➤ Andy Polaris loads up his own fantabulous Yuletide jukebox

festive songs, Eartha Kitt, Santa Baby, underrated gems , Andy Polaris,

Remember Eartha Kitt? – the sauciest thing on Fifties TV

CHRISTMAS BRINGS OUT a lot of musical schmaltz over the festive period, most of which is consumed in earnest like mince pies and mulled wine. So Andy Polaris – frontman in Eighties popsters Animal Nightlife – decided to dig around Santa’s vintage vinyl to find some more discerning winter jukebox favourites to present his Dozen Festive Songs that Slay. Among his underrated gems we hear from Bob Dylan, Darlene Love, Eartha Kitt, George Michael, k.d.lang, Kurtis Blow, Marvin Gaye, Poly Styrene, Santa Baby, Sounds of Blackness, The Emotions and The Waitresses. Here’s a delicious novelty number from Stevie Wonder – One Little Christmas Tree. Andy says on his blog: “Perfectly synced with a Charlie Brown cartoon episode, this sweet narrative below is new to my ears and deserves a wider audience especially with Stevie’s storytelling clarity.”


➢ Visit APolarisView for videos of all of his
Dozen Festive Songs that Slay

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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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1979 ➤ Spandau’s manager Steve Dagger tells of two offers to sign his band at their debut

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Spandau Ballet’s debut beneath festive bunting: left, Steve Strange in PX frills introduces the new band at the Blitz Christmas party in December 1979… Tony Hadley supercool in collar, tie, waistcoat and overcoat, Martin Kemp in jaunty trilby with Steve Norman beyond. Dagger’s blog seems unaware of these photos and after seeing them here at Shapersofthe80s, Gary Kemp recalls “being terrified while playing the little Yamaha CS-10, that we wouldn’t get away with it. Apart from many of the songs that made up our first album we also played Iggy Pop’s Fun Time and On Her Majesty’s Secret Service”

On the 40th anniversary of Spandau Ballet’s debut
performance at London’s Blitz club spearheading
the post-punk new wave, the band’s manager
Steve Dagger publishes his eye-witness account…

❏ On the 5th of December 1979, Spandau Ballet was born. After a year in metamorphosis and following a successful preview show two weeks before at Halligan’s rehearsal studios, when they were named by journalist and broadcaster to be, Robert Elms, Spandau Ballet emerged onto the stage and into the world at the Blitz on the occasion of Steve Strange and Rusty Egan’s Christmas party in 1980 [1979 surely – Ed].

Much has been written about the Blitz and its extraordinary position as a cultural funnel at the beginning of the 80s. But Spandau Ballet’s two performances there and subsequent meteoric rise to success did much to drive this tiny club and its spectacular cliental [clientele? – Ed] into the headlines and its ethos into popular culture and serve as the template to the 80s.

What happened that night?

No band had played before at a Steve Strange/Rusty Egan event, so the audience was not used to seeing live music in this context. Music was normally provided by Rusty Egan’s DJing, an extraordinary montage of epic electronica which seemed to give a tantalizing glimpse of a future we were all going to take part in.

How would “Spandau Ballet” be received? The preview show had gone incredibly well, so a handful of our friends and key faces on the scene had seen the band already, liked them and spread the word. But it was an impossibly cool crowd. Whether they were fashion students, artists, embryonic designers, wannabe writers, film directors or just London’s coolest of the cool night people, they all had an opinion of themselves and everything else.

The usual crowd was supplemented by a sprinkling of older cognoscenti, a Chelsea crowd who had become aware of the Blitz scene. The likes of Keith Wainwright, uber-cool hairdresser of Smile; artist Dougie Fields to name but a few, plus some musicians who had been drawn to the Blitz. Richard Burgess of Landscape (Spandau Ballet producer to be), Midge Ure of Ultravox and Billy Idol, Steve Severin of Siouxsie and the Banshees and Marco Pirroni of Adam & The Ants.

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Spandau Ballet’s second Blitz date, January 1980, despite Dagger’s belief on his blog that this pic shows the band’s debut. Most are sporting bow ties – Gary Kemp on synth at left, Tony Hadley as vocalist, with Steve Norman and Martin Kemp on guitars held high in their anti-rock stance. Churchill gazes out from his photo on the rear wall

So the battle lines were drawn and into the valley [of] death… Actually, the band were much less nervous than they had been for the preview show and also excited about playing in “their” club. When Rusty’s music stopped and they got onto the tiny stage there was a degree of anticipation and curiosity. I think the band realised collectively it was now or never and they seized the moment and started to play confidently and with a bit of swagger. Some of the audience danced, some applauded but almost everyone watched.

