27 Sep 2006
Manchester's Original and Modern Lightshow 
September 2006
Manchester's Original and Modern Lightshow
The brilliance of one of Manchester's finest architectural structures has been lit-up to highlight its historical value and to ignite the imaginations of the thousands of people who pass through the landmark underpass everyday
The words 'Be Original' and 'Be Modern' is now being colourfully beamed inside the listed Great Bridgewater Tunnel, situated next to the Bauer Millet car showroom. The display is part of Manchester's Creative Director, Peter Saville's vision for the city to be 'Original and Modern'.
The Great Bridgewater Tunnel lightshow is one of the first public displays from the Saville-inspired city marketing partnership, whose aim it is to create a better universal perception of Manchester as well as a signal for Mancunians to continue to be original and modern in their ambitions.
The 'Original Modern' concept gets its inspiration from Manchester's status as the first industrial city, drawing from the city's innovative and confident attitude that repeatedly make it the birthplace of social, economic, cultural and industrial change.
"From the establishment of the Guardian newspaper and the development of the modern computer, to the place where the atom was first split and the home of the world's first professional football league, the city of Manchester can be characterised by its originality and modernity," highlighted Vicky Rosin, chair of the Manchester Marketing Partnership and assistant chief executive of Manchester City Council.

Thanks to Peter, the french projectionist bloke and Jillian Platt.


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Peter Saville colour wheel
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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