This is my new Google blog, the old one is now set to be read by me only. This blog will have a lot less about work & I hope can not offended anyone at National Express or any other evil coach company's.
Tuesday, 2 June 2026
Tuesday 1430 to 2130 Thorpe Station πππππππ
Easy Hotel, 47 Castle Street, Liverpool, L2 9UB
Takeaway:
The EasyHotel Liverpool on Castle Street occupies a former Victorian/Edwardian commercial building at 47 Castle Street, originally built for office and banking use during the period when Castle Street was Liverpool’s premier financial district. Its current hotel form is the result of a full refurbishment of a vacant six‑storey office block, completed in the mid‑2010s. Construction Sealants Limited officerentinfo.co.uk
π️ History of the Building at 47 Castle Street (Now EasyHotel Liverpool)
π¦ 1. Origins: A Building in Liverpool’s Georgian–Victorian Banking Quarter
Castle Street was historically the financial spine of Liverpool, lined with banks, insurance houses, and legal chambers from the 18th and 19th centuries.
47 Castle Street formed part of this commercial streetscape — a multi‑storey office building typical of the late‑Victorian/Edwardian expansion of the street.
- Castle Street was one of Liverpool’s original medieval streets (founded 1207). Wikipedia
- By the 1800s it had become the city’s premier banking address, with grand stone-fronted commercial buildings. oldtownliverpool.co.uk
Although the exact architect of No. 47 is not named in available sources, its scale and form match the early 20th‑century commercial architecture that still characterises the street.
π’ 2. 20th Century Use: Offices and Ground‑Floor Restaurant
Before EasyHotel’s arrival, the building functioned as a city‑centre office block, with the ground floor occupied by what is now the Salt House Bacaro restaurant.
- When EasyHotel acquired the site, the ground floor restaurant remained, and only the upper floors were redeveloped. officerentinfo.co.uk
This mixed‑use pattern — restaurant below, offices above — was typical of Castle Street’s evolution as the financial district declined and hospitality took over.
π ️ 3. Conversion to EasyHotel (2016–2017)
The building underwent a full refurbishment to convert the vacant upper floors into a budget hotel:
- Described as a “full refurbishment of a vacant six‑storey site” to create a 70‑bed hotel. Construction Sealants Limited
- EasyHotel purchased the freehold and redeveloped the four upper floors into a 68–78 room hotel (sources vary slightly). officerentinfo.co.uk hotelview.net
- The hotel opened in 2017, offering the brand’s “super‑budget” format. hotelview.net
The structure itself was not demolished — the project was a restoration and internal conversion, retaining the historic faΓ§ade that fits Castle Street’s architectural character.
π§± 4. Architectural Character Today
While not listed individually, 47 Castle Street sits among 17 Grade II listed buildings on the street and one Grade I building. Wikipedia
Its faΓ§ade contributes to the cohesive stone-fronted commercial architecture that defines Castle Street’s appearance — a blend of Georgian, Victorian, and Edwardian commercial styles.
π️ Summary Timeline
| Period | What 47 Castle Street Was |
|---|---|
| 1800s–1900s | Built as part of Liverpool’s banking/commercial district; used as offices. |
| Late 20th century | Continued office use; ground floor becomes restaurant space. |
| 2016 | EasyHotel acquires building; plans conversion of upper floors. |
| 2016–2017 | Full refurbishment of vacant six‑storey office block. |
| 2017–present | Operates as EasyHotel Liverpool; ground floor restaurant remains. |
If you want, I can also explore Castle Street’s architectural evolution or other historic hotels and buildings nearby.
Takeaway: Castle Street’s architecture is the story of Liverpool itself — from a 13th‑century medieval street leading to Liverpool Castle, through its transformation into an 18th–19th century banking boulevard, to its present role as a heritage‑rich dining and commercial district. Its buildings form one of the finest surviving ensembles of Georgian and Victorian commercial architecture in northern England.
π️ Castle Street, Liverpool — Architectural History
π° 1. Medieval Origins (13th–17th century)
Castle Street is one of Liverpool’s seven original medieval streets, laid out in the early 1200s.
It took its name from Liverpool Castle (built 1232–1237), which stood at the northern end until its demolition in 1726.
Originally a narrow ridge‑top lane, it linked the castle to the market area and served as the town’s main commercial artery.
Architectural character: Almost nothing medieval survives above ground, but the street line itself is medieval.
π¦ 2. Georgian Expansion & the Banking Quarter (18th–early 19th century)
As Liverpool became a major port, Castle Street was widened and rebuilt as a prestigious commercial boulevard.
