Five ways to enjoy “Suicide Sunday”

by Tom Johansmeyer on

I stumbled into Cambridge, England on “Suicide Sunday,” a joyous occasion in which the local university students cut loose and get wasted blow off steam following the completion of final exams. The streets are packed with tourists and students, the former gawking, the latter playing. To witness the events is figuratively intoxicating, while to participate offers a more literal experience. The booze flows plentifully, and merriment is omnipresent.

So, how can you get in on the action? Call ahead to the Cambridge University to find out when Suicide Sunday will be (it’s always in June). Once you hit the ground, here are a few ways to pass the time:

1. Pour yourself a drink: If you’re clever, enter one of the colleges. The signs prohibit non-student entry, and there are security guards just inside those doors (as I learned the hard way). But, if you can slip inside, you’ll be at the center of the party. It’s fairly likely that free liquor will flow your way.

Backup Plan: If the rent-a-cops bust you, shoot for an aquatic landing. Take a “punt” (flat-bottomed boat) or other vessel onto the River Cam. Slip up to the shore and climb out. Bribe a student (in the boat and on shore). Get wasted. Too easy.

2. Stay on the river for a bit: “Punting,” mentioned above, is really nothing more than pushing a boat with a pole along the River Cam. You can either rent your own and try your luck or hire a “chauffeured” punt to bring you along the river. Keep in mind that there will be plenty of self-hired punts out there, so you’re best bet is to stay in the hands of a professional.

People Watch: There are parties at the colleges all along the river. Watch for the splashes, as drunk students tend to toss each other into the water. Sometimes, small wrestling matches occur that ultimately lead to a trip into the drink. You can enjoy the show from start to finish.

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3. Fill your stomach: The most common picnic fare seems to be beer and cheap Indian food. Join the party! Both are plentiful. Grab your grub and head out for the punt bridges behind St. Catherine’s (on Silver Street). Look for a spot in the unmowed grass, and chow down. Buy a little extra – you may be able to host a small party of drunk college kids!

Heckle the Help: When you’ve finished eating, stake out a spot on a bridge. To fit in with the locals, pick up a few water balloons. Then, hunt drunks. You won’t be alone. More than a few people were on the prowl while I was waiting for my punt.

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4. Enjoy the architecture: Yes, there is a cultural aspect to Cambridge University. The easiest way to satisfy your intellectual obligation is to wander the streets and enjoy the downright regal architecture that the various colleges offer. Also, you can do this while meandering from one rockin’ party to the next, so you don’t have to sacrifice any precious drinking time.

Watch for Pitchers: The clean cut British boys pushing punting tickets aren’t as skilled as the souk-minders of Marrakech, but they’re trying. Don’t get sucked in by their innocent charm while you’re snapping photos of the buildings. Make your arrangements for punting when you get down to the river.

5. Protest, protest, protest: Cambridge, England is not unlike Cambridge, Massachusetts, in that there is always some group fighting the social and political injustices of the world. On the most recent Suicide Day, I saw a bike rally chanting: “Free Gaza now!”

Let It Roll: Speaking of bikes, they’re the most popular form of transportation in Cambridge. Look for them when you cross the street. Hell, rent one for a while. It’s nice to see the world like a local.

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Disclosure: Many thanks to Visit Britain, which picked up the tab for this trip and to British Airways for the flights. Obviously, it did not pay for my opinions. If they did, I doubt this is the story that would have been commissioned.

Traveler’s Bookshelf: Hidden Treasures of England

by Sean McLachlan on

I’ve been to 25 countries and I’ve never seen any place with so many overlooked treasures as England. Maybe that’s why I keep making excuses to work here. A wonderful new book by Michael McNay, Hidden Treasures of England, reveals some of England’s lesser-known artistic and historical highlights.

McNay spends much of his time exploring churches in search of rare stonework and fine Medieval stained glass, and he’s had some fun along the way. When he visited Eyam to see a ninth-century cross outside the famous plague church, he relates, “I asked Mrs Furness, the duty parishioner on the church bookstall, how Eyam should be pronounced: Eeyam? Iyam? ‘Eem,’ she said severely, ‘as in redeem.'”

