1963 ➤ With The Beatles the day Kennedy was shot

Beatles, UK tour, 1963, Globe theatre, Stockton-on-Tees, Beatlemania, Paul McCartney, John Lennon, CBS News, video, JFK, assassination, President Kennedy, Nov 22,

Beatles live onstage in Stockton, Nov 22, 1963: George Harrison at the microphone on the night Kennedy was shot

❚ WHERE? LIVE, ONSTAGE IN STOCKTON-ON-TEES. Count the simple Vox amps behind the band and note how one is perched on a chair! This picture was taken on Friday Nov 22 1963 at the 2,400-seat Globe theatre when the Beatles played the art-deco venue on their first nationwide tour. The band’s half-hour set during twice-nightly performances at 6.15 and 8.30 was supported by seven other acts with tickets priced from 6 shillings to 10s 6d, when a workman’s weekly wage might be £7.

Beatles, UK tour, 1963, Globe theatre, Stockton-on-Tees,During the first house in Stockton, England, the assassin’s bullets killed John Kennedy in Dallas, USA. At 43 he was the youngest man elected to the US Presidency and during the cold war era as the Soviet Union threatened world peace the hopes of the West rested on his shoulders. In Britain TV programmes were interrupted to break the dramatic news just after 7pm.

In those days we’d seen nothing as electrifying as the Beatles and while their audience at the 18th date on their first serious tour were discovering the power of The Scream, these fans remained respectfully seated throughout the show. Even so, personal accounts say the second house in Stockton was distinctly more subdued. Shocked by the news about JFK, Lynda Richardson, a fan travelling back to Redcar by coach, said: “No one spoke a word all the way home.”

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Also on this day the Fab Four’s second album With The Beatles was released on Parlophone eight months after their chart-topping debut LP and it immediately broke sales records. Lennon’s raw vocals barked fresh life and sexual danger into the Motown covers Please Mr Postman, Money and You Really Got a Hold on Me. With its eight original compositions, this was the album that moved William Mann, classical music critic of The Times, to write that Lennon and McCartney were “the outstanding English composers of 1963”.

 With The Beatles , album ,vinylEarlier in the year three Beatles singles had gone to No 2 and to No 1 twice in the UK chart and now another with advance sales of a million copies – I Want To Hold Your Hand – was racing up the chart to become the Christmas No 1.

This November, too, the Daily Mirror coined the word Beatlemania to describe the tour’s first gig, a phenomenon really triggered with the release of the single She Loves You in August. During the tour, The Beatles had also stopped the Royal Variety Performance – playing four numbers and watched by half the nation in a TV show of recorded highlights – when John Lennon famously quipped: “Will those in the cheaper seats clap your hands. The rest of you can just rattle your jewellery.” The group guest-starred on BBC TV’s flagship Morecambe & Wise Christmas Show, while their own Beatles’ Christmas Show was to run at London’s Astoria Finsbury Park for 30 performances (100,000 seats) featuring the Fab Four in comic “skits” with six pop acts in support including Cilla. By this stage the Fabs could go nowhere without a personal police escort. [See, How does a Beatle live? – at Shapersofthe80s]

Globe theatre, Stockton-on-Tees,

The Globe, Stockton, 2009: a glorious interior in art deco style

Today the Globe in Stockton, a small market town in County Durham, is a disused shell which is Grade II-listed. Built in 1935, its facade is enlivened with fluted plaster and the interior retains riotously colourful art deco features typical of the period. As a “super-theatre” the Globe hosted opera, ballet and an annual pantomime, together with touring variety, musicals, and pop concerts by Tommy Steele, the Rolling Stones, Searchers, Seekers, Billy J Kramer, Herman’s Hermits, Animals and Swinging Blue Jeans. It closed as a theatre in 1975, eked out the role of bingo hall until 1996 and then closed its doors.