It became the city’s premier financial address, lined with banks, insurance houses, and legal chambers.
Many buildings from this era survive, giving the street a strong Georgian and early Victorian classical character.
Key surviving buildings:
Liverpool Town Hall (1749–1754, John Wood the Elder) — Grade I listed.
Former Bank of England — monumental neoclassical faΓ§ade, now a pub.
π§± 3. Victorian & Edwardian Commercial Architecture (mid‑19th–early 20th century)
Castle Street filled with increasingly elaborate commercial buildings as Liverpool’s wealth peaked.
Victorian and Edwardian banks and offices introduced Italianate, neoclassical, and Renaissance revival styles.
Sculptural decoration became common — allegorical figures, classical busts, and maritime motifs.
Example: 48–50 Castle Street, by James Picton, with sculpted roundel busts of Aphrodite, Hermes, Demeter, and Hephaestus.
Example: 60–62 Castle Street, originally a provincial bank, with Renaissance stonework and symbolic figures.
Architectural themes:
Stone faΓ§ades
Arched windows
Classical columns and pilasters
Rich sculptural ornament
High ceilings and grand banking halls
π️ 4. 20th Century to Present — Commercial Core to Dining District
The street remained a commercial hub into the 20th century, with offices replacing many earlier uses.
Today, Castle Street is a pedestrian‑friendly food and drink district, with restaurants and bars occupying the ground floors of historic buildings.
Beneath some buildings, archaeological remains of the castle’s moat and foundations still exist.
π️ Architectural Summary Table
| Era | Architectural Character | Key Features |
|---|---|---|
| Medieval (1200s–1600s) | Street layout only | Narrow ridge street, castle at north end |
| Georgian (1700s) | Classical commercial | Town Hall, early banks, widened boulevard |
| Victorian (1800s) | Italianate & neoclassical offices | Sculptural faΓ§ades, ornate stonework |
| Edwardian (1900–1914) | Monumental commercial | Larger office blocks, imperial grandeur |
| Modern (2000s–today) | Adaptive reuse | Restaurants, bars, preserved faΓ§ades |
π§ Why Castle Street Matters Architecturally
Castle Street is one of the best-preserved historic streetscapes in Liverpool, combining:
medieval street pattern
Georgian civic grandeur
Victorian/Edwardian commercial architecture
modern adaptive reuse
It forms a continuous architectural narrative from Liverpool’s founding to the present day.
If you want, I can zoom in on specific buildings on Castle Street or trace how the street changed decade by decade.
Takeaway: Castle Street is packed with architectural heavyweights — Georgian civic monuments, Victorian banks, Edwardian commercial palaces, and a few quieter survivors tucked between them. Below is a structured, building‑by‑building guide to the most significant and visually distinctive buildings on the street.
π️ Major Buildings on Castle Street, Liverpool
⭐ Liverpool Town Hall (Grade I, 1749–1754)
The architectural anchor of the entire street.
Designed by John Wood the Elder
One of the finest Georgian civic buildings in Britain
Grand dome, Corinthian columns, lavish interiors
Symbol of Liverpool’s 18th‑century mercantile power
⭐ Former Bank of England, 31 Castle Street (Grade I, 1845–1848)
A monumental neoclassical bank by C.R. Cockerell.
Massive stone faΓ§ade
Giant Corinthian portico
Built as the Bank of England’s Liverpool branch
Now a pub/restaurant
⭐ 48–50 Castle Street (Grade II, 1868)
Designed by James Picton, one of Liverpool’s most important Victorian architects.
Italianate commercial building
Sculpted roundels of Aphrodite, Hermes, Demeter, Hephaestus
Originally a bank and offices
⭐ 60–62 Castle Street (Grade II, 1882)
A richly decorated Renaissance‑revival former bank.
Arched windows, pilasters, carved stonework
Built for the Alliance Bank
Now home to restaurants/bars
⭐ Castle Chambers, 43 Castle Street (Grade II, 1900)
A major Edwardian commercial block.
Designed by Grayson & Ould
Red sandstone, oriel windows, sculptural detail
Originally offices for solicitors and merchants
⭐ Oriel Chambers (nearby on Water Street, visible from Castle Street)
Not technically on Castle Street but forms part of the same architectural vista.
1864, by Peter Ellis
One of the world’s first metal‑framed curtain‑wall buildings
A precursor to modern skyscraper design
π§± Other Notable Buildings Along Castle Street
1 Castle Street — early 19th‑century bank building, classical faΓ§ade.
5–7 Castle Street — Victorian commercial block with ornate stonework.
