Category Archives: London

➤ The Bowie factor at the Blitz: glamour, drama and collage couture

Iain Webb at St Martin’s School of Art in 1977 — photographed by fellow student Stephen Jones who went on to become an international hat-maker

❚ FOR TODAY’S HUFFINGTON POST, Iain R Webb, former Blitz Kid and later Times of London fashion editor, writes of the imminent photo-book about the tumultuous fashion and music scene that emerged from London’s Blitz Club in 1980. We Can Be Heroes by Graham Smith is a fascinating documentation of the demimonde nightclub scene from punk through New Romantic and out the other side… Webb writes:

It is certainly fitting that Smith has chosen the Bowie lyric as the title of his book because Bowie is to thank for inspiring the transformational theatrics employed by the Blitz Club regulars. In the early 1970s Bowie brought glamour and drama to rock music at a time when it was difficult to tell if the denim clad hairy on stage had nodded off during the drum solo. He was a shrewd style thief, an ardent advocate of collage couture. One of the only musicians to survive the vicious tongue-lashing of punk, it was Bowie who helped fuel the electro soundtrack of the 80s’ subterranean underworld. His Berlin trilogy of albums — Low, Heroes and Lodger — explored the neue world of Kraftwerk and machine Muzak. Although let’s not forget to credit Giorgio Moroder and Donna Summer who had been knocking out the electronic beats in the gay clubs of many a twelve-inch single / continued online

➢ A new book about 1980s club kids by Iain R Webb
at The Huffington Post

➢ When Iain met Stephen, London traffic stopped
and St Martin’s stood still

A sample spread from We Can Be Heroes by Graham Smith: his photos here show Blitz Kid style-leaders Kim Bowen, “Boy” George O’Dowd and Stephen Linard

THREE WEEKS LEFT TO RAISE THE CASH

❏ Will you help ensure publication of We Can Be Heroes by buying your personal copy today? Graham Smith’s book is the definitive history of early 80s nightclub music and style, which were the last manifestation of Britain’s collaborative youth culture. Alongside Graham’s superb photographs is racy text by Chris Sullivan, fabled host of Soho’s long-running Wag club, plus much other celebrity commentary.

Unbound is a new “crowd-funding” company run by three young dynamos well versed in publishing who are ensuring high-quality printing in Germany of this 320-page hardback using 180gsm paper, all in time for Christmas, priced £30. Visit Graham’s page at Unbound to discover why your immediate contribution towards the cost of the limited first edition is so important that the book will carry your name as an early supporter.

➢ £30 buys you the hardback first edition of We Can Be Heroes and your name printed inside — £50 buys an autographed copy and there are many other perks including a de luxe edition

❏ iPAD, TABLET & MOBILE USERS PLEASE NOTE — You be see only a tiny selection of items from this wide-ranging website about the 1980s, not chosen by the author. To access fuller background features and site index either click on “Standard view” or visit Shapersofthe80s.com on a desktop computer. ➢ Click here to visit a different random item every time you click

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➤ Happy golden anniversary to Lord Gnome, Glenda Slagg, Topes, O’Booze, Knacker, Knee and especially Gnome-Mart’s theme tune

Private Eye, First 50 Years,magazine covers,satire
❚ HOW ONE MAGAZINE has enriched a nation’s vocabulary over 50 years is evidenced by the enormous page at Wikipedia, detailing euphemisms for sex (“Ugandan discussions”) and drunkenness (“tired and emotional”), and the eternal cast of daft characters from public life, as headlined above.

October 25, 1961, saw the first issue of Private Eye as a silly-jokes threat to the ancient humourous periodical, Punch. The Eye was quickly given a worthy role by the nation’s thirst for incisive satirical critiquing of all aspects of the British Way of Life, the irony being that today the Eye itself has become an institutional beacon in the democratic process. As editor for the past 25 years, Ian Hislop’s best boast is that he is the most sued man in Britain, libel writs being substantially provoked by the rear-end pages of sound investigative journalism. Not a bad metamorphosis. Is it then churlish to mention that what some of us really, really miss are the hilarious sketches once enacted on 7-inch flexi-discs attached to the cover and given away with the Christmas issues? [See below]

➢ Private Eye’s own library of epochal covers

➢ Bags of Private Eye memorabilia as Creative Review previews the new V&A studio display paying homage to the magazine’s humourists

➢ Direct link to the V&A’s video and display Private Eye: The First 50 Years, running October 18 to January 8

Private Eye, First 50 Years,magazine covers,satire,humour
❏ Back in the 1960s the then new technology of offset litho encouraged cut-and-paste techniques such as the DIY speech balloon photograph (one Queen and a bevy of prime ministers, above). This didn’t stop the Eye from becoming a prominent outlet for the nation’s leading cartoonists (the Thompson effort below appears in the V&A display).
Private Eye, First 50 Years,satire,V&A exhibition,humour, cartoons

GNOME-MART’S CACOPHONY OF CELEBRATION

Private Eye, 50th anniversary, issue No 1300, Gnome-Mart,satire ➢ The Eye celebrates its 50th anniversary with issue No 1300 and at its website a page of unfunny audio recordings that simply don’t come close to the efforts 40 years ago of Peter Cook, Willie Rushton & Co.

