Travel – Latitude Post

The Anti-Tourist

Posted on June 6, 2020June 6, 2020 by Nicholas Peart

According to the writer Daniel Kalder;

‘As the world has become smaller so its wonders have diminished. There is nothing amazing about the Great Wall of China, the Taj Mahal, or the Pyramids of Egypt. They are as banal and familiar as the face of a Cornflakes Packet.’

He further embellished on this via the following decrees originally established at the Shymkent Hotel in Shymkent, Kazakhstan on October 1999 as part of the so-called ‘first international congress of Anti- Tourists’;

The duty of the traveller therefore is to open up new zones of experience. In our over
explored world these must of necessity be wastelands, black holes, and grim urban
blackspots: all the places which, ordinarily, people choose to avoid.

The only true voyagers, therefore, are anti- tourists. Following this logic we declare that:

The anti-tourist does not visit places that are in any way desirable.

The anti-tourist eschews comfort.

The anti-tourist embraces hunger and hallucinations and shit hotels.

The anti-tourist seeks locked doors and demolished buildings.

The anti-tourist scorns the bluster and bravado of the daredevil, who attempts to penetrate danger zones such as Afghanistan. The only thing that lies behind this is vanity and a desire to brag.

The anti-tourist travels at the wrong time of year.

The anti-tourist prefers dead things to living ones.

The anti-tourist is humble and seeks invisibility.

The anti-tourist is interested only in hidden histories, in delightful obscurities, in bad art.

The anti-tourist believes beauty is in the street.

The anti-tourist holds that whatever travel does, it rarely broadens the mind.

The anti-tourist values disorientation over enlightenment.

The anti-tourist loves truth, but he is also partial to lies. Especially his own.

Considering these resolutions were written a little more than 20 years ago, I wonder what Kalder would make of travelling today? In 1999, the internet was barely a few years old. Back then, households that had an internet connection had a slow dail-up connection. There was no broadband and neither were there smartphones. 1999 seems rather ancient compared to the world today in the context of the exponential growth of global digital connectivity.

The world today is much more globalised than the world of 1999. A consequence of this has been even more demand to visit the worlds ‘wonders’ be it the Taj Mahal or the Great Wall of China or cities such as Venice and Florence. The ‘very desirable’ places that the so called anti-tourist snubs.

Then again, on the other hand, such wonders are an important part of the history of a country regardless of whether they are popular or not. Most visitors to India visit the Taj Mahal yet the Taj Mahal is an important part of the history of the Mughal Empire. Indian history is fascinating and one of the best documenters and narrators of this history is the writer and historian William Dalrymple. Dalrymple is a black belt regarding the history of the Indian subcontinent and has a deep passion and interest for that part of the world. So much so that he has lived in India for over 35 years. What this means is that this goes beyond any labels or identity. Dalrymple is neither a tourist nor an anti-tourist. Traveller or dilettante. He is simply someone who loves the subcontinent and dedicates a substantial chunk of their time to writing, educating, reading and learning about it.

When I think of my very first trip to India, I did a lot of the typical tourist things. I visited the Taj Mahal in Agra, I visited all the well trodden places in Goa and went on popular tours. Yet I also, unwittingly, did a lot of anti-tourist activities. I stayed in some of the cheapest and most unsavoury guesthouses I could find. I ate street food at rock bottom prices. I developed a habit of roaming the streets of the more down and out parts of the cities I visited. I didn’t document any of this neither did I really brag about them. I had no digital social media accounts at the time and I never kept a physical journal. Friends and family would ask me if I was writing about my trip, but I had no desire to. It wasn’t indolence. I suppose I was adrift in multiple intangible fleeting experiences and frequent moments of disorientation and I had no inclination to hole myself in my threadbare guesthouse room to put it all down to paper. People often talk about ‘finding one-self’ or ‘becoming enlightened’, but I wanted to get away from myself. In at least a semi-masochistic way, I revelled in my anonymity and frequent discomfort.

Every time I spoke to a tourist who expressed an interest to visit Brazil they would invariably say that they wanted to visit Brazil during Carnaval and specifically visit the city of Rio De Janeiro. In my mind I would say to myself, ‘I would like to visit Brazil anytime except during Carnaval.’ During this period, especially in Rio, accommodation prices go through the roof, many parts of the cities become unbearably overcrowded and the levels of crime spiral out of control. Rio is already a dangerous enough city at night, do I really want to visit it when it becomes even more dangerous? Nao obrigado!

Staying on the subject of Brazil, one popular activity many backpackers undertake when they visit Rio is a ‘favela tour’. Favelas are slums located on the the outskirts of cities in Brazil. Rio has a much higher proportion of them compared with other cities in Brazil owing both to the layout of the city and the extreme inequalities of wealth. Even the richest neighbourhoods in Rio seem to be just a stone’s throw away from one. I think the popularity of such tours is down to the belief that backpackers think they are doing something ‘edgy’ and ‘non-touristy’. Yet the irony is, considering the relatively recent popularity of such tours, they are anything but. It may be considered ‘anti-tourism’ on the surface and such activities do conform to Kalder’s resolution; ‘The anti-tourist does not visit places that are in any way desirable’. There is nothing desirable about these favelas. Yet neither is it clever or cool to visit such places which are downright dangerous. Also most of the people that go on such tours do so to brag and get a so-called one-upmanship over other travellers. The anti-tourist would never brag or boast about such things. Furthermore, there’s no danger during these tours since you are always accompanied with protection just in case anything does flare up. My Brazilian friend Carlos finds it comical that such tours exist; ‘Why would any tourist want to pay to visit a favela? Anyone who lives in a favela wants to pay to get out!’

There are other tours with anti-tourist themes. They could be ‘street tours’, tours to visit abandoned buildings or tours to visit derelict and defunct places destroyed by war. When I visited Bosnia a few years ago I went on a tour in the capital, Sarajevo. The city was under siege for three years from 1992-95. It was a fascinating tour and I dont regret doing it. Our guide lived through this terrible period and almost died at one point during the conflict. It would be pathetic and poor form of me to categorise it as a tourist or anti-tourist experience. I don’t wish to plunge to such low depths.

I guess the bottom line is that the anti-tourist does not purposefully try to be an anti-tourist. The anti-tourist is not aware that they are an anti-tourist. It is almost like a hardwired way of life with no underlying agenda or anything to prove. We seldom ever hear about such people, because they have no desire for notoriety. They prefer to remain invisible and anonymous.

Calling oneself an ‘anti-tourist’ is missing the point completely.

By Nicholas Peart

Image: something-interesting.com

REFERENCES:

http://www.danielkalder.com/antitourism.html

Could LockTrip Disrupt Airbnb And Booking.com?