In Durham Cathedral he lavishes praise on the elegant tomb of St. Cuthbert, with its unique Anglo-Saxon wood carvings, and the stunning pectoral cross of the saint himself, now in the cathedral treasury. The omission of the somber and imposing tomb of the Venerable Bede, also in Durham Cathedral, is a bit strange, but highlights the fact that for every jewel McNay shows us, England has several more hidden away.

It’s not all churches. We get the “mildly erotic” tapestries of Newby Hall, Yorkshire, an impressive promenade at Bridlington, Yorkshire, seaside from the days before the easyJet generation, even an old milestone at Brampton, Cambridgeshire, with carved hands pointing the way to London and other towns. Such milestones used to be a common sight in the English countryside but were buried during World War Two to confuse the Nazis in case they invaded. McNay knows just when to throw in an interesting anecdote.

McNay also has an eye for overlooked elements of famous places. The section on Trafalgar Square skips Nelson’s Column in favor of the monument to King Charles I, the first bronze equestrian statue made in England. You can often see it in photos of the square, but it’s rarely the focus of attention.

The book is richly illustrated with color photographs and while its 550 hardcover pages will make you think twice about putting it in your suitcase, it makes an engaging read for armchair travelers and a useful guide for those planning their next trip. Hidden Treasures of England is published by Random House and distributed in England by Guardian Books.

Art in Los Cabos: ruining the secret for everyone

by Tom Johansmeyer on

When I think “Cabo,” I don’t think art … at least, I didn’t. A few paces into the San Jose del Cabo’s historic art district however, I felt my mind begin to shift. Galleries line Guerrero, Obregon, Morelos and Comonfort, each ready to invite you in for a look at the creations of artists local to Los Cabos (and Mexico in general). Don’t look for the schlock you’d find at a tourist trap in this part of the city – these artists are talented and experienced. Many of the galleries show investment-grade pieces and are priced appropriately.

Of course, there are bargains to be had in the art district. Traditionally, buyers are split between vacationers and people with second homes in Los Cabos, the latter usually looking to occupy the spaces of newly developed escapes. The art market shock that occurred last September has affected both classes of buyer. Fewer are traveling, as well, which has impacted guest purchases, and local property development has come virtually to a standstill as a result of the global credit crisis, leaving fewer walls to adorn. These unfortunate circumstances have brought buyers’ market conditions down to Baja California Sur … and the galleries are more than happy to ship your new acquisitions back to the United States.

Despite the plethora of high-caliber artwork in San Jose del Cabo, choose carefully. There are 16 galleries in the art district, and the quality does vary. Price does not always signify value. If you’re looking to make life easy, just head right to Galeria Corsica, on Obregon (between Hidalgo and Morelos). The gallery space itself is hardly impressive – especially by the standards of major art centers like Manhattan, London and Paris – but, the inventory is impressive.

The collection at Galeria Corsica transcends local. Consisting of both sculpture and paintings, you’ll encounter museum-quality artwork from the moment you cross the threshold.

Works in bronze are sculpted for impact, with intricate detail uniting the labor of the craftsman with the vision of an artist. Emotion emanates from each of the pieces on display, sharing the agony of creation with the aesthetically-minded. Just by looking, you participate in a birthing process baptized in the sweat of a master.

Along the walls, flat art captures the eye. There isn’t a single style that prevails, but each artist has his own space, ensuring that the flow of the gallery isn’t disrupted. I gravitated to the front corner, just to the right of the door as you enter. The room housed paintings that blend the mystical and surreal with a crispness that helps the viewer relate to the messages conveyed. Sensuality is not lost in the swirl of sensations to which the artist treats anyone fortunate enough to enjoy the fruits of his labor.

Los Cabos may have a reputation as a party destination, but the choice ultimately is yours. Catch a taxi into San Jose del Cabo and make it a priority to visit the art galleries … specifically Galeria Corsica. Whether you collect or just like to watch, your jones for the aesthetic will not go unsatisfied.

Disclosure: The Los Cabos Tourism Board picked up the tab for this trip. But, if you know me, you know I don’t do anyone favors. The opinions are definitely my own.

Along the Hudson: The Hudson River School and top places to see the paintings

by Jamie Rhein on

Four hundred years ago, when Henry Hudson first saw the river that was named after him, I imagine he felt inspired by its beauty. The river not only captivated Hudson’s attention motivating him to take a look-see far up into its reaches, it has also inspired artists to capture its essence, literally and figuratively.

