Tag Archives: Blitz Kids

➤ 45 years of soothing egos and arresting our attention by portraitist Ridgers

Derek Ridgers Photographs, book, launch, party, pop-up exhibition,Sherrone,

“My favourite mid-80s muse”: Derek Ridgers signs his book for singer Sherrone from the 1988 band Savajazz

◼ DEREK RIDGERS BLAMES PUNK for turning him from a self-confessed pop fan who photographed performers into a considered photographer in 1976. “Almost overnight,” he writes, “the audience became more photogenic than the bands.” He didn’t stop shooting Jagger, Clapton, Richards, Ringo, Diana Ross, James Brown, the Pet Shops, Johnny Depp and their showbiz pals who are of necessity brazen exhibitionists. But this softly spoken London-born art-school graduate did then develop the knack of persuading life’s everyday misfits, clubland weirdos and sexual eccentrics to pose for uninhibited and seductive portraits that came to sum up the essence of their individuality.

Ridgers says his latest book, with its understated one-word title Photographs, is “my masterwork – my best photographs from the last 45 years”. In large-format hardback, exquisitely printed so that the ink provides the sheen on otherwise matte paper, its 240 pages capture an astonishing spectrum of moods and lifestyles.

Come to the party: click any pic below to enlarge all in a slideshow

As an outsider looking in, his photographer’s eye sets out to find people whose appearance is uniquely striking or simply different, yet his instinct is to bring about “a moment of stillness and quiet contemplation” before his camera. By contrast, his book’s printed pages set unfamous showoffs (starting with cover-girl Michelle Carr) in competition with international celebrity egotists. This can create witty juxtapositions of subject yet there’s not an ounce of banality or cynicism. The most powerful images nail the internalised apprehension of the homeless and of some Quite Important People too: study the faces of Peter Cook, Don McCullin and Dennis Hopper; and unknowns such as the Deadhead, the Skin women, Sofia Staks and assorted skinheads.

As Ridgers tactfully navigates all extremes of id and ego, you’re likely to be surprised by how so many individual portraits, such as those of NWA and Snoop Dogg and even Kylie, arrest your attention, as the tragic Tuinol Barry’s has done in earlier books, and likewise Babs, the skinhead girl spotted in Soho in 1987. Ridgers says now of Babs, who had been through a children’s home: “We hardly spoke. Somehow I think we had a connection – even if it was only for 1/125th of a second. We were probably both outsiders.”

Across these varied social camps, note how few people smile at the Ridgers camera: across all these camps, the next page can reveal a real tear-jerker.

More partying: click any pic below to enlarge all in a slideshow

A FOUR-DAY POP-UP EXHIBITION

The Old Truman Brewery, London E1 6QR, is displaying selected images from the Ridgers book, curated by Faye Dowling to include an archive of original magazines such as i-D and The Face. It is open from 5 to 7 October, and our slideshows record an amazingly retro book launch party when faces from Derek’s past caught up with him. Derek Ridgers Photographs is published at £34.95 by Carpet Bombing Culture

➢ In one of Ridgers’ best interviews yet, this week’s Huckmag asks: What’s changed? – “About the only thing that’s changed during my lifetime is that there are different platforms now, mainly the internet. Once upon a time, when you bought a new outfit, you couldn’t wait to get out and show yourself off in it. Nowadays you never have to leave the house; you have Instagram.”

➢ This week’s London Live TV interview

➢ Previously at Shapers of the 80s: Ridgers casts an honest spotlight on the birth of punk

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➤ Still more unseen pix from the 1980 Blitz Club up for sale next week

ONE WEEK UNTIL YET MORE unseen Blitz Club pix by Terry Smith – this time in black and white – go on show at the Lucy Bell Fine Art gallery in St Leonards, Sussex. All for sale, various sizes, contact Lucy (pictured here) about the 7 June PV.