Posted on November 18, 2018November 18, 2018 by Nicholas Peart

Locktrip

We are living in a world where things are changing very fast. Not that long ago, Airbnb was a little known peer to peer booking platform for accommodation. Today it is used by millions and has revolutionised the accommodation industry.

As convenient a service as it is, it is a middleman service business, which takes a commission on each booking from both the host’s and customer’s end. It is an internet business yet it’s model is centralised.

This is where Locktrip comes into play. Locktrip is a little known decentralised booking ecosystem platform for renting hotel rooms, property and all kinds of accommodation. The entire accommodation industry is a huge $500billion industry. Already Airbnb has had a huge effect on this industry in the process becoming a business valued in excess of $30billion and not owning a single property. It is a very clever business model making all its money via all the commissions it earns from all its bookings.

The reason why Locktrip has such disruptive potential is, because it offers all the services the likes of Airbnb, Booking.com, Expedia.com etc offer without taking any fees from both parties. It is a decentralised platform with no middleman. It is a pure peer to peer platform between both the host and the customer with no centralised middle entity in the mix.

The technology it employs to make this work is blockchain technology, which is what the likes of Bitcoin, Ethereum and Litecoin are built on. Bitcoin is the world’s first digital currency created almost ten years ago and has had a very big impact on the world of money by enabling people to bypass global financial institutions to make payments.

LockTrip is also a cryptocurrency with its own supply of tokens. Yet whereas Bitcoin is just for payment transactions, LockTrip offers a ground-breaking service platform in the world of accommodation as well as other kinds of travel and cultural experiences. Once more hotels, guesthouses and other hosts register their services on LockTrip and more people also register themselves on LockTrip, the other current centralised commission-charging internet accommodation services will find their users diminishing. It is still early days and this is a very new concept. It will take time. Furthermore, a better decentralised version of LockTrip could also come on the scene even though LockTrip is an early mover in this field.

It is all very exciting and I will continue to monitor its progress

By Nicholas Peart

Wonderings In The Northwest Bulgarian Town Of Vidin

Posted on November 17, 2018November 17, 2018 by Nicholas Peart

The Bulgarian town of Vidin is located in the northwest corner of the country on the border with Romania. Separating the two countries is the river Danube and a modern bridge. Vidin is an overlooked town, which not many people visit. In fact, during my stay I didn’t encounter a single tourist. Entering the town from the train station one is not immediately taken by the town. But spend a day on foot exploring what this town has to offer and one starts to view it in a whole new light. It’s jewels don’t immediately reveal themselves and require a dose of curiosity.

Arriving in Vidin was my first taste of Bulgaria. Unlike Romanian, Bulgarian is not a roman language, but a Slavic one using the Cyrillic alphabet. Fortunately I can decode most of the alphabet even if I can’t speak a word of Bulgarian. I also learn that the Cyrillic alphabet is a derivative of the Glagolitic alphabet founded in the AD 850s by the Saints Cyril and Methodius and then later introduced in AD 886 by the Bulgarian Empire. Today the Cyrillic alphabet is used in many Slavic countries including Russia, Serbia, the Ukraine, Macedonia and even in Mongolia, which is a non Slavic country.

After locating a place in the town to change my remaining Romanian Lei into Bulgarian Lev, I focus on finding the address of my accommodation with the help of the Google Maps app on my phone. I am glad I didn’t take a taxi. Not only is my accommodation located not so far away, through walking the distance to it, I develop a feel for where I am.

My accommodation is situated in an old grey Communist-era low rise building. Inside the building, it’s less austere. On the level where the flat is located there are several plants on the balcony. Plants never fail to lift one’s spirits. The hosts, a middle age Bulgarian couple, are very warm with big hearts. Their flat is homely and aesthetically tasteful. Its light and warm. My bedroom I discover is very spacious and I have a double bed. It is perfect. I am offered Bulgarian tea. Ten minutes later Krasi one of my hosts returns carrying a vintage traditional blue tray containing a cup of tea, a pot of sugar and a separate plate with a generous wedge of homemade milk cake. It is awfully good and I feel very touched to be at the receiving end of such generous hospitality.

Bulgarian hospitality

I’ve been up since 5.45am this morning and the temptation is very strong to go back to bed. But I want to seize the remainder of the day. After an interval of time spent in my room having my tea and trying too warm myself up, I leave my room to hit the streets of Vidin. Most of my neighbourhood is full of brutal boxy communist era flats. One could maybe be in a non descript middle Russia suburb. Yet with a smattering of more vintage architecture with an Ottoman tinge. Some of those older buildings look neglected. Vidin is not a wealthy town and is one of the poorer parts of the country yet it also has one of the richest and oldest histories.

Residential housing block on the outskirts of town

Crumbling Ottoman style architecture

Back in the centre of town close to the train station, I aimlessly wonder the streets not venturing further than and find a place to have some late lunch. I spot a canteen type diner with several different trays of local savoury and sweet dishes. I opt for the moussaka with a side of fried potatoes and another milk based cake for desert. After eating my food, I leave the restaurant and wonder some more before calling it a day and returning to my accommodation.

St. Dimitar monastery in the centre of town

In the centre of town with the Vidin Radio tower in the background

The next day is when things start to get cooking for me in this town. I walk back to the town centre and head for the old town district of Kaleto where the medieval Baba Vida fortress is located. Its the best preserved medieval fortress in Bulgaria. I approach the old town from an old walled entrance dating back to the times of the Ottoman Empire.

The entrance to the old town

One of the most distinct and unusual landmarks in the old town is a derelict and abandoned synagogue. The synagogue was built in 1894 and for a time was Bulgaria’s second largest synagogue. Vidin had a thriving Jewish community for five decades since the 15th century with the arrival of the first Jews from Spain. Most of the town’s Jewish population emigrated to Israel after the Second World War. There were plans to restore the synagogue back to its former glory during the 1970s and a decade later work was in fact carried out, but it was abruptly cut short with the fall of the Communist regime at the end of that decade.

The abandoned Vidin synagogue

Nearby the synagogue is a tall monument overlooking the river Danube. The so called ‘Monument of Freedom’ was built during the Communist regime. It is a structure in the Brutalist architecture genre and a relic from the Communist era of Bulgaria’s history.

‘Monument Of Freedom’

What is amazing though is the view of the river Danube, the second longest river in Europe after the river Volga in Russia. The river covers most of the border between Bulgaria and Romania, before discharging itself into the Black Sea in northern Romania close to the Ukrainian border. On a clearer day one can fully see the bridge in the distance connecting Bulgaria and Romania.

