Paint A Vulgar Picture

“This unique documentary tells the incredible story of a revolution which rose up from within the walls and dancefloor of a former warehouse in central Manchester” so trumpeted the blurb issued by the BBC publicising last month’s documentary, The Hacienda: The Club That Shook Britain. Rather than striking a chord, this one struck a nerve. How on earth can any Factory records/Hacienda retrospective described as “unique”? The story has been told and re-told so many times that it’s almost beyond parody now. Documentaries, feature films, exhibitions, books, Hacienda fucking Classical… a never-ending stream of self-mythologising, misty-eyed bollocks. 

Back in the days when the Hacienda existed only as a mere nightclub, Manchester could perhaps justifiably claim to have been a forward-thinking city. Liverpool, with its Beatles tourist industry in full bloom, was mockingly derided for its whoring of past cultural touchstones. Fast forward 30 years and I’d argue that the plunder and pillage of Manchester’s musical history is a far more depressing spectacle than the Cavern club welcoming coach loads of Japanese tourists. 

I find it hard to believe that Tony Wilson, Factory supremo and driving force behind the Hacienda’s creation, would be in any way engaged with the tedious nostalgia-fest that has now become it’s legacy. The Situationist International movement, a key influence on Wilson’s original vision for Factory, aimed to disrupt homogeneity within the arts and popular culture. As a central figure in bringing both punk rock and rave culture to the masses, I can’t imagine he’d be interested in relentlessly mining events played out decades previously to supplement his pension. 

Peter Hook, on the other hand, clearly possesses no such qualms. Having moved on from forging Ian Curtis’ signature and profiteering from gullible record collectors, he’s reduced to performing karaoke versions of Joy Division’s back catalogue (sometimes, I kid you not, with a Stars In Their Eyes-style Curtis impersonator in tow) and flogging, quite literally, any old crap he can lay his hands on adorned with black and yellow chevrons. T-shirts, hoodies, lanyards, mugs, key rings, tote bags… they’re all there on his website

I honestly think it’s time that all concerned moved on. As a nation we are genuinely obsessed with nostalgia. There’s nothing wrong with this in small doses as it can be fun to reminisce and history is there to be learnt from. If a country’s whole identity is based on events from decades previous it risks losing perspective and a sense of direction. Take a simple thing like Remembrance Sunday, once upon a time this used to be the British Legion selling poppies for a week prior to a respectfully observed minute’s silence. These days it’s turned into an event lasting a full fortnight during which all manner of weird behaviour and tasteless paraphernalia is encouraged.

Rather than wallowing in the past, I’d prefer to see more coverage dedicated to Manchester’s present. I don’t want to hear Noel Gallagher pontificating about dance music, I want airtime given to Aitch or Bugzy Malone. I want to see a documentary on the inexorable rise of Sacha Lord from nightclub owner to the fringes of mainstream politics. Let’s see an investigation into Gary Neville’s burgeoning property empire or a deep dive on the regeneration of East Manchester and the deal between Abu Dhabi and Manchester Council. As for the Hacienda, I think we’ve heard enough for this lifetime, thanks.

Copyright Red News – December 2022

rednews.bigcartel.com

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1 thought on “Paint A Vulgar Picture

  1. Steve the normal one

    Unfortunately, nostalgia sells. They roll out the same old faces lead by brummie Dave Haslam and the same records that he has been playing for the last 40 years . I wish they would all go away and take up ten pin bowling or growing their own vegetables in a council allotment.

    Reply

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