Category Archives: zeitgeist

➤ Ex-Blitz Kid Rusty Egan and friends dress 80s electro-pop in brilliant new clothes

Welcome to the Dancefloor, Rusty Egan, electro-pop, Blitz Kids, New Romantic, EDM, synthesisers,

Egan deejaying at Tramp this week: a nightclub launch for Welcome to the Dancefloor

AFTER FIVE YEARS OF BLAGGING, and five years of feuding with former collaborators, 80s Blitz Club deejay Rusty Egan’s own “electro-diskow” album, Welcome to the Dancefloor, amounts to a superb sonic landmark. He and his guest performers engage an impressive range of emotions by dramatically humanising the potential starkness many associate with electronica.

ALBUM REVIEW
Welcome to the Dancefloor
Rusty Egan

Spookily, their energy rockets us immediately into that vast clean stereo soundscape that uniquely defined the new music of 1980. Here synthesiser chords are stretched and layered and cracked like a whip, as if by an invisible hand in another time and space, which of course was precisely the sound of London clubland when its youth culture erupted as a volcano of creativity. The album’s pacey opening track finds ex-New Order’s Peter Hook on The Other Side spinning through the Milky Way, his thin 80s vocal style querulous and wistful, yet poppily optimistic.

That era did after all abandon the overpowering noise of the rock stadium and the punk nihilists to celebrate a return to melodious singing voices and to arch lyrics meant for listening, while synthesisers defined a fresh musical ambience. Inexperienced young artists unsure about their singing ability half shouted, half vocodered their limited vocal range to re-imagine their teenage dreams on a different planet.

Egan’s collaborators: click any pic below to launch slideshow

While Egan has carefully selected 13 tracks reflecting the wide spectrum of synth possibilities, half are love songs in the spirit of the 80s generation who were dubbed by the press New Romantics. Nevertheless he has created a consummate showcase for electronic music, co-produced by Nick Bitzenis (aka Nikonn). He has had a hand in writing a majority of the songs, many co-written with Chris Payne (of Fade to Grey fame), these being subsequently endorsed and expressed by a handful of starry friends such as Midge Ure and Tony Hadley on tracks of their own.

Despite its title, this is not dance music that the funk nation would groove to. Laying down a dominant 4-4 beat is not conducive to free-form movement unless you think you’re Tik or Tok. Exceptions include Egan’s own pulsating title track with robo vocals as if by Stephen Hawking and knowing breaks parodying Tenek and the Human League; also the nippy number Hero, which gains spiritual resonance from Andy Huntley’s richly textured delivery.

➢ Listen online to Welcome to the Dancefloor
track by track

The stand-out track is Midge Ure’s transformation of an Egan/Payne song titled Glorious. He rewrote lyrics and melody so as to construct one magnificent crescendo filled with space and tension reminiscent of “Ohhhhh, Vienna!” A close second for reconjuring the authentic 80s is Egan’s own Wunderwerke, driven by his Trans-Europe vocals through classic synth sweeps, hypnotic repeats and bass stabs. Third comes Erik Stein on the astonishingly contemplative Ballet Dancer, basking in a wonderful waterfall of synths.

Like Brexit, Tony Hadley *is* Tony Hadley and here (without the Ballet) on the coltish lovesong Lonely Highway he canters to the top of a whole new hill as a crooner. What distinguishes this album is that it’s awash with affecting lyrics and fine voices to listen to in the name of electro pop – among the gentlest are Be The Man featuring the gorgeous inflections of Kira Porter; Nicole Clarke’s ethereal contribution to Love Can Conquer All; and Love Is Coming My Way, a second number from the silken-voiced Stein.

And just wait for the Chariots of Fire finale: Egan’s intensely personal track, Thank You, which unleashes a shock of the best kind. To describe more would be to spoil a gifted idea. It is emotional and all too evidently sincere. Thank you, Rusty.

Welcome to the Dancefloor, Rusty Egan, electro-pop, Blitz Kids, New Romantics, EDM, synthesisers,

Rusty Egan: co-producer, co-writer and much else – has created a landmark album in Welcome to the Dancefloor

➢ Pre-order Welcome To The Dancefloor as 180g vinyl LP and CD variants, plus bonus mixes, at Pledge Music. – All pledges immediately receive MP3 downloads of the album, with the physical products promised by Rusty Egan “once we reach a target” (unspecified). At worst, PledgeMusic clearly says it “will refund you if the Artist doesn’t reach their target”.