The river Danube separating Bulgaria and Romania

Only a short walk away is the town’s main landmark, the Baba Vida fortress, which literally translates to ‘Grandmother Vida’. The fortress dates back to the 10th century and was contracted on top of the site of an old Roman landmark called Bononia. The origins of the castle is based on a legend focused on a Bulgarian King and ruler of Vidin who had three daughters; Vida, Kula and Gamza. Before he died he divided his kingdom between his three daughters. His eldest daughter, Vida, was given the town of Vidin of whom the town is named after. And it is in this town that she built this fortress, where she lived unmarried and insolation. The fortress, Grandmother Vida, is named after her.

Baba Vida fortress

Throughout the town’s history the fortress has served as an important strategic base. During the 500 year long Ottoman rule of Bulgaria, the fortress was used as a prison and a base to store weapons. It is an impressive structure and little changed since its foundation. I spend some time walking around the complex and climbing one of the narrow stone staircases to reach the top level. At one point I almost lost my balance on the steps. There are not many protection railings as it isn’t designed for mass tourism. As a result one needs to be on their guard when inside.

At the top of the fortress

Other sites in the old town include the Krastata Kazarma museum, built in the classic Ottoman style. It was a military barrack during the Ottoman rule. Today it is the town’s ethnographic museum.

Krastata Kazarma museum

Else where in the old town is a mosque named after Osman Pazvantoğlu. Osman was an Ottoman soldier who was the governor of Vidin in the late 18th century. There is also a library in town named after him. Very near the mosque is an orthodox church named after St Panteleymon.

The Osman Pazvantoğlu Mosque

St Panteleymon orthodox church

On the edge of the old town by the Danube, is the Nikola Petrov art gallery. Petrov was a Bulgarian painter born in Vidin in 1881. Sadly his life was cut short by tuberculosis and he died at the age of just 35. The gallery has many of his works in its collection. However when I visited only a few paintings in one room were on display. One small painting by Petrov on display is his painting of the Baba Vida fortress.

Nikola Petrov painting of Baba Vida fortress

Two other paintings on display that catch my eye are a painting by Ivan Ivanov of the mosque in the old town of Vidin from 1938 and another painting by Stoyan Venev from 1960 featuring a mother and her child at the shore of the Danube by the entrance to the Baba Vida fortress

Ivan Ivanov’s painting of the Osman Pazvantoğlu Mosque from 1938

Painting from 1960 by Stoyan Venev located by the entrance to the Baba Vida fortress

After visiting the art gallery, I take a walk along the banks of the river Danube. During my walk I cross paths with two young men. One of them is very drunk and proceeds to give me a slurred a rambled discourse of the history of Vidin in broken English. His friends asks me, ‘What the fuck are you doing in Vidin, man?’. He then adds that he spent three years living in Derby. He looks at his friend already halfway through his drunken impromptu history lesson and says, ‘Just ignore my friend. He’s crazy. He doesn’t know what the fuck he’s talking about’. I wish them both goodbye and good luck and I head back to my accommodation on the outskirts of Vidin.

By Nicholas Peart

On The Brancusi Trail In The Romanian Towns Of Targu Jiu and Craiova

Posted on November 9, 2018 by Nicholas Peart

The Romanian born Constantin Brancusi was a leading sculptor of the 20th century and a pioneer of modern art. My first encounter with the great man was in Paris, the city where he lived for many years and where he met and became friends with many of the great artists, writers and poets of the 20th century such as Pablo Picasso, Amedeo Modigliani, Marcel Duchamp, Guillaume Apollinaire and Ezra Pound. His Parisian studio still stands today on the same site where the Pompidou Centre of Modern and Contemporary Art is located and he is buried in Montparnasse Cemetery along with other greats like Charles Baudelaire, Serge Gainsbourg and Jean Paul Satre.

Constantin Brancusi

From the city of Timisoara, located in the west of Romania, I embarked on a bus ride lasting nearly six hours to reach the country town of Targu Jiu. I was the only tourist on the bus and most of the journey comprised of driving through rural and provincial Romania. The Romanian countryside is wild, raw and authentic. I notice this especially on the road approaching Targu Jiu. Watching all this scenery from the bus window I already develop a mental picture of the land Brancusi grew up in as a young boy. Brancusi came from very humble beginnings. He was born in 1876 in a small village called Hobita about 20 kilometres outside of Targu Jiu. Both his parents were poor traditional hard working mountain people. His development as an artist began in this rural part of the country where he would frequently carve objects from pieces of wood. Today one can visit the wooden house in Hobita where he grew up although it’s a replica of the original construction.

Targu Jiu is a town with several points of interest. Yet my principle reason for visiting was to see the large outdoor sculptures created by Brancusi in the 1930s as a homage to the Romanian soldiers who fought during the First World War. Beginning at the Constantin Brancusi Memorial Park by the Targu Jiu river is his work, The Table Of Silence. The work comprises of a circular table and twelve hour glass objects made of stone positioned in such a way to resemble a clock with each of the hour glass objects representing the numbers on a clock.

The Table Of Silence

Directly facing this work is a path leading towards another work by Brancusi entitled The Gate Of Kiss made of travertine marble. One each side of the two columns of the work is a circular emblem representing lips. This work is of the socialist realism style, which was the main genre of sculptures made during the time of the Soviet Union until its collapse in 1991.

The Gate Of Kiss

From the park, I walk along Calea Eroilor or Heroes Street – named after the Romanians who fought during WW1 and to whom the sculptures are dedicated to, until I reach another park where the final and arguably most epic work of Brancusi’s Targu Jiu works is located. The Endless Column is an almost 30 metre tall sculpture consisting of 17 rhomboidal modules. It is an iconic work of outdoor sculpture and is occasionally cited as one of the greatest works of modern outdoor sculpture. The work is a symbol of ‘the infinite’ and in the context of the Romanian soldiers who lost their lives in World War One, a tribute to their ‘infinite’ sacrifice. For me it is a very spiritual work. It goes beyond the concepts of time and space. It is timeless and eternal, defying any representations or labels of any specific period in time. The sculptor, art writer and Brancusi historian Sydnei Geist called the work the high point of modern art.

The Endless Column

By The Endless Column

During the 1950s there were plans by the Communist government of Romania to destroy the column but thankfully those plans were never realised. In fact, after the fall of communism in the country, there was a lot of renewed interest in the column and plans were carried out to restore it after years of neglect.

Other sites that are worthy of attention in Targu Jiu include the city’s small art museum located at the top of the Brancusi Memorial park. When I visited I encountered several paintings and sculptures by local and well known Romanian artists. Some of the sculptures were created by lesser known contemporaries of Brancusi and there is one work in the museum created in collaboration with the great man himself. I particularly recommend the room containing a collection of beautiful religious icon paintings some dating back all the way to the 17th century.