The Theatres Trust describes the Globe as “an excellent example of its kind” and it is one of 68 buildings on its At-risk register. In 2009, Stockton-based Jomast Developments Ltd announced plans to restore the Globe and recruited theatre expert David Wilmore to the task. He called the Globe “a real Sleeping Beauty”. Finally last month Jomast reported that the Heritage Lottery Fund has earmarked £4m towards an £8m project to transform the Globe into a live entertainment venue for music, comedy and other events, with a capacity of 2,500 and the potential to create 64 jobs. The new venue is likely to open in 2016. [Update 2024: still going strong according to Google Maps.]

THE DAY AMERICA’S CAMELOT FELL

❏ View The Beatles on CBS Morning News with Mike Wallace on November 22, 1963 (despite the erroneous date on the video), the day JFK was shot … In old-school TV style Alexander Kendrick reports grudgingly on Britain’s energetic threat to The American Way under the title, The Beatles, New Phenomena In Britain. Asked about the band’s future Paul McCartney says: “We could have quite a run.”

ANOTHER LEGEND IN THE MAKING

➢ At the Northern Echo in 1963 its young editor was Harold Evans, who went on to build the international reputation of The Sunday Times. On Nov 22, after putting the Echo to bed, he was being driven to Stockton for the annual press ball when news of JFK’s assassination came over the car radio. He immediately returned to his Darlington office and produced an entirely new paper. Evans decided The Beatles were worth a few downpage column inches squeezed into the Teesside edition only.

PHOTO UPDATES

➢ Ringo Starr’s lost Beatles photo album, Nov 2013 – “All anyone could talk about when we came to America was our hair. The boots were famous. The jackets were famous. The pop songs were famous, but they came in about third. The hair was first.”

➢ Fab finds: Never-before-seen Beatles photos, Nov 2013

➢ Five wild JFK conspiracy theories still troubling Oliver Stone

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➤ Deejay Sullivan declares war on the “Wayne and Shirley” jazz-funkers

 Blue Rondo a la Turk, Chris Sullivan

Back in the day: Zoot-suited Chris Sullivan high-stepping with his Latin band Blue Rondo a la Turk, Glasgow 1981. Christos Tolera is seen hitting a cow-bell. Photographed by © Shapersofthe80s

❚ A CRACKLING EXCHANGE OF OPINIONS has given Facebook some edge this week. Legendary Wag club host, the deejay Chris Sullivan poured scorn on the term “jazz-funk” and its followers, igniting a barrage of responses from 70s fans of the Gold Mine, Caister and the Lacy Lady, sampled below.

➢ Chris Sullivan at Facebook, Nov 15: A friend of mine asked me what I played at Novikov every Sunday. I replied “jazz and funk” and he said “jazz-funk” and so horrified was I that anyone would think I play that rubbish, I recorded the start of my set for him and here it is…

♫ Listen to Sullivan’s mix – Solid funk that we love to love ♫

COMMENTERS ARE STILL LOCKING ANTLERS

Paul Carter: Nuthin wrong with jazz-funk at all – was the soundtrack to many young Londoners’ lives… The Gold Mine was one of the best clubs ever… When everyone was obsessed with punk and post punk, the really cool kids (black and white) were groovin to jazz-funk and soul. Just sayin.

Chris Sullivan: When I went to the Gold Mine it was funk but later came jazz-funk like Brazilian Love by George Duke and jazz-funkers started getting their hair permed and wearing dungarees and going to Purley All-Dayers… bloody horrible… Most true funk I love and jazz, especially Blue Note, is impeccable but jazz-funk is shite… and its emergence ruined a good little scene –  remember the Cortinas with the car stickers “Wayne and Shirley” for example, and the furry dice.

