➤ Rivals sniffy about Murdoch’s Daily — more an iPad magazine than a newspaper

The Daily, Jemima Kiss, The Guardian, review

Jemima Kiss on The Daily: “First impressions are that this looks quite Microsoft to me which is probably not exactly what Apple were hoping for — the navigation is like a not-quite-so-good version of Cover Flow, which is how you navigate albums in the iTunes store”

➢ View video of Guardian’s Jemima Kiss scrolling us through
The Daily’s first edition (above, 3min 42sec)

❚ WITH A HUGE ROLL OF THE DICE, Rupert Murdoch has sought to put a seal on his reputation as a visionary media tycoon by launching The Daily, a digital-only news operation created from scratch and designed specifically for the iPad. Much is riding on it, not just Murdoch’s personal legacy in the twilight of his career, but, in his own description, the future of how people produce and consume journalism…

➢ Read more at Guardian online: Rupert Murdoch unveils
next step in media empire — the iPad ‘newspaper’

The Daily❚ SO WHAT DOES AN iPAD NEWSPAPER FEEL LIKE? The answer is “not much like a newspaper”. Instead, The Daily feels much more like one of the better examples of an iPad magazine, along the lines of Wired or Virgin’s Project. Despite the fact that both publications are ultimately owned by the same company, The Daily is nothing like The Times’s iPad app, as there’s little attempt to replicate much of the look, feel or tone of a traditional print newspaper. There’s plenty of video, both in stories and the ads that are strewn through The Daily. In some cases, rather than use ordinary photographs, there are 360-degree panoramic shots…

➢ Read Ian Betteridge’s review at Guardian online: The Daily offers glitzy graphics, video and live updates at low cost

❚ IT’S NOT A ‘NATIVE’ iPAD EXPERIENCE AT ALL, it’s a news magazine torn up and stuffed, page-by-page onto the iPad screen… If this is the best that journalism’s brightest brains can do, given a huge budget and input from Apple itself, then we’re in worse trouble than I thought.

➢ Read Shane Richmond at The Telegraph online:
A complete failure of imagination

Rupert Murdoch

“Not a legacy brand”: Murdoch shows off The Daily at its launch

❚ RUPERT MURDOCH SPEAKING YESTERDAY: “The iPad demands that we completely reimagine our craft… The magic of newspapers — and great blogs — lies in their serendipity and surprise, and the deft touch of a good editor. We’re going to bring that magic to The Daily. Similarly, we can and we must make the business of newsgathering and editing viable again. In the tablet era there’s room for a fresh and robust new voice.

“No paper, no multimillion dollar presses, no trucks — we’re passing on these savings to the reader for just 14 cents a day… Our target audience is the 50m Americans who are expected to own tablets next year. Success will be determined by utility and originality. The Daily is not a legacy brand moving from the print to the digital world.”

➢ Launch of The Daily — Video of live presentation at the Guggenheim Museum, presented by Rupert Murdoch, chairman and CEO of News Corporation, and his editorial team (42 minutes)
➢ View demo of The Daily in action at thedaily.com

❚ TECHNOLOGY BLOGGER JOHN GRUBER: “Nothing groundbreaking, but better than most such efforts to date. The carousel feature is incredibly laggy. I can’t believe they shipped it like this. Maybe they’ve hired a good staff of writers and editors, but they sure need better designers and engineers. The experience just isn’t good enough.”

➢ John Gruber’s review at Daring Fireball

The Daily❚ THE NEWS SECTION IS EXTREMELY WEAK. The first edition contains precisely two real news articles, one of which (a story about Egyptian president Hosni Mubarak’s global address) had been thoroughly covered by all the major news outlets the previous day; the other, about the snow storm currently hitting the US, was borrowed from the AP.

➢ Read Lauren Indvik at Mashable: It’s a second-rate iPad magazine, not a newspaper

❚ THE DAILY IS PARTNERING with the Associated Press for its content… [although] it’s been selling itself as a place to go for original content. As its website puts it: The Daily is “a tablet-native national news brand built from the ground up to publish original content exclusively for the iPad”. Apparently “original” here means “not aggregated.” Which is fair enough. But “original content” also implies “special content.” The kind of content you can’t get anywhere else.

➢ Read Megan Garber at The Nieman Journalism Lab

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1981 ➤ Birth of Duran’s Planet Earth — when other people’s faith put the Brummies into the charts

Duran Duran, New Romantics

Duran Duran in 1980: Birmingham’s fluffiest New Romantics

Planet Earth, Night Version, Duran Duran◼ 30 YEARS AGO TODAY the Birmingham club-band Duran Duran released their debut single Planet Earth, less than two months after signing to EMI. It charted in mid-March, peaked at No 12, and bagged the band a spot on Top of the Pops, Britain’s premier music TV show. They were the first New Romantic band from outside London to make good, and this week the writer Steve Jansen claims that “inside of three short years, Duran were officially the biggest band on the planet”.