Targu Jiu art museum

A lesser known site in the town is the Iosif Keber Memorial House located in an architectural masterpiece of an old house featuring a collection of his paintings and an art library.

Iosif Keber Memorial House

About 100km south of Targu Jiu is the town of Craiova. It was in this town where Brancusi attended the Craiova School of Arts and Crafts from 1894 until 1898 and produced some of his earliest sculptures here. The Craiova Art Museum is located in the Constantin Mihail Palace. It is an opulent building with an almost Versailles like interior, which was built between 1898 and 1907 by the French architect Paul Gottereau. The palace was named after Michael Constantine, who was a member of one Romania’s richest families.

Craiova Art Museum

The Craiova art museum contains a wealth of paintings by Romanian artists yet it is the room containing a collection of Brancusi works, which is my reason for visiting. One of the most important of these works is his sculpture from his series of sculptures entitled The Kiss, his take on Rodin’s work of the same name. After Brancusi first arrived in Paris in 1903, he spent some time in Rodin’s studio but left after two months stating, ‘Nothing can grow under big trees‘. Brancusi held the great master Rodin in high regard yet at the same time he didn’t want to be stuck in the past and in his shadow. One can be too enfolded and trapped in the realms of a great artist. Brancusi though was an innovator and a visionary, and in order to grow, challenge and change the face of something one cannot be for too long in the presence of a master. This was the same with the Venetian painter Tintoretto who only spent a very short amount of time in the studio of the master painter Titian. As brilliant as Titian was, Tintoretto was also, like Brancusi, a visionary artist, and found being in the shadow of a master artist for too long stifling. He wanted to break free and develop his own style.

The original Kiss sculpture at the Craiova Art Museum

The Kiss is a ground breaking work of modern art. What makes the sculpture in the Craiova art museum so special and unique is that it is the original sculpture Brancusi created, which would later manifest into a full series of sculptures of the same name. When you look at Rodin’s Kiss sculpture and then at Brancusi’s sculpture of the same name it is clear what Brancusi wanted to do. Rodin’s sculpture is a masterpiece of classical art, in the style of the greatest sculptures from the Classical Greek period. But Brancusi’s objective was to create something new. In his sculpture he breaks down Rodin’s sculpture to its most basic and essential essence. It’s almost like he’s on a mission to chisel something and remove all its components leaving behind just its most essential and primordial core – that which is eternal and exists beyond the straightjacket of physical structures. And this is the reason why it is of such importance in the history of modern art.

The rest of the Brancusi collection in this part of the museum is made up of miscellaneous works by him created from as early as 1894 at the age of 18 when he was studying at the Craiova Art School until 1913 when he was already an established artist living in Paris. The earliest of these works is a wooden chair he made whilst a student at the local Craiova Art School. He was clearly a precociously talented artist judging by the skill and details of the chair and the age he was when he made it. Furthermore, just before he enrolled at the school he created from scratch a violin. His technical skill could never be faulted yet what makes The Kiss such a ground-breaking work was in its re-definition of sculpture as an art form itself.

Other Brancusi works in the Craiova Art Museum

The sculpture he made of the Roman emperor Vitellius from 1898 during the first months of his time at the Academy of Fine Arts in Bucharest is a perfectly fine work in the classical tradition. His sculpture of a young boy he made in Paris in 1906 is an emotive, sensitive and skilful work with the influence of Rodin being rather strong. Both these works demonstrate tremendous skill and talent yet Brancusi was still finding his way. Where The Kiss stands out is in its originality and as a work of art with no connections to any great sculptors or art movements of the past. With this work Brancusi developed an art form that was not only entirely his own, but also a work which changed the face of sculpture during its time.

By Nicholas Peart

Visiting The 1989 Revolution Museum In Timisoara

Posted on November 3, 2018 by Nicholas Peart

The Romanian city of Timisoara located in the western part of the country close to the Hungarian and Serbian borders is a pleasant place to spend a few days. The centre of town is filled with a wealth of beautiful ornate architecture dating back to its Habsburg past. Some of those buildings are semi-dilapidated yet a lot of this beautiful architecture and much of the city is undergoing a large regeneration project in time for 2021; the year when Timisoara will be the official European City Of Culture.

Piata Victoriei

Piata Victoriei is one of the highlights of the city. Its a beautiful long rectangular square with a wealth of ornate, diverse and unusual multi-coloured buildings and rows of pleasant restaurants, cafes and shops. It’s an ideal place to watch the world go by as they say. The most unmissable feature of this part of town is the prominent Metropolitan Cathedral; an imposing Byzantine-influenced orthodox cathedral constructed between 1936 and 1946.

The prominent orthodox Metropolitan Cathedral

Directly facing the monastery on the other side of the road, back on the Piata Victoriei is a memorial to the revolution of December 1989 against the repressive Communist regime of Nicolae Ceausescu. It is this event in the country’s history that gives the plaza its name. This revolution, which began here in Timisoara, is a very important event in Romania’s history since it eventually led to the crumbling of this regime and the end of Communism in the country.

Memorial on Piata Victoriei to the 1989 Revolution

The initial protests in the city took place on December 15th 1989 with a few hundred people protesting against the harassment of the Romanian born Hungarian pastor Laszlo Tokes by the Communist regime. Laszlo was a notable and outspoken figure representing Romania’s Hungarian community. For many years he was a target of the communist regime for his exposing of human rights abuses by the regime towards the Hungarian minority population of Romania.

In March 1989, Tokes was forced by the religious authorities of the time to move from Timisoara to another parish in a remote part of the country. Tokes didn’t budge. The authorities issued him with an eviction notice from his home in Timisoara stating that he had until December 15th 1989 to leave. It was on this date that members of his congregation protested his eviction on the streets of Timisoara. Eventually passers-by joined in and what originally began as a protest against the eviction of Tokes manifested into an even bigger protest against the repressive communist regime of Nicolae Ceausescu. Very quickly similar protests spread like wildfire across other Romanian cities including the capital, Bucharest. Despite Ceausescu’s efforts to supress the protests by ordering the military to fire bullets into the crowds, his efforts were in vain as he was up against the vast majority of the population of his country who wanted change and an end to his oppressive regime.

By the 1989 Revolution Museum

The 1989 Revolution Museum is a permanent exhibition dedicated to these events. When I first entered the museum located in an old and crumbling building, I was escorted by an elderly man from the museum to a room with a TV screen. On the screen he played a 20 minute documentary featuring visual recordings of the events between the beginning of the revolution until the fall of the Ceausescu regime. It is a dazzling sight to see what looks like almost the entire population of Timisoara out in the city protesting.