Blitz Club, Blitz Kids, Terry Smith, New Romantics, clubbing, Swinging 80s, fashion, history, journalism, nightlife, photography, Lucy Bell Fine Art,,
➢ Previously at Shapers of the 80s:
Days 1 + 2 of Terry Smith’s unseen Blitz Club pix in colour

➢ Previously at Shapers of the 80s:
Days 3 + 4 of Terry Smith’s unseen Blitz Club pix . . . plus the resulting Time magazine feature in September 1980

➢ Visit the Lucy Bell Fine Art gallery website

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➤ V&A celebrates Steve Strange as the poser who put the pazazz into 80s nightlife

Blitz Kids, New Romantics, fashion, pop music, Swinging 80s, archive, nightlife, Steve Strange, Keith Lodwick, lunchtime lecture, V&A museum,

Giving this week’s V&A Lunchtime Lecture, May 2018: Curator Keith Lodwick in full flow. . . On-screen, Bowie’s Pierrot costume displayed in the V&A’s 2013 exhibition Bowie Is, with Steve Strange and other Blitz Kids pictured in Bowie’s Ashes to Ashes video in 1980

80S POP-STAR FRIENDS OF STEVE STRANGE turned out this week for a unique event at the V&A, the UK’s premier museum of art and design. The weekly Lunchtime Lecture was titled Steve Strange: From Blitz Club to Top of the Pops, and was delivered by Keith Lodwick, curator of Theatre and Screen Arts, to an audience that included singer Clare Grogan, ABC’s Martin Fry and his wife Julie, Jennie Matthias from The Belle Stars and Fifi Russell from Yip Yip Coyote. Steve’s mother Gillian Harrington and his sister Tanya had travelled from Wales with PR Amanda Lloyd to attend the occasion with other family members.

The talk traced Strange’s flamboyant life from Wigan Casino, through glam-rock and punk, to hosting a landmark club-night at Billy’s jointly with deejay Rusty Egan, then another at the Blitz in 1979–80. This was the club-night that Band Aid organiser Midge Ure has described as “the beating heart of the electronic dance music that led the 1980s.”

Strange said of his strict admissions policy on the door: “I wanted creative-minded pioneers who looked like a walking piece of art.” Indeed, the club became Strange’s own catwalk for sporting outrageous outfits by both the leading designers of the day and London’s budding fashion students. Lodwick said: “He once told a journalist ‘I am on stage 24 hours a day’. Steve, who died in 2015, remains one of the enduring figures of the New Romantic period.”

Click any pic below to view larger in a slideshow

Lodwick reminded us of the pop pantheon Strange was joining at the museum when he extended “a huge thank-you to Gill, Tanya and Amanda for being a link in the chain that enabled the V&A to acquire Steve’s archive and costumes two years ago. The family donated mainly clothes from the 2000s – including designs by Vivienne Westwood and Alexander McQueen. Steve’s costumes join those worn by Sandie Shaw, the Beatles, Mick Jagger, Marc Bolan, Jimmy Page, Elton John and Adam Ant.”

We watched two video clips which underlined Strange’s obsession with image-making: the music video for his band Visage’s hit Fade to Grey in which he is transformed into a snake; and a documentary in which milliner Stephen Jones suggests that berets he made for both Strange and for the Princess of Wales coupled them “as a fashion force together”.

Lodwick concluded: “Steve’s legacy will live on for being central to re-energising the club scene in London – pushing forward electronic music, fashion, photography and pop.”

➢ Elsewhere at Shapersofthe80s: Strange days, strange nights – first report on the Blitz from Yours Truly in 1980

➢ Elsewhere at Shapersofthe80s:
2015, Original Blitz Kids say farewell to Steve Strange – read exclusive tributes to the King of the Posers

➢ Read the story of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer, by Yours Truly

Blitz Kids, New Romantics, fashion, pop music, Swinging 80s, archive, nightlife, Steve Strange, Keith Lodwick, lunchtime lecture, V&A museum,

At this week’s V&A talk: Some of the women in Steve Strange’s life. . . From the left, sister Tanya Harrington, Monica Towner, Rachelle Boyle, Eve Ferrett, Kimbo at centre next to Steve’s mum Gill, Jennie (Belle Stars) Matthias (almost hidden at back), Wendy Tiger, Alison Graham, Amanda Lloyd far right

