Category Archives: Tributes

➤ Fond farewells to Joe Allen who revolutionised London’s restaurant scene

Joe Allen, obituaries,Covent Garden, New York City, Orso, restaurants, tributes, theatreland,

Joe Allen at his regular spot at Joe Allen NYC, opened in 1965, before his block was christened Restaurant Row. (Photo: Todd Heisler/The New York Times)

❚ JOE ALLEN, THE RESTAURATEUR who splashed bazzazz across theatreland, has died aged 87. His photograph confirms the memory of him being a double for Humphrey Bogart, who as Rick also sat alone at his own table in the film Casablanca – though Lauren Bacall always denied any similarity! He pioneered his empire in 1965 with two outlets in New York City on a strip of West 46th Street that would become known as Restaurant Row. Then in 1972 he took the Joe Allen brand to Paris and in 1977 to London, opening both Joe Allen’s in a former orchid warehouse, as well as Orso’s Italian brasserie, during the revival of Covent Garden which had idled since 1974 when the vegetable market moved out.

Immediately lunchtimes became social hubs for publishers from Bloomsbury and newspaper hacks from Fleet Street, both a short walk away. By night both places were packed with stars coming on from their West End shows and I only ever managed to sit on star table No 1 once which was in 1984 when I met Hollywood’s legendary Dorian Gray, the actor Hurd Hatfield, visiting from his home in Ireland, who told a very bawdy joke (sorry, unrepeatable)! On Saturday nights Andrew Neil, editor of The Sunday Times from 1983 to 1994, held court round a large table at Orso with his top team awaiting a courier bringing first-edition proofs for the next day’s paper.

Joe Allen’s personal style was laconic, his restaurants unpretentious and clublike, from red brick walls to an inexpensive hamburger-led menu, and waiting staff who were invariably resting actors. Most famously the walls were lined with theatre posters – of productions that had flopped. Notable patrons have included A-listers such as Al Pacino, Stephen Sondheim, Elaine Stritch, Elizabeth Taylor, Sean Connery and Sir Ian McKellen, while the restaurants maintained a strict no-photograph policy to protect the privacy of its high-profile guests.

Though Joe himself was very visible during the first year in London, often sitting at the table beside the kitchen, in fact the day-to-day operation was run by the baker Richard Polo as a partner, who died in 2019.

❏ Joseph Campbell Allen, born 20 Feb 1933, died 7 Feb 2021.

Joe Allen, Covent Garden, New York City, Orso, restaurants, tributes, theatreland,

Informality the keynote: Joe Allen’s restaurant on West 46th Street. (Photo: Robert Stolarik/The New York Times)


➢ Less about the food than about the atmosphere – Obituary by Joyce Purnick in the NY Times: “West 46th Street’s proximity to New York’s theater district made it viable, and Mr Allen, concluding that actors, directors, writers and theater patrons would always want to eat, created a relaxed pub aimed at attracting the theater crowd. There was nothing quite like the restaurant in the mid-1960s, and it took off.”

➢ Remembering Joe Allen, who fed Broadway in untheatrical style – by Peter Khoury in the NY Times: “Even before Joe opened Joe Allen, he was a partner in an Upper East Side restaurant called Allen’s. If you watch the 1965 Jack Lemmon comedy How to Murder Your Wife, you’ll see a few shots of a handsome, dark-haired bartender there. That’s Joe.”

➢ A magnet for actors, journalists and royalty – Obituary in The Times of London: “Allen kept a flat in Chelsea, visiting London several times a year. Business meetings occupied his mornings. At night he perched at the end of the bar quietly draining a case of his favourite American imported beers and observing more than conversing with a studied determination not to “inflict myself on the customers”. If he sat at a table it was always the worst one in the house.”

