Category Archives: North America

➤ Those ‘things’ Blade Runner’s Hauer had seen…

THE DUTCH ACTOR BEST KNOWN for his role in the 1982 film Blade Runner, has died aged 75, CBS News reports today. Rutger Hauer played the murderous replicant Roy Batty on a desperate quest to prolong his artificially shortened life in post-apocalyptic, 21st-century Los Angeles. Only two years ago director Ridley Scott revealed that Hauer himself wrote his anti-hero’s much-quoted “I’ve Seen Things” soliloquy for his dying moments. The rain-soaked Batty looked back over his extraordinary existence, saying: “All those moments will be lost in time. Like tears in rain. Time to die.”
➢ Rutger Hauer, Blade Runner star, dies at 75 – CBS News

➢ Rutger Hauer obituary in Rolling Stone

DIRECTOR SCOTT ON HOW IT CAME ABOUT

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➤ Duran rock NASA’s Rocket Garden, feet firmly on Planet Earth

Kennedy Space Centre, NASA, Apollo 50th gala, Nick Rhodes, Duran Duran,

Cape Canaveral concert: Duran Duran celebrating the launch of Apollo 11 in 1969, accompanied by a 300 drone art performance by Studio Drift. (Getty)

WHO ELSE BUT DURAN DURAN – whose debut hit in 1981 was titled Planet Earth – could the Kennedy Space Centre in Florida have chosen to celebrate the 50th anniversary of man’s journey to the Moon in Apollo 11 when Neil Armstrong and Buzz Aldrin walked on its surface? On Tuesday the Rocket Garden at NASA’s primary launch centre at Cape Canaveral saw Duran Duran climaxing the Apollo 50th gala day of special events with a headline concert backed by a 16-piece orchestra and 12-voice choir, plus 300 Intel Shooting Star drones flying in formation overhead.

Performing before the Saturn 1B launch vehicle and a platoon of iconic space rockets, Duran were watched by all the surviving astronauts who have walked on the Moon since 1969, plus an audience who had paid $300 a ticket to support the Aldrin Family Foundation. Obviously the British band kicked off with The Universe Alone, followed by a selection of their space-themed hits including Planet Earth, New Moon On Monday, Anyone Out There, Astronaut, and Ordinary World. The Brummie boys capped their 90-minute show with their biggest hit Rio.

Keyboardist Nick Rhodes, who had watched the Moon-landing on TV as a seven-year-old, said: “It was surreal and awe-inspiring. Science-fiction unfolding before us, opening our minds to what mankind was capable of achieving.”

Kennedy Space Centre, NASA, Apollo 50th gala, Nick Rhodes, Duran Duran,

Duran Duran at Cape Canaveral: playing their space-themed hits to honour the 50th anniversary of the Apollo 11 Moon launch. (Getty)


❏ KSC setlist – The Universe Alone, Planet Earth/Space Oddity, Anyone Out There, Astronaut, Ordinary World, (Reach Up for the) Sunrise, Walking on the Moon (Police cover), Wild Boys, Hungry Like the Wolf, Come Undone, Notorious, Pressure Off, White Lines (Don’t Do It) (Grandmaster Melle Mel cover), Girls on Film, Save a Prayer, View to a Kill, Rio.


➢ More pictures at Duran’s own website

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1980 ➤ Day Four of Terry Smith’s unseen photos inside the Blitz Club – exclusive

Nik & Trick Photo Services, Folkestone

A New Romantics keynote was your invented image: startling make-up and a towering hat complete Blitz superstar Peter Probert’s wicked witch of the west

➢ DAY FOUR:
CLICK HERE TO VISIT OUR
GALLERY OF TEN MORE FAB IMAGES
OF THE BLITZ CLUB IN 1980

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EVEN AMONG THE UK ROCK PRESS, few of its music historians have conceded that the New Romantics amounted to an ambitious subculture that changed the rules of the game – largely because the rockists completely missed the boat by idolising guitar idols, never went to nightclubs, and what’s more, couldn’t dance.

The most audible consequence of the clubbing underground was to fundamentally change the rhythm of the pop singles charts within a year – from the rock guitar to the bass-and-drum, namely, to dance music. After 1981 scarcely any significant new rock groups made the singles charts, only the old dinosaurs, if at all. Rock was relegated to the album chart and new dance-music stars such as Madonna and Prince transformed the pop music of the new decade.

The other New Romantics keynote was the central role of image with the dawn of MTV as a platform for music videos. A band became the leaders of fashion, while their style-conscious nightlife followers collaborated in promoting them through the clubbing grapevine. As synth-pop pioneers during 1980 Spandau Ballet pushed a button for the fashion-conscious young. They were signalling that the language of pop called for new styles as much as new sounds.

