Spandau Ballet’s debut beneath festive bunting: left, Steve Strange in PX frills introduces the new band at the Blitz Christmas party in December 1979… Tony Hadley supercool in collar, tie, waistcoat and overcoat, Martin Kemp in jaunty trilby with Steve Norman beyond. Dagger’s blog seems unaware of these photos and after seeing them here at Shapersofthe80s, Gary Kemp recalls “being terrified while playing the little Yamaha CS-10, that we wouldn’t get away with it. Apart from many of the songs that made up our first album we also played Iggy Pop’s Fun Time and On Her Majesty’s Secret Service”
On the 40th anniversary of Spandau Ballet’s debut
performance at London’s Blitz club spearheading
the post-punk new wave, the band’s manager
Steve Dagger publishes his eye-witness account…
❏ On the 5th of December 1979, Spandau Ballet was born. After a year in metamorphosis and following a successful preview show two weeks before at Halligan’s rehearsal studios, when they were named by journalist and broadcaster to be, Robert Elms, Spandau Ballet emerged onto the stage and into the world at the Blitz on the occasion of Steve Strange and Rusty Egan’s Christmas party in 1980 [1979 surely – Ed].
Much has been written about the Blitz and its extraordinary position as a cultural funnel at the beginning of the 80s. But Spandau Ballet’s two performances there and subsequent meteoric rise to success did much to drive this tiny club and its spectacular cliental [clientele? – Ed] into the headlines and its ethos into popular culture and serve as the template to the 80s.
What happened that night?
No band had played before at a Steve Strange/Rusty Egan event, so the audience was not used to seeing live music in this context. Music was normally provided by Rusty Egan’s DJing, an extraordinary montage of epic electronica which seemed to give a tantalizing glimpse of a future we were all going to take part in.
How would “Spandau Ballet” be received? The preview show had gone incredibly well, so a handful of our friends and key faces on the scene had seen the band already, liked them and spread the word. But it was an impossibly cool crowd. Whether they were fashion students, artists, embryonic designers, wannabe writers, film directors or just London’s coolest of the cool night people, they all had an opinion of themselves and everything else.
The usual crowd was supplemented by a sprinkling of older cognoscenti, a Chelsea crowd who had become aware of the Blitz scene. The likes of Keith Wainwright, uber-cool hairdresser of Smile; artist Dougie Fields to name but a few, plus some musicians who had been drawn to the Blitz. Richard Burgess of Landscape (Spandau Ballet producer to be), Midge Ure of Ultravox and Billy Idol, Steve Severin of Siouxsie and the Banshees and Marco Pirroni of Adam & The Ants.
Spandau Ballet’s second Blitz date, January 1980, despite Dagger’s belief on his blog that this pic shows the band’s debut. Most are sporting bow ties – Gary Kemp on synth at left, Tony Hadley as vocalist, with Steve Norman and Martin Kemp on guitars held high in their anti-rock stance. Churchill gazes out from his photo on the rear wall
So the battle lines were drawn and into the valley [of] death… Actually, the band were much less nervous than they had been for the preview show and also excited about playing in “their” club. When Rusty’s music stopped and they got onto the tiny stage there was a degree of anticipation and curiosity. I think the band realised collectively it was now or never and they seized the moment and started to play confidently and with a bit of swagger. Some of the audience danced, some applauded but almost everyone watched.
Tony sang brilliantly. The set which included most of the songs on “Journeys to Glory” fitted the club. Spandau Ballet fitted the club. “To Cut a Long Story” sounded like a massive hit.
Halfway through the set I was feeling quietly confident and was standing by the mixing desk next to the sound engineer when I became aware of a man standing next to me. He spoke to me.
“Who is this band?”
“It’s Spandau Ballet,” I said.
The new name sounded f*cking great.
“Which record label are they signed to?”
“They aren’t signed.”
“Who is their manager.”
“I am,” I said proudly.
“Well I am Chris Blackwell and I own Island Records, and I would like to sign them.”
First gig as Spandau Ballet… 5-0 up. Another man approached me. He was Danny Goodwin from Peninsula Music Publishing. He wanted to sign them too.
The band finished their set. I could not wait to go backstage into the tiny dressing room to talk to them. We had all worked very hard for this moment. They were about to become a very important band. The only band that could play in the Blitz. The most important club in the world at that time. Everyone in the Blitz that night was hugely complimentary and positive about them.
