Category Archives: Tributes

2018 ➤ Judy Blame dies: cherry-picker of cultural detritus

Judy Blame ,Nicola Tyson,fashion, stylist, photography,

Judy Blame in 1983, photographed by Nicola Tyson

THE VERY DAY THIS WEEK WHEN HM THE QUEEN put a smile on the face of the British fashion industry, by attending London Fashion Week for the first time, also brought the sad news of Judy Blame’s death, aged 58. He (yes, he) was one of those self-taught iconoclasts who was acquiring a luminescent reputation in the electric 1980s when Fashion Week came into being, driven in part by the streetwise youth culture that Shapers of the 80s celebrates.

Blame shared friends with the charismatic Ray Petri whose flair gave kudos to the word “stylist” by injecting attitude and dash into the role of the humble gofer who gathered props and make-up for a photo shoot. This was the generation of creatives who asserted their urban savviness and shifted the word style itself from meaning a suspect and second-rate lure with which marketeers sold their wares. By the end of the decade, style and fashion had become distinct goals in their own right, the first announcing individuality in consumer choice and mainstream media, while fashion confirmed convention.

Blame’s own talents as an image-maker were celebrated in 2016 at an Institute of Contemporary Arts exhibition titled Never Again which displayed his DIY jewellery, objets trouvés, clothing, photomontages, sketchbooks and T-shirts, and gave insights into working with Neneh Cherry and Massive Attack.

➢ Pictures and fulsome tributes to Judy Blame
on our inside page

Born Chris Barnes in 1960, Blame died on 19 February 2018 and the tributes flowed in. Dylan Jones, editor-in-chief of GQ, wrote: “He was an artist, a genuine one, someone who could cherry-pick cultural detritus and then mix it all together to create something new, something lasting.”

Nick Knight, photographer and director of SHOWstudio, wrote: “Always totally unique, always a champion of the underdog, always fiercely anti-fascist and anti-establishment, always inspiring, always so immensely talented and always one hundred % brilliant.”

Scarlett Cannon, Blame’s dearest friend and partner in fronting the Cha-Cha club-night 1981-82, said: “I’m heartbroken but so happy to have had him in my life all these years. He left such a rich heritage of inspiration and touched so many people.”

Judy Blame,Scarlett Cannon, fashion, nightclubbing

Judy Blame with his long-standing friend Scarlett Cannon, and little Maude


➢ So much purpose. So much talent – Tribute by Paul Flynn at Guardian online, 20 Feb 2018

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2018 ➤ Peel on Smith and The Fall: the band by which all others must be judged

The Fall, Mark E Smith, John Peel,post-punk, bands, tributes, songwriter

Songwriter Smith fronting The Fall’s first incarnation in 1977. (Photo © Kevin Cummins)

In tribute to Mark Edward Smith who died today, here’s his biggest fan, the legendary deejay John Peel, who was commissioned to summarise the uniqueness of The Fall in The Sunday Times’s partwork, 1000 Makers of Music, published 25 May 1997:

Nothing in the history of pop has been remotely like the Fall. Mark E Smith is not only the writer of lyrics that often boast more ideas in a verse than most bands contrive for an LP, but is also credited with what is often said about Viz, that it isn’t as funny as it used to be. Fall devotees are accustomed to hearing similar assessments of their favourite band but believe that, through a bewildering number of personnel changes, the Fall remains the band by which all others must be judged. Their dozens of records crawl with anger, insults, waspish poetry and roaring guitar/bass/drums/keyboards-driven music some have styled Manc-a-billy after their home town. We the faithful can argue that anything, from 1979’s Live At the Witch Trials to last year’s The Light User Syndrome, might be the best. Smith’s press interviews – ranting against political correctness and students (the song Hey, Student from the 1994 LP Middle Class Revolt is a Fall classic) – make marvellous reading. (Keywork: Hey, Student.)

➢ Frontman of the post-punk band the Fall notorious for his deadpan black humour – Guardian obituary: “Smith performed with a total of 66 band members on 63 albums”

➢ The Fall’s 12 Essential Tracks – New York Times

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➤ How Bowie threaded blue notes through his final surge of creativity

David Bowie, The Last Five Years,TV,video, Sue,

Bowie as a projected image in the video for Sue (Or in a Season of Crime)

“If you feel safe in the area that you’re working in, you’re not working in the right area. Always go a little further into the water than you feel capable of. Go a little bit out of your depth and when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting” – David Bowie

THE MOST GRIPPING SEQUENCES in the new TV documentary about Bowie’s final surge of creativity are those which assemble every musician in the bands he worked with from 2012 to the end. Each band re-enacts pivotal moments when they rehearsed the music, inspired by his lyrics, and laid down the tracks for the albums The Next Day and Blackstar. Particularly revealing is the session when pure jazz soloists created the nerve-tingling Sue (Or in a Season of Crime), which Bowie added to his 2014 “best-of” collection, Nothing Has Changed.

