and pre-recorded video on monitors. The idea was intended to mock the desensitising effect of mass media. Eno, who was credited in the tour programme for the "Video Staging Concept", explained his vision for the tour: "the idea to make a stage set with a lot of different video sources was mine, to make a chaos of uncoordinated material happening together... The idea of getting away from video being a way of helping people to see the band more easily ... this is video as a way of obscuring them, losing them sometimes in just a network of material." While on a break from recording, the band invited production designer Willie Williams to join them in Tenerife in February 1991. Williams had recently worked on David Bowie's Sound+Vision Tour, which used film projection and video content, and he was keen to "take rock show video to a level as yet undreamed of". The band played Williams some of their new music—inspired by alternative rock, industrial music, and electronic dance music—and they told him about the "Zoo TV" phrase that Bono liked. Williams also learned about the band's affection for the Trabant, an East German automobile that derisively became a symbol for the fall of Communism; he thought their fondness for the car was "deeply, deeply bizarre". In May, he brainstormed the idea to construct a lighting system of recycled Trabants. Williams, who "always favored a very homemade approach to lighting, over an off-the-shelf one", had previously fashioned fixtures from objects such as trash cans and furniture. He saw the Trabant as the perfect object to light U2's tour, envisioning it as a "suitably surreal and symbolic scenic element". On 1 June 1991, Williams visited the engineering department of Light & Sound Design (LSD) in Birmingham, England, to ask for help with building a prototype. On 14 June, the first tour production meeting was held; in attendance were Williams, the band, their manager Paul McGuinness, artist Catherine Owens, and production managers Steve Iredale and Jake Kennedy. Williams presented his ideas, which included the Trabant lighting system and the placement of video monitors all over the stage; both notions were well received. Eno's original idea was to have the video screens on wheels and constantly in motion, although this was impractical. Williams and the group proposed many ideas that did not make it to the final stage design. One such proposal, dubbed