24 Oct 2008
Some Of The Interesting Things You'll See... 
Peter Saville discusses Pop Artist Richard Hamilton in a recent, very good, and highly recommended Tate Britain video (for Issue 16 of the TateShots series), specifically Hamilton's still-ultra-modern "Toaster" (work details here). Saville ultimately comes to, as he puts it, the shocking conclusion that Hamilton (inadvertently) provided "... a blueprint for my own work [at Factory]."

The insightful video, entitled Work in Focus: Richard Hamilton, is also available for download, and in transcript form.

Be sure to also check out the fascinating full range of Hamilton works at the Tate here.

With thanks to Jared Schiller at the Tate for the heads up.


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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