Category Archives: Media

1983 ➤ When The Face led the cultural agenda

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

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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 ➤ His name is Prince and his London tribute is downright spunky

Prince Rogers Nelson, exhibition, The O2, London, music videos, My Name Is Prince, pop music,costumes, guitars

Prince exhibition: chain-hat to conceal his identity in The New Power Generation and lyrics for We Want 2 Let the Funk Unwind (Getty)

Hold your breath! An exhibition that could so easily have been a lightweight commercial ripoff about the myth of Prince Rogers Nelson proves to be a surprisingly affecting tribute. Scores of artefacts have been loaned out for the first time direct from Paisley Park, Prince’s lush Minnesota estate, in a dazzling rush of bling and sentiment for My Name is Prince, his official exhibition which runs in London for the next ten weeks.

It seems a strange idea to visit seven galleries packed with video screens and to stand clad in earphones watching them play out the most vibrant highlights from the American pop icon’s uniquely anarchic imagination. Yet the very impact of so many screens disseminating so much talent only magnifies the intensity of the moment.

This one-man band’s genius is all too evident in every direction you look. In turns, you’re gasping at the audacity of Dirty Mind, smiling at the ingenuity of Sign ‘o’ the Times and shedding tears of envy for his sheer virtuosity in While My Guitar Gently Weeps.

Above all, the entire immersive experience is very, very lovesexy. The attention Prince lavished on his many lubricious costumes is revealing: so many apparently plush brocade garments are woven on light see-through black mesh that reveal the sinewy muscles of his tiny but taut 5ft frame within.

Prince the dandy also took any opportunity to shed his garments and flash his intimate zones, including his bare buttocks in orgiastic videos such as Gett Off, shot amid scantily clad girls and boys (“23 positions in a one-night stand”) at the 1991 MTV awards. Indeed one of the exhibition’s biggest draws is the video for Thieves in the Temple, from the 1990 Graffiti Bridge album, in which cutaway jeans reveal his bum and thighs and bouncing crotch capped with a glittering gold lamé jockstrap, in some of the most frenetic team dancing ever in high heels. The choreography is shamelessly horny.

The sheer range of Prince’s musical gifts during a 40-year career is well recognised – 70 albums, 2,000? songs, an Oscar, a Golden Globe, eight Grammies, 100 million records sold, and a ranking at No 28 among Rolling Stone’s 100 Greatest Artists of All Time. But to assemble in a three-dimensional venue 200 tangible examples of his workaholic creativity as an all-round showman results in an affectionate multi-media tribute. For us to devour the close-up detail in his guitars, his hand-written notes and drawings, and his jewelled accessories becomes a truly moving privilege. And for a fan, the power of his achievements is reaffirmed as you bask in his subversive glow.

➢ The official exhibition My Name Is Prince runs from October 27 until January 7, 2018 at London’s O2

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Prince exhibition: stage costumes from his Purple Rain tour (Getty)

Prince Rogers Nelson, exhibition, The O2, London, music videos, My Name Is Prince, pop music,costumes, guitars

Prince exhibition: bass guitar that inspired his trademark Cloud and diamond-studded cane from 2015

PRINCE’S PURPLE REIGN STILL EXERTS
ITS PULLING POWER

London’s Eighties pop star Andy Polaris visits the Prince exhibition to assess the enduring impact of the black performer who in his day challenged the norms of sexuality and race. . .

➢ Visit Andy’s own website Apolarisview for his full review
– here’s a brief taster:

The first time Prince triggered my radar was a review in the music press of his concert at the Lyceum in London 1981, part of his Dirty Mind tour. He was featured in the accompanying review wearing a trench coat covering a lithe brown body and wearing black briefs and leggings, topped by his mop of black hair and pretty face. I was miffed to have missed his only show but before the internet niche events could slip by easily without social media to flag them up.

