Scotland’s Queer Heritage

Exploring environments across Scotland, 14 writers share the places and spaces which define their queer history.

who will be remembered here reconsiders and reimagines the built and natural environment through a queer lens, uncovering stories full of hope and humanity, and the collection features images from HES archive.

Contributors are Ali Smith, Damian Barr, Ink Asher Hemp, Mae Diansangu, Ashley Douglas, Amanda Thomson, Jeff Meek, Rona Munro, MJ Deans, Louise Welsh, Ever Dundas and Johnny McKnight, along with Lewis Hetherington and CJ Mahony who are also the book’s curators. The book features works in English, Scots and Gaelic. 

2025 marks a significant point in LGBTQ history, being 30 years since the first major Pride event in Scotland. Queer history is an important part of Scotland’s past, but it is largely absent from records. By making invisible stories visible, who will be remembered here ‘captures something of the richness, complexity and beauty of a history that belongs to all of us’. 

The book will be released in the 14 of August and can be pre-ordered.

Calling All Budding Writers

How do fancy writing for Queer Scotland? Sadly there is no budget, so we rely on the generosity of strangers. Indeed, recently we had a whip-round for tea-bags. But, if you fancy yourself as budding writer/journalist/busy-body, then this would a step in that direction. If you have ideas for LGBTQ historical content, please get in touch: jeff@queerscotland.com.

Pride: The books that shaped us

This year the National Library of Scotland is 100 years old and we asked people to share the books they love with us. To mark Pride, our panel of LGBT+ individuals will talk about the books and publications that have influenced their lives.

Panellists 

Sasha De Buyl (Chair) is a writer and programmer from Cork. Their work has been published in ‘Gutter’ and ‘The Stinging Fly’ among others. and They are currently undertaking a DFA in Writing at the University of Glasgow.

Graeme Hawley (Head of Published Collections at National Library of Scotland) works at the Library and is used to dealing with millions of books. But out of that huge collection some are more personally significant than others. He shares the books that were helpful to him in his coming out, and a tiny entry in ‘The List’ with a big memory attached to it.

Sigrid Nielsen co-founded Lavender Menace, Scotland’s first lesbian and gay community bookshop, as a partnership in 1982. Sigrid managed author readings, mail order lists, and bookshop events. She left as a partner in 1987 and later co-edited ‘In Other Words: Writing as a Feminist’ (Hutchinson Education, 1987) and published articles and short stories. In 2019, she and Bob revived Lavender Menace as an LGBT+ books archive and heritage organisation.

Other panellists to be announced.

Our audience will also be invited to share memories and recommendations of books that have influenced them.

This event has been developed in partnership with Lavender Menace and will be highlighting their queer books archive.

This event has been programmed as part of WestFest – Glasgow’s biggest cultural and community festival.

BOOK TICKETS

Oban Lesbian+ Weekend 2025, 5-8 September

SCOTLAND’S LEADING 3 NIGHT LGBTQ+ WOMEN’S WEEKEND

WE’RE BACK FOR A 4TH YEAR!

Oban Lesbian Weekend is an inclusive weekend, run by LGBTQ women and non-binary people for LGBTQ+ women and non-binary people. It is not for us to police what % lesbian our attendees are!  All are welcome – the rules are simply treat others with respect!

If you have any questions! Email us at: obanlesbianweekend@gmail.com 

BOOK YOUR TICKETS – CLICK HERE – Earlybird discount tickets – SOLD OUT & medium bird, discount tickets are going fast!

Our Myriad lgbtqi+ Lives

3pm, Wednesday 12th February, Dalhousie 2F11

Speaker, Brian Dempsey, School of Law

All welcome, registration required. Please visit here to register.   

We have always been part of Scottish history, and we continue to make Scottish history.

  • From the 6th century man-loving priest Findchän to the unnamed trans or intersex person (‘skartht’) whose very existence was supposedly a portent of James II’s death (1460)
  • via the ‘female sodomites’ Elspeth Faulds and Margaret Armour (1625), the ‘lesbian         schoolmistresses’ Jane Pirie and Marianne Woods (1810) and the gender fluid paganist William Sharpe/Fiona Macleod (d. 1905)
  • to the fight for repeal of ‘Section 28’ (2000), for marriage rights (2014) and for respect for trans autonomy (ongoing) and infinitely more.

Let’s share and celebrate some of Scotland’s many lgbtqi+ lives.

