WELCOME ➤ TO THE SWINGING EIGHTIES

In 1980 a youth movement began reshaping Britain.
Its stars didn’t call themselves New Romantics, or the Blitz Kids – but other people did. This writer was there and these words and pictures tell the tale.

David Bowie

◼︎ As a decade, the 1970s spelt doom. British youth culture had been discredited by punk. A monumental recession followed the Labour government’s “winter of discontent”, threatening the prospect of no jobs for years ahead.
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Swinging 80s, London, history, blitz club, blitz kids, theblitzkids, theblitzclub, cult with no name, billy’s, gossip’s, nightclubs, fashion, pop music, steve strange, rusty egan, boy george, stephen jones, kim bowen, stephen linard, chris sullivan, robert elms, perry haines, princess julia, judi frankland, darla-jane gilroy,fiona dealey, jayne chilkes, derek ridgers, perry haines, terry jones,peter ashworth, lee sheldrick, michele clapton, myra, willy brown, helen robinson, stephane raynor, melissa caplan,Dinny Hall, Kate Garner, rachel auburn, richard ostell, Paul Bernstock, Dencil Williams, Darla Jane Gilroy, Simon Withers, Graham Smith, Graham Ball, christos tolera, sade adu, peter marilyn robinson, gaz mayall, midge ure, gary kemp, steve dagger,Denis O’Regan, andy polaris, john maybury, cerith Wyn Evans, iain webb, jeremy healy, david holah, stevie stewart, worried about the boy,Yet from this black hole burst an optimistic movement the press dubbed the New Romantics, based on a London club called the Blitz. Its soundtrack was a pounding synthesised electro-pop created for the dancefloor by a studio seven-piece called Visage, fronted by the ultimate poser, Steve Strange. He and other fashionista Blitz Kids were picked by Bowie to represent their movement in his 1980 video for Ashes to Ashes (above). But the live band who broke all the rules were five dandies with a preposterous name: Spandau Ballet.
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As the last of the Baby Boomers, the Blitz Kids were concerned with much more than music. In 1980 they shook off teenage doubt to express all those talents the later Generation X would have to live up to — leadership, adaptability, negotiating skills, focus. Children of the age of mass TV, these can-doers excelled especially in visual awareness. They were the vanguard for a self-confident new class who were ready to enjoy the personal liberty and social mobility heralded by their parents in the 60s.
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For Britain, the Swinging 80s were a tumultuous period of social change when the young wrested many levers of power away from the over-40s. London became a creative powerhouse and its pop music and street fashion the toast of world capitals. All because a vast dance underground had been gagging for a very sociable revolution.

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“From now on, this will become the official history”
Verdict of a former Blitz Kid.

➢ THE MENU AT TOP leads you into this Aladdin’s Cave.
➢ THE BLOG POSTS on this front page report topical updates which also link to the background pages in the menu.

Below: View Blitz Club host Steve Strange in all his poser glory in the promo video for Fade to Grey (1982), also starring the club’s cloakroom girl, Julia Fodor, aka Princess

CLICK HERE to run the anthemic 80s video ♫ ♫ from Spandau Ballet and feel the chant:

nightlife, st moritz, club for heroes,le kilt, wag club, beat route,hacienda, cha-cha, holy city zoo, rum runner, camden palace, scala cinema, studio 21,crocs, le palace, white trash, fac51, Dirt Box, mud club, batcave, barbarella's, croc's, electro-pop, synth-pop, Chant No 1, kid creole, blue rondo, animal nightlife, visage, duran, depeche mode, ultravox, human league, gentry, ABC,soft cell, bolan,vince clarke, haysi, wham!, mclaren, heaven 17, yazoo, foxx, omd, bauhaus, phil oakey, jay strongman, Martyn Ware, martin fry ,altered images, 20th-century box, vivienne westwood, PX, axiom, body-map , foundry, sue clowes,demob, seditionaries, acme attractions, i-D, the face, new sounds new styles, Korniloff, andrew logan, kahn & bell, biddie & eve, toyah,

July 2, 1981: Shooting the video for Chant No 1 at Le Beat Route club in Soho, “down, down, pass the Talk of the Town”. Photograph © by Shapersofthe80s


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2020 ➤ Premiering tonight: Spandau’s Rockpop Parade tour from 1984

Blitz Kids, New Romantics, pop music, Swinging 80s, Spandau Ballet, Parade World Tour,

Spandau Ballet in 1984: dressed to impress for their Parade World Tour. (Photographed by Neil Mackenzie Matthews)


❚ THIS WEEK 40 YEARS AGO Spandau Ballet’s first single peaked at No 5 in the UK chart three weeks after its release and exactly one year after the unknown band’s debut at the legendary Blitz Club. More amazingly, in their first year Spandau had been booked to play live on only 10 occasions (two of those on TV, the last being Top of The Pops)! That’s how sudden was their rise during 1980. That’s how phenomenal was their fan base powered by the New Romantics movement.