20 Castle Street — former bank with strong neoclassical detailing.
22–24 Castle Street — late Victorian offices, now restaurants.
47 Castle Street — the EasyHotel building; originally early 20th‑century offices.
Castle Moat remains — below several buildings near the Town Hall.
π️ Quick Reference Table
| Building | Era | Style | Original Use |
|---|---|---|---|
| Liverpool Town Hall | Georgian | Neoclassical | Civic HQ |
| Bank of England | Victorian | Monumental Classical | National bank |
| 48–50 Castle Street | Victorian | Italianate | Bank & offices |
| 60–62 Castle Street | Victorian | Renaissance Revival | Bank |
| Castle Chambers | Edwardian | Commercial Baroque | Offices |
| 47 Castle Street | Edwardian | Commercial | Offices (now hotel) |
If you want to go deeper
I can map out every listed building on Castle Street or give you a walking tour route that explains each faΓ§ade in order.
Takeaway: Here’s a proper, street‑level walking tour of Castle Street, designed so you can stand on the pavement and understand exactly what you’re looking at — the layers of medieval street plan, Georgian civic power, and Victorian banking wealth that make Castle Street one of Liverpool’s most architecturally important streets.
This route runs from the Town Hall (north end) down to Derby Square (south end).
πΆ♂️ Castle Street Liverpool — Walking Tour (Building‑by‑Building)
π️ 1. Liverpool Town Hall (Start Point)
Stand facing the Town Hall — this is the architectural anchor of the entire street.
Built 1749–1754
One of Britain’s finest Georgian civic buildings
Look for the giant dome, the Corinthian columns, and the ship sculptures symbolising Liverpool’s maritime wealth.
Fun detail: The street widens dramatically here — a deliberate Georgian move to create a grand civic vista.
π¦ 2. Former Bank of England (31 Castle Street)
Walk 20 seconds down the right-hand side.
Monumental 1840s neoclassical bank
Designed by C.R. Cockerell
Massive stone portico, like a Greek temple dropped into Liverpool
This building screams 19th‑century financial power.
π§± 3. 48–50 Castle Street (James Picton, 1868)
Continue south.
Italianate commercial block
Look up at the four sculpted roundels: Aphrodite, Hermes, Demeter, Hephaestus
Originally a bank and offices
This is one of the most decorative faΓ§ades on the street.
π️ 4. Castle Chambers (43 Castle Street)
Cross to the opposite side.
Edwardian commercial block (1900)
Designed by Grayson & Ould
Red sandstone, oriel windows, carved detail
This is where Liverpool’s Edwardian legal and commercial world lived.
π¦ 5. 60–62 Castle Street
A few doors down.
Renaissance‑revival former bank
Arched windows, pilasters, heavy stonework
Built for the Alliance Bank
This is classic Victorian “financial architecture”: solid, ornate, confident.
π¨ 6. 47 Castle Street (Now EasyHotel)
Opposite side again.
Early 20th‑century commercial building
Originally offices; ground floor always used for dining/retail
Upper floors converted to EasyHotel in 2016–17
A good example of adaptive reuse on the street.
π½️ 7. 22–24 Castle Street
Further down on the right.
Late Victorian commercial block
Now home to restaurants and bars
Look for the arched windows and stone pilasters
This stretch shows how Castle Street has become a modern food district.
π° 8. Site of Liverpool Castle (End Point: Derby Square)
At the bottom of Castle Street, you reach Derby Square.
This is where Liverpool Castle stood from the 1230s to 1726
The medieval street layout still funnels directly toward this point
Beneath the square are remains of the castle moat
You’ve now walked the entire medieval spine of Liverpool.
πΊ️ Summary Route (North → South)
| Stop | Building | What to Look For |
|---|---|---|
| 1 | Town Hall | Dome, Georgian grandeur |
| 2 | Bank of England | Monumental portico |
| 3 | 48–50 Castle Street | Sculpted mythological figures |
| 4 | Castle Chambers | Edwardian red sandstone |
| 5 | 60–62 Castle Street | Renaissance‑revival stonework |
| 6 | 47 Castle Street | Early 20th‑century commercial block |
| 7 | 22–24 Castle Street | Victorian offices turned restaurants |
| 8 | Derby Square | Site of Liverpool Castle |
If you want, I can also create a longer walking tour including Water Street and Dale Street or a pub‑history version of the route.
