Author Archives: Ben Gould

Ethical travel?

It was only when I left Bangkok that I actively investigated the human rights issues plaguing the country. As risible as it sounds, when I was there I was so stuck in the bubble of expat life and ingrained in the culture, that I didn’t pay attention to what was happening around me – the military overthrowing a popularly elected government, Martial Law, anyone who criticised the Royal Family getting chucked in the slammer; that and rampant poverty. I even worked in a Catholic Primary School owned and operated by some of the most right-wing Monarchist creatures I’ve ever met – they were essentially Southeast Asian versions of Franz von Papen. I guess I was so grateful for my own slice of Apocalypse Now that I accepted the lunacy of the environment.

Something that’s troubled me recently is the extent to which one can ignore the human rights abuses of a host country, choosing to discard the unpalatable for the pursuit and pleasures of adventure. I piss around a lot on Instagram, and I am daily presented with the most apolitical of travelogues, almost completely divorced from reality.

In the often trumpeted ‘Cradle of Civilisation’ that is the Middle East, ladies are lashed for the temerity of being raped as jet-setters sip club sodas on trendy rooftops. On another popular page, ‘fearless’ folk hit North Korea for the banter, which consists of karaoke in an empty Pyongyang hotel bar. Meanwhile, government agencies bug your room and the peasants starve to death in Kim Fatty the Third’s death camps.

It’s gotten to the stage now where ignoramus tourists (us interlopers) shuffle around Tiananmen Square bereft of a Scooby that there was a rather … significant uprising there back in ’89. Perhaps the lone protestor halting the column of tanks was from a movie (Tank Man).

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Tank Man at Tiananmen Square.

In all of this I am reminded of George Bernard Shaw singing Stalin’s praises and spunking all over the Soviet Union as if it were a utopian Animal Farm minus the pigs. As famine raged in Ukraine, hundreds of thousands rotted in the Gulag system, and the Lubyanka Prison accommodated nightly executions, Shaw sat down for a cosy meeting with the “Georgian gentleman”, and shortly afterwards spat out his unforgettable statement: “I have seen all the ‘terrors’ and I was terribly pleased by them.” Such a contemptible act borders on intellectual bankruptcy, and worse, appears the deliberate propaganda of Mephistopheles himself.

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The Holodomor.

By mingling with such repressive societies, the argument goes, we open them up to progressive politics and liberalism. One should respect their unique way of life, and not expect to transplant our values on them. This rubric also maintains that ‘responsible tourism’ contributes greatly to the economic well-being of the oppressed, especially if you stay in family-owned lodgings and buy from small businesses.

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Dir: Martin Scorsese (2016).

A movie I saw recently, Martin Scorsese’s Silence (2016), sort of channels this we-know-best zeal, though this through the lens of religious imperialism. In the film, two 17th-century Jesuit priests travel from Portugal to Japan to locate their mentor and spread their faith. At first dedicated to protecting the persecuted local Christians from the authorities, they end up doing more harm than good, inflicting untold misery on the local believers.

That age-old question, wholly prescient in our era of regime change, is whether seeking to convert a ‘backward’ country is more or indeed less beneficial to the oppressed there; will it deliver them more freedom or extend their subjugation, with us as an additional (colonial) overlord?

And it’s not like we in our ivory towers are without our own glaring deficiencies. What is the Electoral College in the US but the manifestation of a gerrymandered, rigged franchise? And what of the colourful catalogue of miscarriages of justice that stain our judicial systems, or even the wanton spying practised illegally for years by surveillance agencies? Democracy ain’t what it says on the tin.

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Map of ‘freedom’.

 

So the prevailing dogma is that you can see these retrograde places but just keep your mouth shut. Boycotting won’t help and neither will donning your missionary garb. I’d like to say I’ll pass on these countries out of a sense of misguided morality, and reserve my travel to Google Images. But I’m just too selfish to not tick these maligned countries off my list. My ‘moral compass’ doesn’t outweigh my curiosity/vanity. I’ve reached that jaded stage in my life where I’ve resigned myself to the fact that I shape nothing. Or maybe I can help a few folk (with generous tipping) on my way to some Instagram hits.