We owned the space, we had claimed it. We were about to go through the looking glass and our lives were never going to be the same. The next day, I spoke to Chris Blackwell on the phone and arranged to meet him in a pub. He was softly spoken, charming and very cool. He owned the coolest record label in the world – Bob Marley, Roxy Music, Traffic, Free, Spencer Davis – and he wanted to sign Spandau Ballet. Now. He even gave me a list of lawyers he recommended to act for the band.
It all felt a little strange but somehow like it was all supposed to happen like this. I felt unbelievably relaxed and comfortable, empowered, and the band very confident, entitled energised. Uncrowned Princes of pop culture all of a sudden. We turned him down. But that is another story.
Steve Strange’s first interview with the Evening Standard, 24 Jan 1980, telling us of Spandau Ballet’s second performance that day
RARE VIDEO OF THE BLITZ A-BUZZ:
❏ You won’t find much authentic filmed footage inside the Blitz Club because so little exists and many posts claiming to show the Blitz at YouTube do not. The brief but glorious clip we see above captures the visual excess of its dancefloor in Spandau Ballet’s 2014 biopic Soul Boys of the Western World. The interiors come from Lyndall Hobbs’ short doc about London tribes called Steppin’ Out, shot in the summer of 1979. The first half-minute here comes from a TV report showing Blitz Kids gathering outside Sloane Square underground station to celebrate Steve Strange’s 21st birthday on a Circle Line train on 28 May 1980. We hear Martin Kemp voicing the sequence which zooms in on him at 23 seconds. The black-and-white stills collaged into the segment are Shapersofthe80s originals, and the closing seconds are from LWT’s 20th-Century Box.
Heritage award from the Performing Rights Society: In September 2014 Spandau Ballet returned to the site of the Blitz Club to see a plaque installed remembering their debut. The club’s original neon sign was also present for the photoshoot
Oops, there goes another singer, airbrushed out of history. Denis O’Regan’s official photo of Spandau Ballet with their new recruit Ross William Wild, shot last summer at Subterania. Who’s laughing now?
[UPDATE 28 MAY: SEE RESPONSES BELOW
FROM BOTH ROSS AND STEVE NORMAN]
+++ ◼ SPANDAU BALLET HAVE FROZEN OUT Ross William Wild, the new vocalist they called a “perfect fit” when they recruited him last year. Following his first public performance last June, bass guitarist Martin Kemp declared: “We’re playing with more vigour than I’ve ever heard from us, and I think that’s because of the way he sings.” What Ross’s romantic stand-out voice brought to the samey old Spandau repertoire was some much-needed freshness. Now, a matter of months later, there are suddenly no plans for any more performances. And there hasn’t been one word of apology to Ross or the fans.
To add insult to injury, not one member of Spandau or its management has explained the events leading up to their furtive decision to freeze Ross out when it became sensationally but indirectly a major news story on Thursday. As an afterthought in a seven-minute interview on other topics for the ITV show This Morning, Spandau’s Mr Nice Guy Martin Kemp broke the news by implication, but without even saying out loud that Ross would no longer be working with them.
Giving only one reference to Ross as “a lovely man, lovely singer”, Martin just started musing out loud: “We tried [Ross] for about six or seven shows through Europe and it was great fun. But what I kind of started to realise was what people really want is the five of us together…” [Implying the five that includes Spandau’s original vocalist Tony Hadley, without even using his name]… “I think what we should do to be fair is to put it into a box and let it sit there until that happens.” Sorry, Martin. Did you really say all that? About a box?!?! (Answer: Yes. Listen to your interview below.)
LISTEN TO THE CRUCIAL 99 SECS OF MARTIN’S ITV INTERVIEW:
This feeble stream of consciousness was about to wreck another man’s career, yet without any words of sympathy for Ross, Martin added: “If one day the five of us [meaning Hadley] can talk and get back together it would be wonderful.” He confirmed that they will not be touring Spandau “until Tony comes back”! (Fat chance, given Tony’s own frequent pronouncements.) Martin then rubbed yet more salt into Ross’s wound: “I would love it to happen because it is part of me. It is part of my soul. I would do it tomorrow. But it means all five of us saying yes at the same time.” Ouch, as the sixth man might have said again!
