INDEX OF ALL 700+ POSTS➢ 2009 till now : Everything at Shapers of the 80s.
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MORE INTERESTING THAN MOST PEOPLE’S FANTASIES — THE SWINGING EIGHTIES 1978-1984They 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
An “invaluable website” — historian Dominic Sandbrook, 2012
A UNIQUE HISTORY➢ WELCOME to the Swinging 80s
➢ THE BLOG POSTS on this front page report topical updates
➢ ROLL OVER THE MENU AT TOP to go deeper into the past
➢ FOR NEWS & MONTH BY MONTH SEARCH, see the sidebar below
❏ 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
TOLD FOR THE FIRST TIME
◆ Who was who in Spandau’s break-out year of 1980? The Invisible Hand of Shapersofthe80s draws a selective timeline for The unprecedented rise and rise of Spandau Ballet –– Turn to our inside page
- ➤ Ross leaps out of the Ballet into the cauldron of grunge
- 2019 ➤ This would have been Steve Strange’s 60th birthday
- 2019 ➤ Another Spandau bombshell – Kemp Brothers drive out Ross their ‘perfect’ new singer
- ➤ Sullivan’s manifesto for the Rebel Rebel life
- 2019 ➤ For three nights only, Ziggy’s stylist Freddie stars in his own musical
- 1967 ➤ Secret of how Scott Walker achieved a new adult voice as he went solo
- ➤ Elms the storyteller on why some stories are ‘too good to check’
- 2019 ➤ Spandau vocalist Ross rocks fans by announcing his own new band Mercutio
- 2019 ➤ George Michael’s art for sale: funky, X-rated and naughty as you’d expect
- ➤ A personal tale about the genius staring out from a painting expected to sell for £30m tonight
- ➤ My own Rondo moment immortalised by Sullivan, the grand Wag of Soho
- ➤ Bowie TV trilogy triumphs thanks to candour and a few tears
SEARCH our 700 posts or ZOOM DOWN TO THE ARCHIVE INDEX
NEWS — OLD FACES, NEW MIXES FOR THE 20-TEENS
✱ Party Time! The current B-52s European tour takes in the UK 29-30 June and 2-3 July, and returns to the States 26 July until September
✱ Visit Radio2 online before 25 June to catch up on this sweeping three-hour musical panorama of what made the Swinging 80s so compelling a chapter in British youth cultural history. Stars among the guests on Martin Kemp’s New Romantics are veteran motormouths, the broadcaster Robert Elms and Wag club director Chris Sullivan, who remind us energetically why they are rightly key Shapers of the 80s. We hear other great stories from Blitz Club deejay Rusty Egan, Blitz Kid and clubbing legend Princess Julia, journalist Paul Simper, ex-Bananarama member Siobhan Fahey, deejays Mark Moore (S’Express/Mud Club) and Playground’s Fat Tony. High-octane playlist of 35 tunes demonstrates the innovative range of sounds that fuelled our dance-floor excesses. Abs no rock.
✱ The new track Dance In The Hurricane from Toyah Willcox’s album In The Court Of The Crimson Queen is out now… Toyah is performing live dates through summer to her Crimson Queen autumn tour – details at Toyah’s own website
✱ Watch out for ex-Wag Club supremo Chris Sullivan’s new book Rebel Rebel for £11. It runs to 320 pages with his own illustrations of the likes of Bowie, Iggy and Robert Mitchum. Cheapest bought from Waterstones
✱ Jeff Young on Jazz FM last year made the new 18-track Siren his album of the week. This January it won the Bright Star Music Award for Best Soul / R& B Album 2018, brainchild of Colourful Radio. It was superbly crafted by Londoner Robb Scott, with strong supporting lineup, for the Expansion label. Soul Brother Records says: “A collection of classy soul/jazz grooves on that has jazz at its heart but with some superb soulful brushstrokes applied.” Purchase directly from the artist’s store
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 new 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
LANDMARK FAREWELLS. . . HIT THE INDEX TAB UP TOP FOR EVERYTHING ELSE
✱ “I’m not a rock star” Bowie often said – No, David, you were a messiah – Obituaries and key videos on the godlike one
Archive — Many publication dates are arbitrary, so click and take pot luck!
Tag Archives: Pete Waterman
❚ RUMOUR CONFIRMED & NOW UPDATED – Thank heavens they had nowt to do with the 80s, though what talent Take That possessed did define Britain’s archetypal squeaky-clean boyband of the 90s . . . Robbie Williams – the youngest of them at 36 – is of course the daddy financially, worth £80m at No 28 in The Sunday Times Rich List of Top 50 Musicians, 2010. Songwriter Gary Barlow, 39, languishes at No 48 on a mere £30m.
