Category Archives: journalism

➤ Modern pop: godlike Quincy Jones tells it like it is

Quincy Jones, Vulture, inteerview, pop music, frankness

Multi-talented Quincy Jones photographed for Vulture by Art Streiber

➢ BBC Music’s rolling news site is updated live throughout the week – today it reports Quincy Jones saying The Beatles were the “worst musicians in the world”

HERE’S ONE OF THE MOST exhilarating interviews you’re ever likely to read with a godlike genius of the American music industry who has won 28 Grammy awards and co-produced Michael Jackson’s biggest-selling albums. The Beatles aren’t the only stars to receive blunt verdicts today from Quincy Jones. But then he did train under the celebrated Nadia Boulanger who during seven decades taught hundreds of leading composers and musicians of the 20th century at the elite Paris Conservatoire, so he does know his stuff. Jones also reckons Jacko “stole lots of songs” and claims to know who shot JFK in 1963. Jones is about to turn 85, so what does he have to lose? Read his eye-poppingly frank revelations in a Q&A interview with Vulture, the culture and entertainment site from New York magazine. He does also pay respec’ to six young stars “doing good work”.

➢ Read Quincy Jones’s full wacko interview at Vulture, 8 Feb 2018

OTHER HEADLINES AT BBC MUSIC TODAY:

Zayn Malik tells Elle India that he has recorded a tune in Hindi for a forthcoming Bollywood movie. Bradford-born Zayn is the son of a British Pakistani father and English mother who converted to Islam when they married.
The Libertines to headline Kendal Calling, 26-29 July.
Kylie to play two intimate shows in March in London and Manchester.
Spice Girls ‘to kick off world tour in UK this summer’.

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1983 ➤ When The Face led the cultural agenda

art schools, The Face, magazine, fashion, style, music, nightclubbing, cuttings, subcultures, analysis, history, Swinging 80s, London

London,Chris Sullivan, Dirt Box, Mud Club,Wag club,Dencil williams, Phil Gray , Ollie O’Donnell,White Trash,Philip Sallon,Nightlife, Rob Milton, The Face,Swinging 80s, clubbing

The Face No 39, July 1983 © Nick Logan/The Face Archive

◼ 1983 PROVED TUMULTUOUS for British youth culture. By December, London’s leading club deejay Jay Strongman declared “This was the year of Go For It”, after 17 new British pop groups lorded it in the US top 40 chart that autumn, while our spirited fashionistas were making waves around the world, with Princess Diana playing ambassador for the classic designers, and Boy George pushing the wilder extremes of street style. Among major features I wrote for The Face was February’s cover story The Making of Club Culture, and in the Evening Standard Posing with a purpose at the Camden Palace, a centre spread on the runaway megaclub hosted by Strange and Egan.

Nightlife was a burgeoning story as black beats took over dancefloors everywhere and Manchester’s tearaway megaclub was the Hacienda, despite the oppressive clean-up being imposed by the city’s infamous Chief Constable. Clubbers from across the nation swarmed in to create a grand coalition of all the cults – “your complete i-D line-up, minus the Worlds End spendthrifts”. In my January report for The Face one inmate bemoaned Hacienda music as  “too funk-based” though another, a flat-top lad called Johnny Maher, revealed his secret, despite having launched some new indie rock band minutes earlier. “I schlepp to funk,” he said.

The Face, journalism, RCA, government, cuts, costs, education, fine art, painting, printmaking, film-making, music schools, fashion, Henry Moore,

© Nick Logan/The Face Archive

In July The Face published a major piece of reportage, Art on the Run, prompted by numerous friends in fine-art education, and billed it as a “shock report” on the Conservative government’s debilitating squeeze on the art schools. Ironically in the same issue my regular Nightlife column identified the four hottest clubland teams as a Who’s Who in the New London Weekend: “Not since the Swinging Sixties had London nightlife reverberated to such a boom.” These clubs were the unofficial job centres that kept a generation in freelance employment and introduced the verb to vop into the language (derivation: “What are you up to these days?” – “Oh, a Variety Of Projects”). Some of that effort was fuelling the rise of computer games which in the June issue Virgin assured me was “the new pop industry”!