To mark the first anniversary of the star’s death, this weekend BBC2 screened David Bowie: The Last Five Years, Francis Whately’s sequel to his other superb documentary Five Years broadcast in 2013. The role of jazz in Bowie’s musical temperament seldom gets discussed, though his producer Tony Visconti says the jazz influence had always been there in the music but underneath the surface. As a small child Bowie heard a jazz band and right away said: “I’m going to learn the saxophone. When I grow up, I’m going to play in [this] band. So I persuaded my dad to get me a kind of a plastic saxophone on hire purchase.”

In 2013 in New York he met Maria Schneider, a jazz composer, handed her a demo disc and asked her to extemporise around a tune called Sue. In turn, she told him he had to listen to this sax player Donny McCaslin and without missing a beat Bowie went straight into the studio with his group and Maria and out came possibly the purest jazz number of his career, a discomfiting tale of infidelity. It won Schneider a Best Arrangement Grammy in 2016.

➢ Watch the Donny McCaslin Group working
on Bowie’s Blackstar

Click any pic below to launch slideshow

REVIEWS OF THE LAST FIVE YEARS TV DOC

➢ A thrilling portrait of a late-life renaissance
– Jasper Rees at the Arts Desk

The opening yielded much joyful footage of Bowie goofing around on the Reality tour (2003), seeming much more like one of the boys than he ever managed with Tin Machine. The band still seemed spooked at the memory of his collapse, before he was carted off to retirement in an ambulance.

Maria Schneider was one of many musicians – three complete bands – who re-formed to walk through the creation of the music. Drummer Zachary Alford still looked shocked at the NDA handed him as he showed up to work on The Next Day. “If I said anything about it,” remembered bassist Gail Ann Dorsey, “I would be in big trouble legally.” Nobody was asked if Bowie really would have sued his collaborators for spilling the beans.

The recent collaborators reflected on the extent to which the new music was steeped in the past. But there was also good stuff from the old lags who worked (and sometimes slept) with Bowie in the feather-cut era: Ideally there would be a DVD with extras featuring much more from each of them. Chief keeper of the flame Tony Visconti sat at a console and played excerpts of Bowie’s unaccompanied vocal takes. On Blackstar came the haunting sound of Bowie wheezing like an ancient mariner fighting for every last scrap of breath. . . / Continued online

➢ A treat and a treatise on music’s departed genius
– by James Hall, Daily Telegraph

The Last Five Years wove previously unheard Bowie interview material with on-screen contributions from collaborators including producer Tony Visconti. The access and insights were faultless. Whately’s programme was essentially a treatise on artistic rebirth. And it showed that although Bowie’s musical style constantly changed, the themes that preoccupied him — alienation, escape, the notion of fame — were there until the end.

During his final creative burst, Bowie gradually revealed to collaborators that he was ill. In the most poignant scene, we learned that Bowie only discovered his cancer was terminal three months before he died. This was in October 2015 when he was filming the video for Lazarus, in which he sings the line “Look up here, I’m in heaven”. Bowie worked and cared and joked until the end. Through tears, Visconti said that he was at ‘the top of his game’. . . / Continued online

➢ David Bowie: What have we learned since his death? Some astounding new Bowie facts
have come to light – via The Guardian

70TH BIRTHDAY TRIBUTE CONCERT IN LONDON

tribute ,concert, David Bowie, Steve Norman, London

Brixton tribute concert for Bowie: Gail Ann Dorsey singing Young Americans with Spandau Ballet’s Steve Norman. (Photo: Getty)

❏ On what would have been Bowie’s 70th birthday his friend the actor Gary Oldman gathered at the Brixton Academy a 30-strong all-star lineup of musicians who had collaborated throughout his career, with some glorious orchestral and choral support. The show is the first in a run of gigs around the world taking place in cities that have a strong connection with Bowie and his work.

The London concert featured Mike Garson, Earl Slick, Adrian Belew, Mark Plati, Gerry Leonard, Sterling Campbell, Zachary Alford, Holly Palmer, Catherine Russell, plus such guests as Tony Hadley and Simon Lebon. Special highlights saw Gail Ann Dorsey singing Young Americans with Spandau’s Steve Norman on sax; and an audience singalong to Life on Mars? led by Adrian Belew and gifted vocals from Tom Chaplin from the band Keane. Plenty of live videos at YouTube.