40
YEARS
ON

Tonight at 8pm GMT the band celebrate by premiering online the video Rockpop In Concert which captured the Parade Tour of 1984-5, their biggest globally, launched with five nights in Tokyo and culminating with six nights at Wembley Arena. Fronted by the dazzling vocals of Tony Hadley, it has not been broadcast since the 1980s.

To coincide with the anniversary, Spandau have also released a comprehensive new compilation album titled 40 Years – The Greatest Hits, as a triple CD set and as double vinyl LPs.

Sax-player Steve Norman says: “I hadn’t heard these mixes for almost 40 years. I’d actually forgotten that we did two 12-inch mixes of ‘Story’. The band’s energy is all over it, which is how I remembered it sounding.” In a promo vid drummer John Keeble notes: “Oh, and I’ve got a credit for backing vocals… about time too!”

➢ Watch tonight’s streaming of Spandau’s Rockpop In Concert video at You Tube: 4 December 8PM GMT / 12PM PST / 3PM EST. The show will continue streaming for the next 48 hours

➢ Pre-order Spandau’s new album 40 Years – The Greatest Hits, plus new items of merch

➢ Spandau’s first appearance on Top Of The Pops playing To Cut a Long Story Short, on 13 Nov 1980

➢ Previously at Shapers of the 80s:
1980, The Invisible Hand of Shapersofthe80s accounts for the unprecedented rise and rise of Spandau Ballet

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2020 ➤ Farewell Daniella, the girl who inspired Ziggy’s fiery hair

Daniella Parmar, David Bowie

Daniella Parmar, stylistic inspiration for Bowie. . . She became part of David’s 1971 entourage and is seen here with him during one of his rare visits to the Blitz Club in late ’79. David wears a Modern Classics jumpsuit by Willy Brown, as featured on the cover of his Feb ’80 single Alabama Song, which had as its B-side an acoustic version of Space Oddity recorded in Dec ’79. Choreographer and co-director of Bowie concerts, Toni Basil, was also sitting to David’s left. (Photo: Robert Rosen)

❚ THE TEENAGED GIRL who inspired David Bowie to give Ziggy Stardust livid red hair died this month from cancer at her home in Worthing. Daniella Parmar belonged to the circle of “piss-elegant champagne-drinking” young night-owls who Bowie met with his wife Angie at London’s Sombrero nightclub in 1971. During this Hunky Dory period he was wearing the Mr Fish man-dress and had long cascades of blond hair.

The pals included “fun-loving glamour girl” Wendy Kirby and her flatmate Freddie Burretti (Bowie’s handsome costume designer, who went on to create Ziggy’s exotic and sexual one-piece outfits). Daniella was of Indian extraction and noted for her emphatic eye make-up and top-to-toe style with special focus on her hair – in 2002 Bowie confirmed that its constantly changing colour had convinced him “of the importance of a synthetic hair colour for Ziggy”.

Wendy says: “We were the ‘young dudes’ who shaved off our eyebrows just for camp, because you could paint them on higher up — that gave us a strange unearthly look which David adopted. He was always open to suggestions and went through our wardrobes like a magpie!”

Freddi Burretti, Daniella Parmar

Melody Maker Awards, October 1973: Daniella Parmar with Freddie Burretti, who collected the award for Bowie. (Photo: Kevin Cann collection)

The Ziggy Stardust tour was already on the road when Bowie decided on the dramatic change of hairstyle. On 17 March 1972 they were to play at the Town Hall in Birmingham when a photographer called Mick Rock turned up to interview Bowie. They hit it off so well he soon became his official photographer. Kevin Cann’s seminal account of Bowie’s early life, Any Day Now, recalls that crucial day. . .

For the show his hair has been dyed light red and styled by Suzi Fussey, but David tells Rock he is going to make his hair ‘even redder’. Swayed by his Sombrero friend Daniella’s use of different hair dyes, not long after the Birmingham performance David shows Fussey the exact tone he desires in a photograph of model Marie Helvin in a recent fashion magazine. Fussey applies a bright red colour-fast dye and spikes the crown with Guard, a strong setting lotion. The Ziggy hairstyle is born.

Daniella became an intimate member of the Bowie household, playing nanny to their son Zowie, and shared the Bowies’ last Christmas party in Britain before they departed for the USA in March 1974.

One of Daniella’s last public outings was in 2015 at the premiere of Lee Scriven’s film titled Starman: Freddie Burretti – The Man Who Sewed The World. She died a fortnight ago on 3 November and friends report that the funeral chapel was decorated with pictures of her with David.

