Where is mcintyre hall glasgow

Their singer is the mild-mannered janitor of his local church hall. The rest of the band six in all have never been pictured together. By rights, no-one should ever have heard of them. Yet last week, they were invited on Top Of The Pops.

All this time, NME has been desperately striving to interview them, only to be rebuffed at every turn. Nor will it be the man responsible for all their songs to date bar one. Stuart Murdoch has now officially stopped doing interviews altogether, lest he overshadows the rest of the band. Actually, we only get both for about 30 seconds. This leaves us with Stuart, his friend. The friend is Neil Robertson; sometime manager, aspiring bassist and provider of moral support in the face of tricky questioning.

As soon as we reach the table, he turns his tape recorder on. Or rather, he tries to. Unfortunately, his batteries are dead, so his plan for keeping a thorough check on NME fizzles out disappointingly. Stuart, meanwhile, has already started complaining.

Fearful of what will happen if we do, we politely enquire as to why they object so much to interviews. I personally think he should take more responsibility for his creative role. Fortunately, with the time at 2. He is immediately replaced by the ever genial Richard who, having avoided a possible traffic violation, now wishes to take us to a nearby studio to meet up with the rest of the band, some of whom may even be in the mood for light conversation. Five minutes later, we find ourselves sitting in the waiting room of a disused church.

The pains of being principled are becoming more obvious by the minute. A suggestion that this is something of a fuss about nothing is met with withering glares. Slowly, we all troop down to the basement. The NME photographer is forced to stand in the rain for ten minutes and take occasional snaps of people with their heads obscured by amps.

Back in the waiting room, Richard offers to appear in a few posed shots In the main church. After some cajoling, Stevie agrees to join him, but only if he can play the banjo. We smile wanly, and begin to wonder whether our patience will hold out indefinitely. When we finally get Stevie, Richard and Chris huddled around the tape recorder, we demand to know why they insist on making such a big deal out of everything. A fact that seems to have endowed them with a sense of moral superiority. They know that they are a rarity: a band who owe their progress almost entirely to their own efforts and to the fact that their songs perfectly mirror the tribulations of a long-neglected section of the record-buying public.

Except wired on felt-tip pens rather than crystal meth. From afar, their success looks like a triumph for principled actions, up close it looks like an accident of bad behaviour. In light of how his band presents itself in his absence, may we suggest he thinks again?

Belle and Sebastian are one of the newer names in the frame. Mr Agreeable. To the casual observer, the boy sitting in the bar of the CCA in Glasgow is just another art student enjoying a quiet night out with friends.

But the way the other drinkers look at him suggests something is out of the ordinary. They stare in embarrassed awe and, every so often, someone comes up to wish him good luck for his next gig. The thing is, three years before, the self same boy was lost and alone, a directionless nobody searching for inspiration. He was a man in need of help. So I went to London, but I never managed to track him down.

He then recorded the debut Belle And Sebastian LP as part of a music business course and recruited his seven-strong band in an all-night cafe, selecting people on instinct, trusting natural justice. This time it worked. I eventually decided to stop when I saw people crossing the street with hunted looks on their faces. It was sleazy. Some amazed critics were moved to talk in terms of poetry.

The same applies here. I enjoy it, but it seems crappy to get up at 9am on a Sunday morning to rehearse. But you do it and suddenly it becomes the only worthwhile thing in your life.

I really think being aware of my spirituality is a privilege. Some bands are better when they live in their own unique dreamworld. Cherish them. And one girl would try and hit the ball as far out as possible. She said she was trying to find a wee village. The drummer lies, eyes shut, on the road in front of a car. The bassist crouches over him, looking deeply concerned.

They even try and talk the hapless NME snapper to take a picture without them in it. The awkward, pretentious bastards. But then Belle And Sebastian are an awkward, pretentious and really rather good band: gentle.

Appropriately, they play church halls, houses, and large municipal libraries. And cafes. In fact, it was during a philosophical hanging-out session at a local coffee house that they were conceived. Then, suddenly, I had a band of seven people that I could never have wished for.

This talent needs protection. Belle and Sebastian are swans in traffic, a sunrise at dusk. Sweetly surprising and suprisingly sweet. Maybe they sound like Tindersticks, maybe not. There are seven of them. One wore an earring and had a cagoule draped over his slight frame. One had daises in her hair. The third on was waiting on his nail polish drying. Where do you see the band going? I said that. LP Magazine — Tigermilk August Uncut — Fans Only February Mojo — Fans Only February Reverb — Fans Only December Record Collector — Fans Only December Rumore, Italy — Fans Only December Logo Magazine — Fans Only November The Times — Fans Only November The List — Fans Only November Playlouder — Fans Only November Bang — Fans Only November Musica, Italy — Fans Only October Teletext — Fans Only October Mucchio, Italy — Fans Only October The Weekender — Fans Only October Music Week — Fans Only October Time Code — Fans Only August Swedish Observer — Storytelling August Mike Barnes.

Mojo — Storytelling July Mark Beaumont. NME — Storytelling June Belfast Telegraph — Storytelling June Essex Chronicle — Storytelling June The List — Storytelling June Swedish publication — Storytelling June Waterfront — Storytelling June The Times Online — Storytelling June Time Out, London — Storytelling June The Sunday Herald — Storytelling June The Irish Times — Storytelling June The Times — Storytelling June The Post — Storytelling June The Daily Telegraph — Storytelling June The Courier Magazine — Storytelling June Logo Magazine — Storytelling June The Jewish Chronicle — Storytelling June Heat Magazine — Storytelling June The Evening Standard — Storytelling June Attitude — Storytelling June The Guardian — Storytelling May Music Week — Storytelling May Glamour Magazine — Storytelling May The Big Issue — Storytelling May TNT — Storytelling May NME — Storytelling May The Guardian Online — Storytelling May The Independent — Storytelling May Obscene, Oxford — Storytelling May Metro, Life — Storytelling May Review — Storytelling April Teletext — Storytelling April Fiesta — Storytelling April The Despondent — Storytelling April Storytelling — playlouder.

