Tag Archives: Sade

➤ After Anna’s drenching, Gaultier leads the world’s fashionistas for more ice-bucket madness

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There goes her bob: editor Anna Wintour gets dowsed. Click pic to view video at Vogue

◼ WHO WOULD HAVE PREDICTED the stern-faced Vogue editor-in-chief Anna Wintour would have played ball with the #icebucketchallenge sweeping America to raise funds for the ALS charity? Well, having been dared to get freezing-wet by her daughter Bee Shaffer, here’s the proof that Anna and her immaculately coiffed bob are good sports. The big question: Will the wet look make it to the September issue?

➢ Click to see Anna Wintour accept the
ALS Ice Bucket Challenge

Following the rules of the challenge, La Wintour obligingly nominated Roger Federer, tennis champion, and Dominic West, star of the TV drama series The Wire, to get themselves dowsed within 24 hours.

However, before either of them could muster enough supermarket ice-cubes, zat crazee Froggy, Jean Paul Gaultier, led the charge for the international brigade of couturiers. (So far fashion had been represented only by models such as Cara Delevingne and Suki Waterhouse.) Here is JP being given the big freeze by some handpicked hunk in speedos…

MEANWHILE BACK ON THE FASHION RUNWAY

❏ Fabulous fashion footnote: You have until Monday 25 August to catch the extraordinary and witty retrospective of JPG’s madcap couture creations in The Fashion World of Jean Paul Gaultier at London’s Barbican Art Gallery: 165 cutting-edge garments that boggle the imagination, up close and theatrically displayed in a touring exhibition from the Montreal Museum of Fine Arts.

➢ Previously at Shapers of the 80s: Gaultier celebration trumps all else in London this summer

Fashion , Jean Paul Gaultier, Sidewalk to the Catwalk London, Barbican Art Gallery, exhibition, Eurotrash, reviews,

No, not JPG himself sporting a mink Marinière, and greeting us in English and French. This is one of many custom-made mannequins at London’s Barbican exhibition, brought flirtatiously to audio-visual life by the UBU/Compagnie de création of Montreal and Jolicoeur International of Quebec. Photographed by Shapersofthe80s

➢ Jean Paul Gaultier’s take on Sade’s style

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Fan and hero: Iain R Webb and JP Gaultier

➢ British fashion guru Iain R Webb recently gave a guided tour of the Gaultier show in London – To prepare for the talk, he constructed a scrapbook of his friendship with JP Gaultier preferring to call it a fanzine. You can view it at his blog Hopeandglitter.

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2012 ➤ All about reclusive Sade, the singer who trumps Adele in US list of top earners

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Launching her album in Feb 2010: Sade meets US TV host David Letterman. (Videograb from his Late Show on CBS)

➢ Sade proves to be highest-earning British musical act in America last year — read Caspar Llewellyn Smith in today’s Guardian…

Viewers of the 2012 Grammys awards last month watched Adele, the 23-year old girl from Tottenham, north London, walk away with six awards, but the top-earning act from the UK in America last year was an artist who fans back home have to some extent forgotten.

BILLBOARD’S TOP EARNERS
1 Taylor Swift: $35.7m
2 U2: $32.1m
3 Kenny Chesney: $29.8m
4 Lady Gaga: $25.4m
5 Lil Wayne: $23.2m
6 Sade $16.4m
7 Bon Jovi: $15.8m
8 Celine Dion: $14.3m
9 Jason Aldean: $13.4m
10 Adele: $13.1m
[Touring and record sales 2011]

Sade raked in $16.4m (£10.5m) in 2011 on the back of her first tour in North America for a decade and the release of The Ultimate Collection. The 53-year-old singer came sixth on a list of the biggest-earning acts of last year, compiled by the American trade publication Billboard, eclipsing Adele, the only other Brit in the top 10, who earned $13.1m.

