Archive for September, 2018

Latest Reviews (14ix2018)

Fratele Gets You NowhereO mie nouă sute optzeci şi patru, George Orwell, translated by Mihnea Gafiţa (Biblioteca Polirom 2002)

Whole Lotta ScottHighway to Hell: The Life and Times of AC/DC Legend Bon Scott, Clinton Walker (Pan Books 1996)

The Bella and the BoltonianA Forger’s Tale: Confessions of the Bolton Forger, Shaun Greenhalgh (Allen & Unwin 2017)

Clubbed to DeafThe Haçienda: How Not to Run a Club, Peter Hook (Simon & Schuster 2009)

Dizh Izh Vizh BizhVilest Visions: The Darkest, Despicablest, Disgustingest Decapitations vs The Nastiest, Noxiousest, Nauseatingest Necrophilia, Dr Samuel P. Salatta and Dr William K. Phipps (Visceral Visions 2018)

Or Read a Review at Random: RaRaR


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O mie nouă sute optzeci şi patru, George Orwell, translated by Mihnea Gafiţa (Biblioteca Polirom 2002)

During much of the twentieth century, it was much easier for Romanians to live Nineteen Eighty-Four than to read it. Romania had a real Big Brother in the form of the dictator Nicolae Ceaușescu (1918-89). And the ideology that once tyrannized the country might as well have been called RomSoc. The novel was (I assume) banned under Ceaușescu, but all things must pass and Ceaușescu was one of them. So Nineteen Eighty-Four is now available in Romanian in this attractive edition by Polirom.

I don’t like the image on the front cover, though. It doesn’t capture what happens inside but I suppose it would be interesting if the novel is new to you. I don’t know how good the translation is because I don’t know Romanian. But I can understand much more of this book than I could of the Polish edition of Nineteen Eighty-Four I’ve kind-of reviewed here. As the name suggests, Romanian is a Romance language, descended from Latin and related to Italian, French and Spanish. And if you have a good knowledge of Latin and Italian, you’ll be able to understand a lot of Romanian without ever studying it. The title of the book is mostly Romance, for example, though I didn’t see that at first. “Why have they chosen a new title?” I thought. Well, they hadn’t, I realized: mie must be related to mille, nouă to novem, optzeci to octoginta and patru to quattuor.

But Italian and Latin will only take you most of the way to mastering Romanian in quadruple-quick time. If you add Bulgarian or Russian to the mix, you’d really be flying, because Romanian has borrowed a lot from Slavonic languages. There’s an example of that borrowing in part of the book that any educated English-speaker should be able to understand:


Compare an Italian translation:


And a Spanish:


And a French:


In Romanian, “RĂZBOIUL ESTE PACE” must mean “WAR IS PEACE”, but RĂZBOIUL doesn’t look Romance. It isn’t: it’s Slavonic. Elsewhere in the book you might spot this: Oceania se află în război cu Eurasia şi în alianţa cu Estasia – “Oceania was at war with Eurasia and in alliance with Eastasia.” The change from războiul to război might help you work out that, as in Swedish, definite articles go at the end of words in Romanian. Which is odd, but Romanian is the oddest language in the Romance family. By no coincidence, it’s also the easternmost. I’d like to learn it, but I can say that of many other languages. This book was a fascinating glimpse into another room in the vast mansion of human language. And that mansion is not a totalitarian monstrosity like Nicolae Ceaușescu’s huge and horrible House of the Republic in Bucharest (now called the Palace of the Parliament). Instead, it’s a beautiful and mysterious place full of hidden rooms, secret doors and forking corridors.

And speaking of Nicolae again, how does Romanian translate that most famous of all Orwellian phrases? Like this: FRATELE CEL MARE STĂ CU OCHII PE TINE. That looks as though it means something like “Big Brother is with eyes on you.” It’s snappier in Italian: IL GRANDE FRATELLO VI GUARDA. Snappy or otherwise, the phrase didn’t serve its purpose. Orwell warned us about mass surveillance in one of the most successful novels ever written, but it looks as though he was doomed to be a Cassandra. This Romanian edition is another example of how he succeeded hugely as a writer and failed miserably as a physician. You might say that Fratele has got us nowhere.

