#Greg wilmot ontour free#
Lowry’s painted depictions of Pendlebury in Lancashire like Going to the Match (1928), Coming from the Mill (1930), and Industrial Landscape (1955) still held true and were Muslim free - and John Tyndall and Martin Webster’s National Front could gather in their hundreds in Levenshulme and march with a strong wind at their backs under flapping Union Jack banners towards the center of Manchester along Kirkmanshulme Lane and Belle Vue.Ī new Thatcherite ecosystem was on the cusp of being born, and her betrayal of the native English before the rabbinical altar of her Finsbury controllers would bring forth a creative reaction like the one embodied in Curtis’s band, Joy Division, a group that quite deliberately and irreverently took its name from a schlock horror book by Ka-tzetnik 135633 called House of Dolls (1953). A region where the chatter of the cotton-mills had long fallen silent, and manufacturing had given way once more to the lassitude of Walter Greenwood’s Love on the Dole (1933).Ĭurtis, a discordant and dysfunctional scribbler, was attempting to record his feelings at a time when L. Ballard - was not at all what he seemed.įor Curtis’s intrepid mind was trapped inside the Kafkaesque world of 1970s socialist Britain a frozen, paranoid, and claustrophobic land where you could hear the echo of your own footsteps begrudgingly following you along the grey girder bound parapets thrown up between the fog-shrouded Eastern European style concrete tower blocks facing off against the ramshackle estates and decaying barbed wire fenced factories of the post-industrial north.
The would-be artist, who had up until that point been scratching a living in dead-end jobs with the Manpower Services Commission in Manchester’s Piccadilly Gardens and as an Assistant Disablement Resettlement Officer in the civil service, and whose musical and literary influences included David Bowie, Kraftwerk, Jim Morrison, Iggy Pop, Neu, Antonin Artaud, William Burroughs, Fyodor Dostoevsky, Friedrich Nietzsche, Hermann Hesse, T. One might think that’s quite a stretch for a bookish young man with autodidactic tendencies from the backstreets of Macclesfield, who was a fanatical supporter of Manchester United Football Club, prone to morbid introspection and whose song writing and bass-baritone voice were to become overwhelmingly synonymous with desolation, emptiness, and alienation. The transcript of the ersatz therapy session, which Sumner reminisces about at some length in his biography Chapter and Verse (2015), has Curtis seemingly rambling on about a former existence - an incarnation as a mercenary in the Hundred Years’ War, where he would have served under bloodthirsty warlords in events like the grande-chevauchée, a raid across southern France in which an army of around 6,000 English soldiers destroyed 500 settlements and mercilessly devastated 18,000 square kilometers of territory. Just two short weeks before a traumatized Ian Curtis, the enigmatic vocalist and dithyrambic front man of Manchester’s gloomiest ever rock quartet, took his own life on the 18th of May 1980 - robbing the world of the opportunity of hearing more from one of Britain’s greatest post-punk poets - he was allegedly hypnotized by the band’s lead guitarist, Bernard Sumner, and regressed back to a past life.
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