Category Archives: Goth rock

1980 ➤ Why Bowie came recruiting Blitz Kids for his Ashes to Ashes video


❚ TODAY WAS THE DAY in 1980 when London’s now fabled Blitz Club was blessed by a visit from David Bowie. He came with a purpose – to whisk away four of the most outlandish Blitz Kids to strut with his pierrot through the video for his new number, Ashes to Ashes, from an imminent new album. It earned each of them £50, helped Bowie to No 1 in the singles chart the following month and boosted demand for black ankle-length robes among trendsetters.

Ashes To Ashes, David Bowie, video, pop music,Ashes To Ashes

Ashes To Ashes video 1980: Blitz Kids as chorus to Major Tom

Every Tuesday for 16 months, king of the posers Steve Strange had been declaring a “private party” in the cheap-and-cheerful Blitz wine bar near Covent Garden, along with his co-host Rusty Egan who was pioneering Elektro-Diskow dance music as deejay. Your Look was everything and outrage ensured entry. Inside, precocious 19-year-olds presented an eye-stopping collage, preening away in wondrous ensembles, in-flight haircuts and emphatic make-up that made you feel normality was a sin. Hammer Horror met Rank starlet. These were Bowie’s offspring, individualists who had taken him at his word to be “heroes just for one day”, living amusing lives, creating disposable identities, and wearing looks not uniforms. Now, on this day, their god came among them with the very serious mission of paying homage to some of his bizarre principal characters and moving himself on into the next phase of his life… Unwittingly the Blitz Kids would become his little helpers.

Russ Williams, John Lockwood, Andy Bulled, Tommy Crowley, David Bowie, Blitz Kids, Swinging 80s,nightlife

Bowie at the Blitz Club 1980: Russ Williams, John Lockwood and Andy Bulled papped by Tommy Crowley

Memories of Tuesday 1 July vary. The 21-year-old Steve Strange found himself requesting extra security to stem what the soon-to-become pop singer Andy Polaris also records in his diary as a “minor riot”. In contrast, the coolest heroes in the club refused to pander to the great star and merely contemplated their drinks.

Strange writes in his autobiography, Blitzed: “We had no prior warning, and [Bowie] arrived with two other people and his PA [Corinne] ‘Coco’ [Schwab], whom I didn’t think was very nice.” The guests whose names Strange forgot were, according to the Polaris diary, singer Karen O’Connor (daughter of comedian Des) and painter-photographer Edward Bell, who designed the cover artwork for the imminent Scary Monsters album and singles.

Strange’s book claims: “We managed to sneak them into the club the back way to avoid a fuss and usher him upstairs to a private area. David himself was charming and asked if I would join him upstairs for a drink when I had finished on the door. I wanted to go straight away, but, annoyingly, I had to do my job first and stay at the door.”

The book continues: “Word soon spread like wildfire that David Bowie was there. He was probably the reason most people at the club had got into pop music in the first place. He had changed his look and his sound so many times, there were more than enough images to go round. The alien from Low and The Man Who Fell To Earth, Aladdin Sane, Diamond Dogs, Ziggy Stardust. He was the one person that everyone there would cite as an influence, even more important than punk.

Bowie,Ashes to Ashes , video,Blitz Kids

Bowie’s chorus near Hastings, July 1980: Polaroid snapped by a crew member on the beach during filming of Ashes to Ashes with Blitz Kids Steve Strange, Darla-Jane Gilroy, Judi Frankland and Elise Brazier keeping warm in a mackintosh between takes. When they got back to London, they all went clubbing at Hell

“He said it was a great scene and asked me if I would like to appear in the video for his next single, Ashes To Ashes. He also asked me if I could suggest a make-up artist for him, and I recommended Richard Sharah, the man who did my make-up. He said: ‘I’d like it left to you to pick the clothes you are going to wear, and to choose three other extras for the video.’ This was the most important moment of my life. I rushed around and found Judith Frankland, Darla-Jane Gilroy and another girl [Elise Brazier] for the video.” Here, as with so much of his flaky book, Strange’s memory leaves the rails. Other witnesses suggest subtle variations to his account…

Enter the next witness, Ravensbourne graduate Judith Frankland, designer of Steve Strange’s Fade to Grey outfit and of two gowns worn in the Ashes video which were inspired, she says, by the nuns in The Sound of Music and coincidentally had been unveiled in her sensational degree collection “Romantic Monasticism” at the Café Royal during June. She says: “In a wonderful twist of fate, Steve was resplendent in my black wedding outfit that night and was chosen straight away. He was asked to select people he felt could be right. Bowie did see George O’Dowd but as I remember he was wearing his big leather jacket look that night, so he was out. I was invited as was Darla up to the table where David and Coco were sitting and offered a glass of champagne. Darla and I were both dressed in a similar ecclesiastic style, Darla in her own black outfit with white collar, and we were also asked to take part for what at that time was a decent sum of money for penniless, decadent students.

