anything. While things last they are good. When they go you wonder, were they ever really here?

*Nootropics - Plural form of nootropic.

Any substance purported to increase cognitive abilities.
A drug that enhances learning and memory and lacks the usual pharmacology of other psychotropic drugs (e.g. sedation, motor stimulation) and possesses very few side effects and extremely low toxicity.

Glasgow School of Art etc.

Below, below, below: Not my words. Written in 2021. Still no serious reporting on anything here and it's 2026. Make of it what you will ...

"Strange anniversary (actually the other) today. It was a year ago today that I was told that I had been fired for advising the Parliamentary Committee that Muriel Gray and the other Glasgow School of Art attendees were lying to them about their own failures that led to the loss of the Mack. Also in my letter of dismissal they mentioned that I had told the press that the school had lied about the cause and spread of the first fire and that they had misappropriated charitable donations meant for rebuilding the Mack towards the buying of another building. 

What is funny about the whole episode was that in the letter of dismissal they did not claim that I was wrong. What I had evidently done wrong was to tell the truth about how corrupt and incompetent they were. What was sad about it was that I had to be got rid of before Muriel Gray came back to retake her post after her second period of hiding from her duties since the fires. So I was fired in the middle of term, in the middle of teaching my bespoke course, which negatively impacted on the education of around 250 kids.

 
Move forward a year and honest and loyal staff of considerable tenure are still being hunted down by senior management and fired for mentioning their misdeeds. Senior staff are still leaving (two department heads in the last two months). However, strangely all those responsible for the disasters and the fallout, including Muriel Gray, still hang on for some reason. And we have the longest fire investigation in history still ongoing, with no information available on the outcome or its timing, while at the same time all the participants who can do so, are presently preparing to sue.

Against this murky backdrop, the insurance money will surface and a Mack-like building will be rebuilt. However it won't be our Mack. With their vile hubris and their patent negligence, they let it go up in smoke, along with their parties inside the construction site, their squandering of resources on trips abroad, their pretend research (nothing authoritative was ever written), their silly redesign trifles and their attempts to subjugate the Mack to their will. And so it is gone and the reputation of the institution is sullied.

 
So why are they responsible? They were wandering in and out of the building. They were using a vulnerable historic building when it was a building site. They signed up to a fire plan that relied upon a single watchman finding a fire in a void before it got out of control, in a historic building with ten levels within it. They had no sprinklers working in either of the two fires in 2014 and 2018. 

They should have put in sprinklers ten years before they did, when they were told to do it. They said they couldn't do it because they didn't have the money, while paying for the over-budget Reid Building monstrosity, and subsequently they never got round to doing it until it was too late. And then to add insult to injury, after the first fire and half way through the rebuilding project, the GSA Board decided to instruct the ripping out of the operable but unfinished sprinklers. And then they lied about it. Those sprinklers would have isolated and doused the fire and would have saved the building."

 
"Perhaps, after all, the Mack just died of shame."

- Professor Gordon Gibb (first posted 2021).

I wrote about this ongoing "tragedy" a while ago. As I've said before it's both worrying and strange how the story is currently dead in the water and how little or no official progress of any kind has been made to explain these events. Glasgow School of Art, we have a problem.