Bowie’s new look for 1976 when he became The Man Who Fell to Earth, here in a Haywain shirt. Photographed by Steve Schapiro and published on the cover of the Sunday Times Magazine
David Robert Jones 8 January 1947 – 10 January 2016
Every January, two dates stir the souls of Bowie fans: the 8th being his birthday and the 10th the day he died. On the seventh anniversary of his death, Eighties Blitz Kid and pop singer ANDY POLARIS recalls the dramatic influence Bowie had on his early teens in the way that his fan base would also be galvanized by his art to inspire their own creative dreams. This extract comes from a much longer piece at his own website Apolarisview.wordpress.com … Andy writes:
“ Much has been written about Bowie’s Starman performance in 1972. I had begun a fascination with his image a little earlier after the Melody Maker interview, thanks to an older teenager who also had the album, Hunky Dory.
I began to spend the little pocket money I had on buying all the magazines and music papers that featured him, especially on the cover. Fab 208, PopSwop, Music Star, Music Scene and Jackie thankfully were relatively cheap and I began my scrapbook collection. Ziggy Stardust with his bold make-up and glamorous wardrobe (courtesy of Freddie Burretti and Kansai Yamamoto) was unlike anything seen before and blurred the line between sexes. This beautiful creature offered a world of possibilities to this youth already bored with football and the teenybop fandom that dominated our era. Clothes, style, identity – normal teenage rites of passage – all took on a greater importance over the next few years but now helped define a more alternative journey.
Seeking out Bowie’s references in lyrics opened a new door to imagination. His creative output eased my inner void of loneliness and probably kick-started my interest in science-fiction. Humdrum suburbia was replaced by the magical worlds of Alfred Bester, Philip K Dick, George Orwell and Robert Heinlein to a soundtrack of Ziggy Stardust, Aladdin Sane and Diamond Dogs.
Scissors, Pritt Stick or Gloy Gum and a large desk were my 1970s iPad, and all that were needed, as I lovingly read and then pasted articles onto A4 note paper into a hard grey binder. This became a ritual that continued for my teenage life. I never liked to create collages because I hated cutting up articles too much and words were equally important. What Bowie was saying or what people were saying about him seemed as important as the visuals. That shape-shifting style (musically and visually) meant I never got bored and felt that I evolved along with him, my anticipation becoming almost tangible with news of a new release or a TV appearance… ”
Good times in the Eighties: Olly Alexander fronts the It’s A Sin gang. (Channel 4)
As It’s a Sin is premiered on Channel 4 amid great expectations, Eighties singer Andy Polaris reviews the exuberant five-part TV series. Here’s an extract…
“ ❚ The much-feted writer Russell T Davies broke barriers with the pioneering British TV series Queer As Folk in 1999 and more recently with Cucumber, both lively depictions of gay life in contemporary Britain. Now comes It’s A Sin which focuses on a diverse group of gay friends mostly escaping from the familiar claustrophobia of suburban life (mostly closeted) and attracted to that well-trodden lure of big-city life. We are off to see the wizard, but this time we’re thrown back to 1981, the year of the first recorded British death from Aids at Brompton Hospital in London.
Ritchie (popstar Olly Alexander) is a gauche, attractive, closeted twink leaving home to study law in London, and his send-off from the Isle of Wight is a multi-pack of condoms from his bigoted dad (Shaun Dooley) as they both stress “It’s different on the mainland”. Roscoe (Omari Douglas) is a flamboyant young Nigerian whose strict religious parents are so fraught over his sexual orientation that he bolts defiantly before an intervention. Colin (Callum Scott Howells) leaves the Welsh valleys to lodge with a family and start his apprenticeship with a Savile Row tailor.
It’s A Sin: Lydia West as Jill emerges as the anchor for her hedonistic friends. (Channel 4)
Soon the group become fast friends with Ash (Nathaniel Curtis) becoming Ritchie’s first lover. We follow the group with Ritchie as lynchpin while his horizons broaden along with the thriving bar scene. Casual sex becomes addictive and flashes past in a blaze of encounters against a soundtrack of the hideous but popular Hooked on Classics.
