Tag Archives: Starman

➤ “I’m not a rock star” Bowie often said – No, David, you were a messiah

David Bowie, death, obituaries, tributes, rock music, Man Who Fell to Earth, media, videos, films,

A humanoid alien comes to Earth with a mission… What a spooky coincidence that David Bowie played the alien Thomas Jerome Newton in the 1976 film The Man Who Fell to Earth

David Bowie, death, obituaries, tributes, rock music, TheTimes, UK, newspapers

Today’s Times: the masks and the man behind them

◼ ALL 10 BRITISH NATIONAL NEWSPAPERS filled their front pages today with the death of David Bowie at 69 – and so did scores of newspapers overseas. The last pop star whose death justified such deification was Jacko in 2009; and the last British pop star to do likewise was John Lennon, in 1980. The Times of London dedicated 18 pages including an outer broadsheet wrapper to honouring Bowie, plus an editorial comment as blessing. The Guardian topped that with 20 pages, plus the most enlightened editorial comment of them all. Not only did this misfit megastar and cultural icon radiate consummate flair as a performer but he displayed “an instinctive affinity with his times”. He had a “way with the zeitgeist”.

All media, notably social media, captured the dominant sentiment of generations of fans suddenly plunged into mourning. Again and again they claimed: He changed my life. . . He taught me how to be myself. . . David was my inspiration. . . David was my tutor. And most could quote their own favourite song lyric expressing their faith: Oh no, love – you’re not alone. . . Don’t tell them to grow up and out of it. . . It’s only for ever, not long at all. . . All you’ve got to do is win. . . We can be heroes just for one day.

David Bowie, death, obituaries, tributes, rock music, front pages,media, newspapers

Blanket coverage: Bowie on all UK front pages… Image updated 14 Jan to include news magazines

➢ ‘THE WORLD HAS LOST AN ORIGINAL’ DECLAREs THE GUARDIAN – MORE OBITUARIES AND KEY VIDEOS INSIDE AT SHAPERS OF THE 80S

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➤ Burretti movie adds an epic and essential chapter to the Bowie story

Starman, Freddie Burretti, film, biopic, Lee Scriven, David Bowie, Man Who Sewed The World, glam rock, fashion

Connected by “otherness”: In a scoop for the film Starman, Bowie himself gave this unseen 1973 picture of Freddie Burretti wearing his own design for a lush crimson suit to launch the Aladdin Sane album. Both photographs by Masayoshi Sukita

Click to zoom down to Andy Polaris’s film review

◼ BETWEEN 1970 AND 1974 FREDDIE BURRETTI not only became David Bowie’s intimate teenage playmate but gave visual expression to the singer’s pop ambition. When they met Bowie was 23 and married to Angie while former Mod face Freddie, with his 28-inch waist and voluptuous long-hair, was as sexy as many another 19-year-old in that moment when David Johansen, Marc Bolan and Bowie were creating what became known as glam rock. But Freddie and David clicked instinctively in what Bowie calls their “otherness”, much of which derived from their sexuality. David’s career rebirth as an alien on Planet Earth was a masterstroke of pop invention and it was Burretti who created the exotic and brazenly sexual one-piece style of costuming in lush fabrics that we associate with Ziggy Stardust.

A new documentary biopic was previewed in London last night and not only breathes fresh life into familiar Bowie music but pieces together a unique chapter about his personal relationships against the austere climate of Britain in the 70s. Director Lee Scriven captures on film a score of eye-witness accounts, chief among them Freddie’s brother Stephen, his special friend and flatmate Wendy Kirby, his younger It-girl protégée Daniella Parmar, and biographer Kevin Cann.

Freddie Burretti , David Bowie, fashion,

Burretti stripes 1973: Bowie photographed on the Aberdeen express by Mick Rock

Titled Starman: Freddie Burretti – The Man Who Sewed The World, the biopic’s impact is cumulative. Burretti described himself as “just a dress designer” – raised in Hackney, transplanted at 14 to Bletchley in the home counties, then escaping at 18 back to London to live the life – yet by the time the on-screen talking heads arrive at GQ editor Dylan Jones, it becomes clear that a body of opinion today ranks Burretti alongside giants such as Zandra Rhodes, Vivienne Westwood and even Alexander McQueen, whose design talent blossomed more than a decade later.