It was obvious from the start that this was a black artist who, despite the flamboyance of disco/funk stage-wear and album covers, was taking it a little bit extra with some sexual ambiguity. The lyrics of the funky album track Controversy (a bass-driven early dance-floor favourite) set the tone:

I just can’t believe all the things people say
Controversy
Am I black or white? Am I straight or gay?
Controversy

I was fascinated to see the parade of Prince’s petite outfits complete with matching coloured heeled boots that covered Purple Rain, his purple metallic frock coat through to a crystal-encrusted cane and Balmain waistcoat he wore for W magazine. The materials are colourful, sheer and shimmering and in some cases boldly designed. He wasn’t interested in the toxic masculinity that permeates so many black artistes, one of the reasons he flew the freak flag for those who were not interested in paying £50 to see artists dressed in denim and T-shirts. . . / Continued at Andy’s own website


➢ Previously at Shapersofthe80s – Prince RIP: ‘A funny cat’ and ‘sole authentic genius’ of the 1980s

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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 fan 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 the 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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➤ The Kemp quartet: a happy family George Michael helped to create

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Happy family 2012: As Martin Kemp sets off for the Celebrity Big Brother house his wife Shirlie, and children Harleymoon and Roman can’t bear to part with him. (Selfie courtesy of Roman)

➢ On 26 December, Howell Davies reported in The Sun:

“ George Michael planned to have a Boxing Day dinner with his ex-Wham! bandmate Shirlie Holliman, husband Martin Kemp and son Roman before tragic death. Late singer’s health did not stop him from organising a festive get-together with Shirlie and his godson.

Michael was discovered dead at his Oxfordshire home on Christmas Day after a long battle against drug and alcohol addition – aged just 53. However, George’s health had not stopped him from organising a festive get-together with Shirlie, 54, one half of pop duo Pepsi and Shirlie, her husband and fellow 80s star Martin Kemp, 55, their daughter Harley, 27, and son Roman, an up-and-coming Capital FM DJ and TV presenter who is also the Faith singer’s godson.

Speaking before George passed away, Roman, 23, said: “We’re going to George’s house on Boxing Day.”

On 26 Dec Roman also tweeted: “To me, you do the Christmas rounds and you see all those people who are big influences on my life. I speak to him quite often. He speaks to my mum every week. He’s just family to me, fame is not a big deal. I know it sounds strange but I’ve known him my whole life. We love you Yog”…

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THE KEMP FAMILY TWEET THEIR OWN TRIBUTES

Martin Kemp, actor, bassist with Spandau Ballet – “My whole family and I are devastated at the loss of our beautiful friend Yog! We will miss him so much! We are all heartbroken!”

Shirlie Kemp, née Shirlie Holliman of Wham! – “Words can not express how sad we all are, only last week I saw him laughing and happy. My heart is broken to lose someone so special.”

Roman Kemp, son of Martin and Shirlie, George’s godson, TV host and radio deejay – “The man who toured the world with my mum; her best friend. / The man who introduced my parents; who forced my mum to call my dad. / The man that took me and Harley around the world; just to see us smile. / The man we all love. / We love you Yog.”

Harleymoon Kemp, daughter of Martin and Shirlie, photographer – “Such a kind, special man who has played such a huge part in our family history and shared with us nothing but love. We are all very sad.”

GEORGE THE MATCHMAKER TELLS ALL:

➢ Elsewhere at Shapersofthe80s:
2016, London’s young guns remember George Michael

➢ Elsewhere at Shapersofthe80s: Thank you, George, says Paul Simper. You left me wanting to dance like you

➢ Elsewhere at Shapersofthe80s: 2011, Wham!’s cunning plan for a Christmas No1 as climax to the 80s revival

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➤ Farewell George Michael: London’s young guns remember their pal from 80s clubland

George Michael

A bearded George Michael before Wham! came along: Captured on 20 February 1981 with his eye on the Nationwide TV camera, among many familiar faces at Soho’s Friday night Beat Route – where the Caribbean beach decor was to inspire his song Club Tropicana. (Photo BBC)

THIS ENTIRE WEBSITE CELEBRATES the Swinging 80s when UK subcultures were uniquely re-shaped by the youngest generation since the 60s to create new sounds and new styles in music, fashion and media. George Michael, who died this week, was one among hundreds of inveterate Soho clubbers, except that in his own mind he was a global superstar. Yet before the teenaged George and his schoolmate Andrew Ridgeley signed to Innervision as Wham!, there were several false starts to their career, not least being turned away from the Friday-night Beat Route during its coolest-club-in-town heyday when gatekeeper Ollie O’Donnell decided the boys from Bushey looked just too suburban. The Soho elite of 20-somethings who ran the new club-nights and managed the cool new image bands were very protective of their post-Romantic projects. George was however fly enough to use his contacts behind the bar to ensure he was on the dancefloor during the BBC Nationwide filming for a Spandau Ballet package in February ’81, when he clearly had the camera in his sights.

