Song of the Day 1: Atari Pilot

Irregularly I share a music video to our Facebook page with the status “song of the day,” or week, or whenever, as if it’s a daily occurrence. When the reality is it’s a big, fat fib on my part, it’s only when I happen to find such a video and can be arsed to share it. What-cha gonna do, sue me?

So, just in case your lawyer says you have a case, I thought I’d streamline this sporadic idea for 2021, make it an actual feature on the site rather than a Facebook post, and show off that I know what long words like “sporadic” mean.

Little more gone into it than this, you should be used to it by now. I’m not going to review them, just embed them here for your own appraisal and entertainment purposes. Potentially, it’ll be a groundbreakingily breif post, a simple but effective phenomenon, and something I can do without missing the Simpsons.

The challenge is consistency; whether I actually stick to the idea or, like others, it’ll be a flash in the pan. Who knows, this could be the start of something beautiful, this could be the thing they’re talking about in decades to come. A holographic Ken Bruce could be asking “what was the very first Devizine Song of the Day” in a Pop Master 200 years from now.

And you can answer it with who I bestow this honour, Atari Pilot. They’ll be revelling in the triumph of the hour if it wasn’t lockdown, I bet.

History in the making then, the only issue I foresee is I over-waffle any old crap, which is, incidentally, not what’s happening now and rarely does here; I had to explain myself, didn’t I?

Okay, I get message; here it is then, enjoy the tune, enjoy the rest of your evening. Good job, carry on.

  • Booking In Ballyhoo at Wiltshire Recycling Centres

    As you’re probably aware, because there’s been lots of people kicking up a scene, Wiltshire Council’s recycling centre booking system being trialled at Devizes, Lower Compton, Melksham, Purton, Salisbury and Stanton St Quintin has been running for a fortnight. I’ve got accumulated stuff, a wife subtly hinting, and not much to do on a Sunday morning, so, bugger, old age has reduced me to reviewing my trip to the tip!

    How to book a slot at one of these sites can be found on the Household Recycling Centre Booking System Pilot page of Wiltshire Council’s website, and it was a piece of cake. A multi-tiered pedestal cake stand, in fact, with loads of slots available, even on a Sunday. No cake for me yet, but a cup of tea, load up the car in the same clothes I went out in last night, and I’m off, bossing it like a Womble.

    Number plate check, and I’m in there faster than Tom Jones on the pull; no waiting, no fuss nor foreplay, straight into a slot dry, helpful staff, back home in half an hour, still no cake though. The niggly first world problem was, when the trial system was announced, so many people were kicking up a fuss on social media about how this booking in system approaches on their civil liberties, for their right to spontaneous bouts of decluttering, councillors “of the people” had to make a stance for or against, side with popular opinion or honesty, to determine they keep their seats.

    The reality is it may take some tweaking, to account for those with travel issues, uncertain work hours, or even disabilities, and like any trial system you’re going to get teething troubles. But from what I’ve seen, it works, better, and saves queuing traffic at peak times.

    You can talk to councillors for hours, they all go on a bit, let them sound their views from the hilltops, but the real people you should be asking about how the system is working out are surely the staff there, because they’re the ones who have to deal with it daily; you just dump your load there every so often!

    It took just an unbiased three second interview with a staff member deliberately unaware he was going to be quoted. I asked him how the new system was going for them personally, as they’re the ones who have to work with it. He answered it was “much better,” and waved me on. Bingo; no hour long debate from a councillor, just straight from the horse’s mouth!

    If you’re going to throw your toys out of your pram, you should note, to separate the metals from the plastics. Equally, if councillors are worried about going against the ballyhoo of popular Facebook warrior whinging, they should note their seats go into the scrap metal bin, but really, it’s a storm in a teacup, people, become accustomed to change, it’s what makes the world go round; and if the staff there prefer it, I support it. 

    The only issue with it I found was that Wiltshire Council can’t spell Stanton St Quintin on their website!

  • Swindon Advertiser Running With Islamophobic Clickbait, Again

    Immediately after the weekend which saw press photographers ejected, so they could savagely beat women at the Birmingham Reform conference, as if someone threw a side of beef into a pride of starved lions while Farage played the part of Scar, encouraging them and laughing it off, and black shirts disrupted holiday-makers returning home, and threatened the RNLI in Dover, which is treason, here in Wiltshire, Newsquest “democracy” reporter Peter Davison thought he’d platform the local branch of the nasty party, either for his Islamophobic kicks, or because they crossed his editor’s palm with silver. Now, a fortnight later, the same article is being shared on their social media; is it still news or advertorial propaganda?