During the first five years of the decade, more than 100 “image bands” and acts entered the UK charts – most of them new, led in the South-East by Ultravox, Linx, Spandau Ballet, Visage, Landscape, Depeche Mode, Kid Creole, Blue Rondo a la Turk. Many more emerged from clubland across the UK: Duran Duran, Soft Cell, Heaven 17, Altered Images, Imagination, Eurythmics, Thomas Dolby, ABC.

During Spandau’s North American tour in November 1983, alongside their hit True among the Billboard Top 40 singles in the USA, there were 17 other British bands – more than the Swinging 60s ever knew. Insolence and narcissism lit a torch that led a generation of school-leavers through what threatened to be Britain’s dark age of unemployment. As clubs became workplaces and nightlife the essential engine of cultural evolution, they liberated music, design and, especially, ambition for the young.

➢ Previously at Shapers of the 80s:
Spandau Ballet create a new template for pop success

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1968 ➤ Why Ogdens was little Stevie Marriott’s ejector seat out of the Small Faces

Small Faces, pop music, Swinging 60s

Small Faces 1968: Ian McLagan, Steve Marriott, Kenney Jones, Ronnie Lane, plus producer Glyn Johns

➢ As the Small Faces’ Ogdens’ Nut Gone Flake
turns 50 today, Ron Hart at Billboard invites stars
to pay tribute – 24 May 2018:

There was one album from 1968 that distilled all the bombast and buffoonery of the singularly themed song cycle in pop music, housed in a round LP jacket miming the vintage tobacco tin it was named after. Ogdens’ Nut Gone Flake was the fourth LP by East London’s Small Faces, a mod quartet who set themselves apart not only by their uniformly demure stature among its members — guitarist/vocalist Steve Marriott, bassist/vocalist Ronnie Lane, keyboardist Ian McLagan and drummer Kenney Jones — but their heavy influence on the grittier end of the R&B/soul spectrum that was propelling many of the British Invasion bands.

Small Faces, plaques, pop music, Swinging 60s

Green commemorative plaque to the Small Faces erected in 2007 by Westminster council in Carnaby Street

Under the recording guidance of the great Glyn Johns – who had also spent ’68 already working on a ton of other albums including Beggars Banquet by the Rolling Stones, the second Traffic LP and the debut from The Pentangle – the group pushed their art beyond the pop charts and toward a more adventurous strain of their signature sound. The sense of raggedness exhibited by the band upon their return from an Australian tour opening for The Who is quite palpable in the mix as well. . . / Continued at Billboard online

❏ Stevie went on to join Peter Frampton in Humble Pie – he writes in Billboard: “Ogdens’ was the best Small Faces album for me. It was just after its release that I first met Steve Marriott and Ronnie Lane, and there was talk of me joining the band as the fifth member as well. They were always one of my most favourite bands from Whatcha Gonna Do About It onwards. This album’s great material and concept are what made it their finest work. Its eye-catching round cover made it unique before you even heard the music. Love this record.”

➢ Previously at Shapers of the 80s:
Peter Frampton on how Bowie changed my life at Bromley Tech

THE DAY WE MET OUR ICON LITTLE STEVIE

California ,pop music, Steve Marriott , Martin Kemp, John Keeble, Steve Dagger, Sam Brown

Backstage after his San Fernando gig 1983: Steve Marriott at centre of his admiring fans, clockwise, Spandau Ballet’s Martin Kemp, John Keeble, record-company dude David Levy, Steve Dagger, Sam Brown – plus Yours Truly holding the camera

IT WAS MARTIN KEMP WHO’D HAD ENOUGH of the schmoozy dinner laid on by his record label while Spandau Ballet were touring the USA on the back of their chart-topping True in November 1983. They had a package of TV shows and other promos scheduled in Los Angeles which made a trip to join them on the West Coast more fun, but this dinner was yawning a bit. “You won’t guess who’s playing a gig tonight at a country club just up the Valley,” said Martin: “Steve Marriott!” Well you couldn’t have offered any better temptation to those of us with Mod sensibilities than our hero from the Small Faces, who back then had settled in the States and never stopped working the club circuit with his own dedicated band, however humble the venue. Since impresario Don Arden had defaulted on the Small Faces’ unpaid royalties, Stevie had moved to California to escape monstrous tax liabilities in the UK.

