Category Archives: London

➤ Bowie TV trilogy triumphs thanks to candour and a few tears

David Bowie,pop music, TV documentary, review,

Bowie’s search for identity: the hippy look for the Hunky Dory sleeve 1971 and red-haired alien for Space Oddity 1972. (Photos by Brian Ward and Mick Rock)

WHAT AN EYE-OPENER! Nine failed bands in ten years of struggle before David Bowie emerged as a star. “He was no Marcel Marceau,” said his mentor and lover Lindsay Kemp of David’s attempts at mime. Saturday’s TV doc Bowie Finding Fame directed by Francis Whately was chock-full of jaw-droppingly frank evaluations by all his pals and workmates from his earliest days in music. Among the kindest was his girlfriend in 1968 Hermione Farthingale who said: “He was actually 21 and looked about eight. . . He wasn’t lost, but he wasn’t found either”. For 90 minutes Bowie’s own voiceover was disarmingly full of insight too and this episode, the third in Whately’s consummate trilogy for the BBC, proved probably the‬ most moving of all.

And today comes a thorough and informative appreciation of this the latest landmark documentary about Bowie’s early life in a review published by Andy Polaris, Eighties singer with Animal Nightlife, at his website APolarisView. As a fan utterly in thrall at a formative age to Bowie’s charisma, Andy brings personal insights to the final doc, which follows on from David Bowie: Five Years (2013) and The Last Five Years (2017), both being repeated live tonight from 11.15pm (despite the confusion in newspaper listings guides), and subsequently viewable on iPlayer.

Andy also adds further essential points of reference to the Bowie story omitted from the new biopic, possibly because, as its series consultant and Bowie chronicler Kevin Cann has explained this week, the production team ultimately had to exclude masses because of time limitations: “Sadly there are a few fabulous interviews we made that we couldn’t fit in – all important in their own way. . . At one point we had close on a three-hour edit. We were basically overwhelmed with options at times – and that’s exactly why future generations, I’m sure, will never be bored of this man’s immense talent. He will never cease to impress.” Another gem they discovered was the complete Russell Harty TV interview from 1973: “. . . the whole Bowie section, interview and song performances. Even though ITV erased their original master a year or two after original broadcast, the recording we have still belongs to them, so its immediate future is yet to be decided.”

➢ Meanwhile here’s an excerpt from Andy’s blog
APolarisView where he reviews Saturday’s superb doc,
Finding Fame, which starts in the mid-Sixties:

Swinging 80s, Andy Polaris,TV review, David Bowie Finding Fame,,singer,pop music,

Polaris: surprised

I came away admiring Bowie more as an artist due to his single-minded pursuit to achieve his goal and establish a career in the arts. Eleven years (which brought massive cultural changes generally) and nine different bands failed to launch his career. With such limited rewards most people would have fallen at the second or third hurdle and contemplated a different choice of career. A lot of the bands I had heard of, but the film surprised me by exhuming the music of Riot Squad (a name sounding more like a later oi/skinhead band) where he spent eight weeks as their singer in 1967.

Bowie learned quickly to jettison anyone or thing that stood in the way of his mission and made sure that he was front and centre of the action. Early associates talk of how he was the driving force behind stage performances, style and presentation and how to stand out from the crowd.

Whately’s biopic marks the first time I can remember hearing about the inspiration for Letter to Hermione (a beautiful song on Space Oddity) in a filmed interview where his former girlfriend talks candidly about their love affair and the aftermath of their break-up. In a rare moment of personal confession it reveals the crushing effect it had on David at the time and he wanted her to forever realise the hurt. . . / Continued at APolarisView

➢ Bonus clips at the BBC’s programme website:
Of the surplus footage researched for Finding Fame, Kevin Cann reports that My Death survives in full, as does the whole interview. As also does probably 90% of the 1970 Glastonbury set. “Just in case you haven’t seen them, here are some of the brief edits that came out along the way. There are many more and I hope, over time, more is made available.”