    “Councillors from Reform UK in Swindon are demanding transparency over the use of halal meat in schools, restaurants, and takeaways,” he headlined, apparently deluded group leader Sara Godwin took to Facebook to ask if we “actually know what you’re eating?” Yes, thank you Sara, fly the flag, I had good old English fish n chips today. 

    And “shouldn’t you have the right to know?” Again, I think we already have The FSA and Trading Standards authority, Sara, last time I checked.

    The article focused on halal, and breezed casually over kosher, despite most of the animals being stunned before slaughter with halal, but not with kosher, apparently, like I care. Because, let’s be honest with ourselves here, this hasn’t anything to do with animal welfare, really, has it? 

    If it did, ha! It might look a smidgen hypocritical, being Reform UK focuses on domestic food production and deregulation, rather than targeting or banning intensive or factory farming; no animal gets a fair life in a factory farm. If it were me in that cage, I’d think I prefer slaughter, any way it comes.

    This halal campaign is far from ethically structured against cruelty to animals, being their party propose repealing the Hunting Act. And what way would you rather go, a slit neck and it’s all over in seconds, or being chased by a raging pack of animals, and their hounds, all day until you’re savagely ripped apart limb from limb, while still alive?! Herein, at least the halal slaughtered animal will be consumed, whereas the fox they murdered, purely for the fun of it.

    No, none of that shady business; they’re using our children as bait, again. They focus on school lunches, as if you’ve got any concerns there’s something you disagree with in the ingredients of a school meal, despite the use of halal meat being highly unlikely and completely unfounded in Wiltshire, you can’t send them to school with a bloody sandwich?! I’m sorry, but if you cannot be bothered to make your kid a sandwich, why come crying because you didn’t like what they were handed for free?! And Reform bash on about whinging leftie “scroungers” and “handouts?!”

    Is Swindon’s Reform group trying to convince us their national party cares about children now?! Just like they care for women, but beat them with their crutches?! Deputy Leader and all-round prick, Richard Tice, claimed the SEND system is being “hijacked and abused” by parents receiving “unneeded support.”

    They argue that an explosion of diagnoses is bankrupting local councils, like Reform UK-led Nottinghamshire County Council, who splashed out £75,000 of taxpayer money to install 164 flags across the county?! More diagnoses are happening because we are becoming more aware of them, and how to spot them, not because it’s an aid for “scroungers” to buck the system. Reform’s angle suggests what your autistic kid needs isn’t support, it is one look at the Union Jack, and sending him to bed with a bowl of chlorinated chicken gizzards. That’ll see them alright.

    With Reform we are one tiny step away from brood reduction, where birds throw disabled chicks out of the nest. This is supposed to be a civilised society, we don’t have resource issues like birds, yet. The only survival strategy we need is not voting for these vindictive idiots, because the last thing they clearly give a toss about is your children.

    Full Fact have debunked viral claims that all UK schools are required to serve only halal meat. The BBC reported some areas use halal-certified chicken because suppliers cannot meet the required volume with non-halal stock alone. Halal may not be your agreeable method of slaughtering an animal, but when two wrongs make a right; become vegetarian if it bothers you. But see the fuller picture here, it’s not about what is on your plate, rather deliberately misleading propaganda to spread their Islamophobia.

    You may say Newquest is only reporting a story. If so, why are they repeatedly re-sharing the story onto their socials, weeks after publication? Slow news day? A patriot slashed an RNLI lifeboat; attempted murder. If the reporter genuinely was sitting on the fence with the issue, he wouldn’t platform it; take the moral high ground.

    No, Occam’s razor, the simplest explanation is usually correct; most likely being, Reform is paying them to spread their muck, attempting to divide the community of Swindon.

  • Marlborough’s Hidden Gem; The Town’s Home for Arts, Culture and Community

    Tucked away in plain sight at the heart of Marlborough stands St Peter’s. While this Grade II listed landmark has been around for centuries, its modern identity remains one of the area’s best-kept secrets….