Paul Carter: Bit of snobbery there I think… and it is an opinion Chris, no more… I remember some incredible nights down the Gold Mine with Chris Hill, Pete Tong, and the rest of them – a lot of wedges but not a perm in sight – just great music – I think it’s a real shame that it’s been written out of club culture in favour of Northern soul (dull dull dull) and the West End scene in which you played such a large part. I was in both scenes and I always loved that the suburban scene was just about the music, not about the width of your turn-ups (much as I loved Le Beat Route and the rest). Oh and it was far more racially mixed too… / Continued at Facebook

FOR YOUR FUNKING PLEASURE FROM 1971:

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2013 ➤ Gary Kemp’s video message for posterity on TV this Saturday

Dublin O2, Reformation Tour, Spandau Ballet reunion

Afternoon sound check at Dublin’s O2: Spandau Ballet on stage together in 2009 for the first time in two decades – John Keeble, Steve Norman, Tony Hadley and Gary Kemp. At centre, production manager Lars. Photographed © by Shapersofthe80s

❚ SONGWRITER GARY KEMP recalls the 2009-10 Reformation Tour by his pioneering New Romantic band Spandau Ballet, to be screened as a 2 hours 30 mins broadcast on Sky Arts this weekend:

The Reformation Tour was a coming back together I never thought would happen. After years of fighting, this tour taught us that being Spandau Ballet is a thing to be proud of. It turned out to be the best and most successful tour we ever did. If there’s one piece of evidence I’d like to leave for posterity it would be this film.

➢ The Reformation Tour 2009, produced by Scott Millaney –
Sky Arts 1 on Saturday November 9 at 9pm GMT
and again on Sunday at 12pm GMT

➢ Full coverage and review by Shapersofthe80s of Spandau’s reunion concert at the O2 arena in Dublin on October 13, 2009, plus more backstage colour from the UK tour

➢ 2010, Shapersofthe80s with Spandau touring overseas:
“so British, so gracious”

Spandau Ballet, Reformation Tour, 2009, Dublin, Gary Kemp, Tony Hadley, reunion

The picture they said could never be taken: a big hug between Spandau Ballet’s Tony Hadley and Gary Kemp during the band’s 2009 comeback concert in Dublin, after duetting With the Pride from 1984. Photographed © by Shapersofthe80s

❏ iPAD, TABLET & MOBILE USERS PLEASE NOTE — You may see only a tiny selection of items from this wide-ranging website about the 1980s, not chosen by the author. To access fuller background features and site index either click on “Standard view” or visit Shapersofthe80s.com on a desktop computer. ➢ Click here to visit a different random item every time you click

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2013 ➤ Canvey Gold Miners polish up their dancing shoes

nightclubbing, Canvey Island, soul scene, Gold Mine

Dressing up on Canvey, 1982: Gold Mine girls maintain the high standards set by the club over the past decade. (Photographed by Shapersofthe80s)

Chris Hill, DJ, soul scene, Gold Mine"

Hill: ushered in Age of the Dance

❚ NOVEMBER 9 SEES maverick deejay Chris Hill front the fourth Official Gold Mine Reunion back this year on Canvey Island at The Monico, a stone’s throw away from the site of the nightspot renowned as the birthplace of British jazz-funk.

Other members enlisted from the South-East’s Funk Mafia who ruled at Caister weekenders and the big soul all-dayers will be Jeff Young and Snowboy and ace record-shopkeeper for the rare groove scene, Gary Dennis. The reunion will be echoing to sounds from Donnie Hathaway to Chick Corea, from BT Express to Mastermind. But first, a taste of the Gold Mine’s tenth year as I reported it 31 years ago…

Ten years of the Canvey Island Gold Mine

[First published in The Face, August 1982]

❏ SOME SAY THE whole of today’s style scene has its roots here… The Gold Mine, Canvey Island, has passed into countless legends for the trends it has set and on August 14 manager Stan Barrett pulls a champagne cork to celebrate his club’s tenth birthday.

Mind you, feet have pounded its original sprung maple dancefloor since 1949. Southend and the towns of the Essex style triangle have reared cults since the word was invented, so when in 1972 the Gold Mine began playing what rivals then called “silly music” – My Guy and all those soul sounds – the local hipsters took their cue. It was that wild man among deejays, Chris Hill, who, as the only one south of Lancashire playing soul, put Canvey Island on the map and ushered in the soulful new Age of the Dance.