➢ 10 Jan update: Gary Kemp joins his friend Robert Elms on BBC Radio London to discuss David Bowie, one year on. (Catch up on iPlayer for one month: starts at 13mins)

➢ Previously at Shapersofthe80s: “I’m not a rock star” Bowie often said – No, David, you were a messiah

➢ 13 Jan: Iggy Pop’s tribute to The Songs of David Bowie on BBC Radio 6 Music and iPlayer for another month

➢ As a confused teenager living in Seventies suburbia, singer Andy Polaris retraces his obsession with Bowie

➢ Commemorating Bowie at the BBC

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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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➤ Thank you, George, says Paul Simper. You left me wanting to dance like you

George Michael, Aldo Zilli, Paul Simper, birthday party, Wham!, London, nightlife, clubbing, Lilli Anderson, Alex Goddson, Sam McKnight, Josie Jones

Simper’s 25th birthday at Aldo Zilli’s Il Siciliano in Soho: visible faces clockwise from front left: Lilli Anderson, Alex Godson (standing), Sam McKnight, the host (standing), Josie Jones, George Michael. Photo by Simper

Paul “Scoop” Simper arrived in London as a cub
journalist who soon became a backbone of No1, one
of the two leading pop magazines covering the
Swinging 80s. He also became a face about clubland
and in the years after he first met George Michael,
when Wham! was launched, became friends.
Shapers of the 80s is pleased to publish Scoop’s very personal tribute to one of the UK’s leading superstars who died this week

OF COURSE HE HAD TO LEAVE US ON CHRISTMAS DAY. As a pop lover, especially one raised in the 80s, George Michael has been a part of mine and so many people’s Christmases for years.

This one was no exception. Nipping up the high street to the supermarket for one last shop on Christmas Eve, there was something both joyous and comforting about hearing him – not just as Wham! but on his lonesome giving us December Song and on Band Aid – whilst trolling up and down the aisles for a bottle of fizz and a few more festive nibbles.

If anything, this year he’d felt ever more present. A pre-Christmas gathering of my old 80s pals had stirred up memories of Whambley – that perfect pop farewell on the sunniest of days in ’86 in front of 72,000 adoring but heartbroken fans when George and Andrew signed off at the top of the charts (both albums and singles) with their friendship still intact.

Wham! fans came in all shapes and sizes. Not long ago I’d been listening to a bootleg of The Final concert, lovingly recorded and shared with me by No1 magazine’s then editorial assistant Dave Ling, later of Metal Hammer, a heavy metaller through and through, who made an honourable exception when it came to George and Andrew.

As I think about it now, not being a Wham! or George fan has always been a bit of a deal-breaker. One early relationship of mine came to a very swift end when she questioned my love of George. My pal June Montana (lead singer with Brilliant and gatekeeper on the Limelight’s VIP bar, who was actually a bona fide friend of his) and I were like the George gestapo. We could sniff out a non-believer at 100 paces.

Part of that devotion came from the fact that in 80s London clubland, Wham! were never really cool. They were outsiders. They were from Bushey, Hertfordshire. As a country lad from Wiltshire I felt a kinship, particularly with George.

He was a year younger but for both of us our first introduction to the game-changing London club scene of the early 80s was Le Beat Route – a Soho club I was gagging to go to the second I saw Spandau Ballet’s Chant No1 video, the anthem for this pop moment.

In the last interview I did with George, in 2006, when we were talking about Spandau, he remembered the thrill of going down for the first time to what was then the hottest club on the planet and actually sighting both Steve Strange (on the Space Invaders) and Tony Hadley (at the bar).

George Michael, Geri Halliwell,, birthday party,

George’s 35th birthday where Simper was deejaying dressed as a Spice Girl angel: George was obliged to introduce him to Ginger Spice. Photo by Simper

Le Beat Route was where Andrew Ridgeley came up with the “Wham! Bam! I am a man!” rap. It was where George would perfect his pair dancing with Shirlie Holliman to D-Train, Was Not Was and Evelyn “Champagne” King. It was the inspiration for Club Tropicana.

Of equal importance though had been Saturday Night Fever – the movie that rang the death knell for disco for the cool kids of the underground dance scene but for those in the sticks in our teens the first pulling back of the curtain (even though it was actually set in faraway Brooklyn) on a thrilling new world. On reflection, it’s perhaps surprising that George never covered a Bee Gees song, with the exception of side project Boogie Box High’s Jive Talkin’, but he was always a massive fan, applauding their return to the top of the charts after a lengthy absence with You Win Again and marvelling, after a visit to Barry Gibbs’ home in Miami, that he was the only man he’d met who took even longer over his hair than George did.

Friday nights at Le Beat Route were just about over by the time I first interviewed George and Andrew in October ’82, although Wham! did throw one last Christmas party there to celebrate leaving their first record company, Innervision. Instead it was now The Wag on Wardour Street, which, as Wham! took off, increasingly became George’s place to hang out, unbothered.


