Category Archives: Youth culture

1983 ➤ Video gem unearthed from the Blue Rondo vaults

◼ AIRED TODAY AT YOUTUBE: A long-lost live performance by London’s Latin jazz-soul band Blue Rondo à la Turk on German TV in 1983 complete with classic dance breaks from Moses and Sullivan in Aubrey Beardsley hair-do. The line-up dates from about 1982–3: Chris Sullivan and Christos Tolera (vocals), Moses Mount Bassie (sax), Art Collins (sax), Peter Tsegona (trumpet), Geraldo Darbilly (percussion), Greg Parker (guitar), Robin Jones (congas/percussion), Kito Poncioni (bass) and Daniel White (keyboards).

At this time Sullivan says: “Mark Reilly had left to form Matt Bianco. Kito carried on for a few months as he needed the money.” Then he and Daniel White left to join Matt Bianco which enjoyed several UK hits. By the time Blue Rondo released its second album album, Bees Knees and Chicken Elbows in 1984, the band had sadly disintegrated. Their first album Chewing the Fat was easily the best new album of 1981 in terms of musicality and attitude. Sullivan of course went on to run Soho’s Wag Club for 19 years and make it a legendary showbiz rendezvous.

24 NOV UPDATE FROM THE VAULT ♫ CHANGE ♫

➢ Previously at Shapersofthe80s: How Blue Rondo à la Turk created a buzz in clubland

Blue Rondo à la Turk ,Chris Sullivan ,Chewing the Fat ,jazz,soul,double-CD ,Cherry Red Records,Swinging 80s,Christos Tolera ,
➢ In June 2014 a double-CD entitled Chewing the Fat was issued by Cherry Red Records (CDBRED621) – They include 29 tracks, which are all of the group’s recordings on the original album, and various bonus tracks, 7in and 12in specials, plus remixes.

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➤ Is the sun setting on Westwood’s Worlds End?

Worlds End , shop, fashion, London

430 King’s Road: the crazy Worlds End clock slips from sight

◼ IF I WERE THE V&A, I’d be eyeing up that fairytale frontage at 430 King’s Road and hoping to buy it up for our national collection, along with its crazy 13-hour clock that turns time backwards. Today the nursery-rhyme cottage façade with slate roofing and wonky door frame vanished behind a builder’s hoardings. For 34 years the Worlds End shop has played home to savages, witches, pirates and other Vivienne Westwood fantasies, but can demolition be imminent?

The shop has stood empty for weeks, “closed for refurbishment until further notice”, according to its blog, which adds that more space has been acquired in the basement of the listed 19th-century building. Viv’s son Ben has given one deadline after another, promising that Worlds End would reopen in October, then “further into November”, and last week “the beginning of December”. A council notice on the hoarding validates it until 30 Jan 2015, so this could mean all promises are off until February.

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Viv’s Mayfair flagship store heads her chain of 12 UK retail outlets with Ben supervising Worlds End and devising between them clever ways to reinvent mum’s vast repertoire of silhouettes from squiggle shirts to mountain hats. Following her former partner Malcolm McLaren’s death in 2010, Viv asserted her rights to the various shop names and retail trademarks from their 13 years together and has adroitly capitalised on their sales potential since.

Ben has wittily related the freaky tale his father Malcolm told him about how he acquired 430 King’s Road, when the owner gave him the keys one day in 1971 and never came back.

A dynasty of subversive shops have mythologised this Chelsea address which is today one of Britain’s youth-cultural tourist magnets. The hippie boutique Hung on You of 1967 was followed by Mr Freedom, Paradise Garage, and in 1971 Let It Rock, the first of five retail ventures pursued by McLaren and Westwood, after meeting at Harrow School of Art. Next came Too Fast to Live Too Young to Die, then the most notorious, Sex, the home in 1975 of punk and the Sex Pistols, Malcolm’s creation wearing his Svengali hat. Here too Jordan (née Pamela Rooke) became the female face of punk as both sales assistant and living mood board who single-handedly turned the safety pin into a fashion statement.

