7 Oct 2006
What was so great about the Haçienda then? 
The honorary membership scheme and being able to get Lime & Soda for 0.15GBP from Leroy. That's what.

Urbis and MNMArchive are having a public 'talk' under the banner 'What was so great about the Haçienda then?' on 14 November 2006:

http://www.urbis.org.uk/events.asp?page=328

One of the evening's facilitators, friend of cerysmatic David Nolan, states: "It's an en masse discussion with the usual suspects specifically prevented from starting the debate because it's about the PUNTERS experience".
This will be achieved with the help of a "panel of punters, djs, authors and musicians".

Anybody wishing to relate any experiences/memories of the very early days of the club can contact David via email: mediaexpertise@fsmail.net or via www.myspace.com/davidnolanwriter

Tickets are available from the Urbis shop or via 0161 605 8220 at 3.00GBP.

Urbis are planning their own summer of Haçienda in 2007 and have a series of Haçienda photographs on show in the corridor gallery from 18 October - 4 December 2006.

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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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