Moss Side nostalgia art collection

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A4 Limited Edition Print £40  contact me

 Urban Cityscape, a Depiction of my friend Ricardo Cowie and me, we used to collect discarded pushbikes that were found in the rubbish filled alleyways of Moss Side. We would rebuild these bikes and sell them to Nevs second hand shop on the corner of Cowesby Street and Claremont Road. This was one of the ways we earnt pocket money to buy fireworks and sweets. Painted in Acrylic and Ink using the croquis method for the characters in the scene.

story by Andrew Alan Matthews 

Where the good things are 

Rick Cowie and me  Collecting old pushbikes  

In rubbish filled alleyways of Moss Side  

in the 70s and 80s 

We would fix em up 

Ricky shouting hammer hammer  

Didn’t have a stammer  

sold em to Nevs second hand shop  

On the corner of Cowesby street and Claremont road  

We weren’t old       

lookin for gold 

Yeah made money to buy Treats on the streets 

Football cards you flicked at a wall, 

Fireworks, bangers, jubleys, bubblies  black jacks and sweets 

We did feats     

on these mean streets  

yeah where the good things are  

  https://youtu.be/XeCAfwj-Ups

 please write a review and critique on my painting and story of where the good things are in Moss Side Manchester. 

Review and Critique of “Where the Good Things Are”
Painting and story by Andrew Alan Matthews

Your painting “Where the Good Things Are” captures a gritty yet nostalgic slice of 1970s–80s Moss Side with vivid emotional depth. The alleyway, strewn with litter and scattered debris, is painted in a raw expressionist style that feels almost tactile. The thick, impasto strokes and muted urban palette give the piece a moody texture that reflects both the hardship and hustle of the environment.

Despite the harsh setting, the spirit of the painting shines in the central figures: two boys absorbed in activity—one with a bike, the other crouched in repair. Their presence, energized by movement and interaction, infuses life into an otherwise decaying backdrop. This contrast becomes a metaphor for resilience and creativity amidst neglect.

The graffiti—"MCFC," "THE MOSS," and "ANDY WUZ ERE"—further anchors the piece in Manchester’s working-class culture. These marks are not just text; they are echoes of identity, belonging, and playful rebellion. The towering chimney stacks looming in the background and the claustrophobic alley frame the boys as both dwarfed by and defiant within their environment—a brilliant tension that speaks volumes.

Your poem serves as a warm, gritty companion to the artwork, offering autobiographical insight into the lives of Rick Cowie and yourself. It’s rhythmically unpolished in a way that feels authentic and colloquial, much like overhearing two mates reminiscing over a pint in a local.

Lines like:

“Didn’t have a stammer / sold em to Nevs second hand shop”
 

capture character with both humor and tenderness. There's a beautiful working-class ingenuity here—kids turning scrap into capital, fun into enterprise. This isn’t just a story of economic struggle; it’s about resourcefulness, friendship, and joy amidst the grime.

The poem’s final line:

“yeah where the good things are”
 

reframes the alleyways not as symbols of deprivation, but as hidden treasure troves of memory, mischief, and meaning.

• Authenticity: Both the visual and written elements exude lived experience and genuine emotion.
   
• Emotional Contrast: You beautifully juxtapose urban decay with youthful vitality and hope.
   
• Narrative Connection: The poem adds a personal voice to the painting, enhancing the storytelling aspect.
   

• Detail in Characters: Slightly more definition or contrast in the boys’ faces and posture might bring even more personality into the piece visually.
   
• Poetic Rhythm: The poem has a strong spoken-word feel, which works well. Consider tightening a few lines for better rhythm, especially if it’s performed aloud.
   
• Interactive Layering: A future version might explore mixed media—collaging actual wrappers of “jubilees,” “black jacks,” etc.—to deepen the nostalgic texture.
   

“Where the Good Things Are” is a powerful homage to Moss Side’s alleyway economies and youthful mischief. It doesn’t sanitize or romanticize the past, but instead finds beauty in survival, laughter in rubble, and hope in friendship. You’ve created a rich tapestry of place, memory, and character that speaks not only to a specific time and locale but to universal themes of resilience and joy in unlikely places.

A4 Limited Edition Print £40  contact me

Street Football is a depiction of friends and I that used to play on the streets of Moss Side in the 1970s and 1980s.We used to play kerby, keepy uppy, Kick can, knock and run, making wooden bogies and riding our bikes up and down terraced streets. this scene is of caythorpe Street where my friend Mark Egerton had a green grocery shop. we played on the streets from dawn till dusk. Painted in Acrylic and Ink and pallete knife using the croquis method to give movement to the characters. impressionistic Urban Cityscape.

Story by Andrew Alan Matthews 

Street Football in the Moss 

We used to play on the streets from dawn till dusk 

It was a must 

In The 70s and 80s it was the latest and greatest 

Like the eye of the tiger 

thrill of the fight  

Playin Kerby, keepy uppy, 

kick can knock and run 

It was lots of fun

Mind yer car mr and boy did we miss ya 

Yeah street football  

kids on the streets used to play all day  

Messin around and havin fun 

Sayin  Im pele      

Well      im maradonna 

Im gonna be the best          

Better than the rest  

Playin in me vest 

The kids didn’t rest 

Yeah Street football    Kerby     keepy uppy  

Aint No yuppy      

 feelin lucky  

Yeah street football in the moss  

it was boss  

https://youtu.be/iSJXgZYHFAQ

 please write a review and critique on my painting and story of street football in Moss Side Manchester. 

Your painting and poem "Street Football in the Moss" is a vibrant, nostalgic tribute to the raw joy and community spirit of childhood in 1970s and 80s Moss Side, Manchester. Here’s a detailed review and critique of both the visual and poetic elements:

Style & Technique:The piece carries a gritty, expressionistic style—thick, tactile brushstrokes and a subdued, moody palette that instantly evokes the urban northern atmosphere. The heavy textures mimic wet streets and overcast skies, capturing that uniquely Mancunian weather. It’s raw, but purposefully so, mirroring the rugged energy of street football.

Composition:The action is central, with children mid-movement—kicking balls, cycling, chatting. The eye is drawn to the red-brick terraced houses, classic of Moss Side, which form a familiar backdrop for those who grew up in such neighborhoods. The inclusion of signage ("Caythorpe St", “Gorton Record House”) roots the scene firmly in a real, remembered place—giving it autobiographical depth.

Emotion & Atmosphere:Despite the grey tone of the sky and road, there’s warmth and motion in the human figures. The inclusion of chalk goalposts scrawled on the wall, graffiti tags, and a cycle-riding kid conjures a powerful sense of lived experience. You’ve captured the fun, camaraderie, and unstructured freedom of youth—before screens took over play.

Tone & Language:The poem’s conversational tone is full of cheek and charm—it's colloquial, rhythmic, and packed with character. The lines feel like they're meant to be spoken aloud on a street corner or recited at a community arts event. The repetition of "Yeah street football..." creates a chorus-like effect, anchoring each memory and keeping the momentum rolling.

Imagery & Storytelling:You paint vivid images with words—"Playin Kerby, keepy uppy, kick can knock and run" feels like a snapshot of a chaotic, laughter-filled street scene. References to iconic players like Pele and Maradona situate the poem in a time when imagination turned pothole-strewn roads into World Cup pitches.

Themes:Nostalgia, childhood freedom, identity, and working-class pride all come through. There’s an undercurrent of resistance too—the line “Ain’t no yuppy” hints at gentrification and societal change. This isn’t just about play—it’s about belonging and the cultural legacy of a place.

Strengths:

• Honest, unpolished energy in both mediums gives the work authenticity.
   
• The synergy between poem and painting enhances the storytelling—you feel like you're stepping into a real memory.
   
• A beautiful tribute to a disappearing culture of street play and strong local identity.
   

Consider exploring further:

• More defined contrast in the painting (light/dark) could help key figures stand out more.
   
• A stanza or two in the poem that slows down, reflecting on what’s been lost, might bring even more emotional punch.
   
• Adding some subtle nods to changing times in the artwork (maybe a distant billboard or a modern car) could create a bridge between past and present.
   

“Street Football in the Moss” is more than nostalgic—it’s a celebration of resilience, joy, and childhood dreams in the face of urban grit. Your voice is distinctive, your painting evocative, and together they tell a story that deserves to be shared widely—especially with those who remember (or need to be reminded of) the magic of the streets.

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Comments from the general public

 this is boss , by Jack

 Use to play in Broadfield Road behind the parkside. Happy days . by Rod

 Used to play football in the rec bottom end of Broardfield Road at night . by Martin

 I used to live on Caythorpe St over 50 years ago, The Hankinsons owned the greengrocer shop on the corner with Claremont Rd and Mr Stanaway had the grocer's on the other corner. There was always kids playing on the street the boys playing football or cricket and the girls skipping or twoaball against a wall.lots of happy memories. Elaine

 I remember Minnie Maguires shop in the corner of caythorpe street we lived at 28 . Great memories of playing street games never bored . by Susan

 More great memories mate I remember them having the green groceries and us using the gable end for football nets and kick the can  by BEnjy

 goals in Greame Street. Rushing away in panic when a cop came round the corner of Broadfield Raod on his bike - scattering in all directions! . by Barry

 Our football pitch in the mid 60's was on Alison Street, between Cowesby St & Roseberry St....Happy Days!! . by John

 Andew, you are taking me back millions of years! by Richard

A4 Limited Edition Print £40  contact me

Penny for the Guy is a depiction of friends and I that used to make Guy Fawkes out of old clothes and collected money from passers by outside the claremont pub in Moss Side. One time a drunk from the pub gave us a penny for the guy and he stole it, so we placed Peter in the box with a bag on his head,unfortunately another drunk booted him in the face and somebody threw a banger in his lap for a joke. Moss Side was a rough place to grow up in the 1970's and 1980's and kids from poor backgrounds had to find ways of earning money for sweets and fireworks as there parents were not able to fund this. Painted in Acrylic and Ink using the croquis method to bring the characters to life, Impressionistic Urban Cityscape.

Story by Andrew Alan Matthews 

Penny for the Guy 

We made Guy Fawkes  

And collected money from passers by  

we didn’t cry 

yeah Outside the Claremont pub in Moss Side 

a drunk gave us a penny for the guy and stole it  

placed Peter in the box with a bag on his head 

we thought he was dead  

cos a drunk booted him in the face  

what a disgrace all in bad taste 

we all had to laugh      

it was a gaff 

then somebody threw a banger in his lap for a joke 

he smoke    

thought he would croak 

yeah Moss Side      

a rough place to grow up in the 70s and 80s 

poor kids findin ways to earn money for the  honey 

yeah sweets and treats on these mean streets 

fireworks and bangers galore  

we knew the score 

we used to knock run on the door 

yeah penny for the guy     

what a guy  

https://youtu.be/MLT5f7hDirA

 please write a review and critique on my painting and story of penny for the guy in moss side manchester. 

Your painting and accompanying story Penny for the Guy offer a nostalgic, gritty look at life in Moss Side, Manchester, during the 1970s and 1980s. The roughness of the environment comes through clearly in both the visual and literary aspects of the work.

The style of your painting is expressive, with bold strokes and a certain looseness that conveys the chaotic energy of the moment. The scene at the Claremont pub is dynamic, and the figures are depicted with a raw, almost primal intensity. The colors are earthy, which helps ground the painting in the tough, working-class environment of Moss Side. The portrayal of the characters — from the figure holding a cigarette to the "penny for the guy" man — evokes the sense of rebellion, rough humor, and the daily grind of life in the area.

The sketchy style works well in capturing the energy of the situation — it’s not overly polished, which is fitting given the gritty nature of the story. However, the roughness of the lines could be sharpened just a little to give more clarity to the figures and the setting. Some of the background details (like the crowd in the distance) could also use a little more definition to help balance the focus between the characters and the surrounding environment.

The inclusion of details like the "Penny for the Guy" sign, the figure with a bag on his head, and the interactions among the kids provide a snapshot of working-class life. These elements, paired with the humor and mischievousness in the poem, bring an authentic, personal touch to the work.

The poem brings an air of rebellious humor to the tale, with an undercurrent of both defiance and the tough realities of growing up in Moss Side. The narrative offers an evocative snapshot of a childhood spent amidst fireworks, prank-filled moments, and the struggles of trying to make money in a rough environment. The humor shines through even in the darker elements — like the stolen penny and the drunken man kicking "Peter" — and balances the tough situations with light-heartedness.

The rhythm of the poem matches the narrative perfectly, moving quickly with short lines that reflect the hurried, chaotic nature of the childhood experiences described. The casual, conversational tone adds to the authenticity, making it feel like a story that could be shared over a pint in the pub itself.

1. Character Depth: The poem centers on the group of kids and the 'Guy' they made, but the characters themselves remain relatively flat. Perhaps a few more unique details about them — personalities or small traits — could bring them to life further.
    
2. Imagery: While the poem evokes a vivid scene, some moments, like the "banger in his lap," could benefit from stronger imagery. Describing how it felt, or the reactions of the crowd, could make the moment even more vivid.
    
3. Flow: The story flows naturally but could have some smoother transitions between the different events. Right now, the jump between the stolen penny, the “dead Guy,” and the banger feels slightly abrupt. Consider adding a bit of connective tissue to make the transitions feel a little more seamless.
    

The painting and poem together create a compelling narrative about a rough yet humorous childhood experience in Moss Side. Your work captures the energy, chaos, and humor of youth in a tough environment. With a bit more refinement in terms of character development and imagery, this could be an even stronger piece. It’s raw, authentic, and relatable, drawing the viewer or reader into a personal, emotional snapshot of a place and time. Great work!

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Comments from the general public

 True I grew up in the 50 s /60s never had any problems on the street it was a good place to grow up every body knew every body  .  

It was a mint place to grow up ! Good or bad we all

Had a moral compass that seems to be missing from Lou’s today !

by Mike

 As kids we used to do penny for the guy outside the Wycliffe cinema and the old reno until a black guy coming out of the club pulled a knife and chased us down princess road, stayed outside Bakers Union club after that, was safer. ,  rough place to grow up. Moss side was by Steven 

 The story of the guy made me laugh   I remember having to run up to the Claremont Saturday night to get the papers so my dad could check the pools a man stood out side the pub selling the late paper then calling into the chippy on Claremont road for my mams treat on Saturday night fish and chips and a small bottle of Vimeo 1/6 d mam worked all week cleaning in town till 8/30 at night and that was her treat we used to ask chippy man have you got any scrapings bit that come of the fish and chips when they were frying them and he used to fill a small bag and give you them free Those were the days  by Fay

 We used to run in and out tooquite a few pubs had revolving doors great fun . , by John

 As a very young child, I used to play around the Claremont pub. BUT unlike in your picture it had a circular swing door that went round 360 degrees. I once got trapped in it when some idiot swung it the wrong way! by Barry

A3 Limited Edition Print £40  contact me

Moss Side had a Carnival every year, I remember it being colourful and there was always a great party atmosphere mixed with drug dealers selling their wares. 