Takeaway: Tune Hotel Liverpool occupies Queen Buildings, a Grade II listed 1830s banking complex originally built for the Royal Bank. The structure at 3–19 Castle Street is one of the oldest surviving commercial blocks on the street, later used as offices before being converted into a 100‑bed hotel in 2014–2015. Its history is unusually rich because the building preserves early Victorian commercial architecture inside a modern hotel shell.
π️ The History of Queen Buildings, 3–19 Castle Street (Now Tune Hotel Liverpool)
π§± 1. Origins: Built 1837–1839 for the Royal Bank
Queen Buildings were constructed between 1837 and 1839 as a purpose‑built headquarters for the Royal Bank.
Grade II listed
Early Victorian stone faΓ§ade
Part of Liverpool’s historic financial district
This makes it one of the earliest surviving commercial buildings on Castle Street.
π¦ 2. 19th–20th Century: Banking → Offices
After its banking era, the building transitioned into office accommodation, a common fate for former financial houses on Castle Street as the district evolved.
Multiple floors subdivided into offices
Ground floor used for retail and later hospitality
Retained original staircases, beams, and high ceilings (many still visible today)
π¨ 3. 2014–2015: Conversion into Tune Hotel
In 2014, planning permission was granted to convert the vacant office complex into a three‑star, 100‑bed hotel.
Developed by Hotel Land & Development
Owned by Bruntwood
Tune Hotels (Malaysia) took over operation
A new entrance was created via Queen’s Arcade
The conversion preserved much of the original building fabric, including:
Exposed beams in top‑floor rooms
High ceilings and large sash windows
Original safe door and fireplace in one first‑floor room
The original staircase and atrium roof in one block
π§± 4. Architectural Significance
Queen Buildings form a complex of Grade II listed structures, notable for:
Early Victorian commercial architecture
Stone faΓ§ades typical of Liverpool’s 1830s financial boom
A labyrinthine internal layout created by merging two historic office blocks
The building’s listing status required the hotel conversion to retain historic features, which is why Tune Hotel has unusually characterful rooms for a budget brand.
π️ 5. Tune Hotel Today
100 en‑suite rooms
Spread across multiple interconnected 19th‑century blocks
Ground floor remains retail/restaurant to maintain Castle Street’s active frontage
The hotel is now part of a wider regeneration of Castle Street as a heritage‑led dining and hospitality district.
π️ Summary Timeline
| Period | Use | Notes |
|---|---|---|
| 1837–1839 | Royal Bank HQ | Construction of Queen Buildings (Grade II listed) |
| Late 1800s–1900s | Offices | Retained original Victorian features |
| 2014 | Planning approved | Conversion to hotel |
| 2015 | Tune Hotel opens | 100 rooms, preserved historic interior |
| Today | Budget hotel + retail | Part of Castle Street’s heritage streetscape |
If you want, I can also map every historic building around Queen Buildings or create a Castle Street architectural deep‑dive.
Beds are burning
Midnight Oil - Beds Are Burning meaning
Takeaway: “Beds Are Burning” is a direct protest song demanding justice for Aboriginal Australians — specifically the return of land taken from them — and a reminder that those benefiting from that injustice cannot morally “sleep” while others suffer.
π₯ What “Beds Are Burning” Really Means
π A protest about Aboriginal land rights
The core message is simple and uncompromising: the land belongs to Indigenous Australians, and it should be given back. Midnight Oil wrote it after touring remote Aboriginal communities and witnessing poverty, displacement, and the long-term effects of colonisation.
The repeated line “It belongs to them — let’s give it back” is not metaphorical. It’s literal: a call for land restitution.
π️ Why the imagery matters
The opening verses describe the harsh, beautiful Australian interior — bloodwood trees, desert oak, 45°C heat, wrecked Holden cars — grounding the song in real Aboriginal country.
These aren’t poetic abstractions; they’re specific places like Kintore and Yuendumu, communities deeply affected by forced removals.
π¬ “How can we sleep while our beds are burning?” — what the chorus means
Most listeners interpret this as a metaphor for guilt: How can we live comfortably while injustice continues? That reading is valid — and widely accepted.
But drummer Rob Hirst has said the line also celebrates the resilience of Aboriginal people: even when their “beds are burning,” they continue to dance, survive, and endure.
So the chorus carries two layers:
Moral outrage — the dominant society cannot ignore injustice.
Cultural strength — Aboriginal people remain unbroken.