Gold Mine, Canvey Island, soul scene, reunion, Chris HillThen in 1975, for a reason no more obscure than a simple father to son legacy, came a Glenn Miller Swing revival, which triggered the then unique clubbing fad of nostalgic dressing-up.

Stan Barrett says: “Chris played Singin’ In The Rain one Saturday and of course even kids who couldn’t remember the original knew the words to it. Everyone started being Gene Kelly on the dancefloor, dressing as Gls and Betty Grable. So he played Moonlight Serenade then the Andrews Sisters’ Boogey Woogey – that’s when they all started to jive and to dress up.”

The Sun, the tabloid daily paper which has a remarkably consistent record for picking up trends first, featured the Gold Mine. “Coaches came from Newcastle, Wales, everywhere,” Barrett remembers. The rest is undisputed history for the influence of Essex stylists on emergent London nightlife scene has been visible from the 60s Mod scene to Chaguaramas and the Vortex to the Blitz and beyond.

Gold Mine, nightclubbing, UK, swing

Swing revival 1975: Glenn Miller tunes inspired jiving and GI uniforms at the Gold Mine (courtesy Brian Longman, CanveyIsland.org.uk)

The key to the Gold Mine’s success? Impossible selectivity at the door, which may sound over familiar today. Barrett says: “Nobody too old. And only people into style which means your own style, not Gary Numan’s. It costs you at first but look how it pays off in the end. People have never come to the Gold Mine for a good drink up, always the music and the scene.”

Right now in summer ’82, Essex is a musical ball of confusion with the electronic camp of Depeche Mode and Talk Talk holding sway. Drinking with Talk Talk drummer Lee Harris at the Gold Mine the other night was clubrunner about Southend, Steven Brown, who sports a £100 PW Forte Sixties suit and reckons that psychedelia is still big there, heaven help us. He has also done time with a non-psychedelic local band of jokers called Doodle Sax: “It’s had about 35 people in it at various times but we’re not very serious.” One of them, synthesiser doodler Andy Norton, says the vibes are already about for much heavier rhythms. “Music has to turn much more macho.”

And if there are any visual indicators at the Gold Mine today, they are less fancy, more free. A regular called Andy “from Stanford No Hope” says: “Make up is so out of date, it’s like watching old crows trying to pull. The Gold Mine is much better now that we don’t get all the arty students down.”

nightclubbing, Essex, Gold Mine, 1980s, Stan Barrett

Guardian of the Gold Mine, 1982: manager Stan Barrett and his wife Jayne. (Photographed by Shapersofthe80s)

Nov 11 UPDATE: MOVIN’ AS EVER TO
BRASS CONSTRUCTION

Gold Mine Reunion, video,Canvey Island, nightclubbing, jazz-funk,

Saturday night on Canvey, 2013: shonky screengrab from Trizzles Green Trees’ video at Facebook. Click to view

❏ “Banging best night in ages,” reported Essex Funker Trizzles Green Trees the morning after when she posted this video of the Gold Mine Reunion’s dancefloor heaving to Brass Construction’s 1975 classic Movin’. [Click the pic to run the vid at Facebook.] She added: “We opened the door to the main room and you were just knocked away instantly by the vibe and the atmosphere… everyone was smiling and dancing whether you knew them or not.”

One of the hosts deejay Snowboy Mark called it “a road-block event” at The Monico, Canvey Island. “There were so many old faces there, going way back to the original pre-79 days… Andrea Wingrove-Dunn, Laurence Dunn, Steve Brown, Gary Turner, and pre-76 Gold Miner Molly Brown (she was under age of course!) who loved it more than anyone and stayed right to the end dancing, singing her head off and causing a stir in her immaculate 40s clothing.

“I loved playing Shifting Gears, Inside America, Mary Hartman et al – to me, out and out Gold Mine records for those that were there in the early years.”

