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
+++ ◼ 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.
Giving this week’s V&A Lunchtime Lecture, May 2018: Curator Keith Lodwick in full flow. . . On-screen, Bowie’s Pierrot costume displayed in the V&A’s 2013 exhibition Bowie Is, with Steve Strange and other Blitz Kids pictured in Bowie’s Ashes to Ashes video in 1980
◼ 80S POP-STAR FRIENDS OF STEVE STRANGE turned out this week for a unique event at the V&A, the UK’s premier museum of art and design. The weekly Lunchtime Lecture was titled Steve Strange: From Blitz Club to Top of the Pops, and was delivered by Keith Lodwick, curator of Theatre and Screen Arts, to an audience that included singer Clare Grogan, ABC’s Martin Fry and his wife Julie, Jennie Matthias from The Belle Stars and Fifi Russell from Yip Yip Coyote. Steve’s mother Gillian Harrington and his sister Tanya had travelled from Wales with PR Amanda Lloyd to attend the occasion with other family members.
The talk traced Strange’s flamboyant life from Wigan Casino, through glam-rock and punk, to hosting a landmark club-night at Billy’s jointly with deejay Rusty Egan, then another at the Blitz in 1979–80. This was the club-night that Band Aid organiser Midge Ure has described as “the beating heart of the electronic dance music that led the 1980s.”
Strange said of his strict admissions policy on the door: “I wanted creative-minded pioneers who looked like a walking piece of art.” Indeed, the club became Strange’s own catwalk for sporting outrageous outfits by both the leading designers of the day and London’s budding fashion students. Lodwick said: “He once told a journalist ‘I am on stage 24 hours a day’. Steve, who died in 2015, remains one of the enduring figures of the New Romantic period.”
Click any pic below to view larger in a slideshow
Curator Keith Lodwick lecturing: On-screen, my own history of the New Romantics movement written for Observer Music Magazine in 2009
On-screen, images of Steve Strange now in the V&A collection
On-screen, some of Steve Strange’s clothes acquired for the V&A collection
On-screen, four of Steve Strange’s hats designed by Stephen Jones, now in the V&A collection
Singer Eve Ferrett talking with Fifi Russell from Yip Yip Coyote, while distracted by Kim Smith showing us her Black Star for last week’s Bowie meet-up
Curator Keith Lodwick with Steve Strange’s mum Gill (bathed in curious lighting)
Lodwick reminded us of the pop pantheon Strange was joining at the museum when he extended “a huge thank-you to Gill, Tanya and Amanda for being a link in the chain that enabled the V&A to acquire Steve’s archive and costumes two years ago. The family donated mainly clothes from the 2000s – including designs by Vivienne Westwood and Alexander McQueen. Steve’s costumes join those worn by Sandie Shaw, the Beatles, Mick Jagger, Marc Bolan, Jimmy Page, Elton John and Adam Ant.”
We watched two video clips which underlined Strange’s obsession with image-making: the music video for his band Visage’s hit Fade to Grey in which he is transformed into a snake; and a documentary in which milliner Stephen Jones suggests that berets he made for both Strange and for the Princess of Wales coupled them “as a fashion force together”.
Lodwick concluded: “Steve’s legacy will live on for being central to re-energising the club scene in London – pushing forward electronic music, fashion, photography and pop.”
At this week’s V&A talk: Some of the women in Steve Strange’s life. . . From the left, sister Tanya Harrington, Monica Towner, Rachelle Boyle, Eve Ferrett, Kimbo at centre next to Steve’s mum Gill, Jennie (Belle Stars) Matthias (almost hidden at back), Wendy Tiger, Alison Graham, Amanda Lloyd far right
Above: Two bands who played in London as Spandau Ballet…
SBv1 originated the name and here play their final gig at the
Hope & Anchor in 1979 with singer Mark Robinson, drummer
Gordon Bowman, bass guitarist David Wardill, (guitarist Mick Austin
off-camera) . . . SBv2, here in their previous incarnation as Gentry,
playing Camden School for Girls in December 1978, with Tony Hadley
on vocals and the chart-topping True five years in the future
◼ DID YOU KNOW LONDON HAD TWO POP GROUPS called Spandau Ballet in 1979? The one who became famous adopted their name from the one who didn’t. A jaw-dropping new history of the New Romantics scene, unauthorised and meticulously researched by David Barrat, a long-time music fan, is published this week titled New Romantics Who Never Were: The Untold Story of Spandau Ballet.