He celebrated Duran’s birthpangs with a monumental survey of their origins titled Switch It On! – Planet Earth & The Launch of Duran Duran, on the blog gimmeawristband.com. As a shorter alternative, Shapersofthe80s has documented a few key excerpts from his epic account, where Jansen talked to all the key players involved during the run-up to the band’s chart debut. They are published here with his permission…

➢ Previously at Shapers of the 80s:
Read Steve Jansen on how other people’s faith put
the Brummies into the charts

➢ Previously at Shapers of the 80s:
1980, How Duran Duran’s road to stardom began
in the Studio 54 of Birmingham

Duran Duran, video, Planet Earth

The New Romantic Jive: Rum Runner regulars Gay John Lupton and Lavinya Jatjm, dressed to the hilt and dancing in the official 1981 video for Planet Earth, co-directed by Blitz Kid Perry Haines and Russell Mulcahy

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➤ Index of posts for January

Boy George, John Themis, Bishop Porfyrios , icon,

Two-way exchange: Bishop Porfyrios reclaims his church’s 300-year-old icon of Christ in London, while as a thankyou, Boy George receives a modern version of Christ Pantokrator (right) from composer John Themis. Photo © AP

➢ George Michael celebrates his golden years of Faith

➢ Reliving the Blitz: two pocket fanzines and a request from Rusty Egan

➢ “Too posh for pop” — Grandpa Waterman condemns two decades of musicmakers

➢ 1981, Why naked heroes from antiquity stood in for Spandau on their first record sleeves

➢ Ferry backed by three bass players, Roxy back on the road — how cool is that?

Japan pop group, Mick Karn, Hammersmith Odeon , 1982, Sounds ,Chris Dorley-Brown

Karn onstage at Hammersmith Odeon, November 17, 1982: Japan’s final UK tour. Photographed for Sounds © by Chris Dorley-Brown

➢ 1981, The day they sold The Times, both Timeses

➢ George makes saintly gesture over stolen icon

➢ 1981, How Adam stomped his way across the charts to thwart the nascent New Romantics

➢ Life? Tough? At the Blitz reunion, Rusty delivers a message to today’s 20-year-olds (TV news video)

➢ The unknown Mr Big behind London’s landmark nightspot makes his return to the Blitz

➢ Va-va-vooom! goes the world’s smallest portable record player

➢ F-A-B! Thunderbirds stamps are go!

➢ Julia and Gaz share their secrets for ageing disgracefully

Return To The Blitz , Steve Strange, Rusty Egan, Red Rooms, Blitz Kids, New Romantics

Motormouths back in action: Strange and Egan interviewed on BBC London news in the club where they once reigned. Such were members’ powers of self-promotion at the Blitz, Egan said, that it was the 80s equivalent of Facebook Live!

➢ 2011, Strange and Egan return to the Blitz to kick off the 20-tweens

➢ 200 new acts tipped for the new year in music

➢ Most popular bits of Shapersofthe80s during 2010

➢ Farewell Mick Karn, master of the bass and harbinger for the New Romantics

➢ Prescott says Postlethwaite’s Brassed Off speech inspired New Labour in 1997

➢ Discover Ubu while Christopher Walken takes flight to Fatboy Slim

➢ Happy New Year from Frosty The Snowman and The Ronettes — and hear the smash that changed the sound of 60s pop

➢ List of posts for December 2010

The Ronettes, Phil Spector, Frosty the Snowman, Be My Baby, Wall of Sound, 1963

The Ronettes in 1963: beehive hair-dos and producer Phil Spector

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➤ George Michael celebrates his golden years of Faith


❚ NEWLY RELEASED JAN 31, 2011: A remastered version of George Michael’s debut solo album, Faith, from November 1987, is out on Epic/Legacy in the UK and tomorrow the US. There is also a DVD featuring a TV special from 1987, George Michael and Jonathan Ross Have Words, a 25-minute Music Money Love Faith EPK, plus seven remastered promo videos. All available through Michael’s international online retail store.

Faith won a Grammy Award as album of its year, for which Michael wrote and produced every track except one, among them six top-five singles. The first released, I Want Your Sex, went to No 3 in the chart and not unexpectedly caused censorship problems around the world. The daddy of US pop radio hosts, Casey Kasem, refused to say the full song title on air, referring to it only as “the new single from George Michael”. Having gone solo, Michael was after all trying to lay the ghost of his teenybopper image so successully established in Wham! at the age of 20 with his best friend Andrew Ridgeley. Sample their first Top of The Pops appearance as Young Guns, which hit No 3 in 1982, below.

Michael had of course already enjoyed  two UK chart-toppers, Careless Whispers in 1984 and A Different Corner in 1986, and in all has achieved eight No 1 singles in the US, his last in 1991. Before all that stuff happened.