Sade [say it “Zhah-Day”] is the most successful solo female artist Britain has ever produced, selling more than 50m records in a career that stretches back to her 1984 hit Your Love Is King. Famously reclusive — nicknamed Howie by her friends, after millionaire hermit Howard Hughes — she toured the world for eight months last year, but the bulk of the tour was devoted to North America, where she played 59 shows. The tour started 18 months after the release of her US No 1 album Soldier of Love, a record that reached No 4 in the UK… / continued at Guardian Online

➢ Smooth Operator Sade is surprise US smash,
beating Adele and Take That to be Britain’s biggest music export
— today’s Daily Mail feature

➢ Billboard’s Top 40 Money Makers 2012

FLASHBACK TO SADE’S 2010 ALBUM LAUNCH

Rolling Stone described Sade’s studio album, Soldier of Love, as “unimpeachably excellent” … Billboard said: “It’s been 10 years since Sade released an album, but be forewarned – the giant has awoken” … People magazine said Sade’s enduring appeal was as “the voice of comfort to the wounded heart”

❏ In her American fan forums black guys are besotted with Sade, and here in an audience for a live TV performance we see doting female fans for whom she is a role model. On Jimmy Kimmel’s show in February 2010 (above), Sade performed Soldier of Love live as her eponymous album hit No 1 in the US (502,000 copies sold there in its first week — the best sales week for an album by a group since AC/DC in October 2008). Susan Boyle, the finalist from the Britain’s Got Talent contest, was holding steady at No 9.

❏ Backstage video interview with Sade by The Insider, June 2011 (above) — “I’m really a country girl. I don’t give too much of myself away. When I go in a studio I lose all my shyness.”

➢ Read Sade: The Billboard Cover Story by Mitchell Peters, August 19, 2011 — Preparing for a 100-plus-date international concert tour is daunting for even the most seasoned musical acts… “I do the opposite and pretend it’s not going to happen, immersing myself in the details of production as a way of distracting myself from reality,” says English singer Sade Adu. “When the time comes, I don’t test the waters — I just jump straight in.”

❏ Listen to The Moon and the Sky (remix featuring Jay Z):

SADE’S EARLY CAREER AT SHAPERSOFTHE80S

Sade’s debut with her own band in Aug 1983 at the Yow club, London, Paul Denman to the fore. Photographed © by Shapersofthe80s

➢ 1981 — Pix of fashion designer Sade’s Demob outfits during the first Blitz invasion of the US

➢ 1982 — Pix of Sade helping backstage during Steve Strange’s fashion show by Londoners in Paris

➢ 2010 — Her first interview in 10 years finds comeback Shard comfy as ‘Auntie Sade’ — On her new man, Ian Watts, who has been in turn Royal Marine, fireman and scientist: “I always said that if I could just find a guy who could chop wood and had a nice smile it didn’t bother me if he was an aristocrat or a thug as long as he was a good guy. I’ve ended up with an educated thug!”

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➤ Record numbers visit Shapersofthe80s for the best Blitz Kid photos and eye-witness memories

Planets club in Piccadilly, 1981: George O’Dowd before he became Boy, his sidekick and future singer Marilyn, and fashion goddess Kim Bowen. Photographed by Shapersofthe80s

❚ 2011 WAS A BUMPER YEAR for Shapersofthe80s. Visits to this website have doubled year on year, to a total of 174,658 page views during 2011. Also during the past six months, views increased by 40% over the previous six months — driven substantially by our three exclusive picture stories about Steve Norman’s marriage to Shelley Preston, and by exploring the heritage which informs We Can Be Heroes, Graham Smith’s definitive new photobook about 80s clubbing.

Of all topic areas, inevitably Blitz Kids and New Romantics have attracted most visits — about 16,000 views in total. Nightclubbing in the 80s came third with 11,000. Discover why, inside at Why them? Why then?

Most popular popstars viewed here in 2011 …

Martin Kemp, Steve Norman, NYC,Axiom,fashion

Lexington Avenue 1981: A fashion shoot features Martin Kemp wearing Demob and Steve Norman wearing Pallium, along with local girls. Photographed © by David Spahn

1 — Spandau Ballet — Total page views include Tony Hadley’s international tour with John Keeble, Steve Norman’s wedding, Martin Kemp’s cinematic triumphs and Gary Kemp as cultural pundit, as each of the band members has been pursuing his own interests since their farewell performance in July 2010.

2 — Boy George whose rise and fall seems Greek in its tragedic possibilities.

3 — Duran Duran who have patiently rebuilt their credibility over the past year. (Of their total page views here, almost half came in one day, yesterday*)

4 — Paradise Point — Britain’s brightest new pop musicians who mysteriously vanished from the stage almost as soon as they had published one of the most seductive videos of the year [see below].

5 — Sade whose long-awaited world tour slaked her fans’ thirst and gave her a No 1 album on both sides of the Atlantic.

6 — George Michael — another 80s survivor whose vulnerability almost renders him indestructible.