Simon P Ward. Dotmusic — Jonathan David August Teletext — Jonathan David July Ed-on — Jonathan David June Chris Mooney. Belfast Telegraph — Jonathan David June Music Week — Jonathan David June Ciclo Spain — Johnathan David June The Tipsheet — Jonathan David May Bucketful of Brains — Tigermilk July Time — The Belle Epoque June Tower Records. Label — Legal Man June Music Week — Legal Man June The Crack — Legal Man June Spanish magazine — Legal Man June Select — Legal Man June Q — Legal Man June Waterford Today — Legal Man May Melody Maker — Legal Man May The Times — Legal Man May BackBeat — Legal Man May Gapose — Legal Man May Hot Press — Legal Man May Time Out — Legal Man May The Face — Legal Man May Music Week — Legal Man May Melody Maker — Legal Man April Select — Tigermilk January NME — Tigermilk August Melody Maker — Tigermilk August The Reformer — Tigermilk August Flux — Tigermilk August Uncut — Tigermilk August Sky — Tigermilk August Q — Tigermilk August Sunday Mercury — Tigermilk August Herald Observer — Tigermilk July The Sunday Telegraph — Tigermilk July Show Easy Read Easy Read.

Skip to the next section. Room - Flat Hall is located on the ground floor level 2 of the McIntyre Building to the right as you enter via the North Front entrance. Directional and locational signage for the room s is available in upper and lower case lettering that is clearly visible.

Historic Environment Scotland does not accept any liability for any loss or damage suffered as a consequence of inaccuracies in the information provided. Addresses and building names may have changed since the date of listing.

Even if a number or name is missing from a listing address it will still be listed. Listing covers both the exterior and the interior and any object or structure fixed to the building. Listing also applies to buildings or structures not physically attached but which are part of the curtilage or land of the listed building as long as they were erected before 1 July While Historic Environment Scotland is responsible for designating listed buildings, the planning authority is responsible for determining what is covered by the listing, including what is listed through curtilage.

However, for listed buildings designated or for listings amended from 1 October , legal exclusions to the listing may apply. If part of a building is not listed, it will say that it is excluded in the statutory address and in the statement of special interest in the listed building record.

The statement will use the word 'excluding' and quote the relevant section of the Act. Some earlier listed building records may use the word 'excluding', but if the Act is not quoted, the record has not been revised to reflect subsequent legislation.

Listed building consent is required for changes to a listed building which affect its character as a building of special architectural or historic interest. Music is played in the Welcome Point reception and Second Hand bookshop. The floors which are accessible by stairs are 2 and 3. The stairs are located to the right as you enter via the North Front entrance.

The stairs are approximately 3m from the North Front entrance. The lighting levels are medium. The steps are not clearly marked. The steps are medium height 11cm - 17cm. The steps have a handrail on the right going up. There is a landing. The stairs are located at the rear of the building, to the right as you enter via the University Avenue entrance.

The stairs are approximately 2m from the lift. There is a lift for public use. The lift is located to the right as you enter via the University Avenue entrance.

The lift is a platform lift. The floors which are accessible by this lift are 1, 2 and 3. Wall mounted information boards are provided at lift landings. The weight limit for the lift is kg. The lift is approximately 2m 2yd 7in from the University Avenue entrance.

Staff do not need to be notified for use of the lift. The clear door width is 98cm 3ft 3in. The dimensions of the lift are cm x cm 3ft 7in x 4ft 5in. There are separate entry and exit doors in the lift. There is not a mirror to aid reversing out of the lift. The lift does not have a visual floor indicator. The lift does not have an audible announcer. The lift does not have a hearing enhancement system. The lift does not have Braille markings.

The lift does have tactile markings. The controls for the lift are within 90cm - cm from the floor. The lighting level in the lift is medium. Accessible toilet facilities are located on level 2 at the rear of the building near the University Avenue entrance. Male standard toilet facilities are located on level 2 at the rear of the building near the University Avenue entrance.

Female standard toilet facilities are located on level 2 at the rear of the building near the University Avenue entrance. Shared standard toilet facilities are located on level 3 to the right by the SRC offices stepped access. This accessible toilet is located to the right as you enter via the University Avenue entrance. This accessible toilet is approximately 7m 7yd 1ft from the lift.

There is step-free access to the accessible toilet. This is a shared toilet. A key is not required for the accessible toilet. There is tactile and pictorial signage on or near the toilet door. The contrast between the external door and wall is good. The door opens outwards. The door is heavy. The door is locked by a locking handle. The width of the accessible toilet opening is 86cm 2ft 10in. The contrast between the internal door and wall is good. The door does not have a horizontal grab rail.

The dimensions of the accessible toilet are cm x cm 4ft 11in x 6ft. The accessible toilet does not have an unobstructed minimum turning space of cm x cm. The lighting levels are low to moderate. There is a lateral transfer space. As you face the toilet pan the transfer space is on the right. The lateral transfer space is 68cm 2ft 3in.