Tag Archives: Perry Haines

➤ Thanks, Steve, for my invitation to the Swinging 80s

Blitz Kids, New Romantics, Observer Music Magazine, Derek Ridgers,Spandau Ballet, Steve Dagger, Steve Strange, Tipping points,London, Media, Politics, Pop music, Swinging 80s,,

The Observer Music Magazine, Oct 4, 2009. Pictures © by Derek Ridgers

MARKING THE FOURTH ANNIVERSARY
OF STEVE STRANGE’S DEATH

WHEN MY PHONE RANG IN JANUARY 1980, little did I realise its message meant: “Put out the cat. You’re coming to the party of your life.” The voice on the other end spoke without pausing: “My name’s Steve Strange and I run a club called the Blitz on Tuesdays and I’m starting a cabaret night on Thursdays with a really great new band…. they combine synthesised dance music for the future with vocals akin to Sinatra, they’re called Spandau Ballet and they’re going to be really big. . .”

➢ Click through to continue reading Yours Truly’s eye-witness account of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer Music Magazine

➢ Elsewhere at Shapers of the 80s:
The Invisible Hand of Shapersofthe80s draws a selective
timeline for the break-out year of 1980

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➤ Princess Julia relives the day when 1980 went Boom!

 Daily Mirror, Blitz Kids, New Romantics

The Daily Mirror, 3 March 1980

◼ IT WAS MARCH 1980 WHEN the term Blitz Kids was first used to describe the “weird” and “whacky” young people making waves with their in-flight haircuts at the Tuesday club-night in London’s Blitz wine bar. The cutting here from the Daily Mirror says it all: in those days the left-wing tabloid sold 3.6million copies daily and was still taken seriously for its news coverage, while the Sun was just overtaking those sales figures with a distinctly down-market approach. Newspapers were a mass medium back then.

Using the lively wide-eyed language of the red-tops, Mirror feature writer Christena Appleyard put her finger on exactly those elements of individualism and waywardness that would later the same year see the Blitz Kids renamed the New Romantics. What she completely omits to mention is that four days later the house band of the Blitz, Spandau Ballet, were playing only their fourth live gig in London, at the trendy Scala cinema. In fact, she doesn’t even mention the band alongside Visage and Yellow Magic Orchestra as part of the club’s “electro diskow” synthesised soundtrack.

Appleyard was a savvy writer hearing only one part of a genesis story, yet her headline put the Blitz Kids on the media map and Boom! – this was lift-off for the careers and reputations of about 50 cool clubbers
in the short term, and a whole new look and sound for UK pop culture generally.

Julia Fodor is part of the founding mythology of the Blitz Kids, and tonight in London she was giving an illustrated “audience” to a select crowd in Hoxton. At The Glory pub she was reliving her teen years as mannequin de vie for PX, the New Romantic clothes shop, and as Blitz Club cloakroom girl, who later became a cultural commentator and international club deejay who at her height was being helicoptered into Paris to play at the posey Queen nightclub on the Champs Elysées.

New Romantics, fashion

PX moves into Endell Street in Feb 1980: New Romantic satin gowns, Fauntleroy collars – and Julia. Photographed © by Martin Brading

And Julia’s rise was the norm for those key Blitz Kids with ambition and attitude in 1980. Before that March you could count the media mentions of Steve Strange’s club night: three in the Evening Standard; a page in Tatler; a feature in New Society, the sociology weekly; and a feature about “chiconomy” in the March issue of 19, the teen magazine.

Then Boom! The Blitz Kids headline triggered a small rash of media outbreaks as two perceptive photographers visited the club to take pictures – Homer Sykes and Derek Ridgers – while student journalist Perry Haines featured his Blitz pals in the Evening Standard fashion pages. What put Spandau Ballet on the map, however, were reports in the Standard, the Daily Star and Record Mirror of their electrifying concert, complete with ornamental Blitz Kids dancing in the aisles to a whole new style of music-making – theatrical, romantic, fashion-conscious and danceable – that resulted in a second Scala concert being scheduled for May.

Reading about the Blitz phenomenon had intrigued a young researcher on Janet Street-Porter’s yoof documentary slot, 20th Century Box, at London Weekend Television which then commissioned the May replay for their cameras. In the meantime one alert talent scout at Chrysalis Records also wanted to hear the band’s music. The next few months saw the Blitz Kids start to gobble up column inches and enliven the odd TV strand, while the two coolest magazines of the decade, The Face and i-D, were launched specifically to report this burgeoning youth culture based on street style.

