Section of a facsimile of Stravinsky’s manuscript for The Rite of Spring, which was published this year to mark the centenary
❚ IF IT’S GOOD ENOUGH FOR The Guardian’s front page 100 years after the event, readers of Shapersofthe80s will want to know about it. Here’s a fulsome appreciation by the leading British composer George Benjamin on the pivotal piece of music which was premiered 100 years ago today in Paris by Diaghilev’s Ballets Russes, why it caused a riot by the audience and became a model for masters who followed…
“ The Rite of Spring was a revolutionary work for a revolutionary time. Its first performance in Paris, exactly 100 years ago, was a key moment in cultural history – a tumultuous scandal. Written on the eve of the first world war and the Russian revolution, the piece is the emblem of an era of great scientific, artistic and intellectual ferment. No composer since can avoid the shadow of this great icon of the 20th century, and score after score by modern masters would be unthinkable without its model… ” / Continued at Guardian Online
“ Lydia Sokolova, one of the dancers said the audience came prepared: “They had got themselves all ready. They didn’t even let the music be played for the overture. As soon as it was known that the conductor was there, the uproar began,” she said in an interview recorded in 1965… ” / Continued at BBC Online
Igor Stravinsky on The Rite: “The 8-notes chord is new, but the accents are even more new … Give it 100 years”
❏ Robert Craft, now aged 89, the composer’s American confidant, wrote this immaculate summary of Stravinsky for 1000 Makers of Music (Sunday Times partwork published in 1997): “ In 1913, The Rite of Spring changed the rhythmic language of music: it is an epicentre of 20th-century modernism. Stravinsky’s music ranges widely, from the exaltation of Symphony of Psalms to the farcical fun of Renard, from the tenderness of Pulcinella, the deeply felt love-music of The Rake’s Progress to the grace of Apollo. The music is lyrical both in dramatic forms (Oedipus Rex) and purely instrumental (the violin-piano Dithyramb), and all of it dances as it sings. The ludic element (Circus Polka) is considerable, but much less so than the religious (Mass) and the humanist (Petrushka). Stravinsky’s influence is alive and immeasurable. He once said: “Music is the best means we have for digesting time.”
Steve Norman snapped by Neil Matthews for Flexipop! The location is Parliament Hill lido in north London in 1981. In the caption fit Steve Norman reports: “I love scuba diving. Funnily enough, I’ve never caught one yet.”
❚ A GREAT MUSICAL PARTNERSHIP lands on the Mediterranean island of Ibiza tomorrow. Fresh from their pop-up jam sessions at the Cannes film fest, two former 80s Blitz Kids – Spandau Ballet’s sax-percussionist Steve Norman plus Visage drummer and club deejay Rusty Egan – continue their working holiday in the sun. Getaway hedonists can catch their storming double act at the Nassau Beach Club on Playa D’en Bossa, fortnightly on Mondays until September.
It’s a trick they’ve been pulling at smart parties and corporate events ever since Spandau asked Egan to introduce their Reformation reunion tour performances at London’s O2 in 2009. There, as a warm-up before the show, the deejay reminded audiences of the synth soundtrack to the New Romantic era – electronic Blitz Club classics by The Normal, Gina X, Kraftwerk and the like. The chemistry was apt: Egan was co-founder of the original 80s Blitz club-night, while Spandau Ballet emerged from its members in 1979 as the house band who put the rhythms of the new decade into the charts.
After the Reformation tour, Norman and Egan teamed up to develop a deejay-led set enhanced with live saxophone, percussion and any other instruments the versatile Steve laid his hands on.
May 28 update: no sign of first-night nerves as Steve makes friends at Nassau Beach Club. Photograph from Kitita Pastrana (centre)
On the phone from Cannes this week Steve said: “We’re playing soulful deep house, four on the floor. With me vibing on top of Rusty’s music, it gives an audience something to focus on. It’s always nice to see somebody hit hell out of the bongos!”
For Steve this kind of bongo-bashing started in 1988. “My mate Deuce Barter said I should come down to his Passion club in Maidenhead and meet Joe Becket. We went head to head in a battle of the bongos playing live over house music and we hit it off. On the strength of that battle I asked Joe if he would like to join Spandau Ballet on the 1989-90 tour. He was gobsmacked.” Later, Joe Bongo was to become the regular percussionist in Steve’s band Cloudfish after Spandau split.