Joe Allen, Covent Garden, New York City, Orso, restaurants, theatreland,

Poster wall of flop shows at Joe Allen’s: at centre, “Got Tu Go Disco” a short-lived musical from 1979. (Photo: Sara Krulwich)

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2020 ➤ Farewell Daniella, the girl who inspired Ziggy’s fiery hair

Daniella Parmar, David Bowie

Daniella Parmar, stylistic inspiration for Bowie. . . She became part of David’s 1971 entourage and is seen here with him during one of his rare visits to the Blitz Club in late ’79. David wears a Modern Classics jumpsuit by Willy Brown, as featured on the cover of his Feb ’80 single Alabama Song, which had as its B-side an acoustic version of Space Oddity recorded in Dec ’79. Choreographer and co-director of Bowie concerts, Toni Basil, was also sitting to David’s left. (Photo: Robert Rosen)

❚ THE TEENAGED GIRL who inspired David Bowie to give Ziggy Stardust livid red hair died this month from cancer at her home in Worthing. Daniella Parmar belonged to the circle of “piss-elegant champagne-drinking” young night-owls who Bowie met with his wife Angie at London’s Sombrero nightclub in 1971. During this Hunky Dory period he was wearing the Mr Fish man-dress and had long cascades of blond hair.

The pals included “fun-loving glamour girl” Wendy Kirby and her flatmate Freddie Burretti (Bowie’s handsome costume designer, who went on to create Ziggy’s exotic and sexual one-piece outfits). Daniella was of Indian extraction and noted for her emphatic eye make-up and top-to-toe style with special focus on her hair – in 2002 Bowie confirmed that its constantly changing colour had convinced him “of the importance of a synthetic hair colour for Ziggy”.

Wendy says: “We were the ‘young dudes’ who shaved off our eyebrows just for camp, because you could paint them on higher up — that gave us a strange unearthly look which David adopted. He was always open to suggestions and went through our wardrobes like a magpie!”

Freddi Burretti, Daniella Parmar

Melody Maker Awards, October 1973: Daniella Parmar with Freddie Burretti, who collected the award for Bowie. (Photo: Kevin Cann collection)

The Ziggy Stardust tour was already on the road when Bowie decided on the dramatic change of hairstyle. On 17 March 1972 they were to play at the Town Hall in Birmingham when a photographer called Mick Rock turned up to interview Bowie. They hit it off so well he soon became his official photographer. Kevin Cann’s seminal account of Bowie’s early life, Any Day Now, recalls that crucial day. . .

For the show his hair has been dyed light red and styled by Suzi Fussey, but David tells Rock he is going to make his hair ‘even redder’. Swayed by his Sombrero friend Daniella’s use of different hair dyes, not long after the Birmingham performance David shows Fussey the exact tone he desires in a photograph of model Marie Helvin in a recent fashion magazine. Fussey applies a bright red colour-fast dye and spikes the crown with Guard, a strong setting lotion. The Ziggy hairstyle is born.

Daniella became an intimate member of the Bowie household, playing nanny to their son Zowie, and shared the Bowies’ last Christmas party in Britain before they departed for the USA in March 1974.

One of Daniella’s last public outings was in 2015 at the premiere of Lee Scriven’s film titled Starman: Freddie Burretti – The Man Who Sewed The World. She died a fortnight ago on 3 November and friends report that the funeral chapel was decorated with pictures of her with David.

Daniella Parmar , Wendy Kirby, David Bowie

Recording Jean Genie for Top of the Pops, 1973: Bowie and Mick Ronson on-stage with support team of Wendy Kirby and Daniella Parmar at left. (BBC)

➢ Previously at Shapers of the 80s:
2010, Kevin Cann’s book – A feast of Bowie-ana
served in waffeur-thin slices

➢ Previously at Shapers of the 80s:
2011, I danced in Bowie’s Jean Genie video but
have never seen it, says his friend Wendy

➢ Previously at Shapers of the 80s:
2015, Burretti movie adds an epic and essential
chapter to the Bowie story

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➤ Farewell Kansai the fashion genius who breathed the same colours as Bowie

Fashion, Japan, designer, stage costumes, Kansai Yamamoto, David Bowie,

Yamamoto’s second-best-ever tear-away garment, 1973: A white kimono-inspired floor-length cape, emblazoned with Japanese kanji letters spelling out “David Bowie” phonetically, but also translating to “One who spits out words in a fiery manner”. Bowie was the first Western artist to use a hikinuki quick costume-change by dramatically ripping off the cape to reveal his leotard beneath. (Photography Asahi Shimbun)