Spandau landed the first contract for a New Romantic band in October, while Visage released its first album in November after signing to Polydor, and the Romantic band-wagon was under way. By Christmas 1981 the sound of the UK pop charts had been transformed completely from rock guitars to bass and drum.

❏ Tonight and for two more Mondays, An Audience with Princess Julia celebrates London’s glorious counter-culture with extracts from her own memoirs supported by visuals by her friend, deejay and face about the club scene Jeffrey Hinton. Tonight Professor Iain Webb also participates, with bespoke accessoriser Judy Blame on Nov 16 and milliner Stephen Jones OBE on Nov 23 – all at The Glory, London E2 8AS.
➢ Tickets available only in advance via Ticketweb

JULIA RAMBLING DOWN MEMORY LANE TONIGHT

Blitz Kids, Ryan Lo, fashion, Princess Julia

Julia talks: adorned in a kind of Baby Jane pink ruffled nightie by Ryan Lo, from his SS16 collection, with cap of roses (inset, being snapped by Louie Banks)

Click any pic below to launch slideshow

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1980 ➤ As Spandau play in Heaven, all around we can hear the new sounds of 1981

Spreading the New Romantic message, including clothes by PX: Spandau Ballet play Heaven, Dec 29, 1980. Photographed © by Shapersofthe80s

❚ SIX WEEKS IN THE CHARTS with their debut single, To Cut a Long Story Short, on this day in 1980 Spandau Ballet play at Heaven, the biggest disco in London, and probably in Europe. Their average age is 20. A year after their unveiling at the Blitz club, this is still only the band’s tenth public date, and only their second concert since signing to Chrysalis in October. Their policy is to maintain an air of exclusivity, to thwart the backward rock press by playing admission-by-invitation dates in nightclubs rather than conventional rock venues, and to rely on stylish videos to stress the message that here was a new generation of new sounds and, equally important, new styles. Take it on trust that for the whole of 1980 Spandau Ballet had been the most achingly fashionable pop group on the planet, dressed by the designers of the moment. Significantly, as the first club band to win a record deal, they had been the only New Romantics to appear on Christmas Day’s year-ending edition of Top of The Pops, the BBC’s flagship music show. (Yes, Adam and the Ants also appeared, but he was “glam-punk”, important distinction, as Marco Pirroni confirms.)

On Dec 20, Visage, the Blitz club’s seven-piece studio line-up had entered the singles chart with Fade to Grey. The same week saw Le Kilt’s Christmas party, the new New Romantic club that had opened almost as soon as Steve Strange’s clubnights at the Blitz had ceased. Le Kilt’s co-host Chris Sullivan had murmured something about putting together a band he called Blue Rondo à La Turk. Not to be outdone, i-D’s cub editor Perry Haines had mentioned not only a band he was managing, Alix Sharkey’s Stimulin, but tonight in Heaven he now talks of his involvement with Duran Duran, the Rum Runner house band we’d all run into at Spandau’s November show in Birmingham.

Depeche Mode, Daniel Miller, Dreaming of Me, synthpop

Basildon’s finest: Depeche Mode recorded their first single, Dreaming of Me, in December 1980, after a verbal contract with Daniel Miller’s synth-driven label Mute

Here too is Daniel Miller, an anarchic electronic musician with his own label called Mute and a recording studio in an old church where he had set up all his synthesisers. Only last night he’d been watching Depeche Mode, an unsigned teenage band from Essex, playing the Bridge House pub in east London where they were regulars — he’d heard them play their technopop tune Dreaming of Me, helped them record it and they’d all agreed it would make a great first single.

All round us in UK clubland platoons of amazingly young bands making dance music were lining up to storm the charts in the New Year. By the spring, Spandau Ballet was staging the first Blitz invasion of America with a live concert plus fashion show by a gang of Blitz Kids whose average age was 21. During 1981 the group decided against a tour as being “too rocky”, and played only 10 live dates in the whole year — OK, plus a fortnight at the Ku club in Ibiza that summer, which counted as one booking. While the movement took root, staying cool seemed to suit the style of the times.