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2011 ➤ Reliving the Blitz: two pocket fanzines and a request from Rusty Egan

Shock dance troupe, Angel Face, RBRB,rare vinyl ,

Shock’s 1980 12-incher, Angel Face b/w R.E.R.B. — rare vinyl costing £58.21 from Black Rhythm Records in the Netherlands

reVox, magazine, theblitzclub, Blitz Club Records, Rusty Egan, Ultravox, Shock, Tik & Tok❚ re:VOX #12 IS A FAT special issue of Rob Kirby’s pocket magazine dedicated to 80s electronica, which celebrates the 30th anniversary earlier in January of the release of Ultravox’s hit single Vienna. This 40-page issue tracks the origins of Vienna as a monster hit that set a benchmark for pop’s new wave, both musically and with its innovative, cinematic video.

There is a lengthy interview with Barbie Wilde of Shock, the mime/dance troupe whose single Angel Face was produced by Rusty Egan of Visage and Richard Burgess of Landscape who also produced Spandau Ballet’s first records (today a director for Smithsonian Folkways, the nonprofit record label of the Smithsonian Institution in Washington). The Shock B-side R.E.R.B. is the first re-release by the new label Blitz Club Records — here’s a 30-second clip of the 2011 extended version:

In re:VOX Barbie describes the emergent mime scene inspired by visiting Paris in the late 1970s, and being involved at the age of 19 with Tim Dry in the formation of Shock in 1979, along with Robert Pereno, Lowri-Ann Richards, Karen Sparks and Sean Crawford (later Tok of Tik & Tok) and how all paths crossed at the Blitz, resulting in Shock becoming dance figureheads for the New Romantics. In October 1980 Barbie didn’t have much fun dodging explosions as she ran around Beckton Gas Works with Tok when they added romance to Ultravox’s video for Passing Strangers, one of the first pop promos directed by Russell Mulcahy, in which moustachioed Midge Ure thinks he’s Clark Gable.

Midge Ure, Sean Crawford, Barbie Wilde, Ultravox, video, Passing Strangers

Midge, Sean and Barbie: Ultravox’s video for Passing Strangers, 1980, which would later be runner-up for the Best Video award in the British Rock and Pop Awards

Tik & Tok,Tim Dry, Sean Crawford

Robo-mimes Tik & Tok: Sean Crawford and Tim Dry

Tim Dry, another ex-Shock performer, continues the saga of how in 1980 he span off to form the white-faced robo-mime duo Tik & Tok with Sean Crawford who was already familiar on London’s fashionable streets as a robot character called Plastic Joe. Dry had been completely unaware of the Blitz as a “secret underworld the rest of London was oblivious to” (along with the indolent record industry to whom the scene came as a monumental surprise once it exploded).

He gives full credit to Robert Pereno as the social networker who was key to both acts getting bookings on the clubbing circuit, and persuaded Tik & Tok to ditch disco in favour of cutting edge Euro-synth music. The duo made £30 from their first street performance outside San Lorenzo, the smart Beauchamp Place restaurant. From that pavement debut, television, fame and fortune beckoned…

Steve Strange, Rusty Egan, Return to the Blitz, clubbing, theblitzclub

Steve Strange: reliving his former glory on the door for the Return to the Blitz party, Jan 15. Captured from video by Shapersofthe80s

Kirby has also produced a separate 16-page issue, re:VOX #13, to report the Blitz Club Reunion party itself, held at the site of the original 1980 club on Jan 15 jointly to launch the book Remembering Eden by Jus Forrest and Helen Waterman, as well as Egan & Strange’s website for their label Blitz Club Records. Rob gives his first-person account of the party, confessing that he was too young to be one of the original Blitz Kids and reminds us that he’d fallen in with Rusty quite recently as an obsessive archivist who can trace every track Rusty had ever played as the Blitz club’s deejay. They have already shared their playlists with Graham Smith, the designer of Spandau Ballet’s graphics whose anthology of 80s photographs, We Can be Heroes, is published in September by DJhistory.com

Each issue of re:VOX costs £1.50 from Rob Kirby, 2 Bramshott Close, London Road, Hitchin, Herts SG4 9EP

WHICH TRACKS WOULD YOU LIKE ON
A BLITZ CLUB COMPILATION?

Klactoveesedstein , Blue Rondo a la Turk , latin, funkEgan plans to produce a Blitz Club album, not of the usual suspects who are wheeled out on 80s compilations, but artists as cutting-edge as those Rusty was so eagle-eared at finding on his travels through Europe in the late 70s. “Not 12-inch disco remixes,” he says. “Our clubs played great weird music like Can, Neu and Magazine.”

He is inviting lovers of Billy’s, Blitz and Club for Heroes music from 1978 to 1981 to propose the key tracks they think made London’s clubbing scene so inspirational. He names as examples the German version of Bowie’s “Helden” (1977) that he played relentlessly at Billy’s, RAF by Snatch featuring Brian Eno (1983) and Eno’s own King’s Lead Hat (1978), Television’s Little Johnny Jewel (1975) which he says has “great drums” from Billy Ficca, Klactoveesedstein by Blue Rondo a la Turk (1982), and the French model Ronny’s If You Want Me To Stay (1981).

Send your track suggestions to Rusty Egan through the contact page at
theblitzclub,Blitz Club Records, Rusty Egan

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