Category Archives: Clubbing

➤ Remembering Steve Strange: Today’s tweet from Midge Ure

Midge Ure, Rusty Egan, Steve Strange,,anniversary, death, Visage, pop music, Blitz Kids, New Romantics

Click to view original Tweet

❏ To which Rusty Egan, Steve’s partner in the Blitz Club and other landmark ventures that helped create the Swinging 80s, replies:

For 2 years prior to this unfortunate event Steve and I were embroiled in a public feud. Sadly we did not kiss and make up and I like most people was shocked he left us so young. RIP Steve. I have still got a few things I need to do… will sort that biz out later.

Visage, Swinging 80s, pop music, Blitz Kids, New Romantics,Midge Ure, Rusty Egan, Steve Strange, Dave Formula , Billy Currie

Visage 1980, left to right: Midge Ure, Rusty Egan, Steve Strange, Dave Formula and Billy Currie. (Photo © Denis O’Regan)

➢ Previously at Shapersofthe80s:
2015, Original Blitz Kids say farewell to Steve Strange – read exclusive tributes to the King of the Posers

➢ Previously at Shapersofthe80s:
1980, One week in the private worlds of the new young

➢ Previously at Shapersofthe80s:
Catch up on New Romantic landmarks reported here at Shapers of the 80s

➢ Read the story of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer, by Yours Truly

FRONT PAGE

➤ Steve Strange remembered by Martin Kemp

Steve Strange, tribute, Martin Kemp, New Romantics. Blitz Kids,Swinging 80s, London, nightlife

Steve Strange, right, and Martin Kemp at Tokyo Joe’s in London in 1981. Photograph by Robert Rosen/Rex

➢ Spandau Ballet bassist Martin Kemp recalls the Visage frontman, nightclub host and New Romantic pioneer who kickstarted his band’s career – in today’s Observer:

It’s lovely being asked to talk about Steve now, because I couldn’t right after he died. I’d start, but then I’d just burst into tears. He was one of my best friends and he created a big part of my personality. He showed me how exciting life could be, but how you could be a decent person with it. I also genuinely believe that everything that the 80s was, he started it. What people wore, how they did their hair, the decade of excess – that was all him. . .

Steve Strange, pop music, gravestone

Steve Strange’s gravestone erected 18 December in Porthcawl, South Wales

We were both working-class boys who had always wanted to do something else and here he was, doing it brilliantly. I looked up to him. He’d set up punk gigs back home in Wales, came up to London to work for Malcolm McLaren, and now he was carving out his own path away from punk. . . He succeeded because he was smothered in charisma. It drew everyone to him – the working class and the middle class loved him, but even the most upper-class people were immediately in the palm of his hand.

London made Steve, but it wasn’t good for him. He was a very intelligent man, but he got scrambled and crossed the line with drugs. . . The saddest thing is that I could see the end of Steve’s story long before it had been told. I’d waited for the phone call for years, so it wasn’t a shock. But to go to his funeral in Wales… it was incredibly sad. . . / Read the full tribute at the Observer online

➢ Previously at Shapersofthe80s:
Original Blitz Kids say farewell to Steve Strange – read exclusive tributes to the King of the Posers

➢ Read the story of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer, by Yours Truly

FRONT PAGE

➤ Burretti movie adds an epic and essential chapter to the Bowie story

Starman, Freddie Burretti, film, biopic, Lee Scriven, David Bowie, Man Who Sewed The World, glam rock, fashion

Connected by “otherness”: In a scoop for the film Starman, Bowie himself gave this unseen 1973 picture of Freddie Burretti wearing his own design for a lush crimson suit to launch the Aladdin Sane album. Both photographs by Masayoshi Sukita

Click to zoom down to Andy Polaris’s film review

◼ BETWEEN 1970 AND 1974 FREDDIE BURRETTI not only became David Bowie’s teenage lover but gave visual expression to the singer’s pop ambition. When they met Bowie was 23 and married to Angie while former Mod face Freddie, with his 28-inch waist and voluptuous long-hair, was as sexy as many another 19-year-old in that moment when David Johansen, Marc Bolan and Bowie were creating what became known as glam rock. But Freddie and David clicked instinctively in what Bowie calls their “otherness”, much of which derived from their sexuality. His career rebirth as an alien on Planet Earth was a masterstroke of pop invention and it was Burretti who created the exotic and brazenly sexual one-piece style of costuming in lush fabrics that we associate with Ziggy Stardust.

A new documentary biopic was previewed in London last night and not only breathes fresh life into familiar Bowie music but pieces together a unique chapter about his personal relationships against the austere climate of Britain in the 70s. Director Lee Scriven captures on film a score of eye-witness accounts, chief among them Freddie’s brother Stephen, his special friend and flatmate Wendy Kirby, his younger It-girl protégée Daniella Parmar, and biographer Kevin Cann.