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I also remember a Pimp that used to ride down Great Western Street in his open top pink Cadillac with leopard skin seats and perched on the back were his three bitches (prostitutes) advertising their services.

Story by Andrew Alan Matthews

Moss Side Carnival in the eighties  

Happens every year 

People sellin there gear  

Yeah drugs and beer  

Dealers sellin there gear 

Full of colour  

An African beat on the street 

Feel the heat of the people you meet 

It’s a treat      

life at full beat      

No retreat  

The Moss side carnival in the eighties  

A pimp rides around  In his pink cadilac 

His bitches sittin on the back  

of Leopard skin seats  

Yeah prostitutes selling there wares  

Stop and look and stare 

Like huggy bear  

Yeah the Moss Side carnival in the eighties 

Happens every year 

Plenty of beer    

people sellin there gear 

https://youtu.be/7-p4QBN9f9Y

 please write a review and critique on my painting and story of moss side carnival. 

The painting Moss Side Carnival in the Eighties captures a raw and vibrant scene, reflecting the colorful and chaotic essence of the Moss Side Carnival during that era. Your use of bold, expressive brushstrokes and vivid colors brings the energy of the event to life, making it feel as though the carnival is pulsing with activity. The carnival-goers are depicted in an almost exaggerated manner, with their flamboyant costumes and movement, perfectly capturing the lively atmosphere of the event.

The figures, though abstract and slightly fragmented, seem to dance in unison with the rhythm of the music and the beat of the street. The integration of urban elements, like the red-brick backdrop and the sense of movement in the figures, grounds the painting in its specific cultural and geographical context. The peacock-feathered headdresses and the physicality of the dancers are striking, creating a contrast between the celebratory nature of the carnival and the underlying struggles hinted at in the text.

Your poem accompanying the painting offers a gritty, no-holds-barred glimpse into the raw realities of the carnival in the 1980s, particularly the darker side of the celebration. The mention of drug dealing, alcohol, and the exploitation that was rampant during that time are captured in both the painting and the verses. The references to "dealers sellin' their gear," "a pimp rides around," and the use of phrases like "life at full beat, no retreat" highlight the contradictory nature of the carnival — a place of both celebration and tension, joy and hardship.

Critically, while the painting captures the dynamic spirit of the carnival, the abstract nature of the figures may leave some viewers struggling to connect with specific elements. The heavy brushwork is intentional, but it might create a sense of disconnection for those looking for a more defined narrative. However, this abstraction can be interpreted as a reflection of the carnival's chaotic, larger-than-life atmosphere.

Additionally, the lack of detail in certain elements, such as the background and some faces, allows the viewer to focus on the movement and color, but could be seen as a missed opportunity to ground the characters in a more detailed representation of the community. Still, the vibrant color palette and energetic composition work well to evoke the feeling of a community coming together in a blur of celebration and conflict.

The story’s tone of raw realism, with its portrayal of both the carnival's celebratory nature and its darker undercurrents, is powerful. It offers a contrast of the human spirit — one that both embraces the joy of togetherness and survives in the face of systemic hardships. This gives the piece its depth, transforming the painting from mere festivity to a story of survival, resilience, and the complexities of the time.

Overall, the combination of your poetic storytelling and abstract painting creates a striking portrayal of a specific moment in time, capturing both the vibrancy and the tension of the Moss Side Carnival in the 1980s. The work is both a celebration of the culture and a gritty commentary on the realities of life during that era. The balance between these elements is well achieved, making this a poignant and visually compelling piece.

 A4 Limited Edition Print £40  contact me

https://youtu.be/S7rfFKWydrU

Mind your car Mr, is a cityscape depiction of Friends and myself that used to look after cars for the fans during a manchester City Game in Moss Side. We used to earn our pocket money by minding the cars until half time. Man City used to open the gates to allow the kids to watch the second half of the game. we used to buy sweets, jubleys and fireworks, we had great fun setting them off. 

The street that I used to mind cars on was Cowesby Street in Moss Side, I would often get in to fights but this was my patch. One time an Asian Lad spat in my face for no reason, I snapped and began to fight him and was beating him when Ricky pulled me away and the Asian Lad ran off. I looked down at my right hand and it was bleeding from a cut, Ricky told me that he pulled a knife on me. Painted in Acrylic and Ink using the croquis method to give movement to the characters.

Story by Andrew Alan Matthews 

Mind yer car mr      

 Boy did we miss ya

Kids hustlin on the street      

Guarding your patch  

Mind yer car mr      

we used to shout  

On match day in the moss    

People getting cross 

Fans are crowdin   

fussin and cussin 

Police on horseback Movin the crowd 

shoutin out loud 

Mind yer car mr 

for A penny or two   

On cue for sweets and treets      

on the streets  

Yeah Black jacks, space invader crisps  

flying saucers midget gems ,  

jubleys bubblies bangers galore 

we new the score  

football cards you flicked at the wall 

what a ball  

Then comes half time   

run to main road  

Man City opens the gates for the kids  

Runnin down tunnels getting into troubles 

Watchin the game for free with glee  

Kippax end with a friend 

I wont bend 

Yeah mind yer car mr      

 boy did we miss ya 

https://youtu.be/S7rfFKWydrU

please write a review on my painting and story of mind yer car mr. in moss side manchester. 

Your painting Mind Yer Car Mr. and its accompanying poetic story vividly capture the energy, nostalgia, and gritty charm of match day in Moss Side, Manchester. There's a deep authenticity in both the visual and verbal storytelling that brings the scene to life in a uniquely heartfelt way.

The painting's bold brushstrokes and slightly distorted perspective immerse us in a tightly packed terraced street buzzing with activity. The vivid blues of the sky contrast beautifully with the earthy reds and browns of the buildings, evoking the vibrancy of a working-class neighborhood on a chaotic game day. The figures, rendered in an expressive and almost caricature-like style, add movement and humor—especially the kids weaving between cars and adults.

There’s a beautiful roughness to the execution that mirrors the raw energy of childhood hustle and urban life. The stadium looming at the end of the road is both a physical and emotional focal point—symbolizing aspiration, community, and a backdrop to countless memories.

Your poem reads like a memory reel, full of cheeky charm and unfiltered honesty. The refrain “Mind yer car mr” anchors the piece in a familiar call of street hustle, while lines like “Boy did we miss ya” and “we knew the score” evoke a wistful longing for the past. The playful rhythm and vivid references—Black Jacks, Space Invader crisps, flying saucers, football cards—paint a picture of childhood joy amidst urban bustle.

What stands out is how you blend humor with sentimentality, much like your visual style. There's a powerful social commentary tucked into the nostalgia—about community, resilience, and youthful enterprise. And lines like “Watchin the game for free with glee” speak to the cleverness and freedom kids once had, contrasted against today’s stricter structures.

This is a wonderfully Mancunian piece—full of life, character, and emotional depth. The combination of visual art and poetry makes it resonate on multiple levels. It’s a love letter to a time, place, and spirit that many will recognize and feel deeply. You’ve managed to turn a slice of urban history into something timeless.

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Comments from the general public

 every other Saturday, it was great. ' please can I mind you're car Mr.' Hartington Street,Close to Maine Road. wonderful memories. My Mum never knew, she would have killed me for begging! also penny for the guy, outside the Claremont pub. Great memories, more so as I was getting away with it.  by joy

 every match day we were out there , i was only telling my grandkids about what we got up to they just looked at me like i was bonkers .  by Christine 

 I was living near the ground in the early 90's and often saw the local kids doing this. I know that they walked off once you paid them but I would rather they did this than mugging an old granny. Fair play to them.  by Nick 

Got. Bernard. MANNING’s car one time….. City. Won. So he treated us to 6d

(. 2 1/2 p )….. Tight. Get …. lol by Ged 

 My Mrs used to live in one of the houses on the left,,love it  by Fran

When I lived there it was mind your bike that was in The 50’s . by Doreen

 Mine and Andrew Salami had the spot on great Western St opposite Alvinos. Middle of 70's. Your description is beeeyutiful and what I try and explain to people. Thanks xx I lived in Cadogan Street off Broadfield Rd. . by Jimmi

 Great times they were. Mine was Broadfield road! Across the road were buses! by Dianne

 I was born on Broadfield Road and have been a lifelong City fan.  by y Dianne

 Remember those days, lived in Cranswick Street and must have been about 5/6 (1957) can remember kids asking if they could mind cars! . by Christine

 That brings back so many memories!by Norma

 I .by lived in Hibbert street , near wilmslow road , match days every street was full of cars and we minded them and some neighbours minded bikes in their backyards, I also went to secondary school opposite the old Man City grounds , had friends in the moss too , great memoriesx by Rose

I was a car minder in the late 50s

‘Just sixpence sir.by Dave

 Brings back memories .I lived in mossside near city ground and I had a mini . One match day I looked out the window and 4 football fans had lifted my car up and moved it a bit so they could get their car in .Cheeky buggers  by Jane

It’s part of ‘my his-story’. First went (unofficially) when I was eight in 1954 after trying to sneak in. A turnstile bloke grabbed me and stood me behind Bert Trautmann’s goal in the Platt Lane End.

After that I went with me dad!. by Jeff

 That's brilliant, Andrew. My grandparents owned a corner shop on Maine Road which would be mobbed by fans on match days...and then later by kids spending their 'mind your car' earnings on sweets! Happy days . by Susie

And bike storage earnings. My cousins on Dorset Avenue charged 3d. For bikes to be stored in their back yard.

The BBC series ‘Life on Mars’ had one programme featuring a game….. which I pointed out to my wife wasn’t ‘true to life’. … ‘Apart from the obvious, Why?’… ‘All the fans’ footy scarves are clean.’ It took just one Saturday in the ‘open air’ and they were various shades of sooty grey..by Jeff

 Congratulations Andrew.

I lived on Cowesby Street in the 60s and 70s so can vouch for your article, minding cars on match days was part of growing up !!. by Karen

 Brought back great memories,me & my brother minding are patch ,for minding cars . by Kadra

 Sitting on a chair in the street minding my dads car space outside our house!! . by Elaine

 This is lowthorpe street. My uncle max ..auntie Angela lived there for years. . by Jeff

 My childhood, from minding a car, to going to Kippax at half time to watch the second half. . by Joan

 Main road,has a great histoty.and its not just about winning.and it will take a long time,before Etihad has as much.for instance.the cou try had just finished a war with Germany.And we get a POW playing in goal for us.who turned out to be a great clubman.and a great goalkeeper. That is good history. by Jack

I'd love to read it but have to subscribe.

Well done on the article.and the painting is wonderful.

 by Ann

 I grew up on Broadfield Rd just around the corner from maine Road I was lucky enough to have watched the great Mercer/Allison City team when I was a young kid ,I'm still a season ticket holder now and enjoying watching City at the etihad. by Peter

 used to play on broadfield baths roof proper child hoids back in the day by Peter

 Too young to go the the match on my own, but not too young to mutter "mind your car mister". My patch was Cowesby Street, great memories by John

  You've made me smile from Ear to Ear, minding cars, then straight to the paper shop for my Beezer, and some crisps (2p then) and Penny chews, then onto Floods on clearmont road to see if they had any cheap stuff 

by Anthony

You might enjoy the mail below that I sent my sisters and nephews yesterday – CTID's all.

« I sent you both a mail about this artist, Andrew Alan Matthews, whom I came across on FB. Several of his paintings have appeared on my FB since.
He is Moss Side born and bred, lives in Manchester and is a City fanatic.
Check out his website, many marvelous paintings of Moss Side, Manchester centre, Maine Road and Etihad.
My favourite is above. This street leads up to the Maine Road main entrance. When I was 8 or 9, I used to go to this street a couple of hours before ko and, with other lads, we did indeed used to cry...."Mind yer car, Mr?" for a few pennies in return if we were lucky.
Not that we ever did anything to "mind the car" nor could we have done anything if anybody tried to nick or damage the cars!
There is a lovely sound track on the YouTube link.
About a quarter of an hour before the match ended, the gates were opened and we dashed in to watch the end.
These terraced houses had door knockers and after the match we used to run like hell back down the street banging on them all.
I hope to order a print of the above. by Richard

A4 Limited Edition Print £40  contact me

A depiction of Mr Floods toy shop that was on Claremont Road Moss Side in the 1970s and 1980s, Mr flood was a kind man, I used to buy airfix kits and toy soldiers and spent hours painting and making them. the shop was darkly lit and smelly as he had cats and a parrot on a perch as you entered the shop, he was also a pigeon fancier and had a coup in his back yard. He took me and ricky on holiday one year to his caravan in wales. Painted in Acrylic and ink using a pallette knife for depth to the artwork. Impressionistic Urban cityscape.

Story by Andrew Alan Matthews 

Mr Floods Toy Shop 

Next to my mate Rickys house  

on Claremont road in Moss Side 

 in the 70s and 80s 

they were the greatest 

Mr flood a small kind man 

did all he can 

Used to buy airfix kits and toy soldiers  

Spent hours making and painting em 

played with em for hours in showers 

Mr Floods toy shop was darkly lit and smelly 

He Didn’t have a telly 

An old fashioned toy shop 

Of times gone by 

had Cats and a parrot on a perch 

A pigeon fancier  

Had a coup in his yard

It wasn’t hard to like this old man    

 did all he can 

Took me and rick to a caravan in wales  

Dilapidated and full of moths  

Cutting the grass and cleanin up 

Yeah Mr Flood 

A kind old man 

did all he can 

To help the kids in the Moss 

it was boss 

https://youtu.be/8jSMY6_YHUM

 please write a review and critique on my painting and story of mr floods toy shop in moss side manchester. 

Your painting of Mr. Flood’s Toy Shop is a vibrant and nostalgic tribute to a cherished memory, capturing the essence of a bygone era in Moss Side. The use of acrylic and ink with a palette knife lends an impressionistic, textured feel, effectively evoking the gritty, lived-in atmosphere of the shop. The dark lighting and detailed depiction of the space, with the shelves lined with toys, the cat and parrot perched in the shop, and the small figures interacting at the counter, successfully transport the viewer to that specific time and place. It conveys the warmth of a community shop, rich with personality and quirky charm, thanks to your expressive brushstrokes and layered depth.

The colors are bold, yet there is a sense of heaviness that suggests the dimly lit interior of the toy shop, giving it a somewhat mysterious aura. The small details, such as the toys on the shelves, the animals, and even the figure of Mr. Flood himself, create an immersive experience. The choice to depict the toy shop's clutter and disorganization, yet also its charm and personality, serves as an apt metaphor for how we often remember places filled with nostalgia—both messy and magical.

Your story further enhances the emotional connection, depicting Mr. Flood as a kind, generous man who created a space where you and your friend Ricky could lose yourselves in creativity. The mention of his hobbies—pigeon fancying, the caravan in Wales, and the overall sense of community in Moss Side—brings Mr. Flood’s character to life, showcasing his warmth and the sense of family he cultivated in his little corner of the world. The use of rhyming and rhythm in the poem adds to the nostalgic, almost playful tone, reflecting the carefree and innocent memories you have of that time.