➢ Previously at Shapersofthe80s:
1980, First sighting of the Blitz Kids

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➤ 40 years on, Ridgers casts an honest spotlight on the birth of punk

Derek Ridgers, punk ,Vortex , Clare Thom

“I didn’t make a very good punk,” says photographer Derek Ridgers, here snapped by a passing punk at the Vortex in 1977, with future Blitz Kid Clare Thom at right

◼ THE CLICHES ABOUT PUNK are the rage, the nihilism, the safety pins. In fact, punk dawned in 1976, like all British youth cults, as a fashion statement that trumped those clichés. A new and powerful photo book from Derek Ridgers titled Punk London 1977 shows in 152 pages just how considered were its style leaders who had to invent their own iconoclastic looks before they could be bought off the peg. There were no mohican haircuts at the Roxy club when it opened in December 1976 and for 100 days became the platform for Generation X, the Clash, the Jam, the Heartbreakers, the Boys, Buzzcocks, Siouxsie and the Banshees and a raucous wave of rebel music that spread to Soho’s Vortex and the 100 Club.

Ridgers says: “In ’76 the audience became more interesting than the bands.” As he turned his camera away from the stage, he focused on the unique characters in the audience who were creating a new movement through self-expression. “Most of the early punks didn’t look like punks anyway. They just looked like young people who would alter their clothes: very often it would be school uniform or there would be bin liners, a few safety pins but not very many. The ethos of punk is really ‘Do it yourself’. It’s not dressing up in leather and having a mohican.”

Click any pic below to launch slideshow

The book launched last night in Mayfair with a vibrant exhibition of its photos and a swell party hosted by menswear designer Paul Smith and the British Fashion Council. Rightly Vogue.com asked Ridgers yesterday: What did you wear while documenting these kids? He replied: “Often I’d be going to gigs straight from work, so I simply wore what I’d worn there—usually a jacket, open-neck shirt, and jeans. I was not a punk by any means.” There’s a key picture of the Damned playing the Roxy in early 1977 where Ridgers is visible in the top right-hand corner, standing on the stairs, in glasses, open-neck shirt, cardigan, smiling. “I didn’t make a very good punk,” he says. No, just a very perceptive footnote to history!

Dazed Digital probed further and asked: Out of all the scenes you’ve photographed, which have you most felt part of? Ridgers replied: “There must be a part of me that wanted to be part of all of them. I see my photography as a very vicarious thing. I suppose if I didn’t wear glasses and if I’d been a little bit more of a macho type of guy, I would have been a skinhead. I don’t think I could’ve ever been a punk or a new romantic.”

As an observer he carved out his own beat along the labyrinthine path British youth culture took during the exotic 80s and became the go-to lensman for his take on more extreme outsider cults. Ridgers told Dazed: “There were a lot of photographers around but I stuck it out longer. Woody Allen said something about success is 80% just being there. It’s the thing with me – I was there. I can’t make any other claims apart from the fact that I was there. Through everything. On the edge looking in. With a camera I was able to stare with some legitimacy.”

The trash mag Polyesterzine asks Ridgers if he could compare today’s Zeitgeist to any of the eras he had shot. “No, not at all,” he replies. “The late ’70s and early ’80s was a very different, much darker time. The streets of London were a mess. The poor guy [I photographed] who had ‘We are the flowers in your dustbin’ tattooed across his forehead had it exactly right. They did all seem like the flowers in a dustbin. . . Things are very different now because a lot of those little clubs don’t exist. Soho for instance, where nearly half my nightlife photographs were taken, is rapidly changing. There isn’t the same after dark frisson of excitement about the place any more. Gentrification and the need for developers to maximise the profit from every square inch of the place means that there just aren’t any scruffy, little basement clubs left. Those scruffy, little basement clubs were the area’s lifeblood.”

➢ Punk London 1977 is published by Carpet Bombing Culture

Adam Ant, Jordan, Vortex, punk, Derek Ridgers,

Derek Ridgers immortalises the night that the pioneering punk icon Jordan sang with The Ants at the Vortex, and says today: “They played far better music IMHO than when Adam became a big star in the 80s”

A GALAXY OF GALLERIES OF RIDGERS’ PIX

➢ At i-D – light on punk’s incendiary early days

➢ AllAccess Online in the cauldron of youth culture

➢ Dazed Digital pictures Punk London

➢ Accent shoots Brutus SS16 with Derek Ridgers

Captain Sensible , Damned , punk music, Roxy , Derek Ridgers

Captain Sensible fronts the Damned at the Roxy in 1977: spot Ridgers the cameraman top right in glasses and open-neck shirt. Photographed by Erica Echenberg

Don Letts, Andrew Czezowski , punk,Roxy

28 March 1977: deejay Don Letts and club promoter Andrew Czezowski outside the Roxy when it closed, three months after giving birth to punk. Photographed by Erica Echenberg

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WELCOME ➤ TO THE SWINGING EIGHTIES

In 1980 a youth movement began reshaping Britain.
Its stars didn’t call themselves New Romantics, or the Blitz Kids – but other people did. This writer was there and these words and pictures tell the tale.