➢ Update Nov 5: Fortunately The Grauniad has released an exclusive CD of classic audio sketches made by Private Eye legends Peter Cook, Dudley Moore, Eleanor Bron, Willie Rushton, John Wells and Richard Ingrams — 34 excerpts spread over 40 minutes include Grocer Heath, E J Thribb, Farginson, I Musicci di Neasden, Inspector Knacker and many more favourites.

➢ The full archive of Private Eye recordings made by Peter Cook, Dudley Moore, Barry Humphries, John Wells, John Bird, Barry Fantoni, Richard Ingrams and Spike Milligan – plus rare photos, video clips and historical notes – can be found at privateeyerecords.com. The whole catalogue of Golden Satiricals is due for release on CD in January 2012.

➢ Whistleblowers and those with a social conscience can download past Eye investigations into subjects such as NHS whistleblowers; How Britain’s poverty relief fund abandoned the poor; full background to the ACTIS-CDC sell-off; How Blair’s government blew £12.4bn on useless IT for the NHS; deaths of four young recruits at the Deepcut army barracks, etc.

Private Eye, 50th anniversary, privateeyerecords, Gnome-Mart,satire,CD,Golden Satiricals

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2011 ➤ Oo-er, Metamodernists say: Go forth and oscillate

Annunciations,installations, Luke Turner, photography,Metamodernism,manifesto, fine art

Annunciations (installation view), 2011 © by Luke Turner: The Annunciations series revolves around the experience of art, the visual realm, and the ghosts of art history

❚ YOU READ IT HERE FIRST. As the V&A’s exhibition on Postmodernism lays bare the cultural malaise of recent decades, a bright new dawn is announced  “with emphatic optimism (and a pragmatic romanticism)” by the publication of “The Metamodernist manifesto”…

  1. We recognise oscillation to be the natural order of the world.
  2. We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.
  3. Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating polarities of some colossal electric machine, propelling the world into action…

➢ Continue reading The Metamodernist manifesto

➢ Luke Turner’s Annunciations 2011 reviewed by Siobhan Wall — “Each photograph in Annunciations is named after a famous Renaissance painting, and it’s apparent that these largely abstract images are a carefully considered distillation of what lies beyond the figurative and literal in the well-known masterpieces…”

➢ Notes on metamodernism is the webzine that documents current developments in politics and aesthetics that can no longer be explained in terms of the postmodern, proposing instead “a sensibility that oscillates between modern positions and postmodern strategies; between construction and deconstruction (indeed, reconstruction); a desire for sens and a doubt about the sense of it all; between sincerity and irony; hope and melancholy”.

Peter Doig, Figure in Mountain Landscape, New Romanticism,Death of Painting,

Peter Doig, Figure in Mountain Landscape, 1997-8

➢ The new New Romanticism — “the act of presenting the commonplace with significance, the ordinary with the mysterious, etc, and this undertaking’s inevitable and necessary failure… But why now? … To express a dissatisfaction about a present that is increasingly uninhabitable, and a desire for a future whose blueprint has yet to be drawn”.

➢ Peter Doig and the “Death of Painting”  — “His work explores a tension between the designs of humanity and the wild, natural world it has to reckon with… He seems to paint about painting, each canvas becomes an allegory of the strangely beautiful problems, inadequacies and imperfections of creative vision.”

❏ iPAD, TABLET & MOBILE USERS PLEASE NOTE — You may see only a tiny selection of items from this wide-ranging website about the 1980s, not chosen by the author. To access fuller background features and site index either click on “Standard view” or visit Shapersofthe80s.com on a desktop computer. ➢ Click here to visit a different random item every time you click

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2011 ➤ Leee Childers interviewed: risqué tales of Warhol, glitter and Iggy’s best feature

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❚ LAST NIGHT BRITISH PARTY PROMOTER Chris Sullivan sat in a new London gallery cafe to ask Leee Black Childers about his formative years leaving Kentucky for New York City and getting drawn into Andy Warhol’s Factory crowd of the late 60s and 70s. For more than an hour at The Society Club in Soho, Childers confessed all about his formative years when Warhol encouraged him to “say” he was a photographer, after which he snapped many informal early pix of David Bowie, Iggy Pop, Debbie Harry, Lou Reed, New York Dolls, Patti Smith, Jayne County. All the photographs on display are on sale for the next week.

Our two videos catch a few ribald moments verbatim. Other landmarks included Danny Fields and Andy Warhol taking him to see this “terrific new band”. Using the camera his brother had given him on his 17th birthday, Leee produced sensational pix of the young misfit Iggy Pop at the Stooges’ first New York concert. Leee lived for a year with Iggy. “You should know that he had a really great mind. He would talk about Schopenhauer and Nietzsche, and kept me awake talking about philosophy all night. He was also a very kind person and had one of the best penises I’ve seen.”