“We were told Coco would call us the following day with the details. I woke the next day thinking I’d dreamt it and you know I guarded that communal pay phone on the landing like a rottweiler until she did: be outside the Hilton the next morning, Thursday, she said, at some ungodly hour, fully dressed and made up the same way I had been at the Blitz, and to get the coach to a secret location.

Ashes To Ashes, David Bowie, video, pop music, Blitz Kids,

Ashes To Ashes video 1980: Blitz Kids as Greek chorus (© Jones Music / EMI Records Ltd)

“When we arrived at the beach near Hastings [not Southend, as Strange reports], the crew was set up and David Bowie greeted us dressed in the pierrot outfit he would be wearing. He coached us for a few minutes on the words we were to mime and then the day was spent in what we Lancastrians call sinking sand, sloppy sand, and the further out we got on the beach the messier and sloppier and muddier it was. I wore flats which was a wise choice. Then we were up and down that field with the bulldozer and every time we had to do a take it had to back up and the field got muddier. The bulldozer wasn’t that close but if he’d stepped on the gas we would all have been gonners.

“We were finally told we had all ‘done well’ and set off in the coach straight from the shoot to Hell [Strange’s Thursday club-night with a sacrilegious flavour] – well, home first to get freshened up. Steve dropped off his very muddy wedding dress and Hell was a rowdier night than usual. Steve brought one of the labourers from the bulldozer site with him and dressed him up in a Modern Classics suit. The poor guy was disturbed by it all, to say the least.

“We’d also been asked to go to the Ewart Studios in Wandsworth that weekend to shoot another scene – the kitchen with Major Tom in the chair and us providing the chorus. This involved an explosion behind us four as we faced the camera. We were told to duck out and run after we had mimed our lines or we could be hurt. This was difficult in a hobble dress, so I hoisted it up as high as I could and got ready to run. Quite a sight for the superstar sat behind me! Health and Safety would be all over that now.

“May I add that at the studios David Bowie joined us mere mortals in the canteen. Yummy. What a nice man he was, well he was to me, very kind and patient with us all.”


London’s Cafe Royal, 1980: Judith Frankland’s graduation show climaxed with a wedding dress in black and white taffeta, brocade, velvet and satin. All crowned by Stephen Jones’s veiled head-dress. As worn by Blitz Club host Steve Strange in the Ashes to Ashes video. (Niall McInerney’s slides scanned by Shapersofthe80s)



St Martin’s Alternative Fashion Show in May 1980: Stephen Linard’s “Neon Gothic” collection modelled by his most stylish friends, Myra, George O’Dowd and Michele Clapton, with Lee Sheldrick in white as a space-age pope

❏ Co-directed by Bowie and David Mallet, location scenes for Ashes to Ashes were filmed on 3 July 1980 at Pett Level, a stony beach on marshlands about six miles east of Hastings in East Sussex, known to Mallet since he was a boy. The drama of waves splashing against a towering cliff excited him. The video was the most expensive music video made to that date, costing £35,000 (about £151,000 in today’s money). The whole dreamscape was enhanced with effects from the then novel Quantel Paintbox to create a visual enigma, echoing a distant past, yet suggesting “nostalgia for the future” in Bowie’s own words.

At the time Bowie dropped in on the Blitz, the fashion mood had darkened for post-punk no-wavers. Black was back in gothic style without that word being applied, mostly. One exception was Stephen Linard who stole the annual Alternative Fashion Show in his second year at St Martin’s with his “Neon Gothic” collection in May 1980, when the event was coordinated by Perry Haines. Fellow Blitz Kids modelled a stylish collision of Space 1999 meets liturgical gothic, strutting to the Human League’s newest release, Empire State Human. Among them, Lee Sheldrick, the gifted eminence gris behind so many other students’ creations, had also shaved his head bald to become the embodiment of Nosferatu the Vampyre. The following week Steve Strange teamed up with fellow Welsh soul-boy and Camberwell student Chris Sullivan to open a no-holds-barred club-night at Hell with the invitation “to burn in Hell – demoniacal dress is desired”. Bowie knew what he was looking for.