Barrat has gathered a mind-boggling compilation of spooky coincidences and things we never knew before in his 117,000-word paperback, self-published today on his own imprint Orsam Books. Here is no mere fan, but an obsessive one who has made himself the Mastermind champion in the two themes identified in his tongue-twisting title: Who exactly were the New Romantics of the early 1980s, who many of us believe drove one of the most transformational youth cultures of Britain’s postwar years? Barrat discusses how this term came to characterise the style-leaders of British clubland when they unanimously rejected it themselves.
His second theme is the true genesis story of the Spandau Ballet five-piece from Islington who set out with a cunning plan to weave a tapestry of fictions around their launch as electro-synth popsters in 1979. At the outset the band were coolly vague about their origins and you’d have to be a fan with Barrat’s persistence to piece together spasmodic revelations during the succeeding decades. Spandau subsequently became global superstars in that momentous decade when image-conscious new British bands invaded the American pop charts, then quarrelled as pop groups do and arrived in the High Court in 1996 rowing over royalty payments. Individual members remained belligerent for years.
Whether or not you care for Spandau and the 80s music scene, Barrat’s forensic approach to reassessing this creative landscape is utterly hypnotic and unlike anything you’ve read by the hacks of the rock press. He has spent years in deep Holmesian research delving into official records, newspaper cuttings, TV interviews and first-hand interviews. The result is gripping, original and epic. For instance: revealing all about another band sharing exactly the same distinctive name a matter of months before Tony Hadley stepped onto the stage at the Blitz Club! Here is a well-informed juggernaut delivering into our laps mighty fact upon tiny fact, laid out for inspection and challenge. Barrat’s intent is resolute: to convince us he knows his stuff, and has purged the popular version of events of mutability.
David Barrat contacted me a few years back in order to check dates and events against my own detailed diaries and his aggregation of facts and assumptions is mostly hard to fault. His book now pays extraordinary and generous tribute to this website, Shapers of the 80s, and to myself as a former features editor of the Evening Standard who helped others recognise the potency of the youthquake erupting in 1980.
SO WHO WERE THE OTHER BAND?
❑ The musicians originally called Spandau Ballet (hereafter called SBv1) were four lads who met in 1978 during their teens in Bedfordshire: guitarist Mick Austin, singer Mark Robinson, drummer Michael Harvey and punky bass guitarist David Wardill. They agonised for ages over a band name and Austin remembers a “eureka” moment using the Dadaist method of juggling words on random scraps of paper. They arrived at the darkly Germanic first word (originally with an incorrect umlaut over the U in Spandaü) and paired it with “the softer, romantic” word Ballet. The package was deemed “nicely decadent”, a debut gig was planned for 30 August 1978 and accordingly Robinson designed a poster for it, which we see below. Wardill declared his ambition: “We were going to go to London and become rock stars.”
So how on earth did their oddball band name transfer itself to a five-piece from Islington? The reader’s mind boggles at the number of spooky coincidences that Barrat’s book uncovers. Wardill had fallen in love with journalism graduate Deanne Pearson who rented a flat at 32 Sibley Grove in East Ham so in October 1978 he moved in and members of SBv1 often came to crash on the floor. Coincidentally – this flat was shared with the yet-to-become seminal Blitz Kids – while freshers at St Martin’s School of Art – Kim Bowen, Lee Sheldrick and others, who migrated in the spring to Battersea’s Ralph West student hostel, along with graphics student Graham Smith and future Wag club director Chris Sullivan.
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In her forthcoming autobiography Kim relates how, in mid-1979, accompanied by “a trio of self-described Nelly Queens”, she penetrated an empty Georgian house in Fitzrovia to establish the legendary squat in Warren Street, a leisurely walk away from St Martin’s. “Within weeks the creme de la creme of young London was living there,” Kim writes, and her bold manuscript spares no detail. This stylish property became the hub of social life for the Blitz Kids who were meeting every Tuesday at the Covent Garden Blitz Club since Steve Strange’s Neon Nights had begun that February. As milliner Stephen Jones’s mannequin de vie, the wild and startlingly elegant Kim elevated herself to Queen of the Blitz. Many of the Kids’ high-style antics were documented by Graham Smith while he – coincidentally – became the official photographer of the second Spandau Ballet (SBv2) who announced their name only for their first public concert on 5 December that year. (Smith’s lavish photo-book We Can Be Heroes was published in 2011 and remains an unbeatable record of both style and excess).
