Category Archives: anniversary

2023 ➤ Glorious pop sleeve artwork that is pure Gold

David Band, artwork, Swinging Eighties, The Cloth, Spandau Ballet, Gold single, pop music, singles

David Band’s collaged sleeve for Spandau Ballet’s single Gold

40
YEARS
ON

ENJOY THIS SENSATIONAL ARTWORK! I’ve never before seen this sleeve design for Spandau Ballet’s single GOLD launched today 40 years ago and it shows artist David Band at his best! This image was revealed today by Andrew Dineley of The Cloth, a cool studio of fashionista artists during the mid-Eighties within which Band was a leading light and a regular designer of Spandau artwork who thus helped rebrand the group’s image in the post-Blitz era.

It was revealed today on the anniversary of the single’s  release in a post at Facebook where Dineley says: “Band created a collage using paper, pencils, pastels and paint. The artwork was conceived to be folded three times to reveal just 1/6 of the piece on the front-side of the sleeve. The complete collage was shown in full on the back of the standard single cover and in full on the limited edition poster bag.”

So not a lot of people will have known that! Or have ever seen this superb creation before.

➢ Gold sleeve artwork by David Band, as posted today at Facebook by Andrew Dineley

David Band, artwork, The Cloth, Swinging Eighties,

David Band with his artwork for Spandau in May 1984. (Photo © Shapersofthe80s)

David Band, artwork, The Cloth, Swinging Eighties,

David Band with his artwork in 1985. (Photo © Shapersofthe80s)

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1980 ➤ Out of the blue, Duran’s first gig pictured at the Rum Runner

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Duran Duran: Who’s who in this debut line-up on 16 July 1980 onstage at the Rum Runner in Birmingham? (More to the point, who actually took this photo?)

❚ NEVER SEEN BEFORE! Or so I thought a few days ago! This superb colour photo of Duran Duran’s debut gig introducing Simon Le Bon on vocals and Andy Taylor on guitar has just been published on Facebook. The band are captured live on 16 July 1980 at Birmingham’s stylish nightspot the Rum Runner and fans have been amazed at a certain blondness and general skinniness of the performers, but after all their average age is only 20. From the left: Yes Simon is blond, yes “Tigger” John Taylor looks truly gangly on bass, yes Andy is in leopard-print pants, and yes Nick Rhodes is playing the Crumar synth at rear. (Drummer Roger Taylor is sadly not visible.)

This sensational picture arrived on the Durantastic World page at Facebook on the 43rd anniversary of the gig and I was one among many fans who had never seen it before. Yet the DW Admin couldn’t say who took it. One follower, Emma Leigh, attributed the image to a photographer who goes only by his Twitter handle @Birmingham_81 (currently unused) and otherwise remains anonymous! Baffled and amazed by suddenly discovering that any photo of Duran’s live debut existed, I embarked on a prolonged Google search.

As the day went on I actually unearthed FOUR photos of that 1980 gig – now published here on this page – which were buried perhaps unsurprisingly in one official Duran website dating from 2015, and another encyclopedic online history of the band in 2018, so all the more puzzling that they haven’t spread widely across social media circles. The best pic, shown here at the top, has sat in DD’s album page at Facebook since 2015, unforgivably dated wrongly to 12 March 1980, months before Le Bon joined the band.

A second pic was also posted by DD at Facebook in 2018 on the correct anniversary of the debut. This is the frontal view in which we can just see Roger on drums, though really too small to enlarge very successfully. Further googling led us through Not Your Mother’s Playlist, a blog by Christina, a 25-year-old pop culture addict from San Francisco who pictured the key photo without comment in 2019, and on to Duran Compilations which uniquely revealed two further pix from DD’s debut in 2018 while showing all four on one page – see below – again without special comment or hint of a source! This website detailing the band’s unofficial history was “compiled and developed by Ansgar Thomann in dedication to the 40th anniversary of Duran Duran’s birth”. He based the anniversary on 1978, when the idea of DD was born!

All four images make a fascinating testament to DD’s sense of style, especially Le Bon. Sad that nobody seems sure who took these landmark photos.

IMAGES SCARCELY SEEN BEFORE – CLICK TO ENLARGE

Core band members had been employed for a year or more around the Rum Runner by its owners, the brothers Michael and Paul Berrow, as bouncers, deejays and glass collectors, while a series of new musicians were tried out and let go.