 Oliver Peyton , Brighton, nightclubs, The Can, The Face, reviews

Brighton hotspot 1983: Ian, Oliver Peyton and Kate hosting The Can (Photo Shapersofthe80s)

My Nightlife column in The Face’s October issue featured Brighton’s trendiest hotspot (seconds before the very word trendy passed its sell-by outside the Greater London stockade). The Can was presided over by a young Oliver Peyton with Andy Hale as the deejay breaking funk there. Years later Oliver thanked me for this exposure and said he would never have come up to London and started opening restaurants without The Face’s prompt! (One of the few people who have ever thanked me for writing about them! Cheers, Oliver.)

Jay Strongman , DJ, The Face, magazine, interview

Jay Strongman in 1983: ruling London’s three hottest turntables

By this fertile year’s end I had FIVE indicative pieces of reportage published in the December issue of The Face including a detailed rundown on the new dance music by club deejay Jay Strongman, plus news of the imminent Westwood/ McLaren break-up which I’d scented from body language backstage at their Paris runway show.

The launch of the first London Fashion Week that same October confirmed that British street style was being feted in the international spotlight, yet it begged the question how on earth had this suddenly come about? Click through to our inside page to read the feature investigation that set out to answer such questions, by asking decision-makers in the industry to identify the best of Britain’s young designer talent under the headline Eight for ’84. . .

The Face, magazine, fashion, style, music, Eight for 1984, cuttings, subcultures, analysis, history, Swinging 80s, London

From The Face No 44, Dec 1983 © Nick Logan/The Face Archive

First published in the Evening Standard, Nov 4, 1983

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2017 ➤ My pantry, my memoir – ‘Scoop’ Simper relives the flamboyant decadent 80s

Pop Stars in My Pantry, PSIMP, Paul Simper, books, No1 magazine, Swinging 80s, Unbound

The boy wonder: “Scoop” Simper plugging No1 on Switch, the TV pop show

A rare book is published this month giving a vivid eye-witness account of one of the most creative eras for British pop music, the Swinging 80s. Paul Simper himself says: “It’s the pop life story pop-pickers have been gagging for.”

He should know, having emerged from London clubland to become the leading commentator on the New Pop led by image-conscious young bands when the rock press at large was giving them short shrift. Not only was he genuinely The Friend of The Stars but was one of the few writers who could also give it pure laldy dancing his socks off down Le Beat Route. Pop Stars in My Pantry is his confessional memoir and today Shapers of the 80s reprints an exclusive extract. . . But first, who is the man called Simper?

Steve Norman, Paul Simper, PSIMP , Pop Stars In My Pantry,

Wakey-wakey! Spandau Ballet sax player Steve Norman discovers our hero Simper relaxing during a characteristic night out on the town during London’s Swinging 80s

THERE’S NO EXPLAINING PAUL SIMPER except as a life force which is Always On – sometimes as a mouse, sometimes a bunny, often in a skirt or a sequinned tuxedo. Not usually at same time, obvs. He’s obsessive, definitely bonkers, extremely good “in the room” and, oh yes, quite an entertaining showbiz writer.

Now he’s had the nerve to bring out his life story as a book called Pop Stars in My Pantry (PSIMP for short) when you’d think people in the music biz would have learned a lesson from Morrissey’s Pooterish own goal. Luckily Simper seems to have had massively more fun than Moz, actually likes the people he writes about and, oh yes, brings a wicked sense of humour to an industry not noted for knowing how to laugh.

books, Unbound,pop life,clubbing,1980s, Paul Simper, PSIMP , Pop Stars In My Pantry,As a singer in Slippry Feet – a marriage of supper-club in a circus ring meets David Lynch in a disco – Simper only ever got as far as being the best group of December 1993. Bar none. Fortunately for this book he has the day job to fall back on and he is SUCH a namedropper. Look at the puffery adorning his book’s back jacket: “Always a joy to hang with” – Siobhan Fahey; “The most trusted person in 80s pop” – Patsy Kensit; “Truly the epitome of the embedded journalist” – Gary Kemp.