All of which forces us to assume that, oops, after a year recruiting and rehearsing this new vocalist into their 40-year repertoire, the band didn’t think much of Ross’s efforts despite having billed and cooed after his first showcase at Subterania last June when Martin said: “Ross is a perfect fit for Spandau, and brings a new younger energy to the band that we are all enjoying!” Ross attracted enthusiastic reviews from critics (including Shapers of the 80s), as did October’s major London gig at Hammersmith’s Eventim Apollo – the purpose of which was to impress the industry and fill Spandau’s 2019 diary with major festivals and prestige dates. One obstacle to this was that in May 2018 Gary Kemp had already started jamming with Nick Mason’s Saucerful of Secrets, which offered him an alternative future.
ROSS PUTS HIS CASE
28 MAY UPDATE: Singer and actor Ross William Wild has been in touch with Shapers of the 80s to say that after months of being cold-shouldered, it was he who quit Spandau Ballet. He was still waiting for a response when Martin Kemp started talking about getting Tony Hadley back into Spandau during Thursday’s ITV interview. Ross says: “I’d put my whole life on hold and was sick of waiting around for them to make up their minds. I told the boys I was quitting and then never heard back from them, apart from Steve, who’s had my back since day one. I love Martin as a friend and always will do, but the way things were put out on TV made me feel like crap.” ========
28 MAY: Spandau’s sax player Steve Norman has also written to clarify his position: “With regard to these recent revelations from Spandau Ballet, I want to make clear that I was neither involved in nor informed of any discussions or decision-making regarding the future of my band, least of all Ross’s position in it. I will add that, as a founder member of Spandau Ballet and as a friend of all band members (past and present), I’m so very disappointed and saddened by the handling of it.
Ross has put a lot of work, love and dedication into our band and I have enjoyed immensely performing with him. He is not only an amazing singer and entertainer but has also became a dear friend. Therefore I will still be performing the odd gig with Ross in the future (eg, Berlin in September). And as for the future of Spandau Ballet? To quote my own lyrics from Once More: “Never say never…” ========
1 JUNE: Earlier this week Shapers of the 80s invited both Spandau’s drummer John Keeble and manager Steve Dagger to offer their versions of events but so far we have heard nothing. ========
❏ Back to Thursday. At 6:15am, Ross himself was the first to post the plain unadorned truth – with familiar echoes of Tony Hadley’s exit in 2017 – by also turning to Twitter to say: “I have formally quit the band Spandau Ballet to pursue my own music with my band Mercutio.” Ross added that its new single is pointedly titled Where the Pain Lives.
A collective howl of anger and indignation went up from Spandau fans and anybody else with a sense of decency. It took 24 hours before the band’s management confirmed the news officially on social media, by that stage prompted to offer belated thanks to Ross for his musical contribution last year. They had also removed Ross’s photo from the headers of their websites, though Ross’s own still say “Lead Singer @SpandauBallet”.
“Do I look bovvered?” – Today’s Facebook video of Ross aboard a swank yacht
Only two months ago, fans intuitively suspected a silent howl of pain from Ross when he suddenly announced that he had joined a new band called Mercutio, though insisting he was merely filling time before the next Spandau tour (read our exclusive report here at Shapers of the 80s). With hindsight, all these events smack of non-disclosure agreements having been signed, so let’s hope Ross has walked away with at least a thumping great payoff as some kind of compensation for his humiliation. Today Ross is putting on a brave face by showing a video at Facebook of himself aboard a swank yacht somewhere in the sun as if to say “Do I look bovvered?”
Tony Hadley will be laughing loudly at the irony of what we must assume was a yet another clash of egos back-stage. Last October he outflanked his former mates only days ahead of Spandau’s Next Line tour which showcased Ross. Big Tone packed out the legendary London Palladium and delivered a show of stonking musicianship. He and his Hadley band magnificently reinvented songwriter Gary Kemps’s own classics with fizzing new energy and melodic detail – matched by as many more numbers from his own consummate solo album, Talking to the Moon, plus a splash of Sinatra.
Tony Hadley and his band: making magic at the London Palladium, October 2018
In the fall-out, Spandau now find themselves in utter disarray, without any imaginable future. Other band members have assiduously invested in their solo careers over recent months, notably songwriter Gary Kemp who has spent a year working with Nick Mason’s Saucerful of Secrets, with further plans to continue into next year. What both Kemp brothers seem to ignore is that the others don’t have champagne millions like their own to fall back on and might presumably prefer to be working.