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Highway to Hell: The Life and Times of AC/DC Legend Bon Scott, Clinton Walker (Pan Books 1996, 2006)

AC/DC were never experimental or avant-garde. No, they were authentic and unpretentious. They sounded like Australia: hard-drinking, hard-living, home-spun and humorous. Or so outsiders liked to think. But there was an intelligence and subtlety to them all the same. Even a sensitivity. At least, there was while Bon Scott wrote the lyrics and sang the songs. Then Scott died, Brian Johnson came in, and AC/DC lost the magic, becoming crude and witless heavy metal instead.

I used to regret Bon Scott’s early death. After reading this book, I’m not sure if I regret it any more. It seems as though his passing was inevitable. He wanted to die and he did. The only question was how he’d do it. Drink? Drugs? Dangerous driving? In the end, he did his ancestors proud and killed himself with drink, getting blind drunk one night in London and choking to death in his sleep (in his death-certificate, reproduced here, it says “Acute Alcohol Poisoning”). That was in 1980 and he was only thirty-three. But he’d packed a lot into those years. That might have been the problem. He’d seen and experienced everything, except truly big success as a musician. Big success was beckoning for AC/DC in 1980 and Scott must have known it, but the prospect didn’t attract him. And anyway, Clinton Walker suggests here that Scott wasn’t necessarily a fixture in AC/DC. He might have been on his way out at the time of his death. After all, he didn’t have the burning ambition or the fraternal bond of Angus and Malcolm Young, the two Scottish-Australian brothers who founded and kept an iron grip on AC/DC.

Instead, Bon Scott had charm, wit and intelligence. And those things had already taken him everywhere he wanted to go, it seems. This book is good at putting his career into context. It quotes extensively from his friends and fellow musicians (with the notable exceptions of Angus and Malcolm). Those people know his backstory and saw his early struggles. The vast majority of Bon Scott’s fans, on the other hand, will have first come across him in AC/DC. But he was a veteran of Australian heavy rock by the time he joined the Youngs’ battle for world-domination. He was the “old man” in the band (Angus literally called him that) and “he was always sort of separate from the rest”, as Richard Griffiths puts it here. Griffiths was AC/DC’s “booking agent” on their first British tour. He goes on:

[The drummer] Phil [Rudd], he was off on his own, he was actually pretty obnoxious. Angus and Malcolm, they were thick, obviously. And then [bassist] Mark [Evans], you knew he wasn’t going to last, he was too much of a nice guy. I mean, these were tough guys, they were pretty tough on each other. (ch. 11, “England”, pp. 199-200)

Mark Evans himself backs this up:

They [the Youngs] would dispute this, but I think they viewed Bon to be ultimately disposable. In hindsight, it seems to be preposterous, but at the time he was always in the firing line. And there was a lot of pressure, mainly from George [Young, Angus and Malcolm’s older brother and AC/DC’s producer], and record companies. I think within that camp, there’s been a certain rewriting of history, about how they felt about the guy – no, that’s wrong, how they felt about the guy professionally. Because there was no way you could spend more than 30 seconds in a room with Bon and not be completely and utterly charmed. The guy was captivating; he was gentlemanly, but he had the rough side to him, and he was funny. (Ibid., pg. 200)

Is it true that Scott was “separate” and “ultimately disposable” or are Griffiths and Evans working off grudges against the Youngs, who are not known for their charm and clubbability? Maybe. Both Angus and Malcolm “refused to interviewed for this book”, but I don’t think they come out of it badly. Walker doesn’t “tip the bucket”, as the Australian idiom goes. There isn’t anything to tip, because Angus and Malcolm aren’t monsters, just hard-working, hard-headed musicians who found a successful formula and stuck to it. Or they weren’t monsters, because Malcolm is dead now. But he wasn’t when Walker paid tribute to his band at the end of this book:

[…] like a vintage bluesman, AC/DC deserve the respect and success they enjoy. The energy and commitment AC/DC have is the least the punters should expect from any rock’n’roll band. But AC/DC have always been distinguished by their lack of pretension and their sense of humour, and these are the qualities they cling to. (“Epilogue”, pg. 310)

But did they cling to those qualities after Bon Scott died? Angus kept wearing his uniform and Malcolm kept wearing his T-shirts, but Brian Johnson was now writing and singing lyrics like these:

What do you do for money, honey?
How do you get your kicks?
What do you do for money, honey?
How do you get your licks? – “What Do You Know for Money, Honey?

Compare this by Scott:

It’s another lonely evenin’
In another lonely town.
But I ain’t too young to worry
And I ain’t too old to cry
When a woman gets me down.

Got another empty bottle
And another empty bed.
Ain’t too young to admit it
And I’m not too old to lie:
I’m just another empty head. – “Ride On

And this by Scott:

And I got patches on the patches
On my old blue jeans –
Well, they used to be blue,
When they used to be new,
When they used to be clean.

But I’ve got a Mumma who’s a hummer,
Just keeping me alive.
While I’m in the band doing drinking with the boys,
She’s working nine to five
(Knows her place that woman). – “(Ain’t No Fun) Waitin’ ’Round to Be a Millionaire

Bon Scott wasn’t a feminist, but he wasn’t a crude misogynist either. And where Johnson shouted or shrieked his lyrics, Scott used to act them and bring them to life. His phrasing and timing were excellent and he could enliven an ordinary line with irony or innuendo, ribaldry or resignation. Like Chuck Berry, he had the ability to turn songs into stories. Unlike Chuck Berry, he was more than the narrator of the story: he was the one who had lived it.

For all these reasons and more, Bon Scott is one of my two favourite singers in rock’n’roll. The other is Sean Harris, once of Diamond Head. But if Harris is always pleasant on the ear, he always sounds the same too. Scott doesn’t. And Scott had an intelligence that’s rare in rock’n’roll. If you want to know a lot more about him, from his birth in Forfar to his death in London and his time in Australia in-between, this is a good book to read. But reading it may stop you regretting his death, because it looks as though death was exactly what he was looking for.

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A Forger’s Tale: Confessions of the Bolton Forger, Shaun Greenhalgh (Allen & Unwin 2017)

Was I was one of the many people fooled by the Bolton Forger? I think so, because a few months ago I read a book on Leonardo da Vinci that contained an attractive profile of a young woman. I liked it and even thought of finding it online and putting it on Overlord-of-the-Über-Feral.

I’m pretty sure that the same drawing, entitled La Bella Principessa, opens the photo-section of this fascinating and well-written autobiography. The caption underneath runs:

I saw this drawing in Milan in 2015 and despite all the frenzy in the press, it is my work of 1978. Although it looks to have been gone over or ‘restored’ by a better hand than mine. But, like me, no Leonardo!

In his final chapter, “Postscript”, Shaun Greenhalgh (pronounced Green-alsh or similar) gives more details. He says that he made the drawing in imitation of Leonardo, then sold it “for less than the effort that went into it to a dealer in Harrogate in late 1978 – not as a fake or by ever claiming that it was something it wasn’t.” More than 30 years later, he learned that his drawing had risen higher in the world than he could ever have guessed:

I received [an art book from an anonymous donor and] the picture on the cover was immediately familiar, but better-looking than I remembered it. […] [The] title [of the drawing] was rather grand and pompous – La Bella Principessa – the beautiful princess. Or, as I knew her, ‘Bossy Sally from the Co-Op’. (pg. 354)

From the sublime to the ridiculous! The Co-Op is a supermarket chain in northern England. Greenhalgh continues:

I drew this picture in 1978 when I worked at the Co-Op. The ‘sitter’ was based on a girl called Sally who worked on the check-outs in the retail store bolted onto the front of the warehouse where I also worked. Despite her humble position, she was a bossy little bugger and very self-important. If you believe in reincarnation, she may well once have been a Renaissance princess – she certainly had the attitude and self-belief of such a person.

