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I’m easily flattered, but it’s been great hearing all the compliments for the first two issues of the magazine. While we always knew we couldn’t go wrong with the concept of Sogo, as most of you will know, the successful execution of a creative project is not always guaranteed.Also returning, as he has a habit of doing, is Brian McFie: featuring in this issue an interview with fellow New Glasgow Realist Karen Strang; you get to see two artists at the apogee of their creative talents.It’s similar to what you’re reminded of in Gus Ironside’s piece on Edinburgh’s post-punk scene. I’d like to think this magazine is a good way to find some common ground between the old punks and the new punks, to remind ourselves that great art and music are timeless.And while now, looking at the third issue you’ll see plenty in common with the first two, we’re always trying to improve, refining the way that the magazine is put together and coming out with a better piece at the end. I’d like to think each issue is its own piece of work, and stands on its own: we’ve curated the artists, writers and assorted other creatives into producing something that is cogent and singular.Gus’ article is illustrated with photos from Scotland’s great chronicler of that age: Harry Papadopolous. I can’t really believe that when I was buying the 10x8s that Harry used to produce for 45p outside the Apollo in those days, that I’d be publishing him in a magazine one day: but there really is no one else quite like him – many thanks to Street Level gallery for allowing us to reproduce the images as well.Advertising plays a massive part in that too. The ads are punctuation, breaking the flow of articles and features into a more cohesive whole. I make sure each of them are commissioned especially for the magazine and are able to fit alongside the editorial (although that’s as close as they’ll get, of course).It was also a great personal pleasure in being able to print the works of Jan Grarup and Eve Arnold; two photographers whose work I have long admired from afar. Colin Homes too, who runs the Photographers Gallery in Edinburgh, illuminates life from beyond these shores.It’s pleasing to say that the advertising is able to fit so well also in that it sits with what the magazine is. Most of the artists and creatives you see on these pages, you will also see in the bars and restaurants at the back, or find in the galleries. It goes without saying how important it is to buy art: and to buy locally (while telling them you saw it in Sogo, of course). It makes such a difference to the vibrancy and life of a city to have an aesthetically-aware public supporting creative industries and holding government to account for its use (or misuse) of urban space.Our Director of Photography Mark Hamilton takes us behind the scenes at the Opera in this issue, in a sample from the commercial work for which he is rightly famous: but it is in his work with Al Blair, who we’ll get to later, that we see another side coming out. After the shoot, Mark took the digital image, converted it into a physical negative and salt printed the images by hand. It’s an ancient process, and I don’t know anyone else who’s doing it from digital.I dread the day when commissioning an issue of the magazine becomes a chore: it has thus far come so easily. Having Murray Roberston on the front cover was a great way to continue a run of unique covers that it’s going to be difficult to continue. His work as the Master Printer at the Glasgow Print Studio has also acted as a great focal point to many artists I’ve known.The man in the photos, Al Blair, is someone I’ve known since his days at the GSoA. The work you’ll see in his studio has been produced in a strange sort of isolation, over a couple of decades, and is all the better for it. I was down seeing him in Finnieston recently, and it was great to see how Al has started to get the sort of attention he deserves at the same time as the place he put his studio becomes a real hub for the Glasgow scene.It was also great to see Stuart Cosgrove coming back after his appearance in our first issue to provide the words for Brian Sweeney’s photographs: I’ve not really seen anything in a Scottish context that is so evocative of the Düsseldorf school of photography, and it attests to a career well spent.He’s the perfect example of the time-served idea I was putting forward in my last editorial: doing things properly will always get you there eventually. I hope that’ll be the case with this edition – I bet you’ll love it.Doing things properlyCraig Wallace, EditorWELCOME TO SOGO MAGAZINES O G O M A G A Z I N1 E SP16


































































































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