There’s more, much more to report, below. But right now one other person is feeling the pain and shedding stinging tears over all this talent and time going to waste, and excuse me, dear reader, when I say that person is me. It saddens me to report any of this grizzly saga, as the journalist who was first to write about Spandau Ballet when they were brash and young and mounting their second live show at the Blitz club in 1980, and who created this website Shapers of the 80s to set in context both their long-awaited first reunion in 2009 as well as the New Romantic youthquake they once led.
I had laughed out loud when their savvy manager Steve Dagger took me for our first drink near my Fleet Street office to reveal all about his unknown band. “You did, you did, you laughed out loud: ha ha,” he has sworn ever since, in a wickedly accurate impersonation. He’d been describing to me the “really weird people” who followed the band. “The latest thing is romance, pushed over the top,” he’d said. “Chris Sullivan makes even the SS look normal”. . .
As somebody who was there in clubland’s social mix, I found myself playing a role behind the scenes that shaped Spandau’s lift-off from March to July 1980. A spooky domino ripple of my own strategic encounters landed them various newspaper headlines, a documentary by London Weekend TV’s 20th Century Box and their fortnight in the sunshine of St Tropez, most of which they’ve been largely unaware of.
Within a year Spandau found themselves setting the pace while London street fashion and new music swept round the world to define the Swinging 80s.
“A chance to front a band like I’ve never done before”: Spandau songwriter Gary Kemp, second right, touring the States with Nick Mason’s Saucerful of Secrets
❏ Amazingly, it was Martin’s brother Gary Kemp who hammered the first nail into the coffin of his own band by giving a killer “no future” interview to an American blogger, Mickey McCarter, just over a month ago. It came as Kemp ended his North American stint playing guitar on 30 dates with Nick Mason’s Saucerful of Secrets. So insouciant and tactless were the squibs he tossed into the public domain that they ignited fury among the Spandettes, an international coven of ultimate Spandau fans who travel air-miles to meet-and-greet their 80s pop heroes.
Imagine you were a devoted Spandette reading Kemp, your favourite band’s leader and songwriter, saying this in McCarter’s blog: “There are no plans for Spandau going into 2020.”
And this: “I have a lot of stuff going on outside of Spandau Ballet.”
Then imagine you were Ross William Wild, the newly auditioned and appointed lead vocalist of Spandau Ballet, critically acclaimed last summer and autumn when he inherited Tony Hadley’s role in six showcase public concerts. Bear in mind Kemp is approaching 60 while Ross is a mere 31. Here was his kick in the teeth: “When I listen to the lyrics of [my] new songs, they just seem to be about me. [Not] the kind of material that a younger man could sing.”
As if a practised songwriter couldn’t manage some new ones for his new singer… There was more: “I’m thinking about doing a solo record.” And yet: “There are no plans for Spandau.”
On top of which Ross had to take this whiplash: “I would still personally love to play on stage with Spandau Ballet, including Tony Hadley.”
“Spandau’s on hold, yeah.
There are no plans for Spandau.”
Now imagine you were any one of the remaining members of Spandau Ballet, John Keeble, Steve Norman or Martin Kemp, reading that Gary’s work with the Saucerful of Secrets is a continuing project: “There are lots of plans. There are plans for possibly some recordings. There’s another European tour we’re doing throughout July. We’re playing open-air amphitheatres, and we’re headlining a couple of festivals across Europe. After this tour, we go back to Britain, and we’ve got some more British dates as well. There are plans going into 2020.”
Next, all four members of Spandau could read of the joys of Gary’s travels with Saucerful: “I’m loving it, absolutely loving it. It gives me a chance to stretch out on stage like I’ve never done before. It gives me a chance to front a band like I’ve never done before. And the camaraderie and the musicianship are extraordinary in this group.” Slap!
Spandau’s finale at Ross Wild’s glorious debut, Subterania, June 2018: John Keeble takes the mic to say “Thank you very much: We are Spandau Ballet”
So his interviewer McCarter asked: Spandau is on hold while you’re doing this? “Spandau’s on hold, yeah. There are no plans for Spandau. So after this, I’ve got some more acting work coming up in September. We’ve been through quite a lot of disruption over the last few years. And I don’t know really where that’s left us, to be honest.”
His fan-boy interviewer says all this makes him feel rather sad. So Gary just turned the tourniquet some more: “Yeah. I don’t know. I still struggle to imagine Spandau Ballet without Tony Hadley. And whether that will ever happen again, I don’t know. . . I would still personally love to play on stage with Spandau Ballet, including Tony Hadley. I still think that’s the ultimate goal and it always will be.” OUCH !!!!!!!!!
