プレオーダー *3月中旬〜下旬入荷予定

イギリス人フォトグラファー、ピーター・ウォルシュ（Peter J Walsh）の作品集。本書は、2021年に初版が刊行された同名書籍の再版となり、カバーの装いを新たに、帯も追加されている。イギリスのファクトリー・レコードが経営し、1980年代後半のマッドチェスター・ムーブメントの中心となったクラブ「ハシエンダ（Haçienda）」の歴史を紐解く一冊。

「IDEA」が刊行する「dancingyouth book」シリーズとして『IBIZA ‘89』『SPIKE ISLAND』に続く3作目となる本書では、1980年代にマンチェスターのクラブや音楽シーンに傾倒していた作者が「ハシエンダ」のダンスフロアを彩る人々の記録が収録されている。

Available for pre-order now. *It will be shipped between the middle and the end of March.

The new IDEA book is the (Re)Edition of RAVE ONE by Peter J Walsh. A photographic history of The Haçienda. So nice we had to print it twice.

The Haçienda is, of course, the legendary Manchester night club which “changed the city and the world forever,” as photographer Peter J Walsh writes in his own introduction. Walsh immersed himself in its epochryphal world. He didn’t leave its walls very often and he photographed a lot. The Haçienda was heaven - and a haven from Thatcher’s Britain. It was major. And now we can see inside (again).

The pictures are classic Acid House raving: lots of smoke and no mirrors, lots of sweat and no tears. No hierarchy, airs or graces. E is for ecstasy and H is for Haçienda:

Walsh reflects in his introduction:

“Back then, I was just happy to be there, but, looking back, I now know, of course, how much this club changed music culture.”
[...]
“There was no VIP room so you would find yourself talking to Tony Wilson in the Gay Traitor bar about music, politics or life, or bumping into the Happy Mondays under the balcony by the stairs.”

Or... Derek Jarman... or The Smiths... or New Order... or Noel Gallagher.

It is kind of cheating just to do all this in pictures - but that is what the book is! And you can probably see at a glance that it is not going to struggle to find an audience. It’s treasure basically.

Tony Wilson, interviewed for Walsh’s film, The Haçienda Must Be Built puts it perfectly:

“The atmosphere was utterly amazing and communal in a way that the sixties weren’t communal [...] Even at Studio 54, the people would dance on the dance floor but not at the bar, whereas in this culture everyone throughout the entire fucking space was moving, was moving to the rhythm.”