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.
+++
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.
+++
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.
+++
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.

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

“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


❏ iPAD & TABLET & MOBILE USERS PLEASE NOTE — You are viewing only a very small selection of content from this wide-ranging website on the 1980s, not chosen by the author. To access fuller background features and topical updates please request PC version, or view Shapersofthe80s.com on a laptop or desktop computer.
➢ Click here to visit another random item every time you click

➤ Second time unlucky as fire ravages former Camden Palace nightspot

Koko, Camden Theatre, Camden Palace, nightclubbing, music venue, fire, architecture, Music Machine,

Koko nightclub ablaze last night: 60 firefighters extinguished the flames within five hours

TWICE IN 40 YEARS Camden Town’s most renowned theatre has been set ablaze. Last night the 119-year-old former Royal Camden Theatre, currently known as the nightclub Koko, burst into flames at about 9pm during the course of renovation work. Video footage showed giant flames devouring its historic copper dome. London Fire Brigade reported 30% of the roof to be alight and despatched eight fire engines and 60 firefighters to tackle the inferno.

The venue was also damaged by fire during its last gasp as the post-punk Music Machine, soon after a Theatre of Hate gig in December 1980. Subsequent restoration saw it reopen in 1982 renamed the Camden Palace as Steve Strange and Rusty Egan made this the flagship for their New Romantic movement when they took it mainstream. Madonna played her first London date there by Rusty’s invitation.

Click any pic below to enlarge all in a slideshow

The rave scene saw Camden Palace through its second decade until it closed in 2004. Koko emerged after major refurbishment of its richly ornate interior by new owners who established a cool reputation for live music and with clubbing capacity for 1,500 people. However during further refurbishment in September 2018 surveyors deemed the building unsafe so the venue was forced to close.

Theatre historian Matthew Lloyd reports: “As of 2017 the theatre was to undergo a full restoration, including the replacement of the cupola on the roof. The Hope and Anchor at the back of the theatre was projected to become a boutique hotel at the same time, and would be a part of the whole complex, including a restaurant on the roof.” This £40-million state-of-the-art redevelopment was scheduled to finish in April this year but the latest fire is likely to impose a delay.

Opened in 1900 by the celebrated actress Ellen Terry, the theatre has enjoyed a dozen or so reincarnations as playhouse, music-hall and until 1940 as the Hippodrome and Gaumont cinemas. In 1945 the BBC revived the Camden Theatre name as its studio for recording variety shows and most famously The Goon Show (1951-60), starring Spike Milligan, Harry Secombe and Peter Sellers. Their Last Goon Show of All was recorded for radio and television at the studio in 1972, the year the building was awarded a Grade II listing. It had lain empty for several years and faced demolition, so the listing at least postponed that fate. English Heritage drew attention to the original architecture by W.G.R. Sprague, celebrated for his many West End theatres: a pillared façade “in baroque pastiche style”, and cantilevered dress circle and balcony with plaster work by Waring & Gillow in a mixture of baroque and rococo ornament.

Let’s hope Koko’s owners can wave a wand to revive the lustre of this iconic play-place.

➢ More about the Camden Theatre at Matthew Lloyd’s wide-raging history site named after his great grand-father Arthur Lloyd

POSTSCRIPT IN THE TIMES

➢ Another iconic building wrecked by fire during renovations – Richard Morrison in The Times’s arts column writes on 10 Jan 2020:
It’s striking how often historic buildings go up in smoke when there is renovation work happening, as there was at Koko… Recent examples are the 2018 fire that ripped through Charles Rennie Mackintosh’s superb Glasgow School of Art building as a £36-million restoration was being completed after a fire in 2014. Incredulous MSPs of all parties asked a series of questions that mostly cannot be answered… And the fire that devastated Note-Dame in Paris… rebuilding doesn’t appear to be going smoothly either… / Continued online

Koko, Camden Theatre, Camden Palace, nightclubbing, music venue, fire, architecture, Music Machine,

Steve Strange in 1982: invariably being filmed at Camden Palace

➢ Previously at Shapers of the 80s:
1983, Posing with a purpose at the Camden Palace

FRONT PAGE

➤ Singer Tony Hadley wins royal gong for his services to charity

Tony Hadley,, TH Band, pop music, Spandau Ballet, New Year Honour, MBE, singer,

Tony Hadley MBE, still on-stage at 59 and proud of his work ethic

◼ THE POP SINGER TONY HADLEY, who came to fame fronting Spandau Ballet in the 1980s, has been appointed an MBE (Member of the Order of the British Empire) in the 2020 New Year honours list. The annual awards recognise the outstanding achievements of individuals across the UK population and two other pop stars named included activist Sir Elton John who was made a Companion of Honour (CH) for services over five decades to music and to charity. The singer and actress Olivia Newton-John was raised from OBE to DBE (Dame Commander of the Most Excellent Order of the British Empire) for services to charity, to cancer research and to entertainment.