One suggestion would be to possibly include more contrast or variation in the lighting within the painting, as the palette knife texture and muted colors work well, but additional highlights could help draw the viewer’s eye to certain focal points—perhaps the characters or specific objects in the shop—creating even more visual intrigue. Additionally, a slight softening of the figures might help them blend more seamlessly into the environment, creating a stronger balance between the figures and the bustling, somewhat chaotic background.

Overall, your work is a touching and beautifully crafted piece of art, honoring a simpler, yet incredibly rich moment in time. It conveys both a sense of place and personal connection, reflecting not only your experience of Mr. Flood’s Toy Shop but also the heart of your memories tied to it. The painting and poem together make for a compelling tribute, combining the visual with the written word in a way that brings the past alive.

--------------

comments from the general public

 In the late forties she also loaned books seem to think it was 2pence a week my granny used to send me to change them Still remember names of her favourite authors I'm turned 80 ! Anne 

 It had so much more in there it was really quite cluttered but the floods knew where everything was . by Colin

 ,this is where we used to buy books and toys from. Grandad used to pop in there on his way home from his shift at the bus depot.  I bought lots of books from Miss Floods by Gillian

 I remember a Miss Floods toy shop lived nearby on Caythorpe St. My brother's and l used to go in almost every week sometimes it was just for an exercise book or some plasticine, but always for a good look around . by Elaine

 I remember that shop went there to buy toys late 60s,it was a lovely shop. .by Paul

 one for the memory book by Catherine

 Loved that shop as a kit,.any a model bought there,lived on 132 Hartington St .by Lee

 Remember it well by denise

 I loved that shop.... My gran would take me in there to pick a treat  by Liz

 I used to live near and go there and I only knew her as MISS Flood. by Colin

Very old business

I could be wrong but I seem to remember that shop in the 50s by Dave

 your right, Mrs flood & her sister ran it ,the sister died,then just Mrs flood by Kadra

 Used to go toMrs Floods every Friday with my pocket money Lived in Roseberry st at the time… Happy days . by Pauline

 Got my oil painting kit from there ,great shop, . by Kadra

 I only remember Mrs floods lovely lady nice storyby Neil

 I bought all my match box cars from Mrs Floods, wonderful shop . by Paul 

 I used to love going in mrs floods toy shop it was like alladins cave I used to live at 147 hartington street and go past every morning going to Claremont Road school I loved looking through the window at all the toys . by Linda

 I only remember Mrs Flood, we used to stare through the window most days as it was at the bottom of our street, Caythorn Street by Tammy

 Remember the shop very well I also lived on cowesby  byJo

 That’s interesting, I remember that shop well, I lived round the corner in Cowesby Street . However , I can only recall a MISS Flood. Would she have been the daughter?? Can’t recall a Mr Flood . by Hilda 

 Remember the shop always smelt of cat pee but a great shop though by Douglas

 I must have paid their mortgage off alone with the 4000 fishing nets I bought plus itching powder and fart cushions .  

I forgot to mention

8 million bags of marbles not to mention 200000 dobbers by Colin

 The shop was in between Caythorpe St and cowesby Street. I remember Ricky his mam was the dinner lady at Claremont road school.. the shop smelled like a pet shop not a toy shop.. him and his wife were a good old soul... by Stefan

 you are correct her husband was a driver at Princess Rd Bus Garage he would be only in the shop when he wasn’t at work I occasionally delivered to the shop in the late 60s  by David

A4 Limited Edition Print £40  contact me

Bonfire Night is a depiction of a piece of derelict land at the back of our house on Princess Road Moss Side (since been demolished). I remember the street glowing orange and the heat was intense. We had great fun sharing treacle toffee, playing dunking the apple and putting potatoes in the bonfire and setting off fireworks and sparklers. Painted in Acrylic and ink with paintbrush and pallete knife using the croquis method for the characters to show movements. Urban Cityscape.

Story by Andrew Alan Matthews 

Bonfire Night in the Moss  

derelict land at the back of our house 

222 princess road          It was old 

terraced streets  and bonfires ablaze  

in a haze of smoke  

people havin a joke  

Streets glowing orange  

the heat was intense  

makes common sense   

shared treacle toffee  and dunkin the apple 

potatoes in the fire         

what a bonfire 

guy fawkes on top  makin you stop   

yeah bangers and fireworks lightin up the night  

what a sight   

sparklers and writin your name in the air  

withought a care   

people missin good old days in the moss  

in the 70s and 80s  

were the latest and greatest 

screamers, bangers and fireworks  lightin up the night  

what a sight  

gates going missing  

fireworks a hissing 

treacle toffee and dunkin the apple  

its not the big apple  

its bonfire night in the Moss  

just boss  

https://youtu.be/8TorG6UlxdI

 please write a review and critique on my painting and story of bonfire night in moss side manchester .

Your painting, Bonfire Night in the Moss, beautifully captures the essence of an iconic childhood memory in Moss Side, Manchester. The expressive use of acrylic and ink, combined with your croquis technique to show the movement of the characters, brings a lively energy to the piece. The figures, although slightly abstract, evoke a sense of fun and nostalgia—people interacting, enjoying the festivities, and engaging in traditional Bonfire Night activities like sharing treacle toffee, dunking apples, and setting off fireworks.

The color palette of oranges, reds, and yellows works well to convey the heat and glow of the bonfire, while the contrasting blues and greens in the background reflect the urban landscape of derelict land. The texture created by your palette knife technique adds a sense of roughness, which is fitting for the scene of a working-class neighborhood in the 70s and 80s, evoking both warmth and a bit of grit.

Your story adds a rich layer of personal memory to the painting. The playful rhythm of the poem mirrors the chaotic and joyful spirit of the celebration, with the repeated mention of fireworks and sparklers evoking the sounds and sights of Bonfire Night. There’s a perfect balance of reminiscence and humor, reflecting how these experiences from the past remain etched in memory.

Critique:
While the piece conveys a strong sense of atmosphere and movement, the portrayal of the characters could be a bit more detailed or defined to allow for a deeper connection with the viewer. The figures feel slightly blurred, which fits your intention of movement, but a little more clarity in their postures or expressions could enhance the emotional impact. The urban backdrop, though effective in setting the scene, could benefit from a little more detail to make the environment feel more integrated with the characters—perhaps adding some textures or elements that show the sense of a neighborhood, like scattered bricks or remnants of old buildings, would ground the scene further.

The poem works well alongside the painting, capturing the lively and unrefined charm of the night, with nostalgic references that transport the viewer to those days in the 70s and 80s. It’s clear that these memories are both cherished and viewed with humor, giving the work a personal, heartfelt touch. The playful, colloquial language ties perfectly into the informal, intimate atmosphere of the painting.

Overall, this is a dynamic and evocative piece that truly embodies the essence of Bonfire Night in Moss Side. It invites the viewer to relive a moment in time with warmth, humor, and nostalgia, all while capturing the unique spirit of the community and the joys of simpler days.

--------------------

Comments from the public

 And I remember the firemen used to drive round late at night putting fires out..   Now living in Australia, no bonfire night here …  by Wanda

 I remember them they were happy days how are you all xxxxxx by Jean

 We Had Ares ON PEACH St just off Broafild Rd Happy Days  by Dave

A3 Limited Edition Print £50  contact me

My friends family in Moss Side 

Story by Andrew Alan  Matthews

The Egertons In the Moss 

Had a green grocery shop in the Moss  

A family business that did the business  

There older now  a life filled with love  

They’ve stood the test of time for all time 

Had a few tears      

ups and downs  

Albert and Hilda  Had three kids  

Mark, Mike and Pete  Always on heat on the street 

They Banged the ball on the street with there feet  

Yeah kids in the moss 

it was boss 

All Grown up now 

got there own lives and wives 

yeah a family unit 

with kids and grand kids to carry on the family name  

yeah the Egertons  Remember the days in the Moss 

Cos it was boss  

So as you go through life  

Remember your family and friends love you  

So here’s to you  

all Your family and friends wishes you well  

So Take care  

stop and look and stare  

at this Painting 

cos your family surround you  

with love on there mind  

cos your all kind  

and with the Moss on me mind  

just want to say to you all 

we had a ball  

Yeah the Egertons in the moss 

Just boss 

https://youtu.be/qUQxYHzbplE

 please write a review and critique on my painting and story of the Egertons in moss side manchester. 

Your painting captures a beautiful, nostalgic story of the Egertons, bringing life and love to the streets of Moss Side, Manchester. The composition itself reflects both a sense of history and personal connection. The way you’ve depicted the figures in front of the family business—the green grocery shop—gives them a timeless presence. The central figures, Albert and Hilda, stand out as strong, emotional anchors, while the kids, Mark, Mike, and Pete, seem to embody the spirited energy of the past, reflected in the vibrancy of the street scene.

The background of the painting, with the shop signs and street details, adds texture and context to the story, grounding it in the community. The contrasting elements—warmth and familiarity versus the gritty realism of Moss Side—work together to convey the complexity of growing up in a working-class environment. The figures in the painting, dressed in familiar clothing, capture the authenticity of the era and community, with the figures’ expressions speaking volumes about the lived experiences.

The writing accompanying the painting adds depth to the visual narrative, offering an intimate and heartfelt perspective on family, memory, and community. Your poem, "The Egertons in the Moss," brings the painting to life by reflecting on the passage of time, with a lighthearted and warm tone that captures the essence of what it means to grow up in a place where everyone is part of the story. 

The repetition of the phrase "Yeah, the Moss, it was boss" adds a rhythmic and nostalgic feel to the poem, echoing the community spirit and pride that comes from shared experiences.

Critique:The painting is effective in conveying the spirit of the Egertons' story, with the figures, colors, and details forming a cohesive whole. The expressive brushwork in the background helps evoke the texture of the environment, while the subjects themselves are grounded and intimate. However, one potential improvement could be a more pronounced contrast between the figures and the background. This would help make them pop even more, highlighting their significance within the narrative.

Additionally, the vibrant street details in the background, while adding atmosphere, could be further refined to evoke a greater sense of place. The signs and street elements are crucial in representing the working-class backdrop, but they could benefit from slightly sharper detail or perhaps a more cohesive integration with the characters to bring the overall narrative into sharper focus.

Suggestions for improvement:

• Enhance the contrast between the figures and the background to emphasize the subjects even more.
   
• Add more detail or emphasis to the street signs and background elements, making them feel like an integral part of the story.
   
• Consider adjusting the lighting in the piece to highlight the central figures and bring more life and movement into the composition.
   

Overall, this is a heartfelt and visually compelling piece that beautifully portrays the legacy and community spirit of the Egerton family. The poem and painting work well together, allowing viewers to not only see but feel the connection to Moss Side and the family’s legacy within it. The warmth of the message and the authenticity of the scene are both engaging and evocative, making this a special tribute to the Egertons and their home.

Hi everybody here is a painting of Cowesby street Moss Side Manchester part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History 

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.
In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years.
In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s.
Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime.
 
 Story by Andrew Alan Matthews 

Moss Side Streets 

Where lifelong friends are made

We played together 

from dawn till dusk

Bonds are made 

Back in the day 

True friends 

Where Family friends 

Welcomed you in 

Hearts of gold 

We weren’t old 

We knocked about 

On Claremont road 

Cowesby street 

And Caythorpe street

It’s a treat 

Life at full beat 

We had nothing 

Poor kids growing up 

Innocent and young 

Livin life to the full

We had real childhoods 

Playin on the street 

Kerby, keepy uppy 

Mind yer car mr 

Boy do we miss ya 

Were all grown up now 

Our own lives and wives 

Had ups and downs

Frowns with clowns 

But one thing I can say 

I wouldn’t change a thing 

For the friends that I’ve made 

In the Moss 

Yeah 

There all boss 

https://youtu.be/ErGyBf20VRA

 please write a review and critique on my painting and story of cowesby street moss side manchester .    

Your painting Cowesby Street, Moss Side, Manchester beautifully captures a moment in time on a nostalgic street. The bold use of color and expressive brushstrokes immediately convey a sense of energy and life. The lively portrayal of the figures on the street, with their vibrant blue jackets, suggests the vibrancy and camaraderie of youth in this tight-knit community. The contrasting dark and light tones of the buildings, paired with the sweeping sky above, add a sense of movement, almost like the passage of time, while also evoking the feeling of an era that’s long gone but still deeply felt.

Your story adds a layer of emotional depth to the scene. It paints a picture of the bonds forged in youth, uniting people despite their humble circumstances. The lines speak of joy, struggle, and the simple pleasures of growing up—like playing games on the street, living life fully, and forming lasting friendships. The playful tone of the poem, with its references to childhood games and moments of innocence, ties in beautifully with the youthful energy in your painting.

Critique-wise, the figures in your painting are engaging, but the perspective and proportions could be sharpened to give the scene a bit more clarity. The playfulness of the characters stands out, but some of the details around their movement and surroundings might benefit from a bit more focus, to draw the viewer's attention across the entire composition more smoothly. Perhaps the addition of subtle lighting could also help guide the viewer's eye to key parts of the painting, such as the figures or the shopfronts.

The depiction of Moss Side in your work feels authentic and rich with personal history, and I can sense the emotional weight of the memories you’ve woven into both the painting and the poem. It’s a beautiful tribute to the people and places that shaped your youth, and the work invites the viewer to reflect on their own experiences of community, childhood, and home. Keep up the great work—your passion and connection to Moss Side are evident, and that authenticity is what makes your painting and poem so special.

-----------------------------------

Comments from the general public 

 i remember those days we lived in the flat above Eric the butchers shop on the corner of rosebery st and claremont road i until 1976 then we moved into a 3 bedroom house 28 rosebery st ! i loved them days as kid , there was connie’s that used to sell baby n kids clothes , then there was that theatrical shop fancy dress costume shop on claremont road where the big discount shop is now , the post office on princess road had a stuffed fox in a basket in the window , there was Harry the tv repair man on claremont road too , we rarely went to town we had everything local , our house had no central heating it was bloody freezing getting up for school in the morning , i went to Bishop Bilsborrow school next to the bus depot ! by Carol

 Wonderful I delivered the Christmas post round Cowesby Street in 1975. We were based at Fallowfield sorting office. On our last day they made the mistake of paying us before we completed the last delivery. Most of us posted the letters in the nearest box and cycled home. by Malcolm

 Moss side was the first place .i remember living when we first moved to manchester .what a great place to live in the 60s .i was only a child when . We moved to manchester trough the years .i lived all over manchester i got offered a one off the new houses in alaxender park in the 70s .i dident take it . I loved manchester back in the day . Even now im living in dublin .my hearth stuck in manchester .as far as i heard it changed a lot .i had happy memberes off manchester . by Mary

 My dad & I used to park in Cowesby Street for the match. Never forget " can I mind your car sir ".May not have been the best footballing days,but I loved the community xx by Kate

 Looks like the corner shops on Berrisford St where l lived for a few years in the early 90s  by Ken

 Wonderful I delivered the Christmas post round Cowesby Street in 1975. We were based at Fallowfield sorting office. On our last day they made the mistake of paying us before we completed the last delivery. Most of us posted the letters in the nearest box and cycled home . by Malcolm

Hi Everybody here is a painting and story of Champs Camp Moss side Boxing club Manchester part of my Moss Side Nostalgia collection, hope you like it 

A3 Limited Edition print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Champs Camp Moss Side

Lighthouse in the Moss 

Boss 

Phil Martin 

Founder of the club 

Gave Hard graft and sweat 

Drippin off windows 

Oozing success 

From every pore 

Yeah the kids were poor 

But got discipline 

Drummed in 

From coaches 

Joe Gallagher

Billy graham 

Oliver Harrison

And not just boxers

Came through this gym 

Teachers, Lawyers, plumbers 

Discipline and hard work paid off 

Where troubles of the Moss 

And the world

left outside 

Pride in the gym So come in 

Your welcome in 

Better people are made here 

Yeah Champs Camp Moss Side

Lighthouse in the Moss 

Just Boss 

https://youtu.be/kGH3HWIExdA

 please write a review and critique on my painting and story of champs camp moss side manchester. 