Freddie Burretti , David Bowie, fashion,

Burretti stripes 1973: Bowie photographed on the Aberdeen express by Mick Rock

Titled Starman: Freddie Burretti – The Man Who Sewed The World, the biopic’s impact is cumulative. Burretti described himself as “just a dress designer” – raised in Hackney, transplanted at 14 to Bletchley in the home counties, then escaping at 18 back to London to live the life – yet by the time the on-screen talking heads arrive at GQ editor Dylan Jones, it becomes clear that a body of opinion today ranks Burretti alongside giants such as Zandra Rhodes, Vivienne Westwood and even Alexander McQueen, whose design talent blossomed more than a decade later.

Indeed, Burretti’s “stylish, yet slightly whimsical approach to tailoring” and the enduring influence of his adventurous cutting in several suits of the moment during 1973–74 is thoroughly acknowledged in the V&A catalogue to its touring exhibition, David Bowie Is. The singer’s blurring of the line between stage wear and day wear persuades an impressive list of high-fashion designers to admit their debt to him, including Riccardo Tisci at Givenchy whose SS2010 show opened with a black-and-white striped blazer in a blatant tribute to the one Bowie was famously photographed wearing on an intercity train in May 1973.

Bowie told Fan magazine in 1974: “Freddie is extremely patient. He just listens to my ideas and has this sort of telepathy, because whatever I think of in my mind he produces for real. I just hope he’ll continue to design incredible clothes for me.”

❏ Up until now very few pictures of Freddie Burretti were known to the public – even the cover of the sex education magazine Curious shown below surfaced in only 2010 with Cann’s chronology of Bowie’s early life, Any Day Now. As the gay liberation movement was gathering momentum in Britain, we see Bowie wearing a floral “man-dress” designed by Savile Row tailor Mr Fish, known for putting Mick Jagger in a frock for the Stones’ 1969 Hyde Park concert. Bowie had two Mr Fish dresses which he wore in 1970 in cover photographs for the album The Man Who Sold the World.

With Starman, Scriven’s company LJS films has scored a major coup. The publicity photo you see up top has never been published before and was given to the project by Bowie himself, showing off Freddie’s good looks, with grey highlights in the hair. Today you’ll come across very few pictures of the gorgeous suit in rich crimson-and-blue velvet with flared crimson trousers created for the launch of the Aladdin Sane album. Its first outing was Bowie’s interview on the Russell Harty TV chat show recorded on 17 January 1973, and in an associated live clip singing Drive-In Saturday.

Uniquely, what Starman has done is to collage together Burretti and Bowie in the crimson suit to simulate a sumptuous set of photos taken that February by Masayoshi Sukita against the glistening art deco interior of Radio City Music Hall in New York. Scriven said: “I have been told Freddie would arrive at studio shoots in advance with the clothes and help the photographer by standing in as a model so he or she could set up the lighting etc ready for Mr Bowie.” Some of the shots play with his mirrored reflection and the collage cleverly echoes the originals.

In the UK an NME headline revealed the new persona, “Goodbye Ziggy, Big Hello to Aladdin”, while at Radio City on 14–15 February Bowie and the Spiders were launching their US tour. One poor black-and-white photograph suggests he might well have been wearing the crimson suit as he helicoptered onto the Music Hall stage. In this 90-minute show Bowie transitioned through the hit songs of Ziggy Stardust to introduce Aladdin Sane and all but one track from the new album – all this, remember, before his official and unexpected “retirement of Ziggy” announcement in London that July. Included in Freddie’s £1,000 invoice for costumes supplied to the tour, Cann’s meticulous book records “Red Check Suit 40 guineas” (about £500 today).

The tragedy is that the Burretti-Bowie partnership ended the next year, over a “financial disagreement”, according to Cann’s book. Immediately, Burretti slipped out of the public eye.

, Freddie Burretti, David Bowie, glam rock, man-dress,gay issues,

Curious magazine, 1971: Bowie wears his Michael Fish “man-dress” and plans to create a band called The Arnold Corns to showcase Freddie as “the next Mick Jagger”. In the studio, it turned out that Freddie couldn’t sing

❏ Their affair had begun in 1970 in Kensington’s fashionable gay disco Yours Or Mine beneath the Sombrero restaurant. The Bowies were regulars, and one night David spotted Freddie cutting a dash on the up-lit dancefloor. Angie Bowie crossed the room to ask him and Wendy to join them for a drink.