The city of Timisoara at the apex of the December 1989 revolution

Pictures of the Communist ruler Nicolae Ceausescu in the museum

A pre Revolution Ceausescu parade in Timisoara’s main square (today named Piata Victoriei)

Ceausescu had initially misjudged the potential magnitude of the protests in Timisoara. On 18th December he left Romania for a state visit to Iran putting his wife and subordinates in charge of trying to diffuse the protests in Timisoara. When he returned to Romania just a couple of days later the protests had become larger and more intense. During a speech he gave in today’s Revolution Square in Bucharest on December 21st, some people in the crowd began to chant ‘Timisoara!’. Slowly more people joined in. Ceausescu, unable to suppress the chants, pledged to raise the national minimum wage but the crowd wasn’t having any of it. For the remainder of his speech he was constantly heckled until realising that he was powerless to engage the crowd, he left the stage and ran for cover. On December 22nd the protests had spread to all the major cities in Romania. Ceausescu and his wife embarked on an epic escape from the braying mob until they were captured by the army and tried on Christmas Day. After their capture they were duly executed by a firing squad.

The museum is full of ephemera related to the Revolution including photographs and newspaper articles as well as art works by contemporary Romanian artists related to this time period. After watching the video I spend some time visiting all the rooms inside the museum and learning more about this period in Romania’s history.

Photographs from the museum

Visiting the museum is most definitely worth the visit if you ever happen to be in Timisoara. It is a raw and authentic experience regarding a very important time period in Romania’s history.

by Nicholas Peart

SOURCES

http://20years.tol.org/2009/10/26/laszlo-tokes/

A Day Trip To Felcsút

Posted on November 1, 2018November 1, 2018 by Nicholas Peart

The Hungarian village of Felcsút is located 50km outside of Budapest and a 1 hour bus ride from the capital. It isn’t featured in any guide books and besides, with the abundance of things that Hungary’s seductive capital has to offer, why would anyone want to sacrifice a day in some one horse village in the middle of nowhere? But Felcsút isn’t just any other village. It is where the current Hungarian Prime Minister Viktor Orbán grew up. Since he became prime minister in 2010, a lot of money has been pumped into this sleepy settlement, mainly in the shape of a football stadium and a 6km long railway line.

Orbán is a controversial figure both at home and abroad. Opinion in Hungary on him is intensely polarized where people either love him or hate him. The latter accuse him of being a dangerous demagogue and a threat to the country’s democracy and free speech. Even though Hungary is a member of the European Union he has been very critical of it and has often come to blows with Brussels for not abiding by the rules as a member country. One example is his refusal to take in more migrants during the 2015 Refugee Crisis. Instead he constructed a razor fence around parts of the country’s borders much to the ire of Brussels. His supporters though see Orbán as a no-nonsense leader who isn’t afraid to speak his mind regardless of the consequences and also as someone who isn’t a pushover and is willing to put their country first. He is viewed by some as Europe’s answer to Donald Trump.

Hungarian Prime Minister Viktor Orbán

From Nepligot bus station in Budapest, I board a knackered white bus destined for this village. As the bus leaves behind the final surrounding districts of the city we are in rural Hungary proper. Lots of open fields and not much else. Nobody on the bus or even at the ticket desk of the bus station in the capital spoke any English. Without the internet data on my phone and the Google Maps app, I would have most likely missed my destination and probably would have resorted to scrambling for a way to desperately return back to Budapest. Once out of Hungary’s cosmopolitan capital or any of the country’s major towns, the chances of finding someone who speaks English drops dramatically. For the record I don’t know a word of Hungarian. Its an impenetrable language which doesn’t stick easily to my poor little brain. I even find it a challenge to remember the word for ‘thank you’. This is not a country you would want to get arrested in.

I know we are approaching Felcsut the minute I see the blue dot on Google Maps edge closer to the name of the village on the digital map. We stop at a small roadside bus stop, but in my ignorance I assume this is not THE bus stop for my destination. The bus carries on and turns onto a road moving away from the location of the village on my map. Its going now at some speed and the blue dot on the map is moving away from Felcsut at an alarming rate. I have no choice but to interrupt the driver. I walk down the bus ailse and as I approach the driver I blurt out the name of my destination. He slams the brakes and the bus screeches to a halt. Thankfully I latch myself to a nearby railing to avoid being catapulted towards the driver’s window. With haste I grab my bag and jump out of the bus.

Arriving in Felcsút

As I walk closer to the village I see a sign indicating the infamous Pancho Arena football stadium being only a kilometre away. The stadium is big with a seating capacity of 3,500. That is more than double the population of the village itself which has a population of just 1,200. For this reason it is seen by many Hungarians as a sensitive subject often dismissing the stadium as an Orbán vanity project. Many argue that the money should have been allocated instead towards the healthcare or education system of the country and not a football stadium. Orbán is a football fanatic and often tries to watch as many important matches as he can in between his busy schedule. In fact it is not an uncommon sight to see him at some games at the local stadium during weekend matches.

When I approach the stadium it is empty with the next game scheduled until the weekend. Yet the entrance to the stadium is open and so I enter. In the enclosure of the stadium there are photographs, trophies and other assorted bits of football related memorabilia. As I walk into the seating area the most striking feature of the stadium is not the football pitch but the wooden beams around the stadium. They are truly a work of art and give the arena the air of a religious place of worship and not solely a place to watch football. The beams and general design of the stadium were taken from designs by the noted local Hungarian architect Imre Makovecz.

Pancho Arena football stadium

The unique wooden beams of the stadium

A long path by the stadium leads all the way to small railway station, Puskas Akademia, named after the local football team. This station is part of the 6km long Val-Valley railway line. This project is more controversial than the football stadium since it has been stated that 80% of the investment towards it came from EU funds. I am the only person on the platform. There is no ticket office at this station just a small wooden hut with a time table of the daily train times on the side of the hut. All the information is in Hungarian yet I soon make out via a combination of Google Translate and raw guesswork that the next train should arrive in half an hour.

Puskas Akademia station stop as part of the Val-Valley 6km long light railway line

Twenty minutes later I am joined by two elderly ladies. I timidly ask them whether they speak English? To my amazement one of the ladies, Zsuzsi, speaks perfect English. She lived in London for one year in 1976 and reminisces fondly about her time in the city. A vintage style train soon approaches. When we board the train we are the only people in the carriage. I do wonder sometimes, unlike the football stadium, what really is the point of this railway line especially if so few people on average use it? Yet the hot potato aspect of this project aside, I am reminded of the countryside tourist railway train I once took last year in the breath-taking region of Mokra Gora in the neighbouring country of Serbia. That was a truly unforgettable memory.