The Japanese fashion designer Kansai Yamamoto – known for styling David Bowie and creating some of Ziggy Stardust’s most flamboyant outfits – died last week of leukaemia aged 76. He went on to be a huge influence on a generation of younger talents from Jean Paul Gaultier to Hedi Slimane and also worked with Elton John and Stevie Wonder. Here are extracts from some tributes…

➢ Yamamoto obituary in The Times of London, 28 July 2020:

When Kansai Yamamoto first saw David Bowie descending to the stage on a disco ball, he felt a physical sensation that was like a “chemical reaction”. It was 1973. Because a friend had pleaded with him to stop what he was doing in Tokyo and come to New York, the Japanese designer had taken a 13-hour flight and then rushed from JFK airport to a front-row seat at Radio City Music Hall. When Yamamoto saw Bowie wearing one of his colourful outfits, he thought the long journey had been worth it.

He said: “He was wearing all black and then all of a sudden that disappeared and he was wearing full colour. It was very dramatic and the audience all rose to their feet, so there was a standing ovation right at the beginning. I found David’s aesthetic and interest in transcending gender boundaries shockingly beautiful. It felt like the beginning of a new age.” Yamamoto would go on to play a full part in ushering in this new age… / Continued at Times Online

Fashion, Japan, designer, stage costumes, Kansai Yamamoto, David Bowie

LEFT – A fitting for Bowie in Japan, 1973: The elaborate clash of prints on his asymmetric knitted leotard are derived from the tattoo patterns of yakuza (organised crime syndicates). Kansai Yamamoto himself sports a matching mock turtleneck. Plus doughnut rings for wrists and ankles. (Photography Tajima Kazunal) . . . RIGHT – Space Samurai for Bowie, 1973: The metallic-looking suit in padded satin evokes the split-skirt hakama worn by Japanese samurai as armour. Designed by Kansai Yamamoto for the Aladdin Sane tour. (Bowie Archive)

➢ From the fashion section of The New York Times, 27 July 2020:

Kansai Yamamoto, the unapologetically flamboyant fashion designer whose love of color, unfettered imagination and exploration of genderless dressing caught the eye of David Bowie and helped define the look of his alter ego, Ziggy Stardust, died on July 21 in Japan.

Kansai, as Mr Yamamoto was generally known, was not as well known as some of his more high-profile Japanese fashion contemporaries, including Yohji Yamamoto, Issey Miyake and Rei Kawakubo of Comme des Garçons. But it was Kansai who led the way for a generation of Japanese design talents to make their mark on the Western industry.

In 1971, he was among the first Japanese designers to show in London — a full decade before Ms Kawakubo and the other Mr Yamamoto. His signature aesthetic of sculptural shapes, clashing textures and prints, and eye-popping color combinations attracted industry attention.

Kansai’s debut collection was splashed across the cover of Harpers & Queen magazine with the tagline “Explosion from Tokyo” and his growing profile led to collaborations with the decade’s most important musician showmen, including Elton John and Stevie Wonder in addition to Mr Bowie, with whom he formed a longstanding creative relationship.

“Color is like the oxygen we are both breathing in the same space,” Kansai once said of his work with Mr Bowie… / Continued at NYT online

“When David wore my women’s clothes, people
were very surprised. My clothes were designed
to be worn by women. When I think of it,
it was a bizarre thing for him to do”
– Kansai Yamamoto

➢ From the fashion section of The Guardian, 27 July 2020:

Kansai Yamamoto was known for his singular aesthetic of bold, avant-garde designs, clashing colours and patterns that often incorporated elements from Japanese culture. His long-standing artistic partnership with Bowie would go on to inspire many younger fashion designers, including Jean Paul Gaultier, Hedi Slimane and Raf Simons, and became a major reference for modern gender-defying fashion.