Lee attributes the birth of the glitter phenomenon in 1970 to Theatre of the Ridiculous director John Vaccaro’s production of Heaven Grand in Amber Orbit which was set in a circus, to which he brought “giant, huge barrels of glitter and he said, Put it everywhere, and everyone onstage was covered in glitter”.

Linda Clark, Leee, Nancy Spungen, Sid Vicious, Dee Dee Ramone. (Photo by Danny Fields)

In 1971 Leee visited London when Andy Warhol’s ground-breaking show Pork took over the Roundhouse with nude scenes that revelled in the recent abolition of theatre censorship in the UK. During this trip he met David Bowie performing at the Country Cousins nightspot in Fulham: “I’d never heard of him but I went because they said he wore a dress, but he wasn’t wearing a dress. We also met Angie Bowie who was not wearing a dress either. That show was pretty lame.” Yet when Bowie later came to play in New York, Leee was asked to be the vice-president of his US company. He subsequently travelled with Bowie through Russia in 1973 and was tour manager for Johnny Thunders and The Heartbreakers when they supported the Sex Pistols on their 1976 Anarchy tour across the UK.

Leee hung out with the Sex Pistols in both London and New York. Asked from the floor “Who killed Nancy?”, Leee replied: “Nancy killed Nancy. She created the situation where it was impossible to go on” — referring to her fractious relationship with Sid Vicious. Though Vicious was charged with her murder in 1978, Leee says: “We all know it was not Sid.”

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➢ Last week’s report: Leee Childers brings his slice of 70s New York to London

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❏ iPAD, TABLET & MOBILE USERS PLEASE NOTE — You may see only a tiny selection of items from this wide-ranging website about the 1980s, not chosen by the author. To access fuller background features and site index either click on “Standard view” or visit Shapersofthe80s.com on a desktop computer. ➢ Click here to visit a different random item every time you click

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➤ Jarvis as heir to Alan Bennett: If I’m a national treasure, dust me off

Mother Brother Lover, Selected Lyrics, Jarvis Cocker, Faber, Albertus, Guardian, interview,

Intercity to Sheffield: a first-class seat on the train and his name in Faber’s house-font Albertus on the cover of his selected lyrics. (Picture grabbed from Faber video)

❚ PULP’S FRONTMAN JARVIS COCKER had returned to his old school in Sheffield to launch his book, Mother, Brother, Lover – a compilation of song lyrics spanning 30 years, out this week from Faber. In the assembly hall he stood on the stage where Pulp – then a bunch of schoolmates he’d harangued into forming a band – performed their very first gig in 1978. He was telling a now-familiar yarn. Because the band was his idea, he explained, he had been lumbered with writing the songs. As we see in the video below, he picked up his guitar and sang the first lyric he ever wrote: “I said, baby why you ignoring me?/ She said, To be or not to be? / Shakespeare rock, Shakespeare roll./ ” A hall full of teenagers tittered with embarrassment… Fortunately, this one is not in his published collection.

➢ As Decca Aitkenhead observes in today’s Guardian interview titled ‘Music has changed, it’s more like a scented candle’ . . .

Afterwards, staff queued up with their old Pulp CDs for him to sign. One had an original copy of the 1995 Sorted for Es and Wizz hit single, whose infamous sleeve featured instructions on how to fold a wrap to keep drugs in. I’d clean forgotten Cocker was once the voice of youth drug culture – and I suspect the kids he’d just addressed would be astonished – for these days he’s more like the heir to Alan Bennett. / continued online

Mother Brother Lover, Selected Lyrics, Jarvis Cocker, Faber, Pulp ➢ Jarvis Cocker: the secrets of Pulp’s songs — The Guardian has an exclusive extract from his new book of selected lyrics, and reveals the blueprint for the band’s signature style of narrative pop

➢ Mother, Brother, Lover: Selected Lyrics by Jarvis Cocker, is published by Faber & Faber on October 20 at £14.99, reduced to £7.94 at Amazon — A collection of 66 lyrics with commentary by Jarvis Cocker, it features such modern classics as Common People, Disco 2000, Babies, This is Hardcore and more. The selection reveals to Pulp fans a chronicle of the rare, bookish wit that Cocker brought to the pop charts.

➢ More at Shapersofthe80s: Thrilled-to-bits video interview when news of Cocker’s Faber contract first broke

➢ Jarvis Cocker joins Faber: national treasure as literary arbiter

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❏ iPAD, TABLET & MOBILE USERS PLEASE NOTE — You may see only a tiny selection of items from this wide-ranging website about the 1980s, not chosen by the author. To access fuller background features and site index either click on “Standard view” or visit Shapersofthe80s.com on a desktop computer. ➢ Click here to visit a different random item every time you click

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