⚖️ “Pay the rent” — a political slogan
The phrase “pay the rent” refers to a real Aboriginal rights movement arguing that settlers owe compensation for occupying Indigenous land. The song uses it as a moral demand: fair’s fair — pay your share.
πͺ Why the song became iconic
It was written at the request of Aboriginal Australians who wanted the message carried to the cities.
It became one of the most powerful anthems for Indigenous rights in Australian history.
Midnight Oil even performed it at the 2000 Sydney Olympics as a global act of protest.
⭐ In one sentence
“Beds Are Burning” is a demand for justice, a tribute to Aboriginal resilience, and a challenge to anyone who benefits from historical wrongs to confront their responsibility.
If you want, I can also explore the political context behind the song or how Midnight Oil became activists.
Takeaway: The political context of “Beds Are Burning” is the clash between modern Australia and its unacknowledged colonial past. The song was written as a direct intervention into the 1980s land‑rights struggle, confronting the legacy of terra nullius, forced removals, and the fight of Aboriginal communities to reclaim their country.
π₯ The Political Context Behind Beds Are Burning
πͺ 1. Aboriginal land rights were at a breaking point in the 1980s
By the mid‑20th century, many Indigenous groups — including the Pintupi — had been forcibly relocated from their desert homelands into settlements like Papunya, Kintore, and Yuendumu. These moves were driven by government assimilation policies and pastoral/mining expansion. This was the lived reality Midnight Oil encountered on their Blackfella/Whitefella tour with the Warumpi Band in 1986, which exposed them to the consequences of dispossession.
π️ 2. Australia was preparing for the 1988 Bicentenary — and the government wanted celebration, not criticism
“Beds Are Burning” was released in 1987, just before the official 200‑year celebration of British colonisation. Midnight Oil deliberately positioned the song as a counter‑narrative to the government’s triumphant framing of the Bicentenary. The band wanted to remind Australians that the nation was founded on “pillage and genocide”, as The Guardian later put it.
π 3. Terra nullius — the legal fiction behind the injustice
The political backdrop includes the doctrine of terra nullius, which treated Australia as “empty land” at colonisation. This allowed the Crown to grant leases and mining rights without treaties or compensation. This legal framework underpinned the very dispossession the song protests.
π€ 4. Midnight Oil intended the song as a specific political demand, not a metaphor
Peter Garrett said the band saw land rights as “a huge wrong that needed to be made right.” The refrain “It belongs to them — let’s give it back” is a literal call for restitution, not symbolic language.
The band wanted to be seen as an Australian band speaking to Australian injustices, not a generic international act.
π© 5. The song became part of a wider activist movement
It was adopted by Indigenous rights campaigns.
Midnight Oil performed it at the 2000 Sydney Olympics wearing “SORRY” shirts, highlighting the government’s refusal to apologise for the Stolen Generations.
It helped globalise awareness of Aboriginal land struggles.
⭐ In one sentence
“Beds Are Burning” is a protest against the ongoing consequences of colonisation, released at a moment when Australia was celebrating its founding while ignoring the people whose land had been taken.
If you want, I can also explore how the Blackfella/Whitefella tour shaped the song or the meaning of specific lyrics.
Takeaway: “Beds Are Burning” is a protest song whose lyrics move from vivid images of the Australian outback to a blunt moral demand: the land taken from Aboriginal Australians must be returned. The meaning becomes clearest when you look at the lyrics line‑by‑line.
π Line‑by‑Line Meaning of Beds Are Burning
π΅ “Out where the river broke / The bloodwood and the desert oak”
These lines set the scene in remote central Australia, using real native trees and desert waterways to anchor the song in Aboriginal country.
π “Holden wrecks and boiling diesels / Steam in forty‑five degrees”
Images of abandoned cars, improvised repairs, and extreme heat reflect the harsh conditions in many isolated Aboriginal communities.
⚖️ “The time has come / To say fair’s fair / To pay the rent / To pay our share”
This is where the song shifts from description to political argument. “Pay the rent” is a real Aboriginal rights slogan calling for compensation or restitution for stolen land.
πͺ “A fact’s a fact / It belongs to them / Let’s give it back”
This is the song’s core message: the land is Aboriginal land, and returning it is a matter of justice, not debate. Critics note this line rejects “legalistic gymnastics” and states the truth plainly.
π Chorus: “How can we dance when our earth is turning? / How do we sleep while our beds are burning?”
Most listeners read this as a metaphor for guilt — how can society relax while injustice continues? But drummer Rob Hirst has said it also celebrates Aboriginal resilience: even when their “beds are burning,” they endure.