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1980 ➤ Birth of the New Romantics and the band who made it hip to play pop

The Observer Music Magazine. Pictures © by Derek Ridgers

The Observer Music Magazine, Oct 4, 2009. Pictures © by Derek Ridgers

A music and fashion movement evolved from a small club in London in 1980. It went on to dominate the international landscape of pop and put more British acts in the US Billboard charts than the 1960s ever achieved.
Today in 2009, one insider recalls how Steve Strange and Spandau Ballet revitalised UK club culture…
➢➢ Click here to read my major analysis
at the Observer Music Magazine

2009 ➤ How three wizards met at the same crossroad in time

◼ THE REACTIONS TO MY ARTICLE LINKED ABOVE have been mildly shocking since it was published in OMM, the respected music magazine of the world’s oldest Sunday newspaper, The Observer. It appeared in October, a week before Spandau Ballet, the newly-reunited house-band of the 80s Blitz Club, embarked in their UK tour and it tells the story of their genesis as one aspect of a fertile youth movement that rejuvenated all of British pop music for the 1980s.

Why am I surprised that people have been surprised to discover the concerted power wielded by the so-called Blitz Kids in 1980 and after?

“The impact of that article within the music industry has been unbelievable,” said one major mover in the business.

“I didn’t know any of that!” declared a newspaper executive I respect, who was a young music fan in the Eighties. He amazed me.

“That article is the first in any national newspaper to tell the story as it really happened,” said one former Blitz Kid.

“This will become the official history from now on,” said another.

All of which prompts two instant responses. First, that many decisionmakers in and commentators on today’s music biz weren’t even born in 1980 – fair enough, fact of life. Second, apart from a handful of life stories written by the popstars involved, the rock historians who missed the boat when the New Romantics movement set sail remain in denial that anything changed in 1980. These sad old punks churn out their chronicles of rock oblivious to the fact that the new pop music of the 1980s became credible and cool and changed the UK singles chart for ever to the rhythms of dance. The point is the people who write the history books were usually looking the other way.

An ugly truth is that precious little innovation emerged from the rock scene of the 80s. After we give due recognition to newcomers such as The Clash, U2, REM and Elvis Costello, the decade’s bestselling rock albums came from stalwarts such as Springsteen, Gabriel, Reed and Mellencamp. Whereas pop being pop, it is the many new names from Prince downwards who gave the decade its myriad new sounds. Sympathy, then, to the young ex-music journalist who admits: “The 80s has been a somewhat historical black hole — most of the literature is for the 60s and 70s in all its forms.”

Dagger, Egan , Sullivan, Blitz Kids

Three who made a difference: Dagger, Egan and Sullivan

So the core contributions of three prime movers behind the new 80s pop — Steve Dagger, Rusty Egan and Chris Sullivan — go ignored by those historians forever in search of the next guitar hero, because this chapter was about nightclubbing and dance music, not about worshipping rock gods in a stadium.

As the youngest manager with a band in the charts, it is no exaggeration to say Dagger, at 23, initiated the overdue reform of the whole moribund record industry. As a clubland deejay, also 23, Egan looked to European electronica to refresh the music Britain danced to (distinctly different beats from the undoubtedly influential post-disco advances then emanating from New York and Chicago). And as a living beacon of inspiration, Sullivan — whose mantra “One look lasts a day” will be his epitaph — was at 20 one of those rare polymaths to whose feet you could trace the roots of many aspects of 80s youth culture, not least the pervasive influence of Soho’s Wag club which he named in his own image, and co-directed and hosted for 19 years with an emphasis on black music.

◼ WHAT’S SPOOKY IS THAT THESE THREE WIZARDS met at the same crossroad in time. What’s important to stress is that they did not act alone. Some people may feel it unfair to name them as leaders of the movement, though I have no hesitation doing so. Dagger, Egan and Sullivan were crucial agents of change — pathfinders who stuck out their necks by daring to do things differently. Without their vigour, diligence, compulsion and good musical taste, the UK’s dire pop scene in 1979 would never have started shifting. Yet they are the first to admit what everybody around them at the time knows: they could not have impacted on the zeitgeist as they did without the dazzling constellation of movers and shakers who orbited the Blitz Club in London’s Covent Garden. Nor should we understate the roles of Perry Haines and Robert Elms who in their early incarnations as cub-reporters were energetic at promoting the Now Crowd’s activities both in the new publications that sprang up as well as in mainstream media.