Big Tone, aka Anthony Patrick Hadley, was honoured for charitable services to Shooting Star Chase Children’s Hospice Care, which provides palliative care to families with children who are not expected to reach the age of 19 because of illness, genetic conditions or incurable disease.

Trust executive vice-president Karen Sugarman tweeted this week: “I cannot be more thrilled or proud that at last @TheTonyHadley has been recognised in the Queen’s #NewYearHonours for his charitable work. We were privileged to nominate him @SSChospices for his work as Vice-President. Congratulations Tony on your MBE from us all.”

In 2017 Hadley tweeted that, due to circumstances beyond his control, he was no longer a member of Spandau Ballet. Having met during their teens at Dame Alice Owen’s grammar school in North London, the band first split in 1990 and worked together during two year-long reunions in 2009 and 2014. At the age of 59, he is the first among them to be honoured with an award from the sovereign.

Tony’s father, Patrick Hadley, worked as an electrical engineer for the Daily Mail, and his mother, Josephine, worked for the local health authority. He is proud of his work ethic, which he says was instilled into him from a young age by his parents. In 2011 he said in an interview with The Daily Telegraph: “Since leaving school I’ve never been unemployed or claimed benefits. My Spandau days didn’t make me rich, or as well-off as people might think. What I was earning went towards buying a lovely family home in Muswell Hill and bringing up my three children. In fact, 2008 was my best-ever earning year. At that point we were doing in excess of 220 shows a year.”

Tony Hadley, pop music, TH Band, London Palladium, Talking to the Moon, UK tour,

Tony Hadley and his band: making magic at the London Palladium, October 2018

Of the 1999 dispute with Spandau’s Gary Kemp, which resulted in Hadley, John Keeble and Steven Norman suing for royalties, he said: “Spending 23 days in the High Court was a strain and an expensive way to learn about the law. It cost me hundreds of thousands.”

Later, in 2006 Hadley became a co-owner of the Red Rat Craft Brewery which produced Hadley’s Blonde. The business closed in 2013, after which he became associated with The Great Yorkshire Brewery, which issued a lager called Gold and a pale ale called Moonstone IPA. This association has since ended.

These days Tony is a regular live performer with his own line-up, the TH Band who in 2018 gave a superlative performance at the London Palladium. Shapersofthe80s reported: “His evident pleasure on-stage paid tribute to the songs written for his rich baritone voice and which fit him like favourite gloves. We heard familiar Spandau classics fizzing with new energy and melodic detail – numbers such as Chant No 1 and Only When You Leave moved along at a pace. Equally impressive was the other half of his set-list which showcased his own consummate solo album Talking to the Moon and other covers.”

➢ 2020, Hadley’s busy New Year kicks off with February dates in the Far East and Australia

➢ Previously at Shapers of the 80s:
2018, Hadley v Spandau: Whose superb band is paying tribute to the other?

➢ Previously at Shapers of the 80s:
2017, Tony Hadley pulls the plug on Spandau Ballet

FRONT PAGE

➤ Andy Polaris loads up his own fantabulous Yuletide jukebox

festive songs, Eartha Kitt, Santa Baby, underrated gems , Andy Polaris,

Remember Eartha Kitt? – the sauciest thing on Fifties TV

CHRISTMAS BRINGS OUT a lot of musical schmaltz over the festive period, most of which is consumed in earnest like mince pies and mulled wine. So Andy Polaris – frontman in Eighties popsters Animal Nightlife – decided to dig around Santa’s vintage vinyl to find some more discerning winter jukebox favourites to present his Dozen Festive Songs that Slay. Among his underrated gems we hear from Bob Dylan, Darlene Love, Eartha Kitt, George Michael, k.d.lang, Kurtis Blow, Marvin Gaye, Poly Styrene, Santa Baby, Sounds of Blackness, The Emotions and The Waitresses. Here’s a delicious novelty number from Stevie Wonder – One Little Christmas Tree. Andy says on his blog: “Perfectly synced with a Charlie Brown cartoon episode, this sweet narrative below is new to my ears and deserves a wider audience especially with Stevie’s storytelling clarity.”