    Though no longer an active church, the Trustees have quietly been transforming this historic structure into a vibrant, independent space for arts, culture, and local connection.

    Today, St Peter’s serves as a community space where heritage meets contemporary creativity. Under its soaring, vaulted roof, cultural events and grassroots community initiatives carry equal weight, breathing new life into ancient stones.

    Arts and culture

    St Peter’s has built a diverse arts and culture programme designed to draw in audiences of all ages and backgrounds. Highlights include:

    • Marlborough’s first-ever Pride event, celebrating inclusion and diversity in the town.
    • Immersive theatre productions that make full use of St Peter’s striking architecture and atmosphere.
    • Live music, including an upcoming performance from acclaimed singer-songwriter Kristin Hersh on 19 October 2026, alongside a wider range of exciting artists still to come.
    • A coffee shop at the heart of the building, offering a relaxed space to meet, work and socialise.
    • A festive Santa’s Grotto for local families over the Christmas period.

    The venue has already welcomed notable visitors including Myles Smith, Damien Lewis and Steve Knightley, and is working closely with Sound Knowledge and Marlborough Folk Roots to help shape its live music programme.

    Devizine endeavours to list all events at St Peter’s on our event calendar, but

    The full events programme is available at: stpetersmarlborough.org.uk

    Community

    St Peter’s is equally a genuine resource for the people of Marlborough. The building already hosts a range of community groups and initiatives, including:

    • A Recharge Café, offering a calm, supportive space for people to take time out and connect
    • A dedicated Parkinson’s and Carers Café, providing support and companionship for those living with Parkinson’s and the people who care for them
    • Ongoing community engagement activities, with the space made available to local groups and organisations throughout the year

    For further information please contact Suzy Birch, Events Programme Manager, St Peter’s, Marlborough (email: suzy@stpetersmarlborough.org.uk)

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  • Chippenham “Midweek Mojo” Brian Reid Passes Away

    Tributes to Chippenham’s  community activist, poet, actor, and event compere Brian Reid poured onto social media today, as the sad news of his passing spreads…

    Known as the “Midweek Mojo,” Brian Reid was renowned and much loved in the Chippenham community. A prominent figure in the Wiltshire arts scene, hosting open mic nights at the Old Road Tavern in Chippenham and The Lamb in Trowbridge.

    Brian loved performing spoken word poetry at local festivals like Eco-Future Fest; if it was happening in Chippenham, Brain Reid was somehow involved.

    He co-organised the local community arts and music festival ChippFest, alongside Andy Thatcher. He was a DJ at Chippenham FM and collaborated on spoken word recordings with local artists, such as Will Lawton and the Alchemists, featuring on his song “Soul Sneeze.”

    We are saddened to hear this news, Brian was truly a legend and loved by all. Our hearts go out to his friends and family. There is a crowdfunder for support for his family below.

    https://www.crowdfunder.co.uk/p/support-for-brians-family

  • JP Oldfield’s Saltwater Gospel

    Devizes favourite southern fried gothic-Delta blues one man band, JP Oldfield has an EP released at the end of the week, Saltwater Gospel. It’s a six gun shooter of length and breadth, classed as an EP, but contains enough poignant narrative, dark twisted swagger, and redemption, for an album to have causally swung through those saloon doors instead…..

    It’s been a year and half since his kazoo-blowing often playful yet dark underwired debut Bouffon, and Saltwater Gospel tests that time and toil as if it’s been decades of progression. This isn’t Bouffon’s collection of individual observations, it’s a complete concept to savour in one evocative bout. 

    This is JP sombrely unabridged and deliberately raw, still skillfully better, defined and crafted to a level you’ve not heard him before. To assume this a “refreshing” notion won’t set the mood; this EP will hit you like a dust storm from the off, but mostly its brilliance lies in its narrative.

    The six songs perpetuate a saga of desperation and balance, and a metaphorical shanty of dark gothic blues. Influenced by The Rime of the Ancient Mariner, yet developing its own mythology, Josh has put the overtime in on this EP’s drafts. Relying on the mythic tone and the classic theme of a tragic figure trapped between worlds, JP’s Ferryman cuts off his story as he reaches a dark turning point. The whole EP is a continuation of his journey, condemning a sinner and a wayward priest, in the hope of finding his release. 