Simon Barker, Six, Punks Dead, Jordan, photography, exhibition, London, Berlin

Reunited at the 2012 Punk’s Dead exhibition: a plonker from Six for Jordan at London’s Divus Gallery. Photograph © Shapersofthe80s

This week from Berlin Jordan expressed concern about the rumours surrounding the shop: “Really shocked, has it closed or is it being redesigned? Surely Vivienne hasn’t closed it, it is iconic!” Jordan was in Berlin, coincidentally, for the latest leg of the Punk’s Dead touring exhibition of Simon Barker’s photos of the movement’s earliest flowering. Simon, of course, aka Six, was one of punk’s feted Bromley Contingent who himself went on to front the Worlds End shop for many years. He piped up: “The problem is it is lined with asbestos. Plus Malcolm wouldn’t have cared about Worlds End being redeveloped – a ‘dance in the ruins’.”

Time for a check-call to the Westwood HQ. A spokeperson there purred soothingly: “What’s happening is a major renovation. To remove what’s in the walls and floors will take one or two months. Worlds End is definitely not in danger of being closed.” Sorry, Malcy: your dance has been postponed.

Punk’s Dead,exhibition, books,photography, Simon Barker , Siouxsie Sioux

In the Punk’s Dead show: Siouxsie Sioux at the St James hotel in 1977. Photographed by Six

➢ Previously at Shapersofthe80s: 2012, Punk’s Dead – Fresh pix from the “14 months” of punk

➢ Previously at Shapersofthe80s: 1983, The day Vivienne and Malcolm realised the end was nigh

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➤ Catch up on New Romantic landmarks reported here at Shapers of the 80s

Andrew Ridgeley,George Michael, Wham Rap, video, Face magazine, Club Culture,

Click pic to open the Wham Rap! video in another window … “Man or mouse” Andrew Ridgeley establishes his clubbing credentials – along with sidekick George Michael – in the opening shots of the Wham! video by reading this very Face cover story on Club Culture that you’re about to read!

THE MOST READ FEATURE ARTICLE AMONG 890,000 VIEWS SINCE THE LAUNCH OF SHAPERS OF THE 80s

➢ 1983, The Making of UK Club Culture — Definitive Face cover story by yours truly being read here in the Wham Rap! video. This account of how London nightlife had become an international magnet was first published as “an upstairs‑downstairs tale of two key nightspots” in The Face No 34 in February 1983. Photography © by Derek Ridgers. Reprinted in The Faber Book of Pop, 1995; and in Night Fever, Boxtree, 1997

69 Dean Street, Soho, club culture, The Face magazine, London, 1980s, clubbing, nightlife,Billys, Gargoyle,Red Studio,Blitz Kids

From The Face, February 1983

THE ORIGINAL HISTORY OF THE BLITZ KIDS

The Observer Music Magazine. Pictures © by Derek Ridgers

The Observer Music Magazine, Oct 4, 2009. Pictures © by Derek Ridgers

➢ Spandau Ballet, the Blitz Kids and the birth of the New Romantics — This much-recycled account originally penned by Shapers of the 80s tells who did what to make stars out of a club houseband, change the rhythm of the UK charts — and ultimately rejuvenate the British media. The obsessive fashionistas behind one small club in London in 1980 went on to dominate the international landscape of pop and fashion, while putting more British acts into the US Billboard charts than the 1960s ever achieved. Spandau Ballet songwriter Gary Kemp responded: “A superb piece. It will be referred to historically.”

EARLY 80s REPORTS REVISITED

➢ How three wizards met at the same crossroad in time — an inside scene-setter on the forces shaping the Swinging Eighties

➢ 1980, Strange days, strange nights, strange people: at The Blitz a decade dawns

➢ 1980, One week in the private worlds of the new young: London blazes with creativity

➢ 1980, Shapersofthe80s tells how Duran Duran’s road to stardom began in the Studio 54 of Birmingham, UK

➢ 1981, Birth of Duran’s Planet Earth … when other people’s faith put the Brummies into the charts

Romance blossoms: Drummer Jon Moss gives George O’Dowd a peck at Planets club in July 1981 way before their band Culture Club existed. Photographed © by Shapersofthe80s

➢ Three key men in Boy George’s life – In 2010 the BBC turned the pop star’s teens ’n’ twenties into a 90-minute drama of foot-stamping, chair-throwing, cry-baby tantrums over his self-confessed “dysfunctional romances”, all of which he had documented in his eye-wateringly frank 1995 autobiography, Take It Like a Man. Shapers of the 80s summarises George O’Dowd’s stormy lovelife.