In October 1978, the Beds boys SBv1 had started working as busboys as well as rehearsing at The Venue, Virgin’s new club in Victoria where they immortalised their band’s name by spraying it in green paint on the toilet walls and on other public walls elsewhere in central London. Amid all the ancient myths about where SBv2 found their name, the band’s early propagandist and future broadcaster Bob Elms has said he first spotted the phrase Spandau Ballet as graffiti variously on prison walls or toilet walls in the Spandau district during a soulboy group trip to Berlin in summer 1979.
Coincidentally – however, during an interview way back in 1984 one prominent Blitz Kid told me the graffiti had been very visible on the toilet wall of The Hope, a favourite pub in Tottenham Street, not far from the Warren Street squat. “Some boys from north-east London were using that name in a school-type band.” Also coincidentally – along the same block as The Hope stood the trendy new Scala cinema, whose programmer then was 22-year-old Stephen Woolley (today a major player in the British film industry), who was a contemporary of SBv2 manager Steve Dagger and their stage designer Simon Withers, all of whom attended Dame Alice Owen’s school in Islington and grew up there with the other members of SBv2 – Gary and Martin Kemp, Tony Hadley, John Keeble and Steve Norman.
This fabulous cascade of coincidences throws up at least SIX PRIME SUSPECTS in The Ballet Great Mystery: Who really fed the name Spandau Ballet through to the Islington band SBv2, who through 1978–79 were known as the power-pop combo, Gentry? Barrat’s new book draws its own conclusion.
PS: EVEN MORE SPOOKILY ON MY DOORSTEP. . .
David Wardill: bass guitarist who joined The Passions in 1980
❑ Scroll forward a few years from the birth of SBv2. . . After my day-jobs in journalism, I taught an adult evening class in Creative Writing for 16 years in west London, after which it was traditional for the more entertaining students to continue the evening at a nearby pub. Among several who became long-standing friends was – coincidentally – the same David Wardill of SBv1 (also visible in the video below). His musical background meant we had lots to discuss in 1989, including his earlier life in East Ham with Kim Bowen and Lee Sheldrick.
David and I drifted apart but had a sudden email reunion while I was building this website in 2009. He told me that soon after completing the writing class he sent a story to the BBC which turned up two years later as a film from BBC Birmingham. These days he was a father and teaching art in a secondary school.
As for SBv2, he admitted: “I never really cared much that they had borrowed our band’s name, as I didn’t see much chance of us wanting it back.” SBv1 ground to a standstill in May 1979 and David soon joined another band called The Passions who enjoyed airplay by Radio 1’s influential deejay John Peel and eventually made it to Top of The Pops in 1981 with their song on Polydor, I’m in Love with a German Film Star, which reached No 25. (Coincidentally – SBv2 arrived at No 17 with Musclebound in the same edition of TOTP and are announced at the end of the clip below. Oo, er.)
David added: “The Passions reunited recently for a day at a studio in Shepherd’s Bush. That laid a lot of ghosts to rest. Our main song has been covered by the Foo Fighters and Pet Shop Boys. Strange how the past hangs around, although I find the continued interest gratifying, as well as financially useful.” Spoken like a star.
❑ And here today we still have not given away the truly spookiest coincidence among those that Barrat reveals about SBv1 & v2 when their paths almost crossed – it’s a goose-pimples moment that stops you in your tracks. More reflections on this vital addition to our bookshelves will follow here at Shapers of the 80s as we read on…
Immature? Alternative unused shot of 21-year-old Christine Keeler from the famous 1963 photo session in Lewis Morley’s Greek Street studio. . . Right, in 1990, a fully-clad Keeler returned to the pose she made famous for a photograph taken by Terry O’Neill
◼ “THEY NEVER STOPPED CALLING ME A PROSTITUTE.” So said the notorious “showgirl” who helped bring down a Tory government, quoted in today’s impressively well rounded Times obituary of Christine Keeler who has died aged 75. Despite posing naked for a now definitive photograph on a plywood chair in 1963, she fell victim to the mores of those times in the whole sex-and-spying soap opera enacted by a cast of deeply sleazy characters. Found guilty of perjury, she was sentenced to nine months in prison.