You see the girl in the drawing differently when her label changes. But the drawing itself hasn’t changed. Now that I think back on my first sight of it, I remember being half-aware that it was remarkably clear and bright by comparison with the other art in the Leonardo book. It definitely stood out, but I didn’t suspect anything. After all, it was in a book by an expert on Leonardo, so I accepted its attribution without question.

And so, without knowing it at the time, I had an important lesson in the way art often works. Our appreciation of it can be affected much more than we might like to think by the labels and reputations that go with it. Greenhalgh says here more than once than we should enjoy art without worrying about whether it’s genuine or not. And what is “genuine” anyway? That’s one of the fascinating questions raised by this book and by the phenomenon of forgery in general. Here’s more of what he says about the drawing:

I’m a bit unsure how to talk about this because the book was written by an eminent Oxford professor and must have been quite an effort. I don’t want to ruffle any feathers or cause problems but I nearly swallowed my tongue on reading of its supposed value – £150 million! It would be crazy for any public body to pay such a sum. So I feel the need to say something about it.

He goes on to describe how he created the drawing and made it look old. It was a good effort but he says there are “umpteen reasons for not thinking this drawing to be by Leonardo.” (pg. 357) One of the most important, for him, is that it isn’t skilful enough: “I couldn’t match how Leonardo would have rendered it [a section of cross-hatching]. But I have a good excuse. He is he and I’m just me.”

Well, Shaun Greenhalgh isn’t impressed by Shaun Greenhalgh, but lots of other people have been. If you read this book, you’ll probably join them. He tells the remarkable story of how an apparently ordinary lad from the Lancashire town of Bolton fooled the art world again and again with work in a great variety of mediums and styles. Sometimes he meant to fool people and sometimes, as with La Bella Principessa, he didn’t. And he says he’s sorry that Bolton Museum, “my favourite childhood place”, was duped by a “15 minute splash of light and colour” he’d done “in the style of Thomas Moran”, an American artist originally born in Bolton.

The watercolour is reproduced in the photo-section, labelled “© Metropolitan Police”, because Scotland Yard – or “the Yardies” as Greenhalgh disdainfully calls them – now have a lot of what he’s created. They raided his home, carried away much of the contents, then slowly got around to prosecuting him. In the end, he got four years and eight months in jail for his artistic endeavours. The art-critic Waldemar Januszczack condemns the length of that sentence in the introduction. Januszczack was someone else fooled by the Bolton forger. In his case it was a Gauguin Faun “[d]one in three parts and authenticated by the Wildenstein Institute of Paris”. Januszczack waxed lyrical about the faun in a Gauguin biography he did for the BBC, but says that “[i]nstead of hating Shaun Greenhalgh for fooling me, I immediately liked him for pushing my button and being a clever rogue.” (Introduction, pg. 4)

Greenhalgh wouldn’t agree that he’s either clever or a rogue, but he’s definitely wrong about the first thing, at least. He’s a self-taught expert on a dazzling range of art from a daunting stretch of centuries. Or millennia, rather, because his forgeries included an attractive “Amarna Princess” in alabaster, supposedly from the reign of the Pharaoh Akhenaten in the 14th Century BC. Like many of his other works, the princess was coveted by an “expert” who thought he could get it for much less than it was apparently worth. After all, the statue was being offered for sale by a family of thick northerners – Greenhalgh and his parents – who had no real idea of what it was. In fact, they had a much better idea than the expert – or the experts, rather, because the “Amarna Princess” was probed and pondered for months. Greenhalgh never expected it to withstand the scrutiny, but: “In late October 2003, we were paid half a million for the Amarna Princess, less taxes. So $440,000.” It ended up in Bolton Museum again and Greenhalgh says again that he wasn’t comfortable about that and didn’t touch most of the money.