Andy Polaris, charismatic singer with Animal Nightlife, remarked that my Observer survey overlooked significant episodes beyond the Blitz, and the many “true style queens” who stirred the creative clubland mix, and he gave special credit to “Pinkie, Melissa, the lovely Luciana, Myra (ex-flatmate), Scarlett, Wendy, and Claire with the hair”. He was absolutely right, but he accepted later that because a music magazine had commissioned my 4,000-word slice of history, it was required to emphasise the progress of Spandau as the breakthrough clubland band.

The Observer, OMM

The Observer OMM Oct 4, 2009

Sullivan himself today deflects credit for his own waggish role in actively reshaping clubland: “If you run a club you’re only as good as the person who comes through the door. Whatever your inspiration, you always need the following. In the 80s, a lot of people made a success out of being themselves and the world would be a boring place without them.”

Shapersofthe80s will redress the balance by telling fuller aspects of the history as the weeks go by. It’s central to this website’s credo that sheer youthfulness and significant collaboration were the unprecedented hallmarks of the New Romantics juggernaut. Just as the Swinging Sixties were shaped by perhaps 30 bright sparks in Chelsea, so the Swinging Eighties were shaped by 30 or 40 energised individuals in and around the Blitz.

These post-punk hedonists represent a final cohort of Baby Boomers as the postwar birth-rate peaked in the UK, before it began to plummet for a decade and sociologists drew the demarcation line announcing Generation X (somewhat later than in the US). The cohort born between 1958 and 1964 (proponents of the Generation Jones thesis choose the bracket 1955 to 1967) shared the liberal boomer instincts for reassessing contemporary values, but as they finished their education the ravages of economic crisis during the 1970s threatened any expectations of entitlement and galvanised them to pursue self-sufficiency on their own terms.

As the Blitz Kids shook off teenage doubt, 1980 saw an outburst of all those talents that the following Generation X would have to live up to — leadership, adaptability, negotiating skills, focus. And as children of the age of mass TV, these can-doers excelled especially in visual awareness. There certainly hasn’t been anything like such a determined manifestation of youth culture since 1980, when the future looked daunting and the young had every right to demand a new deal.

◼ EVERYTHING ABOUT 1980 WAS EXCEPTIONAL. Britain was plummeting into recession in a far scarier world than today’s. Right now, Britain’s future looks dismal because the financial crash of 2007–8 will impose years of sacrifice and economic decline which no political party can prevent. That much is certain. In 1980 the future was unfathomable. A writer who is a former colleague of mine said of the Observer article that she didn’t recognise my political interpretation of the 80s. I’d say that in itself is indicative. Such was the turmoil pervading the entire political spectrum, that the nation’s fortunes looked dramatically different depending where you stood.

Despite the Conservative election landslide of 1979 that put Margaret Thatcher in power, unemployment was soaring and the political climate stank with public disillusion while Labour extremists saddled their strife-torn party with an unelectable leader to force splits within its ranks. Britain was a year away from a mighty rending of national fabric. When the Labour Party fell apart, it came as a shock to MPs from all parties to see angry moderates leave to launch a new Social Democratic Party (SDP), so named because they wanted to model it on the social democracy of the European Union. An SDP Alliance with the Liberal Party not surprisingly scored by-election successes.

The Observer, OMM

The Observer OMM Oct 4, 2009

The Cold War between the West and the Soviet Union escalated with the Soviet invasion of Afghanistan, and Iran became an unknown quantity following the fall of the Shah. British suspicion of the US was exacerbated when the UK government agreed to its establishing ground-launched Cruise missile bases within spitting distance of London, thus magnifying its potential as a target for Russia. Then, even as the IRA intensified its bombing offensive in Northern Ireland, the Conservative government went to war with Argentina.

Very British Coup, Defence of the Realm, Edge of DarknessTelevision and cinema documented the paranoia of the age in a series of unnervingly intelligent “what-if” political dramas. (It’s well worth catching up with A Very British Coup, Defence of the Realm, Hidden Agenda, House of Cards and Edge of Darkness, which is widely regarded as the best British TV drama ever, currently being remade with Mel Gibson.)