Goes with territory when you have become Friend of The Stars, having leapfrogged from Melody Maker within minutes of coming up from the sticks in 1981, onto smart new fan mags like New Sounds New Styles and No 1 which counted clubbing on-the-town as research. There from the off, he was friends with the burgeoning new generation of self-invented nightlife stars who were storming off fashionable dancefloors across the UK and into the singles charts to knock the rock dinosaurs for six. Fellow clubbing names being dropped go from George Michael to Frankie Goes to Hollywood, Bananarama to Boy George. Not to mention Madonna, Prince, Whitney, Elton and Weller. Woohoo!

Early on I nicknamed him “Scoop” Simper because even though I worked for a Deeply Influential Mainstream Newspaper, whenever any big sexy pop star, like, y’know Debbie Harry, flew in from abroad *he* got the exclusive interview even though he “only” worked for one of those pure-pop weeklies full of pinups and lyrics and breathless reviews.

➢ Pop Stars in My Pantry
is on sale at Amazon

So who’s having the last laugh now?! Well probably Scoop, as usual, since PSIMP proves to be “a right frollicking read for the adults in your family”, while my own book has blurted itself out and into this website for several years, clocking up barely a handful of Wikipedia footnotes to credit. And now His Majesty is entrusting Shapers of the 80s with running an excerpt from one of the best chapters in his book, the story of Sade Adu, the Essex girl who rose via St Martin’s School of Art to become one of the UK’s biggest Grammy-award winning pop exports, described by Robert Sandall in The Sunday Times in 2010 as “the most successful solo British female artist in history”.

Scoop spills the beans: “Sade was very much a part of my early years as a young pop writer living in London. She even used to kindly let me sleep on her sofa.” So here’s a short teaser-taster from PSIMP, but do click through to our inside page for the full extract when Sade’s first band Pride goes in search of Manhattan’s edgy Village scene. . .

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

MY RESIDENCY ON SADE’S SOFA
BY ‘SCOOP’ SIMPER

I owed Sade and Bob Elms plenty. When I first moved to London I couldn’t have been more grateful for the existence of their north London home tucked away in multi-cultural Wood Green on the Noel Park Estate.

Their old sofa didn’t exclusively have my name on it – fresh-down-from-Hull saxophonist Stuart Matthewman was pretty much clothed, housed and fed by them over the same period – but on the occasions I was invited back, I took some shifting. Sade reckoned that a pair of my old socks stuck around even longer than me until she ceremonially buried them, like high-grade plutonium, in the back garden.

I was never so bold as to turn up unannounced, but if Bob suggested a home viewing of an under-the-counter video of Texas Chainsaw Massacre or The Hills Have Eyes that he’d got his mitts on in Soho (I’d discovered in my early days in London there was a black market for everything), then I was more than up for it.

My telly viewing habits were not of primary importance to the residents at No 64 Hewitt Avenue by the spring of 1982, though, when Bob and Lee Barrett started talking up this new band called Pride that “Shard” was in. Stuart Matthewman was also involved, as were fellow Hull lads drummer Paul Cooke and bass player Paul Denman.

Back in Hull, Stuart had been in The Odds, a pop/mod band similar to The Piranhas that had started out doing speeded-up punk versions of 60s hits like The Dave Clark Five’s Glad All Over. He then played sax in a ten-piece Elvis impersonator show called Ravin’ Rupert, which covered the whole spectrum of The King’s career from rockabilly to Vegas delivered by a front man sporting a quiff and wearing Rupert-the-Bear checked trousers. A tad cooler was Paul Cooke and Paul Denman’s prog-rock band, The Posers, which Stuart credits as being the only band in Hull trying to do something new.

As for Sade, her singing career had only begun a few months previous when she sang onstage for the first time as part of another London band, Ariva. Considering Ariva were viewed as a bit of a Blue Rondo rip-off, ironically it was on the way to a Rondo gig on Barry Island that Lee first clocked Sade singing along to the radio and asked her if she could sing. She thought she probably could so said Yes. . .