➢ Ex-Blitz Kids give their verdicts on the TV drama Worried About the Boy – During and after this heavily fictionalised life story was broadcast in 2010, Shapers of the 80s canvassed this authoritative mixture of opinions on the Boy George myth and in doing so reshaped the accepted clichés about the Blitz Kids.

Chris Sullivan, club-host, deejay, Wag club, Blue Rondo, pop music,We Can Be Heroes, youth culture,

At home in Kentish Town Chris Sullivan chooses the right zootsuit for today’s mood: his wardrobe is legendary, his taste impeccable, and his influence immeasurable. Shapersofthe80s shot this for his first Evening Standard interview in June 1981

➢ 1976–1984, How creative clubbing started and ended with the 80s – “We were all kids,” says Chris Sullivan who would eventually run the Wag, the coolest club in town, for 19 years. “We went out and had a go. Empowerment is what’s important about this story.”

Photocall: Spandau Ballet, Richard Burgess and assorted Blitz Kid designers gather for the press conference before their fashion-and-music shows in New York. Yes that is Sade towards the far right. Photograph © by Shapersofthe80s

➢ 1981, First Blitz invasion of the US – 21 Blitz Kids take Manhattan by storm with a fresh fashion show and the live new sound of London. Eye-witness words and pix by Shapers of the 80s

ROMANTIC REVIVAL OF THE NOUGHTIES

Sade  1983

Wow! Then and now: Sade backstage in August 1983 while still seeking a recording contract and, right, as shot to launch her 2010 album. Vintage picture © by Shapersofthe80s

➢ 2010, Shapers of the 80s finds comeback Shard comfy as ‘Auntie Sade’ – Having wowed the 80s clubbing scene, in 2011 Sade’s band won a Grammy award for Best R&B Performance By A Group.

➢ 2009, Onstage, Spandau Ballet’s Hadley and Kemp finally get huggy in a mighty musical Reformation – Shapers of the 80s follows the reunion of the band who wrote the new rules for pop in the Swinging 80s.

WE ARE ALL BOWIE’S CHILDREN NOW

David Bowie, Starman, 1972, Top of the Pops, tipping point, BBC

The moment the earth tilted July 6, 1972: During Starman on Top of the Pops, David Bowie drapes his arm around the shoulder of Mick Ronson. Video © BBC

➢ 40 years since “I picked on you-oo-oo”! July 6, 1972 saw the seminal pop moment — David Bowie’s first appearance on Top of the Pops as Ziggy Stardust, the day he created the next generation of popstar wannabes

➢ Where to draw a line between glitter and glam – defining what separates Slade from Bowie, the naff blokes in Bacofoil from starmen with pretensions

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➤ Soul Boys Spandau rise like a phoenix from the flames of their film premiere

Spandau Ballet, Soul Boys of the Western World, premiere

Spandau Ballet: smart-casual on the red carpet

Spandau Ballet, Soul Boys of the Western World, premiere

Spandau live at the Albert Hall: All six members of the band reunited, the sixth being manager Steve Dagger in the wings

Spandau Ballet, Soul Boys of the Western World, premiere

Royal Albert Hall: full house for Spandau’s premiere

◼︎ 6,000 PEOPLE WERE UP FOR an emotional roller-coaster ride at London’s Royal Albert Hall on Tuesday – hundreds more watched simulcasts in cinemas across the land. Today Rolling Stone has called it “the biggest home-movie party in British pop history”. We sped through yards of breathlessly cut vintage footage even the band hadn’t seen before, showing how five glammed-up school friends adopted the preposterous name Spandau Ballet and effectively rewrote the rules of a moribund pop industry to rocket into the charts and become one of Britain’s six supergroups of the New Romantic 80s…

We saw how their friendships turned nasty and imploded in a law court… and how they’ve agreed to make this film 20 years later in which each tells his own version “warts and all”, soul boys baring their souls in a cathartic process of reconciliation and redemption. Why, they’d even titled their home movie, Soul Boys of the Western World, ironically referencing one of theatre’s tragic morality tales about human failings, the greater irony being that the band themselves were actually shocked to hear each other’s words at the first screening. They were the film’s only narrators, recorded separately talking one-to-one with the director and telling the tale with more “crashing and burning” than tact.