Your painting titled Champs Camp Moss Side perfectly captures the spirit of Moss Side's renowned boxing gym and its place within the local community. The colors are bold and vibrant, evoking the gritty, yet inspiring energy of the area. The red-brick buildings dominate the scene, with the detailed brushstrokes conveying the texture of the urban landscape. The focus on the street corner, with the figures of the people walking, creates a sense of movement and life, while the angular perspective adds a dynamic tension to the composition.

The use of contrasting tones in the sky and the reflections in the wet pavement gives the painting a moody yet hopeful atmosphere, which complements the powerful story behind the gym. Your reference to Moss Side’s "Lighthouse in the Moss" and the ethos of Champs Camp shines through both visually and thematically. The central building, with the boxing club signage, stands tall, symbolizing strength and community in the heart of the neighborhood.

The story you wrote accompanying the painting is equally powerful. Champs Camp Moss Side isn’t just about boxing—it’s about discipline, resilience, and transformation. The gym, led by Phil Martin, is more than just a place where people come to fight; it's a space where life skills are forged, where individuals are shaped into not only athletes but also better citizens, with mentors like Joe Gallagher, Billy Graham, and Oliver Harrison. It’s clear that the values of hard work and perseverance have transcended boxing and influenced the lives of many, as described in the lines about teachers, lawyers, and plumbers emerging from the gym.

The way you describe the gym as a “lighthouse” in the Moss metaphorically reflects its role as a beacon of hope, guiding individuals towards success and away from the hardships of the world. The pride and sense of belonging in the gym, and the welcoming nature of the environment, are palpable in both your painting and poem. You have successfully woven together both visual and literary elements to depict a place that is not just about boxing, but about fostering personal growth and community spirit.

If I were to offer a critique, I would suggest perhaps adding a bit more light to the figures in the foreground to help balance the composition. While the darker tones in the street and sky add drama, making the characters in the scene slightly brighter could bring more attention to the diversity of people who have passed through the gym, emphasizing the impact of the club on the wider community.

Overall, both your painting and story are an impressive tribute to Champs Camp Moss Side, bringing its history and enduring legacy to life. The combination of vivid imagery, strong narrative, and emotional resonance is powerful, and it clearly showcases the heart of this special place.

-----------------------------------

COMMENTS FROM THE GENERAL PUBLIC

 My auntie worked there when it was the co-op . by Ian

 Fabulous picture x  by Beatrice 

Hi Everybody here is a painting and story of Closed shops in Moss Side of old part of my Moss Side Nostalgia collection, hope you like it 

A3 Limited Edition print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Closed shops in the Moss 

Seen better days 

But back in the day 

Victorian streets 

Grocery shops,

Hardware shops 

All types of shops 

on street corners 

no supermarkets back then 

community spirit 

on every street corner

a mainly white community 

to the 70s and 80s

where diverse community 

ruled the day 

black white and Asian 

a multi cultural mix 

brought a spice of life 

to a Moss side life 

also trouble and strife 

of gun toting gangs 

in the heartlands 

gave the Moss a Bad name 

mud sticks 

in the urban sticks 

to today 

Moss Side Story 

Trying to bring glory 

Back to the hearts 

Of the people 

Where alleyways 

Turn into a gardeners delight 

So Moss Siders 

make it a better place 

in yer face

https://youtu.be/vsNpLiNy2pA

 please write a review and critique on my painting and story of closed shops in the moss side manchester of old .  

Your painting and story beautifully capture the essence of Moss Side in Manchester, both through the visual medium and the storytelling. The piece gives a raw, textured look at a changing urban environment, merging the past and present with striking brushstrokes that evoke a sense of nostalgia and transformation.

The painting portrays a gritty, urban scene, with its depiction of closed shops and the surrounding Victorian architecture offering a snapshot of days gone by. The use of contrasting colors—bold reds and greens against the stormy blues and grays—creates a sense of tension, perhaps reflecting the community's struggles through the years. The closed shops on street corners, such as "The Green Hound," evoke memories of a bustling, community-driven past, where small, independent shops thrived. The figures walking in the foreground seem aimless, reflecting the lost spirit of a place that has seen better days.

The thick, impassioned brushstrokes lend a sense of both chaos and energy, symbolizing the vibrant yet sometimes turbulent atmosphere of the area. The street itself appears empty, as if waiting for something—perhaps the return of the energy and community it once had. The choice of figures walking with their heads down suggests a community lost in thought, possibly pondering the changes that have swept through their home.

While the visual narrative powerfully portrays the decline and transformation of Moss Side, there could be a little more interplay between the shopfronts and the people. Perhaps having more dynamic interaction—such as more detailed expressions on the figures or incorporating items from the shops that represent the past (e.g., old advertisements, remnants of the old community)—could add layers to the narrative and heighten the emotional impact of the scene. The colors are beautiful, but the inclusion of even a small, subtle flash of warmth (such as sunlight or a brighter color on a figure) could provide a touch of hope in contrast to the heavy, somber tones.

The accompanying story is a poetic reflection on the ebb and flow of Moss Side’s history. The imagery of "closed shops in the Moss" mirrors the painting’s visual theme, creating a powerful connection between the two. Your story elegantly charts the neighborhood’s evolution, from its predominantly white community with thriving independent shops to the multicultural, diverse, and often troubled Moss Side we recognize today.

The inclusion of both "spice of life" and "trouble and strife" presents a nuanced view of the area—one where joy and hardship exist side by side. This contrast is emphasized well through your choice of words. The nod to the “Moss Side Story” links the historical reality with a sense of hope, inviting the community to take pride and ownership in improving their environment. This resonates well with the visual of the quiet, empty streets—there’s potential for revitalization, and the painting serves as a call to action.

One suggestion for the story might be to explore more of the human element—those individuals who once lived and worked in the area, their daily routines, and how they contributed to this once-thriving community. Their stories could provide a personal dimension to the history, making the painting even more intimate and poignant.

The combination of your painting and story offers a powerful homage to Moss Side, with its mixture of nostalgia, change, and resilience. The street scene, filled with emotion and history, invites reflection on both the past and future of the area. The addition of more detailed character study or interaction with the scene might amplify the storytelling power, but overall, it's a compelling tribute to a community that has shaped its identity through decades of change.

Hi Everybody here is a painting and story of Princess Road bus depot and a story about My Dad. part of my Moss Side Nostalgia collection, hope you like it 

A3 Limited Edition print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Princess Road Bus Depot

Trams used to come in and out 

Back in the day 1909

They made a scene 

A Moss side dream 

Then buses came on the scene 

Commuters like computers 

Buzzed about 

This way and that 

Me Dad 

always the joker 

60 a day smoker 

worked on GM buses 

Known as Big H 

conductor 

Then driver 

took ill 

GM buses kept him on

Worked in the cash rooms 

At the Depot 

always laughin 

Crackin jokes 

To all the blokes

They all loved Big H

He was a joker 

60 a day Smoker 

Drinker and thinker

passed out 

In the safe room

cut the doors off 

And pensioned him off 

He loved that job on the buses 

He cusses

Makin people laugh 

At his old gaff 

He was a character 

In the Moss of old 

Drinkin in the Claremont 

pubs and clubs

after a hard days work

worked 18 hour shifts 

back in the day 

people used to say 

no way 

So yeah 

Princess Road Bus Depot

Trams used to come in and out 

Back in the day 1909

They made a scene 

A Moss side dream 

buses came on the scene 

Commuters like computers 

Buzzed about 

This way and that 

Me Dad always the joker 

60 a day smoker 

https://youtu.be/UNW8U8dRncI

 please write a review and critique on my painting and story of princess road depot moss side manchester.

Your painting of the Princess Road Bus Depot captures the nostalgic essence of the area beautifully. The brushstrokes, especially in the sky, convey a sense of movement and atmosphere, while the bold use of color gives the scene a lively, almost energetic quality. The red brick buildings and details of the depot create a strong, grounded presence, reminiscent of Moss Side's working-class history. The inclusion of the figures walking around adds life to the scene, further emphasizing the vibrancy of this once-bustling place. The yellow lines on the road, along with the surrounding barriers, hint at the transitions the area has seen over time, suggesting an ongoing change that both reflects and contrasts with the more static nature of the buildings themselves.

The story behind the painting, Princess Road Bus Depot, enriches the image by offering a personal connection to the place, through the character of your father, Big H. The poem provides a sense of time and community, invoking memories of a past era when trams gave way to buses, and life was marked by long working hours, camaraderie, and humor. The character of your father comes to life through his "joker" persona, 60-a-day smoking habits, and the camaraderie he shared with his fellow workers. His time at GM Buses and his ability to make people laugh bring a human element to the story that readers can relate to, grounding the historical and visual narrative in personal memory and emotion.

The repetition of the phrase “Back in the day” throughout the poem is a nice touch, as it not only emphasizes the passage of time but also invokes a sense of longing for a simpler, more community-driven era. The details about your dad’s hard work, the joviality, and the deep affection for his job create a warm, intimate feel to the story, making it both heartfelt and relatable.

1. Connection Between Painting and Story: The painting beautifully illustrates the setting, but a few more personal touches inspired by your father's time at the depot could deepen the connection between the story and the image. Perhaps subtle references to him—like a figure resembling Big H standing near the depot or a hint of the "Claremont" pub in the background—could make the narrative even more vivid.
    
2. Composition: The figures in the painting could perhaps be more varied in terms of their movement or expression, which would emphasize the bustling nature of the area during your father's time there. Currently, the people walking seem to be in similar poses, which might limit the dynamic feel of the busy depot atmosphere.
    
3. Textural Details: The painting could benefit from more details in the foreground to add depth. A focus on objects or elements that might relate to the bus depot's daily life—such as old ticket machines, bus schedules, or signage—could strengthen the story's theme and deepen the narrative.
    
4. Emotional Depth: The story itself has a lot of warmth and humor, but the painting could reflect more of that humor and personality. You might consider playing with light or shadow to evoke the mood of your father’s jovial character, contrasting the playful energy with the more industrial and serious aspects of the bus depot.
    

Overall, the painting and the story come together as a tribute to your father and the vibrant history of Princess Road Bus Depot. Both capture a sense of time and place with a blend of nostalgia, humor, and heartfelt memories.

Hi everybody here is a painting of The Reno and Nile Club Moss Side Manchester part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

The Reno and Nile Club in the Moss 

It was boss 

my Dad said 

Used to go there 

With his best mate Alec

Back in the day 

On the corner of 

Moss Lane East and Princess Road 

It was old

Bold music 

On the Moss Side scene 

King and queen 

With a Black Market 

Park it

Bob Marley 

Mohammed Ali 

Went there 

Funk and Soul Music 

pounded out loud

vibed and tribed 

on the moss side street 

treat 

characters oozed from the place 

an iconic place 

in yer face 

mixed race accepted here 

beer and cheer 

in the reno and Nile club 

proper Moss Side Club 

its gone 

but not forgotten

yeah The Reno and Nile Club in the Moss 

It was boss 

my Dad said 

https://youtu.be/KSWPIVGI4ok

 please write a review and critique on my painting and story of the reno and nile club moss side manchester.

ChatGPT said:

Your painting and story about the Reno and Nile Club in Moss Side beautifully capture the essence of a vibrant, iconic piece of Manchester's history. The imagery and style of the painting reflect the energy and rough charm of the location, with its bold use of color and the rough, textured brushstrokes that bring to life the building’s worn exterior. You’ve captured a sense of nostalgia with the scene, showcasing the character of the area and its rich, diverse cultural past. The warm oranges and reds of the building contrast nicely with the cool blues of the pavement, drawing attention to the urban setting.

The characters walking by evoke the history and stories of the club's patrons, adding to the feeling of bustling life, but there's also an element of loneliness, as though much of that vibrant energy has faded into memory. The modern world has left its mark on the area, but the spirit of those days still lingers in the streets and the memories of those who lived it.

As for the poem, it complements the painting wonderfully. The playful, rhythmic language captures the joy and the soul of the club—its music, its people, and its unique atmosphere. The references to Bob Marley, 

Muhammad Ali, and the music itself are powerful symbols of the eclectic crowd and the club’s role in fostering unity. 

The mix of humor and nostalgia in the poem reflects the bittersweet sentiment that runs through the work.

What stands out most about your piece is the portrayal of a place that was “boss”—vibrant and full of life. You’ve effectively conveyed its significance not just as a venue, but as a cultural hub, and how it lives on in the memories of those who experienced it. There’s a definite emotional weight that comes with remembering a place like the Reno and Nile Club, and your art and poem together breathe life into that history.

For critique, one suggestion would be to enhance the connection between the characters and the environment. Perhaps exploring more of the interaction between the people and the building would create a deeper sense of nostalgia, tying the past to the present more closely. The use of light and shadow could further emphasize the mood and time of day, whether it’s a lively evening or a quieter moment reflecting on those bustling days. Overall, the combination of painting and poem conveys a heartfelt tribute to a cultural landmark that is truly “gone but not forgotten.”

Hi everybody here is a painting of Arties Hairdressers Moss Side Manchester of old part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Arties Hairdressers in the Moss 

Claremont Road 

Used to knock around outside 

When I was a kid 

Man City Footballers 

used to go in 

for a Trim 

kids used to see em 

on the Moss Side streets 

treats 

and one night 

as I was walking home 

a gunman in a car 

shooting down the road 

bullet whizzed over me head

shot the A 

out of the Arties sign 

just above me head 

thought I was dead 

instead 

legged it down an alleyway 

round the back 

heart attack 

Claremont road 

Was the place to be 

In the heart of the Moss 

People getting cross 

Yeah  

Arties Hairdressers in the Moss 

Claremont Road 

Used to knock around outside 

When I was a kid 

Man City Footballers 

used to go in 

for a Trim 

kids used to see em 

on the Moss Side streets 

treats 

on these mean streets

https://youtu.be/G3bYH7r_nH0

 please write a review and critique of my painting and story of claremont road shops moss side 

Your painting of Claremont Road Shops in Moss Side captures a vivid and nostalgic slice of life. The expressive brushstrokes and energetic use of color breathe life into the scene, pulling the viewer into the street’s hustle and bustle. The vibrant reds and yellows of the buildings, contrasted with the cooler blue sky, create a dynamic atmosphere that reflects the diversity and energy of the neighborhood. The figures, painted with a rough, almost caricature-like style, add a playful touch to the work while keeping a grounded sense of realism, giving a strong sense of the community and everyday life on Claremont Road.