A scene where Ritchie’s pals party at Heaven, the biggest, brand new gay club, was a baptism by sexual freedom for gay men in a pre-internet landscape including myself and friends. (My group Animal Nightlife played early concerts there along with Culture Club, Spandau Ballet and Musical Youth). The scene was blossoming through a whole network of bars and clubs. Safe sex had not yet been advocated, neither had the government’s “Don’t Die of Ignorance” leaflet campaign. It seemed to be abstain or die. Aids awareness was bad for business. As the Eighties proceed in the TV drama each gay character has to deal with the possibility of an early and lonely death if the dreaded health-test proved positive… ” / Continued at Apolarisview
Gay activist as Aids casts its shadow: Olly Alexander as Ritchie in It’s A Sin
GAY TIMES has teamed up with Channel 4 for a series of video conversations between cast members from tonight’s new series It’s A Sin and artists and activists who lived through the decade, offering social and political context to the themes explored in this LGBTQ+ drama from Russell T Davies. . .
Comparing notes: Omari Douglas and Andy Polaris in conversation for Gay Times
❏ “People forget how homophobic and racist it was in the 80s. People would actually say to you bluntly ‘You’re going to die of Aids – this is going to happen to you.” So says Andy Polaris – Eighties pop-singer with Animal Nightlife – to Omari Douglas, star of It’s A Sin. Omari plays a character called Roscoe who is forced to leave home when he’s 17 and his family finds out he is gay. The character quickly finds his tribe and a new group of friends who support each other during the decade that revealed the horrors of a new deadly virus. ➢ Click to watch Omari and Andy’s conversation at Gay Times
Hedonism in Heaven: Olly Alexander on the dancefloor in It’s A Sin
Russell T Davies has given us iconic television shows such as Queer As Folk, Years & Years, Banana, Cucumber, A Very English Scandal, and more. Set during the 80s, his new queer drama It’s A Sin has a soundtrack (guided inevitably by Murray Gold) that evokes the youth, vibrancy and gay sensibility of the era – big electronic anthems that have stood the test of time and changed the musical landscape.
Asked for an iconic tune that he loved, singer-actor Olly Alexander chose for his ambitious and complex character who leads the show Hungry Like The Wolf by Duran Duran. Omari chose Respectable by Mel and Kim, saying: “I just went through a phase of being completely obsessed with them.”
❚ It’s A Sin starts today 22 January at 9pm on Channel 4, with all episodes available immediately after on All 4.
TRAILER PLUS DISCUSSION
❏ At YouTube, the BFI organised a 40-minute panel discussion on It’s A Sin, hosted by comedian Matt Lucas with guests Russell T Davies, exec producer Nicola Shindler, director Peter Hoar, Channel 4 head of drama Caroline Hollick, and from the cast Olly Alexander, Keeley Hawes, Omari Douglas, Callum Scott Howells, Lydia West and Nathaniel Curtis. The trailer for the series precedes the discussion.
❚ TODAY WAS THE DAY in 1980 when London’s now fabled Blitz Club was blessed by a visit from David Bowie. He came with a purpose – to whisk away four of the most outlandish Blitz Kids to strut with his pierrot through the video for his new number, Ashes to Ashes, from an imminent new album. It earned each of them £50, helped Bowie to No 1 in the singles chart the following month and boosted demand for black ankle-length robes among trendsetters.
Ashes To Ashes video 1980: Blitz Kids as chorus to Major Tom
Every Tuesday for 16 months, king of the posers Steve Strange had been declaring a “private party” in the cheap-and-cheerful Blitz wine bar near Covent Garden, along with his co-host Rusty Egan who was pioneering Elektro-Diskow dance music as deejay. Your Look was everything and outrage ensured entry. Inside, precocious 19-year-olds presented an eye-stopping collage, preening away in wondrous ensembles, in-flight haircuts and emphatic make-up that made you feel normality was a sin. Hammer Horror met Rank starlet. These were Bowie’s offspring, individualists who had taken him at his word to be “heroes just for one day”, living amusing lives, creating disposable identities, and wearing looks not uniforms. Now, on this day, their god came among them with the very serious mission of paying homage to some of his bizarre principal characters and moving himself on into the next phase of his life… Unwittingly the Blitz Kids would become his little helpers.