➢ Talks, lectures, conversations and pop-up events at the V&A

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2018 ➤ Vogue promotes pot-stirring Linard as inspiration for its Met Gala creatives

fashion, Blitz Kids, St Martin’s Alternative Show, Stephen Linard, Neon Gothic collection , Stephen Jones, Myra Falconer , Michele Clapton

Stephen Linard’s 1980 Neon Gothic collection modelled by Myra Falconer and Michele Clapton: one wears a lace hat, the other a skullcap, both by Stephen Jones. (Photo by Graham Smith)

New York’s Met Gala 2018 signifies the highly anticipated grand opening of the Costume Institute’s annual fashion exhibition Heavenly Bodies, which opens on May 10. At Vogue online this week Laird Borrelli-Persson recalls how a Blitz Kid’s 1980 collection anticipated Heavenly Bodies by 38 years:

“ FASHION’S BIGGEST NIGHT OUT” is the Met Gala. As a pinnacle of iconic style, this annual fundraising benefit for the Metropolitan Museum of Art in New York City, welcomes celebrity stars, young creatives, and industry paragons alike.

The British designer Stephen Linard deserves credit for many innovations in fashion and its presentation that we take for granted in 2018. One of the Blitz Kids whose dandyish ways had an outsize impact on 1980s style, his early work was distinguished not only by irreverence, but also by a strong sense of narrative. Linard’s 1981 St Martin’s graduation show, Reluctant Emigrés, was a smash success. “The clothes were instantly covetable, thoroughly masculine in an entirely new way, and electrifying in the way that only the truly innovative can be,” historians Alan J Flux and Daryl F Mallett have noted.

The collection Linard presented a year earlier at St Martin’s unofficial Alternative Show was a pot-stirring presentation titled Neon Gothic – clothes with an ecclesiastic twist. Captured in the image above are models Myra Falconer, who shared a squat with Linard, and Michele Clapton, now an Emmy Award-winning costume designer. Their jewellery, upside-down crosses and menorahs of black-painted wood, was made by a friend of Clapton’s. The headpieces are by Stephen Jones, who graduated ahead of Linard, and has stayed in the spotlight. Linard recalls the audience reaction: “Everyone stood up and gave it a standing ovation and my models wouldn’t get off the catwalk… / Continued at Vogue online

fashion, Stephen Linard, Blitz Kids, St Martin’s,degree show, Reluctant Emigrés,menswear

Linard’s 1981 degree show Reluctant Emigrés: classically tailored menswear with eccentric twists. . . Traditional pinstripe trousers had contrast patches at the derrière, solid dark waistcoat fronts and shadowy organza backs. Striped city shirts had curious underarm patches, and all were concealed beneath swirling black greatcoats. And modelled by his masculine pals among the Blitz Kids. (Photo: Shapersofthe80s)


➢ Elsewhere at Shapers of the 80s: The year the Blitz Kids took their first steps into the headlines

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2018 ➤ Spooky or what? When two bands went by the name of Spandau Ballet

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Above: Two bands who played in London as Spandau Ballet…
SBv1 originated the name and here play their final gig at the
Hope & Anchor in 1979 with singer Mark Robinson, drummer
Gordon Bowman, bass guitarist David Wardill, (guitarist Mick Austin
off-camera) . . . SBv2, here in their previous incarnation as Gentry,
playing Camden School for Girls in December 1978, with Tony Hadley
on vocals and the chart-topping True five years in the future

DID YOU KNOW LONDON HAD TWO POP GROUPS called Spandau Ballet in 1979? The one who became famous adopted their name from the one who didn’t. A jaw-dropping new history of the New Romantics scene, unauthorised and meticulously researched by David Barrat, a long-time music fan, is published this week titled New Romantics Who Never Were: The Untold Story of Spandau Ballet.