One of Bowie’s long-standing collaborators, Natasha Korniloff, designed his pierrot costume for the video and Gretchen Fenston his hat, while he gave Richard Sharah a free hand to design the make-up. On the night of Bowie’s visit to the Blitz, Steve Strange and Judi Frankland were sporting her graduation garments, Strange in the black wedding dress crowned with a Stephen Jones head-dress and veil made of stiffened lace on a metal frame. Judi recalls: “The wedding dress was the reason Steve and I got close. He called me up wanting to buy pieces of the collection. He also bought a jacket he wore on the cover of Fade to Grey and gave me a credit on the sleeve. That dress, all sand, sea and mud, ended up in the bottom of Steve’s wardrobe. It had a stand-up collar that was caked in his makeup. Never wore it again though he got some money off the video people to get it cleaned. The veil also got squashed in his wardrobe.”

Darla-Jane Gilroy wore an ecclesiastical black velvet dress designed and made by herself, silk grosgrain coat and white collar with crucifix, plus a Stephen Jones hat. Elise Brazier personified a ballerina in a party frock plus tantaliser in her hair. This and another hat came from Fiona Dealey and Richard Ostell. All would soon be finding fame in the fashion business, with Elise becoming one of Premier’s leading models.


Stephen Linard: sporting a wooden cross by Dinny Hall and the rabbinical outfit that caught Bowie’s eye in July 1980

Stephen Linard supplies his own footnote to that great Tuesday at the Blitz. “Bowie actually sat at the bar next to my sister Bev, with me on the other side of her and I told her “Don’t look. Be cool.” So of course she looked, she was only 17. So did I. I was only 21. I was in all my Jewish rabbinical gear and Bowie’s PA Coco asked if I would be in the Ashes to Ashes video, but they wanted us up at the crack of dawn and were only offering £50! Anyway, I was on a warning at St Martin’s over attendance, so I had to say No.”

Steve Strange has the last word: “It seemed like a very long day for a three-minute film. I was delighted when I was handed my wages of £50 by a member of the production team. I didn’t tell them, but I would have paid them to have appeared in a video with David Bowie.”

storyboard, Ashes To Ashes, David Bowie, video, pop music,

Storyboard for Ashes to Ashes, 1980: The opening scene of pierrot on the beach sketched by Bowie to guide his co-director David Mallet


❏ Bowie’s brief to David Mallet for the video was simply: “A clown on a beach with a bonfire.” Yet you can be sure Freud would have a field-day turning over every mortal motif in Ashes to Ashes, which was originally titled People Are Turning to Gold… Bowie storyboarded the visuals himself (“actually drew it frame for frame,” he said) to include the pierrot of his Lindsay Kemp era, the number of “Madmen” in his own family symbolically in a padded cell, his first hit Major Tom the spaceman now in an exploding kitchen with his own Greek chorus, the images of mourners round a funeral pyre, the JCB bulldozer (that Bowie had spotted parked up near the beach and hired on impulse) to signify “oncoming violence” and seemingly pushing along the Blitz Kids in the pierrot’s wake like a funeral procession pulsating with a mother’s invocation “to get things done…” Not to mention the song’s title itself, derived from the burial service in the English Book of Common Prayer which commends: “earth to earth, ashes to ashes, dust to dust”.

All of which suggested a surreal sweeping away of the past, capped by the unleashing of the dove as an emblem of ritual cleansing, and so paving a way for the future. In September 1980, Bowie revealed his thinking to NME: “The sub-text of Ashes To Ashes is quite obviously the nursery rhyme appeal of it and for me it’s a story of corruption. When I originally wrote about Major Tom I thought I knew all about the great American dream and where it started and where it should stop. [Now] the whole process that got him up there had decayed and he wishes to return to the nice, round womb, the earth, from whence he started. It really is an ode to childhood, if you like, a popular nursery rhyme.”