One of the trains

Once inside the deserted carriage we all pose for photos. There is also a stove-like heater inside. A lady conductor enters our carriage to issue our tickets. I soon learn that there are about four stops in total on this line. However since my time is limited I buy a ticket for just until the next stop. I stay on the train for 25 minutes as it slowly chugs until the next stop. During this time we pass through the wild autumnal fields of the surrounding countryside. It is a beautiful sight with a rich kaleidoscope of colours. These are the kind of fields Vincent Van Gogh would have painted in all their glory.

Inside the train carriage with its own stove heater

Yours truly inside the train

The surrounding countryside

At the next stop, Felscut station, I disembark and say goodbye to the ladies. I have 40 minutes until the next bus to Budapest leaves from the northern end of the village. I briskly walk the few kilometres on the side of the main village road. Most of the places I pass along the way, save for the football stadium, are private residences and the odd church, school and grocery shop. Thankfully I make it to the bus stop on time. The bus arrives five minutes later to take me back to Nepligot bus station.

By Nicholas Peart

Contemporary Art From The Uralic World At The Ludwig Museum In Budapest

Posted on October 30, 2018December 27, 2019 by Nicholas Peart

The Ludwig Museum is one of Budapest’s primary cultural institutions. When I visited the museum during my time in Budapest, there were three different art exhibitions on display. Two of those were purely focused on contemporary art from the Uralic world. The language, Hungarian, is part of the Uralic family of languages. The three primary languages from that family are Hungarian, Finnish and Estonian.

SALLA TYKKA : Short Titles

The first exhibition was a display of short films by the Finnish video artist Salla Tykka. Her films focus on the inner core of existence. The first of her short films I encounter, Giant, is set in the gym of a Romanian all girls school. Here the girls undergo strict, stultifying and repressed exercise routines with faultless precision; as if they are robots or algorithms and not human beings. Watching the film makes me nauseous. The gym is also like one great soulless and sterile modern day concentration camp. Its an intensely depressing video and I only watch a few minutes of it before moving on yet out of all Tykka’s short films, it is also one of her most memorable.

Still from the short film Giant by the Finnish artist Salla Tykka

Another film by Tykka, Lasso, is set in suburban Finland. It features a young man in his home gyrating in a dynamic and primal way with a lasso. During this moment, a young girl outside watches him transfixed through the slits of the closed blinds. She develops strong feelings towards him, difficult to articulate in words. But when the ritual with the lasso ends, so do those feelings and she is brought back down to earth. The film beautifully encapsulates this moment so many of us experience yet struggle to verbally convey.

Still from the short film Lasso by the Finnish artist Salla Tykka

My Hate Is Useless is an early short film by Salla Tykka from 1996 documenting her struggle with anorexia. It is a raw and visceral film further documenting the pain and suffering she experiences. At one intervals she violently screams in Finnish ‘I hate myself’. Elsewhere in the film we see various bits of paraphernalia such as the medication she is taking.

Still from the short film My Hate Is Useless by the Finnish artist Salla Tykka

RELATED BY SISTER LANGUAGES : Estonian-Hungarian Contemporary Art Exhibition

The second exhibition in another part of the museum is an exhibition of Estonian and Hungarian contemporary art curated by Krisztina Szipocs, the chief curator of the museum.

The first works are encounter are a small series of canvases by the Estonian artist Kaido Ole. Yet close by the canvases are two large painted mural like installations by the same artist depicting both the beginning and end of Estonia. The installation showing the beginning theme contains a sepia image of a coastline and the sea encased within a square sequence of different hues of blue. The end theme of the installation is more abstract featuring fading brown hues and the letters ‘Eeeeehhhh’ in the middle. It is difficult enough to envisage when the beginning may have been even if one where to use such primordial elements such as the sea and the colour blue. The end however is unwritten.

Kaido Ole : The Beginning Of Estonia (2016/18)

Kaido Ole : The End Of Estonia (2016)

Close by, a video by the Estonian artist Tanja Muravskaja, Three Sisters, featuring two girls who are both cousins reflecting on the war in Ukraine from their own personal experiences. One of the girls in the video lives in the Ukrainian capital of Kiev and the other in the small Russian town of Belgorad, located 40kms from the Ukrainian border. The two videos play simultaneously as the girls talk at the same time. What is immediately clear is that both have very different views and experiences. From what I can decipher the girl from Belgorad comes across as if she got the rougher end of the deal. You can just see it in her stern facial expressions never mind what she is saying. The brief blurb states she is 27. In body maybe, but spiritually she has the heaviness of someone more than twice her age who has already been through every rough mill of life. The girl from Kiev, on the other hand, appears more open and lighter in spirit without any of the baggage of her cousin from Belgorad. The third sister is the artist herself who acts as the mediator; the sister who attempts to heal the rift. Her invisible role is the trickiest.

Tanja Muravskaja : Three Sisters (2015)

The Hungarian artist Hajnal Nemeth has a video work entitled Crash – Passive Interview (2011) an experimental operatic video in 12 acts. I witness two acts of this video. The first features a clip in a BMW factory featuring two men in workers clothes in a kind of comic operatic dialogue, whilst the second shows one of the two men again this time dressed like some playboy from Milan in an open top white BMW in another operatic dialogue with a woman. The dialogues are police reports made after a series of non fatal car crashes. How something so ordinarily prosaic, anxiety ridden and traumatic is turned into some kind of absurd Eurotrash Aldi like visual opera has me in fits of laughter. Its a tragic-comedy masterpiece and one of the highlights of the show.

Hajnal Nemeth : Crash – Passive Interview (2011) – still one

Hajnal Nemeth : Crash – Passive Interview (2011) – still two

The Estonian art duo Johnson and Johnson, who’s name is taken from the global big pharma behemoth of the same name, has a work in the form of an illustrative chart on display entitled Top 5 State Employees. I can’t read a word of any Uralic language but visually the chart metaphorically echoes how this world at large defines ‘progress’ or ‘success’. What today’s measure of success of progress may be won’t be the same 100 years from now. What does it matter? What does it mean? Employees work for someone else and do what they are told and do their best to please to be rewarded. They have no skin in the game despite their best and most conscientious efforts. On the other hand, the Steve Jobs and Elon Musks of this world would make the Bottom 5 State Employees. They are too disruptive and visionary.