And is he still trying to assuage his conscience when he insists the Princess clearly wasn’t pukka?

The first problem with the Amarna figure was that it was not done to a proper proportion, something fundamental in all ancient Egyptian sculpture, even with the radical designs of the court of Akhenaten. […] The left arm, or what’s left of it, was cut ovoid in section, which is again un-Egyptian. Part of the robe extending into the negative space to the figure’s left is also totally wrong. […] One other mistake about it was that I put a ‘contrapposto’ into the torso that was totally out of place. That’s the slightly slouchy pose you first see in Greek art of the classical period, post-fifth century BC. It isn’t found at all in Egyptian sculpture. (pg. 346)

Maybe he’s trying to assuage his conscience or maybe he’s re-living his triumph over the experts. Or maybe he’s doing both. Whatever it was, his next major forgery, a bas-relief of an Assyrian priest, was meant for the British Museum down south. And this was a forgery too far. The experts rumbled him this time and the police came knocking. Then he began a slow legal journey towards conviction and custody. Prison is where he wrote this autobiography, but he doesn’t devote much space to it. Instead, he describes how an apparently ordinary lad from Bolton, born in 1960, acquired such a love for and knowledge of art from all over the world and right through history, whether it’s ancient Egypt, Renaissance Italy or Mayan Mexico. Unlike most of us, though, when Greenhalgh liked the look of something he wanted to make something like it for himself. And he wanted it to be as authentic as possible. That’s why he learned about the chemical composition of Roman metalwork and Chinese porcelain.

Most art experts learn through their eyes, by looking at art and reading about it. Greenhalgh did that, but he stepped into a third dimension because he learnt with his hands too. And he stepped into a fourth dimension, because he learnt about the role of time and patience in artistic creation. By doing all that, he won insights that few others possess. As he says: “I’ve always found it strange that art, unlike most professions and trades, has as its experts and explainers people who can’t do that of which they speak.” (pg. 311) For example, how many Egyptologists know what it’s like to carve a statue for themselves? Very few. But Greenhalgh does and he acquired even greater respect for ancient sculptors by discovering how difficult the stone they worked with was. But that’s the way he wants it: “I like to do things that are difficult. Easy isn’t a challenge, is it?” (pg. 293)

However, he discovered that the effort he put into some forgeries was wasted, because art-dealers often didn’t know what to look for. And often didn’t care. They took what they thought they could sell. At other times, they did care what they were buying – a lot. But they tried hard to conceal their interest, because they thought they had a gullible and ignorant seller to rip off. A lot of Greenhalgh’s work is still out there, sailing proudly under false colours. He’s seen some of it but kept shtum, he says. That’s partly because he doesn’t want to spoil the new owners’ enjoyment and partly for his own protection. He doesn’t want to go back to jail.

But his first and so far only stretch in jail was worth it in one way, because it produced this book. He says that “A good faker, just like a good artist, has to be a close observer.” (pg. 296) And there’s a lot of close observation here about both art and life. Greenhalgh lost his wife-to-be when she died of a brain tumour and says that marriage would have taken him down a different path. He would have stopped forging and never gone to jail. Nor would he have written A Forger’s Tale. That makes you look at the book in a new way. Literature is even more about perspective and labels than art is. A clever writer like Michael Connelly knows that, which is why he wrote a crime novel, Blood Work, with such a clever twist at the end that I re-read it at once, marvelling at the way the text had suddenly changed.

A Forger’s Tale isn’t a novel and I won’t be re-reading it immediately. But I would like to read it again sometime. Greenhalgh isn’t a professional writer but he obviously could have been if his inclinations had lain that way. As it is, the occasional naivety of his prose adds to the appeal. He’s an ordinary lad with some extraordinary talents for what he’d call imitation, not creation. And he has extraordinary knowledge too. There is a lot of information here about art and the brief definitions in the glossary make me think of the Latin phrase Leonem ex ungue – “You can recognize the lion by his claw”. Here’s Greenhalgh’s definition of “Reducing atmosphere”, for example: “An atmospheric condition need to achieve specific ceramic effects, in which oxidation is prevented by the removal of oxygen.”