Years later, Bowie told author Nicholas Pegg that with Ashes to Ashes he was “wrapping up the Seventies really” for himself, which “seemed a good enough epitaph”. On Bowie’s death his lifelong friend George Underwood called him an emotional, passionate person: “He had created this fierce storm, but he was the only one in it.” Take your pick.

➢ Previously at Shapers of the 80s: The year the Blitz Kids took their first steps into the headlines

Ashes To Ashes, David Bowie, video, pop music,Ashes To Ashes

Ashes To Ashes video 1980: Bowie’s pierrot getting out of his depth


➢ Previously at Shapers of the 80s: The Blitz Kids WATN? No 37, Judith Frankland

➢ Previously at Shapers of the 80s: The Blitz Kids WATN? No 28, Stephen Linard

➢ Blitzed! The Autobiography of Steve Strange (2002)

➢ Edward Bell’s Connection

➢ The future isn’t what it used to be, by Angus MacKinnon
in NME, 13 September 1980

➢ Chris O’Leary’s impassioned survey of the Bowie catalogue

Ashes To Ashes, David Bowie, video, pop music

Ashes To Ashes video 1980: Bowie’s pierrot at Pett Level in Sussex with “mum” (© Jones Music / EMI Records Ltd)


2019 ➤ As Rusty Egan likens himself to a baker, others dispute his claims to have ‘created’ the Batcave nightspot


Olli Wisdom in 1982: frontman for his goth band Specimen and the runaway once-a-week success the Batcave. Photo © Shapersofthe80s

❚ A MIGHTY ROW EXPLODED THIS WEEK at Facebook over who “created” the dress-up club-night called the Batcave in London in 1982. Not for the first time, former Blitz Club deejay Rusty Egan has claimed it was himself, but now the influential Batcave deejay Hamish Macdonald ‪has weighed in with his version of its birth. As a Wednesday club-night at Soho’s legendary Gargoyle club, the Batcave was one chapter in the birth of Goth in the UK which had been brewing since 1978.

Egan has been making surprising claims during the past two years in the process of trying to remember and formalise his own pioneering exploits before his wilderness years. Prime among these claims being put about by his PR team is that he “single-handedly changed the course of music” in the post-punk vacuum, which seems implausible given that the mighty upheaval that reformed the UK’s music and fashion industries as the Eighties dawned was all too conspicuously driven by collaboration among restless young entrepreneurs and style-leaders.

I raised an eyebrow on 25 February when Egan claimed at Facebook that he (using the Royal We) “started the club” – specifically the Batcave night – and again on 26 March when he even claimed “I signed Specimen and started Batcave”. I asked him how he explained that? Egan replied: “I signed Ollie Wisdom (Specimen) and to finance the band I introduced them to a club they added Hamish Macdonald. We recorded the Batcave Album at Trident.” (Any mis-spellings are Egan’s.)

A couple of months later, on 1 July, Egan posted another claim using the Royal We about “creating The Batcave”. So I challenged this by commenting on his post: “That’s not what Hugh Jones told a Goth seminar at the Brighton Fringe Festival recently. He very clearly claimed to have ‘created’ and actively run the Batcave from the day it opened in 1982.‬”

The festival event titled The Gothic in Music on 29 May featured an erudite illustrated lecture by musician Ian Trice on the origins of the words Gothic and of Goth in particular from Screaming Lord Sutch in 1963 via Bauhaus’s Year Zero of Goth in 1979, and Siouxsie Sioux as Queen of Goth from 1980, plus the “Goth-glam” of the Batcave which “gave a focus for the scene” to its end in about 1987 in the face of the emerging “grebo” scene. Events manager Jones spoke in the panel discussion that followed and later made clear that even the presence of Olli Wisdom, the black-lace-clad frontman of the Batcave house-band Specimen, emerged only after his club-night had been running and showcasing new rock bands for about three months.

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The Gothic in Music debate at Brighton Festival, May 2019, L-R: Simon Price, Rose McDowall, plus Batcavers Hugh Jones, Jon Klein, and Jonny Slut. They discussed the opening night of the Batcave in 1982. (Photo © Shapersofthe80s)

This week, however, the same Facebook post burst into flame when the respected Batcave deejay Hamish Macdonald waded in to demolish Egan’s remarks in great detail. He was applauded by Olli Wisdom and other commenters. All of which suggests that the origins of Goth remain a contested story by those who were among its originators. So if you played a role in the evolution of UK Goth please join the debate at Shapers of the 80s. Here’s what the protagonists have said to each other over the past week. . .