Indeed, Burretti’s “stylish, yet slightly whimsical approach to tailoring” and the enduring influence of his adventurous cutting in several suits of the moment during 1973–74 is thoroughly acknowledged in the V&A catalogue to its touring exhibition, David Bowie Is. The singer’s blurring of the line between stage wear and day wear persuades an impressive list of high-fashion designers to admit their debt to him, including Riccardo Tisci at Givenchy whose SS2010 show opened with a black-and-white striped blazer in a blatant tribute to the one Bowie was famously photographed wearing on an intercity train in May 1973.

Bowie told Fan magazine in 1974: “Freddie is extremely patient. He just listens to my ideas and has this sort of telepathy, because whatever I think of in my mind he produces for real. I just hope he’ll continue to design incredible clothes for me.”

❏ Up until now very few pictures of Freddie Burretti were known to the public – even the cover of the sex education magazine Curious shown below surfaced in only 2010 with Cann’s chronology of Bowie’s early life, Any Day Now. As the gay liberation movement was gathering momentum in Britain, we see Bowie wearing a floral “man-dress” designed by Savile Row tailor Mr Fish, known for putting Mick Jagger in a frock for the Stones’ 1969 Hyde Park concert. Bowie had two Mr Fish dresses which he wore in 1970 in cover photographs for the album The Man Who Sold the World.

With Starman, Scriven’s company LJS films has scored a major coup. The publicity photo you see up top has never been published before and was given to the project by Bowie himself, showing off Freddie’s good looks, with grey highlights in the hair. Today you’ll come across very few pictures of the gorgeous suit in rich crimson-and-blue velvet with flared crimson trousers created for the launch of the Aladdin Sane album. Its first outing was Bowie’s interview on the Russell Harty TV chat show recorded on 17 January 1973, and in an associated live clip singing Drive-In Saturday.

Uniquely, what Starman has done is to collage together Burretti and Bowie in the crimson suit to simulate a sumptuous set of photos taken that February by Masayoshi Sukita against the glistening art deco interior of Radio City Music Hall in New York. Scriven said: “I have been told Freddie would arrive at studio shoots in advance with the clothes and help the photographer by standing in as a model so he or she could set up the lighting etc ready for Mr Bowie.” Some of the shots play with his mirrored reflection and the collage cleverly echoes the originals.

In the UK an NME headline revealed the new persona, “Goodbye Ziggy, Big Hello to Aladdin”, while at Radio City on 14–15 February Bowie and the Spiders were launching their US tour. One poor black-and-white photograph suggests he might well have been wearing the crimson suit as he helicoptered onto the Music Hall stage. In this 90-minute show Bowie transitioned through the hit songs of Ziggy Stardust to introduce Aladdin Sane and all but one track from the new album – all this, remember, before his official and unexpected “retirement of Ziggy” announcement in London that July. Included in Freddie’s £1,000 invoice for costumes supplied to the tour, Cann’s meticulous book records “Red Check Suit 40 guineas” (about £500 today).

The tragedy is that the Burretti-Bowie partnership ended the next year, over a “financial disagreement”, according to Cann’s book. Immediately, Burretti slipped out of the public eye.

THE NIGHT DAVID MET FREDDIE

, Freddie Burretti, David Bowie, glam rock, man-dress,gay issues,

Curious magazine, 1971: Bowie wears his Michael Fish “man-dress” and plans to create a band called The Arnold Corns to showcase Freddie as “the next Mick Jagger”. In the studio, it turned out that Freddie couldn’t sing

❏ Their relationship had begun in 1970 in Kensington’s fashionable gay disco Yours Or Mine beneath the Sombrero restaurant. The Bowies were regulars, and one night David spotted Freddie cutting a dash on the up-lit dancefloor. Angie Bowie crossed the room to ask him and Wendy to join them for a drink.