WHAT THE TV CRITICS SAID OF FINDING FAME

➢ “Whately arguably does get closer to who the flesh and blood David Jones really was than anyone has previously, largely thanks to securing interviews with an elusive cousin and a just as elusive first love” – The Arts Desk

➢ “Still think of Bowie as the last word in cool? You’ve obviously forgotten his novelty single about gnomes, his dire mime days… and his cover of Chim Chim Cher-ee” – Guardian TV review

➢ “The BBC’s ‘talent selection group’ had dismissed Bowie as ‘devoid of personality’ (ah, the irony). Yet Bowie doubled down and worked harder” – The Times review

➢ “One of the most miraculous things about Bowie is that he didn’t wind up as a drama teacher in Bromley” – Sunday Times Culture

➢ “Fascinating insight into the young singer’s quest for fame and his evolutionary struggle to burst out of suburbia” – The Telegraph review

➢ View David Bowie: Five Years (2013) at the iPlayer

➢ View David Bowie: The Last Five Years (2017) at the iPlayer

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➤ Thanks, Steve, for my invitation to the Swinging 80s

Blitz Kids, New Romantics, Observer Music Magazine, Derek Ridgers,Spandau Ballet, Steve Dagger, Steve Strange, Tipping points,London, Media, Politics, Pop music, Swinging 80s,,

The Observer Music Magazine, Oct 4, 2009. Pictures © by Derek Ridgers

MARKING THE FOURTH ANNIVERSARY
OF STEVE STRANGE’S DEATH

WHEN MY PHONE RANG IN JANUARY 1980, little did I realise its message meant: “Put out the cat. You’re coming to the party of your life.” The voice on the other end spoke without pausing: “My name’s Steve Strange and I run a club called the Blitz on Tuesdays and I’m starting a cabaret night on Thursdays with a really great new band…. they combine synthesised dance music for the future with vocals akin to Sinatra, they’re called Spandau Ballet and they’re going to be really big. . .”

➢ Click through to continue reading Yours Truly’s eye-witness account of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer Music Magazine

➢ Elsewhere at Shapers of the 80s:
The Invisible Hand of Shapersofthe80s draws a selective
timeline for the break-out year of 1980

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➤ Four years on: How the Blitz Kids paid magnificent tribute to Steve Strange

On the fourth anniversary of Steve Strange’s passing
(not to mention the 40th anniversary of his Tuesday club-night
opening at the Blitz), how better to remember the man who revolutionised London nightclubbing than with the massive collection of tributes assembled here at Shapers of the 80s
from every significant Blitz Kid the day after Steve died…

1978, when Steve Strange teamed up with Rusty Egan (Photo © Fin Costello/Redferns)

1978, when Steve Strange met Rusty Egan. (Photo © Fin Costello/Redferns)

➢ Previously at Shapers of the 80s:
Read the fulsome tributes to Steve paid by the Blitz Kids here after his sudden death in 2015

Brief tasters. . .
Original Blitz Club deejay Rusty Egan said: “I’m very, very sad and down tonight because I’ve lost an old friend. We had our disagreements but we did have a decade of the best times that anybody could ever have wished for. We made some amazing music, some amazing parties, clubs and fun and friends. Underneath it all he was a good soul. Steve, I’m so sorry I didn’t get a chance to say I still love you.”

Chris Sullivan, who ran Soho’s Wag Club: “We were both flamboyant club-running Welsh dandies but were never rivals. Steve had too much dignity for that. We were friends and remained so for the rest of his life. And I can say that Steve, despite quite a few hard years, never lost that that spark, humour or joie de vivre, was forever stylish and was always a pleasure to see.”

Princess Julia, writer and deejay: “Getting dressed up, going out and getting noticed… Steve was head of a subculture the likes of which perhaps we will never see again.”

Kim Bowen, stylist, onetime Queen of The Blitz: “Rushing enthusiasm, involving everyone, creating insane parties going round and round on the Circle Line. Some truly bad outfits (his not mine.) Shockingly, ‘Kim, will you be my official girlfriend?’ ”

And many, many more delicious anecdotes…

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➤ Topical issues enliven Leave to Remain, an innovative stage musical about gay romance

Leave to Remain, Lyric Hammersmith,EDM, Matt Jones ,Kele Okereke, theatre, stage musical, Billy Cullum , Tyrone Huntley ,inter-racial ,gay marriage,

Romantic leads in Leave to Remain: Billy Cullum as Alex and Tyrone Huntley as Obi

➢ Andy Polaris, singer with Eighties band Animal Nightlife, reviews Leave to Remain, a startlingly original new musical at the Lyric Theatre Hammersmith until 16 Feb 2019. Here’s an extract from his blog APolarisView:

Leave to Remain is an energetic new musical play jointly created by TV writer Matt Jones and Kele Okereke, the former frontman of indie rock band Bloc Party, who supplies new songs.