Tony sang brilliantly. The set which included most of the songs on “Journeys to Glory” fitted the club. Spandau Ballet fitted the club. “To Cut a Long Story” sounded like a massive hit.

Halfway through the set I was feeling quietly confident and was standing by the mixing desk next to the sound engineer when I became aware of a man standing next to me. He spoke to me.
“Who is this band?”
“It’s Spandau Ballet,” I said.
The new name sounded f*cking great.
“Which record label are they signed to?”
“They aren’t signed.”
“Who is their manager.”
“I am,” I said proudly.
“Well I am Chris Blackwell and I own Island Records, and I would like to sign them.”

First gig as Spandau Ballet… 5-0 up. Another man approached me. He was Danny Goodwin from Peninsula Music Publishing. He wanted to sign them too.

Spandau Ballet, Blitz Club, New Romantics, Steve Strange, London, Heritage award,The band finished their set. I could not wait to go backstage into the tiny dressing room to talk to them. We had all worked very hard for this moment. They were about to become a very important band. The only band that could play in the Blitz. The most important club in the world at that time. Everyone in the Blitz that night was hugely complimentary and positive about them.

We owned the space, we had claimed it. We were about to go through the looking glass and our lives were never going to be the same. The next day, I spoke to Chris Blackwell on the phone and arranged to meet him in a pub. He was softly spoken, charming and very cool. He owned the coolest record label in the world – Bob Marley, Roxy Music, Traffic, Free, Spencer Davis – and he wanted to sign Spandau Ballet. Now. He even gave me a list of lawyers he recommended to act for the band.

It all felt a little strange but somehow like it was all supposed to happen like this. I felt unbelievably relaxed and comfortable, empowered, and the band very confident, entitled energised. Uncrowned Princes of pop culture all of a sudden. We turned him down. But that is another story.

© Steve Dagger
First published today at Spandau Ballet’s website

➢ Previously at Shapers of the 80s:
1980, Strange days, strange nights, strange people

Spandau Ballet,Evening Standard, Blitz Club, New Romantics, Steve Strange

Steve Strange’s first interview with the Evening Standard, 24 Jan 1980, telling us of Spandau Ballet’s second performance that day

RARE VIDEO OF THE BLITZ A-BUZZ:


❏ You won’t find much authentic filmed footage inside the Blitz Club because so little exists and many posts claiming to show the Blitz at YouTube do not. The brief but glorious clip we see above captures the visual excess of its dancefloor in Spandau Ballet’s 2014 biopic Soul Boys of the Western World. The interiors come from Lyndall Hobbs’ short doc about London tribes called Steppin’ Out, shot in the summer of 1979. The first half-minute here comes from a TV report showing Blitz Kids gathering outside Sloane Square underground station to celebrate Steve Strange’s 21st birthday on a Circle Line train on 28 May 1980. We hear Martin Kemp voicing the sequence which zooms in on him at 23 seconds. The black-and-white stills collaged into the segment are Shapersofthe80s originals, and the closing seconds are from LWT’s 20th-Century Box.

Spandau Ballet, Blitz Club, New Romantics, Heritage award,

Heritage award from the Performing Rights Society: In September 2014 Spandau Ballet returned to the site of the Blitz Club to see a plaque installed remembering their debut. The club’s original neon sign was also present for the photoshoot

SPANDAU RECALL THE BLITZ IN 2014:

➢ Previously… 1980, The Invisible Hand of Shapersofthe80s
draws a selective timeline for the unprecedented
rise and rise of Spandau Ballet

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35 years since Band Aid’s monster Christmas single and the 80s ceased to swing

Band Aid , Do They Know It’s Christmas?

The Band Aid band, Nov 25, 1984: most of the pop stars who performed, plus artist Peter Blake who created the record sleeve for Do They Know It’s Christmas?

