We have all heard about Jack The Ripper, surely the first media serial killer in history. His dark legacy has been an inexhaustible source of narrative material for over a century. Those mournful events have spawned both literary marvels and graphic novels such as From Hell, by Alan Moore and Eddie Campbell, in addition to movies and TV series and even the odd opera. There may be a dose of morbidity involved in the interest aroused by anything relating to the subject. However, what stokes the flames is undoubtedly the fact that the perpetrator of those crimes has never been found, sparking a host of theories on the matter.

While the identity of the culprit remains unclear, what is known is the names of his victims and the spots where their bodies were found. Theme tours are based in Whitechapel, the scene of those atrocities. In the late-19th century, the district was a veritable hotbed of crooks and a limitless breeding ground for venereal diseases. Fortunately, it is now a salutary area and one of the major arty districts in London, with the Whitechapel Art Gallery at the forefront. In fact, it has become a must for day trippers, thanks to its second-hand market, which runs up to the Whitechapel Market, where you can pick up bargains from Monday to Saturday in over 80 street stalls, selling anything from fruit to electronics, rugs and jewellery. It is open from 8 a.m. to 6 p.m.

The Dark Route

Regarding the question, Who was Jack the Ripper?, you probably won’t find out after a tour of the area, but you will get an idea of what it was like there in the year 1888, when the deeds took place. Various tours can be joined in Whitechapel. Following are details of some of the areas you will visit if you dare to relive the horrific story.

Osborn Street

This is where the first body of the two under investigation was found, although it wasn’t among the “canonical five” – of all the cases related to the Ripper, five are considered to be canonical, as they have several traits in common. The victim in question was Emma Elizabeth Smith, a prostitute who was attacked and raped in the street on 3 April 1888. She was found dead, with her ears cut off. Currently sited on this street is one of the most fashionable basement spaces in London, Apples and Pears, a designer bar with Japanese decor which is a cocktail bar by day, and a club by night. It has been graced by the likes of Kate Moss and David Beckham.

The Old Truman Brewery

This is where the second victim, Annie Chapman, was found. Over the last fifteen years, the 10 acres of derelict buildings from the former Truman Brewery have been refurbished as offices, retail outlets and venues for leisure and events, as well as art hatcheries. It is now a thriving complex of creative businesses, independent stores, malls, markets, bars and restaurants. At weekends it becomes the nerve centre of flea markets and tapas bars. Business and leisure combine to perfection here.

Durward Street (formerly Buck’s Row)

This is where the body of the 43-year-old Mary Ann Nichols – the first of the canonical five – turned up. The bodies of these women had their throats slit and presented mutilations on the abdomen and genital area, with facial disfigurement or a missing organ. Such was the modus operandi of the macabre butcher.

Mitre Square

On 30 September 1888, the body of Catherine Eddowes, aged 46, was found. She had a slashed throat and a large, deep wound on the abdomen. Her left kidney was missing. The police found part of her bloodied apron at the entrance to a house on Goulston Street. Also murdered on the same day at Dutfield’s Yard – now Henriques Street – was the 44-year-old Elizabeth Strice. Death was caused by an incision on the left side of the throat, which severed her carotid artery. A postcard was received by the Central News Agency by the alleged culprit, who claimed responsibility for the crime.

The Ten Bells Pub

Jack the Ripper and some of his victims are thought to have frequented various pubs in the area, notably The Ten Bells (84 Commercial Street), which has remained open on the same premises since 1752. It lies just a few yards from the Liverpool Street Underground station.

And Also…

Other landmarks you will see include Tower Hill Underground Station, the place chosen by Scotland Yard and the City of London Police to start their beat in search of the culprit, and St Botolph’s Church, a favoured haunt where the prostitutes of the time touted for customers. More information about the tour.

Whitechapel now stands for an alternative setting in the heart of the city. It is both classical and avant-garde, an area with a large number of mosques and such historic buildings as the Royal London Hospital. We urge you to come and discover it, even if you’re not particularly interested in Jack the Ripper. It’s a good opportunity to explore the streets of London’s famous East End, a charismatic district full of history and stories, like the one about the celebrated “elephant man”, as well as the Spitalfields and Petticoat Lane street markets andthe world famous Brick Lane, a street with a marked Asian presence, full of Indian and Pakistani restaurants, at really affordable prices. (There are menus for six pounds which include two or three dishes to choose from, plus rice and a drink.)