Exploring queer histories and the diverse experiences of Scotland’s LGBTQ+ community

Gray’s School of Art alumnus, Bart Grabski, hasbeen selected as one of only ten artists to feature in the Queer & Now exhibition, a landmark project organised by Dundee’s Shaper/Caper dance company funded by The National Lottery Heritage Fund.

The exhibition, which runs alongside the acclaimed Small Town Boys choreographed by Shaper/Caper’s Artistic Director Thomas Small, explores the rich and diverse experiences of the LGBTQ+ community, with a particular focus on themes from the 1980s and 1990s, including Section 28 and queer nightlife.

Queer & Now showcases new work created by artists who delved into the LGBTQ+ culture of the past, working closely with OurStory Scotland to collect and curate oral histories that have deeply informed their practice.

Bart’s piece, ‘Oral Portraits’, is a poignant exploration of Aberdeen’s queer club scene during the AIDS crisis, documenting a time when underground spaces offered solidarity, resilience, and joy to the community despite oppressive laws.

Reflecting on his artistic journey, Bart said: For many, the dance floor wasn’t just a place to escape—it was a place to become. In a world that tried to erase our community, those nights were the loudest forms of existence. This project isn’t just about remembering; it’s about honouring the resilience, the joy, and the unapologetic celebration of life that thrived in those spaces.” 

Bart’s work weaves together evocative photographic portraits with a soundscape of audio recordings, featuring intimate interviews that echo the spirit of those times. He further explained, “The oral history recordings have been the soul of this project. Each story is a thread in the tapestry of our collective history, revealing not only the struggles but also the triumphs and moments of joy.”

Jill and Colin, who feature prominently in Bart’s work, offer deeply personal insights into the significance of Aberdeen’s queer nightlife. Jill reflects on her self-discovery and the sanctuary provided by Club 2000, where “music and companionship offered an escape from societal repression.” Colin shares his experience with the Gay Switchboard and health promotion during the AIDS crisis, highlighting the importance of safe spaces like Daisy’s Disco and Castros in fostering a sense of belonging and self-acceptance. Colin noted, “Those spaces were not just clubs; they were our lifelines, places where we could be who we really were without fear.”

In addition to his own personal contribution, Bart also conducted interviews with two LGBTQIA+ alumni of Gray’s School of Art, Mark and Cliff, who reflect on their creative practices during those pivotal decades. Both discuss how queer spaces, art, and creativity within Aberdeen provided an outlet for expression and community in the face of social and political challenges.

Mark shared his experience at Gray’s School of Art saying, “Art School enabled me to facilitate my creativity as an honest reflection of my true queer identity. This creative exploration would not have been possible outwith such a liberating environment.”

Cliff, meanwhile, recalls the vibrant creative community of Gray’s School of Art and how the club scene was a lifeline for many: ” Art school was a lifesaver for me, a place where I could be myself, but the queer club scene was where I found my tribe—people who embraced and celebrated their identities.”

Yolanda Aguilar, Executive Director, Shaper/Caper said: “Sharing the history of the LGBT+ community in Aberdeen is a vital thread in the fabric of the city’s past. Sharing these stories allow us to honour the resilience, struggles, and triumphs of individuals who have often been marginalised.

“Gray’s alumnus, Bart Grabski’s contribution to the Queer & Now project has been most relevant in terms of showcasing his unique artistic and interdisciplinary practice, complementing an impressive team of selected artists, whilst spotlighting the North East of Scotland as the fourth city with the highest LGBT+ population, as revealed by this summer’s census.

“Gray School of Art plays an important role by shedding light on the contribution of the LGBT+ community, promoting inclusivity, and ensuring that future generations see the rich diversity that has always been part of Aberdeen’s identity”

The exhibition has travelled across Scotland, opening in July 2024 at Perth Theatre and moving to Inverness, Stirling, and Glasgow, before arriving in Aberdeen at the Anatomy Rooms Arkade Studios from October. The highly anticipated Artist Talk will take place in Aberdeen at the Anatomy Rooms on Friday, 18th October at 4 pm, offering visitors a chance to hear firsthand from artists about the creative process and the stories that shaped their work.

The ‘Queer & Now’ exhibition runs parallel to the ‘Small Town Boys’ show, which delves into queer nightlife in the 1980s through dance and spoken word, offering a complementary exploration of LGBTQ+ experiences during a turbulent time in history. As part of the tour in Aberdeen, ‘Small Town Boys’ will be showcased at Cheers Bar, ensuring that the city has the opportunity to fully engage with both events.