❏ Retaining all original wayward spellings and typos

 Rusty Egan , Batcave, goth music, origins,

Deejay Rusty Egan before his trademark quilted bedhead

Rusty Egan
1 JULY 2019
In Blitz Kids page in fb a page that celebrates all things related to the Club. I am reminded by a member of my contribution to music / The Blitz / Visage/ Skids/ Ronny/ Rich Kids/ The Senate / Burundi Black/ Madonna/ Nona Hendryx / Twilight Zone / Club for Heroes/ Camden Palace / loads of bands promoting Depeche Mode Soft Cell / Remixing U2 B-Movie -Space – Signing Johnny Hates Jazz – Specimen and with them creating The Batcave too many musical relationships and many many more up to 1990 when I opened Embargo or was that all not reported ?

David Johnson There you go again, Rusty, claiming to have “created” the Batcave. That’s not what Hugh Jones told a Goth seminar at the Brighton Fringe Festival recently. He very clearly claimed to have “created” and actively run the Batcave from the moment it opened in 1982.‬ 4 JULY

Rusty Egan David Johnson who is Hugh Jones? Did he pay for it? The album ? Sigh Specimen? Fund it through the club ? Promote tbe club with flyers or did he work for the venue? Sorry but We financed it from Trident Studios while i signed the bands.‬ 9 JULY

David Johnson Rusty Egan ‪– He wasn’t talking about an album or a band. But running a new club called the Batcave.‬ 10 JULY

Rusty Egan David Johnson Set up and financed by the record label publishers who gave the club the support they needed. I said it would be packed in 4 weeks and we promoted it from my office.Sorry but my office Ran the Camden Palace bookings and djs and music and PR we did not take out the empty bottles. I was also partners with Kevin Millins He ran Heaven Tuesdays and Thursdays and was the most innovative promoter I knew. We lasted till The Playground at The Lyceum that club said Steve and Rusty but it was in fact Rusty and Kevin, Steve showed up .‬ 14 JULY

David Johnson Rusty Egan ‪– You have become the Boris Johnson of pop, all bluster and blather about everything else but answering the question. You have claimed the word “created” about your role in the Batcave three times in recent months and yet now you bang on instead about “promoting”. What you and Strange initiated with the Blitz was the club-night run on DIY energy as a private party that needed no hoards of cash to promote, only word of mouth, so why was so much dosh from your promotions agency required to launch a Batcave? We all know that someone else “created” the Batcave without a hint of goth as probably the only London club staging indie rock bands, as opposed to dance music. Specimen and gothic black lace only emerged later. 15 JULY

Rusty Egan ‪Then i did a good job. We financed it and the band and the album and the old Compton street flat and let that mouthy bitch Steve Severins GF do wtf she wanted. ‬‪I never wanted any credit and i played the same records at Trash Tuesday’s at Camden Palace. We needed The Specimen on top and it helped financialy as i had Chiefs of Relief as well. The club was not my interest we got the album in Sire with our other bands we punished soft cell b movie six sed red etc. You were all excellent and i have spent my life finding talent and putting them together.‬ 10 JULY

Olli Wisdom Rusty Egan complete bullshit 

 11 JULY

Hamish Macdonald, Goth rock, deejay, nightclubs, Batcave

Throwing down a gauntlet: deejay Hamish Macdonald with evil doll baby, at the Batcave 1983

Hamish Macdonald I’m very confused! I was the DJ at the Batcave, saw it rise, was fired before it sank, but Specimen ran the Batcave. Jon Klein, Sophie Sexbeat, Johnny Jonny Melton Slut created the look and I helped develop the sound of one generation into the sound of the next, creating the alternative dance floor for a new generation.

This was reinforced by DJing for John Curd’s gigs (Ants, Bow Wow Wow, Cramps, PIL, Killing Joke, Southern Death Cult, UK Decay, Sex Gang Children, Bauhaus, Meteors, Dead Kennedys, Sisters of Mercy, Gun Club, Yellowman, 999, UK Subs, Richard Hell, Johnny Thunders…. etc, etc) and making and selling badges for most of the independent bands and labels. I saw that generation come into being and I don’t remember anyone being the “creator”, other than those who turned up every Wednesday night and ran it like Harvey Birrell and Ross Malyon and Buda Ian Carpenter who helped decorate it with Olly and Jon and various Specimen family and crew – Flynn, Lucy Roachclip, Kevin Mills et al.