Johnson and Johnson : Top 5 State Employees (2009/18)

A Selection From The Museum’s Permanent Collection Of Hungarian Contemporary Art

The final exhibition in the museum featured a selection from the museum’s permanent collection. The work on display was global with works by big names such as Picasso, Andy Warhol, Chuck Close and Georg Basalitz. However, with the limited time I had left in the museum before the departure of my train to the Hungarian town of Szeged later in the day, I purposefully decided to focus on works by Hungarian artists in the collection. Below I am featuring some these…

Emese Benczur : Not All Is Gold That Glitters (2016)

Laszlo Lakner : Danae (1968)

Laszlo Haris: Confrontation-Action: Double Portrait (1973-2012)

Gabor Koos : Budapest Diary XIII (2015)

Peter Turk: Treadmill I-II (1975-81)

Peter Gemes : Hourglass (1995)

Zsuzsi Ujj : With Ocsi (1988)

By Nicholas Peart

The Pimped Up Bar Mleczny

Posted on October 27, 2018 by Nicholas Peart

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Pizza King Express is maybe the best place to eat in Budapest. I will probably get shot down in flames for saying this. At the ‘traditional’ restaurants serving Hungarian cuisine you will likely hear more English than Hungarian and will pay more money. You may also encounter surely staff if the place is popular. But not here. The staff here are a bunch of jokers and the food is ridiculously cheap even with a lousy pound sterling. A slice of pizza is 200 Forints (less than 60p). A tiramisu (enough for two) – yes, you better believe it – is 300 Forints (a little north of 80p).

During Communist times in many Eastern European countries you had these places called bar mlecznys, which in Polish literally translates to ‘milk bars’ – dirt cheap restaurants serving pretty basic food, but perfectly good. They used to be very popular with students or anyone without much money. Most of these places are a thing of the past now. There are a few still kicking around. For me Pizza King Express represents a new kind of ‘pimped up’ bar mleczny. That is, it may not be as threadbare as a traditional bar mleczny. Maybe I am stretching it using the words ‘pimped up’. But you get my drift. It has the same prices as the traditional bar mlecznys of yore filled by the same type of people who used to visit the originals. The only difference is that the menu is more global. Dare I say more ‘Westernised’. You can get pizza, kebabs, baklava (delicious sweat cake), tiramisu and rice pudding and all for just a few coins. Its a fraction of the price of Pizza Hut, which is next door, and a better and more delicious experience.

Hungary is not a rich country and wages are feeble. Budapest can be an expensive city if you are a local in menial employment. For that reason places like Pizza King Express are a godsend for locals. Its funny that most congregate here for a slice of cheap pizza and less at the ‘traditional’ Hungarian establishments no matter how good or tasty the food may be at those places.

The original bar mzlecznys were not only a product of Communism. They were a feature of when that part of the world was a much less connected place and people had limited access to information. In today’s post-communist globalised world with this tool called the internet, that has all changed. Younger generations from former communist countries are more aware, savvy and knowledgeable about the world, other cultures and how other people around the world live and their tastes. Pizza King Express caters for this younger generation as well as others who don’t want to spend too much money. In a paradoxical way, it is more ‘authentic’ to eat here than at the traditional restaurants, which promote themselves as ‘authentic’. It may be a pedantic and trivial observation, but there is a kernel of truth to it.

By Nicholas Peart

Architecture Through The Ages In Budapest

Posted on October 24, 2018 by Nicholas Peart

The capital city of Hungary is a delightful city to wonder around. As with my wonderings around the capital cities of various Balkan capitals such as Zagreb, Sarajevo and Belgrade last year, in Budapest there are a wealth of buildings of different architectural styles. Most prominent though are the buildings dating back to the times of the Austrian-Hungarian Empire. Those are grand old buildings with fabulously opulent adornments. It’s even more satisfying to discover some of those buildings in splendid dilapidation. That’s the difference between Budapest and its nearby cousin Vienna. Vienna has an abundance of lovely buildings, but almost all are periodically maintained and saved from slipping into ruin. In Budapest its not an uncommon site to see many buildings from that time period fallen on hard times; like a beautiful woman (or man) succumbing to ferocious ageing and too broke to afford a face lift. What money there used to be squandered long ago.

The buildings featured are magnificent Habsburg Empire era structures sometimes abruptly juxtaposed next to brutal and more austere Communist era buildings. Even some Ottoman/Eastern styled buildings. After all Hungary was ruled for 150 years by the Ottoman Empire. A lot of Neo Classical architecture can also be found. Sometimes these Ancient Greece influences are blended into more severe Art Deco architecture. Most of the time I know nothing about the buildings I come into contact with. I am simply just curious about their aesthetic qualities. Its all a fascinating melting pot of different styles. The pictures below, which I took on my wonderings, are evidence of this.

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Photographs and text by Nicholas Peart

A Self-Guided Walking Tour Through Manchester’s Musical History

Posted on October 21, 2018October 22, 2018 by Nicholas Peart

Manchester skyline

A lot of the music I regularly used to listen to in my younger years came from the city of Manchester. Joy Division, New Order, The Fall, The Buzzcocks, The Smiths, The Stone Roses, The Happy Mondays and Oasis all hail from this city. I would need a good few weeks to navigate the entire musical map of Manchester, but since I only had a day for this, I had to be selective.

From my modest Air BnB lodging, located in the district of Higher Broughton in the north of the city, I take a city bus towards Strangeways prison. You may think what on earth does a prison have to do with Manchester’s music scene? It was however referenced in the final album by The Smiths, Strangeways Here We Come. Located in an industrial and non-descript part of the city, the entrance to Strangeways is an architectural gem. There are not many people passing by on this early morning and I don’t feel the urge for some unfortunate to take my picture next to the gates. I am glad I didn’t.

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The entrance to Strangeways prison

From Strangeways I walk towards the Arndale Shopping Centre in the centre of the city. I was hoping that today would be an overcast day to set the scene for the places I’d be visiting, but there’s sadly not a cloud in sight. I am truly disappointed. After purchasing a sandwich at Sainsbury’s Local, I board the city tram for Deansgate located on the southern edge of the city centre.

Close to Deansgate station I only have to walk a short distance until I am face to face with the site of the legendary Hacienda nightclub. During those heady ‘Madchester’ days during the late 1980s and early 1990s, the Hacienda was well and truly bopping with a big enough supply of ecstasy doing the rounds to fill a good few Olympic swimming pools. Today the site of the club is now home to a block of luxury apartments.