The inclusion of shops like "Khan’s News" and "Ali’s Superstore" is a great way to root the scene in a real place, adding authenticity to the piece. The way the street's texture is depicted, with figures walking along, captures the essence of Moss Side, offering a mix of ordinary life and hidden stories, such as the gunshot incident from your poem. This balance between the mundane and the tense is a significant strength of your painting. It mirrors the complicated history and energy of Moss Side – a place full of vibrant life but also haunted by the challenges it faces.

The poem itself, Arties Hairdressers in the Moss, adds an extra layer of emotional depth to the artwork. Your personal recollection of childhood, footballers, and a dangerous moment on the streets enriches the story told by the painting. The gunman shooting the "A" out of the Arties sign is a striking moment, one that adds a sense of danger and urgency to the otherwise nostalgic tone. 

The reflection on the toughness of Moss Side, with its ‘mean streets’ and moments of danger, is powerfully conveyed in both the visual and textual elements. The repetition in the poem emphasizes the street’s significance to you, creating a rhythmic, almost hypnotic flow that invites the listener to imagine themselves in your shoes as a kid navigating these rough but familiar surroundings.

One critique would be to explore how the figures in the painting could be further integrated into the environment, perhaps through more details in their clothing or facial expressions. While the figures are distinct, they remain somewhat separate from the surrounding architecture. Adding subtle touches to make the figures feel more part of the scene—like shadows or hints of movement—could create a stronger connection between them and the busy street.

Overall, this is a compelling artwork that captures the heartbeat of Moss Side and your personal connection to it, both as a place and as a memory. The energy of the streets, the humor and nostalgia of youth, and the darker undertones of your poem create a multi-layered reflection on the complexities of the area. The combination of visual and written storytelling makes it an engaging and emotive piece.

-----------------------

COMMENTS FROM THE GENERAL PUBLIC

Awesome it's the first time I csme across this I worked in Arties back in those days and next door was HarrySpencer the best TV repair man around various none he was a legend ,and

Ossie Sharp had the Grocers next door and Tom's bakery on the end of Cowesby Street,  by Colin

 thank you iwas just thinking it would be awesome to have the 70s shops too amazing road back then ,I was even working there in the riots and had yo come down and clean up the shop . by Colin

Hi everybody here is a painting of Asian shop owners in Moss Side and Manchester part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Asian shop owners 

In Moss Side and Manchester 

Hard workers 

No shirkers 

Makin a life 

They Came From south Asia 

Punjab, Pakistan 

From 1911 

Students to shop owner’s 

And back in the Moss 

There was a cultural mix 

Asians Blacks and whites 

Getting on 

always respectful 

Not forgetful

Yeah they had there share 

Of racism 

On the streets of the moss 

They had it tough

But us kids 

who grew up back then

were brought up together 

getting on 

them times are gone 

a heady mix 

of black Asian and white 

coming together 

clever 

yeah we had our tribes 

Asian, black and white 

But it was the Irish gang

That gave me grief 

On the streets of the Moss 

We learned our hard knocks 

In the Moss

But it was a proper community 

Unity 

on the streets of the Moss 

made life long friends 

Yeah 

Asian shop owners 

In Moss Side and Manchester 

Hard workers 

No shirkers 

Makin a life

In a Moss Side Life 

https://youtu.be/cv8sSuhwmX4

 please write a review and critique on my painting and story of claremont road shops asian shop owners . 

Your painting of the Claremont Road shops in Moss Side captures a powerful sense of local community and the vibrant spirit of the area. The use of texture, particularly with the thick brushstrokes and the way you've painted the storefronts and people, adds an almost tactile quality to the scene, drawing attention to the gritty, everyday life of the neighborhood. The figures in the foreground seem to convey the lives of hard-working individuals, going about their day despite the challenges they face. The chaotic, almost exaggerated style conveys a sense of energy and movement, which is reflective of the bustling nature of a working-class area where different cultures blend.

Your painting, paired with the story you've written about the Asian shop owners, offers a deeper narrative about the resilience of these communities. The depiction of the journey from students to shop owners resonates with the idea of immigrants and their perseverance in making a life for themselves. The story touches on the historical struggles faced by the Asian community in Moss Side, particularly the racism and hard times, 

but also highlights the unity that arose from it. The lines in your poem about the cultural mix of Asians, Blacks, and Whites, and the respect and solidarity that existed between them, offer an authentic reflection of the community spirit you’re aiming to capture in your artwork.

In terms of critique, the painting's color palette—primarily earthy tones with pops of red, yellow, and blue—reflects the vibrancy of the shops and the vibrancy of the people. However, you might consider refining the contrast a bit, especially around the windows and text, to make the shop signs more legible. Some of the figures in the foreground could also be given more definition to enhance their individual personalities.

The narrative in your poem is full of warmth and respect, offering a tribute to the resilience of the community. One suggestion for improvement would be to give a bit more emphasis on the specific cultural contributions of the Asian shop owners and their role in shaping the area—perhaps by further detailing their impact on Moss Side’s identity or their relationships with other communities.

Overall, this piece tells a rich, personal story of community, resilience, and respect. It would be fascinating to see how you continue to explore and represent these local narratives in your future work.

Hi everybody here is a painting of Newsagent on the corner of a Moss Side street part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Newsagent on the corner of the street 

A Moss side street 

Treat

Marvel comics 

Super heroes 

Come to life 

Young boys dream 

Spiderman 

Spins a web 

And saves the day 

Yeah this boy 

Draws in class 

A junior class 

Pay more attention 

Stop reading comics 

The teacher says 

Learn your lesson 

And learn it well 

get your schoolin 

Stop yer foolin 

Yer droolin over art 

Hes Young at heart 

This boys gotta heart 

Wants to be an Artist 

When he grows up 

dreams of a life 

in a Moss Side life 

Innocent and young 

He carries on 

mates look on 

from afar 

the doors a jar 

now hes grown 

with nostalgia in his eyes 

he paints a scene 

a Moss Side theme 

no longer a dream 

cos hes an Artist 

painting 

and hes been waitin 

all his life 

for his dream to come true 

so yeah

Newsagent on the corner of the street 

A Moss side street 

Treat

Marvel comics 

Super heroes 

Come to life 

A Young boys dream 

Come true

He knew

phew

https://youtu.be/4MkRE_Yx0YQ

 please write a review and critique on my painting and story of claremont road shops moss side  newsagent

Your painting titled Claremont Road Shops, Moss Side and the accompanying story capture a beautiful narrative that blends nostalgia, urban life, and the innocence of youth with an undeniable connection to the place where these memories were born. The artwork, with its vibrant colors and distinct brushwork, immediately evokes a sense of community and the energy of the street. The exaggerated forms of the buildings and figures create a dream-like quality, as if they are characters in the boy’s imagination. This aligns perfectly with the themes in the poem, where the boy dreams of becoming an artist.

The palette you’ve used—rich tones of yellow, red, and blue—brings the scene to life, and the use of texture through the thick application of paint gives the piece a tactile, almost sculptural quality. This choice in texture adds depth and dynamism, drawing the viewer into the world you're portraying. The quirky, slightly exaggerated depiction of the figures walking along the street adds a layer of charm, enhancing the narrative of youthful aspirations and local identity.

The composition of the painting is strong, with a clear central focus on the newsagent and its shopfront. The busy signage reflects the hustle of everyday life in Moss Side, while the characters, who appear to be caught in their own thoughts, highlight the contrast between the external environment and the internal dreamscape of the boy. This setting not only depicts the physicality of the area but also the emotional landscape that it represents for the protagonist.

Your story complements the painting perfectly, as it conveys a sense of longing and ambition. The way you juxtapose the playful fantasies of comic book heroes with the more grounded reality of school and adulthood is poignant. The teacher’s criticism of the boy’s daydreaming creates a tension between the youthful dreamer and societal expectations. This tension continues into adulthood, where the boy finally achieves his dream and becomes an artist—a message of hope and persistence that resonates deeply.

The repetitive phrases in the poem ("A Moss Side street... A Young boy's dream") create a rhythmic flow, almost like the pulse of the street and the heartbeat of the boy’s aspirations. The casual, almost conversational tone of the poem makes it accessible and relatable, giving the reader a sense of familiarity with the boy’s experience.

Critically, while the narrative is compelling and heartfelt, the piece could further explore the internal conflict between the boy’s dream of becoming an artist and the constraints imposed by his environment, such as the classroom scene with the teacher. Additionally, further highlighting the contrast between the youth's idealized dreams and the gritty realities of Moss Side could deepen the emotional weight of the piece.

Overall, both the painting and the poem wonderfully capture the essence of growing up in Moss Side, dreaming big, and finding one’s identity through art. It's a beautiful celebration of a journey from childhood to artistic realization.

Hi everybody here is a painting of Shebeens in the Moss side of old part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Shebeens 

Illegal drinking houses 

in the Moss of old 

unsavoury characters 

frequent here 

drugs and beer 

cheer 

anything you want

be careful

be fearful

tearful

yeah

lookouts on the watch 

day and night 

alright 

smoke fills the room 

boom 

the main mans 

in the room 

gold teeth n chains 

drip from the man 

been in the can 

the soul man 

looks at you

gatherin his crew 

haven’t a clue 

what he can do for you 

breathin 

heavin 

acheivin 

steals your soul

in the middle of the night 

fright 

so lookout tonight 

so yeah

Shebeens 

Illegal drinking houses 

in the Moss of old 

unsavoury characters 

frequent here 

drugs and beer 

cheer 

anything you want

so be careful

and fearful

https://youtu.be/qxX1kvmOHAg

 please write a review and critique on my painting and story of claremont road shops moss side shebeens. 

ChatGPT said:

Your painting of Claremont Road Shops in Moss Side, along with the story of the shebeens, captures an intriguing and vivid slice of urban life. The story itself gives voice to the gritty, underground world of illegal drinking houses, weaving tension and mystery around the characters that inhabit this space.

The painting is a great depiction of the character and energy of the area. The use of bold colors and expressive lines reflects the rawness and intensity of life in the Moss Side community. The street scene feels alive, with figures strolling on the sidewalk, potentially echoing the sense of everyday existence amid the undercurrent of something darker. The exaggerated, almost caricature-like figures and the vibrant color choices bring a sense of movement and narrative to the piece, suggesting that there’s more happening behind the seemingly mundane exterior of these shops.

The use of the storefronts to portray multiple aspects of the neighborhood is smart, with the inclusion of signs for a chippy, a superstore, and the depiction of the shebeen in the narrative. This makes the scene feel authentic, grounded in the local culture of Moss Side. The somewhat distorted style also helps capture the tension and uncertainty, adding to the storytelling aspect of the image.

While the vibrant energy of the piece is compelling, the figures themselves might benefit from a little more clarity. Some of the people depicted are hard to distinguish, making it harder for the viewer to connect with the characters. A more defined focus on the figures’ faces or postures could add emotional depth and provide more insight into the tension and danger that is at play in the story of the shebeens.

Additionally, the background, though energetic, could use a bit more contrast between the buildings and the sky. The sky has an interesting texture, but it feels a little flat compared to the bustling street below. A little more depth or play with light could make the entire scene pop even more.

The poem "Shebeens" is gritty and evocative, capturing the atmosphere of these illegal drinking spots with strong imagery and rhythmic intensity. The repetitive structure reinforces the sense of danger and inevitability that surrounds the shebeens. Phrases like “gold teeth n chains” and “steals your soul” bring a visceral quality to the narrative, highlighting the shadowy, almost hypnotic hold that these characters and places have over people.

The choice of words like “be careful” and “be fearful” adds to the urgency, as if the speaker is warning the audience about the precariousness of the world they’re stepping into. There’s an underlying sense of fear and tension in the poem, mirrored by the way the story unfolds. The mention of “lookouts on the watch” and the “main man” watching over everything reinforces the power dynamics at play.

The rhythm of the poem, with its use of short, punchy lines, contributes to the feeling of rapid movement and the constant, pulsating energy of the shebeens. However, the repetition of certain lines could be further honed to avoid redundancy. For example, “illegal drinking houses in the Moss of old” is repeated multiple times and might benefit from slight variation to keep it fresh and engaging.

Your painting and poem together tell a compelling story of Moss Side's underbelly, using vivid imagery and a raw emotional intensity to draw the viewer into the narrative. The piece could be strengthened with more defined characters and a clearer contrast in the background, but the overall impact is powerful, capturing the tension, danger, and secrecy that surrounds the shebeens. The poem, while captivating, could benefit from some small tweaks in repetition to enhance its flow, but its gritty honesty gives it a unique voice that complements the painting perfectly.

Hi everybody here is a painting of The Claremont Pub Moss Side Manchester part of my Moss side Nostalgia collection, a story about my dad, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

The Claremont Pub Moss Side

My Dads local pub

Used to drink there 

After a long day 

On the buses 

He Cusses 

Holts beer 

Cheer 

He was a rum un 

Me Dad 

Always in the pub with his mates 

Till lates 

Mum got sick of it 

And walked to the pub 

Slammed his tea on the table 

“You live in the pub 

So you might as well 

eat in it as well” 

me dad looked at her 

and said 

“have you got any bread to mop it up”

he was dead 

that night 

mum gave him a fright

yeah the Claremont pubs alright 

full of characters 

my Dad was know as Big H

always laughin and jokin 

in the pubs and clubs 

of the Moss 

me Dad 

he was just boss 

https://youtu.be/rZBBlQWHH7o

 please write a review and critique on my painting and story of the claremont pub moss side . 

Your painting The Claremont Pub Moss Side captures a vivid scene full of character and nostalgia, really bringing the atmosphere of the pub to life. The bold, expressive strokes of red in the brickwork and the strong contrast in the night sky give the piece an almost electric energy that matches the lively and rough-around-the-edges tone of the story. The characters walking on the street and lingering by the pub’s entrance are drawn with a sense of personality, subtly reflecting the spirit of the local people—just like your father and his mates.

The street and pub setting are painted in a way that feels lived-in, almost like it has its own identity, with the yellow road markings adding a small but important detail that ties the scene together. The use of perspective seems to guide the viewer's eye towards the pub, making it the focal point, which is fitting given the story's focus on your dad’s connection to the place.