In 1993 Steve made his home in Ibiza and during 12 years there he introduced his idea of improvising live with the deejay at a club residency in San Antonio. “It was an extension of my antics with Spandau. I’m the one who moved around the stage. I’d climb up on a speaker with my sax, flying by seat of my pants, feeling very exposed up there, so I’d pull out all the stops.”
These days, though billing themselves as Electronic Beach Club, Steve insists the musical collaboration with Egan is “definitely not to be lumped in with the retro movement”. EBC have moved on from 80s sounds to contemporary club music, interspersed with current mixes of classic tracks.
He says: “I do play Spandau mixes. In an uptempo version of True by Deep Mind I just lay down the sax and Rusty drops in the Oakenfold mix and I switch to heavy percussion. We also do Fade to Grey mixed up with Magic Fly. That’s his little nod to the original Visage.”
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Last autumn, Steve scoped out the Nassau Beach Club during his first visit to Ibiza in four years and he’s basing himself there with Rusty for the summer. “It’s my second home, where I left a little piece of me. It’s where my son Jack was brought up and daughter Lara was born and I struggle to accept I’m not still there. I’m trying to convince Mrs Preston Norman to come out and drag herself away from the dog and cat at our cottage in Hampshire.
Nassau Beach Club
“What’s new on Ibiza is this idea of beach clubs. I remember when the Blue Marlin was just a few tables and chairs on the sand, now it’s become a nightclub on the beach. These places are springing up all over the island. After chilling out by day, people are ready to go for it by night. At the Nassau Club there’s a stage area on the beach where Rusty plays a set 5-8pm, with me raising the tempo.”
Creatively, the Norman-Egan team want to make more music together. Steve says: “I’ve done a sax track on Rusty’s album project and we still hope to do a track together.” On July 18 Steve will be a “gun for hire” joining an all-star supergroup called Holy Holy at the massive Latitude Festival in Suffolk, when London’s ICA presents Bowiefest, a celebration of the Ziggy/Aladdin year of 1973. The line-up so far features Clem Burke of Blondie, James Stevenson of Generation X, Gary Stondage of Big Audio Dynamite, Traci Hunter and Maggi Ronson on BVs.
Speculation grows around another reunion by Spandau Ballet. What can be confirmed is the epic documentary film by Scott Millaney, Soul Boys of the Western World, due out next spring. Steve promises his own exclusive discovery. “I found an old home movie from 1977 made by my dad on Standard 8. You see us pre-Spandau all performing up the road from Tony’s for the Queen’s Silver Jubilee celebrations – at a street party.” Busking, obviously!
THIS SUMMER’S SUN-AND-SEA SOUNDS
Rusty Egan in action with his Traktor Scratch Pro
❏ Hot from Rusty Egan on his Lilo: “I’m playing chilled beach mixes and remixes of classic tracks like True by Deep Mind, and electro pop such as Kate Bush’s This Woman’s Work (Echoes Remix), some cool house with Grass Is Greener’s Start Again, and Lewis Lastella’s remixes of Depeche Mode’s Enjoy The Silence and New Order’s Blue Monday.”
Kate Bush remixed above, Depeche Mode remixed below
+++ ➢ Footnote to the top pic – In Dec 1980 Flexipop! was launched as a plastic 7-inch disc with an overexcitable magazine attached. It was invented by music journalists Tim Lott and his business partner at the time, Barry Cain. It made the career of “Smudger” Neil Matthews, one-third of the official New Romantic photography contingent (along with Graham Smith and Shapersofthe80s), and his pix were exhumed late last year in archive form at a Flexipop Facebook page.
“ The BA (Hons) Fashion Design course at the University of Westminster, London is famous for producing both highly individual and creative designers capable of working within all levels of the fashion industry. Fashion designers who have studied at the University of Westminster in London include Claire Barrow, Ashley Williams, Christopher Bailey of Burberry, Michael Herz of Bally, Stuart Vevers of Loewe and Carrie Mundane of Cassette Playa. ”
➢ Graduate Fashion Week 2013: In a class of their own – Update June 9 by Rebecca Gonsalves in The Independent: “Compared with, say, Milan fashion week, dominated by huge household names with little or no young talent emerging in the past 20 years, there is a much more egalitarian spirit in the English capital, reinforced by the excellent reputation of its design schools.”