Tuesday’s audience picked up these cues in pantomime tradition. We were bearing witness just as the penitent members of Spandau Ballet were hoping. We oohed and aahed at some really tear-jerky best bits. We howled at odd Spinal Tap daftness. We heckled the cocky Cockney TV presenter. We laughed at our quaint mullets and hilarious teenage pretensions four decades ago. Then when the screen froze in a silent moment of grim truth, the whole Albert Hall groaned “Ohhhh no!” One hero had been damned, but a succession of jaw-dropping out-takes from pop-idol interviews hanged the others in turn. Icicles formed in the air, Steve Norman’s voice told us “You can see on our faces Spandau Ballet has just come to an end” and we shared their pain. At times the spoken bluntness came too near the knuckle and between last spring’s hair-shirt trailer and this autumn premiere a couple of killer icicles have been chopped.

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Apart from that, Mrs Lincoln, the yarn rattled along as a fascinating piece of social history, to a soundtrack deftly clipped from 22 Spandau numbers and a host of others that shaped the 80s. Tuesday’s melodrama came in three acts and we confessors gave the film a standing ovation, took a quick break to share our own shock at the band’s courage, and then rose to our feet again as the 6,000 to welcome onstage the happy smiling band of brothers, plus their equally glamorous film director, George Hencken, who had brought a woman’s instincts to handling the boys’ emotional baggage.

Spandau Ballet, Soul Boys of the Western World,

Soul Boys oWW reviewed by NME

Act 2 heard the team answer those burning questions live onstage, among them Gary Kemp saying “Yes, I’m the baddie”, and his brother Martin admitting disappointment in himself when young, while Tony Hadley said all the bitterness had weighed heavy on their families. There was plenty of humour too. When asked what he’d missed most since the great days, John Keeble said “the cheeseboard” (a reference to a backstage luxury specified in the band’s touring contract). Drummers, eh?

Act 3 was the equal of all that had come before. We rose to greet Spandau’s live set of six copper-bottomed hits, kicking off with their hymn of defiance, Through the Barricades, then sprinting into To Cut a Long Story Short. By Chant No 1 all six tiers of the Albert Hall were on their feet and cheering the dancefloor anthem that just missed being the chart No 1 in the riotous summer of 1981. Martin looked reassuringly relaxed powering its funky bassline, and Steve’s sax breaks were definitely dirtier than of old. In Only When You Leave Tony’s big balladeering vowels confirmed what a magnificent bel canto baritone he has become. And of course the last two classics, True and Gold, were inevitably hijacked by the choir filling the hall.

In words of the Eurovision winner, Spandau Ballet have risen from their ashes like a phoenix (fortunately without beards or frocks). We turn to our philosopher-drummer Keeble for the last word: “The film is a three-act play: guys have success, the wheels come off, then there’s some redemption. This now feels like fun and games – with love in it.” Gulp.

Spandau Ballet, Soul Boys of the Western World, premiere

Spandau film premiere: Rock god Keeble photographed by Dave Hogan

WHAT THE CRITICS SAY ABOUT SBWW

Spandau Ballet, Soul Boys of the Western World, premiere

Soul Boys oWW reviewed by Empire magazine

“More than a typical rock doc … the biggest home-movie party in British pop history” – David Fricke, Rolling Stone

“I found it gripping. Despite having never understood the appeal of the New Romantics, I enjoyed the hell out of Soul Boys of the Western World” – Observer film critic Mark Kermode on BBC-tv … “The mark of a really good rock documentary is that it makes you care about a band who played music that you were never a fan of” – Kermode again, on BBC News channel, picking his DVD of the week 24 Oct

“A funny, absorbing, trivia-filled portrait of friendship, the 80s music biz and bad hair” – Ian Freer, Empire Online

“The muscular musicianship of the band suggested that this latest stage of their reunion is more than just a nostalgia-wallow” – James Hall, Daily Telegraph

➢ Soul Boys of the Western World goes on general release 3 October, plus w/b Oct 20 screenings at Rome Film Festival and cinemas across Italy, Belgium’s Film Fest Gent… from Oct 27 Barcelona, Madrid, Bilbao, Pamplona… Plus, Nov 15 Spandau’s first public appearance in New York since 1983.