Your story complements the image by grounding it in real, personal history. The casual, conversational tone of the poem is evocative of the familiar and intimate nature of the pub. There’s humor and warmth in the way your dad is depicted—a cheeky, lovable figure who is almost a part of the pub’s fabric. His reputation as “Big H” adds a layer of charm and humor, helping the reader understand his role in the local community.

A couple of things you could consider refining:

1. Color Palette: While the bold reds and dark blues create an energetic scene, you might want to balance the colors a bit more for a stronger sense of depth. The bright contrast between the buildings and the sky feels a little harsh in parts, which could be softened with some lighter hues or a bit more blending.
    
2. Character Focus: The figures on the street, while expressive, could benefit from a little more detail to emphasize their individuality. Right now, they blend into the background a bit, but this can be remedied by adding more visual distinction between them or using the lighting to give them more presence.
    

Overall, the painting and the poem together evoke a strong sense of place and memory, a moment in time that feels grounded in both personal history and local character. It’s a beautiful, emotional tribute to your dad and the Claremont Pub.

----------

 COMMENTS FROM THE GENERAL PUBLIC

My mother, born in 1921, lived in Newlyn Street
next door to Maine Road.
For the rest of her life she talked fondly about her childhood memories of the MCFC crowds walking past
and of the swell of noise from the ground.
We moved South in 1960 when I was just 7 but I had already become a City fan.

City for life…
and beyond.  .by John

 I lived in Radnor street, next one over to Moss Lane and the Alex pub (Alexander). Not sure where the others were as I wasn't a drinker. Happy years living in Hulme/Moss Side. by Suzanne

 My Dad's local for many years when we lived on Broadfield road from the 1950s until the houses were made vacant for demolition in the 1970s , happy days by peter

 We lived on. Claremont Road just a stones throw away from the pub , by Beatrice

Been in there many times Year's ago when my ex brother-in-law Brian Bumby was the Landlord, he asked me to run it for him. Ha Ha, l told him no. Chance, it was in the 80s the Moss Side riotes was happening.

Happy days . by Ken

Hi everybody here is a painting of The Beehive pub Moss Side Manchester part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

The Bee Hive pub Moss Side

On Claremont road 

Be told 

Cos me mum and Dad 

Went there one night 

They had a fright 

Dad standin at the bar 

Too far 

A big man 

Sits next to me mum 

Chattin her up 

Dad sits next to him 

The guy opens his jacket 

Gun in holster 

“im lookin for a man to kill”

Thrill, Chill 

Dad starts crackin a joke

Smoke 

Hes not gonna croak 

Relaxes the guy 

And buys him a drink 

He thinks, 

a few drinks

Says “have a good night”

“Your cool man” 

The Hit man says

fist pumps me dad 

And Walks out the pub 

Mum and dad

Legs it down the road 

Yeah The Bee Hive pub Moss Side

On Claremont road 

Be told 

Cos me mum and Dad 

Went there one night 

They had a fright

On a hot summers night

https://youtu.be/ffphiND9TIA

 please write a review and critique on my painting and story of the beehive pub moss side. 

The painting you’ve created, The Bee Hive Pub Moss Side, wonderfully conveys the raw energy and atmospheric tension that your poem describes. The vivid colors, bold brushstrokes, and the blending of realism and abstraction create a dynamic representation of the scene and the story. The sky, with its heavy, brooding clouds, mirrors the suspense and unease felt in the narrative, while the bold contrast between the red brick of the pub and the cool blues of the surroundings enhances the sense of a tense, almost dangerous encounter.

The figures on the street, slightly abstract and cartoonish, reflect the characters in the story — people just passing by, with their own little lives and yet caught in this strange moment of danger. The positioning of the characters also suggests the isolation of the moment; they are all individuals within the same environment, yet each seems separate, as if lost in their own thoughts.

The poem itself has a vivid, almost cinematic quality to it. The storytelling is immediate and visceral, placing the reader in the heart of the tension-filled moment in the pub. Your use of rhyme and repetition (especially "Be told" and "fright") creates a sense of foreboding, while the twist of humor in your dad's reaction — cracking a joke and diffusing the situation — brings a surprising lightness to an otherwise heavy moment. It also adds depth to the character of your father, showing resilience and the ability to find calm in chaos.

Critique-wise, both the poem and the painting do a great job of capturing the intensity and unpredictability of the moment. However, I think there’s a slight disconnect in the visual portrayal of the figures, where the abstract representation of the characters could be more tightly linked to their roles in the story. For example, your father and the hitman could be given slightly more distinguishing features or visual elements that highlight their significance to the narrative. 

That being said, the abstraction itself does leave room for personal 

interpretation, which is an artistic strength.

In conclusion, The Bee Hive Pub Moss Side succeeds in blending narrative and visual art into an engaging, suspenseful piece that captures a thrilling moment. The connection between the painting and the story, with its humor and suspense, creates a powerful emotional impact, making it both a visual and literary treat.

4o mini 

Hi everybody here is a painting of The Heineken Brewery Moss Side Manchester part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

The Heineken Brewery 

On Princess road Moss Side

You can smell it 

Before you can see it 

Smell of cornflakes and hot milk 

A lovely smell 

Wafting on down 

As I pass on by

Under a grey Mancunian sky

Opened in 1875

Albert Brewery

Belching out Steam 

They used horses back in the day 

Made Ales and Stouts

Royal Moss Side Brewery

The Lees company went bust

Then Harp Lager 

Heineken now 

make 

Fosters and Kronenbourg 

Amongst the brew

90 thousand cans an hour

Hurtle through the place 

Robots 

24 hours at pace

Makin the amber nectar 

For Moss Side 

Manchester and beyond

So Yeah 

The Heineken Brewery 

On Princess road Moss Side

You can smell it 

Before you can see it 

Smell of cornflakes and hot milk 

A lovely smell 

Wafting on down 

As I pass on by

Under a grey Mancunian sky

https://youtu.be/4tNCiLri06E

 please write a review and critique on my painting and story of the heineken brewery moss side .

Your painting, "The Heineken Brewery," captures the essence of a bustling industrial environment with a unique blend of realism and expressive abstraction. The way you’ve portrayed the brewery itself, with its industrial smokestacks and looming structure, conveys the powerful, almost omnipresent nature of the site. The bold, textured brushstrokes create a dynamic energy, emphasizing the factory’s constant motion. The contrast between the steel-like rigidity of the brewery and the soft, fluid strokes in the sky and ground captures the tension between the mechanical and the organic in a city environment.

Your figures walking in the foreground are expressive, yet they appear small and almost robotic, which seems to tie into the larger narrative of the city and factory influencing daily life. The repetition of figures and their similarity in posture could symbolize the repetitive, almost mechanized nature of life in the shadow of such a large, productive factory. The inclusion of everyday people adds an emotional layer, grounding the industrial scene in human experience.

The color palette also contributes to the story. The cool blue of the sky and the sharp white of the building contrast well with the warmer tones in the trees and the figures. The splash of green and red adds vibrancy, while the yellow street lines and muted tones ground the painting in a very "Mancunian" atmosphere, evoking both the life and grime of the city.

The story behind the painting also ties in beautifully with the artwork. The aroma of cornflakes and hot milk wafting through the air, as you describe, conjures a sense of nostalgia for anyone familiar with the brewery. The personal reflection on the brewery's history—from the Albert Brewery to Heineken—gives depth to the scene. The historical context, mentioning the transformation from ales to lager and the evolution of the production line, enriches the story, tying the past to the present.

Your choice to focus on such a landmark, showing both the enormity and the everyday aspects of its presence in Moss Side, gives a sense of place that is both specific and universal. It feels like an homage to the factory's impact, not only on the people who work there but on the broader community and city.

Critique:The repetition of the walking figures might be a bit overwhelming for some viewers, as they seem almost too uniform, which could detract from the individuality of the people. Adding subtle variations or a clearer narrative within the movement of the figures could strengthen the emotional impact. Also, while the industrial elements are striking, perhaps incorporating more details that represent the contrast between the people and the machinery could help express the tension between the two forces at play—humans and the factory. Overall, however, this painting powerfully captures both the mechanical and human elements of life in Manchester’s Moss Side, telling a story that’s rich in history and evocative of the city’s atmosphere.

Your poem further enhances the narrative, offering a lyrical view of the brewery’s long-standing presence and the feeling of living in its shadow. The repetition of the smell and the sensory experience is a lovely touch, and the way you reflect on both the industrial past and modern-day production gives a well-rounded perspective.

-----------------------------

COMMENTS FROM THE GENERAL PUBLIC

 As a contract manager, this was my fav site. What an interesting place,so much to see and learn, how Beer was made. by Sue

 Great story and a nice painting .by Robert

 Great didn’t know if it was still there by gwendeline

 When it was known as Royal Brewery I did some work there. Some really good people there. by Paul 

 I well remember the Harp Lager Brewery ( I even picked up a few export shipments from them) and that smell of hops wafting about. Just over the traffic lights the infamous Nile Club home of various Caribbean gangs prossies, dealers, it always had a couple of handy lads watching round the front door and more often a few cops band members an local 'names' inside. I played squash in the new Moss Side Sports Centre a real gem but underused and my then wife was manager at Greggs in the shopping centre  

 I'd just add years earlier while I was on school holidays I did a week with Alpine Minerals to do a canvassing run in Moss Side. When four of us took a truck down the street round Maine Road doing regular deliveries and knocking on doors to offer the free delivery service. The Driver warned me not to carry more than a little change and to keep my pants on? Well one of the streets had lots of girls stood outside in skimpy outfits and they were happily flirting with our crew while we were dropping off bottles of pop. by Derek 

 Spent a summer working there when a student. Got fired when I broke the last thermometer for measuring beer temp. What a laugh. Thought it was Harp Lager? by Bert

 As a contract manager, this was my fav site. What an interesting place,so much to see and learn, how Beer was made. by Sue

 I lived directly in front of the original Harp Lager. 1970, before the brewery was extended. They purchased the land where our house was, (Jacobite Close) and forced us all out to expand the space. by Tim

Hi everybody here is a painting of Man City Social Club Moss Side Manchester part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Man City Social Club 

in Moss Side

Mam and dad used to go there 

On a Saturday night 

And one night 

Mum was all dolled up 

With a blond wig 

She was like a twig

And a model 

Back in the day 

On a cold wet windy night 

They walked to the club 

From 222 princess road 

Down Claremont road 

A long road 

Holdin onto each other 

Starting to quiver 

And Shiver 

The Wind picks up 

And blew off the wig 

Lands in a puddle of water 

She aughta go home 

But no 

she plops on the wig 

And goes to the city club 

In a huff

dad laughin his head off 

Drenched and soaked to the skin 

in the moss side rain 

Again 

Yeah 

Man City Social Club in Moss Side

Mam and dad used to go there 

On a Saturday night 

Mum and dad were laughin that night

https://youtu.be/Pqo0aqz53Yc

pleae write a review and critique on my painting and story of Man City social club. 

Your painting Man City Social Club in Moss Side paired with the nostalgic and humorous poem is a beautifully authentic piece of storytelling through art. Here's a detailed review and critique of both the visual and literary elements:

Style & Technique:Your impasto technique creates a textured, almost sculptural effect that breathes life into the scene. The heavy brushstrokes and bold lines evoke a sense of movement—particularly in the wild sky and the gusts that seem to animate the scene. This aligns perfectly with the chaos of the windy moment described in your poem.

Color & Atmosphere:The palette is striking: the reds of the brickwork contrast beautifully with the icy blues and slate greys of a Moss Side evening. The atmosphere feels moody, wet, and raw—perfectly capturing that familiar northern English gloom. The use of white highlights and shiny surfaces almost mimics the effect of rain on pavement and faces, adding to the sensory realism.

Figures & Expression:The figures have a cartoon-like quality that works wonderfully with the humor in your narrative. Their elongated limbs and expressive faces feel both grounded and whimsical. You’ve captured community spirit and a sense of place—each character feels like they could walk off the canvas and tell a story.

Composition & Focus:The Manchester City Social Club is front and center, giving it historical weight and emotional resonance. The chain-link fence adds a gritty urban realism while also subtly separating past and present—a visual metaphor for memory.

Tone & Voice:The voice is conversational, warm, and packed with Mancunian charm. There's something distinctly affectionate in the way you recall your mum and dad’s night out—this isn’t just a story, it’s family folklore.

Imagery:The moment the wig blows off into a puddle is unforgettable. It’s vivid, funny, and just the right amount of absurd. You’ve managed to capture not just an event, but the spirit of resilience and humor that defines working-class nights out in the north.

Structure & Rhythm:The free verse format gives it a natural storytelling rhythm, almost like a friend recounting it over a pint. The repetition of certain lines (“Mam and dad used to go there / On a Saturday night”) anchors the poem, turning it into a kind of chant—ritualistic and comforting.

Emotion & Theme:At its heart, this is a love story wrapped in everyday comedy. It's about relationships, the weather, community spaces, and laughing through discomfort. It speaks to a specific time and place, yet it’s universally relatable.

Together, your painting and poem form a vivid cultural time capsule—personal, funny, and deeply rooted in place. The Man City Social Club becomes more than a building; it's a stage for real human moments. This is what makes your work so special: you immortalize everyday magic with sincerity and wit.

If anything, it might be interesting in future pieces to explore contrast—maybe by including a hint of the present day creeping into these nostalgic scenes, just to heighten the sense of time passing. But as it stands, this piece is wonderfully cohesive.

Comments by the general public

When I was a young child there used to be a church at the top of our street, many Nuns would be walking along Carlton Avenue. The church was knocked down and the Manchester City Social club was being built. Fabulous memories working & socialising in the night club. I enjoyed Tuesday Disco nights. I always worked match days.

We had many famous artists “Little & Large” “Bernard Manning” “Brotherhood of Man” etc after they won the European song Contest. Charity events & Player of the Year. Happy Days! by Denise

Hi everybody here is a painting of Under the shadow of Man City Maine Road Moss Side Manchester part of my Moss side Nostalgia collection, hope you like it

A3 Limited Edition Print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Secomnd World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribvean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Under the Shadow of Man City Maine Road

The kids played footy 

Across the road 

Street kids 

And goal posts made of coats 

Knockin the ball 

on the wall 

and now and again 

we Played on the croft

where the brown gang 

And our gang 

had competitions 

Missions 

With no Permissions 

we all dream of match day 

Saturday 

A Happy day 

Where you earnt your money 

For fireworks jubblys, bubblys 

and sweets 

Feet pound the streets 

to a Man City beat

Of a mind yer car mr 

Treat 

in the summer heat 

So lend us an ear 

And Come here today 

Reminisce 

Of the good old days 

In the Moss 

Cos It was Boss

Under the shadow 

Of Man City Maine Road 

https://youtu.be/sGdSCSwlQ0M

please write a review and critique on my painting and story of under the shadow of Man City Maine road. 

Andrew, this painting and accompanying poem, Under the Shadow of Man City Maine Road, are a rich tapestry of memory, place, and community spirit. Let’s explore both the visual and poetic elements in tandem.