Why wait to discover it all? Check out our flights here.

Text by ISABELYLUIS Comunicación

Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36

What remains of Pink Floyd 45 years on? In truth, very little. With Roger Waters touring half the world with his 3D show,The Wall,and Richard Wright’s disappearance eight years ago, of the avant-garde rock band which dominated the show scene in the 70s and part of the 80s, only Nick Mason and the lead, David Gilmour, are left from the original group to spearhead the effort.

A Touch of History

Pink Floyd is one of the best bands of all time; no doubt about it. This is attested by their records and their endurance in the top positions among the benchmark groups for decades. Granted, they didn’t invent the concept album – The Who had invented it just before them – but it was they who exploited it to its full expression.

Pink Floyd has some records to its name. Perhaps the most striking one is having had a disc on the Billboard list for 889 weeks (over 17 years) in a row; indeed, their album was on the list longer than any other disc ever. With an estimated 50 million copies sold, The Dark Side of the Moon is Pink Floyd’s most successful album and the top-selling rock disc ever, coming in second in worldwide record sales behind Michael Jackson’s Thriller. But, their success is not limited to that 1973 album. They were famous before that, too. At the end of the sixties, they were the flagship of the British psychedelic scene. Their early records, when Syd Barrett also played in the group, acted as a magnet for a whole seething mass of new ideas and experimentation. Likewise, The Dark Side of the Moon wasn’t their only pinnacle of success – their subsequent albums were on a par, although they weren’t able to match the level of sales. Thus, the decade of the seventies was theirs – with the permission of Led Zeppelin and The Rolling Stones – thanks to such legendary tracks as Animals, Wish You Were Here and, above all, The Wall, which was made into a film directed by Alan Parker and starring Bob Geldof.

What Happened in Pompeii?

It is a well-known fact that Pink Floyd’s live concerts were in technological terms the most spectacular shows for several decades. They actually reigned supreme until the early nineties, up to the time that U2 staged a tour with their album, Achtung Baby. Live performances were always one of Pink Floyd’s fortes right from the outset, when the original crew delighted the crowds on London’s university and underground circuits. Those were the days of British psychedelics, and their concerts were a veritable sensorial experience, thanks to the support of screenings and performances. To get a better idea of what they were like, it is worth seeing the film, Tonite Let’s All Make Love in London, directed by Peter Whitehead, which includes performances by the London band from those times.

In the seventies, by then without Syd Barrett, the group continued to flourish. Their music shifted from psychedelic to progressive rock, while technological devices became gradually more entrenched in their live shows. But, before becoming one of the stadium bands par excellence, they embarked on a project that ended up becoming one of the great milestones in rock history. They joined forces with the movie director, Adrian Maben, with a view to shaping a film project they were working on. The result was Pink Floyd Live at Pompeii, set in the mythical ruins of the Roman city which was devastated by the eruption of Mt Vesuvius in AD 79.

The project was hatched quite coincidentally. The director, Adrian Maben, had simply phoned Stephen O’Rourke, Pink Floyd’s manager, in the early seventies, and suggested making a movie with the group. At that time the idea was to produce a very arty piece and to elicit the participation of artists of the standing of Magritte, De Chirico,Christo and Jean Tinguely who would create on a visual level what Pink Floyd created in sound. But, they never managed to reach an agreement. Months later, Maben went to Italy with his girlfriend of the time and visited the ruins of Pompeii. That evening he discovered he had lost his passport and, thinking back, he decided he must have left it in the Pompeii amphitheatre. He went back to the spot at dusk and there, among the monuments, sculptures and paintings of a place that had frozen in time, Maben experienced his great moment of inspiration – it was the ideal spot to film Pink Floyd. In the near mystic silence of nightfall, he realised that Pompeii had it all – death, sex and oodles of latent life. And there, in that amphitheatre, Pink Floyd could bring it all back to life.

45 Years Later

Last March, Italy’s Minister of Culture, Dario Franceschini, confirmed in his Twitter account that the 70-year-old British guitarist, David Gilmour, would play in Pompeii on 7 and 8 July. There, you have it – Pink Floyd’s lead will again perform at the legendary archaeological site, forty-five years after having been the leading light in the shooting of the movie, Live At Pompeii. On this occasion, he will be presenting the tracks from his latest release, Rattle That Lock. However, the possibility that he might also play songs by his former band has not been ruled out. Recall that Gilmour and Nick Mason still hold the operating rights to practically the whole of Pink Floyd’s legacy.