“Her only real crime was immaturity,” according to The Times obituarist. The war minister John Profumo lied “again and again” throughout the scandal, also according to The Times, whose own editor back in the day thundered that adultery “is a moral issue”. Well worth reading as a comprehensive slice of social history just as the Sixties began to swing.
Telling her own story – News of the World from June 1963
❏ One sympathetic reappraisal of Keeler’s reputation came with the powerful 1989 feature film Scandal directed by Michael Caton-Jones who created an even-handed and realistic evocation of the saga, with an immaculate cast. Best of all for pop-culture fans was its title track by the Pet Shop Boys who had the brilliant notion of bringing Sixties icon Dusty Springfield out of retirement and she rendered the vocals beautifully. Among a classic collection of tunes for the soundtrack, Chubby Checker even re-recorded The Twist because his original had been embargoed for rights reasons.
This video compilation intercuts clips from the film Scandal with authentic news footage of the rum cast implicated in the Profumo affair of 1963, all overdubbed with Dusty who sings the film’s soundtrack, Nothing Has Been Proved. And yet, nothing about the story was fake by today’s standards.
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?
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.
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 pure-pop weeklies full of pinups and lyrics and breathless reviews.
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 our inside page for the full extract when Sade’s first band Pride goes in search of Manhattan’s edgy Village scene. . .
“ 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. . . ”
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
An “invaluable website” — historian Dominic Sandbrook, 2012
A UNIQUE HISTORY
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❏ 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
TOLD FOR THE FIRST TIME
◆ Who was who in Spandau’s break-out year of 1980? The Invisible Hand of Shapersofthe80s draws a selective timeline for The unprecedented rise and rise of Spandau Ballet –– Turn to our inside page
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NEWS — OLD FACES, NEW MIXES FOR THE 20-TEENS
✱ Photographic innovator Peter Ashworth is mounting a major retrospective of his career in music (Eurythmics’ Annie Lennox, pictured) and fashion from street to high-concept marketing since first shooting Visage in 1979. Open Tue–Sun noon till 5pm, from 16 Nov–20 Dec at Lever Gallery, 153 Goswell Rd, EC1V 7HD
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✱ Ex-Spandau singer Tony Hadley’s Talking To The Moon UK tour was a triumph at the London Palladium. . . View Tone’s first YouTube music video – for his single Tonight Belongs To Us, from his album Talking To The Moon … Hadley’s events list gives more live dates through to his Stepback! 80s Christmas Concert, 22 Dec in Coventry, then on to Holland
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✱ Latest from legendary Blitz Club deejay and remixer Rusty Egan: Welcome to the Remix at Bandcamp, plus Welcome to the Beach in which Austrian producer HP Hoeger and Egan have taken last year’s Welcome to the Dance Floor and transformed it for the beach with additional musicians joining in and adaptations and spoken word. . . More Egan mixes at Mixcloud. . . and personal playlists at Soundcloud. This man seems to own the interweb.
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✱ Jeff Young on Jazz FM recently made the new 18-track Siren his album of the week. Superbly crafted by Londoner Robb Scott, with strong supporting lineup, for the Expansion label. Soul Brother Records says: “A collection of classy soul/jazz grooves on that has jazz at its heart but with some superb soulful brushstrokes applied.” Purchase directly from the artist’s store
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✱ One Nation Under the Groove – Wag club legend Chris Sullivan currently resident on Fridays at Mau Mau, 265 Portobello Road “which looks like a New York rhythm ’n’ blues soul bar.” Playing rare funk and disco from the likes of Mantus, Father Time,The Kinsman Band plus Parliament, Bohannon and Larry Young – sample him at Mixcloud. . . Sullivan’s book Rebel Rebel, “a riotous history of people and things that broke the mould”, is due from Unbound soon
✱ 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
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