Gray’s School of Art and the wider RGU community are immensely proud of Bart’s accomplishments. His work continues to elevate underrepresented voices, reinforcing the institution’s role as a vital catalyst for social change and cultural discourse. We invite everyone to attend the exhibition and the artist talk, not only to celebrate the legacy of LGBTQ+ histories but also to witness the profound impact of Gray’s School of Art on its alumni and the community at large.

For more details on the Shaper Caper Queer & Now exhibition and project overview visit:  https://www.shapercaper.com/queerandnow.

Buy your ticket to the Small Towns Show:  https://www.aberdeenperformingarts.com/whats-on/dancelive-2024-small-town-boys/#book

Learn more about Our Story Scotland – https://www.ourstoryscotland.org.uk

Bart Grabski, is a Gray’s School of Art alumnus with a MA in Curatorial Practice and a Digital Media Engagement officer at Look Again at Gray’s.

If you would like to write content for Queer Scotland, please get in touch.

Homosexuality and the Scottish Press 1880-1930

A guest post by Dr Michael Shaw, Senior Lecturer in English Studies at the University of Stirling.

In his History of Sexuality, Michel Foucault famously critiqued the ‘repressive hypothesis’. Far from simply being repressed or restricted over the nineteenth to twentieth centuries, Foucault argued that there was a proliferation of discussion on sexuality at this time, an ‘incitement to speak about it’. I’ve often wondered about how this idea might apply to Scotland, which is sometimes portrayed as a nation that was either silent or quiet on homosexuality before the 1960s. How extensively would homosexuality have been discussed in Scotland between the end of the nineteenth century and the beginning of the twentieth, and in what contexts? How would it have been alluded to? Was the treatment always hostile? And what materials might still exist to help us understand these discourses today?

Over the past year I’ve been working on a Royal Society of Edinburgh-funded project, titled ‘Homosexuality and the Scottish Periodical Press 1885-1928’, to address the above and related questions. Having done some initial research on the representation of the Oscar Wilde trials in the Scottish press, and knowing how extensively his trials were covered in some Scottish newspapers, I wanted to think more broadly about the ways in which Scottish print culture engaged with homosexuality, beyond criminal trials and police reports. How might queer novels, or sexological writings, have been received in Scotland, for instance? Were poems or stories alluding to same-sex love published in the Scottish press?

I knew I would likely have to confront a range of ‘negative results’ during this project: there would undoubtedly be newspapers and magazines that enforced a studied silence on homosexuality. Those silences themselves are of interest, but I suspected that there would also be more coverage of homosexuality, beyond criminal cases, than tends to be acknowledged.

The project took me to various locations, ranging from Dumfries to Dingwall. Rather than rely on electronic databases, I wanted to work with physical collections as much as possible – making sure that lesser-known titles were consulted as much as the more obvious newspapers and magazines. Given the vibrancy of Scottish periodical culture c.1880-1930, I knew there was no way I could be exhaustive with this study. But I wanted to build a thorough sample, by exploring how periodicals from different locations, with differing political persuasions and religious associations, speaking to different professions or groups, discussed (or didn’t discuss) homosexuality.

What became clear was that there were a number of discussions of, and allusions to, homosexuality in Scotland over this period in the press, although there were differences in the way the topic was handled across different years and locations. It also became clear that discussion of homosexuality and homosexuals was not always hostile (future publications will discuss these findings in more detail).

Sometimes, it was in seemingly unlikely places that expressions of sympathy were found. The Scots Observer (1926-34), for instance, was a weekly newspaper devoted to representing the presbyterian churches of Scotland, hoping to express ‘the collective aims and ideas of the Scottish Presbyterian Churches’. The Scots Observer was also concerned with the Scottish literary renaissance and intellectual developments of the day, and it did not always manage to reconcile its differing concerns. The editor, William Power – who was not only a supporter of the Renaissance, but would go on to become the leader of the Scottish National Party during the Second World War – later noted that the political and intellectual sympathies of the paper drew critique from some of the church leaders.

The Scots Observer’s more provocative dimensions are evident in an anonymous 1927 review of a book titled The Invert and his Social Adjustment by ‘Anomaly’ (who describes himself in the book as a Roman Catholic, aged 40). The review not only discusses homosexuality but calls for greater tolerance of homosexuals:

Of recent years it has been found that a certain proportion of people […] are as instinctively homosexual as the normal individual is heterosexual. […] Such people have special and very difficult problems in life to face, and an idea of what these are and how they may be faced is given in a recently published book “The Invert and His Social Adjustment’. […] The writer, who is himself an invert, and also a devout Roman Catholic, makes it clear that the incidence of immorality among inverts is precisely the same as among normal people, and he also shows how, in the necessary process of “sublimation,” socially valuable qualities may be developed.