Bowie at the Blitz Club 1980: Russ Williams, John Lockwood and Andy Bulled papped by Tommy Crowley
Memories of Tuesday 1 July vary. The 21-year-old Steve Strange found himself requesting extra security to stem what the soon-to-become pop singer Andy Polaris also records in his diary as a “minor riot”. In contrast, the coolest heroes in the club refused to pander to the great star and merely contemplated their drinks.
Strange writes in his autobiography, Blitzed: “We had no prior warning, and [Bowie] arrived with two other people and his PA [Corinne] ‘Coco’ [Schwab], whom I didn’t think was very nice.” The guests whose names Strange forgot were, according to the Polaris diary, singer Karen O’Connor (daughter of comedian Des) and painter-photographer Edward Bell, who designed the cover artwork for the imminent Scary Monsters album and singles.
Strange’s book claims: “We managed to sneak them into the club the back way to avoid a fuss and usher him upstairs to a private area. David himself was charming and asked if I would join him upstairs for a drink when I had finished on the door. I wanted to go straight away, but, annoyingly, I had to do my job first and stay at the door.”
The book continues: “Word soon spread like wildfire that David Bowie was there. He was probably the reason most people at the club had got into pop music in the first place. He had changed his look and his sound so many times, there were more than enough images to go round. The alien from Low and The Man Who Fell To Earth, Aladdin Sane, Diamond Dogs, Ziggy Stardust. He was the one person that everyone there would cite as an influence, even more important than punk.
Bowie’s chorus near Hastings, July 1980: Polaroid snapped by a crew member on the beach during filming of Ashes to Ashes with Blitz Kids Steve Strange, Darla-Jane Gilroy, Judi Frankland and Elise Brazier keeping warm in a mackintosh between takes. When they got back to London, they all went clubbing at Hell
“He said it was a great scene and asked me if I would like to appear in the video for his next single, Ashes To Ashes. He also asked me if I could suggest a make-up artist for him, and I recommended Richard Sharah, the man who did my make-up. He said: ‘I’d like it left to you to pick the clothes you are going to wear, and to choose three other extras for the video.’ This was the most important moment of my life. I rushed around and found Judith Frankland, Darla-Jane Gilroy and another girl [Elise Brazier] for the video.” Here, as with so much of his flaky book, Strange’s memory leaves the rails. Other witnesses suggest subtle variations to his account…
Ashes To Ashes video 1980: Darla-Jane Gilroy with Bowie between takes
Ashes To Ashes video 1980: Blitz Kids as mourners at a sacrificial pyre
Enter the next witness, Ravensbourne graduate Judith Frankland, designer of Steve Strange’s Fade to Grey outfit and of two gowns worn in the Ashes video which were inspired, she says, by the nuns in The Sound of Music and coincidentally had been unveiled in her sensational degree collection “Romantic Monasticism” at the Café Royal during June. She says: “In a wonderful twist of fate, Steve was resplendent in my black wedding outfit that night and was chosen straight away. He was asked to select people he felt could be right. Bowie did see George O’Dowd but as I remember he was wearing his big leather jacket look that night, so he was out. I was invited as was Darla up to the table where David and Coco were sitting and offered a glass of champagne. Darla and I were both dressed in a similar ecclesiastic style, Darla in her own black outfit with white collar, and we were also asked to take part for what at that time was a decent sum of money for penniless, decadent students.
“We were told Coco would call us the following day with the details. I woke the next day thinking I’d dreamt it and you know I guarded that communal pay phone on the landing like a rottweiler until she did: be outside the Hilton the next morning, Thursday, she said, at some ungodly hour, fully dressed and made up the same way I had been at the Blitz, and to get the coach to a secret location.
“When we arrived at the beach near Hastings [not Southend, as Strange reports], the crew was set up and David Bowie greeted us dressed in the pierrot outfit he would be wearing. He coached us for a few minutes on the words we were to mime and then the day was spent in what we Lancastrians call sinking sand, sloppy sand, and the further out we got on the beach the messier and sloppier and muddier it was. I wore flats which was a wise choice. Then we were up and down that field with the bulldozer and every time we had to do a take it had to back up and the field got muddier. The bulldozer wasn’t that close but if he’d stepped on the gas we would all have been gonners.