Barrat has gathered a mind-boggling compilation of spooky coincidences and things we never knew before in his 117,000-word paperback, self-published today on his own imprint Orsam Books. Here is no mere fan, but an obsessive one who has made himself the Mastermind champion in the two themes identified in his tongue-twisting title: Who exactly were the New Romantics of the early 1980s, who many of us believe drove one of the most transformational youth cultures of Britain’s postwar years? Barrat discusses how this term came to characterise the style-leaders of British clubland when they unanimously rejected it themselves.

His second theme is the true genesis story of the Spandau Ballet five-piece from Islington who set out with a cunning plan to weave a tapestry of fictions around their launch as electro-synth popsters in 1979. At the outset the band were coolly vague about their origins and you’d have to be a fan with Barrat’s persistence to piece together spasmodic revelations during the succeeding decades. Spandau subsequently became global superstars in that momentous decade when image-conscious new British bands invaded the American pop charts, then quarrelled as pop groups do and arrived in the High Court in 1996 rowing over royalty payments. Individual members remained belligerent for years.

➢ Buy David Barrat’s
New Romantics book here

Whether or not you care for Spandau and the 80s music scene, Barrat’s forensic approach to reassessing this creative landscape is utterly hypnotic and unlike anything you’ve read by the hacks of the rock press. He has spent years in deep Holmesian research delving into official records, newspaper cuttings, TV interviews and first-hand interviews. The result is gripping, original and epic. For instance: revealing all about another band sharing exactly the same distinctive name a matter of months before Tony Hadley stepped onto the stage at the Blitz Club! Here is a well-informed juggernaut delivering into our laps mighty fact upon tiny fact, laid out for inspection and challenge. Barrat’s intent is resolute: to convince us he knows his stuff, and has purged the popular version of events of mutability.

David Barrat contacted me a few years back in order to check dates and events against my own detailed diaries and his aggregation of facts and assumptions is mostly hard to fault. His book now pays extraordinary and generous tribute to this website, Shapers of the 80s, and to myself as a former features editor of the Evening Standard who helped others recognise the potency of the youthquake erupting in 1980.

SO WHO WERE THE OTHER BAND?

❑ The musicians originally called Spandau Ballet (hereafter called SBv1) were four lads who met in 1978 during their teens in Bedfordshire: guitarist Mick Austin, singer Mark Robinson, drummer Michael Harvey and punky bass guitarist David Wardill. They agonised for ages over a band name and Austin remembers a “eureka” moment using the Dadaist method of juggling words on random scraps of paper. They arrived at the darkly Germanic first word (originally with an incorrect umlaut over the U in Spandaü) and paired it with “the softer, romantic” word Ballet. The package was deemed “nicely decadent”, a debut gig was planned for 30 August 1978 and accordingly Robinson designed a poster for it, which we see below. Wardill declared his ambition: “We were going to go to London and become rock stars.”

So how on earth did their oddball band name transfer itself to a five-piece from Islington? The reader’s mind boggles at the number of spooky coincidences that Barrat’s book uncovers. Wardill had fallen in love with journalism graduate Deanne Pearson who rented a flat at 32 Sibley Grove in East Ham so in October 1978 he moved in and members of SBv1 often came to crash on the floor. Coincidentally – this flat was shared with the yet-to-become seminal Blitz Kids – while freshers at St Martin’s School of Art – Kim Bowen, Lee Sheldrick and others, who migrated in the spring to Battersea’s Ralph West student hostel, along with graphics student Graham Smith and future Wag club director Chris Sullivan.

Click any pic below to view complete images

In her forthcoming autobiography Kim relates how, in mid-1979, accompanied by “a trio of self-described Nelly Queens”, she penetrated an empty Georgian house in Fitzrovia to establish the legendary squat in Warren Street, a leisurely walk away from St Martin’s. “Within weeks the creme de la creme of young London was living there,” Kim writes, and her bold manuscript spares no detail. This stylish property became the hub of social life for the Blitz Kids who were meeting every Tuesday at the Covent Garden Blitz Club since Steve Strange’s Neon Nights had begun that February. As milliner Stephen Jones’s mannequin de vie, the wild and startlingly elegant Kim elevated herself to Queen of the Blitz. Many of the Kids’ high-style antics were documented by Graham Smith while he – coincidentally – became the official photographer of the second Spandau Ballet (SBv2) who announced their name only for their first public concert on 5 December that year. (Smith’s lavish photo-book We Can Be Heroes was published in 2011 and remains an unbeatable record of both style and excess).

