coverage, of its hopelul ‘We're getting there' slogan.
What passengers would really like to know is whether or not ScotRall really are “getting there.’ What dillerence doesthe campaign make to the little technical details like running trains on time, regularly and to all the places Scottish travellers might want to go to?
Not a lot, according to Chris Green, Scotllail General Managertor Scotland, ‘It's purely a marketing exercise - this is still legally the Scottish region at the British Railways Board.‘ Mr Green is also quick to add that the region has its own identity - which this publicity drive is helping to strengthen - and that services are constantly being upgraded independently at the advertising machinery. An example being the : electrilication olthe Ayr - Glasgow line, which is due to be completed ahead of schedule.
So there are no dramatic changes between the new coats of paint, but what about The List campaign tor later trains between Glasgow and Edinburgh? The lact that the last trains run at 11pm severely restricts the opportunities at enjoying a night out in either city. It a night at a show or concert is going to be ruined by having to rush torthe last train, many people will not bother. With so much going on in both cities, this seems a shame. Travellers are always welcome to write : in with ideas says Mr Green, ‘We are : always willing to exploit any market
opportunity.’ Scotrail may be getting there, but what about getting back?
L The image of the late train
‘ those ol the opposition. All the Edinburgh - Glasgow and Glasgow - Aberdeen high speed services have been renamed ScotBail Express and coaches, timetables and platforms also display the ScotRail logo. Scottish stations have been upgraded, including the complete translormation ol Glasgow's Central and Queen St stations. Great laith has also been placed in heavy television
Scottish rail users are currently being assailed by a huge, new publicity campaign by British Rail, in an attempt to attract back some at the passengers who have been lured away by rivals such as Stagecoach and Supershuttle. The main thrust ol the campaign has been the creation ol Scotliail; an attempt by the marketing men at BB to give Scottish passenger services a “brand name' as marketable as
A museum is born
and to Scotland‘s cultural identity abroad. The first real test ofwhat the Museum can do will come at next year’s Edinburgh Festival. with the !
exhibition ‘The Enterprising Scots.‘ which is planned to be taken round three continents.
Not on exhibit at Monday night‘s party to mark the birth ofthe National Museums ofScotland (the merging on an administrative level of the National Museum ofAntiquities and the Royal Scottish Museum) were the true feelings ofmany of the behind the scenes staff.
The decision to combine the two museums follows the recommendations ofthe William‘s report of 1980. but was seen by many as a political decision. The present government‘s policy of leaving the Arts to fend for themselves has meant that the Royal Scottish Museum will no longer be administered and funded by the Scottish Education Department. The most immediate effect of this on the staff, has been that they have lost the ‘security' ofbeing civil servants.
Dr Sheila Brock, publicity officer for the museums, is optimistic about the future: ‘The merger gives us opportunities and possibilities which should enable us to offer a better service to the people of Scotland and its visitors; and that is what it‘s all about.’
However, the transition has had to be engineered with a great deal of tact. Both museums had long and distinguished histories and rumbles of discontent have been heard about the loss of identity involved.
The general feeling, though, is that the drawing together of the museums will be ofbeneﬁt to the public
L1 1 ‘-
.... 3.- ‘3 .
Feature: Jimmy Boyle talks to Nigel Billen
Feature: Cordelia ()liver and
Herbert Suslak on Hungarian Arts in
Feature: Allan Hunter on Eastwood
and the return of the western.
Feature: Mark Ellis on Scottish football.
Feature: Student life in Glasgow and |
Publisher: Robin Hodge Editors: Nigel Billen. Sarah Hemming Glasgow Editor: Graham Caldwell Art/Dance: Alice Bain Books: Alan Taylor Cinema: Allan Hunter. Trevor Johnston Classical Music: Carol Main Folk/Jazz: Norman Chalmers Kids: Sally Kinnes Media: Allan Hunter Open: Richard Norris Rock: Andrea Miller (Glasgow), Alastair Mabbott (Edinburgh) Sport: Janet Maclean. Mark Ellis
Theatre: Sarah Hemming'l'ime ()ut:
Alan Aitken News contributors:
Graham Caldwell. Quentin Cooper. Duncan Bell Photos: Clare Stephen.
Chris Hill. Andrew Glidden Design: Simon Esterson Advertising Manager (Edinburgh): Joanna Watson. Advertising Assistant: Fiona Murray Circulation Manager: Alastair Scott Publicity: Tanya Wolfe Typesetting: Jo Kennedy. Pennart Production: Sally Kinnes Production Assistants: John MacWilliam. Jane Kennedy. Dorothy MacPhee. Jane Scott. Alan Aitken. Rob Norman. Paul Keir. Robert Galbraith. Dave Mallison Graphics: Brian Cairns
Thanks to Lorraine Brown. Chris Banks. Neville Moir. Jim Hutcheson. and especial thanks to David Templeton of Venue. Cover: Clint Eastwood Cover Design:
i. Simon Esterson Published by The
List Ltd. 14 High Street. Edinburgh. 5581191 and 13 Bath Street. Glasgow 332 3393.
Printed by Dunfermline Press Ltd.
The List 4— 17 ()ctober 1