◼︎ TODAY WAS THE DAY IN 1984 THEY RECORDED the song that became, for 13 years, the biggest selling UK single of all time. Do They Know It’s Christmas was released four days later, stayed at No 1 for five weeks, sold over three million copies and raised significant funds for famine relief in Africa. The project lead naturally the next year to Live Aid, the biggest globally televised rock concerts ever, viewed by two billion people in 60 countries, who coughed up still more dollars…/ Continued inside

➢ Previously at Shapersofthe80s:
How Geldof and Ure rounded up the unlikeliest megagroup
to record the biggest selling single of its era

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2019 ➤ The Boulevard rises from the ashes of the Raymond Revuebar

Architecture, theatre, cabaret, live music, comedy, Boulevard Theatre, Soho, Fawn James, Raymond Revuebar,

Contemporary new Boulevard Theatre and function space, photographed by Jack Hobhouse

comedy, Boulevard Theatre, Soho, Fawn James, Raymond Revuebar, Kiri Pritchard-McLean, Rhys James,

Friday’s Late Night Scene: Kiri Pritchard-McLean and Rhys James

◼ AN INTIMATE NEW 170-SEAT THEATRE and function space has opened in Soho on the site of Paul Raymond’s original striptease Revuebar from 1958 to 2004. It is named after the Boulevard Theatre which reinvented itself there in 1980 from its racy predecessor by showcasing The Comic Strip team who went on to rewrite the rules of British comedy. The stage proved the springboard to success for Alexei Sayle, Ade Edmondson and Rik Mayall, Nigel Planer and Peter Richardson and Dawn French and Jennifer Saunders.

After a £40m redevelopment of the site in Walker’s Court under the shrewd business eye of Raymond’s grand-daughter Fawn James, there’s now an active programme of theatre and weekly late events for live music, cabaret and comedy. This weekend’s unruly Friday comedy set from 10.30pm was fronted by the wry Kiri Pritchard-McLean. Stand-ups included Olga Koch, whose name struck a risqué note from the start, plus an Edinburgh Award winner who sadly didn’t quite click. However, topping the bill at machine-gun speed was TV face Rhys James and he alone was worth the £15 ticket price.

The in-house theatre production playing daily is Ghost Quartet, the 2014 “song cycle about love, death and whiskey” by American Dave Malloy, directed by Bill Buckhurst. In January comes The Sunset Limited, from the American novelist Cormac McCarthy, his 2006 exploration of free will dubbed “a novel in dramatic form” and directed by Terry Johnson, the multi-award-winning British dramatist.

The Boulevard’s rebirth is down to Fawn James as a director of Soho Estates, who says she intends to honour her grandfather’s legacy as an impresario and property investor by helping to promote Soho as an arts and entertainment district. The Boulevard’s artistic director is Rachel Edwards who founded the award-winning Tooting Arts Club.

The glorious Revuebar neon sign from Raymond’s era has been faithfully reconstructed to shine out as a Brewer Street landmark though, true to neon tradition, several letters have already blacked out! The four-storey building houses an adaptable, state-of-the-art auditorium, restaurant, bar, lounge and rehearsal room. Versatility is at the core of the venue, with every space fully customisable for a range of functions embracing weddings and conferences. The Boulevard has been actively recruiting to fill a variety of jobs.

Click any pic below to enlarge

Architecture, theatre, cabaret, live music, comedy, Boulevard Theatre, Soho, Fawn James, Raymond Revuebar,

Boulevard Theatre’s new facade and bridge by Soda Studio

➢ Revolving auditorium is showpiece of Boulevard Theatre by Soda – Amy Frearson reporting at Dezeen magazine, 28 October 2019:

The Boulevard Theatre features stalls and a balcony that both revolve independently, along with a stage that moves up and down, making a wide variety of different configurations possible. The entire project is designed by Soda, a London-based studio that works across architecture, interiors and graphic design. It forms part of a new development in the heart of Soho.

The bar and restaurant is an art-deco-inspired space featuring pink panelled walls, marble surfaces, brass lighting, and leather and velvet upholstery. There are also subtle references here to the Boulevard logo, while the glass bridge features an inlay of lace, in reference to a brothel previously located on this street.

Soda worked with theatre specialist Charcoalblue to make the auditorium as functional as possible. The transformations all take less than 10 minutes, so the space can easily host three or four different types of performance in one day.

Developer Fawn James said: “One of the things that I really wanted was that element of surprise, because when you’re in Soho you don’t necessarily know what you’re getting. Sometimes you could come to a show in the round, go downstairs, grab a bite to eat, then come back up for the next show and feel like you’re in a completely different room… / Continued at Dezeen online

Photography is by Jack Hobhouse unless otherwise stated

Comic Strip, 1980, Rik Mayall, Ade Edmondson, Alexei Sayle, alternative cabaret, cuttings, David Johnson, Over21 magazine

First published in Over21, January 1981

➢ Previously at Shapers of the 80s:
1981, At The Comic Strip, ‘alternative cabaret’ throws up the next generation of household names

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