➢ Continue reading about Sade’s first foray with Pride
to New York City – inside Shapers of the 80s

Sade Adu, Pride, pop music, NYC, 1982

NYC 1982: Sade and her British Pride posse hang with the locals on the streets of Alphabet City

Sade Adu

By 1986 Sade was touring the world fronting a band in her own name, here in Paris

Sade Adu, soul music

Sade’s band in Paris 1986: keyboard player Andrew Hale and manager Lee Barrett

➢ There’s a launch party and a book review for PSIMP coming up soon so fasten your seat belts for a full report!

PAUL’S OTHER ROOST: NO.1 THE POP WEEKLY

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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.

◼︎ 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. 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 so-called 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


❏ 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.
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Six magazines that changed the course of postwar British journalism

PICTURE POST 1938-57

The pioneer of photo-reportage. At the height of its powers during the Second World War this was the most widely read periodical in the country, selling 1,950,000 copies a week. Its inspirational editor from 1940 Tom Hopkinson recruited the photographers Bill Brandt, Bert Hardy, Kurt Hutton, Felix Man, Francis Reiss, Thurston Hopkins, John Chillingworth, Grace Robertson, Leonard McCombe. Staff writers included MacDonald Hastings, Lorna Hay, Sydney Jacobson, J. B. Priestley, Lionel Birch, James Cameron, Fyfe Robertson, Anne Scott-James, Robert Kee and Bert Lloyd; freelance contributors included George Bernard Shaw, Dorothy Parker and William Saroyan.

SUNDAY TIMES MAGAZINE 1962-today

The first colour supplement to be published as a weekly addition to a UK newspaper. The first editor was Mark Boxer. From the outset, “photographer first” was the benchmark and required serious investment in photo-reportage from the world’s trouble spots. Michael Rand, its art director for 30 years from 1962, said the credo was “grit plus glamour – fashion juxtaposed with war photography and pop art”. He went on to champion the work of such photographers as Terry O’Neill, Brian Duffy, Richard Avedon, Eugene Richards, Diane Arbus, Mary Ellen Mark. The magazine featured images from the Vietnam war by the photographer Don McCullin, a photo-essay on the Vatican by Eve Arnold, many portraits and photo-essays by Lord Snowdon, and Bert Stern’s final photoshoot with Marilyn Monroe, among many other photographic collections.

NEW SOCIETY 1962-1988

A weekly magazine of social inquiry and cultural comment, it drew on the disciplines of sociology, anthropology, psychology, human geography, social history and social policy, and it published wide-ranging social reportage. The cultural commentator Robert Hewison wrote that New Society became “a forum for the new intelligentsia” created by the expansion of higher education in Britain from the early 1960s. The editor Paul Barker (1968–86) was described by the labour historian Eric Hobsbawm as the “most original of editors”.

NOVA 1965-75

Launched under the slogan A new kind of magazine for the new kind of woman, Nova created its own unique niche in the British consumer magazine market under gifted editor Dennis Hackett, together with visionary art director Harri Peccinotti. They swiftly established their magazine as an influential must-read for the movers and shakers of Swinging London, among men as well as the original target audience of women becoming devotees of its heady mixture of social issues and cutting-edge fashion and modern lifestyle features. Nova’s agenda of journalistically taboo subjects included contraception, abortion, cancer, race, homosexuality, divorce and royal affairs, invariably boosted by stylish and provocative cover images, making it a rarity among magazines. Ultimately Nova had more male readers than female.

RADIO TIMES 1968-88

Programme listings magazine transformed with provocative feature articles under editor Geoffrey Cannon and art director David Driver to create Britain’s biggest weekly magazine sale which rocketed as TV itself became the mass medium, from 8 million to 11.2 million for the Christmas edition of 1988.

THE FACE 1980-2004

In 1980, Nick Logan, a respected ex-editor of NME, staked his house on launching a new magazine that was to make style the focus of youth culture, as much as music. The Face was quickly dubbed Britain’s “style bible”. Even with a top monthly sale of only 120,000, it had an impact not only on the pop press, but the mainstream media too which spawned style pages in newspapers and magazines and “yoof” TV shows across the enlarged landscape of broadcasting. His influential art director Neville Brody single-handedly revolutionised the way magazines were conceived while contributing many new fonts to the canon.

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