◼︎ As a decade, the 1970s spelt doom. British youth culture had been discredited by punk. A monumental recession followed the Labour government’s “winter of discontent”, threatening the prospect of no jobs for years ahead.
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Swinging 80s, London, history, blitz club, blitz kids, theblitzkids, theblitzclub, cult with no name, billy’s, gossip’s, nightclubs, fashion, pop music, 
steve strange, rusty egan, boy george, stephen jones, kim bowen, stephen linard, chris sullivan, robert elms, perry haines, princess julia, judi frankland, darla-jane gilroy,fiona dealey, jayne chilkes, derek ridgers, perry haines, terry jones,peter ashworth, lee sheldrick, michele clapton, myra, willy brown, helen robinson, stephane raynor, melissa caplan,Dinny Hall, Kate Garner, rachel auburn, richard ostell, Paul Bernstock, Dencil Williams, Darla Jane Gilroy, Simon Withers, Graham Smith, Graham Ball, christos tolera, sade adu, peter marilyn robinson, gaz mayall, midge ure, gary kemp, steve dagger,Denis O’Regan, andy polaris, john maybury, cerith Wyn Evans, iain webb, jeremy healy, david holah, stevie stewart, worried about the boy,Yet from this black hole burst an optimistic movement the press dubbed the New Romantics, based on a London club called the Blitz. Its soundtrack was a pounding synthesised electro-pop created for the dancefloor by a studio seven-piece called Visage, fronted by the ultimate poser, Steve Strange. But the live band who broke all the rules were five dandies with a preposterous name: Spandau Ballet.
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As the last of the Baby Boomers, the so-called Blitz Kids were concerned with much more than music. In 1980 they shook off teenage doubt to express all those talents the later Generation X would have to live up to — leadership, adaptability, negotiating skills, focus. Children of the age of mass TV, these can-doers excelled especially in visual awareness. They were the vanguard for a self-confident new class who were ready to enjoy the personal liberty and social mobility heralded by their parents in the 60s.
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For Britain, the Swinging 80s were a tumultuous period of social change when the young wrested many levers of power away from the over-40s. London became a creative powerhouse and its pop music and street fashion the toast of world capitals. All because a vast dance underground had been gagging for a very sociable revolution.

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“From now on, this will become the official history”
Verdict of a former Blitz Kid.

➢ THE MENU AT TOP leads you into this Aladdin’s Cave.
➢ THE BLOG POSTS on this front page report topical updates which also link to the background pages in the menu.

Below: View Blitz Club host Steve Strange in all his poser glory in the promo video for Fade to Grey (1982), also starring the club’s cloakroom girl, Julia Fodor, aka Princess

CLICK HERE to run the anthemic 80s video ♫ ♫ from Spandau Ballet and feel the chant:

nightlife, st moritz, club for heroes,le kilt, wag club, beat route,hacienda, cha-cha, holy city zoo, rum runner, camden palace, scala cinema, studio 21,crocs, le palace, white trash, fac51, Dirt Box, mud club, batcave, barbarella's, croc's, electro-pop, synth-pop, Chant No 1, kid creole, blue rondo, animal nightlife, visage, duran, depeche mode, ultravox, human league, gentry, ABC,soft cell, bolan,vince clarke, haysi, wham!, mclaren, heaven 17, yazoo, foxx, omd, bauhaus, phil oakey, jay strongman, Martyn Ware, martin fry ,altered images, 20th-century box, vivienne westwood, PX, axiom, body-map , foundry, sue clowes,demob, seditionaries, acme attractions, i-D, the face, new sounds new styles, Korniloff, andrew logan, kahn & bell, biddie & eve, toyah,

July 2, 1981: Shooting the video for Chant No 1 at Le Beat Route club in Soho, “down, down, pass the Talk of the Town”. Photograph © by Shapersofthe80s


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1980 ➤ One week in the private worlds of the new young

Evening Standard, Oct 16, 1980

First published in the Evening Standard, 16 October 1980

THE CYNICS may have written off London as dead in 1980 but somewhere under the skin a dozen small worlds are struggling to prove our swinging capital is not yet finished. Each private world has its own star system and its own code of conduct. Some steer a scenic route through the maze of being young, broke and having energy to spare