Bowie was attracted to Yamamoto’s ability to design excessive, sculptural pieces which seemed unconstrained by the confines of gender. In turn, Yamamoto was impressed by Bowie’s ability to put this aesthetic in mainstream popular culture. It also helped that Bowie was slim enough to wear sample size. He said: “My clothes were normally made for professional models – this was the first time they had been used for an artist or singer”… / Continued at Guardian online

Fashion, Japan, designer, stage costumes, Kansai Yamamoto, David Bowie,

Yamamoto’s favourite creation for Bowie, 1973: The sculptural Tokyo Pop black vinyl jumpsuit with sequinned stripes and bowed legs is the best tear-away garment ever made. It was inspired by hikinuki, the quick-change technique for kabuki actors to be suddenly revealed wearing a different outfit – in Bowie’s case his flame-red skimpy Woodland Creatures jumpsuit on the Aladdin Sane tour. (Photography Masayoshi Sukita)

“Why was Andy Warhol obsessed with canned food?
Every artist has his own thing going on.
I often use Japanese motifs and sometimes wonder
if I’m choosing them because I’m Japanese”
– Kansai Yamamoto

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2020 ➤ Bowie on Kraftwerk and his tribute to Florian Schneider

Kraftwerk, Florian Schneider, Ralf Hütter, pop music, 1970s

Kraftwerk at Düsseldorf station, 1977: Florian Schneider at left. (Photo, Frähling)

➢ Extracts from some vintage interviews republished
yesterday at David Bowie’s website…

❏ You’ve no doubt heard the sad news regarding the passing of Kraftwerk founder, Florian Schneider, aged 73. A spokesperson said he “passed away from a short cancer disease just a few days after his 73rd birthday”, his birthday being April 7. Schneider formed Kraftwerk with Ralf Hütter in 1970 and remained a member until his departure in 2008. He is pictured bottom left in our photo at Düsseldorf Hbf station with the rest of the band.

In a Kraftwerk feature for MOJO magazine Ralf Hütter responded to the question “How important was David Bowie’s infatuation with you?” thus:

“That was very important for us, because it linked what we were doing with the rock mainstream. Bowie used to tell everyone that we were his favourite group, and in the mid-Seventies the rock press used to hang on every word from his mouth. We met him when he played Düsseldorf (April 8, 1976) on one of his first European tours. He was travelling by Mercedes, listening to nothing but Autobahn all the time.”

In 1978 Bowie recalled the meeting in an interview: “I like them as people very much, Florian in particular. Very dry. When I go to Düsseldorf they take me to cake shops, and we have huge pastries. They wear their suits. A bit like Gilbert and George… When I came over to Europe – because it was the first tour I ever did of Europe (1976), the last time – I got myself a Mercedes to drive myself around in, because I still wasn’t flying at that time, and Florian saw it. He said, “What a wonderful car” and I said, “Yes, it used to belong to some Iranian prince, and he was assassinated and the car went on the market, and I got it for the tour.” And Florian said, “Ja, car always lasts longer.” With him it all has that edge. His whole cold emotion/warm emotion, I responded to that. Folk music of the factories.”

Kraftwerk immortalised the Düsseldorf meeting on the title track of the band’s 1977 album, Trans-Europe Express, in its lyric:

From station to station, back to Düsseldorf City,
Meet Iggy Pop and David Bowie…

David returned the compliment later the same year on the “Heroes” album, when he paid Florian the ultimate tribute by using his name for the title of V-2 Schneider.

❏ Bowie also spoke in some depth about Kraftwerk in an UNCUT interview several years back…

UNCUT: Many reasons have been suggested for moving to Berlin. Can you remember why the city appealed?

DB: Life in LA had left me with an overwhelming sense of foreboding. For many years Berlin had appealed to me as a sort of sanctuary. It was one of the few cities where I could move around in virtual anonymity… Since my teenage years I had obsessed on the angst-ridden, emotional work of the expressionists, both artists and film makers, and Berlin had been their spiritual home. This was the nub of Die Brücke movement, Max Rheinhardt, Brecht and where Metropolis and Caligari had originated. It was an art form that mirrored life not by event but by mood. This was where I felt my work was going. My attention had been swung back to Europe with the release of Kraftwerk’s Autobahn in 1974. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further.