But any self-respecting ceramics expert could tell you what a “reducing atmosphere” is. Greenhalgh knows more: how to create one. Here’s his top tip:

You can use any combustible material [in the kiln], but most burn with some debris landing on the pot, causing imperfections. Mothballs splutter and vaporise instantly, starving the kiln of oxygen. (pg. 294)

So there’s everything here from mothballs to the Mayans, from lanxes of silver to Lowry of Salford. Crime captures life in all kinds of ways and the forger Shaun Greenhalgh has some very interesting things to write about.

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The Haçienda: How Not to Run a Club, Peter Hook (Simon & Schuster 2009)

Well, I was wrong. This book isn’t funnier than the first part of Peter Hook’s autobiography. Nor is it as funny. In fact, it was a big disappointment. Not that I’m an ideal reader for a book about a legendary nightclub. Drugs, crowds, bright lights and deafening music. Who could ask for more? Me. Or not me. I’d ask for a lot less. I don’t find this kind of thing amusing:

That [PA] set-up lasted until 1988, when we splashed out for a huge system from Wigwam Acoustics […] that made everyone’s nose tingle because of the huge bottom end, and deafened audiences for a whole week. Eventually we had to turn it down from 140db to 130db because doctors were phoning up to complain – too many patients with Haçienda hearing problems. (“1984”, pg. 84)

But I do find this kind of thing amusing:

A fine example [of our incompetence] was Teardrop Explodes [sic] in May 1982. They were massive at the time and Rob [Gretton, New Order’s manager] paid them £3000 to do a ‘secret’ gig (nudge-nudge, wink-wink, but you’re supposed to let the word out so everyone will come).

We kept it so secret only eight people turned up. (“1982”, pg. 45)

This was amusing too:

We continued to make mistakes. For example, the place would be repainted every week, which cost a fortune. But, rather than wash out the paint tray and rollers, the staff would throw them in a pile then go to B&Q and buy new ones. I found that pile after we went bankrupt and it was like fucking Everest, had two Sherpas and a base camp on it. (“1984”, pg. 82)

And it’s also amusing that both the Haçienda and its cat received catalogue-numbers, Fac 51 and Fac 191, from Factory Records, the home of Joy Division and New Order. But there’s not enough amusing stuff here. For me, the best bits may have been the set-lists for two of the many bands who performed at the Haçienda. This was the Cocteau Twins on Thursday 8th December, 1983:

‘When Mama Was Moth’, ‘The Tinderbox’, ‘Glass Candle Grenades’, ‘In Our Angelhood’, ‘From the Flagstones’, ‘My Love Paramour’, ‘Sugar Hiccup’, ‘Hitherto’, ‘Musette and Drums’ (pg. 71)

And this was Einstürzende Neubaten on Thursday 28th January, 1985:

‘Seele Brennt’, ‘Zeichnungen des Patienten O.T.’, ‘Meningitis’, ‘Armenia’, ‘Yü-Gung (Fütter Mein Ego)’, ‘Sehnsucht’, ‘Sand’, ‘Negativ Nein’, ‘Letztes Biest (Im Himmel)’, Hör mit Schmerzen’, ‘Tanz Debil’, ‘Die Genaue Zeit’, Abfackeln!’ (pg. 100)

Just from those song-titles you know that those were two bands who, in their very different ways, were doing something very strange and interesting. Or bloody interesting, in the case of Einstürzende Neubaten and their pneumatic drill: “The gig ended when the singer’s throat burst and he started screaming blood all over the mic. Our sound-guy Ozzie got onstage and knocked him out. ‘I’d warned him once,’ he said.” But Hook doesn’t write about the Cocteau Twins or talk much about gigs by anyone except Einstürzende Neubaten and The Jesus and Mary Chain. The Chainies blew through the Haçienda on their “17 Minutes of Feedback Tour” in 1985. Hook says: “I thought, ‘That sounds quite interesting’, so made sure I worked security that night.” (pg. 93)