Much like the book, homosexuality is represented as ‘abnormal’ here but it is simultaneously characterised as being as ‘instinctive’ as heterosexuality, and the review highlights the difficulties homosexuals in the early twentieth century had to face. The reviewer also appears to be convinced by the author’s dissociation of homosexuality from immorality. Following these comments, a quote is included from the ‘wisely written’ introduction to the book by Dr Robert H Thouless, a Lecturer in Psychology at the University of Glasgow at that time. Thouless stated that the book helps to ‘approach the problems of inversion with knowledge and charity’, which is the note the review ends on. In his introduction, Thouless also noted that ‘the virtuous love of a homosexual is as clean, as decent, and as beautiful a thing as the virtuous love of one normally sexed’.

Dr Robert H Thouless

The Scots Observer’s review does stress the ‘necessary’ process of sublimation (deflecting sexual thoughts towards non-sexual activities), which appears to depart from the book’s ambivalence around physical intimacy: ‘Anomaly’ focuses on challenging ‘excessive indulgence’, while noting that homosexual love is ‘no more susceptible to sublimation into an absolutely non-physical emotion than the love of man for a woman’. While there is no negative commentary on the ideas voiced in The Invert and his Social Adjustment, The Scots Observer does appear to take a more conservative stance on physical intimacy in its review.

Nevertheless, in choosing to give notice to this book, and in sympathising with its calls for greater toleration of homosexuals, we witness an example of the ways in which Scottish newspapers and magazines, including religious titles, could contribute to expanding awareness of homosexuality in the 1920s, even if – going back to Power – this may have been one of the contributions that certain church leaders disapproved of. It is clear that Scottish periodicals were not always concerned with repressing discourse around homosexuality; not uncommonly, they were sites to discuss, analyse, condemn and sympathise with homosexuals across the 1885-1928 period.

If you would like to provide a guest article for QueerScotland, please do get in touch.

The Trial of William Merrilees, 4 April 2024

This April, the James Arnott Theatre at the University of Glasgow will present The Trial of William Merrilees, a free Judicial Theatre performance by doctoral researcher Kfir Lapid-Mashall, based on a collaboration with Dr. Jeff Meek and his book Queer Trades, Sex and Society: Male Prostitution and the War on Homosexuality in Interwar Scotland.

Join this one-night-only, unscripted performance, where you get to decide the verdict.  

William Merrilees

About the show

When law and desire clash, which side do you choose?

Edinburgh, 1934. In a city plagued by illicit acts, detective inspector William Merrilees wages war against ‘deviants’ committing sexual offences in urinals, bathhouses and parks. Breaking the law, queer men use these clandestine spaces to express their desires. They are persecuted by the authorities, face criminal charges, and imprisoned.

Glasgow, 2024. Charged with Misconduct in Public Office, detective inspector William Merrilees will stand trial for the alleged abuse of power in his campaign against homosexuality.

Be the jury in an unscripted performance of Judicial Theatre, hear both sides, ask questions of the witnesses, and decide the fate of controversial figures from Scotland’s queer history.

The Trial of William Merrilees will take place on Thursday, 4 April 2024, at 7:00 pm at the James Arnott Theatre (Gilmorehill Centre, 9 University Avenue G12 8QQ).

Tickets are available for free here. For more information about the show, please visit the show’s website.

This event is presented by Thinking Culture, a cultural programme supported by the School of Culture & Creative Arts, University of Glasgow.

Content advisory: The performance will include explicit references to sex and sexuality, and police abuse of power.

No Villains or Heroes?: The Whitehats and Rosebery Boys

My book Queer Trades, Sex & Society: Male Prostitution and the War on Homosexuality in Interwar Scotland is out now. This is a little taster.