Cristina’s NYMPL reports: “In 1978, cool kids Nicholas Bates and Nigel Taylor (who would then become Nick Rhodes and John Taylor) handed the Berrows a demo tape for their fledgling band Duran Duran and the rest is history; they held auditions until D-Squared became a full-fledged band with a guitarist and everything, and the Berrows became their managers.”

She adds: “Guitarist Andy Taylor recounts many interesting things in his book Wild Boy (a fantastic read). He talks about the wild behaviour of the club-goers – how flamboyantly they dressed, how behaviour norms didn’t apply and how sex, drugs, and glam rock were paramount. He also talks about the aptly named ‘Sex Offender’s Room’ (‘People weren’t politically correct, then,’ he writes), where the Durans and the Berrows dragged in a nice fluffy bed in a vacant corner, and then would purposefully walk in on one another when they were enjoying the, uh, intimate company of their guests.”

Simon Le Bon told Quietus in 2011: “I had some pretty amazing sex-and-drugs combined occasions. Which, ultimately, were very rock’n’roll. Just thinking back to the Rum Runner, what a place that was for five guys. . . it was probably illegal. In fact, a lot of it was definitely illegal.”

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DuranCompilations pulls out the plums, 2018: two more new images to make four DD debut pix scarcely ever seen

Once the 1980 line-up was finalised, it then took DD another six months as the club’s house band before landing a contract with EMI. During this time London’s New Romantic heroes Spandau Ballet notched their first chart single before year’s end. In February 1981 DD’s first single Planet Earth charted at number 12 with the phrase “New Romantic” unsubtly woven into the lyrics, while cool London bands refused to subscribe to the term.

Both Spandau and DD followed the image-conscious practice of pioneering stylish music videos with savvy directors such as Russell Mulcahy and Godley & Creme, which fuelled the British invasion of the US by British bands just as MTV was launched in August 1981. The first person we see in Duran’s first video, Planet Earth, is Roger Taylor who also told Quietus: “I think [director] Russell Mulcahy had a bit of a crush on me: ‘OK, get your shirt off, you’re the first one, lie back’.”

Perry Haines, ex-Blitz Kid, producer and first editor of i-D, told me in 1982: “Duran Duran were destined to be mass market. I styled their first photo session in Milton Keynes in frilly Axiom shirts with bolero jackets and silk Antony Price suits. It was a street-level look with the cut and style of Antony.”

Rolling Stone magazine recorded the brothers’ ambition: “They said, We want a good-looking poser band. . . somewhere between Chic and the Sex Pistols.”

COMMENTS AT DW FACEBOOK THIS WEEK:

Bill Rosich: The 16 July set list was: 1, I Feel Love; 2, Girls on Film; 3, Amy a-Go-Go (later Rio); 4, Night Boat; 5, Tel Aviv; 6, Late Bar; 7, Secret Success.
James Barr: It’s funny, but they’re basically in the exact same stage arrangement that they remain in to this day: Simon out front with John on his right and Andy (or the guitar player) on Simon’s left. Nick is then back and to the left and Roger back and to the right.
Lance Lowe: Was there. I played bongos for 5 minutes. It was a jazz dance night. Paul Berrow asked me to stand behind the bongos with the rest of the band for press shots at the Rum Runner. I just wanted to dance to music by Lonnie Liston Smith.

➢ Durantastic World page at Facebook

➢ Previously at Shapersofthe80s: 1981, Birth of Duran’s Planet Earth

New Romantics, Swinging 80s, Birmingham, Duran Duran, Rum Runner,

A broody looking Duran Duran en route to stardom: the band pose outside the glam entrance to the Rum Runner nightspot

➢ Previously at Shapersofthe80s: 2023 ➤ Celebrating Kahn and Bell’s role at the centre of Brummie fashion
➢ 1981, Inside the Rum Runner nightclub – by the people who were there

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2023 ➤ Don’t let zeros dazzle you in front of Doig’s broody paintings

Courtauld Gallery, Peter Doig, collecting, exhibitions , fine art , London,

Canal 2023, by Peter Doig at The Courtauld. Photo Fergus Carmichael

❚ EXACTLY 40 YEARS AGO as he was graduating from St Martin’s art school Peter Doig told me: “You’ve got to be an entrepreneur these days”. I was writing a powerful critique of the rot that had set into the UK art-school teaching system as prime minister Thatcher’s education cuts torpedoed creativity. For his generation – just before the YBAs devised their own solution – it was becoming ever more difficult for young artists to make their mark and there was plenty of unrest to report in my 1983 survey for The Face magazine.