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Steady attractions at Shapersofthe80s are the post about John Rutter’s royal wedding anthem, and historically important interviews with the painter David Hockney (1983) and with Beatle John Lennon (1966).

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* It is an astonishing statistical exception that yesterday proved our busiest day of the year thanks entirely to Duran Duran sharing on Facebook the link to our choice of the 10 most creative tribute videos celebrating their comeback. So, despite our having followed Duran’s world tour since their newest album was launched in 2010, almost as many fans visited in a single day as during the entire year to date.
❏ iPAD, TABLET & MOBILE USERS PLEASE NOTE — You may see only a tiny selection of items from this wide-ranging website about the 1980s, not chosen by the author. To access fuller background features and site index either click on “Standard view” or visit Shapersofthe80s.com on a desktop computer. ➢ Click here to visit a different random item every time you click

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➤ Smith & Sullivan sign off We Can Be Heroes with a sigh

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Graham Smith: signing advance copies of We Can Be Heroes between coffee and cake today at Soho’s Society Club. Photographed by Shapersofthe80s

❚ THE BOOK OF THE DECADE has arrived and early buyers of the 2,000-copy first edition had it in their hands today. The photo-story of 80s clubland, We Can Be Heroes, felt reassuringly hefty to the touch and we finally discovered the page size to be generous at 235 x 280mm. The five-colour printing gives intensity especially to the black-and-white photography on the high-gloss paper and author Graham Smith’s verdict on the quality was simple: “Stunning.” Collaborator and 80s club-host Chris Sullivan breathed a sigh: “We got there in the end.”

The 320 pages of story-telling and voxpops from perhaps 100 contributors will raise plenty of smiles when the postman delivers the book during the next week. Even if you’ve read Shapersofthe80s from top to bottom, you’ll find as many more quotes and insights from the original Blitz Kids themselves. Deejay Jeffrey Hinton reminds us in the book: “People think this was a premeditated scene but it was not. It was childlike, thrown together. We didn’t do it for the money, we were innocent. It’s all so marketed today.”

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Ringleaders who shaped the style of the 80s celebrated in We Can Be Heroes: Chris Sullivan, Fiona Dealey, Lee Sheldrick, Stephen Linard and Kim Bowen — the rebels within St Martin’s School of Art, all photographed by Graham Smith

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Bournemouth was the destination on bank holidays: good-natured hijinks brought London clubbers to the south-coast resort, and Smith has included many of their snaps in We Can Be Heroes

While the main images reveal just how small in number was the coterie who initiated the sounds and styles of the 80s, Smith has supplemented his own portfolio of pictures with many snaps from clubland wags themselves whose ambitions were liberated by the spirit of collaboration inspired in 1980. Nevertheless, designer Fiona Dealey makes a valid point in the book: “When anyone has written about the Blitz it has been by the same few blokes giving the same old soundbites with never a mention of what the women were up to. The Blitz was our youth club and I feel they hijacked it.”

Today John Mitchinson, the book’s publisher, said he was reasonably confident that a commercial edition of Heroes might follow in the autumn of 2012. In the meantime a limited number of copies of the first edition are still available only from Unbound Publishing.

➢ 1976–1984, Creative clubbing ended with the 80s — we profile three of the bright sparks behind We Can Be Heroes and how they shaped the decade

➢ View Shapersofthe80s video — Chris Sullivan telling his “ribald tales of excess” from the Blitz era at a launch party for We Can Be Heroes… with Graham Smith and Robert Elms on video too

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Chris Sullivan signing today: “Now people can see the book itself we might shift a few more copies.” Photographed by Shapersofthe80s

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1976–1984 ➤ Creative clubbing ended with the 80s and Smithy’s book needs your help to tell the tale

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Graham Smith gets Spandau Ballet in his sights during the filming for their Chant No 1 video at Le Beat Route in July 1981: his then girlfriend fashion designer Michele Clapton sizes up the Shapersofthe80s camera technique, and it’s true that Smithy did walk away with more pix in focus than we managed

❚ THREE FROM A SELECT PLATOON of musketeers who hustled and toughed their way through the vile swamp of the 1970s, then through the gilded portals of the 80s, met up in a BBC radio studio today to reminisce about their larks as teenagers in London. They were plugging a new book titled We Can Be Heroes, the most inspirational of David Bowie’s songlines, so we’re already talking outsiders, groomed by 1976’s punk ethos of do-it-yourself whose fashion statement had been expressed through the medium of trousers.