Be sure to relive the magic of one of the best concerts ever. You can also enjoy a tour of the most famous Roman archaeological site in the world. Check out our flights here.

Text by Los Viajes de ISABELYLUIS

This small Italian town in the Sicilian province of Trapani was first settled by the Saracens in the Middle Ages. After the Second World War, on account of the post-war hardships, the area lost a substantial part of its population as many of its inhabitants emigrated to the New World. Subsequently, the town was totally devastated by an earthquake in 1968. The decision was then taken to start over from scratch, and an inventive project was drawn up to “humanise” the area, for which purpose several famous international artists were called in, names such as Pietro Consagra, Alberto Burri, Mario Schifano, Andrea Cascella, Arnaldo Pomodoro, Mimmo Paladino, Franco Angeli and Leonardo Sciascia. The town soon turned into a huge laboratory of experimental art, prompting artists to create works that ennobled the new urban precinct.

The Top 6 Monuments in Gibellina

It should be noted that the reconstruction of Gibellina arose as part of a major cultural challenge which involved both the need to built habitable dwellings and to do so in an artistic milieu. Today, Gibellina is one huge open-air, modern-architecture museum featuring some brilliant works; and, it is now inhabited once more. Here, then, are the six most stunning areas.

Il Cretto di Burri

Gibellina is a town born of a tragedy, and an earthquake at that, the remains of which are still visible beneath the vast work known as Il Cretto, by Alberto Burri. The artist was reluctant to set his work within the confines of yet another urban complex. Instead, he created a gigantic monument dedicated to the earthquake victims which stretches over the streets and alleyways of the old town. It is a massive concrete structure which hugs the ground and is scored by deep cracks. Its artistic value lies in having physically frozen the historical memory of the land. For its sheer size, Il Cretto is one of the largest artworks in the world.

The “Meeting”

In 1976 Pietro Consagra designed a monument-sculpture known as The Meeting. This large-scale sculpture features smooth curves emerging from two parallel projections. It is a clear example of Brutalist architecture, so in vogue in the seventies. In this case he combined transparent sections with opaque ones, while eschewing any balanced compositional harmony. It now stands between the bus station and the area taken up by bars and other leisure facilities.

The Chiesa Madre

in 1970 Ludovico Quaroni was commissioned to design Gibellina’s parish church on a hilltop. The geometry of the church is novel, not only owing to the layout of the building and its relationship to its surroundings but on account of the language in its architectural forms. The various functional areas are distributed in a box with a 50-metre-square base sub-divided into modules and sub-modules, while the symbolical and geometrical centre of the monument is a great smooth cement sphere bearing reference to the sacred.

The Piazza del Municipio and the Civic Tower

The town square is surrounded by a colonnade designed by Vittorio Gregotti and Giuseppe Samonà, the walls of which were decorated with ceramics by Carla Accardi. Edging the perimeter of the square stand some marvellous white metal sculptures of characters from the work, Oedipus Rex, made by Pietro Consagra, with others by Mimmo Rotella, and the so-called Civic Tower designed by Alessandro Mendini. Four times a day, a blend of sounds with reminiscences of everyday life in the old Gibellina can be heard from this tower.

The Square System

This is actually a matrix of closed architectural squares designed by Franco Purini and Laura Thermes. Enclosed within this System are the Piazza Rivolta del 26 giugno 1937, Piazza Fasci dei Lavoratori, Piazza Monti di Gibellina, Piazza Autonomia Siciliana and Piazza Passo Portella delle Ginestre.

The Civic Museum of Contemporary Art

Gibellina’s contemporary art collection was created from contributions by Italy’s leading artists, and others of international acclaim.

The first to chip in were the Sicilians – Pietro Consagra, Carla Accardi and Emilio Isgrò. Ever since its inauguration in 1980, the Gibellina Museum has been endowed with over 1,800 artworks, notably original paintings, illustrations and sculptures. Most are housed inside the building, but some are dotted about the town streets, where they form a complement to the urban architecture. The bulk of the museum’s exhibition space is taken up by the collection, but there is a room dedicated to Mario Schifano, while another open-air area is given over to artistic and architectural mock-ups.

Join us on a trip to this unique spot in the world. Check out our flights here.

Text by ISABELYLUIS Comunicación

Images by Tiberio Frascari, Giulio Nepi, Antonella Profeta