In an interview with 5years.com Angie said in 2000: “You have no idea how handsome this man was. Freddie was wearing white Spandex hotpants with a navy blue sailors trim and a sailor shirt with short sleeves out of the same white Spandex edged in navy on the collar and sleeves. He looked totally Scandinavian with high cheek-bones and lots of blond hair, but he was tall and had big hands and feet speaking of his artistry and physical stamina. Every night he made new clothes to wear. He was so brilliant.”

At last night’s screening flatmate Wendy also remembered that day: “Angie approached us and asked us to have a drink. We hesitated and that’s what’s missing from the film – our sheer arrogance. We nearly said no!” She added: “Watching the film was quite strange. No one imagines their youth will be portrayed on screen and it was a little unsettling. I think the film was an affectionate glimpse of a time long gone. I didn’t appreciate at the time how talented Freddie really was. Lee’s film brought home how exceptional his work was. I’m proud to have known the man who was ‘just Freddie’ to me.”

Was Bowie’s gay phase in truth a marketing stance, as some argue? In his 2011 biography Starman, Paul Trynka reports American actor Tony Zanetta saying: “He was bisexual, but what he really was, was a narcissist – boys or girls, it was all the same. He was attracted to the gay subculture because he loved its flamboyance. Sometimes it was just an expression of communication – sometimes it was a way of. . . assimilating someone.” Bowie knew exactly what he was doing.

❏ Read on for a review of the film by Andy Polaris, ex-Blitz Kid and 80s pop singer who regards Bowie as one of rock’s serious gods.

➢ Starman director Lee Scriven’s website

“man-dress” , Wendy Kirby, Freddie Burretti, David Bowie, fashion,

Angie and David at home to Freddie: the host wears his Michael Fish designed “man-dress” that was banned from his American album cover for The Man Who Sold the World

➢ Previously at Shapersofthe80s: 2011, I danced in Bowie’s lost Jean Genie video, by Wendy Kirby

➢ Previously at Shapersofthe80s: 2010, A feast of Bowie-ana served in waffeur-thin slices by Kevin Cann

Last night’s preview: click any pic below to launch slideshow

➢ Previously at Shapersofthe80s:
1970, Where to draw a line between glitter and glam

++++++++++++

ANDY POLARIS REVIEWS STARMAN THE MOVIE

Freddie Burretti, Daniella Parmar, fashion,Ziggy Stardust

Bowie’s designer Freddie and It-girl Daniella in about 1971: striking a pose that David and Angie came to emulate

Andy Polaris, singer

Andy Polaris

❏ Starman: The Man Who Sewed The World gives a fascinating insight into the relatively unknown life of fashion future legend Freddie Burretti. This working-class lad had a creative mind able to absorb everything he loved about Mod fashion, having taught himself to make his own clothes at an early age. With enough dedication and focus to learn tailoring as well as the youthful dynamics of the dancefloor, he was obviously adept at observing styles and reworking looks to his own vision.

A chance meeting at the disco lead to the serendipitous collaboration with Bowie and the singer’s as yet not fully realised Ziggy Stardust wardrobe. These bold textured prints and coloured jumpsuits were, and are, extraordinary for capturing Bowie’s otherness at that time. Aladdin Sane prints that looked like Liberty worn by the androgynous male rock star blew our tiny minds back then.

What I loved about the movie was seeing the genesis of Freddie’s glamour vision in a mundanely drab landscape played out with the innocence of his mainly, it appears, female friends notably Wendy bf and Daniella protégée. Wonderful to hear their counterpoint stories of that inner ciricle involved in Bowie’s creation of Ziggy with Freddie’s ascendant talent and confidence.

The pairing of Freddie and Daniella wearing his clothes is groundbreaking. Looking at those photos we see the androgynous beauty of Freddie (like a still from James Bidgood’s 1971 cult movie Pink Narcissus) teamed with Daniella’s Asian complexion and short spiky blonde crop. They had already created David and Angie’s classic image before the rest of the world saw it!

fashion, David Johansen, David Bowie

Coordination of styles, 1973: which came first, Johansen of New York Dolls or Bowie in Burretti suit?

In fact, Daniella also anticipates Ava Cherry singing with Bowie in Young Americans several years later when we note the similar styling – how did that happen?

From my own black perspective, a brown or black face was something I would immediately zone in on, seeing someone like you up there on a stage and hanging out with the stars. Marc Bolan having the black Gloria Jones as his wife was a big bloody deal to some black kids, for sure.

Freddie’s whole look seems to have been adopted wholesale by David Johansen of the New York Dolls, so the influence of this young British designer can today be recognised rippling out into the wider pop culture although it probably wasn’t acknowledged at the time. Maybe a parallel could be drawn between Freddie and Alexander McQueen – both gay and from working-class backgrounds – though McQueen came to work with Bowie as an established star, whereas Freddie created an image that made Bowie a star. Today it is unreal to imagine any designer could achieve such pivotal pop success without a massive team behind them.