Judi Frankland in one of the clerical cassocks from her degree show summer of 1980, pictured by Derek Ridgers. Style commentator Perry Haines, by Simon Brown

◼ LAST THURSDAY was as typical as any. At about the time 5,000 fans from Disco World were leaving The Crusaders concert at the Royal Albert Hall, 1980’s new London underground was coming to life. On the door of a Covent Garden club called Hell, Chris Sullivan, in monocle and Basque beret, and Judi Frankland, in the home-made clerical cassock that she’d worn in Bowie’s video for his chart topping Ashes to Ashes, were posing for an Italian magazine photographer. Inside, playing box-office and wearing his own modish Stephen Jones hat and all too visible makeup, sat the ubiquitous Steve Strange, 21, Hell being the twice-weekly off-shoot of his much reported Tuesdays at the nearby Blitz club. For him, he said, dressing up is a way of life. “I don’t do it to get attention.” . . . / Continued on our inside page

➢ Read on inside Shapers of the 80s:
A rich slice of London life in 1980 – one week, a dozen prodigies setting the town ablaze, none of them over 22

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Six magazines that changed the course of postwar British journalism

PICTURE POST 1938-57

The pioneer of photo-reportage. At the height of its powers during the Second World War this was the most widely read periodical in the country, selling 1,950,000 copies a week. Its inspirational editor from 1940 Tom Hopkinson recruited the photographers Bill Brandt, Bert Hardy, Kurt Hutton, Felix Man, Francis Reiss, Thurston Hopkins, John Chillingworth, Grace Robertson, Leonard McCombe. Staff writers included MacDonald Hastings, Lorna Hay, Sydney Jacobson, J. B. Priestley, Lionel Birch, James Cameron, Fyfe Robertson, Anne Scott-James, Robert Kee and Bert Lloyd; freelance contributors included George Bernard Shaw, Dorothy Parker and William Saroyan.

SUNDAY TIMES MAGAZINE 1962-today

The first colour supplement to be published as a weekly addition to a UK newspaper. The first editor was Mark Boxer. From the outset, “photographer first” was the benchmark and required serious investment in photo-reportage from the world’s trouble spots. Michael Rand, its art director for 30 years from 1962, said the credo was “grit plus glamour – fashion juxtaposed with war photography and pop art”. He went on to champion the work of such photographers as Terry O’Neill, Brian Duffy, Richard Avedon, Eugene Richards, Diane Arbus, Mary Ellen Mark. The magazine featured images from the Vietnam war by the photographer Don McCullin, a photo-essay on the Vatican by Eve Arnold, many portraits and photo-essays by Lord Snowdon, and Bert Stern’s final photoshoot with Marilyn Monroe, among many other photographic collections.

NEW SOCIETY 1962-1988

A weekly magazine of social inquiry and cultural comment, it drew on the disciplines of sociology, anthropology, psychology, human geography, social history and social policy, and it published wide-ranging social reportage. The cultural commentator Robert Hewison wrote that New Society became “a forum for the new intelligentsia” created by the expansion of higher education in Britain from the early 1960s. The editor Paul Barker (1968–86) was described by the labour historian Eric Hobsbawm as the “most original of editors”.

NOVA 1965-75

Launched under the slogan A new kind of magazine for the new kind of woman, Nova created its own unique niche in the British consumer magazine market under gifted editor Dennis Hackett, together with visionary art director Harri Peccinotti. They swiftly established their magazine as an influential must-read for the movers and shakers of Swinging London, among men as well as the original target audience of women becoming devotees of its heady mixture of social issues and cutting-edge fashion and modern lifestyle features. Nova’s agenda of journalistically taboo subjects included contraception, abortion, cancer, race, homosexuality, divorce and royal affairs, invariably boosted by stylish and provocative cover images, making it a rarity among magazines. Ultimately Nova had more male readers than female.

RADIO TIMES 1968-88

Programme listings magazine transformed with provocative feature articles under editor Geoffrey Cannon and art director David Driver to create Britain’s biggest weekly magazine sale which rocketed as TV itself became the mass medium, from 8 million to 11.2 million for the Christmas edition of 1988.

THE FACE 1980-2004

In 1980, Nick Logan, a respected ex-editor of NME, staked his house on launching a new magazine that was to make style the focus of youth culture, as much as music. The Face was quickly dubbed Britain’s “style bible”. Even with a top monthly sale of only 120,000, it had an impact not only on the pop press, but the mainstream media too which spawned style pages in newspapers and magazines and “yoof” TV shows across the enlarged landscape of broadcasting. His influential art director Neville Brody single-handedly revolutionised the way magazines were conceived while contributing many new fonts to the canon.

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