Tag Archives: Chris Sullivan

➤ 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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1980 ➤ Day Four of Terry Smith’s unseen photos inside the Blitz Club – exclusive

Nik & Trick Photo Services, Folkestone

A New Romantics keynote was your invented image: startling make-up and a towering hat complete Blitz superstar Peter Probert’s wicked witch of the west

➢ DAY FOUR:
CLICK HERE TO VISIT OUR
GALLERY OF TEN MORE FAB IMAGES
OF THE BLITZ CLUB IN 1980

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EVEN AMONG THE UK ROCK PRESS, few of its music historians have conceded that the New Romantics amounted to an ambitious subculture that changed the rules of the game – largely because the rockists completely missed the boat by idolising guitar idols, never went to nightclubs, and what’s more, couldn’t dance.

The most audible consequence of the clubbing underground was to fundamentally change the rhythm of the pop singles charts within a year – from the rock guitar to the bass-and-drum, namely, to dance music. After 1981 scarcely any significant new rock groups made the singles charts, only the old dinosaurs, if at all. Rock was relegated to the album chart and new dance-music stars such as Madonna and Prince transformed the pop music of the new decade.

The other New Romantics keynote was the central role of image with the dawn of MTV as a platform for music videos. A band became the leaders of fashion, while their style-conscious nightlife followers collaborated in promoting them through the clubbing grapevine. As synth-pop pioneers during 1980 Spandau Ballet pushed a button for the fashion-conscious young. They were signalling that the language of pop called for new styles as much as new sounds.

During the first five years of the decade, more than 100 “image bands” and acts entered the UK charts – most of them new, led in the South-East by Ultravox, Linx, Spandau Ballet, Visage, Landscape, Depeche Mode, Kid Creole, Blue Rondo a la Turk. Many more emerged from clubland across the UK: Duran Duran, Soft Cell, Heaven 17, Altered Images, Imagination, Eurythmics, Thomas Dolby, ABC.

During Spandau’s North American tour in November 1983, alongside their hit True among the Billboard Top 40 singles in the USA, there were 17 other British bands – more than the Swinging 60s ever knew. Insolence and narcissism lit a torch that led a generation of school-leavers through what threatened to be Britain’s dark age of unemployment. As clubs became workplaces and nightlife the essential engine of cultural evolution, they liberated music, design and, especially, ambition for the young.

➢ Previously at Shapers of the 80s:
Spandau Ballet create a new template for pop success

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➤ Day Three of Terry Smith’s unseen photos inside the Blitz Club – exclusive

Nik & Trick Photo Services, Folkestone

The two Welsh soul-boys, one straight, one gay, who shaped the future of 80s clubland: Chris Sullivan went on to run Soho’s Wag club for 19 years… And Steve Strange, whose Blitz legacy landed him and deejay Rusty Egan the mighty Camden Palace in 1982

➢ DAY THREE:
CLICK HERE TO VISIT OUR
GALLERY OF TEN FAB NEW IMAGES
OF THE BLITZ IN 1980

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◼ IN 1980 THE BLITZ CLUB ENTERED its second year: here was your invitation to the Swinging 80s, where daily life would never sound or feel the same again. Paris and New York had taken the cultural lead during the recessionary 70s; now London was to become the creative powerhouse as Britain rode out dark times and its youth culture leapt back into the world spotlight.

In February 1979, the axis of Steve Strange as Tuesday-night greeter and Rusty Egan as deejay had graduated from Billy’s in Soho to the Blitz in Covent Garden. This was a bar decorated with Second World War austerity that was thought to echo the down at heel 70s: bare floorboards, gingham tablecloths, hanging lights with dusty enamel shades, framed pictures of our wartime leader Churchill.

In the post-punk no-wave vacuum, the Blitz’s manager, Brendan Connolly, had been struggling to promote intimate cabaret, and the dressy crowd fostered at Billy’s were cabaret incarnate. Nevertheless it took a full year before the new spirit of optimism expressing itself through fashion caught the attention of the savvy media which in April 1980 included photographer Terry Smith shooting for TIME magazine.

Now in retirement, Terry has exhumed rolls of his film and chosen the best of his colour slides for Shapers of the 80s to publish exclusively. Earlier this week we unveiled 20 of his choice images inside the Blitz and today we showcase a further ten. More to follow on Tuesday.

➢ Previously at Shapers of the 80s:
Days 1 & 2 of Terry’s Blitz pix in colour

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➤ Day Two of Terry Smith’s unseen photos inside the Blitz Club, exclusively at Shapers of the 80s

Nik & Trick Photo Services, Folkestone

“Double, double, toil and trouble” . . . Mandy d’Wit, Judith Frankland and Darla-Jane Gilroy await the casting call in case Mr Bowie drops in at the Blitz

➢ DAY TWO:
CLICK HERE TO VISIT OUR
GALLERY OF TEN MORE FAB IMAGES
OF THE BLITZ IN COLOUR

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A SURPRISING NEW CACHE of photographs of the Blitz Club in colour has been discovered from the spring of 1980 when TIME magazine asked British photographer Terry Smith to turn his lens on the nightlife posers at Covent Garden’s Blitz Club. They were to become feted as the New Romantics.

Tuesdays at the Blitz were all ritual. Everyone supped and danced on the same spot every week according to some invisible floorplan: downstairs near the bar stood the boys in the band (no make-up), their media and management by the stairs, credible punk legends such as Siouxsie Sioux along the bar, suburban wannabes beside the dancefloor.

Deep within the club, around Rusty Egan’s deejay booth, were the dedicated dancing feet, the white-faced shock troops, the fashionista elite – either there or near the cloakroom, ruled first by Julia Fodor (still going strong as deejay Princess Julia) and later by George O’Dowd (known today as ex-jailbird Boy George). Downstairs, the women’s loo was hijacked, naturally, by boys who would be girls. Upstairs on the railway banquettes might be respected alumni from an earlier London: film-maker Derek Jarman, artists Brian Clarke and Kevin Whitney, designers Antony Price and Zandra Rhodes…

➢ Previously at Shapers of the 80s:
1980, Just don’t call us New Romantics

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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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