Turning 100

The creation of Stewart’s spinning wheels is an incredibly involved process, with each of its many p


The stamp on the wood identifies the maker, and in the centre of the stamp is printed its number: 100. Stewart Thomson turns the spinning wheel carefully with his hands, explaining what each part does, and how it is made. This particular one, beautifully constructed from spotted sycamore, is the hundredth that he has built.

Around the room are six or seven other wheels, made from sycamore, beech, walnut, and one from Columbian pine. "Any sort of semi-hardwood is fine," says Stewart. "Those two there are made out of an old shop window frame. And the Columbian Pine came from the building of Burkl" (a house on the isle). "We don’t throw away anything here," he laughs.

Each wheel is marked and individually numbered. The oldest – number one – sits in the corner. It was built about 1968 from a piece of mahogany Stewart found on the shore. "I used to make them out of driftwood" he explains, "but there’s not so much of that going now."

Originally from Unst, Stewart married Annie, a Fair Islander, and they have lived together on the isle for many years. Their two sons and daughter still stay here, while their grandchildren and great-grandchildren are spread from Fair Isle to Shetland and beyond. One grandson now makes a living building fiddles; another makes guitars in Glasgow. Stewart’s eldest son builds straw-backed chairs. The skills have clearly passed down through the generations.

The creation of Stewart’s spinning wheels is an incredibly involved process, with each of its many parts individually constructed from wood, metal or leather. “Everything is homemade,” Stewart says, and points at the free-iron, the wheel’s axle, which is formed of two distinct sections: “You wouldn’t believe they started off as one big, rusty bolt.”

This use of solely hand-crafted parts means that each wheel is unique, and very time-consuming. In total, Stewart will spend about 200 hours on every one, and the amazing attention to detail is part of what makes the wheels so beautiful. But despite their visual appeal, these are very much working models. “I don’t make them for ornaments” he emphasises. “If folk want them for ornaments I won’t do it. The work I put into them is to make them spin properly.”

Stewart himself is always the first to test his own wheels, bringing them in from his workshop to the house, where he ensures that every part is working smoothly and correctly. He finds spinning relaxing, and obviously enjoys experimenting with new and unusual materials. Around the room are some of the stranger things that he has tried, including silk, muskox and alpaca, as well blue-faced Leicester, Norwegian blue and Navajo sheep. There are even ultra-soft fibres taken from bamboo cane.

But of all the materials that he has spun, Stewart still prefers natural Fair Isle wool. It is strong and soft, in an incredible variety of colours. “No two fleeces are the same” he says.

As he demonstrates the wheel, it looks so natural and easy. The wool twists and turns constantly as his foot presses down on the pedal. The tufts and lumps between his fingers disappear, and the wool is transformed. I resist the temptation to try for myself, fearing that some of the wheel’s magic will be lost in my clumsy, ignorant hands.

Wheel number 100 was made for one of our neighbours: a keen spinner. Others have been ordered by people from all over the world. As we sit down to look over the half dozen that are currently in his room, Stewart claims that now this one is complete, he is taking a break. He will perhaps make one or two more, but perhaps not.

A few moments later, however, and this uncertainty seems to be gone. “I love making them,” he tells me, the wool held between his fingers. “And I wish it was warmer weather so I could get down to the workshop again. I just hate sitting around doing nothing.”

Photos by Dave Wheeler

Malachy Tallack is 26 and lives in Fair Isle. He is a singer-songwriter, journalist, and editor of the magazine Shetland Life.
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Is there such a thing as responsible betting?

Punters are encouraged to bet responsibly. What a laugh that is. It’s like encouraging drunks to get drunk responsibly, to crash our cars responsibly, murder each other responsibly.

I try not to watch the commercials between matches, or the studio discussions, or anything really, before or after, except for the match itself. And yet there is one person I never manage to escape properly – Ray Winstone. His cracked face, his mesmerising voice, his endlessly repeated spiel follow me across the room as I escape for the lav, the kitchen, the drinks cupboard.

I’m not sure which betting company he is shouting about, there are just so many of them, offering incredible odds and supposedly free bets. In the past six years, since the laws changed, TV betting adverts have increased by 600 per cent, all offering amazingly simple ways to lose money with just one tap on a smartphone.

The one I hate is the ad for BetVictor. The man who has been fronting it, appearing at windows or on roofs, who I assume is Victor, is just so slimy and horrible.

Betting firms are the ultimate football parasites, second in wealth only to kit manufacturers. They have perfected the capitalist’s art of using OPM (Other People’s Money). They’re not directly involved in football – say, in training or managing – yet they make millions off the back of its popularity. Many of the firms are based offshore in Gibraltar.

Football betting is not new. In the Fifties, my job every week at five o’clock was to sit beside my father’s bed, where he lay paralysed with MS, and write down the football results as they were read out on Sports Report. I had not to breathe, make silly remarks or guess the score. By the inflection in the announcer’s voice you could tell if it was an away win.

Earlier in the week I had filled in his Treble Chance on the Littlewoods pools. The “treble” part was because you had three chances: three points if the game you picked was a score draw, two for a goalless draw and one point for a home or away win. You chose eight games and had to reach 24 points, or as near as possible, then you were in the money.

“Not a damn sausage,” my father would say every week, once I’d marked and handed him back his predictions. He never did win a sausage.

Football pools began in the 1920s, the main ones being Littlewoods and Vernons, both based in Liverpool. They gave employment to thousands of bright young women who checked the results and sang in company choirs in their spare time. Each firm spent millions on advertising. In 1935, Littlewoods flew an aeroplane over London with a banner saying: Littlewoods Above All!

Postwar, they blossomed again, taking in £50m a year. The nation stopped at five on a Saturday to hear the scores, whether they were interested in football or not, hoping to get rich. BBC Sports Report began in 1948 with John Webster reading the results. James Alexander Gordon took over in 1974 – a voice soon familiar throughout the land.

These past few decades, football pools have been left behind, old-fashioned, low-tech, replaced by online betting using smartphones. The betting industry has totally rebooted itself. You can bet while the match is still on, trying to predict who will get the next goal, the next corner, the next throw-in. I made the last one up, but in theory you can bet instantly, on anything, at any time.

The soft sell is interesting. With the old football pools, we knew it was a remote flutter, hoping to make some money. Today the ads imply that betting on football somehow enhances the experience, adds to the enjoyment, involves you in the game itself, hence they show lads all together, drinking and laughing and putting on bets.

At the same time, punters are encouraged to do it responsibly. What a laugh that is. It’s like encouraging drunks to get drunk responsibly, to crash our cars responsibly, murder each other responsibly. Responsibly and respect are now two of the most meaningless words in the football language. People have been gambling, in some form, since the beginning, watching two raindrops drip down inside the cave, lying around in Roman bathhouses playing games. All they’ve done is to change the technology. You have to respect that.

Hunter Davies is a journalist, broadcaster and profilic author perhaps best known for writing about the Beatles. He is an ardent Tottenham fan and writes a regular column on football for the New Statesman.

This article first appeared in the 05 February 2015 issue of the New Statesman, Putin's war