➢ Oct 20: tickets on sale today! Auckland NZ Nov 2, Melbourne Nov 5 and Sydney Nov 7 for special Q&A screenings of SBWW – Spandau Ballet are heading Down Under where the Melbourne screening will include a 20-minute live performance by the band.

➢ Plus Oct 24: Spandau’s first European tour dates announced: Amsterdam 21 March, Luxembourg live 22 March and a five-date Italian tour 24–30 March

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1982 ➤ “Who?!” Peter Capaldi’s first interview (probably) as a green young stand-up

Peter Capaldi, 1980s, interview,audio, Spandau Ballet, Doctor Who, stand-up, comedy,

Capaldi learning the ropes as a comic: Live onstage supporting Spandau Ballet in 1982. (Photographed © by Shapersofthe80s)

Peter Capaldi, interview,audio,  Doctor Who, TV, scifi, BBC,

Capaldi and his new Tardis: the 12th Doctor Who. (Photo © BBC/Guy Levy)

◼ “KIDS THREW ORANGES AND COINS at me in Brighton. It’s the first time I’ve tapped into that iceberg of sympathy.” Such was the welcome the 23-year-old Scot, Peter Capaldi, received on his first serious outing as a stand-up comedian supporting Spandau Ballet’s first national concert tour in 1982. I’d been bowled over by his high-octane act a week earlier in Manchester and now the tour was winding up in Bournemouth where I’d come for its Easter weekend finale. His energetic performance suggested an interview was going to be fun, and I’d snapped some onstage pictures that spookily presage an aspect of Capaldi that was to win a Bafta award later in his career.

So here we were in 1982 in the Royal Exeter hotel talking about his lucky break earlier on the same tour – being spotted supporting Spandau’s Glasgow gig by film producer Bill Forsyth who also recognised talent writ large. One result was me resting my notebook on a thumping fat filmscript titled Local Hero, and the other was Capaldi admitting: “I’m terrified of starting this film – standing in front of a camera.”

Oh the irony. Tonight Peter Capaldi, now 56, stepped into the best role in British television to play the 12th Doctor Who – a rendering as fierce and dotty as any who went before. Today too I finally found my long-lost notes from the first interview he’d given as an unknown comic, plus the cassette tape of our very relaxed conversation about his days at Glasgow School of Art, singing with a local band, and his yen to try comedy, inspired by 1981’s nationwide tour by Rik Mayall and the Comic Strip team, who a year later leapt onto British television screens on Channel 4’s opening night.

Local Hero, 1983, Peter Capaldi, Burt Lancaster , Peter Riegert, movies, Bill Forsyth

Local Hero, 1983: Peter Capaldi with Burt Lancaster and Peter Riegert, a gentle Scottish comedy directed by Bill Forsyth

For Capaldi’s debut in autumn 1981, he had invented a dim character called Fraser Meaky after thinking “I can’t go onstage as myself!” but then Gary Kemp’s circle of Spandau friends, who did not want another band supporting their tour, asked him to be a comedy warm-up before the main event. Fraser was shed in favour of a much more frenetic onstage Capaldi wearing a distressed old showbiz tuxedo, the humour retuned to lampooning the ego maniacs in politics and pop.

Recently, he had been compering a Monday live band night at a Glasgow club. “I like fast clean idea jokes, like Steve Martin,” he said. “The trouble with Glasgow is that it’s a small audience and every time you play you face the same crowd so you have to invent new material. After three weeks I couldn’t think of any more jokes, so it fell through.” How he solved this dilemma was revealed as we spoke. More of the interview will follow soon, meanwhile listen to our chat.

AUDIO CLIP FROM OUR 1982 INTERVIEW:

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➢ Previously at Shapersofthe80s: How Clare Grogan’s pop entourage put Capaldi on the road, plus an audio track with his band The Dreamboys

➢ Catch Doctor Who series 8 on BBC iPlayer for two months

Doctor Who

Rare self-deprecation: Click pic to view Doctor gifs at thespoonmissioner

➢ Sept update: The new Doctor joins Denzel Washington and Gemma Arterton on BBC1’s Graham Norton Show, 26 Sept – Peter Capaldi’s debut alongside Jenna Coleman was the most watched Doctor Who opening episode in four years, with 9.2million UK viewers.

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