I first encountered the Whitehats in Angus McLaren’s Sexual Blackmail, almost 20 years ago. He noted that the group had caused some anxiety in Glasgow and had exercised local MP George Buchanan. As I was, at the time, undertaking oral history interviews with gay and bisexual men for my PhD, I put the Whitehats to the side. That was until I met Andrew Davies at a conference in St Andrews. I had given a paper in which I had briefly mentioned the Whitehats and he pointed me in the direction of Glasgow police archives. I had already uncovered a trial record for the ‘leader’ of the Whitehats, William Patton or Paton, but at the Glasgow archives, I was able to put a face to the name. Also there, were police records for the other members of the gang, a group of stoney-faced men in their twenties, images that contrasted with their descriptions in the press and trial records. Perhaps ‘stylishly-dressed’ and ‘fashionably-dressed’ looked different then. That is, compared to William Paton (aka Liz Paton), with his wing collars, thin tie and baker’s boy flat cap. But I did not know quite how to categorise men such as Paton, John Townsley (aka Florence Ramsay), Thomas Robb (aka Maria Santoye), Patrick Neville (aka Ella Shields), Joseph McMahon (aka Happy Fanny Fields) ,and the others. While their working or camp names (and their use of ‘powder and paint’) expressed a level of femininity or queerness – and some of them had convictions for homosexual ‘offences’ – most had convictions for other crimes; theft, robbery, violence, and sexual assault. Buchanan had also suggested that the group engaged in (homo)sexual blackmail but had not been prosecuted due to the victim’s unwillingness to appear in court. But this was a group identified by the police and courts as a ‘gang composed of male prostitutes’.

The more I dug, the murkier it became. Paton’s ’empire’ had begun with organising illegal nightclubs and female prostitution in the West End of Glasgow (one being above The Arlington Pub ). Paton would rent premises by presenting himself under a pseudonym, with a ‘fake’ wife (generally one of the sex workers) to the letting agencies, sometimes calling himself William Dallas or Greig or Robertson. Once the premises were secured and furnished with a full bar, and some ladies, Paton and his associates would stake out the main railway stations seeking male visitors to the city, who they entice back to the premises with promises of cheap drink and sex. Once the operation was smashed by the police, Paton would be described in the press as the leader of the underworld of Glasgow (something of an exaggeration) and ‘the dynamic force among a number of notorious men and women of fashionable appearance’. Paton got 18 months. That 18 months added to his considerable criminal record. Paton was by then 31 years of age and he already held a number of convictions in Dundee, Edinburgh and Glasgow. As did his mother Agnes. Agnes ran the ‘legitimate’ side of their enterprise, first a cafe in Stobcross Street and then a fish restaurant on the Broomielaw. The rear living quarters of the restaurant would act as a brothel for male sex work.

Paton was released early from his sentence suffering from colo-rectal cancer. He survived. But his influence and desire had diminished. The restaurant on the Broomielaw was not proving to be a success, so Paton returned to queer male sex work (actually where his criminal career in Glasgow had begun). The restaurant acted as a form of hub for the Whitehats, as the cafe in Stobcross Street had previously. But by now, Paton was a marked man, followed by the police wherever he went. And on one evening in September 1928, it all came to an end. After escorting a soldier back to the Broomielaw ‘brothel’, Paton was caught in the act, thanks to an electric lightbulb, an uncurtained window and a nephew suffering from encephalitis lethargica – the uncurtained window and lightbulb presented the police with a perfect view, and the nephew asleep in the same room, made the act ‘public’. Paton got 3 years. Some of the Whitehats had died while Paton was in prison, others had returned to ‘normal’ trades (some were married with children), while others like John Townsley drifted into petty criminality and alcoholism (he was prosecuted at least once every year between 1926 and 1937 for either theft or assault). The Whitehats may have offered some of these men regular income but perhaps without Paton, the group disintegrated. Agnes held on for couple of years until the restaurant failed and became dependent on poor relief, as did WiIliam on his release from prison. In one application Agnes states that none of her other 5 children were willling or able to assist.

While it is possible to admire some of Paton’s brashness (such as ‘dragging up’ as a Spanish cabaret artiste to fraudulently collect donations for a charity – it was a fancy dress event), he and his confederates engaged in a range of criminal activities. They might well have been ‘queer’ but they posed a threat to to other queer men through blackmail and harrassment. Paton cared for his ageing mother until her death in 1943, aged 90. He then moved to Edinburgh where he worked in a number of hotels including the North British Hotel (now The Balmoral), flirted with marriage, before ending his days living in Stockbridge with his male ‘intimate partner’. He died from heart failure in 1968. The story of the Whitehats offers one interpretation or insight into queer male prostition/sex work. The story of the Rosebery Boys in Edinburgh in the 1930s offers another; a much more human and personal insight into queer male identity and sex work. And you can read more in Queer Trades, Sex & Society. But I will leave you with an extract from a letter from one Rosebery Boy to another.

Well Princes [sic] I met a swell sheik on Sat. and I am madly in love with him. Honest M. I love that chap the way I’ve loved no one else. Gee he is a swell guy. I have been crying all day when I think of the way he was smiling last night […] I told him on Sat. that I loved him and I told him last night […] I give up the game for good. I will camp to men but I won’t go with them. I am serious M., if I can’t get him I don’t want anyone else; he is everything to me.