In an interview with 5years.com Angie said in 2000: “You have no idea how handsome this man was. Freddie was wearing white Spandex hotpants with a navy blue sailors trim and a sailor shirt with short sleeves out of the same white Spandex edged in navy on the collar and sleeves. He looked totally Scandinavian with high cheek-bones and lots of blond hair, but he was tall and had big hands and feet speaking of his artistry and physical stamina. Every night he made new clothes to wear. He was so brilliant.”

At last night’s screening flatmate Wendy also remembered that day: “Angie approached us and asked us to have a drink. We hesitated and that’s what’s missing from the film – our sheer arrogance. We nearly said no!” She added: “Watching the film was quite strange. No one imagines their youth will be portrayed on screen and it was a little unsettling. I think the film was an affectionate glimpse of a time long gone. I didn’t appreciate at the time how talented Freddie really was. Lee’s film brought home how exceptional his work was. I’m proud to have known the man who was ‘just Freddie’ to me.”

Was Bowie’s gay phase in truth a marketing stance, as some argue? In his 2011 biography Starman, Paul Trynka reports American actor Tony Zanetta saying: “He was bisexual, but what he really was, was a narcissist – boys or girls, it was all the same. He was attracted to the gay subculture because he loved its flamboyance. Sometimes it was just an expression of communication – sometimes it was a way of. . . assimilating someone.” Bowie knew exactly what he was doing.

❏ Read on for a review of the film by Andy Polaris, ex-Blitz Kid and 80s pop singer who regards Bowie as one of rock’s serious gods.

➢ Starman director Lee Scriven’s website

“man-dress” , Wendy Kirby, Freddie Burretti, David Bowie, fashion,

Angie and David at home to Freddie in Haddon Hall: the host wears his Michael Fish designed “man-dress” that was banned from his American album cover for The Man Who Sold the World

➢ Previously at Shapersofthe80s: 2011, I danced in Bowie’s lost Jean Genie video, by Wendy Kirby

➢ Previously at Shapersofthe80s: 2010, A feast of Bowie-ana served in waffeur-thin slices by Kevin Cann

Last night’s preview: click any pic below to launch slideshow

➢ Previously at Shapersofthe80s:
1970, Where to draw a line between glitter and glam

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ANDY POLARIS REVIEWS STARMAN THE MOVIE

Freddie Burretti, Daniella Parmar, fashion,Ziggy Stardust

Bowie’s designer Freddie and It-girl Daniella in about 1971: striking a pose that David and Angie came to emulate

Andy Polaris, singer

Andy Polaris

❏ Starman: The Man Who Sewed The World gives a fascinating insight into the relatively unknown life of fashion future legend Freddie Burretti. This working-class lad had a creative mind able to absorb everything he loved about Mod fashion, having taught himself to make his own clothes at an early age. With enough dedication and focus to learn tailoring as well as the youthful dynamics of the dancefloor, he was obviously adept at observing styles and reworking looks to his own vision.

A chance meeting at the disco lead to the serendipitous collaboration with Bowie and the singer’s as yet not fully realised Ziggy Stardust wardrobe. These bold textured prints and coloured jumpsuits were, and are, extraordinary for capturing Bowie’s otherness at that time. Aladdin Sane prints that looked like Liberty worn by the androgynous male rock star blew our tiny minds back then.

What I loved about the movie was seeing the genesis of Freddie’s glamour vision in a mundanely drab landscape played out with the innocence of his mainly, it appears, female friends notably Wendy bf and Daniella protégée. Wonderful to hear their counterpoint stories of that inner ciricle involved in Bowie’s creation of Ziggy with Freddie’s ascendant talent and confidence.