Further reading:

https://www.tourismconcern.org.uk/should-ivisit-countries-where-human-rights-are-violated/

http://www.irishtimes.com/life-and-style/health-family/is-it-wrong-to-holiday-in-a-country-that-has-a-poor-human-rights-record-1.2704102

The dilemma of travel to countries that violate human rights

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The Mongol Rally.

The Mongol Rally is a non-competitive, frankly ridiculous summer car rally from London to the Siberian town of Ulan Ude. The rally used to conclude in Ulaanbaatar but now for monetary reasons beyond the understanding of this author, the caper merely passes through Mongolia. It’s still called the Mongol Rally, though ….

Anyway, the three fundamental rules are as follows:

The car must be a smatter of shite, with an engine size limit of 1 litre.
You are on your own (no support team).
Teams need to raise at least £1000 for charity.

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Photo: Erik MacKinnon.

It’s a dangerous, DIY mode of travel. One must be creative, daring, and blessed with a stoic fortitude that the three to four week, 10,000 mile quest demands. Folk have been hospitalised, stripped naked and robbed; many arrive home skint. And sadly, a bloke died whilst passing through Iran a few years ago. There’s a sense of autonomy in the endeavour, and an undeniable romance – you’re an ersatz Marco Polo in a falling-to-pieces Volkswagen Beetle. FYI: I’ve personally had gnarly dreams of journeying from Mogadishu to Cape Town in the farcical Mutt Cutts Van (’84 Sheepdog) from Dumb and Dumber (1994).

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Photo: Norrbet at Globotreks.

It’s almost as if it’s too easy to travel these days, that ‘anyone’ can do it. This is true, and the vainglorious elements within us have us chasing down more difficult, testing, and unusual pursuits – how else to explain all the death-from-selfie occurrences on outback mountain tops? There is, though, no better  story at a shindig than announcing to friends and neighbours that you’ve just driven to Siberia in a Ford Fiesta. Planes are for the masses, clearly. I verily anticipate the hipster-infused travel craze of 2018 – from Hamburg to Volgograd on a Segway, each participant armed to the fucking teeth with a bag of green tea, a 35mm SLR, and a typewriter.

Further reading:

Mongol Rally

https://www.gapyear.com/features/149618/how-do-you-survive-the-mongol-rally

Essential Tips for Driving The Mongol Rally

http://erikmackinnon.com/why-were-driving-a-beater-car-from-london-uk-to-ulaanbataar-mongolia-for-charity-and-why-you-should-join-us/

Mongol Rally: Getting Lost in Mongolia and Reaching Ulaanbaatar

 

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Midnight in Paris.

I found Paris to be a grimy, dirty, overpriced and overrated hovel of a city, crawling with street urchins and riff-raff flogging pebbles and other assorted tat. There are esteemed features, but as someone with negligible interest in food, coffee, or fashion, I found it hard to be enamoured with the place. It’s the antithesis of the magical province propagated by such recent luminous movies as Amélie (2001) and Moulin Rouge! (2001). Granted, Montmartre  was splendid, and the Eiffel Tower a must-see cultural landmark, but these aside I reviled the setting; I simply didn’t see a reason for it to exist. It’s ugly, noisy, and boring.

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Midnight in Paris (2011), in which Owen Wilson’s successful but unfulfilled Hollywood screenwriter winds up galavanting Zelig-style around the 1920s Paris party scene with the most famous faces of the age, is one of the most … pleasing movies of the past decade. As escapist as Allen has got in recent years, it’s no accident that his late-career resurgance has coincided with him having effectively retired the Allen persona in front of camera.

Rather than gloss over the city’s defects or tackle them, Allen appears to have found a way to plausibly romanticise the city through its time-travel McGuffin – a vintage Peugeot Type 176 this picture’s DeLorean. Why bother essaying social and economic upheaval when you can have your protagonist shoot the shit with Cole Porter, Zelda and Scott Fitzgerald, Ernest Hemingway, and Gertrude Stein?