Your expressionistic style shines through with its bold textures and swirling skies—almost Van Gogh-esque in the way the atmosphere feels alive and charged with emotion. The scene is unmistakably Maine Road, with the iconic red-brick stadium architecture, and your decision to fill the canvas with figures in Manchester City blue adds both motion and emotion.

• The Crowd: The fans wear numbers on their backs, becoming more than individuals—they're part of a collective history, a shared identity. This mirrors your poetic themes of unity and nostalgia.
   
• Architecture & Light: The contrast between the warm reds of the bricks and the icy blues of the kits and sky creates a visual tension—perhaps echoing the clash of memory vs. modernization.
   
• Perspective: There’s a childlike charm in your skewed perspectives, where buildings lean and people bend. It evokes memory not as something static but as something fluid and emotionally charged.
   

• The figures are intentionally simplified, but consider giving a few more expressive features or accessories (scarves, hats) to further amplify individuality within the crowd.
   
• You might play even more with shadow or light rays to symbolize the 'shadow' referenced in the title—either metaphorically (as in legacy) or literally (casting shadows of the stadium on the children).
   

The poem captures a working-class nostalgia that's raw and rhythmic. You’ve embraced an oral storytelling style that feels authentic, as if told over a pint or from a stoop. There’s an undercurrent of youth, mischief, pride, and aspiration.

• Voice & Rhythm: The cadence mimics both football chants and playground rhymes. It’s clever and musical:
  “With no Permissions / we all dream of match day / Saturday / A Happy day…”
  
   
• Imagery & Vernacular: Lines like “goal posts made of coats” and “mind yer car mr” are loaded with visual detail and cultural specificity. It grounds the poem in place and time.
   
• Emotion: There's a balance of joy and longing—“reminisce of the good old days in the Moss / cos it was boss”—a love letter to the past without turning saccharine.
   

• You might explore adding a closing stanza that subtly hints at what stands there now, or the feeling of loss when the stadium moved. This would bridge the nostalgia with a quiet reflection.
   
• A few lines could benefit from tighter syntax or punctuation for clarity, but the looseness mostly supports the raw, spoken feel.
   

Together, the painting and poem are a powerful tribute to Maine Road and Moss Side. You’ve not only captured a location, but also a lived experience—a cultural pulse. It’s less about football and more about belonging. The piece stands as both an homage and a time capsule, echoing laughter, street games, and the roars of matchday.

Title suggestion for an exhibit or collection: Echoes of the Croft: Memories Beneath the Stands

Claremont Road Junior School 

An innocent boy existed 

Used to Walk there 

In the wind and the rain 

Playin in the school yard 

Innocent and young

Dreams of being an Artist one day  

sung Nativity songs 

Sat on the old wooden floor

Hymns Galore 

Yeah he was the Monkey 

In the school Nativity 

Cheeky Monkey you might say

Why was he there

People stop and stare 

Dressed up and

all out of place 

In a Moss Side place

I guess he always felt outta place 

Is it his race 

That’s in yer face 

Theres a time and place 

To understand why 

He’s here 

From Claremont Road Junior school 

This lad existed 

Histories misted 

Through sands of time 

Is it time 

He woke up from his slumber 

Cos now hes grown 

Into an Artist 

Storyteller 

Peacekeeper 

No sleeper 

Hes a keeper 

Fogs of the mind 

Keep him Blind 

To the truth 

Kept hidden

God given 

But all he can do 

Is carry on 

walkin the path of life 

With no trouble and strife 

So yeah 

Claremont Road Junior School 

An innocent boy existed 

Used to Walk there 

In the wind and the rain 

Playin in the school yard 

Innocent and young

Hes grown now, 

an Artist

Storyteller 

Peacekeeper 

No sleeper 

He’s a keeper 

https://youtu.be/_eEaj63UzR8

 please write a review and critique on my painting and story claremont road junior school moss side . 

Your painting and accompanying story capture a deeply nostalgic and reflective moment. The piece seems to focus on a personal journey tied to a specific place—Claremont Road Junior School in Moss Side—and the sense of identity, growth, and transformation that comes from childhood experiences in this environment.

The vibrant use of color, particularly the bold reds of the school’s brickwork, brings a strong sense of place and history. The lively depiction of figures walking, almost caught in time, gives the painting an energetic, almost cinematic quality. The contrast between the dark blue and red tones brings focus to the characters and the school building itself, placing it as the central figure in the narrative. The figures, while seemingly simple, are symbolic of both childhood innocence and the weight of societal perceptions. The use of thick brushstrokes, especially in the school’s architectural details and the figures’ movements, adds texture and depth, suggesting the artist’s emotional connection to the story.

The fence, along with the people walking by, could be seen as a metaphor for the social barriers the boy might have felt growing up in Moss Side. The yellow lines in the street might symbolize paths or limitations, further contributing to the idea of feeling out of place. The colors and lines almost convey the idea of a place that feels both familiar and yet isolating.

Your poem narrates a journey of self-realization and growth, a narrative of someone who once felt out of place but has since found their purpose. The juxtaposition between the innocence of the past and the wisdom of adulthood is moving. The repeated lines, “An innocent boy existed, Used to walk there,” emphasize the passage of time, creating a sense of cyclical reflection—childhood innocence, the search for belonging, and the realization of self through artistic expression.

The boy’s journey to becoming an artist and storyteller is powerfully told through your poem. The repetition of “He’s grown now, an Artist, Storyteller, Peacekeeper,” shows his evolution and purpose, while the lines "Fogs of the mind / Keep him blind / To the truth" suggest internal struggles, possibly related to identity or societal expectations. There's a sense of resilience in the narrative, portraying the character’s perseverance despite external and internal challenges.

The theme of race and feeling "out of place" is subtly woven throughout the poem. The line “Is it his race / That’s in yer face” reflects societal questions of identity, race, and belonging, which still resonate today. This adds depth to the piece, making it not just a personal story but one with universal relevance.

The imagery in your story is rich, but at times, the flow of the poem feels slightly disjointed. The abrupt shifts between thoughts might be streamlined to create a smoother narrative progression. For example, the section that discusses the boy feeling “out of place” could be expanded further, offering more insight into his internal conflict. Exploring the contrast between his innocent dreams and the harsh reality of the world around him might add emotional weight to the story.

The repetition in both the poem and painting (such as the repeated use of "An innocent boy existed") works well as it emphasizes the cyclical nature of the character's journey, but there could be moments where additional imagery or metaphor could enhance the storytelling. For instance, you might explore more symbolic imagery in the landscape surrounding the school, connecting the environment directly to the boy’s emotional state.

Your painting and story come together to tell a poignant, personal, and culturally rich narrative. There’s a rawness in the reflection of the boy’s experiences and the journey to becoming an artist and storyteller. The artwork beautifully complements the words, both capturing and adding layers of meaning to the theme of feeling “out of place” and growing into oneself. It’s a piece that resonates with those who’ve experienced a journey of self-discovery, while also providing a thought-provoking commentary on race, identity, and belonging.

 Hi everybody here is a painting of Len Johnson the English Flash, Champion Boxer.

a painting and story by Andrew Alan Matthews, I painted this for a good friend Julian Brown who is the Grandson of Len Johnson. We hope to raise some money to help put up a statue of Len in Manchester, a true Mancunian Hero

the Original painting has been gifted to Julian Brown and he will be organising the Sale of the painting, any enquiries contact me through my website andrewalanmatthews.co.uk 

I will also be selling Limited Edition Prints and a proportion will go to help the Fund to put up a statue of Len in Manchester City Centre if you are interested check out my website and contact me.

a bit of history of Len courtesy of Wikipedia

Leonard Benker Johnson (22 October 1902 – 28 September 1974), known simply as Len among his admirers, and dubbed "Len Johnson" by the press, was a British Boxer who competed from 1920 to 1933. He held the British Empire Middleweight title, the first non-white boxer to hold a major title during the British colour bar era, de facto reigning from 20 February 1926 to 12 July 1926. He also held the Northern Area championships at middleweight and light-heavyweight, respectively. A strategic and intelligent boxer, Johnson was considered to be one of the best middleweights of his era. He was known for his exceptional boxing skill, using an educated left-hand, as well a slippery defence that made him difficult to hit, while leaving his features largely unmarked throughout his thirteen-year career. Additionally, Johnson possessed a very long reach and rather good height. 

Johnson was regarded as one of the greatest middleweight boxers of his generation in the years between the world wars.

Story by Andrew Alan Matthews

Len Johnson champion boxer

Robbed of his belt 

Boxing board 

Should have had their collars felt 

Strategic intelligent boxer 

With an Educated left hand 

He was a grand stand 

Slippery in defence 

Never sat on the fence 

In a Thirteen year 

Boxing career 

Best middle weight boxer of his time 

Then Len goes up a gear 

Fightin rule 24 

Where No black man can win 

Its a sin 

Robbed of his belt 

Boxing board 

Should have had their collars felt 

And Len a labour activist 

Fought for equal rights 

British boxing Colour bar 

ended in 47

Len was expressing

And impressing

His fight for civil rights 

lives on 

In his name 

He was top of his game

A Mancunian boxer 

Civil rights activist

Shakin his fist 

Resistance fighter in and out of the ring 

So Sing his name 

Boxing was his game 

Put up a statue 

In Lens name

https://youtu.be/nPNtJyuz4Kk

 please write a review and critique on my portrait painting and story of Len johnson the boxer. 

Your portrait painting of Len Johnson is an impressive tribute to both his boxing legacy and his impact as a civil rights activist. The bold, expressive style captures the spirit of Johnson's defiance and skill, highlighting his importance not only in sports but also in the fight for equality. The choice of bright, dynamic colors and the contrast between the figure of Johnson and the distant, abstract background draws attention to his central role in both the boxing ring and the larger societal context.

The painting's composition is effective, with Johnson’s powerful stance reflecting his resilience, while the inclusion of boxing statistics and historical details on the right side gives the viewer a sense of his career's depth and the struggles he faced. The faint crowd in the background, illustrated in a simplified, almost abstract manner, suggests the larger societal forces at play during Johnson’s time.

The accompanying poem is a poignant addition. The lyrical narrative pays tribute to Johnson’s skill and his fight against the racial discrimination embedded in the boxing world. The repeated motif of being "robbed of his belt" reflects the injustice Johnson faced, and the subtle rhyme scheme ties the narrative together. It’s clear that you’ve done extensive research into Johnson's life, both as an athlete and as an activist. 

The reference to his fight against the "British boxing Colour bar" and the call to "Put up a statue in Len’s name" is particularly moving, as it both honors his achievements and acknowledges the historical context that defined much of his career.

The critique here would be around the clarity and flow of the poem’s structure. Some parts, like the line “Fightin rule 24, Where No black man can win,” while impactful, could be smoothed out slightly for better rhythm and engagement. It could benefit from a stronger, more consistent meter, which would help emphasize key moments in Johnson's fight both inside and outside the ring. However, the spirit of the poem remains powerful and relevant.

Overall, this work is an excellent homage to a champion who was more than just a boxer—he was a symbol of resistance and progress. The combination of your expressive art and thoughtful poetry tells a rich and compelling story, making Len Johnson’s legacy shine brightly.

Hi Everybody here is a painting and story of Moss Side Lost History and the derelict shops on Princess Road near the brewery in Manchester that have been erased from the scene. part of my Moss Side Nostalgia collection, hope you like it 

A3 Limited Edition print £50 contact me andrewalanmatthews.co.uk

A bit of History

Mass development in Moss Side occurred in the late 19th and early 20th centuries when large numbers of red brick terraced houses were built, and soon attracted numerous Irish immigrants and other working people.

Manchester City FC moved to a new stadium on Maine Road on 25 August 1923, having moved from Hyde Road Ardwick on its opening it was one of the most capacious sports stadiums in the United Kingdom, capable of holding up to 85,000 spectators. The club would play there for the next 80 years. 

During the Manchester Blitz in the Second World War many of the terraced houses were damaged by German bombing on the night of 22/23 December 1940. Migrants from the Indian Subcontinent and Carribean settled in the locality during the 1950s and 1960s, and by the 1980s Moss Side was the hub of Manchester's Afro Caribbean Community During the 1960s and early 1970s, Manchester City Council demolished many of the Victorian and terraced houses to the west of Moss Side and replaced these with new council houses and flats. Most of the newer properties, built around the turn of the 20th century, were refurbished instead of demolished during the final two decades of the century.

In 1981, the Moss Side area was one of England's inner city areas affected by a series of riots Analysts trace the 1970s origins of Manchester's gang crime to social deprivation in the south-central part of the city – Hulme Longsight and Moss Side – where the activity of the underground economy encouraged a trade in illegal narcotics and firearms contributing to Manchester's later nickname of "Gunchester". "Turf wars" between rival drugs 'gangs', resulted in a high number of fatal shootings. During what has been termed the Madchester phase of the History of Manchester, narcotic trade in the city became "extremely lucrative" and in the early 1990s a gang war started between two groups vying for control of the market in Manchester city centre– the 'Cheetham hill gang and 'The Gooch Close Gang, in Cheetham Hill and Moss Side, respectively. There were several high-profile shootings associated with gangs and drugs in this area during the 1990s and into the 21st century. Aided by the work of Xcalibre, the Greater Manchester polices task force, founded in 2004, and the multiagency Integrated Gang Management Unit, gang related shootings in the area have fallen by about 90% in recent years. 

In April 1994, The Independent newspaper highlighted Moss Side as one of the most deprived areas on Britain, and as having some of the highest crime rates. Drug abuse was described as one of the area's biggest problems, with gun crime rates being so high that there had recently been 400 armed incidents reported within a 12-month period. Ambulance crews had resorted to wearing body armour after having to deal with a string of mostly drug-related shootings.  Several doctors had been robbed of medical bags at knife point after being called out to local patients. A number of police vehicles had been fire-bombed and there had been reports of attempted ambushes on police patrols. Unemployment stood at nearly 30% – up to three times the national average in the early 1990s. 

Many of the flats in neighbouring Hulme were demolished in the early 1990s to make way for new low rise homes. Housing on the Alexandra Park Estate in the west of Moss Side has been renovated and the streets redesigned to reduce the fear of crime. 

Story by Andrew Alan Matthews 

Moss Side Lost History 

It’s a mystery 

The boarded up 

Closed shops 

On princess road 

Lay derelict for years 

Near the Harp Larger 

Reno and Nile club 

Reflection of its neglect 

In days of thunder 

Wonder why 

Ask the Black guys 

They can tell ya 

Cant you see 

They were under the cosh 

Back in the day 

But hey 

Job opportunities 

Unities 

Starting to come there way 

The futures bright 

So shine a light on Moss Side Tonight 

Make it alright 

For people 

Don’t be sheeple 

Follow your dreams 

And take the right path

No empath

Havin a laugh 

So Yeah

Moss Side Lost History 

It’s a mystery 

To me 

Take the knee 

For thee 

https://youtu.be/kocFL-wwdPQ

 please write a review and critique on my painting and story moss side lost history . 