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By the site of the Hacienda nightclub

A brief history of the Hacienda and its origins. The club was originally established by the founder of Factory Records, Tony Wilson, in the early 1980s. Factory Records played a central role in Manchester’s music scene since the late 1970s signing Joy Division (and subsequently New Order), the Happy Mondays and many other local bands. As instrumental as the label was to the local music scene, it was also victim to a streak of tremendous bad luck in failing to sign some of the city’s most successful talent. It came very close to signing The Smiths (yet Wilson doubted Morrissey’s potential and ability to be a pop star and encouraged him to be a novelist instead), missed the boat with The Stone Roses, and, allegedly, turned down Oasis. Much of the funds for the establishment and running of the Hacienda came directly from New Order’s royalties. The Happy Mondays, despite their commercial success, contributed towards the financial downfall and bankruptcy of Factory Records in the early 1990s. Yet it was very much the irresponsibility of Tony Wilson to give the band upfront an advance of almost £1m in cash to record their final album in Barbados in 1992. Most of the money went up, literally, in crack smoke and very little towards the actual recording of the album. The Hacienda plodded on for a few more years before shutting its doors permanently. Yet in it’s heyday during the late 1980s it was the place to be and the coolest club not just in the city of Manchester but across the whole country if not the world.

Also close to Deansgate station is the original site of the Broadwalk, which was a small live music venue in the city. For me it will be forever associated with the place where Oasis played their first live gig in 1991. Back then Noel Gallagher was a roadie for the Oldham band The Inspiral Carpets. It was only when he joined the band a year later in 1992, establishing himself as the main songwriter and driving force, that Oasis began to develop. In 1993, Oasis played a brief set at the King Tuts Wah Wah club in Glasgow, where Creation records founder Alan McGee spotted the band and signed them to his record label. The rest is over documented music history.

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Site of the Broadwalk music venue where Oasis played their first ever gig in 1991

From Deansgate I catch a bus out of the city centre to Salford. I must add that Google maps has been of great assistance in helping me navigate this city, finding the right buses and trams and, more importantly, saving me a good deal of time. After a few stops on the bus, I disembark off a busy dual carriageway close to a large Sainsbury’s supermarket. I desperately need to pee. I resist the temptation to do it near a bush close to a housing estate and duly cross the dual carriageway making a dash for the toilets inside Sainsbury’s. Returning to the bus stop, I walk a few blocks through a series of quiet residential streets until I encounter the iconic redbrick building of The Salford Lads Club. It was of course here where The Smiths posed for that infamous photo featured inside their seminal The Queen Is Dead album. I find a passer-by to take a photograph of me by this legendary site.

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By the iconic Salford Lads Club; a place forever associated with The Smiths

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The Smiths at that same location

A couple of blocks away is a bus stop with a direct bus to the district of Stretford. The Old Trafford, the location of Manchester United football club, is located over there, yet it isn’t football I’ve come for. Stretford is where a young Stephen Patrick Morrissey once lived before finding fame as the lead singer and lyricist of The Smiths. From the bus stop where I disembark, it is a 15 minute walk to reach his house located on Kings Road. When I approach the junction with Kings Road, there is a cheap takeaway joint serving kebabs, pizza and fried chicken. The childhood home of the one of the most celebrated vegans on the planet is about a two-minute walk away. I am mighty hungry, but I resist the urge to purchase a ‘donar wrap’ en-route to Chez Moz.

Kings Road is one wide empty street full of predominantly semi-detached suburban houses. I soon arrive at number 384. In one of the small top floor rooms of this house, an adolescent Morrissey would be furiously typing verse on his typewriter, reading Oscar Wilde and listening to The New York Dolls, Sparks, Sandie Shaw and other acts beloved by him. Oh, and the curtains would be forever closed. Morrissey often dreamt of stardom regardless of how remote the chances seemed to be for a cripplingly shy young man from greater Manchester. In fact, although Morrissey mixed with the local music scene of the city during the late 1970s and early 1980s, the consensus around that time was that he was the least likely person to make it as a pop star from that scene. And any such notion was immediately ridiculed. He was best known as the village idiot. Steve The Nutter. Bad judgement. The rise of Morrissey into one of the most iconic and influential pop stars of all time is one of the greatest black swan events ever to occur in the history of popular music. Nobody saw it coming.

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At 348 Kings Road in the Manchester district of Stretford; The home of an adolescent Morrissey

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A photograph of an adolescent pre-quiffed Morrissey taken during the late 1970s

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In the 1980s as lead singer of The Smiths

It was at this very address that, one day in 1982, a young guitarist by the name of John Maher (later better known as Johnny Marr), rang the doorbell to enquire as to whether Stephen would be interested in being the singer for a new band he was trying to put together. Morrissey could’ve easily just told the boy to go away, but thankfully he didn’t as this encounter would eventually change his life, propelling him from the bedroom to global stardom.

Leaving 384 Kings Road, I walk for some time towards the nearest tram metro stop, from where I board a tram all the way to the southern Manchester district of Didsbury Village. Didsbury Village is a well-heeled part of the city reminiscent perhaps of Hampstead or Muswell Hill in North London. I take a break here and order some lunch. There are some great charity shops in this neck of the woods too. Didsbury Village is the springboard for the less well-heeled district of Burnage, where the home of a young Liam and Noel Gallagher is located.

Walking away from Didsbury Village and past Burnage train station, I soon locate Sifters record shop. This is the place where Liam, Noel and their older brother Paul used to buy (or maybe, dare I say, pilfer?) their records. It is also namechecked in the early 1994 Oasis single Shakermaker in the line, ‘Mr Sifter sold me songs when I was just fifteen’. Unfortunately, the shutter is down. I read that today it was supposed to close at 5pm yet its currently only after 3pm. Perhaps Mr Sifter wanted a day off? Nevertheless, I get a young tattooed lad on his bike to take a picture of me by the shop.

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By Sifters Records in Burnage; a popular haunt of the Gallagher brothers

Now I commence the final part of the tour towards the home of the Gallagher boys. Burnage is a rather sedate part of the city. Nothing much goes down here. Yet its in no way the craphouse that perhaps Noel makes it out to be. The only other landmark I remember is some large Chinese restaurant whose name I can’t recall. Past the busy Kingsway dual carriageway I carry on towards Burnage Lane before arriving at Cranwell Drive where their old home is located. It’s a modest nondescript semi and that is all.

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The home of a young Liam and Noel Gallagher

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Early photo of the Gallagher brothers (Noel, Paul and Liam) with their mother Peggy

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Photo of Liam and Noel taken sometime in the 1990s

Many years ago, I read their brother Paul’s book on their upbringing and it was a pretty shocking read. Their father Tommy was a violent man who used to beat Paul and Noel regularly as well as their mother Peggy. Thankfully, sometime around the early 1980s, the local council were able to move their mother and the boys to another house and this is the house. I believe their mother still lives there, but I could be wrong. As with Morrissey’s childhood home, I refrain from knocking the door out of respect for the privacy of the current residents as tempting as it may have been.

I have no desire to linger longer in Burnage so I catch a bus on the Kingsway road back to central Manchester for a well-deserved pint.

By Nicholas Peart