So, hasn’t he done well since then?! During the past 15 years key paintings by Doig have sold for record prices in the international market – $11m, $5m, $11m, $12m, $17m, $39m and $29m. Averaging those seven sums, and grossing up to estimate the worth of the 12 paintings in his exhibition opening this week in London, yields their possible total value as $212million.

So when I walked into the Courtauld Gallery this morning to view his 12 newest paintings hung in two modest rooms, all I could think of were the zeros. Was I standing amidst 212,000,000 dollars-worth of art? And how do we square those zeros with Doig’s own expressionist take on magical realism, eerily mesmerising landscapes and striking figurative images in which he, his family and friends appear with smudged features as if in dreamworlds, described by one critic as “a troubled Arcadia”? Even his two self-portraits are unsettling. Multiple perspectives also tease. Half the pictures are enormous, some have taken him years to complete, others look as if they’re unfinished.

Their idiosyncratic visual chemistry reflects the itinerant life of this 63-year-old Scottish-born Canadian who has also lived in Trinidad and London. Painterly is the one word that unites the leading critics in their reviews of Doig, yet he achieves this largely without thick gestural brushmarks, and often with washes that let pigments emerge subtly through others in sea, sky and land, suggesting remembrance of lost times. Many touches refer to the impressionist masters displayed in an adjacent space at the Courtauld.

Courtauld Gallery, Peter Doig, Trinidad, collecting, exhibitions , fine art ,

House of Music (Soca Boat) 2019-23, by Peter Doig at The Courtauld. Photo Fergus Carmichael

His colours can be strong, as in Alice at Boscoe’s, where a vivid jungle of red and green foliage dominates and his daughter slowly emerges as the faintest female form slung in a hammock. Similar contrasts make Music (2 Trees) a haunting rumination featuring his wife and other friends. In contrast, House of Music (Soca Boat) relies on whole swathes of hues to intrigue.

The larger paintings include works that were created in the artist’s studio since returning to London in 2021. One such titled Canal has shady characters loitering on the Regent’s Canal tow-path where his son is having breakfast before an unlikely crimson bridge. Another titled Alpinist casts a skier as a harlequin against a brittle snowy landscape, inviting us to consider why.

So there’s plenty of food for thought before those zeros re-enter the mind’s eye, ker-ching… Coincidentally yesterday morning, Peter Doig was telling Radio4’s Today programme how the artist has little or no say in what millionaire collectors such as Charles Saatchi are prepared to charge or spend as paintings pass from one to another in the secondary market. Recalling that in 2021 his picture titled Swamped sold for $40m (!), he said: “I sold Swamped for £800 and of all the paintings of mine that have sold for £250million, the amount of money I got was less than £64,000… There are a lot of people out there who want to profit off you somehow.”

Only last month Doig was awarded £2.5m by a judge in a United States court following a decade-long dispute with a gallerist alongside a collector who claimed to own a painting made by him as a teenager. Doig denies this and is donating the windfall to a not-for-profit organisation.

Concluding his Today interview, Doig said: “The money’s not what it’s about. It has given me a life I would never have imagined – travel and making connections – but who could have imagined showing [here at the Courtauld Gallery] in the room next to Manet’s Bar at the Folies-Bergère?”

➢ Peter Doig is the first living artist to exhibit
at the Courtauld Gallery since its £57m revamp in 2021.
His exhibition runs until 29 May 2023

Courtauld Gallery, Peter Doig, Trinidad, collecting, exhibitions , fine art

Music (2 Trees) 2019, by Peter Doig: Photo Mark Woods. Copyright Peter Doig. All Rights Reserved. DACS 2023

➢ Peter Doig speaks to Channel4 News
about his London show

Courtauld Gallery, Peter Doig, collecting, exhibitions , fine art , London, Channel4 News,

Peter Doig with his painting of Alice at Boscoe’s on Channel4 News

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2023 ➤ Bowie anniversaries: One fan’s teenage love remains undimmed

David Bowie, 1976, Man Who Fell to Earth, pop music, films, anniversary, birth, death,

Bowie’s new look for 1976 when he became The Man Who Fell to Earth, here in a Haywain shirt. Photographed by Steve Schapiro and published on the cover of the Sunday Times Magazine

David Robert Jones
8 January 1947 – 10 January 2016

Every January, two dates stir the souls of Bowie fans: the 8th being his birthday and the 10th the day he died. On the seventh anniversary of his death, Eighties Blitz Kid and pop singer ANDY POLARIS recalls the dramatic influence Bowie had on his early teens in the way that his fan base would also be galvanized by his art to inspire their own creative dreams. This extract comes from a much longer piece at his own website Apolarisview.wordpress.com … Andy writes:

Much has been written about Bowie’s Starman performance in 1972. I had begun a fascination with his image a little earlier after the Melody Maker interview, thanks to an older teenager who also had the album, Hunky Dory.