π¦ “Four wheels scare the cockatoos / From Kintore, east to Yuendemu”
These are real Aboriginal communities in the Western Desert. The line shows how vehicles and settlement disrupt the land and wildlife, reinforcing the theme of intrusion.
π‘️ “The Western Desert lives and breathes / In forty‑five degrees”
Again, the song grounds its message in the lived reality of the Pintupi and other desert peoples.
⭐ Overall Meaning
Across the lyrics, the song builds a simple, forceful argument:
The land described is Aboriginal land.
The conditions reflect dispossession and neglect.
Justice requires returning what was taken.
Society cannot morally “sleep” while this injustice continues.
Notes for Tuesday 1430 to 2130 Thorpe Station
[02/06, 12:57] Michael NoΓ«l Turner: =======
[02/06, 12:57] Michael NoΓ«l Turner: πππππππ
[02/06, 13:00] Michael NoΓ«l Turner: 745004 platform 2 -1P26 12:00 London Liverpool Street to Norwich Thorpe arrived at (13:45) for 1P45 14:30 Norwich Thorpe to London Liverpool Street 16:17 platform 11 -
[02/06, 13:02] Michael NoΓ«l Turner: 745009 platform 1 -1P28 12:30 London Liverpool Street to Norwich Thorpe arrived at (14:21) for 1P45 14:30 Norwich Thorpe to London Liverpool Street platform 9 -
[02/06, 13:03] Michael NoΓ«l Turner: 745007 platform 2 -1P30 13:00 London Liverpool Street to Norwich Thorpe arrived at (14:45) for 1P47 15:00 Norwich Thorpe to London Liverpool Street -
[02/06, 13:07] Michael NoΓ«l Turner: 745001 platform 1 -1P32 13:30 London Liverpool Street to Norwich Thorpe arrived at (15:18) for 1P51 16:00 Norwich Thorpe to London Liverpool Street 17:54 platform 9 - or 1P49 1530 Norwich to London
[02/06, 13:08] Michael NoΓ«l Turner: 745107 platform 2 -1P34 14:00 London Liverpool Street to Norwich Thorpe arrived at (15:45) for 1P53 16:30 Norwich Thorpe to London Liverpool Street 18:21 platform 7 -
[02/06, 13:09] Michael NoΓ«l Turner: 745010 platform 1 1P36 14:30 London Liverpool Street to Norwich Thorpe arrived at (16:19) for 1P55 17:00 Norwich Thorpe to London Liverpool Street 18:50 platform 9 -
[02/06, 13:09] Michael NoΓ«l Turner: 755326 755421 755422 platform 2 1P38 15:00 London Liverpool Street to Norwich Thorpe arrived at (16:46) for 1P57 17:30 Norwich Thorpe to London Liverpool Street 19:17 platform 12 -
[02/06, 13:10] Michael NoΓ«l Turner: 745002 & or 745108 ? platform 1 - 1P40 15:30 London Liverpool Street to Norwich Thorpe arrived at (17:20) for 1P59 18:00 Norwich Thorpe to London Liverpool Street 19:53 platform 10 -
[02/06, 13:10] Michael NoΓ«l Turner: 745008 platform 2 - 1P42 16:00 London Liverpool Street to Norwich Thorpe arrived at (17:48) for 1P61 18:32 Norwich Thorpe to London Liverpool Street 20:18 platform 11 -
[02/06, 13:11] Michael NoΓ«l Turner: 745004 & / or 745008 ? platform 3 1P44 16:30 London Liverpool Street to Norwich Thorpe arrived at (18:18) for 5P44 18:40 Norwich Thorpe to CPD 18:58 -
[02/06, 13:12] Michael NoΓ«l Turner: 745009 platform 2 9P46 17:00 London Liverpool Street to Norwich Thorpe arrived at (18:39) for 1P63 19:00 Norwich Thorpe to London Liverpool Street 20:47 platform 6 -
[02/06, 13:12] Michael NoΓ«l Turner: 745007 platform 1 1P50 17:30 London Liverpool Street to Norwich Thorpe arrived at (19:21) not for 1P67 20:00 Norwich Thorpe to London Liverpool Street 21:49 platform 9 -
[02/06, 13:13] Michael NoΓ«l Turner: 745001 platform 1 - 1P54 18:00 London Liverpool Street to Norwich Thorpe arrived at (19:51) - for 1P67 20:00 Norwich Thorpe to London Liverpool Street 21:49 platform 9 -