In October 1978, the Beds boys SBv1 had started working as busboys as well as rehearsing at The Venue, Virgin’s new club in Victoria where they immortalised their band’s name by spraying it in green paint on the toilet walls and on other public walls elsewhere in central London. Amid all the ancient myths about where SBv2 found their name, the band’s early propagandist and future broadcaster Bob Elms has said he first spotted the phrase Spandau Ballet as graffiti variously on prison walls or toilet walls in the Spandau district during a soulboy group trip to Berlin in summer 1979.

Coincidentally – however, during an interview way back in 1984 one prominent Blitz Kid told me the graffiti had been very visible on the toilet wall of The Hope, a favourite pub in Tottenham Street, not far from the Warren Street squat. “Some boys from north-east London were using that name in a school-type band.” Also coincidentally – along the same block as The Hope stood the trendy new Scala cinema, whose programmer then was 22-year-old Stephen Woolley (today a major player in the British film industry), who was a contemporary of SBv2 manager Steve Dagger and their stage designer Simon Withers, all of whom attended Dame Alice Owen’s school in Islington and grew up there with the other members of SBv2 – Gary and Martin Kemp, Tony Hadley, John Keeble and Steve Norman.

This fabulous cascade of coincidences throws up at least SIX PRIME SUSPECTS in The Ballet Great Mystery: Who really fed the name Spandau Ballet through to the Islington band SBv2, who through 1978–79 were known as the power-pop combo, Gentry? Barrat’s new book draws its own conclusion.

PS: EVEN MORE SPOOKILY ON MY DOORSTEP. . .

pop music,

David Wardill: bass guitarist who joined The Passions in 1980

❑ Scroll forward a few years from the birth of SBv2. . . After my day-jobs in journalism, I taught an adult evening class in Creative Writing for 16 years in west London, after which it was traditional for the more entertaining students to continue the evening at a nearby pub. Among several who became long-standing friends was – coincidentally – the same David Wardill of SBv1 (also visible in the video below). His musical background meant we had lots to discuss in 1989, including his earlier life in East Ham with Kim Bowen and Lee Sheldrick.

David and I drifted apart but had a sudden email reunion while I was building this website in 2009. He told me that soon after completing the writing class he sent a story to the BBC which turned up two years later as a film from BBC Birmingham. These days he was a father and teaching art in a secondary school.

As for SBv2, he admitted: “I never really cared much that they had borrowed our band’s name, as I didn’t see much chance of us wanting it back.” SBv1 ground to a standstill in May 1979 and David soon joined another band called The Passions who enjoyed airplay by Radio 1’s influential deejay John Peel and eventually made it to Top of The Pops in 1981 with their song on Polydor, I’m in Love with a German Film Star, which reached No 25. (CoincidentallySBv2 arrived at No 17 with Musclebound in the same edition of TOTP and are announced at the end of the clip below. Oo, er.)

David added: “The Passions reunited recently for a day at a studio in Shepherd’s Bush. That laid a lot of ghosts to rest. Our main song has been covered by the Foo Fighters and Pet Shop Boys. Strange how the past hangs around, although I find the continued interest gratifying, as well as financially useful.” Spoken like a star.

❑ And here today we still have not given away the truly spookiest coincidence among those that Barrat reveals about SBv1 & v2 when their paths almost crossed – it’s a goose-pimples moment that stops you in your tracks. More reflections on this vital addition to our bookshelves will follow here at Shapers of the 80s as we read on…

➢ Previously at Shapers of the 80s: Just don’t call us New Romantics
➢ Previously at Shapers of the 80s: Who’s Who in the Pits – Harry Cool’s Guide to the New Glitterati

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