    Trading his silent oars for the secrets of the tide, he becomes more a shadow in the fog to the unrepentant, than a savior; a collector of unpaid debts. For if the laws of man would not restore the balance, he decided, then the law of the deep must prevail. Josh treats the ocean as a meticulous accountant, as wayward priests sink beneath the waves, and life and death stand side-by side, but a conclusion here would be a spoiler!

    The first song is a scene setter, reminding me of classic Who rock operas, yet spanning across an American badland. The second ups the tempo, it’s a jump blues with MoonCalf Studio producer Nick Beere’s stylised harmonica, and something Howlin’ Wolf would nod to.  

    The Americana is thick and authentic, the tracks run as three minute heroes as the story pushes on. The standout lies at its centre; Further From Heaven is the magnum opus not only of the EP, but of Josh’s work to date. It’s Johnny Cash in too deep; a seven minute chronicle in itself, despite the EP being a contained concept to listen wholly, and it’s masterfully executed with film score epics, hypnotic macabre, and chants of fatalistism, as the plot twists.

    JP then brings it full circle with something more upbeat in sound rather than psychological lift, and there’s a five minute conclusion which builds in layers, and reveals the derivation of Josh’s complex ratiocination. The story is compelling, but the ripping of a patch guarding his own personal reflection on his recovered medical issue, and the realisation “life is too short not to pursue the things you genuinely want to do.”

    There’s a niche here, always is with something out on a limb, personally there was never room for disparagement within Josh’s poignant and humble creations. Carnivores craving an Abba tribute on a Saturday night might criticise melancholic outpourings, a risk every musical expressionist of pensive woe faces. And if you’ve been scathing about JP Oldfield in the past, this is a game changer. This is his Born to Run, the release to set his initial benchmark.  

    JP Oldfield rightfully takes the release of Saltwater Gospel on tour, I’ll pop the poster below, and there’s a launch at The Fold in Devizes on Friday 25th September, with Deadlight Dance in support. 

  • Jess Chiver’s Sunrise Comparison

    I’ve found myself sympathising about post-punk recently, how they scrambled around in the dark somewhat, taking pot shots at reggae, claiming a “new wave,” or else succumbed or faded to new romantic electronica. Find myself wondering what they’d have made of grunge or emo at the time, because that’s progressing the style, and in this, Jess Chivers from Bath’s new EP, My Sunrise Companion, subtly nods towards punk’s true successors, but to have played this in 1977? Punks would’ve said, “that’s not punk, it’s far too good!”

    While there’s nothing saccharine here, it’s evoking and blissfully cool, with the internal emotional pain of grunge in subjects, though not always in sound, only in places; like slowly defusing a bomb. The opening title-track of these four divine songs has the crisp commercial viability of an indie rock anthem, like the Cranberries. Foreign Land follows suit, but with this subtle rising and falling of grunge building as it goes; like a monster is coming, feeding on Jess’s thoughtful prose, but you can only see its shadows.

    By Rotten three tunes in, the eruption occurs, the monster is revealed, and it comes over heavy feminine grunge, similar to I See Orange. But the finale Ravens on the Roof’s intro suggests something acoustic, and that’s where I’ve seen Jess before, bravely breathing this subtle punk influence into a majority Americana festival at Trowbridge Town Hall, but in an impressive acoustic manner. Raven on the Roof, though, builds into a powerhouse of layered grunge, gradually being exposed, and leaves you hungry for more.

    This is so well produced, it blesses Jess’s sublime vocal expressions and the vivid interpretations her poignant writing evokes, yet it’s universally appealing, not only a pleasure on the ears of punks young or old! 

    Obviously I’m far too young to be an old punk, but I LOVE THIS!!

    LinkTree

  • Local Reggae Musicians Release Compilation Celebrating Ninetieth Anniversary of Emperor’s Exile in Bath

    Singers and players of instruments of The Southwest assembled for an album celebrating the ninetieth anniversary since Emperor Haile Selassie I was exiled to England, and stayed at Fairfield House in Bath, now a museum and shrine to the Ethiopian Emperor…..

    Last month I wrote a piece about the celebrations and activities at Fairfield House, which included the fascinating historical backstory of how the Emperor came to be living in Bath. 