Alas, the gig was “excruciating”, because “17 Minutes of Feedback” was exactly what the audience got. Having listened to this, Hook removed the human shield that was protecting the Chainies from the people they’d deliberately provoked: “I was so wound up after they’d finished, I pulled the bouncers off and let the punters at them.” They were quickly sent on their way. But that was in the mid-’80s and soon the gigs at “the Haç” got fewer and fewer as the DJs took over. I think bands and their gigs are much more interesting than DJs and their sets. Joy Division and New Order were interesting, for example, but Hook doesn’t write about them much here either. He refers to New Order mostly as the source of the money poured into the bottomless pit of the Haçienda. As Tony Wilson of Factory Records put it: “About three years after opening the Haçienda we realized that everybody in Manchester was getting free drinks – except for the people who actually owned it.” (pg. 108)

But Hook, Wilson & Co. weren’t content with one bottomless pit: they opened another in the form of a bar called Dry. That too fell victim to the gangs who began to poison Manchester’s night-life in the 1990s. The Haçienda tried to fight fire with fire by hiring thugs to police thugs. That’s why they brought in the Manchester-Irish crime family called the Noonans:

Dominic Noonan, who worked with his brother [Damien] for the club, later told documentary-maker Donal MacIntyre that the Haçienda was a ‘tough door’; that gangs from Moss Side, Cheetham Hill and Salford would turn up, all wanting to get in for free, so ‘me and some of the lads who ran the door said enough was enough, let’s take the trouble to them – and we did.’

He and another doorman paid a visit to a pub, his mate with a shotgun, Dominic wielding a machete. ‘One of the gang lad’s dogs was about [dog-lovers and vegetarians might want to look away now] so I just chopped its head off, carried the head inside the pub and put it on the pool table. I more or less told them, “Stay away from the Haçienda or the next time it’ll be a human head,” and they never came back. (“1993”, pg. 260)

That warning for “dog-lovers and vegetarians” is funny, but it might have been added by Hook to something written by someone else. That story about Dominic Noonan and his machete is from one of the mini-histories in italics that punctuate the text (and that appear in Hook’s Joy Division book too). And why do I think Hook wasn’t responsible for the mini-histories? Well, they don’t always read like him and at the beginning of this book, a mini-history describes a controversy over a record-sleeve for Joy Division. It was designed by Peter Saville with a photograph of “the Appiani family tomb” on it. The record came out shortly after Ian Curtis’s death and Factory Records were accused of making a “tasteless reference to the suicide”. The mini-history says: “A bemused Saville pointed out that the design had been finalized prior to Curtis’s death.” (pg. 15) I don’t think Hook wrote that line. Guardianistas use ugly and pretentious words like “finalized” and “prior to”. As I noted previously, he isn’t a Guardianista (so “bemused” isn’t his kind of word either).

If he were a Guardianista, perhaps he would have avoided making some definitely tasteless references like this:

When drum’n’bass and hip hop became popular in 1995, we ended up being unable to hold so-called ‘black-music’ nights because there was so much trouble. Even the police encouraged us not to promote these shows and our bouncers eventually refused to work at them too – and don’t forget that our bouncers were lunatics themselves (in the nicest possible way). But even they said these nights couldn’t be policed. (pg. 238)

As Barry Miles did in one of his autobiographies, Peter Hook is just feeding a stereotype of violence and disorder in the black community. First of all, there is no more violence and disorder in the black community than in any other community. Second, okay, although there is a lot more violence and disorder in the black community, this is caused by hegemonic white racism and the legacy of slavery. And the very violent Noonan family weren’t black, which proves it. So there.

Anyway, this book disappointed me, but I’m not an ideal reader for a book about a legendary night-club. Lots of other people have been and will be. And it’s got a good index. Plus, I learned that the cedilla in Haçienda was (maybe) there to make the “çi” look like the “51” of its catalogue number. Good arty idea, that.

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