➢ Read all the reports at the Gold Mine Reunion Canvey Island page at Facebook

❏ Chris Hill interviewed during a live TV visit to the Gold Mine, Canvey Island, broadcast in 1983 on Channel 4’s weekly pop show The Tube. The club closed in 1989.

❏ Northern Soul fans will recall that their legendary venue the Wigan Casino launched its first soul all-nighter in September 1973 (a year after the Gold Mine).

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➤ RIP Lou Reed… Today we lost another legend

Lou Reed, Velvet Underground

Lou Reed on his bare-bones guitar style: “One chord is fine. Two chords are pushing it. Three chords and you’re into jazz”

“He was a master” – David Bowie today
on his old friend

➢ Lou Reed, Velvet Underground leader and rock pioneer
who helped shape nearly fifty years of rock music
– Rolling Stone tribute, Oct 27:

After splitting with the Velvets in 1970, Reed traveled to England and, in characteristically paradoxical fashion, recorded a solo debut backed by members of the progressive-rock band Yes. But it was his next album, 1972’s Transformer, produced by Reed-disciple David Bowie, that pushed him beyond cult status into genuine rock stardom. Walk On the Wild Side, a loving yet unsentimental evocation of Warhol’s Factory scene, became a radio hit (despite its allusions to oral sex) and Satellite of Love was covered by U2 and others. Reed spent the Seventies defying expectations almost as a kind of sport. 1973’s Berlin was brutal literary bombast while 1974’s Sally Can’t Dance had soul horns and flashy guitar. In 1975 he released Metal Machine Music, a seething all-noise experiment his label RCA marketed as avant-garde classic music, while 1978’s banter-heavy live album Take No Prisoners was a kind of comedy record in which Reed went on wild tangents and savaged rock critics by name… / Continued at Rolling Stone

“Lou Reed… said that the first Velvet Underground
record sold 30,000 copies in the first five years.
But that was such an important record for
so many people, I think everyone who bought one
started a band!” – Brian Eno, 1982

➢ Alexis Petridis says Reed was capable of writing perfect pop songs – in Monday’s Guardian:

Their 1967 debut The Velvet Underground And Nico is the single most influential album in rock history. Certainly, it’s hard to think of another record that altered the sound and vocabulary of rock so dramatically, that shifted its parameters so far at a stroke. Vast tranches of subsequent pop music exist entirely in its shadow: it’s possible that glam rock, punk, and everything that comes loosely bracketed under the terms indie and alt-rock might have happened without it, but it’s hard to see how…

… the four gruelling songs that make up side two of his 1973 concept album Berlin are quite astonishing expressions of coldness and cruelty… [but] he could write songs that were impossibly moving, that spoke of a tenderness and sensitivity: the lambent, peerless Pale Blue Eyes; Halloween Parade’s heartbreaking lament for New York’s gay community, devastated by Aids; his meditation on death, Magic And Loss… / Continued at Guardian Online

➢ Reed’s own website with his last portrait
taken earlier this month

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➢ In this firey Telegraph interview from 2011, Reed and Metallica defended their controversial collaboration album Lulu to Neil McCormick

➢ “Lou Reed is to 1970s New York as the poet Baudelaire was to 1850s Paris” – ft.com

➢ Wide-ranging 1995 conversation between novelist Paul Auster and Lou Reed, who reveals his rarely seen good-humoured side – online at Dazed & Confused

➢ Punk old-timer Legs McNeil on how, despite acting like a grump, the Velvet Underground front man was beloved – The Daily Beast

➢ “Second only to Bob Dylan in his impact on rock and roll’s development” – Variety

Lou Reed, Mick Rock,photography

Lou Reed and his favourite British photographer Mick Rock in 1975

➢ Lou Reed and Mick Rock were a great double act: The Quietus talks to them about their enduring relationship and a new book of photos, 2013

➢ Mick Rock talks to Galore magazine about the limited edition of Transformer, his photobook of Lou Reed pix from 1972 to 1980 (Genesis Publications)

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