Thursday’s Daily Mirror was first to nail the potential rewards. It claimed that a new album, plus merchandise and 50-date tour next summer promoted by their pals at SJM will net £6m apiece for both Williams and Barlow as main songwriters, with £4.2m each to the three dormice, Mark Owen, 38, Jason Orange, 40, and Howard Donald, 42. So it’s trebles all round.
However, by Friday July 16, The Sun’s Bizarre editor Gordon Smart was upping the ante: “If you thought the boys were rich now, next Christmas is going to see them served up with a whole new level of wealth.”
The five men stand to make £15m each from an album deal, arena tour, royalties and other projects which have been lined up. Smart reported in detail: “A music industry expert explained how reformed Take That are set for a mega payday. The band will trouser £5m each from record sales, royalties, TV rights and endorsements – plus another £10m from their tour, which will reach out to a world record 3m people. He said: ‘One sold-out stadium will gross £2m for the band. Costs will swallow £1m per show, but after fifty dates the lads will be left with at least £50m.’ ”
Despite the smiles in pictures and news video this week, the group’s body language is stiff and unconvincing, especially in the sofa shots. Fans have been noting the cursory hugs and lack of eye contact. Orange looks conspicously sidelined. Upmarket papers have done little more than regurgitate the already well-worn publicity guff. Only the tabloids offer any inside info. Although a Sun headline on Thursday claimed Williams is “officially back for good”, there has been no such supporting claim in its extensive live online coverage. On July 16 Smart stated unequivocally: “There are no plans beyond this tour and album.”
THEY SAID IT
Orange on Williams’s departure “When Robbie left I didn’t feel that much. For whatever reason, Robbie and I didn’t get on that well in the band”
Owen on Williams’s departure “I didn’t really think about it that much. I just know that I had two weeks to learn how to rap”
Williams on Barlow’s songwriting “I remember genuinely thinking he’s a genuinely crap songwriter”
Barlow on the success of Williams’s 1997 single Angels “I’ve never laid in bed wishing I was Robbie Williams, but I guess I lay in bed wishing I had his career”
Williams this week described the reunion as like “coming home” from a solo career that has lurched between brilliance and despair. He was speaking at a studio in West London where the new Take That were finishing the as yet unnamed CD, their first full album since the release of Nobody Else in 1995.
First, Barlow and Williams will release a jointly written duet, appropriately called Shame. The video for this song has a Brokeback Mountain theme, according to The Sun. The pair have been inseparable recently, and it pokes fun at the close and cathartic relationship they are said to have rekindled.
All five singers have written songs for the album, due out in November and produced by Stuart Price who is admired for his work with Madonna and Kylie. It is the first time the group has worked together since Williams walked out amid acrimony 15 years ago and went on to launch a successful solo career. The remaining members disbanded a year later but reformed in 2005. Williams went into rehab three years ago battling with addiction. Owen has also admitted to struggling with alcoholism in the past.
Manchester manager Nigel Martin Smith brought the lads together when most were in their late teens. He hoped to emulate the success of US boyband New Kids On The Block, but only when he added 16-year-old body-popping Robbie Williams from Stoke-on-Trent did the magic kick in.
During their five-year boyband career, Take That produced one of the decade’s bestselling albums in Everything Changes. Between them, Take That and Williams have sold more than 80m albums, played to more than 14.5m people live, won 19 Brit Awards and had 13 No1 albums, 17 No1 singles, eight MTV awards and five Ivor Novello awards.
Take That first sang live as a group 20 years ago on the cringemaking television show The Hit Man and Her which stands today as an authentic slice of provincial social history. Fronted by the now legendary record producer Pete Waterman (him) and TV presenter Michaela Strachan (her), the show was recorded on Saturdays at “a disco somewhere in the North of England” and broadcast early on Sunday mornings in the local Granada region, then again three hours later to the South-East where more liberal licensing laws meant clubbers got home that much later.
Over four years the show became compulsive viewing for its uninhibited antics by crowd members participating in dance-offs and other embarrassing party games. Resident dancers included a black exhibitionist called Clive who habitually wore little more than a blond wig – another was Jason Orange himself, a member of the Manchester-based crew, Street Machine.
➢➢ Take That’s second appearance on the Hit Man and Her in 1990 was this hideously uncoordinated effort at The Discothèque Royale in Manchester, performing Waiting Around which sounds as if it were written for the dreary Rick Astley, yet became the B-side for their first single, Do What U Like. Predictably, their first three singles went nowhere . . .