[02/06, 13:14] Michael NoΓ«l Turner: 745001 ? platform 2 1P56 18:30 London Liverpool Street to Norwich Thorpe arrived at ( 20:21) for 1P71 21:00 Norwich Thorpe to London Liverpool Street 22:55 platform 11 -
[02/06, 13:14] Michael NoΓ«l Turner: 745104 platform 1 - 1P58 19:00 London Liverpool Street to Norwich Thorpe arrived at (20:47) for 5P58 21:09 Norwich Thorpe to Crown Point |Depot 21:27 -
[02/06, 13:15] Michael NoΓ«l Turner: 745010 platform 1 - 1P60 19:30 London Liverpool Street to Norwich Thorpe arrived at (21:19) for 1P73 22:02 Norwich Thorpe to London Liverpool Street 23:57 platform 7 -
[02/06, 13:15] Michael NoΓ«l Turner: 755326 755421 755422 platform 2 - 1P62 20:00 London Liverpool Street to Norwich Thorpe arrived at (21:49) -
[02/06, 13:16] Michael NoΓ«l Turner: 745002 & or 745108 platform 2 - 1P64 20:30 London Liverpool Street to Norwich Thorpe arrived at (22:18) 755423 platform 3 for 1Y75 23:05 Norwich Thorpe to Ipswich 23:49 platform 4
[02/06, 13:16] Michael NoΓ«l Turner: +++ Tuesday +++ 1430 to 2130 Thorpe Station πππππππ
Many mistakes in the notes, some EMU are being used on more than one service, at the same time ? some services are 24 coach trains ? May be in for a strange day,
Monday, 1 June 2026
Monday 1430 to 2130 Thorpe Station πππππππ
Just a train
Notes for Monday 1430 to 2130 Thorpe Station
[01/06, 13:02] Michael NoΓ«l Turner: =======
[01/06, 13:02] Michael NoΓ«l Turner: πππππππ
[01/06, 13:02] Michael NoΓ«l Turner: 745002 platform 2 -1P26 12:00 London Liverpool Street to Norwich Thorpe arrived at (13:45) for 1P45 14:30 Norwich Thorpe to London Liverpool Street 16:17 platform 11 -
[01/06, 13:03] Michael NoΓ«l Turner: 745010 platform 1 -1P28 12:30 London Liverpool Street to Norwich Thorpe arrived at (14:21) for 1P47 15:00 Norwich Thorpe to London Liverpool Street 16:51 platform 9 -
[01/06, 13:03] Michael NoΓ«l Turner: 745004 platform 2 -1P30 13:00 London Liverpool Street to Norwich Thorpe arrived at (14:45) for 1P49 15:30 Norwich Thorpe to London Liverpool Street 17:19 platform 12 -
[01/06, 13:04] Michael NoΓ«l Turner: 745005 platform 1 -1P32 13:30 London Liverpool Street to Norwich Thorpe arrived at (15:18) for 1P51 16:00 Norwich Thorpe to London Liverpool Street 17:54 platform 9 -
[01/06, 13:05] Michael NoΓ«l Turner: 745109 platform 2 -1P34 14:00 London Liverpool Street to Norwich Thorpe arrived at (15:45) for 1P53 16:30 Norwich Thorpe to London Liverpool Street 18:21 platform 7 -
[01/06, 13:05] Michael NoΓ«l Turner: 745008 platform 1 1P36 14:30 London Liverpool Street to Norwich Thorpe arrived at (16:19) for 1P55 17:00 Norwich Thorpe to London Liverpool Street 18:50 platform 9 -
[01/06, 13:06] Michael NoΓ«l Turner: 755326 755421 755422 platform 2 1P38 15:00 London Liverpool Street to Norwich Thorpe arrived at (16:46) for 1P57 17:30 Norwich Thorpe to London Liverpool Street 19:17 platform 12 -
[01/06, 13:07] Michael NoΓ«l Turner: 745001 platform 1 - 1P40 15:30 London Liverpool Street to Norwich Thorpe arrived at (17:20) for 1P59 18:00 Norwich Thorpe to London Liverpool Street 19:53 platform 10 -
[01/06, 13:07] Michael NoΓ«l Turner: 745003 platform 2 - 1P42 16:00 London Liverpool Street to Norwich Thorpe arrived at (17:48) for 1P61 18:32 Norwich Thorpe to London Liverpool Street 20:18 platform 11 -