“We were finally told we had all ‘done well’ and set off in the coach straight from the shoot to Hell [Strange’s Thursday club-night with a sacrilegious flavour] – well, home first to get freshened up. Steve dropped off his very muddy wedding dress and Hell was a rowdier night than usual. Steve brought one of the labourers from the bulldozer site with him and dressed him up in a Modern Classics suit. The poor guy was disturbed by it all, to say the least.
“We’d also been asked to go to the Ewart Studios in Wandsworth that weekend to shoot another scene – the kitchen with Major Tom in the chair and us providing the chorus. This involved an explosion behind us four as we faced the camera. We were told to duck out and run after we had mimed our lines or we could be hurt. This was difficult in a hobble dress, so I hoisted it up as high as I could and got ready to run. Quite a sight for the superstar sat behind me! Health and Safety would be all over that now.
“May I add that at the studios David Bowie joined us mere mortals in the canteen. Yummy. What a nice man he was, well he was to me, very kind and patient with us all.”
London’s Cafe Royal, 1980: Judith Frankland’s graduation show climaxed with a wedding dress in black and white taffeta, brocade, velvet and satin. All crowned by Stephen Jones’s veiled head-dress. As worn by Blitz Club host Steve Strange in the Ashes to Ashes video. (Niall McInerney’s slides scanned by Shapersofthe80s)
CRUCIAL MOTIFS DECODED
St Martin’s Alternative Fashion Show in May 1980: Stephen Linard’s “Neon Gothic” collection modelled by his most stylish friends, Myra, George O’Dowd and Michele Clapton, with Lee Sheldrick in white as a space-age pope
❏ Co-directed by Bowie and David Mallet, location scenes for Ashes to Ashes were filmed on 3 July 1980 at Pett Level, a stony beach on marshlands about six miles east of Hastings in East Sussex, known to Mallet since he was a boy. The drama of waves splashing against a towering cliff excited him. The video was the most expensive music video made to that date, costing £35,000 (about £151,000 in today’s money). The whole dreamscape was enhanced with effects from the then novel Quantel Paintbox to create a visual enigma, echoing a distant past, yet suggesting “nostalgia for the future” in Bowie’s own words.
At the time Bowie dropped in on the Blitz, the fashion mood had darkened for post-punk no-wavers. Black was back in gothic style without that word being applied, mostly. One exception was Stephen Linard who stole the annual Alternative Fashion Show in his second year at St Martin’s with his “Neon Gothic” collection in May 1980, when the event was coordinated by Perry Haines. Fellow Blitz Kids modelled a stylish collision of Space 1999 meets liturgical gothic, strutting to the Human League’s newest release, Empire State Human. Among them, Lee Sheldrick, the gifted eminence gris behind so many other students’ creations, had also shaved his head bald to become the embodiment of Nosferatu the Vampyre. The following week Steve Strange teamed up with fellow Welsh soul-boy and Camberwell student Chris Sullivan to open a no-holds-barred club-night at Hell with the invitation “to burn in Hell – demoniacal dress is desired”. Bowie knew what he was looking for.
One of Bowie’s long-standing collaborators, Natasha Korniloff, designed his pierrot costume for the video and Gretchen Fenston his hat, while he gave Richard Sharah a free hand to design the make-up. On the night of Bowie’s visit to the Blitz, Steve Strange and Judi Frankland were sporting her graduation garments, Strange in the black wedding dress crowned with a Stephen Jones head-dress and veil made of stiffened lace on a metal frame. Judi recalls: “The wedding dress was the reason Steve and I got close. He called me up wanting to buy pieces of the collection. He also bought a jacket he wore on the cover of Fade to Grey and gave me a credit on the sleeve. That dress, all sand, sea and mud, ended up in the bottom of Steve’s wardrobe. It had a stand-up collar that was caked in his makeup. Never wore it again though he got some money off the video people to get it cleaned. The veil also got squashed in his wardrobe.”
Darla-Jane Gilroy wore an ecclesiastical black velvet dress designed and made by herself, silk grosgrain coat and white collar with crucifix, plus a Stephen Jones hat. Elise Brazier personified a ballerina in a party frock plus tantaliser in her hair. This and another hat came from Fiona Dealey and Richard Ostell. All would soon be finding fame in the fashion business, with Elise becoming one of Premier’s leading models.