➢ Hear today’s discussion about
We Can Be Heroes with Elms, Smith and Sullivan
at BBC London 94.9 (starts at 30 mins in)

Their coffee-table book looks set to be the definitive account of 80s clubbing, told through previously unseen photographs and anecdotes from fellow musketeers who propelled the Blitz Club bandwagon and transformed British music, fashion, nightlife and much of the media. They are the very pioneering spirits Shapersofthe80s has tried to document and honour on this website, but where your reporter was always the observer looking in, the 100 or more boys and girls contributing to this new book were themselves the workers of the miracles in 1980. They are more entitled to tell the tale than the pompous writers of pop-cultural history who were never there as witnesses (one “author” plagiarised my own coverage of the 80s ruthlessly, reportage and analysis, without giving one word of credit). As a breed, they have chronicled the dawn of the 80s dismally. What they always miss is the ribald fun of staying up all night. We Can Be Heroes might just get this chapter of British history right, for once.

After the post-punk wave of electronic, industrial and synth-pop had redefined the scope of a new soundtrack for UK youth through Billy’s, The Blitz and select clubs up North, Chris Sullivan, Graham Smith and Robert Elms determined to nudge musical tastes in a more hummable direction. They created a fork in the branch of clubbing’s evolutionary tree by developing the then novel notion of one-nighters with three successive ventures during 1980, at St Moritz, Hell and Le Kilt. (Remember, long before Time Out had nightlife listings pages, London offered only one hip club-night per week.) At these three the dance rhythms were drawn from prewar musicals, rockabilly, Latin and funk, and sartorial styles shifted swiftly and dramatically from futurist to Hollywood romance. Bobbing in the wake of art-school theories about deconstruction, their clubnights were in themselves a fightback against the top-down dictates of middle-aged moguls in fashion, music and media. Just like Alexei Sayle and the “alternative” comedians making their reputations live at The Comic Strip in 1980, fury was addressed to the marketing of trendiness itself.

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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

❚ I ALWAYS SAID THEY’D DO WELL, especially that Chris Sullivan, oh yes. I said it when this imposing and pointedly stylish Welshman first shook my hand in Rumours, Covent Garden’s trendiest bar in 1980, and made some tart remark about the lowlifers who produced the newspaper sticking out of my pocket, the Evening Standard, until I mentioned I was one of them, when he very kindly decided to discount me personally because I’d been sharp enough to find my way into the same bar as him, so, welcome, and he’d have a Carlsberg thanks very much (all lagers being equally bland and boring then, not having yet matured into status drinks).

It was all a wind-up. He’d been told exactly what I did for a living, and I thought, he’ll go far. And waddayaknow? One day he’d be a cossack, then he’d be Maurice Chevalier, then he was reinventing the zootsuit while doing fashion at St Martin’s. Next day he was singing and dancing into the pop charts in Blue Rondo à la Turk — the daftest seven-piece “bunch of nutters” (his words) Britain had seen since Edmundo Ros. Suddenly, and for the next two decades, he was hosting the Wag as the hippest club in the land that played the hippest black music. As he said on the radio today: “Since when would somebody put a 22-year-old working-class bloke like me in charge of one of the biggest West End nightclubs? We were all kids. We went out and had a go. Empowerment is what’s important about this story.” In the past he has expressed great satisfaction at denying entry to the Wag for the smugger elements in the rock press — those “white middle-class punks who couldn’t dance and hated black music” and destroyed the prospects for his band Blue Rondo.

Ultimately Sullivan became a journalist, much in demand across all sectors of the press, while remaining a leading club deejay. It’s an understatement to call him a character. Elms today acknowledged that, as much as anyone in the country, Sullivan “was at the forefront of all of this”. Frankly, I’m happy to acknowledge him as the Number One shaper of the subcultural 80s in the UK, principally for his energy, his impeccable taste and a million-and-one nuanced responses to the society around him — plus one of the longest and most influential of contact books. Best of all: he also laughs a lot.

❚ THAT BOB ELMS WAS ANOTHER ONE you didn’t want to shut up. It wasn’t a criticism to call him a motormouth because most of what he said was hugely entertaining as we stood at one of the rare bars with a 1am drinks licence in those days, usually accompanied by a couple of other movers and shapers evaluating the ever-evolving hairstyles and footwear in a club (“No, it’s not just a white sock. It’s a sock with a Mod legacy.”) Britain’s subcultural heritage and all associated musical soundtracks were the adrenaline that drove him to trace roots, analyse trends and formulate preposterous ideas about The Next Big Thing, just like a journalist, or indeed the LSE politics graduate he became.