➢ Visit APolarisView for videos of all of his
Dozen Festive Songs that Slay

FRONT PAGE

2019 ➤ Scott Walker: a singular figure in art and ideas

Scott Walker,originality ,obituary, singer, Jake Walters

Scott Walker photographed in October 2012 by Jake Walters

A REVEALING APPRECIATION of Scott Walker appears in today’s Observer obituaries of the decade … Co-director of Artangel Michael Morris recalls the great experimental musician as a witty and charming man who freed himself from the trappings of fame:

He’s a completely singular figure in late 20th-century, early 21st-century art and ideas. Scott’s work doesn’t fit into a cultural compartment: he was interested in all forms of human expression. . . Scott was held in such high regard by so many other artists. David Bowie often acknowledged his influence, as does Brian Eno. I think they also revered his ability to cast off the mantle of celebrity and focus simply on the work.

He was not in any way caught up in the myth of Scott Walker. You just felt that you were working with a very precise, open mind, someone who was completely uninterested in the trappings of image or fame. Bike or the bus were his preferred modes of travel. I think he’d found a way to live and work outside of the public gaze that was much more liberating and creative. . .   / Continued online

➢ Previously at Shapers of the 80s:
I interviewed Scott Walker in 1967 at the very moment he was transitioning from teen idol into a more serious solo icon

FRONT PAGE

1979 ➤ Spandau’s manager Steve Dagger tells of two offers to sign his band at their debut

rel=nofollow

Spandau Ballet’s debut beneath festive bunting: left, Steve Strange in PX frills introduces the new band at the Blitz Christmas party in December 1979… Tony Hadley supercool in collar, tie, waistcoat and overcoat, Martin Kemp in jaunty trilby with Steve Norman beyond. Dagger’s blog seems unaware of these photos and after seeing them here at Shapersofthe80s, Gary Kemp recalls “being terrified while playing the little Yamaha CS-10, that we wouldn’t get away with it. Apart from many of the songs that made up our first album we also played Iggy Pop’s Fun Time and On Her Majesty’s Secret Service”

On the 40th anniversary of Spandau Ballet’s debut
performance at London’s Blitz club spearheading
the post-punk new wave, the band’s manager
Steve Dagger publishes his eye-witness account…

❏ On the 5th of December 1979, Spandau Ballet was born. After a year in metamorphosis and following a successful preview show two weeks before at Halligan’s rehearsal studios, when they were named by journalist and broadcaster to be, Robert Elms, Spandau Ballet emerged onto the stage and into the world at the Blitz on the occasion of Steve Strange and Rusty Egan’s Christmas party in 1980 [1979 surely – Ed].

Much has been written about the Blitz and its extraordinary position as a cultural funnel at the beginning of the 80s. But Spandau Ballet’s two performances there and subsequent meteoric rise to success did much to drive this tiny club and its spectacular cliental [clientele? – Ed] into the headlines and its ethos into popular culture and serve as the template to the 80s.

What happened that night?

No band had played before at a Steve Strange/Rusty Egan event, so the audience was not used to seeing live music in this context. Music was normally provided by Rusty Egan’s DJing, an extraordinary montage of epic electronica which seemed to give a tantalizing glimpse of a future we were all going to take part in.

How would “Spandau Ballet” be received? The preview show had gone incredibly well, so a handful of our friends and key faces on the scene had seen the band already, liked them and spread the word. But it was an impossibly cool crowd. Whether they were fashion students, artists, embryonic designers, wannabe writers, film directors or just London’s coolest of the cool night people, they all had an opinion of themselves and everything else.