If Chant No1 belongs to Le Beat Route, then The Wag at Christmas ’84 is where I think of for Wham!’s Everything She Wants. It was where I first heard deejay Fat Tony play the 12-inch mix with its glorious, expanded middle eight, which George had handed him that night to test out on the dance floor. From its rapturous reception and the delighted look on George’s face you could see he’d got the confirmation he was after. Like Chant, he’d delivered his club classic.

First at Melody Maker, then at No1, I was lucky enough to get my fair share of interviews with George. In early No1 days that included him going on a Blind Date with Keren Woodward from Bananarama which ended with him popping up to the 26th floor of IPC magazine’s HQ in King’s Reach Tower to play us a just-finished mix of Bassline (later retitled A Ray of Sunshine) on our tinpot stereo system.

They were more innocent, uncomplicated times in terms of pop coverage but even once Fleet Street turned its attentions to him and much of that side of it became more wearisome, he continued to be one of my favourite pop stars to interview, funny and forthright, as I hope the two interview clips attached here illustrate.

GEORGE/SIMPER 1987 INTERVIEW ON BEING CAMP:

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GEORGE/SIMPER 1987 INTERVIEW ON UNDERPANTS:

++++++++++++

Thanks primarily to June – “Don’t forget Simper!” she’d holler – I saw him more socially once Wham! finished and his solo career began. Merry Chianti-filled nights at Aldo Zilli’s two Dean Street restaurants, Il Siciliano and Signor Zilli’s, and dancing to his records at Brown’s and later Abba, the weekly Hanover Square one-nighter run by June and Fat Tony.

I loved the fact that he danced to his own records. After all if you can’t dance to your records why should anyone else? Fellow clubber and George fan Bayo Furlong reminded me that George always danced exactly like George Michael – the soul boy steps, the arms aloft, the finger and toe points, the hips shake, the swivel, the spin – which is even more brilliant. He was the singing, dancing embodiment of his own Wham! mantra (Wham!tra?) “Enjoy what you do”!

And what a voice. Of his generation, take your pick between him and the other George, for greatest white male soul singer of the 80s. It was there as early as Wham! ballads Nothing Looks the Same in the Light and Club Tropicana B-side Blue and grew on Careless Whisper and A Different Corner. His duets with Aretha Franklin and Mary J Blige – ringing endorsements in themselves – raised the bar again only for him to reach even higher with the likes of Older, You Have Been Loved and Jesus to a Child.

He said himself that he wasn’t the most prolific of writers. Two Wham! and four solo albums of original material and rarely much left over for B-sides (though Fantasy is a little gem) but as a pop star he aced it – twice over.

First in the perfect pop group, two teenage buddies who remained in spirit, sound and success as Wham!-like from the opening volley of Wham Rap! and Young Guns to the last howl of The Edge of Heaven. Then a second time, making the daunting leap from teen idol to internationally successful solo artist, barely breaking a sweat where so many others have fallen.

He told me he’d set himself the goal of joining the then 80s elite of Prince, Michael Jackson, Madonna and Bruce Springsteen. If the Faith album was his Thriller, with its 25 million sales, he went one better than MJ, surpassing it artistically with Older. And, despite the subsequent fall-out with Sony over record sales, Listen Without Prejudice Vol I – which includes the gorgeous Bacharach-style ballad Cowboys and Angels – isn’t too shabby either.

As our careers both went in different directions, I got to interview him less, but deejay for him more. Fat Tony got me on board to help out with George’s 30th birthday celebrations and I was there again for his 35th in 1998. Both had fancy-dress themes, the latter one Cowboys and Angels, and good sport that he was he didn’t bat an eyelid when I asked him, dressed in a fetching Spice Girl Union Jack bathing suit and wings, to persuade a reluctant Geri Halliwell to do a photo with me.

“He’s a bit strange,” George explained to Ginger Spice, “but he’s a very old friend.”

I’ll settle for that. He did a lot more for me than I’m sure I ever did for him. Dancing to Everything She Wants – dancing like him to Everything She Wants – still gives me more pleasure than most things in life.

At the time of that last Spandau interview he was in the studio still working on his final studio album, Patience. When he played me Flawless (Go to the City) I knew he’d got me again.

It’s no good waiting. You’ve got to go to the city.

That small-town thrill. The anticipation for those Beat Route, Saturday Night Fever moments was still somewhere in our DNA.

I was back in the countryside, tucked up in bed at my mum’s, when I heard he had gone. I only ever went to his house in Goring once, one Boxing Day thanks to June and another good pal, his wonderfully considerate PA Shiv Bailey. He sent a car for me and the only way it could have been any more perfect is if Richard and Judy hadn’t just departed. Otherwise it was all my Last Christmas joy rolled into one.

So thank you, George, for all those happy Christmases, and for everything else you gave.

SIMPER’S OWN GEORGE PLAYLIST AT SPOTIFY




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

➢ Previously at Shapersofthe80s:
2016, Soho’s young guns remember George Michael

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