There are places along the Hudson River’s shores where you can imagine painters who developed The Hudson River School sitting with their canvas creating their masterpieces. Unlike how it sounds, The Hudson River School is not a place at all, but an art movement that occurred during the 19th century, and the first to be deemed American.

With the festivities happening in the towns and cities along the Hudson this year to celebrate it’s discovery, it seems fitting to give a nod to these artists who were inspired by the Hudson’s beauty and used its images as a metaphor to express ideas about what the United States represents. What are the themes? Discovery, exploration and settlement. Head west, and you’ll see these themes over and over again. These guys were onto something.

The scenes you see in the paintings, however, are not exactly as is. The artists took parts of scenery that they had sketched in their travels and put them together in such a way to make their point that nature, and people’s communion with it, are testaments to God’s glory. Communing with nature, therefore, is a way to experience God’s power.

The painting Kindred Spirits by Asher B. Durand is such an example. The two men in the painting are of the artist and Thomas Cole. You can read what the painting represented to Cole in this overview of The Hudson River School by Thomas Hampson.

As Hampson explains, such themes are also expressed in the works of Ralph Waldo Emerson and Henry David Thoreau who helped found Transcendentalism. To them, and to these artists, what better place to be a witness to the power of God and the human ability to feel and become empowered by it, than in the natural world found in the the American landscape?

Not only the Hudson River is depicted by Hudson River School artists, most notably Thomas Cole and Asher B. Durand, but so are the White Mountains in New Hampshire and other areas of the Catskills.

For a close look at one of the later Hudson River School painters who helped develop the art movement called Luminism that developed from the Hudson River School, visit Olana, Frederic Edwin Church’s home along the Hudson River not far from Hudson, New York.

Here, Church and his wife raised their family and created a home that is a visual masterpiece. When I visited Olana, I was intrigued by Church’s treatment of the landscape. He had certain trees cut down along the river banks near his home to create a certain look to the scenery and better highlight the Hudson River’s beauty.

Olana is merely one place to see Hudson River School artwork. Several museums have pieces in their collections.

If you are walking in the mountains and along the river that were the inspiration for this artwork, see if the muse strikes you. Maybe another art movement is percolating.

Museum Junkie: Futurism at the Tate Modern

by Sean McLachlan on

“Today we are founding Futurism, because we want to free our country from the smelly gangrene of its professors, archaeologists, tour guides and antiquarians.”

On February 20, 1909, the front page of the Italian newspaper Le Figaro was taken up with the Manifesto of Futurism, a new movement of artists, poets, and performers who revolutionized modern art. They rejected all the past–traditional painting, museums, history, religion, marriage, and just about everything else they could think of while embracing modernity in all its forms. They loved movement, anarchy, technology. When World War One started in 1914, they hailed it as the first modern war and formed the Lombard Battalion of Volunteer Cyclists and Automobilists. Their Manifesto stated that war was “the world’s only hygiene.”

The energy of their work, shown here in Impressions in a Dance Hall (1914) by Belgian Futurist Jules Schmalziguag, soon captivated the art world.

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Futurism is a new exhibition at London’s Tate Modern that studies the development of this movement. The exhibition covers the movement’s origins in Italy and its rapid spread across Europe from England to Russia. What started with painting soon made its impact felt in sculpture, literature, architecture, even music. Part of Futurism’s success was the artists’ shameless self-promotion, with more than fifty manifestos coming out in the five years after the initial one in La Figaro. Some of these manifestos and Futurist literary magazines are also on display, along with paintings from the competing movement of Cubism, The Futurists were opposed to Cubism, of course, because it took attention away from them, and were in the habit of calling Picasso a “boor.” They called themselves boors too, so it’s hard to tell if they were really insulting him, or themselves, or neither, or both.

The Futurists would have loved seeing their work in the Tate Modern. The building is a converted power station with a soaring central space that was once taken up by a massive turbine. The museum is filled with modern art, installation pieces, and video displays. This ultramodern setting may have even made the Futurists forget that museums were nothing but “graveyards”.

“Museums, graveyards!” the original Manifesto fomented. “They’re the same thing, really, because of their grim profusion of corpses that no one remembers.”

Futurism started at the Tate Modern on June 12 and runs until September 20.