    Emperor In Exile was released at the end of last month, and it has a limited first pressing vinyl LP version, pressed on colour vinyl and housed in a sleeve featuring specially commissioned artwork by the aptly named Sophie Bass, whose distinctive work includes album covers for the celebrated soundsystem crew Reggae Roast. This Irieka Records release is also available digitally on Bandcamp; I had to have a listen!

    Recorded in Bath, Bristol and London, and presented by Babba Maas, Emperor In Exile is a reggae journey inspired by the years Emperor Haile Selassie I spent in exile at Fairfield House. It brings together history, music and art in a unique tribute to one of the most remarkable chapters in Bath’s cultural history.

    Featuring six tunes from locally based reggae artists, and subsequent dubs as its second half, all remixed from the original recordings at Yam & Banana Studio in St Pauls, it kicks off with a gorgeous upbeat steppers riddim by Earl Sixteen. 

    Da Fuchaman’s My Country’s Not For Sale follows nicely, reminding me of the classic boss reggae era, Harry J style, and also calibre. Carlton Smith of Black Roots takes inspiration in sound from the Upsetter’s Dollar in the Teeth, but it’s roots by name, roots by nature, with a concentrated seventies feel Misty in Roots or even early Aswad sound.

    Dehvan Othieno of the Talisman takes the fourth slot, Exile Song has a gorgeous dubplate, with fresh and uplifting vocals. Nia Melody’s song has a wonderful lovers rock vibe about it, and is a homage to British suffragette Sylvia Pankhurst, who became a dedicated political ally and lifelong friend to the Emperor, fiercely defending Ethiopia against Italy’s invasion.

    And our good friend, Knati P completes the vocal tracks with a bouncy total steppers praise, Selassie I. Then the atmospheric dub versions follow, and they’re worth holding onto. While the album naturally contains those vital conscious lyrics as it explores themes of exile, praises to Jah and respectful historic content, it does so with a certain dedication to classic reggae styles, from roots and dub, I’m thinking of groups like Black Uhuru and Burning Spear, and doesn’t waiver to dancehall, and it is this which ties the compilation together like the flow of River Jordan. 

  • The Modernisation of Wiltshire Museum; Chatting with Amber

    Okay, that’s enough now! The social media presence of Wiltshire Museum in Devizes has shot from zero to hero. Vlogs of staff dancing in period clothing, creating street art, and generally enjoying themselves far too much! When did working at a museum look so much fun, unless you’re Ben Stiller?! 

    This all came to an apex during carnival, which saw them brazenly parading Long Street dressed as Stonehenge’s sarsens and lintels! Where’s the rusty neolithic tools and bits of rock in rotting condensated oak cabinets, and the bearded teacher with leather elbow patches dragging unwilling kids by their ears?! The fault is apparently shouldered by their new Marketing & Events Officer, Amber Pullen. I went down to Wiltshire Museum to meet Amber, and give her a piece of my mind!

    While I waited for this social media virtuoso, some children were exiting the museum, headdressed and clasping gifts with the expressions of someone who’s just had a really fun morning. Devizes should be proud, for it is a great museum already, seemingly as dimensionally transcendental as Dr Who’s Tardis. But while I was there, I had to consider that the bigger on the inside surprise factor might be reversed, once they’ve relocated to the grand Assize Court. I must ask Amber about the project, but also I wanted to focus on her too, because in order to make that transition effective, Wiltshire Museum must make a marketing impact now.

    Amber started here in April. Since then it’s been a crucial time for the museum, as it embarks on its most adventurous move ever. I gave thought to the Natural History Museum, and @Bristol, where tech makes them interactive, and I supposed, while Wiltshire Museum has always had interactive qualities for children, like the gold digging pit and brilliant spongy build-your-own Stonehenge, such things are crucial for the contemporary appeal of a museum. Then, I supposed digital marketing was equally as important, to get them through the door in the first place! Here is where Amber shines, but most importantly of all, she took kindly to the Ben Stiller comparison! 

    “That’s going to have to go into my marketing strategy,” she said of the film, Night at the Museum!