Swinging 80s, Andy Polaris,TV review, David Bowie Finding Fame,,singer,pop music,

Andy Polaris

The story focuses on the fast-moving tumultuous romance between a young upwardly mobile inter-racial gay couple embarking on what seems to be a hasty marriage of convenience in a Britain seemingly ill at ease with immigration and suffering status anxiety. Obi (Tyrone Huntley) is a rather conservative well educated son of a first-generation Nigerian immigrant, and has started a relationship with visa-less American Alex (Billy Cullum). Alex’s US employer is planning to relocate from London and in order for him to remain in the UK, he proposes a civil partnership with Obi.

This is where the play comes alive. What should be joyous news elicits feelings of apprehension as childhood upbringings reveal contrasting experiences of coming out to loved ones. It is these differences that drive the play forward and there is some laugh-out-loud hilarity from Alex’s visiting liberal parents.

Tyrone Huntley’s charismatic performances have been acknowledged by an Evening Standard Emerging Talent Award. As an ensemble, the Lyric cast is strong. . . As Okereke is one of a few out black singers, I’m assuming this is autobiographical material and the songs reflect his roots with percussive African highlife rhythms and language peppering the show’s original mix of EDM soundtrack.

What set this show apart are the interesting modern dance moves by director/choreographer Robby Graham that fuse all characters while the two leads move in a beautiful balletic embrace. This intimacy is rare to see for a gay couple on the London stage and it’s something that LGBTQ audiences have been quite starved of. It’s a tribute that both leading actors convey touching believability. . . / Continued at APolarisView

➢ Leave to Remain, a modern love story with music, is written by Matt Jones and Kele Okereke, directed by Robby Graham, and runs at the Lyric Hammersmith, London W6 0QL, 18 Jan–16 Feb 2019

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➤ Magical glimpses into the unreal world of pop photographer Peter Ashworth

photography, Swinging 80s, pop music, exhibition, Mavericks, Peter Ashworth, Annie Lennox, John Lydon, Corinne Drewery, Blitz Kids,Lever Gallery,

Peter Ashworth seen between his portraits of Annie Lennox in the Eurythmics shot at Bagley’s Warehouse for the cover of issue 42 of The Face in 1983; and John Lydon in PiL 1987, referencing Friedensreich Hundertwasser’s colourful paintings. (Photographed by Shapersofthe80s)

PETER ASHWORTH’S PIONEERING IMAGES detonate a superlative flashback to the vibrant 1980s music scene with his Mavericks exhibition of magically unreal, sometimes surreal photographs of pop stars from Tina Turner, Mari Wilson and Swing Out Sister to Soft Cell, Frankie Goes to Hollywood, Associates and the Clash hitmen.

Most of the richly detailed photos are familiar as mood-board sleeves for hit albums and singles, capturing attitude and style and helping build the legend of “An Ashworth Snap”, as a Mari Wilson lyric dubbed them. All push photographic innovation to the hilt which is better appreciated in the room viewing these printed enlargements made from superb digital files than on the web. The room is Clerkenwell’s Lever Gallery and this is amazingly Ashworth’s first solo show‬, curated by @duovision_arts.

Thursday’s nostaliga-drenched preview proved a time-warp gathering of many leading faces plucked from fabled nightclubs (Eve Ferret, Mark Moore), fashion cliques (Iain R Webb, Greg Davis) and the music biz (Glen Matlock, Andy Polaris). More updates to follow…

photography, Swinging 80s, pop music, Corinne Drewery, exhibition, Mavericks, Peter Ashworth, Lever Gallery,

80s clubland regulars gather for a selfie with Corinne Drewery, ex-St Martin’s singer with Swing Out Sister, who were gigging in London last week too. Pic © Corinne.


➢ Mavericks by Peter Ashworth runs at the Lever Gallery, Goswell Road, EC1V 7HD, Tues–Sun until 8 December. All prints are for sale.

➢ Peter Ashworth’s own website

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