Much has been made of Kraftwerk’s influence on our Berlin albums. Most of it lazy analysis, I believe. Kraftwerk’s approach to music had in itself little place in my scheme. Theirs was a controlled, robotic, extremely measured series of compositions, almost a parody of minimalism. One had the feeling that Florian and Ralf were completely in charge of their environment, and that their compositions were well prepared and honed before entering the studio.

David Bowie, Station to Station, album sleeve , pop music

Bowie’s album Station to Station: it preceded Trans-Europe Express by a year

My work tended to expressionist mood pieces, the protagonist (myself) abandoning himself to the zeitgeist (a popular word at the time), with little or no control over his life. The music was spontaneous for the most part and created in the studio.

In substance too, we were poles apart. Kraftwerk’s percussion sound was produced electronically, rigid in tempo, unmoving. Ours was the mangled treatment of a powerfully emotive drummer, Dennis Davis. The tempo not only “moved” but also was expressed in more than “human” fashion. Kraftwerk supported that unyielding machine-like beat with all synthetic sound-generating sources. We used an R&B band. Since Station to Station the hybridization of R&B and electronics had been a goal of mine. Indeed, according to a Seventies interview with Brian Eno, this is what had drawn him to working with me.

One other lazy observation I would like to point up is the assumption that Station to Station was homage to Kraftwerk’s Trans-Europe Express. In reality Station to Station preceded Trans-Europe Express by quite some time, ’76 and ’77 respectively. Btw, the title drives from the Stations of the Cross and not the railway system.

What I WAS passionate about in relation to Kraftwerk was their singular determination to stand apart from stereotypical American chord sequences and their wholehearted embrace of a European sensibility displayed through their music. This was their very important influence on me.

UNCUT: V-2 Schneider – a tribute to Florian?
DB: Of course.

So long Florian.


❏ ABOVE: Kraftwerk playing Autobahn in 1975 on the BBC science strand Tomorrow’s World to demonstrate their “Machinemusik”. This was their first UK appearance on British television.


❏ ABOVE: View the long-haired radicals in Kraftwerk reinventing German music from “Stunde null” in the BBC Four documentary Krautrock: The Rebirth of Germany.

➢ Florian Schneider: the enigma whose codes broke open pop music – Alexis Petridis in The Guardian – “Schneider had kept such a low profile after leaving Kraftwerk that rumours of his death had circulated before, only to be revealed as erroneous.”

➢ How Florian Schneider and Kraftwerk influenced five decades of music – Mark Savage at BBC News

➢ How Kraftwerk’s synth wizard Florian Schneider rewired the world – Rob Sheffield at Rolling Stone – “It’s all electric energy, anyway,” Schneider said, summing up a sonic philosophy that upended the Seventies rock ideal, and influenced everyone from Depeche Mode to Derrick May.

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2019 ➤ Scott Walker: a singular figure in art and ideas

Scott Walker,originality ,obituary, singer, Jake Walters

Scott Walker photographed in October 2012 by Jake Walters

A REVEALING APPRECIATION of Scott Walker appears in today’s Observer obituaries of the decade … Co-director of Artangel Michael Morris recalls the great experimental musician as a witty and charming man who freed himself from the trappings of fame:

He’s a completely singular figure in late 20th-century, early 21st-century art and ideas. Scott’s work doesn’t fit into a cultural compartment: he was interested in all forms of human expression. . . Scott was held in such high regard by so many other artists. David Bowie often acknowledged his influence, as does Brian Eno. I think they also revered his ability to cast off the mantle of celebrity and focus simply on the work.

He was not in any way caught up in the myth of Scott Walker. You just felt that you were working with a very precise, open mind, someone who was completely uninterested in the trappings of image or fame. Bike or the bus were his preferred modes of travel. I think he’d found a way to live and work outside of the public gaze that was much more liberating and creative. . .   / Continued online

➢ Previously at Shapers of the 80s:
I interviewed Scott Walker in 1967 at the very moment he was transitioning from teen idol into a more serious solo icon

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