[01/06, 13:08] Michael NoΓ«l Turner: 745009 platform 3 1P44 16:30 London Liverpool Street to Norwich Thorpe arrived at (18:18) for 5P44 18:40 Norwich Thorpe to CPD 18:58 -
[01/06, 13:08] Michael NoΓ«l Turner: 745002 platform 2 9P46 17:00 London Liverpool Street to Norwich Thorpe arrived at (18:39) for 1P63 19:00 Norwich Thorpe to London Liverpool Street 20:47 platform 6 -
[01/06, 13:09] Michael NoΓ«l Turner: 745010 platform 1 1P50 17:30 London Liverpool Street to Norwich Thorpe arrived at (19:21) not for 1P67 20:00 Norwich Thorpe to London Liverpool Street 21:49 platform 9 -
[01/06, 13:09] Michael NoΓ«l Turner: 745004 platform 1 - 1P54 18:00 London Liverpool Street to Norwich Thorpe arrived at (19:51) - not for 1P67 20:00 Norwich Thorpe to London Liverpool Street 21:49 platform 9 -
[01/06, 13:10] Michael NoΓ«l Turner: 745009 platform 2 arrived at for 1P67 20:00 Norwich Thorpe to London Liverpool Street 21:49 platform 9 -
[01/06, 13:11] Michael NoΓ«l Turner: 745005 platform 2 1P56 18:30 London Liverpool Street to Norwich Thorpe arrived at ( 20:21) for 1P71 21:00 Norwich Thorpe to London Liverpool Street 22:55 platform 11 -
[01/06, 13:11] Michael NoΓ«l Turner: 745108 platform 1 - 1P58 19:00 London Liverpool Street to Norwich Thorpe arrived at (20:47) for 5P58 21:09 Norwich Thorpe to Crown Point |Depot 21:27 -
[01/06, 13:12] Michael NoΓ«l Turner: 745008 platform 1 - 1P60 19:30 London Liverpool Street to Norwich Thorpe arrived at (21:19) for 1P73 22:02 Norwich Thorpe to London Liverpool Street 23:57 platform 7 -
[01/06, 13:12] Michael NoΓ«l Turner: 755326 755421 755422 platform 2 - 1P62 20:00 London Liverpool Street to Norwich Thorpe arrived at (21:49) -
[01/06, 13:13] Michael NoΓ«l Turner: 745001 platform 2 - 1P64 20:30 London Liverpool Street to Norwich Thorpe arrived at (22:18) 755416 platform 3 for 1Y75 23:05 Norwich Thorpe to Ipswich 23:49 platform 4 -
[01/06, 13:14] Michael NoΓ«l Turner: ++ Monday ++ 1430 to 2130 Thorpe Station πππππππ
Edit at 1835 hours, Norwich Thorpe railway station π.
[1/6, 17:38] Michael NoΓ«l Turner: 745009 platform 3 1P44 16:30 London Liverpool Street to Norwich Thorpe arrived at (18:18) for 1P63 1900 Norwich Thorpe to London Liverpool Street cleaning π§Ήπ§Ό inside and cabs π F to A
[1/6, 17:39] Michael NoΓ«l Turner: 745002 platform 2 9P46 17:00 London Liverpool Street to Norwich Thorpe arrived at (18:39) not for 1P63 19:00 Norwich Thorpe to London Liverpool Street 20:47 platform 6 - CPD clean
[1/6, 17:39] Michael NoΓ«l Turner: 745010 platform 1 1P50 17:30 London Liverpool Street to Norwich Thorpe arrived at (19:21) for 1P67 20:00 Norwich Thorpe to London Liverpool Street 21:49 platform 9 - cleaning π§Ήπ§Ό inside and cabs π F to A
[1/6, 17:41] Michael NoΓ«l Turner: 745004 platform 1 - 1P54 18:00 London Liverpool Street to Norwich Thorpe arrived at (19:51) - for 1P71 21:00 Norwich Thorpe to London Liverpool Street platform 9 - cleaning π§Ήπ§Ό inside and cabs π F to A
[1/6, 17:41] Michael NoΓ«l Turner: 745005 platform 2 1P56 18:30 London Liverpool Street to Norwich Thorpe arrived at ( 20:21) not for 1P71 21:00 Norwich Thorpe to London Liverpool Street 22:55 platform 11 - CPD Clean
[1/6, 17:42] Michael NoΓ«l Turner: 745108 platform 1 - 1P58 19:00 London Liverpool Street to Norwich Thorpe arrived at (20:47) for 5P58 21:09 Norwich Thorpe to Crown Point |Depot 21:27 - Station Clean and 1P35 1200 Norwich Thorpe to London Liverpool Street




