19 Sep 2008
Dark side of the M 
Once upon a time seasoned Manchester watchers could guess when the bigwigs were in town as the screaming TAG vans would suddenly be replaced by pairs of shiny, happy, multiracial policemen and women having fun on the beat, signifying that some royalty or IOC or other were enjoying the local council's largesse.

Nowadays it's a bit more obvious, what with the with cordons, tank-traps, helicopters, security seals, road-closures and snipers hiding behind.....Peter Saville branding!

As a swathe of central Manchester is in lockdown for the annual conference of the right-wing neocon New Labour Party, once again selective parts of the city centre are festooned with full on security trimmings and a new incarnation of that Manchester M logo.

First aired in 2006 as part of Saville's Original, Modern treatment for the branding of the city, the new series consists of a number of lamppost banners and a 'The City of Manchester welcomes the Labour Party Conference 2008' poster, on view, probably, until the apparatchiks and party faithful leave town early next week.

The veneer of democracy.



Post a Comment

<< Home

- - - -

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)

The Durutti Column