The usual crowd was supplemented by a sprinkling of older cognoscenti, a Chelsea crowd who had become aware of the Blitz scene. The likes of Keith Wainwright, uber-cool hairdresser of Smile; artist Dougie Fields to name but a few, plus some musicians who had been drawn to the Blitz. Richard Burgess of Landscape (Spandau Ballet producer to be), Midge Ure of Ultravox and Billy Idol, Steve Severin of Siouxsie and the Banshees and Marco Pirroni of Adam & The Ants.

rel=nofollow

Spandau Ballet’s second Blitz date, January 1980, despite Dagger’s belief on his blog that this pic shows the band’s debut. Most are sporting bow ties – Gary Kemp on synth at left, Tony Hadley as vocalist, with Steve Norman and Martin Kemp on guitars held high in their anti-rock stance. Churchill gazes out from his photo on the rear wall

So the battle lines were drawn and into the valley [of] death… Actually, the band were much less nervous than they had been for the preview show and also excited about playing in “their” club. When Rusty’s music stopped and they got onto the tiny stage there was a degree of anticipation and curiosity. I think the band realised collectively it was now or never and they seized the moment and started to play confidently and with a bit of swagger. Some of the audience danced, some applauded but almost everyone watched.

Tony sang brilliantly. The set which included most of the songs on “Journeys to Glory” fitted the club. Spandau Ballet fitted the club. “To Cut a Long Story” sounded like a massive hit.

Halfway through the set I was feeling quietly confident and was standing by the mixing desk next to the sound engineer when I became aware of a man standing next to me. He spoke to me.
“Who is this band?”
“It’s Spandau Ballet,” I said.
The new name sounded f*cking great.
“Which record label are they signed to?”
“They aren’t signed.”
“Who is their manager.”
“I am,” I said proudly.
“Well I am Chris Blackwell and I own Island Records, and I would like to sign them.”

First gig as Spandau Ballet… 5-0 up. Another man approached me. He was Danny Goodwin from Peninsula Music Publishing. He wanted to sign them too.

Spandau Ballet, Blitz Club, New Romantics, Steve Strange, London, Heritage award,The band finished their set. I could not wait to go backstage into the tiny dressing room to talk to them. We had all worked very hard for this moment. They were about to become a very important band. The only band that could play in the Blitz. The most important club in the world at that time. Everyone in the Blitz that night was hugely complimentary and positive about them.

We owned the space, we had claimed it. We were about to go through the looking glass and our lives were never going to be the same. The next day, I spoke to Chris Blackwell on the phone and arranged to meet him in a pub. He was softly spoken, charming and very cool. He owned the coolest record label in the world – Bob Marley, Roxy Music, Traffic, Free, Spencer Davis – and he wanted to sign Spandau Ballet. Now. He even gave me a list of lawyers he recommended to act for the band.

It all felt a little strange but somehow like it was all supposed to happen like this. I felt unbelievably relaxed and comfortable, empowered, and the band very confident, entitled energised. Uncrowned Princes of pop culture all of a sudden. We turned him down. But that is another story.

© Steve Dagger
First published today at Spandau Ballet’s website

➢ Previously at Shapers of the 80s:
1980, Strange days, strange nights, strange people

Spandau Ballet,Evening Standard, Blitz Club, New Romantics, Steve Strange

Steve Strange’s first interview with the Evening Standard, 24 Jan 1980, telling us of Spandau Ballet’s second performance that day

RARE VIDEO OF THE BLITZ A-BUZZ:


❏ You won’t find much authentic filmed footage inside the Blitz Club because so little exists and many posts claiming to show the Blitz at YouTube do not. The brief but glorious clip we see above captures the visual excess of its dancefloor in Spandau Ballet’s 2014 biopic Soul Boys of the Western World. The interiors come from Lyndall Hobbs’ short doc about London tribes called Steppin’ Out, shot in the summer of 1979. The first half-minute here comes from a TV report showing Blitz Kids gathering outside Sloane Square underground station to celebrate Steve Strange’s 21st birthday on a Circle Line train on 28 May 1980. We hear Martin Kemp voicing the sequence which zooms in on him at 23 seconds. The black-and-white stills collaged into the segment are Shapersofthe80s originals, and the closing seconds are from LWT’s 20th-Century Box.

Spandau Ballet, Blitz Club, New Romantics, Heritage award,

Heritage award from the Performing Rights Society: In September 2014 Spandau Ballet returned to the site of the Blitz Club to see a plaque installed remembering their debut. The club’s original neon sign was also present for the photoshoot

SPANDAU RECALL THE BLITZ IN 2014:

➢ Previously… 1980, The Invisible Hand of Shapersofthe80s
draws a selective timeline for the unprecedented
rise and rise of Spandau Ballet

FRONT PAGE