    “I don’t come from a history or archaeology background,” Amber said about my negative memories of seventies school trips to museums, later revealing she came from an acting perspective. “But I think culture and heritage are still a definite passion and interest of mine. And I think for a lot of people, they are. But as you said, I think there’s an element to museums which have, like a wall up or something, which doesn’t always make them always liked by certain demographics, or make certain people feel welcome, but there’s definitely stuff for them to enjoy in them. And it’s changing the conversation, changing the tone or just going, actually, it’s not that scary to walk in because you can still have fun here!”

    True that; there’s an extensive program of events for all ages, crafts and clubs for children, which sell out quickly. But does Amber feel the social media is attracting new visitors and opening to a wider demographic? “Again, it’s hard to tell with social media, you can obviously have your stats change, but that doesn’t necessarily mean those stats bring in those audiences. I’d like to think it does. People have said to me, whether it’s a biassed thing, or ‘I’ve seen more about it online,’ so I think just having that voice or that conversation existing is really lovely. And also, being on the edge of town, we can sometimes get driven past or forgotten about. I’m hoping that people remember, in a fun way!”

    We talked about the honesty expressed in the videos, and the fun; laughing about encouraging Museum curator David to dance, where Amber confessed, “I think having fun is probably my main go-to!” and “David said to me early on, he pretty much has no shame. And I was like, well this is going to go wonderfully because, me too!” But Amber explained he did forewarn her not to get him singing or dancing!

    Amber suggested she was concerned about how the older generations would accept the “more playful” adaptations to the museum’s media content, with the notion “you’re never going to please everyone,” but explained, “I think what’s really wonderful is, actually, they’ve interacted and received it well, way better than I thought! Even the volunteers here, I was like, okay, that’s really wonderful to hear, because I think also they care about, you know, how can we get a younger audience in? And if we’re not, why not? And how can we?”

    With the idea of using tech for interactive exhibits, Amber confirmed they would be developing more of this for the new Museum. “I think humans learn in many different ways,” she said. “Some people would love to come in here and read everything, but others might like to learn through the interactives or the costume corner and then just look at all the gold and like the visual interactive which is probably my learning style!”

    On carnival’s Stonehenge costumes, Amber said, “we needed to turn up in this community, for sure, but I’m not just carrying a banner!  So, I got five of us dressed as cardboard boxes, which was really good fun! Next year we just know to go bigger and louder. So that’s a nice thing to prepare for.”

    If we’re talking about the future, the burning question must be, when will the museum reopen at the Assize Court? Amber suggested, “we’re going for 2030, which would be wonderful. I have every hope in that. Which sounds a long time away, but actually it’s only three years if you think about it.”

    The best thing about the project is destiny; the building looks like it should be a museum! “Exactly that,” Amber agreed. “That’s exactly what it looks like.”

    And on its modernisation, Amber mentioned how their engagement, creating, and education teams have been working together. “They’ve been doing so many meetings and planning in the background, and with work starting next month, I know enabling works are due to start in October, which will be so exciting for not only us here to see, but everyone else in the town to see.”

    Amber exemplified the recent shaman revelation, where the two-centuries long assumption Upton Lovell Shaman’s gender was male, has been turned on its head through recent scientific discovery, and transformed our understanding of Bronze Age gender roles. “It’s she, not he,” Amber expressed, and explained, “she will have her own interactive screens with wonderful bits that you can learn more from. I think the idea is we’ll have cleaner spaces to work around; that’s the ambition.”

    Recounting the amount of times Amber used the word “fun,” and speaking about how to engage the community of all ages, throughout our chat, would be impossible! Her optimistic approach and ecstatic enthusiasm rubs off on an institution which might otherwise be wrongly considered dull; that is the magic happening at Wiltshire Museum, proir to this exciting move.

    Proof of this is in the way Amber explained that the Upton Lovell Shaman was once described as a stout man, “but not a stout man at all! And that’s really wonderful, going forward in terms of not only changing the museum to a new place and being able to tell multiple stories in new ways, it’s also completely celebrating a whole new story and what we have now learned from modern technology that can retest these things, which is really cool, really great and I think really exciting. This is awesome for sure!”

    See what I mean?! I’m actually deleting some of Amber’s optimistic expressions, to save the word count! “Fun is going to be at the root of everything I do, to be honest. Probably just how I function.”