Stephen Linard: sporting a wooden cross by Dinny Hall and the rabbinical outfit that caught Bowie’s eye in July 1980
Stephen Linard supplies his own footnote to that great Tuesday at the Blitz. “Bowie actually sat at the bar next to my sister Bev, with me on the other side of her and I told her “Don’t look. Be cool.” So of course she looked, she was only 17. So did I. I was only 21. I was in all my Jewish rabbinical gear and Bowie’s PA Coco asked if I would be in the Ashes to Ashes video, but they wanted us up at the crack of dawn and were only offering £50! Anyway, I was on a warning at St Martin’s over attendance, so I had to say No.”
Steve Strange has the last word: “It seemed like a very long day for a three-minute film. I was delighted when I was handed my wages of £50 by a member of the production team. I didn’t tell them, but I would have paid them to have appeared in a video with David Bowie.”
Storyboard for Ashes to Ashes, 1980: The opening scene of pierrot on the beach sketched by Bowie to guide his co-director David Mallet
BOWIE’S OWN VISION WITHIN THE ASHES
❏ Bowie’s brief to David Mallet for the video was simply: “A clown on a beach with a bonfire.” Yet you can be sure Freud would have a field-day turning over every mortal motif in Ashes to Ashes, which was originally titled People Are Turning to Gold… Bowie storyboarded the visuals himself (“actually drew it frame for frame,” he said) to include the pierrot of his Lindsay Kemp era, the number of “Madmen” in his own family symbolically in a padded cell, his first hit Major Tom the spaceman now in an exploding kitchen with his own Greek chorus, the images of mourners round a funeral pyre, the JCB bulldozer (that Bowie had spotted parked up near the beach and hired on impulse) to signify “oncoming violence” and seemingly pushing along the Blitz Kids in the pierrot’s wake like a funeral procession pulsating with a mother’s invocation “to get things done…” Not to mention the song’s title itself, derived from the burial service in the English Book of Common Prayer which commends: “earth to earth, ashes to ashes, dust to dust”.
All of which suggested a surreal sweeping away of the past, capped by the unleashing of the dove as an emblem of ritual cleansing, and so paving a way for the future. In September 1980, Bowie revealed his thinking to NME: “The sub-text of Ashes To Ashes is quite obviously the nursery rhyme appeal of it and for me it’s a story of corruption. When I originally wrote about Major Tom I thought I knew all about the great American dream and where it started and where it should stop. [Now] the whole process that got him up there had decayed and he wishes to return to the nice, round womb, the earth, from whence he started. It really is an ode to childhood, if you like, a popular nursery rhyme.”
Years later, Bowie told author Nicholas Pegg that with Ashes to Ashes he was “wrapping up the Seventies really” for himself, which “seemed a good enough epitaph”. On Bowie’s death his lifelong friend George Underwood called him an emotional, passionate person: “He had created this fierce storm, but he was the only one in it.” Take your pick.
Beyond director Claire Lawrie, centre: with some of her garrulous cast answering questions after a screening at Central Saint Martins college last year. Andy Polaris in red. (Photo by Shapersofthe80s)
❚ AFTER A STREAM OF EXCLUSIVE SCREENINGS for a poignant and edgy short documentary about growing up black and queer in Seventies Britain, everyone can now view it online. Titled Beyond “There is always a black issue Dear”, the 34-minute film explores black LGBT identities and the ways in which they have influenced the collective history of London’s alternative club, fashion, fine art, dance and music scenes. The cast of ten are long-standing friends of director/photographer Claire Lawrie who helps tell their personal stories when these fans of soul and disco, punks and Blitz Kids found each other’s company in underground clubs.
Over the past year Claire has won a fistful of film-festival awards and, prompted by the coronavirus lockdown, she has posted the full version online, and repeat viewings reward with deeper appreciation.
Photo that inspired the movie Beyond – Click pic to view the film in another window
“To me it’s important now that people
realise that black people were there,
because a lot of the time they
tried to paint us out” – Andy Polaris
Onetime Blitz Kid Andy Polaris is part of the project and he recalls its origins in this extract from his own website Apolarisview. . .
“ A 2013 exhibition at the V&A museum in London titled Club to Catwalk was instrumental in bringing the collective creative talent of Eighties fashion stalwarts and club luminaries together for a preview party that summer. It was a splendid event, one of the last memorable social events with such a vibrant successful crowd. Among the assembled were Judy Blame, Princess Julia, Andrew Logan, Zandra Rhodes, Body Map, Antony Price, Chris Sullivan and it was the last time I saw Steve Strange (who along with Rusty Egan) had brought us all together at the Blitz Club in 1979.