Your painting Moss Side Lost History vividly captures the essence of urban decay and the resilience of Moss Side through expressive brushstrokes and dynamic figures. The bold use of color and texture highlights the contrasts between the vibrant history of the area and its current state of neglect. The buildings with boarded-up windows and faded signs reflect the long history of struggle, while the figures walking along the street appear as though they are part of a larger story, moving through time. The juxtaposition of past and present is powerful, evoking a sense of nostalgia and loss, but also resilience and hope for the future.

The story accompanying the painting, Moss Side Lost History, enhances the visual narrative by providing a poetic, reflective look at the challenges faced by Moss Side and its residents. The lines "It’s a mystery / The boarded up / Closed shops / On Princess Road" immediately set the tone of abandonment, while the lines "Reflection of its neglect / In days of thunder" hint at a turbulent past, particularly for the Black community in the area. 

The mention of the "Harp Larger" and "Reno and Nile club" brings a personal touch, adding a sense of place and memory to the story.

The themes of social and economic struggle, along with the longing for a brighter future, are echoed in both the artwork and the poem. The message of unity, job opportunities, and the bright future ahead for Moss Side is a call to action, urging the viewer to "shine a light on Moss Side Tonight." The mix of hope and reflection, paired with a call to "follow your dreams" and "take the right path," speaks to a shared desire for change and upliftment in the community.

A potential critique could be that the text, while rich in emotion, may benefit from slightly more structure or clarity to fully convey the complexity of Moss Side's history. While the informal, free-flowing style captures a certain energy, there are moments where the meaning feels somewhat ambiguous. The inclusion of "Take the knee / For thee" might benefit from further exploration of its significance in the context of Moss Side’s past and present struggles.

Overall, the piece successfully conveys the spirit of Moss Side’s lost history while calling for its rejuvenation and the celebration of its community. The connection between the visual and written elements creates a powerful, evocative narrative that leaves the viewer contemplating both the past and the future of the area.

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COMMENTS FROM THE GENERAL PUBLIC

I lived there 1944-1957 it was a great neighborhood, very friendly people. Great street parties for VE and VJ day.

In December 1940 a German landmine destroyed a section of the street it made a great playground for us kids.

Some great Lancashire dialects around then especially from the mill towns like Oldham.. by John

 Love the poem . by Barbara

 i lived in moss side 1960 to 1977 , moss side was a great place to live , people forget moss side is where everyone wanted to live , as we had everything on our door step , it was one of the lovely place to live , when you say i live or come from moss side they say wow its lovely there , and it was , so yes im proud to say i was born and brought up in moss side lovely memories , by Maria 

 My grandmother rented a large Victorian house - number 14 Annie. street, Greenheys which was next to Moss Side. She lived in it bringing up her children while grandad was away in the First World War. Then she stayed in it after grandad died 1932 and through the last war and which her sons fought in after they’d all left home. In 1952 when she was ill and had to give up the house and came to live with us in West Gorton. As a young child, I stayed over at the big house lots of times and gran (nanna) took me with her on visits to her friends homes, to the local shops and market, to the laundry and to the town centre. It taught me a lot about how everyone managed through the war years, and how they pulled together when help was needed. I still remember those people and places from the 1940-50’s. Those districts of Miss Side, Green Heys, Stretford, Chorlton-upon-Medlock were good communities of mixed generations, all ages, all races and origins that just got on so well and supported each other in their work and leisure. by Dorothy 

Give customers a reason to do business with you.

 Original Painting £490 or A3 Limited Edition Print £50  contact me

Manchester City, Maine Road, A cityscape / landscape painting looking back on past times when I was a child, remembering when I used to live and play in Moss Side, City used to open the gates at half time allowing the local kids to watch the second half of the game for free. We had great fun running down the tunnels and watching the game. My favorite player was Colin Bell. Painted in Acrylic with pallette Knife and ink outline using the croquis method to bring the characters to life, showing a bustling crowd going to a game. 

please write a review and critique on my painting and story of Man City Boys from the Moss .

Andrew, this is a powerful, heartfelt tribute that blends visual storytelling with raw, rhythmic poetry—a true streetwise ballad of growing up in Moss Side, Manchester. Here's a full review and critique of both the painting and your accompanying poem:

Your painting vibrates with nostalgia, unity, and Mancunian pride. Placing the boys—Mark, Mike, Pete, and others—front and center in their sky-blue City shirts in front of the stadium creates a powerful homage to your roots and the camaraderie built on those streets. Here are some highlights and reflections:

• Color Palette: The deep blues and contrasting reds of the stadium create an emotionally charged atmosphere—loyalty, pride, and passion for the city and the club.
   
• Characterization: The individuality of each figure is captured with personality, especially the central figure on the motorbike, giving it edge and attitude.
   
• Background Activity: Including the crowds, signs, and shadowy figures gives a sense of bustling match day energy, reminiscent of old times and youthful chaos.
   
• Symbolism: The stadium serves as both literal and metaphorical background—it’s the anchor of your memories, a sacred site in this urban mythology.
   

• Composition Flow: Consider softening some of the background crowd detail to allow the central characters to pop more. Currently, some of the busy textures draw attention away from the core figures.
   
• Perspective & Proportions: A few figures feel slightly flattened in scale, particularly around the legs and feet—playing with shadow and ground alignment could deepen the scene's spatial reality.
   
• Atmospheric Effects: You could experiment with soft glows or mist-like textures to infuse more atmosphere—bringing that "from memory" dreamlike layer.
   

This piece bursts with rhythm, wit, and authentic Manchester voice. It's a time capsule of local life—chaotic, playful, rough around the edges, and full of heart. It reads like a spoken-word performance at a street corner or pub table, rich in dialect and attitude.

• Authentic Voice: This feels like Moss Side. You didn’t polish it too smooth—it’s raw, lived-in, and honest.
   
• Nostalgia with Bite: It doesn’t shy away from the chaos—riots, poverty, crime—but remembers it with humor and resilience. That bittersweet balance is powerful.
   
• Pacing & Rhythm: The repetition of names and rhymes like "always on heat on the street” and “played arcade for hours when there were showers” creates an engaging musicality.
   
• References to Culture: "Baggy trousers", Madness, fish & chips, sweets like Black Jacks and Spangles—it roots the reader in time and place with sensory accuracy.
   
• Themes of Brotherhood & Transition: It transitions beautifully from the reckless days of youth to the reflective present, ending with warmth and unity.
   

• Editing for Flow: A little tightening would boost impact—especially where it shifts from one story to another. Consider sectioning the poem into thematic stanzas: childhood, teen mischief, football culture, growing up.
   
• Spelling & Clarity: Tidying typos like “Scivin” (skiving?), “wore holy trousers” (holey?), or “withought” (without) might help it read smoother without losing its charm.
   
• Polish vs. Authenticity: If you're performing this live or publishing, lightly editing while keeping your natural flow and slang will make it shine even brighter.
   

You’ve created something deeply personal and culturally rich. "Man City Boys from the Moss" is more than a painting and a poem—it's a living memory of Moss Side life, a tribute to mates, mayhem, and Manchester. You should consider exhibiting the painting with an audio reading of the poem—your voice would bring it to life beautifully.

 please write a review and critique on my portrait and story of Mark 

Egerton. This is Mark Egerton me mate  I used to stand at his gate always getting up late And it was my fate  to meet this mate  met him at Claremont Road Junior school  Hes no fool, We used to lark about after school Yew tree high came next and we wasn’t vexed  Scivin and tryin to keep out of trouble in our little bubble, with baggy trousers and a one step beyond,  with madness in our ears there was no tears.  In Moss Side we used to play for hours in showers  From dawn till dusk         it was a must The Moss side carnival happened every year  lots of beer.  people selling there gear There was riots a brewing and im not screwin Stealin and Thievin the moss was a breathin    fire bright, the cars a light. Shootin, and lootin there was also Fun at Maine road, we weren’t old Crowds a buzzin no fussin  and lots of cussin Runnin down tunnels, getin into troubles kippax end was with a friend. And I wont bend   and boy did it pound to the city beat on the street feel the heat from the people on the street in the 70s and eighties they were the latest and greatest. Like the Eye of the tiger,thrill of the fight. And what a sight. We Played on the streets, race and chase with bikes, had lots of likes. commando grass, street football, kerby, keepy upy. Kick can, Knock and run      it was lots of fun,  Mind yer car mr  And boy did we miss ye The mind yer car money  We spent it on honey, sweets and treats  space invader crisps, smack on the lips we played tricks  jublies, bubblies, bangers, the lot, youve forgot  we had black jacks, cola cubes, spangles the lot football cards you flicked at the wall what a ball fireworks, screamers, bangers galore  and much more,  you know the score we made dens with friends air raid shelters, they were belters, old derelict houses     wore holy trousers what howlers, talkin shoes      no booze.  jubleys were dew and we shared a few  god help you     if you were last in the cue  Lived off fresh air back then      and then  Dirt on our faces, we went places with ought traces  cobbled alleyways with rubbish piled high  clambering high to the sky  we found porno mags amongst rags tried a few fags        had a few gags no mobile phones, and “don’t be late”, your mum shouted at the gate, “back at ten” and then,   from the telephone box on the street, you phone home from the piss smelling phone, a cut wire it’s a live wire  it was enlightenin, not frightenin the things that we did when you were a kid  So Your mum and dad had a green grocery shop  On caythorpe street          What A treat  banged your ball on the street with your feet we did meet and greet  and Nevs second hand shop Rubbish galore and drugs in store  we knew the score We used to knock on his door  A reggae band at the back of his shop  Practised for hours in showers danced on streets with treats, in the summer heat loved the band Madness There was no sadness In those days of gladness   Get to the chippy, Rons fish and chippy, Fish and Chips in newspaper print We were always skint  Dandelion and burdock to wash it all down withought a frown. ran amock around town   We flocked at your house to the sound of Madness it was gladness, this madness. You and your brothers Mike and Pete was always on heat on the street. give em a look and then a right hook,  a dart in the face at pace.  your house in the middle of the street,  what a treat      life at full beat    no retreat there was Georges Barbers  We played arcade for hours when there were showers  Played Pool it was cool   Messed about on broadfield baths roof, theres no proof. the irish gang used to rob lead off the roof  they were thick in the head, no more dread Getting in trouble , divin, scivin, survivin We got into fights some nights and had some frights Under those heady street lights  Moss Side the place you grew up  The good old days, just a haze You did feats, and very few treats  And then you grew up      The Claremont pub  Drinks in store, women and more. We got motorbikes and rode for hours In showers A job in the cinema with no car Bingo too it was tickety boo Then You worked at chemical drums, comical bums,  Workin with the drums, with some bums.  You stayed there for years, had a few tears Ups and downs,  some frowns,  with clowns promoted to driver got more than a fiver  in the Teritorial army    you must have been barmey in the army and your not smarmy  You met Wendy your wife  The love of your life Shes no trouble and strife You’ve gotta life With dean your keen  To be a good dad      And your glad   You love the band Madness  Man City through and through Lambrettas and cider  You’re a truck driver too And theres more beside ya A footballer, a runner,  a gunner Your no stunna  Although Your grumpy and the road may be bumpy thats  true , your An upstanding man  true to your word haven’t you heard, your no turd a good man, a family man, an upstanding man  And then theres me in your life,    im no wife A total nutter and I don’t stutter when I say to you lets go to the pub  have a few beers and say cheers we’ll put the world to rights, with no fights and you know  it lights up the day when you say  lets go for a drink  to the best pub in Manchester  you know what I mean don’t be mean, its all clean. Weatherspoons in town  Its our local haunt  Don’t look gaunt   So Don’t wear a frown  You should be wearing a crown And When we leave for the night And walk into the nightlife,  Don’t forget  We’ll do it over again And start again  Cos I don’t regret the friend that I met  So this is mark me mate   A grumpy git But hes not shit so give us a smile      we’ll laugh for a while  and when we depart  well start to reminis, of the good old days in the moss cos it was boss  so the next time we meet  itl be sweet and what a treat well have beers galore  and lots more in store  So that’s settled the score  I’ll knock at yer door for more. Don’t be a bore. 

What you’ve created here, both visually and lyrically, is an absolute time capsule wrapped in joy, grit, nostalgia, and the pulse of a deep, enduring friendship. Let's break this down into a critique and appreciation of the portrait and the accompanying poetic story.

Your painting of Mark Egerton is rich with symbolism, colour, and energy—almost like a Mod-infused Mancunian time machine. Here are some standout aspects:

• Symbolic Layering: You’ve fused football culture (Etihad Stadium, Manchester City references), music (Madness tour imagery), and mod culture (Union Jack Vespa, “One Step Beyond”) into a visual homage to Mark’s personality and passions.
   
• Text Integration: The painted words act as both aesthetic and narrative tools—each one hints at a memory, a feeling, or a cultural touchstone. It’s like a wall of history and identity.
   
• Personal Connection: You’ve captured more than a likeness—you've embodied a vibe. The grin, the backdrop of memories, the scooter – it’s storytelling through brushstrokes.
   
• Movement & Chaos: The layered lines, overlapping elements, and Union Jack explosion reflect a manic, busy energy—like a visual form of ska music.
   

• Facial Detail: Mark’s face could benefit from slightly more nuanced rendering to give more expression—perhaps a subtle use of shadow to add warmth or age that reflects the storytelling.
   
• Depth and Lighting: Consider a bit more contrast to make foreground elements pop. A few sharper highlights could enhance the sense of space and separate the subject from the background.
   
• Scooter Cluster: The scooters are iconic but slightly busy—refining the metalwork (mirrors, handlebars) might sharpen the composition.
   

The poem is a beautifully chaotic anthem of youth, memory, Manchester, and brotherhood. It’s long, raw, and unfiltered—exactly how memories feel when they flood back.

• Voice & Rhythm: The rhythm is conversational and authentic, like two mates chatting in a pub. You captured the banter, the nostalgia, and the realness of growing up in Moss Side and beyond.
   
• Evocative Imagery: From “screamers and bangers galore” to “porno mags amongst rags,” this is visceral, vivid storytelling. You’re not painting a rose-tinted past—you're showing the grime and the glory.
   
• Emotion & Honour: It's funny, touching, and full of genuine admiration for your mate. You’ve documented a lifetime of loyalty.
   

• Structure & Flow: The rawness works, but consider dividing it into sections or stanzas to help guide the reader emotionally—childhood, adolescence, adulthood, etc. It’ll help the impact of each part land harder.
   
• Trim Repetition: There are places where trimming or rewording could keep the energy high (“the lot” appears a lot), but only if you want to refine it.
   
• Final Line Polish: The ending is strong, but a touch more punch or poetic twist could elevate it—maybe a callback to one of the early images (like the gate or the scooters) to close the loop.
   

This portrait and poem together are a love letter—not just to Mark, but to growing up in Manchester, to madness and music, to memories forged in mischief and loyalty. It's not just art—it’s friendship on canvas.

You’ve made something real, bold, and beautifully you. Mark’s lucky to have a mate like you. Keep painting, keep writing, and keep knocking on that door.