Anni Anni Hogan joined to play upstairs in Leicester Square and drivers and crew like Christine, Anna, Jos Grain (Pork Helmets) played their part, Hugh Jones acted as some sort of weird PA but no one created the Batcave other than Jon and Olly; and even that was basically finding the venue, daubing on the decor and publicising the night. I played the music and people came back… again and again… and more.

Check this review from a goth website: Hamish was the DJ at the infamous Batcave Club 1982-1984, birthplace of goth, industrial, fetish and death rock, and formed Sexbeat, almost as a statement of celebration of a new culture, in those halcyon days of the post-punk club scene. The insanity of who would regularly attend this now legendary club is reflected in the song’s lyric, for the Batcave would let anyone in – as a reproof to the snobbery of the chic clubs that had traded off the back of the “new romantic” movement, and who would regularly refuse entry to those deemed unworthy, purely because of what they were wearing or looked like.

The Batcave knew no bounds, even morally, and touched base with psychobilly sensitivities, Cure fetishists, Japanese voyeurs, S and M, electronic sweat, Banshee voodoo, punk sex, suicide, necrophilia and narcotics.

BATCAVE OLDIE: Oh, another thing about the music. It was actually much more diverse than you would expect. It wasn’t all Siouxie, Bauhaus, Alien Sex Fiend and Flesh for Lulu. The night usually started with some dub reggae with a rasta guy toasting over it. Toasting was a precursor to rap if you’re not familiar with it. There would also be some early Prince, Grandmaster Flash, Bowie, and a little old school Glam Rock.‬ 11 JULY

Sophie Chery‪ Hamish Macdonald‪ well done Hamish, I think Rusty has hit early senility…. 11 JULY

Rusty Egan ‪Rusty is not senile Rusty signed and paid for everything. Simple So you are saying IF I did not sign the band , Record Kiss Kiss Bang Bang , Get Sire USA over to see them and set them up in my office , make the BATCAVE ALBUM then they would have done it all themselves? Don’t ****ing insult me over history. I know what i did , I know what i paid for and I know my return was Sweet FA. If Ollie and John had not met me I am sure they would have still made some records on their own label and they might have got the club together. I had 1500 in Camden 3 nights a week , why would i give a **** about Meard Steet , It was the music and the band that I was interested in not The Club. You can’t now claim I had **** all to do with it. Nice guy or what I left the ****ing Blitz Kids Group because of A******s. I know what i did … and David Johnson can say whatever he wants . he writes I do….. still doing it today , helping artists make music . not a crime is it………….‬ 13 JULY

Ross Malyon It’s kinda weird, some people claiming a part in the birth of a popular movement. I can confirm that Hamish Macdonald is the one who can attest to saying it like it is. The fact he gives credit where credit is due and does not claim the whole thing as creation must give everyone here a clue as to credentials.‬ ‪I’m confused, Rusty Egan creating the Batcave? Not in my memory. ‬10 JULY

Hamish Macdonald

 ‪love it!!!!!! 11 JULY

Rusty Egan ‪Hamish Macdonald i SIGNED YOU and recorded Sexbeat and was a dj 5 years before playing Trash Punk Oh and Produced some records. Hamish I am not saying I was the DJ .Ollie & John had me behind them to open the doors and finance it .You can have the creative dj role and the band but I made the albumand signed the bands and got the club to take on the nights. Its called baking the idea mind you I was still DJing Tuesdays at TRASH and booking the bands.‬ 13 JULY

Olli Wisdom Sorry Rusty but you didn’t start finance or run the Batcave. Distorted memory‬

 11 JULY

Rusty Egan ‪I did 100% . Metropolis Music /Trident Studios yes we did .‬ 13 JULY

➢ Click here to verify all of the above
on Rusty Egan’s page at Facebook


❏ Please add your comment in the box below this item if
you too helped create the Batcave



➢ All about Olli Wisdom and Specimen

➢ Hamish Macdonald at Facebook

➢ Pete Scathe’s definitive website about Goth, with background to the Batcave

➢ Previously at Shapers of the 80s:
My Face cover story about the burgeoning one-nighters at 69 Dean Street – which included the Batcave