    The obvious advantage to having the Assize Court, is a large event space, and it got me thinking about recent occasions when this would have been advantageous; when Brian Edwards made national headlines with the discovering the origin of the thatcher on the Led Zeppelin album cover, David and I discussed the prospect of having a Led Zeppelin tribute, or the possibility of local electronica producer Moray McDonald paying homage to Daphne Oram, these things could have been done internally at the new museum. But day to day, having elements like a café, which Amber said was on the cards, would surely keep visitors for longer, and refreshed.

    I mentioned Johnny Ball, and how he made maths and science fun in my youth, and Amber praised the brilliant Horrible Histories television series, which does a roadshow, and we agreed this would be something amazing to bring to Devizes. “I think those things are really important,” Amber said, “and finding new ways to kind of express all the stories. How we can make it interesting for the people who don’t naturally like just reading and absorbing information.”

    I asked Amber if there is a secret to social media success that she would like to share?! 

    “No,” she replied, “because I am convinced that the algorithms are ever-changing. I think half the time people don’t know what they’re doing. And maybe I’m so foolish for saying this myself, but I think they’re so advanced now; just be authentic. For me, I’m quite a playful, bubbly person, so I try to put that into my marketing style, as well as obviously the element of knowing the team here are so lovely and also similar. So, why not bring that to it? Because those people exist in the space that we’re also trying to promote.”

    We chatted about how fast social media changes, compared platforms, and debated their worth. My aging mind boggled, but I returned from Wiltshire Museum confident about its prospects and growth through this entertaining engagement, and grateful to Amber for such a nice chat!

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  • “Scenes from an Execution” at The Wharf Theatre, Devizes, September 21st – 26th 2026

    by Ian Diddams

    images by Wharf Theatre

    An artist expresses their personal thoughts. The rich and powerful use their positions to shut that expression down and remove the artist. Yet the act of suppression feeds a wider interest in the subject being suppressed. Macklemore, Ed Sheeran and venue owners? Or a 1980s play about a fictional Viennese artist and her painting depicting the battle of Lepanto in 1571?

    The answer in the case of “Scenes from an Execution”, by Howard Barker, showing at the Wharf Theatre, Devizes is the latter. But it is a classic case of a forty-two-year-old play imitating life where the same scenario in effect was played out last weekend with Macklemore, his support for Palestine, and the repercussions on what is now becoming known as the “Fled Sheeran” tour.

    Controversial artist Galactia is commissioned by the Republic of Venice, to paint a glorious triumph by Christians over Muslims at the Battle of Lepanto. Instead, however, she portrays the genuine horrors of war : of bloodied and mutilated cadavers, suffering, and sheer unadulterated cruelty. The Republic’s leadership balks at this representation and attempts to hide the painting, as well as imprison Galactia whilst commissioning another painting in more celebratory style. But the truth finally outs and the painting becomes a public triumph much to the authourity’s despair… but is the interest because of the stark realities portrayed or is it merely voyeurism and a box ticking social activity?

    We are led through what is a hundred-foot-long painting (CF Bayeux Tapestry), scene by scene, by a museum curator, cleverly played by Georgia Watson as we segue each time into the scene’s background by fictional characters’ interaction with Galactia, and the “real-life” storyline of Galactia’s interactions with her lover Carpeta, himself an artist obsessed by paintings of “Christ amongst the flocks”. Chris Smith captures his dichotomy of a husband’s guilt about his affair with her, and his servility to the law represented by Oli Beech’s sublime delivery of an initially effervescent then creepily oppressive Doge.

    Adam Sturges multi roles superbly as Cardinal Ostensible of the catholic church, Admiral Suffici from the battle itself, and Prodo, a loyal veteran despite his own personal tragedies brought by battle. Laura Bartle as Supporta acts as one of Galactia’s daughters alongside Georgia as the other, whilst magnificently also portraying the haughty Rivera, an art critic moving in the higher social circles. The entire cast at times play sundry minor characters to aid the story along but the entire production is a thorough triumph, led by the quite excellent Julie Baker as Galactia who is on stage for almost all of the entire two-hour play and whose intensity and focus never wavers. She IS Galactia.

    Director Jacs Brady has created a glorious show – her use of colour throughout with drab colours and lighting for the artists and pauper’s environments, and brilliant, stunning colours for the rich and powerful shines through (pun unintended!).