The irony was that by the next year Wham! were pushing a glossy brand of unashamedly “pure pop” that was so new, the debut single Wham Rap! failed to chart when released that June – the BBC declined to playlist the number partly because of its “anti-social” lyrics. After a touch of retuning, four months later Wham! released Young Guns (Go For It!)  and this time their hedonistic attitude – mixing humour with social conscience – clicked with the clubland audiences that were growing all over Britain.


A lucky break got them onto Top of the Pops in November when the group came as a shock to the eyeballs. The vocal foursome were immaculately rehearsed. Chinese-slippered George held himself like a star, bare-chested and sporting a leather waistcoat while Andrew and backing singers Shirlie Holliman and Dee C Lee stepped out with panache, all fully choreographed down to their finger-points and slippered toe-points. Then whoosh. Wham! rocketed to No 3 in the UK singles chart in December, the next three singles all made the Top 10, and the Bushey boys graduated to the international A-Team of British superstars. The next four years turned out 25 million albums and 15 million singles and scored four US number one hit singles.

It was evidently an advantage that all four members of Wham! had emerged as faces among London’s clubland soul tribes, the dance-crazy cognoscenti who banished rock from the singles charts during 1980-81 and provided an eager audience for new music. Some of them can be seen in the music video for Young Guns shot by Tim Pope at the glitzy Churchill’s club in Piccadilly.


Pop journalist about town Paul “Scoop” Simper recalls first meeting Wham! in autumn 1982 while working for Melody Maker. In his forthcoming autobiography, Pop Stars in My Pantry, he writes:

George told me: “I loved dancing at Le Beat Route. Nobody gave a fuck who I was so you could throw yourself around. If Shirlie was with me we’d really do that pair dancing. It was cool. We’d always make a bit of space and really show off.”

There’s footage from a BBC Nationwide report on the club which appears in Spandau Ballet’s Soul Boys of the Western World movie showing a bearded, curly-haired George in an alarmingly orange suit slap bang in the middle of the dancefloor [pictured at top] from a time when he was still in a ska band called The Executive, before Le Beat Route’s playlist helped transform them into Wham!

“Andrew and I were at Le Beat Route when Andrew started going ‘Wham! Bam! I am a man!’’ and doing this terrible rap,” said George. “It was supposed to be funny. But that’s where he had the idea.

➢ Read Simper’s full chapter on George at Unbound, the publisher’s website, and pre-order your copy of PSIMP

It was the Beat Route itself – actually, its Caribbean beach decor – which was to inspire George’s song Club Tropicana and for more than two years O’Donnell’s Friday-nighter set the benchmark for the coolest sounds anywhere in Soho with 22-year-old deejay Steve Lewis ruling the turntables.

➢ INSIDE: CONTINUE READING MORE CLUBLAND
TRIBUTES FOR GEORGE MICHAEL

On an inside page, Soho’s young guns remember their pals in Wham! – led by…

Paul McKee, admin for Soul Boys Soul Girls at Facebook – “RIP George Michael – A regular at our clubs Le Beat Route, Wag, Bogarts and many others. Easy to forget now the impact Wham Rap! Had. It was not out of place at the time in 1983 when the likes of Funkapolitan, Spandau Ballet, Culture Club, who all came from our clubs, began producing great club records, as the Soul Boys and Soul Girls sound and styles began to change. When Wham! performed Young Guns on TOTP with that dance routine, we all noted some of those little moves he used, we’d witness at a club at any given weekend. Without doubt one of the greatest soul voices and songwriters this country has ever produced. He liked to club like the rest of us, George was one of us.”


➢ Previously at Shapersofthe80s:
Britain stunned by sudden death of George Michael, our biggest pop superstar of the 80s

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