14 Dec 2008
The Haçienda National Debt: £30,000,000 and Counting 
Over the years and through countless interviews with multiple players, various (and continuously escalating) numbers have been assigned to the debilitating debt of Factory Records storied (and long-gone) Haçienda club. Starting with a purported £1,000,000 loss bandied about following its closure in June of 1997, the "actual" number continues its slow yet-skyward march to permanent mythic status.

In a run-up interview to the publication of his forthcoming How Not to Run a Club book, Peter Hook reveals Haçienda debts infinitely more staggering than those previously acknowledged (or claimed). In a Haçienda world that seems to have more in common with Hollywood accounting practices than record labels & nightclubs, Hook now asserts that £20,000,000 profit + £10,000,000 loss = £30,000,000 debt.

Following on with this bizarre Fibonacci Sequence of ever-mounting debt history, we can fully expect a revised debt-load projection of £1 billion by the year 2012, and the retroactive blaming of the Haçienda for the current worldwide financial crisis.

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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)

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