    The set is a simple, stark artist’s studio, with lighting changes to represent also a prison, and a balcony for external scenes. It represents pretty much a kitchen sink drama – almost all the action happens in just one room aside from the above minimal exceptions.

    The overall effect is not just engaging – it draws the watcher into that world. And the quality of the performance with the intimacy of the Wharf Theatre is breathtaking, and where the line between community and professional theatre is not at all apparent.

    Barker’s play deals with themes of absolute power versus artistic freedoms, reality versus propaganda, censorship of free expression and visions of war as glorious versus horrific. The parallels with last weekend, Macklemore and tour management are plain to see.

    This is not a “light” play – its intention is clearly to make one think about our media and information delivery. Though those that seek the occasional smile and smirk will enjoy the passive-aggressive interactions between artistic lovers and the Doge’s dry humour to the peasant classes. As well as the fixation on the word “buttocks”. Buttocks – though not seen ! – feature prominently in a text that is only two hours long 🙂

    “Scenes from an Execution” is showing at The Wharf Theatre, Devizes September 21st to 26th.

    Tickets from https://www.ticketsource.com/the-wharf-theatre/scenes-from-an-execution/e-kkrojk

  • Devizes Residents; Glue Chattering Teeth Toys To Market Cross!

    Our trustworthy Gazelle & Herod reported today that “disgraceful” behaviour in Devizes Market Place has elevated into a dental issue….

    Publishing an article which states the police are frustrated by the issue, they quote an Inspector, who said The Public Spaces Protection Order “has given them certain useful powers, but lacks teeth, and has yet to solve the problem,” as ze kriminalassistent pours away a can of booze he nicked off a thirsty hobo, for kicks.

    Are we to assume the blame lies with sugary doughnuts washed down with Coca-Cola? This Public Spaces Protection Order should’ve listened to its dentist when it was little. Where’s Oral B brand ambassador Holly Willoughby when you need her? Perhaps dentists might be able to help, if dental implants would suffice? Or could we, as concerned residents, come up with a better plan?

    While I’m willing to accept they’re not real teeth, just joke ones, and we don’t like jokes in Devizes, and get banned from Facebook pages for posting them, I think I have the perfect suggestion, bearing in mind we’re all a bunch of petty whinging geriatrics with some serious first world problems here.

    I call upon Devizes Town Council to glue chattering teeth toys to the base of the Market Cross, which would bite the bums of anyone congregating there; job a good ‘un. Thanks for the tip off, trustworthy Gazelle & Herod!

    I thought I’d pop down there, see what these hooligans think of that plan. So I’m at the Market Cross in Devizes, the centre of a town financially based on the production of alcohol, where, not so long ago, folk were encouraged to drink en masse, in a ritual called the rite of Black Rat Monday, ironically on the very spot the trouble is listed as being.

    Hooligans invade Market Place

    Where a filthy Potterne fibber was once struck down by the wrath of god for trying to swindle a market trader out of some wheat, 273 years ago. Makes you wonder if there’s always been anti-social issues there, and if one day in a far flung future, there might be a plaque erected in memory of the pisshead who snapped a begrimed fingernail while swiping a pouch of Benson & Hedges from Sainsburys.

    But all I saw there was one lonely guy, (pictured below,) sitting, talking gibberish to himself. Speaking in tongues, it sounded like he was upset with a local shop over a proposed zebra crossing, politicising a playpark, and frustrated over a byelection seat his party are bound to lose unless he really steps up his game and uses national political point-scoring tactics at a local council. I felt sorry for the guy, as he wasn’t causing a real problem (provided no one takes his balderdash seriously,) and he had a fine set of gnashers for his age.

    Maybe it is help that some of these people congregating there need, not public condemnation via social media? A social hub, or something to do, like a job, community service, or a dentistry course. Oh, if only there was a tinman councillor with a heart, but I’ve got a feeling we’re not in Kansas anymore, Toto.

    But, in conclusion to my meticulous research, isn’t this a storm in a teacup? Police patrol, and if they see something happening they go and sort it out; that’s pretty much the way it has worked since Sir Robert Peel’s era, two-hundred years ago. Perhaps, just perhaps, provided no one is actually causing trouble there, we could live our lives and let others live theirs, or move to Kyiv, where their problems are such that they’re unlikely to bat an eyelid over some drunks loitering.

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