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Allen nails the centrifugal appeal of Paris in its most delectable incarnation – that carefree carnival of the Golden Twenties. Our everyman is vaulted seemingly by magic into a smoky conurbation of illustrious writers, poets, and artists, and able to hold his own with these literati. A roaring decade of promise between the wars, the ’20s stand as the most seductive and beguiling of the 20th century, and Paris (with Berlin) its gleeful carousel. ‘Les Années folles’, indeed.

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With F. Scott and Zelda Fitzgerald.

It’s not so much the topography of the city that captivates the audience, but the freewheeling possibilities of Wilson’s night-time escapades. That was the essence of the ’20s – when ‘isms’ were scrawled on napkins and a trip to a café could be a life-changing experience.

The film is Paris as an ideal, less so reality. It’s how I’d like to regard the City of Lights, this aided by never returning there. It’s easier to empathise with the past than accept the present. The dream has become reality.

 

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Dry January in Weston-super-Mare.

Weston-super-Mare appears as a West Country seaside relic from the 1950s, a chapter long before Ryanair and easyJet established themselves, apparently, as the conduit for poor people to see things other than factories. They seem simpler times, its agents unencumbered with the fatal liberality and accompanying ontological crises bequeathed to our generation. The birthplace of John Cleese and none other than Jeffrey Archer, the renowned borderline-midget Isambard Kingdom Brunel ‘chillaxed’ here when he wasn’t building the Bristol & Exeter Railway. I’d like to think he would have sat on that beach and taken a selfie were an iPhone readily available.

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The town is Blackpool sans the tower. There are shops and several pubs; I venture in a few for Beck’s Blue non-alcoholic concoctions that produce aghast stares from puzzled bartenders. The Tesco houses a security guard decked out in jackboots. It rains in the winter and, presumably, the other seasons. The pier looks nice, but it was nicer before a fire engulfed the pavilion in 2008. A crucial part of a quietly devastating motion picture, the Merchant Ivory-produced The Remains of the Day (1993), takes place on the pier.

Highlight of the trip: I went looking for Bette Midler on the beach but found only sabotaged sandcastles and faint figures in the distance.

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Death *of* Venice.

Venice was pure decadence; it reminded me of the decline of the Amberson family in Welles’s semi-forgotten masterwork, or more aptly the great ball sequence that closes The Leopard (1963). There was a sense about the place that I was walking the streets and traversing the canals of a city on the edge of time, an opulent remnant grasping on to another era. That bygone age becoming more irrelevant and forgotten by the day, it is now eroded by the pernicious intents of globalisation, nowhere more evident than in the installation of garish vending machines in the city’s piazzas.

 

Declared world heritage status by UNESCO, Venice now houses only 55,000 permanent inhabitants who must endure up to 30,000 cruise ship passengers a day, with an estimate 22 million visitors a year swarming into the archaic Republic.

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Revolting scenes. Photo: World Monument Scenes.

Venetians blame this tourism for the miniscule, still dwindling population. The catechism is that tourists’ need for short-term accommodation increases rent prices, with much available property utilised by landlords for holiday rentals as opposed to residents or long-term tenants. It’s an issue of space, and Venice can’t be built *upwards*. As summed up by UNESCO: “The capacity of the city, the number of its inhabitants and the number of tourists is out of balance and causing significant damage to the city.”

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The ‘hordes’.

The Queen of the Adriatic is no doubt in need of more than a lick of paint, such is the deterioration of its buildings and canals through simply too many people cramming into such a tiny lagoon. But without the hordes of holidaymakers, and I am one of these vermin myself, Venice would surely melt away into Atlantis, a world unto itself, and though there’s something bittersweet and fatally beautiful about such a proposition, it demands an economy that ticks, and its permanent residents, however grating the experience, depend upon the premise of tourists spunking their bum bags of cash up the wall (or into the lagoon).