Daniella Parmar , Wendy Kirby, David Bowie

Recording Jean Genie for Top of the Pops, 1973: Bowie and Mick Ronson on-stage with support team of Wendy Kirby and Daniella Parmar at left. (BBC)

➢ Previously at Shapers of the 80s:
2010, Kevin Cann’s book – A feast of Bowie-ana
served in waffeur-thin slices

➢ Previously at Shapers of the 80s:
2011, I danced in Bowie’s Jean Genie video but
have never seen it, says his friend Wendy

➢ Previously at Shapers of the 80s:
2015, Burretti movie adds an epic and essential
chapter to the Bowie story

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2020 ➤ Sade’s 20 songs that ensure she remains a 21st-century star

Sade Adu, album, singer-songwriter, This Far, Sony Music,

“No one does small-hours heartbreak quite like Sade”: The singer photographed in 1990 by David Graves

From aching soul to minimalist funk, Sade and her band don’t make many records but their quality has never waned. As a career box set is released, in today’s Guardian critic Alexis Petridis ranks their 20 best songs…

No 1: By Your Side (2000)

There’s a compelling argument that Lovers Rock is Sade’s masterpiece, a collection of deeply affecting meditations on parenthood, loss and race on which they simultaneously pared down and broadened out their sound: its tracks subtly encompass everything from hip-hop to reggae to singer-songwriter folksiness. And, in By Your Side, it has Sade’s greatest song: its hushed atmosphere not a million miles removed from Bob Marley’s No Woman No Cry, its melody so perfectly formed it feels instantly familiar, its lyrics simple but moving. How it isn’t the kind of modern standard that gets regularly murdered on The X Factor is an enduring mystery, although the 1975’s Auto-Tune-heavy cover is nice enough.

➢ Visit The Guardian to read reviews of the other
19 tracks in the Petridis Top 20

➢ Order This Far, a vinyl box set with remastered versions of Sade’s six albums, released today on Sony Music

➢ Previously at Shapers of the 80s:
1982, Sade’s new band Pride need a UK record deal – so let’s go and make friends in Manhattan

➢ Previously at Shapers of the 80s:
2010, Comeback Shard comfy as ‘Auntie Sade’

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➤ The day Harry Evans answered his interview question for me

Harry Evans, Sunday Times, newspapers, tributes

Harry Evans “on the stone”: pictured by Sally Soames in the days of hot metal production at The Sunday Times

❚ SIR HAROLD EVANS, who has died aged 92 and known to all as Harry, was not only a legendary crusader for investigative journalism but, along with Ben Bradlee of the Washington Post, one of the two greatest newspaper editors of modern times. Crucially he embodied the editor as a lightning rod through which a savvy team can channel their expertise.

I have personal reasons to be grateful to him after seeking a job interview when badly needing a change of direction in 1978. At his office at The Sunday Times in Gray’s Inn Road Harry was armed with a checklist of newspaper know-how on his clipboard which I seemed to be ticking copiously as an all-rounder used to multi-tasking on a variety of projects in print. (Most people in this business tended to do one thing only: Columnist, or Reporter, or Commissioning editor, or Designer etc.) So eventually he asked: “What exactly is it that you do?” – “A bit of everything,” said I. – “Ah,” he replied, “you do what I do.” – “Do I?” (deeply flattered). – “Yes, you’ve got the impresario skills – able to execute every stage from bright idea through to printed page.” Well that put a spring in my step and from there on, my career flew!

books, journalismVisual flair was an ingredient as important to Harry as the words themselves – wisdom he spelt out in five definitive manuals published in the 1970s under the series title of Editing and Design. Here he shared with the rest of Fleet Street how his dramatic impresario skills were key to defining the rigour and astuteness which quality journalism demanded in each of its presentational crafts: Newsman’s English, Newspaper Text, News Headlines, Pictures on a Page, and Newspaper Design.

Easily the best account of journalism’s cut-and-thrust is his 1983 book Good Times Bad Times which nails the pitiless manners and mores of British newspaper execs and the proprietors they serve. Written in anger after his falling-out with Rupert Murdoch, it also reads like a racy thriller.