The visual artist Claire Lawrie was at the V&A and pondered on the omission from the exhibition of gay black talent whose influence had permeated Eighties club culture. Although Jeffrey Hinton’s brilliant cave of projected nightlife photography did feature some of us, Lawrie echoed some of her friends’ frustration that their experience was not reflected in the exhibition. She set about organising an open-call photograph to celebrate a contingent of black talent and arranged for the gathering to be filmed by her friends, Emile Kelly and Kim Mnguni. This was the genesis of something deeper and her award-winning documentary, Beyond “There is always a black issue Dear”, emerged from that event with her as director.
Click any pic of the Beyond interviewees to enlarge all in a slideshow:
Lanah Pellay: “Everybody needs to know how to come to their own physical defence when required. I’ve always had an iron fist behind the limp wrist. I wasn’t just a Black Belt in mouth.”
Frank Akinsete: “There wasn’t representation in media as there is nowadays in TV adverts or in papers of people of colour. It didn’t exist.”
Kenny Campbell in i-D magazine. Beside him, Andy Polaris: “It was a really racist time in the Seventies. You had to be very careful if you were wearing freaky clothes in the street. You were risking your life.”
Winn Austin: “When you find people who are like you, easy to be around and cool, it’s like a gang. Kinky Gerlinky became like a once-a-month movie premiere.”
Les Child: “We all went to Crackers. The dancing was phenomenal – hot and steamy, kicking ass in the afternoon. Beyond.”
Robb Scott: “I was the only black kid in my school year and that in the Seventies was a horrendous thing to be. When Roots came out I was called Kunta Kinte for a year.”
Continued: “ Over the next year Claire arranged interviews with ten of the candidates who were filmed on a shoestring. Contributions of archive footage were given by a long list of talented artists, people who, over the years had collaborated with and who wanted to show their respect and love for the cast. These included Pam Hogg, Dick Jewell, Dave Swindells and Nicola Tyson as well as John Maybury, Derek Ridgers, BodyMap, Devon Buchanon and Rankin.
The film adjusts the colour settings of the standard view of black creative lives when telling the story about club culture and its impact in the UK. Featuring ten black queer voices from the diaspora, born in the late Fifties and Sixties in the UK, Guyana and New York, the documentary delves into personal stories of discovery and eventual self-acceptance, looking back at struggles with identity and family and the wider world. The cast features stylist Frank Akinsete, transgender model Winn Austin, international model Roy Brown, make-up artist Kenny Campbell, choreographer Les Child, clubland pioneer Kenrick Davis and his mother Velma “Vee” Davis, nightclub host Nicky Green, gender-fluid performer Lanah Pellay, composer Robb Scott and myself as an original Blitz Kid turned pop singer.
Roy Brown in 1985: poster boy for the Barbican’s recent exhibition on Masculinities. (Photo: Rotimi Fani-Kayode)
In the mid-Seventies and Eighties the UK’s attitudes to both race and gay issues were particularly brutal, endorsed by the anti-gay policies of Thatcher’s government and tabloid sensationalism regarding anything queer, especially later with the arrival of the Aids epidemic. The Seventies were marred by stereotypes of both marginalised groups, joining the sexist and misogynistic tropes in light entertainment and films which set the tone for how the world viewed us and how we viewed ourselves.
This lack of representation and role models forced us to create our own image during our teens, which in some cases was defiantly camp. Instead of allowing bullies to mock us, we accentuated certain behaviour, not just as a direct challenge to the heteronormative majority but against the conservative oppression in society.
Music and fashion were an escape from small-mindedness and even as early teens we were exploring alternatives and the fashionable disco and punk clubs were our laboratories of choice. . . ” / Continued at Apolarisview
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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
“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
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❏ 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 2022
✱ Deejay legend Robbie Vincent returned to JazzFM on Sundays 1-3pm in 2021… Catch Robbie’s JazzFM August Bank Holiday 2020 session thanks to AhhhhhSoul with four hours of “nothing but essential rhythms of soul, jazz and funk”.
SEARCH our 800 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
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