By now fans were spitting tacks in social media, Ross probably gnawing his knuckles, and this US interviewer presumably needing a very stiff drink. Then the came the bombshell: “And if it doesn’t, then maybe that’s it. I don’t know at the moment.”
Maybe that’s it?!?! Gary “doesn’t know” at the moment! Martin “doesn’t know” either and wants “to put it into a box and let it sit there”! This Great British Blight has become known as Theresa May Syndrome and the only known cure is to quit the job.
“I would still love to play on stage with
Tony Hadley. That’s the ultimate goal.”
Zoom back to today, and here I am contemplating this internal drama the two brothers have been airing in public. By now I too am shedding tears for that original bunch of five bright and funny Angel Boys from Islington who made such natural music-makers at school. As a writer I’d believed in Spandau as pop pioneers and as a social historian I’d followed them as their riveting cult injected creativity into London’s bloodstream more effectively than any group since the Small Faces in the Sixties. Theirs was a social whirl driven by collaboration.
As brothers in arms Spandau knew their bonds of friendship were indestructible. For 20 years. Then came the first parting of ways, prompted by the Kemp brothers’ acting ambitions. Then silence, then the 1999 court case and more silence. Then suddenly in 2009 came a reunion, for one year, then silence. In 2014 another reunion which lasted one year. But no more silence, only bitter feuding and a bid for independence by Tony and the search for his replacement which led to Ross becoming the “perfect fit”! Apparently not.
And here are Spandau now in their 40th year, still tearing themselves apart and saying they “don’t know” about their future. Usually musicians want to do nothing but play their music. . . Either Spandau must refresh or quit because many of us haven’t the patience to endure yet more of this dithering while Tony Hadley embodies their music superbly in his own triumphant show. Far better for Spandau to call this The End, now. There: that’s my own bridge burnt. Oh, how true are the words of their old mates Blue Rondo a la Turk: “The heavens are crying”
❏ It took a full 24 hours before any official confirmation of Ross’s departure came in a short post on Spandau’s website where Ross’s photo has now been removed: “Spandau Ballet would like to thank Ross William Wild for his brilliant performances with them last year and wish him every success with his band, Mercutio, and the many other exciting projects he’s working on at the moment.” But still neither public explanation nor apology to either Ross or the fans.
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.”
“ 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.”
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. . .”
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…
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?’ ”
MORE INTERESTING THAN MOST PEOPLE’S FANTASIES — THE SWINGING EIGHTIES 1978-1984
They didn’t call themselves New Romantics, or the Blitz Kids – but other people did.
“I’d find people at the Blitz who were possible only in my imagination. But they were real” — Stephen Jones, hatmaker, 1983. (Illustration courtesy Iain R Webb, 1983)
“The truth about those Blitz club people was more interesting than most people’s fantasies” — Steve Dagger, pop group manager, 1983
“See David Johnson’s fabulously detailed website Shapersofthe80s to which I am hugely indebted” – Political historian Dominic Sandbrook, in his book Who Dares Wins, 2019
A UNIQUE HISTORY
➢ WELCOME to the Swinging 80s ➢ THE BLOG POSTS on this front page report topical updates ➢ ROLL OVER THE MENU AT TOP to go deeper into the past ➢ FOR NEWS & MONTH BY MONTH SEARCH, see the sidebar below
❏ Header artwork by Kat Starchild shows Blitz Kids Darla Jane Gilroy, Elise Brazier, Judi Frankland and Steve Strange, with David Bowie at centre in his 1980 video for Ashes to Ashes
SEARCH our 700 posts or ZOOM DOWN TO THE ARCHIVE INDEX
UNTOLD BLITZ STORIES
✱ If you thought there was no more to know about the birth of Blitz culture in 1980 then get your hands on a sensational new book by an obsessive music fan called David Barrat. It is gripping, original and epic – a spooky tale of coincidence and parallel lives as mind-tingling as a Sherlock Holmes yarn. Titled both New Romantics Who Never Were and The Untold Story of Spandau Ballet! Sample this initial taster here at Shapers of the 80s
CHEWING THE FAT
✱ Jawing at Soho Radio on the 80s clubland revolution (from 32 mins) and on art (@55 mins) is probably the most influential shaper of the 80s, former Wag-club director Chris Sullivan (pictured) with editor of this website David Johnson
LANDMARK FAREWELLS. . . HIT THE INDEX TAB UP TOP FOR EVERYTHING ELSE
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