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Robert Elms on the train to Glasgow and his future: We were heading for Blue Rondo’s Scottish gigs on the day their first single Me and Mr Sanchez was released, Nov 6, 1981. He’s sporting the haircut that won him the audition to front TV yoof shows. © Shapersofthe80s

He’ll go far, I thought, he’ll be the next Benny Green (look him up!). And you know what? Two minutes later he was all over the coolest magazine ever, The Face, chronicling the exceedingly noisy and high-visibility youth movement known as the New Romantics, whilst adjusting his own natty garb to suit and, yes, throwing out a catchy name for a pop group, Spandau Ballet, which legend says the pals had conjured from graffiti glimpsed on their journey of discovery to Berlin in 1979.

It was definitely his wacky brushcut that got him in front of TV cameras as one of the first cockney-sparra presenters on the street-cred yoof shows that 80s media churned out in response to the revolution that came surging up from the dance underground. As somebody never short of an opinion, he too was always up there among the top shapers of his age, so it was an effortless morph from style arbiter to author and travel writer Robert Elms, who landed the plummest job in local radio 20 long years ago at the BBC’s London station, and only yesterday was also being one of Radio 4’s “own correspondents” reporting the last bullfight in Barcelona.

As predicted, Elms has inevitably grown into a dead ringer for man-of-the- people, the late lamented Benny Green, jazz-lover, raconteur for his dandy tribe, talking head on Stop the Week/Loose Ends and all-round good egg.

siouxsie sioux,punk rock, Graham Smith, We Can Be Heroes, youth culture, books, Unbound

Siouxsie and the Banshees, photographed in 1977 by Graham Smith, from his book We Can Be Heroes. Souxsie was an original member of the Bromley Contingent that led Graham and his mates into the clubs of Soho

❚ THEN THERE’S THE QUIET ONE with the cheery smile. That Graham Smith, nice lad (before the third pint). (Only kidding, Graham. Still nice even after the 16th.) Always carried a camera. Funnily enough he carried the same state-of-the-art Olympus OM2 SLR as me, and we were both trying to get the hang of Ilford’s HP5, a superduper fast new B&W film that was so sensitive it meant you could shoot in nightclubs without a flash, well, in theory. You did tend to end up with a lot of blurry images, but the trouble was if you used a flash you just got a frame full of bright ghouls for faces and it was years before I dared ask the paparazzo Richard Young for the secret of shooting nightclubbers with flash from about 3 feet without bleaching them into ghosts. (Answer: stop right down to f22 and push the film in the developer — crucial advice in 1980 and totally without meaning to today’s digital snapper.) One of the reasons most of our pix are in B&W was because there was no colour film in 1980 that didn’t require equatorial amounts of sunlight, so shooting nightlife was a black art.

When I met him Smithy was already designing the publicity and taking the artful first band snaps of Spandau Ballet, so when his minimalist record sleeves counted as coursework and won him a first-class degree from Camberwell, I thought, he’ll go far. He then did the same for our clubbing friend Sade, the fashion designer who became a global icon as a singer, and in time he won awards as a magazine art director.

He and his lovely wife Lorraine met on a dancefloor and still have the hots for the arcane dance moves of Northern Soul. So it’s more than apt that today he’s the prime mover behind this coffee-table book packed with 500 of the immaculate, usually in-focus pix from his youth, most of which have lain in a dusty old box unseen by anybody since they were shot. What he’s bravely done over the past two years is interrogate dozens of the other clubbing musketeers, mentalists and Blitz Kids for their first-hand versions of how the 80s shaped their lives, and turned dozens of them into popstars and household names with their hands on the levers of power.