Within minutes Martin had inquired how far the venue was and had laid on a limo for all who were keen to zoom off to Stevie’s late-night show. These amounted to the ultimate Mod, Spandau manager Steve Dagger, drummer Johnny Keeble, Sam Brown (providing backing vocals on the tour), plus yours truly and the local record company hand-holder David Levy. The rest of the Spands had made other arrangements so our party of six squeezed into the limo and roared off up the Valley for a truly exceptional bonus to a long day.

The sad truth was that the big-name Reseda Country Club was a yawning cavern containing 1,000 seats, and the Marriott band’s audience numbered literally about 20 people including ourselves. Nevertheless, the minute his quartet hit the stage they made a sound so tight it could have thrilled a stadium, while Stevie the consummate pro delivered that oh-so-fabulous voice, albeit slightly rasping at the ripe age of 36, and brought full value to a good few piquant hits from the Small Faces and Humble Pie, including All Or Nothing.

Martin Kemp ,John Keeble, Steve Marriott, band, pop music, live, Spandau Ballet

Utterly chuffed: Martin Kemp and John Keeble stumbled by chance across this Steve Marriott gig in 1983 – that’s him live onstage here in the San Fernando Valley

I wasn’t going to pass up the chance of going down to the stage to shoot off a sentimental roll of film but the biggest surprise came at the end of easily one of the 10 best sets I’ve heard in my life. Sam Brown said since we were here we really ought to go backstage and say Hi to Stevie – whereupon the Spands all revealed the genuine humility of real fans and mumbled stuff about not dreaming of barging in on him. Whereupon Sam announced she knew Stevie very well through her dad, the 60s legend Joe Brown, who of course knew Marriott of old.

The result you see above: a fab souvenir photo of our chirpy hero who was tickled pink to hear some authentic British vowels while on the road. The pow-wow was a blast all round. Eight years later, little Stevie Marriott, one of the greatest talents in British pop, died in a blaze at his Essex cottage.

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2018 ➤ Vogue promotes pot-stirring Linard as inspiration for its Met Gala creatives

fashion, Blitz Kids, St Martin’s Alternative Show, Stephen Linard, Neon Gothic collection , Stephen Jones, Myra Falconer , Michele Clapton

Stephen Linard’s 1980 Neon Gothic collection modelled by Myra Falconer and Michele Clapton: one wears a lace hat, the other a skullcap, both by Stephen Jones. (Photo by Graham Smith)

New York’s Met Gala 2018 signifies the highly anticipated grand opening of the Costume Institute’s annual fashion exhibition Heavenly Bodies, which opens on May 10. At Vogue online this week Laird Borrelli-Persson recalls how a Blitz Kid’s 1980 collection anticipated Heavenly Bodies by 38 years:

“ FASHION’S BIGGEST NIGHT OUT” is the Met Gala. As a pinnacle of iconic style, this annual fundraising benefit for the Metropolitan Museum of Art in New York City, welcomes celebrity stars, young creatives, and industry paragons alike.

The British designer Stephen Linard deserves credit for many innovations in fashion and its presentation that we take for granted in 2018. One of the Blitz Kids whose dandyish ways had an outsize impact on 1980s style, his early work was distinguished not only by irreverence, but also by a strong sense of narrative. Linard’s 1981 St Martin’s graduation show, Reluctant Emigrés, was a smash success. “The clothes were instantly covetable, thoroughly masculine in an entirely new way, and electrifying in the way that only the truly innovative can be,” historians Alan J Flux and Daryl F Mallett have noted.

The collection Linard presented a year earlier at St Martin’s unofficial Alternative Show was a pot-stirring presentation titled Neon Gothic – clothes with an ecclesiastic twist. Captured in the image above are models Myra Falconer, who shared a squat with Linard, and Michele Clapton, now an Emmy Award-winning costume designer. Their jewellery, upside-down crosses and menorahs of black-painted wood, was made by a friend of Clapton’s. The headpieces are by Stephen Jones, who graduated ahead of Linard, and has stayed in the spotlight. Linard recalls the audience reaction: “Everyone stood up and gave it a standing ovation and my models wouldn’t get off the catwalk… / Continued at Vogue online

fashion, Stephen Linard, Blitz Kids, St Martin’s,degree show, Reluctant Emigrés,menswear

Linard’s 1981 degree show Reluctant Emigrés: classically tailored menswear with eccentric twists. . . Traditional pinstripe trousers had contrast patches at the derrière, solid dark waistcoat fronts and shadowy organza backs. Striped city shirts had curious underarm patches, and all were concealed beneath swirling black greatcoats. And modelled by his masculine pals among the Blitz Kids. (Photo: Shapersofthe80s)


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

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