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There’s an argument that as something becomes more accessible it loses its aura, especially where cities are concerned, as if tourism is still the grand pursuit of the elite. Those days (I hope) are over. What must be done – the repairs, the concerted efforts by city administrators to study, manage, and maintain the integrity of its structures – has been thoroughly articulated by UNESCO. Speed limits on motor boats (to prevent wave erosion) and a buffer zone around the lagoon are just a couple of the common sense solutions that have yet to be implemented. A masterpiece needs periodic renovation, constant conservation, and the consultation of its most vital components – its makers.

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For further reading, please check out the following:

Italian Environment Fund: http://www.fondoambiente.it/

Shocking facts: http://theartnewspaper.com/news/conservation/how-italy-stopped-venice-being-put-on-unesco-s-heritage-in-danger-list/

Residents rather vexed: http://www.telegraph.co.uk/travel/news/tempers-flare-in-venice-as-angry-protesters-block-cruise-ships/

 

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Loan and Lém. Saigon, 1968.

If ever a war produced a ‘Decisive Moment’ it’s this Eddie Adams Pulitzer-winning shot straight from the vanguard of photojournalism.

Nguyen Van Lem; Bay Lop

South Vietnamese General Nguyen Ngoc Loan, chief of the National Police, fires his pistol into the head of Viet Cong officer Nguyen Van Lém. Saigon, Feb. 1, 1968.

The image has always stayed with me. It spoke of brutality and a stark disregard for human life; it’s one pretty good encapsulation of death, pardon the oxymoron. I always assumed it was an indiscriminate execution until I read an Eddie Adams obituary article a few years ago.

Lém, the photograph’s victim, had just killed South Vietnamese Lieutenant Colonel Nguyen Tuan, his wife, their six children, and his 80-year-old mother. Loan was a personal friend of Tuan and his family.

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Given this informational context, I view the photograph differently. However perverse this may be, I see Loan as the victim and Lém as the perpetrator. Alternatively, I see the photograph as a tabula rasa.

Loan fled South Vietnam during the fall of Saigon, and subsequently moved to the United States, opening a pizza restaurant in Burke, Virginia. He retired in 1991 after his identity was disclosed.

Adams later apologised to General Nguyen and his family for the effect the photograph had on his life.

Further viewing: https://m.youtube.com/watch?v=bst9mjjiBBo

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Rogue Movie.

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Rogue One: A Star Wars Story (2016) is the much-belated Death Star movie that has blown my mind. I waited 19 years for this film. I first saw the original trilogy as an 11-year-old in Berkeley, California, during an Xmas retreat at a family friend’s homely crib. I knew nothing about the movies but within the hour I was breathless, and convinced I had it in me to construct my own Scottish version of a lightsaber from a bottle of Curaçao triple sec insouciantly sourced from the adults’ cupboard. Then the prequels came along. They were a horror show. Then The Force Awakens (2015) pummelled me into paralysis with its written-by-committee lip-service narrative, snorefest tropes, and dull characters. It was essentially a self-referential tribute act, and boring as fuck.

Rogue One is something else. It both contextualises and expands upon the original trilogy in an exciting way; it’s a masterpiece of pacing and economy of action. Even the political infighting within the upper echelons of the Imperial command system was thrilling (and consequential). There are so many memorable shots in this picture, mise en scène not seen since The Gipper was scratching his balls half-way through his first term in office. It had moments of actual visual transcendence, meaningful and imposing.

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Rather than rehashing familiar places to appease the fanboy contingent, we are introduced to hitherto unseen worlds, and existing ones are given new dimensions. There’s a scene on the desert moon of Jedha involving the Empire and the Rebels (now imbued with layers of real moral complexity) that’s Straight Outta the Second Battle of Fallujah (2004), such are the connotations on display. The film became almost a metanarrative here, cinematic allusions and contemporary reality synced to spectacular effect.

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This movie is a belter.

Loved it.

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Colonel Bogey in Kanchanaburi.

Rocked up to this masterpiece – the Bridge over the River Kwai – in Kanchanaburi three years ago, whistling the Colonel Bogey March with hallucinogenic images of Alec Guinness emerging from the jungle. I was plastered at the time, decked out in Khakis and looking like I’d emerged from the inferno. Transcendental moments.img_20161205_204639

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