➢ Video: Andy Polaris sings Mr Solitaire on Top of the Pops

➢ Follow Andy’s blog APolarisView: one man’s adventures in display and other obsessions

FRONT PAGE

➤ Spicy new survey from Derek Ridgers celebrates the wild hours between dusk and sunrise

books, Carpet Bombing Culture,photography, nightlife, London, UK, youth culture, street style, Dark Carnival, Derek Ridgers

Clubbers at the Astoria in 2000 photographed by Derek Ridgers


◼ HERE’S A PROMO VIDEO FEATURING some preposterous talking heads who include photographer Yasmine Akim and dancer Constantine Flowerz, describing a new large-format book of spicy photographs from Derek Ridgers’ travels through London clubland… The Dark Carnival: Portraits from the Endless Night is being published next week by Carpet Bombing Culture.

books, Carpet Bombing Culture,photography, nightlife,London, UK, youth culture, street style, Dark Carnival, Derek Ridgers, If you’re in it, you’ll be on the list for the launch party on Friday 27th from 5pm at the Lights of Soho gallery, followed on by a free Soho Swag night from 9.30pm at the 68 and Boston bar at the top end of Greek Street, hosted by 80s shapers Christos Tolera and Chris Sullivan.

The Dark Carnival is Derek’s second book published this month. He modestly calls it “my 40-year wander through nightclubs” but this delicous cornucopia selected by Derek himself proves much more of an adult shocker where anything goes on the themes of sexuality, seduction and shame (lack of), with eye-poppers shot at Anarchy, Smack, Submission, Wacko, Wicked, Rubber Ball and coming right up to date at Torture Garden.

➢ Buy The Dark Carnival direct from Carpet Bombing Culture, 216 huge pages for £30

photography, nightlife, London, UK, youth culture, books, Carpet Bombing Culture,street style, Dark Carnival, Derek Ridgers

Anonymous clubber in Brixton 2011 photographed by Derek Ridgers

AUDIO UPDATE: ROBERT ELMS INTERVIEWS DEREK ON BBC RADIO LONDON 9 dec 2015

+++
Q: Does this kind of nightlife still exist?

“Yes it does. It’s not quite so focussed today and readily categorisable. Hardly any of the little basement clubs are left in Soho. I think the St Moritz is the only one” – Derek Ridgers on BBC Radio London

FRONT PAGE

1980s ➤ The Ridgers lens lays bare the pursuit of love

The Others, Derek Ridgers, Idea Books, youth culture, nightlife, London, Swinging 80s, Dover Street Market, photography, style,

London 1984: if this is you, come to the party! Photo © Derek Ridgers

◼ IF THIS PHOTO SHOWS YOU perfecting the horizontal jig in a London club in 1984, you’ll find yourselves immortalised in the latest book by photographer Derek Ridgers, titled The Others. The collection captures young love in all its clubland guises and if you spot yourself in this gallery why not email info [a t] idea-books.com and ask to come to the London launch this Thursday, 19 Nov?

Between 1980 and 1986 Ridgers and his candid lens couldn’t help following the pursuit of romance among the lovers, the loveless, the lonely and the last to leave in nightclubs as disparate as Gossip’s, Planets, Great Wall, Batcave, Feltham Football & Social Club, Flick’s, Lyceum, Le Beat Route, Camden Palace, Taboo and many more.

These snogging couples represent Britain’s many subcultural tribes who expressed distinct affinities in the early 80s through personal style and musical tastes. The book’s foreword says its intriguingly contradictory title describes the “other” clubbers who had enough attitude *not* to get rejected by the greeters on the doors of London’s finest clubs. It would make more sense to call these kids The Chosen Ones. Once inside a club, however, they got their priorities right and relegated posing into second place behind the down-to-earth goal that was really on their minds.

The Ridgers images capture all the fun and frailty and the frissons of exploring your youthful identity among like-minded tribalists in ways the publisher was probably trying to nail: a sense of “otherness” that characterised many subcultures in that austere and intolerant era. Whether brave or tentative, outsiders or players, they were helping shift attitudes in dark and stylish cellars across the land. They re-energised Britain by mobilising the talents in which the young excel: through music, clothes, haircuts and romance.

The Others is priced £35 for 124 pages in a limited edition exclusively available at Dover Street Market London and New York, Ginza and the Comme des Garcons Trading Museum in Paris, as well as Marc Jacobs’ Bookmarc stores in New York, Los Angeles, London, Paris and Tokyo. And online from Idea Books.

The Others, Derek Ridgers, Idea Books, youth culture, nightlife, London, Swinging 80s, Dover Street Market, photography, style,

Big hair, 80s-style: Mohican and his captive. Photo © Derek Ridgers

FRONT PAGE