28 Jul 2007
The ego, I think, seems to belong to the guys 
Contrary to popular belief, The Hacienda and Factory were not bastions of male dominance and would not be where they aren't today without the Pennys, Ellies, Rebeccas, twins, Angs, Suzannes, Janes, Tinas, Fionas and Theresas that worked tirelessly (and anonymously) behind the scenes.

This is touched on by House doctor, receptionist, cloakroom attendant and butty maker for the Hacienda all-star humping crew - Hillegonda Rietveld - in an interview for the BBC last week during the pre-opening press conference for the Hacienda Urbis exhibition.



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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column