I began to spend the little pocket money I had on buying all the magazines and music papers that featured him, especially on the cover. Fab 208, PopSwop, Music Star, Music Scene and Jackie thankfully were relatively cheap and I began my scrapbook collection. Ziggy Stardust with his bold make-up and glamorous wardrobe (courtesy of Freddie Burretti and Kansai Yamamoto) was unlike anything seen before and blurred the line between sexes. This beautiful creature offered a world of possibilities to this youth already bored with football and the teenybop fandom that dominated our era. Clothes, style, identity – normal teenage rites of passage – all took on a greater importance over the next few years but now helped define a more alternative journey.

Seeking out Bowie’s references in lyrics opened a new door to imagination. His creative output eased my inner void of loneliness and probably kick-started my interest in science-fiction. Humdrum suburbia was replaced by the magical worlds of Alfred Bester, Philip K Dick, George Orwell and Robert Heinlein to a soundtrack of Ziggy Stardust, Aladdin Sane and Diamond Dogs.

Scissors, Pritt Stick or Gloy Gum and a large desk were my 1970s iPad, and all that were needed, as I lovingly read and then pasted articles onto A4 note paper into a hard grey binder. This became a ritual that continued for my teenage life. I never liked to create collages because I hated cutting up articles too much and words were equally important. What Bowie was saying or what people were saying about him seemed as important as the visuals. That shape-shifting style (musically and visually) meant I never got bored and felt that I evolved along with him, my anticipation becoming almost tangible with news of a new release or a TV appearance…

➢ Read Andy’s full article on Bowie: First anniversary of his death and my teenage love is undimmed

Andy Polaris , Billy's club, Derek Ridgers, nightlife

Future singer Andy Polaris and Sue at Billy’s in 1978. (Photograph © by Derek Ridgers)

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1982 ➤ When fans first screamed for Spandau and two climbed up to their window

Spandau Ballet, Blitz Kids, New Romantics, Liverpool Empire, 1982, Diamond Tour, fans,

8 May, 1982: Now identified! A teenage fan shins the drainpipe at the Liverpool Empire giving access to Spandau Ballet’s dressing room on their first nationwide tour with the Diamond album. Snapped by © Shapersofthe80s

40
YEARS
ON

■ THE YEAR WAS 1982. Spandau’s seventh single Instinction had put them on Top of the Pops during Easter week and sales were rocketing. The night of May 8, towards the end of Spandau’s first nationwide tour, with stand-up comedian Peter Capaldi in support, has become known as The Return of the Scream. The moment the house lights dimmed, a mighty roar lifted the roof off the Empire, the city’s legendary music venue. It didn’t stop for 75 minutes. The band hadn’t heard anything so intense and were visibly shaken when they came offstage. Guitarist Gary Kemp said in disbelief: “I had to stop playing. I couldn’t hear my own monitor.”
➢ Click through to read all about 8 May 1982 – the return of The Scream to British pop

Yes says Jan: that’s me shinning up
the drainpipe in 1982

■ A 30 YEAR-OLD MYSTERY HAS BEEN SOLVED. At the climax to Spandau Ballet’s first national tour in 1982 fan mania broke out on a level comparable to the 1960s. When their single Instinction crashed into the UK charts with freshly injected energy from producer Trevor Horn, three extra tour dates were added in May. After the show in Liverpool, the creative birthplace of British pop music, a crowd of about 500 fans mobbed the stage door at the fabled Empire theatre. A shadow had only to fall across the band’s dressing room window for screams to erupt in the street. Two girls then decided to shin the drainpipe and beat the window with their handbags until they were let in…

➢ Click through for more about the girls who entered Spandau’s dressing room via the window

Spandau Ballet, Blitz Kids, New Romantics, Liverpool Empire, 1982, Diamond Tour, Martin Kemp, fans, Gary Kemp,Steve Norman, Tony Hadley, Peter Capaldi

Inside the Liverpool Empire, May 8, 1982: fans shocked security staff with the roar that greeted Spandau Ballet. Photograph by © Shapersofthe80s

➢ 1982, How Spandau put Peter Capaldi on the road
to play the new Doctor Who

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