➢ Trevor Bolder dead at 62 – “ Long-time Uriah Heep bassist and Spiders From Mars icon Trevor Bolder has died of cancer at the age of 62, it’s been confirmed. Bolder joined David Bowie’s backing band in 1971, alongside guitarist Mick Ronson – with whom he’d played in The Rats – and drummer Woody Woodmansey… ” / Continued at Classic Rock
David Bowie tonight paid his own tribute:
“Trevor was a wonderful musician and a major inspiration for whichever band he was working with. But he was foremostly a tremendous guy, a great man.”
➢ A very frank Trevor Bolder interview at Let It Rock, 2003 Q: How did you, hailing not from London, arrive at that John Peel session? A: Mick Ronson and Woody [Woodmansey] had played on The Man Who Sold The World album with David Bowie. They did that album with him and then left – they didn’t want to play with Bowie any more – so they came up to Hull, where I joined them, and we played for about six months as a band. And Bowie rang up one day and asked if we’d go down and do this John Peel show with him, cause he needed a band. So we said, “OK, we’ll come down and do that”. That’s basically how it all started.
Playing bass with Bowie, 1973: Bolder sporting his fantastical mutton-chop whiskers
➢ Trevor Bolder’s life at NNDB
Gender: Male
Religion: Scientology
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Bassist
Nationality: England
Executive summary: Uriah Heap bassist
“ Yet another native of Hull, Yorkhire, to become important to the London music scene during the 1970s, Trevor Bolder was born to a strongly music-oriented family, taking up both cornet and trumpet at the age of nine and performing with local brass bands during his adolescence. In his teens he took the direction followed by many other young males of his generation and switched to the guitar, at which time he formed The Chicago Star Blues Band with his brother. Stints in other Hull-based bands like Jelly Roll and Flesh came later, with Bolder eventually trading in his guitar for an electric bass; meanwhile, food was kept on the table through a series of day jobs that ranged from hairdresser to piano tuner.
“ In 1970 he received an invitation from fellow Hull native Mick Ronson to come to London and join Ronno – an outfit that had been active earlier in the year as The Hype, and which had served as a backing band for vocalist David Bowie. Ronno only managed one single (1971, Fourth Hour of My Sleep) before poor response prompted Vertigo, the band’s label, to abandon them; not long afterwards, however, Bowie enlisted most of the line-up (Ronson, Bolder and drummer Woody Woodmansey) for his fourth album Hunky Dory (1971). Thus the way was paved for the creation of Ziggy Stardust and the Spiders From Mars in 1972, a highly theatrical concept band that would launch Bowie and his bandmates into international stardom… ” / Continued at NNDB
Costumed by Kansai Yamamoto,1973: Bassist Bolder looking deeply uncomfortable in Japanese garb as his master Bowie goes into his Marcel Marceau mime routine
➢ Choose “View full site” – then in the blue bar atop your mobile page, click the three horizontal lines linking to many blue themed pages with background article
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
PRAISE INDEED!
“See David Johnson’s fabulously detailed website Shapers of the 80s to which I am hugely indebted” – Political historian Dominic Sandbrook, in his book Who Dares Wins, 2019
“The (velvet) goldmine that is Shapers of the 80s” – Verdict of Chris O’Leary, respected author and blogger who analyses Bowie song by song at Pushing Ahead of the Dame
“The rather brilliant Shapers of the 80s website” – Dylan Jones in his Sweet Dreams paperback, 2021
A UNIQUE HISTORY
➢ WELCOME to the Swinging 80s ➢ THE BLOG POSTS on this front page report topical updates ➢ ROLL OVER THE MENU at page top to go deeper into the past ➢ FOR NEWS & MONTH BY MONTH SEARCH scroll down this sidebar
❏ 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
VINCENT ON AIR 2026
✱ Deejay legend Robbie Vincent has returned to JazzFM on Sundays 1-3pm… Catch up on Robbie’s JazzFM August Bank Holiday 2020 session thanks to AhhhhhSoul with four hours of “nothing but essential rhythms of soul, jazz and funk”.
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
SEARCH our 925 posts or ZOOM DOWN TO THE ARCHIVE INDEX
UNTOLD BLITZ STORIES
✱ If you thought there was no more to know about the birth of Blitz culture in 1980 then get your hands on a sensational 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
CHEWING THE FAT
✱ Jawing at Soho Radio on the 80s clubland revolution (from 32 mins) and on art (@55 mins) is probably the most influential shaper of the 80s, former Wag-club director Chris Sullivan (pictured) with editor of this website David Johnson
LANDMARK FAREWELLS. . . HIT THE INDEX TAB UP TOP FOR EVERYTHING ELSE
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