Brighton, Papillon, toga party, soul boys, soul girls, soul music,dancing,nightclubbing

1979 toga party at the Papillon, Brighton: these were the soul boys and soul girls who made the British dance scene spin. Photograph by Paul Clark at Facebook

❚ ELMS HAS KNOWN SMITH since he was 11 and Sullivan since 16. All are now family men and feeling 50, hence the need to spill the beans before they forget. Despite my own efforts (sob!) writing a nightlife column in The Face, and later with Shapersofthe80s online, Smithy doesn’t think his generation’s teenage achievements have been adequately reported as a slice of social history. He’s thinking of that fabulous book on the 60s Mods. In all honesty, he’s right. In late 1980 I walked into both Omnibus and Proteus with a proposal for a tome about the nightlife revolution titled “Heroes For the 80s”, evidently too ahead of the curve for them to take a risk with this newcomer, who was then rightly miffed only months later to see The Book With No Name emerge from one of their in-house teams! Ouch. Since then, I have told the 80s creation myth in outline many times — most fully though even so with necessary shortcuts in The birth of the New Romantics for the Observer Music Magazine — and we have had a handful of individual biographies, the most gripping being by Midge Ure and Gary Kemp (and the most horrific by Boy George). But the saga of 80s clubland really belongs to the teenage dance fiends and soul fans who had amassed in the 70s and set sprung maple floors a-bouncing across the nation.

Birth of the New Romantics — The Observer Music Magazine, Oct 4, 2009. Pictures © by Derek Ridgers

Historians and rock journalists from middle-class backgrounds by and large don’t have a clue why social mobility is an impossible dream among what’s traditionally called the working class. In today’s interview Sullivan reminded us that the trio behind We Can Be Heroes all came from working-class homes (except that Smith’s dad had a fish-n-chip shop, thus strictly speaking he was in trade and already upwardly mobile). Essentially, he said, self-empowerment (yonks before the word had become a politically correct buzzword) was a liberating force in an era when expressing yourself and being creative was actively discouraged by your elders as being “above your station”. For each pal in this trio, punk had rattled the cage guarding that convention. That’s why Smith’s starting point in his book is 1976, the year punk stamped its Doc Martened foot and kick-started his photographic reflexes.

In one of our first conversations way back when, Elms’s interpretation was that, against the black cloud of recession and unemployment rising to 3 million, his generation were shrewdly turning what were once regarded as hobbies into livelihoods. My own analogy has always been that their nightclubs were effectively well-organised factory floors and job centres. Everyone who came to dance could, if they had the wit, shimmy out into the daylight with the promise of work on a “Variety Of Projects”. It was the Blitz Kids who invented the phrase and its acronym as a verb, to VOP, and vopping is what made the 80s belong to the young — and especially to the “Common People” immortalised by Jarvis Cocker. They staged a social and industrial revolution the elders and the mainstream decision-makers could not ignore in the opening years of the decade, no doubt about it. The last-minute shift in the remit of Channel 4 when it launched in 1982 was clear proof.

We Can Be Heroes gives the voppers their turn to be heard. Their fruity language and their rough-house antics are going to appall the unsuspecting middle-class reader, ha-ha-ha.

❏ Shapersofthe80s will be following through with more of their clubland adventures soon…

THEY’D LIKE YOUR CASH NOW

❏ The digital age means that short-run, quality books such as We Can Be Heroes can be published to high production standards if enough funds are raised in advance. So when you visit Graham Smith’s publisher Unbound.co.uk, you will be invited to pay now for a book that will not be printed at all unless a break-even target is reached. It’s an innovative sales pitch, it’s very 21st century, and as of today they need another 988 pledges upfront, within the next 42 days if the book is to be out for Christmas. For a basic £30 you will receive a beautifully cloth-bound 325-page hard-back printed on substantial paper — plus your name listed as a Supporter in the first edition. You can pay more for further treats. The company Unbound was founded this year by three dynamic young men with considerable experience of traditional publishing, QI writers John Mitchinson and John Pollard, and Crap Towns author Dan Kieran. Their own track records have encouraged Britain’s leading publishing house of Faber & Faber to offer support by running on titles which prove successful through Unbound first editions.

❏ Three popstars created by the Blitz Club scene have endorsed the book by writing their own forewords in it: Boy George, Steve Strange and Gary Kemp of Spandau Ballet. Robert Elms has written an intro, while the main text is by Chris Sullivan. Graham has sweated blood to secure the voxpops.

➢ November catch-up: links to media coverage of We Can Be Heroes

➢ Videos of Robert Elms and Chris Sullivan telling their “Ribald tales of excess”

We Can Be Heroes, photography, youth culture, nightclubbing,books,Unbound,Graham Smith, Chris Sullivan,

Latest cover for Graham Smith’s history of clubland featuring Clare with the Hair and George O’Dowd before he became Boy

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