➢ Tony Allen-Mills in The Sunday Times on the man
who changed the way we tell the news

➢ Columnist Hunter Davies on “the best journalist
I ever came across”

➢ Observer editorial on the formidable career and
legacy of Sir Harold Evans – plus Donald Trelford’s
personal tribute to his “rival without peer”

➢ The master craftsman – obituary in the Financial Times
by Lionel Barber, its editor for 15 years

➢ The most admired newspaper editor of his generation –
obituary by Godfrey Hodgson in the Guardian

➢ Previously at Shapers of the 80s:
2012, Sir Harold’s memories of Fleet Street:
cut and thrust, or be cut dead

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2020 ➤ Saatchi hosts those Gen Z degree shows you missed

London Grads Now, SaatchiGallery, fine art, exhibition, UAL,

Hamish Pringle, Wimbledon: Lockdown 2020, digital print on canvas

❚ GENERATION Z ARE REPUTED to feel a bit down about the world bequeathed by their parents and the work of this summer’s art-school graduates has caught that mood – not to mention the lockdown blues. Their tutors seem to agree, at least in the synopses posted on the walls of a selling exhibition titled London Grads Now, hosted by the Saatchi Gallery in its new guise as a charity. [Update – Since extended from three to five weeks.]

This welcome but rum snapshot – many of its 150 artists were allowed to show only one work each – follows in the wake of this year’s cancelled graduation shows and expresses such zeitgeisty themes as political extremism, coronavirus and racial controversy. Many are largely sanguine about the new normals, except perhaps the feisty Black British History Quilt, which celebrates black artists, writers and figureheads including an 18th-century fop, by CSM’s Jahnavi Inniss and also Blackness (The Manifesto) by Michael Forbes at the RCA whose prosaic exhortations are listed on a vast board. Empassioned though this wall of words is, it does prompt the question, yes, but is it art?

Students and tutors have done the selecting and while there are impressively few copycat themes which often infect whole degree shows, there is a trend for titles to embark on narrative excursions, as for example these: Suddenly as if the moon trembled under my feet and every direction revealed itself … or Sleeping with the Enemy: Oscillations of a Fleshly Organ within a Jihady Cavity … or Every passing minute is another chance to turn it all around.

The tutors offer portentous “artist’s statements” to introduce each of seven London colleges spread across as many galleries. Camberwell, Chelsea and Wimbledon’s declare: “In a world gone crazy, I’m a wild one”. In this year of cultural ruptures, conventions have been abandoned as students reflect issues of the moment: lockdown, the lure of nature, identity, gender fluidity and post-colonialism.

Click any pic below to enlarge all in a slideshow

Topping this page you see an elegant but tough take on Lockdown by Wimbledon’s Hamish Pringle – a human eye photographed peering out from a head helmeted by what looks like a coil of rusty steel but, as Hamish comments below, is actually industrial sandpaper belting. At the foot of the page is a ghoulish family portrait painted on traditional canvas by Wimbledon’s Xinan Yang with the title I Still Care. . . while from Camberwell there is an in-yer-face clash between rustic rapture and urban sexuality in Fag Attacks the Country starring the artist himself Claudio Pestana.

A Goldsmiths tutor talks of reconciling crushed dreams and aspirations and in a wall-hanging textile Slay Within by Anosha Khan we see an axe-wielding dreamer dealing with her nightmares. Elsewhere four fluorescent tubes inscribed with a romantic verse by Daniel Keler titled Love Letter to a Stone actually support half a dozen varieties of rock evoking different eras in the Earth’s evolution.

The Royal College of Art curator dwells on “escapism, resilience, beauty in the mundane” and appropriately Alejandro Villa Duran selects a spartan wardrobe on a wire hanger, titled Running until the end of the world as only lovers are left alive. Quian Jiang’s One Minute of Photographic Time collages 60 separate snaps of a seascape which proves utterly mesmerising the longer you stare… Yang Xu’s Missing you is like Fire is painted in oil on synthetic carpet… while Emily Moore’s Chained is a huge lockdown collaboration in crocheted black yarn.

The Slade School curator reminds us to “breathe in and breathe out” when contemplating lessons learnt recently about cultural identities. This is evident in Khushna Sulaman-Butt’s Ascension, a powerful group portrait painted in oil which maintains tension between photographic realism and caricature. In one of the show’s rare videos Anna Baumgart transforms herself wittily into various female relations in Fitting in with Nanny, Mutti, Mum and Omi.

The Central Saint Martins curators conclude by suggesting that, in this post-truth era, nostalgia could gain new relevance, “not as a malaise in longing for a past moment, but as a proactive and sentimental yearning for continuity”, all exemplified in Legs by CSM’s Rowan Riley. Let’s call this one of the few pieces of sculpture in the show. The legs are made from filled cotton and bear personal messages and familiar quotations embroidered with colourful metallic and cotton thread: “Are you going to Scarborough Fair?” and “This is a portrait of a green-eyed lady”. Either a whopping wallow in nostalgia or a necessary a kick up the 2020s?

London Grads Now, SaatchiGallery, fine art, exhibition, UAL,

Xinan Yang, Wimbledon: I Still Care, 2018, acrylic and oil on canvas

➢ Book tickets for London Grads Now at Saatchi Gallery
London, extended until 11 October 2020 – exhibition supported
by Kristin Hjellegjerde Gallery

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