At a more parish-pump level, Britain’s three-tier class war was alive and rampant, as Jilly Cooper’s book titled Class showed by becoming a runaway bestseller in 1979. Even our liberal-minded editor at the Evening Standard, Charles Wintour — a guiding hand behind the new SDP — was wont to ask when hiring staff for the Londoner’s Diary: “Which set do you move with?” Which “set” you aligned yourself with in society deeply coloured your view of the Thatcher years, which became characterised by unfeeling gentrification and the destruction of organised working-class power bases.

◼ ALLEGIANCES BURST SPECTACULARLY INTO LIFE on the Guardian newspaper’s website this year, 2009. In response to news of Spandau Ballet’s reunion on March 25, a blogger expressed his loathing of the band as the embodiment of “Thatcherism on vinyl” which promptly precipitated 345 comments. Yes, 345 !!! Can anybody recall another pop group provoking such outrage among the Guardian’s politically engaged readership?

One reader nicknamed Georges Bataille injected a note of reason among those 345 comments. He made a pertinent case for the UK’s North-South divide providing a barometer of the politics of pop… a more traditional Red Flag Old Labour legacy in the once-industrial North of England, and a softer more mainstream pinkishness from the Red Wedge bands of the South. (It still comes as news to many fans that three of the Spandau Ballet boys’ fathers were committed trade-unionists, and the band members and many in its entourage were Labour voters.)

I’d argue that in the 1980s, much more so than in today’s politically indifferent climate, where you came from both geographically and culturally made a huge difference to how the forces of lacerating social change impinged on you. The “set” you moved with tended to subscribe to a unique mindset and tensions weren’t far from the surface. Jingoism over the Falklands war split the young from the old. Republicans agitated for an end to the monarchy. For the first time in generations, Britain witnessed rioting on its streets over issues such as race, unionisation and taxation.

◼ BACK AT THE METROPOLITAN PAPER where I worked, its revered editor made the unforgivable decision to spike the first discussion of the Blitz scene I submitted for publication in 1980. His handwritten verdict on my copy was: “Rather too esoteric for us.” A few months later I tried again with a broader survey of the private worlds of young Londoners. This time the deputy editor flew off the handle. “You’re making this up!” he stormed. I protested that he lived just down the trendy King’s Road, about half a mile from the influential clothes shop, Acme Attractions, so he must have noticed these weird young fashionistas. His reply: “I’m pleased to say I haven’t walked down the King’s Road in 20 years.” Fortunately, by this stage Wintour had seen the light and he agreed to publish, albeit an abridged version of what I had written. Dagger, Egan, Sullivan and friends were well along the road to making history.

Ollie O'Donnell, Perry Haines,Robert Elms, Blitz

London’s young dynamos in waiting: seen at the Blitz in 1980, Ollie O’Donnell, Jon “Mole” Baker, Robert Elms and Jo Hargreaves. Photograph courtesy of http://www.homersykes.com

➢ Elsewhere at Shapersofthe80s: 108 acts who set the style for the new music of the 1980s

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1980 ➤ One week in the private worlds of the new young

Evening Standard, Oct 16, 1980

First published in the Evening Standard, 16 October 1980

THE CYNICS may have written off London as dead in 1980 but somewhere under the skin a dozen small worlds are struggling to prove our swinging capital is not yet finished. Each private world has its own star system and its own code of conduct. Some steer a scenic route through the maze of being young, broke and having energy to spare

Judi Frankland in one of the clerical cassocks from her degree show summer of 1980, pictured by Derek Ridgers. Style commentator Perry Haines, by Simon Brown

◼ LAST THURSDAY was as typical as any. At about the time 5,000 fans from Disco World were leaving The Crusaders concert at the Royal Albert Hall, 1980’s new London underground was coming to life. On the door of a Covent Garden club called Hell, Chris Sullivan, in monocle and Basque beret, and Judi Frankland, in the home-made clerical cassock that she’d worn in Bowie’s video for his chart topping Ashes to Ashes, were posing for an Italian magazine photographer. Inside, playing box-office and wearing his own modish Stephen Jones hat and all too visible makeup, sat the ubiquitous Steve Strange, 21, Hell being the twice-weekly off-shoot of his much reported Tuesdays at the nearby Blitz club. For him, he said, dressing up is a way of life. “I don’t do it to get attention.” . . . / Continued on our inside page

➢ Read on inside Shapers of the 80s:
A rich slice of London life in 1980 – one week, a dozen prodigies setting the town ablaze, none of them over 22

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