The pairing of Freddie and Daniella wearing his clothes is groundbreaking. Looking at those photos we see the androgynous beauty of Freddie (like a still from James Bidgood’s 1971 cult movie Pink Narcissus) teamed with Daniella’s Asian complexion and short spiky blonde crop. They had already created David and Angie’s classic image before the rest of the world saw it!

fashion, David Johansen, David Bowie

Coordination of styles, 1973: which came first, Johansen of New York Dolls or Bowie in Burretti suit?

In fact, Daniella also anticipates Ava Cherry singing with Bowie in Young Americans several years later when we note the similar styling – how did that happen?

From my own black perspective, a brown or black face was something I would immediately zone in on, seeing someone like you up there on a stage and hanging out with the stars. Marc Bolan having the black Gloria Jones as his wife was a big bloody deal to some black kids, for sure.

Freddie’s whole look seems to have been adopted wholesale by David Johansen of the New York Dolls, so the influence of this young British designer can today be recognised rippling out into the wider pop culture although it probably wasn’t acknowledged at the time. Maybe a parallel could be drawn between Freddie and Alexander McQueen – both gay and from working-class backgrounds – though McQueen came to work with Bowie as an established star, whereas Freddie created an image that made Bowie a star. Today it is unreal to imagine any designer could achieve such pivotal pop success without a massive team behind them.

➢ Video: Andy Polaris sings Mr Solitaire on Top of the Pops

➢ Follow Andy’s blog APolarisView: one man’s adventures in display and other obsessions

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2015 ➤ Weird and wonderful new Bowie – his Blackstar man is set to blow our minds

David Bowie, pop music, video, Blackstar, starman, album, Johan Renck

Blackstar: Bowie being messianic and ghoulish

◼ SET ASIDE 10 MINUTES AND HOLD YOUR BREATH. David Bowie’s first video for his January album is titled in plain English Blackstar, though the album itself is titled ★ following the Princely principle of symbols. The video is ghoulish, disturbing, eerie, messianic, ritualistic, jazzy, baffling – and a little mousey. His tale of a starman’s legacy out there in a faraway galaxy is musically immaculately orchestrated and makes compelling viewing and listening. It will have the geeks mining for references in its overwrought and folksy narrative. A momentarily real-world Bowie actually thumbs his nose at us singing “You’re the flash in the pan/ I’m the great I am!” yet the overall gist seems relentlessly morbid and we’re not helped by not being able to catch crucial lyrics, which for a music video is a drawback.

Directed by the Swedish music video maestro Johan Renck and premiered last night on Palladia TV, it’s unlike anything you’ve seen before. Natch.

➢ Blackstar is also pre-bookable on vinyl

David Bowie, pop music, video, Blackstar, starman, album, Johan Renck

➢ Nov 23: “We were listening to a lot of Kendrick Lamar,” says producer Tony Visconti. “The goal was to avoid rock & roll” – Rolling Stone reveals all about ★ the album

➢ “As a taster for the forthcoming album, it works perfectly” – Alex Petridis reviews the single Blackstar in The Guardian:

The influence of latterday Scott Walker still appears to be making itself felt in the lyrics – they’re elliptical, filled with images of fear and death (“Take your passport and shoes and your sedatives”) and clearly just waiting to be unpicked by the more dedicated Bowiephile – but the music drifts episodically: from an ambient opening to vocals floating mournfully over a jerkily propulsive drum pattern and synthesisers squelching in vaguely acid houseish style to a sax solo to a beautiful, slow middle section with both a lovely melody and electronically-treated backing vocals. . .

David Bowie, pop music, video, Blackstar, starman, album, Johan Renck

YOU MIGHT ALSO HAVE LIKED THIS

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➤ Catch up on New Romantic landmarks reported here at Shapers of the 80s

Andrew Ridgeley,George Michael, Wham Rap, video, Face magazine, Club Culture,

Click pic to open the Wham Rap! video in another window … “Man or mouse” Andrew Ridgeley establishes his clubbing credentials – along with sidekick George Michael – in the opening shots of the Wham! video by reading this very Face cover story on Club Culture that you’re about to read!

THE MOST READ FEATURE ARTICLE AMONG 890,000 VIEWS SINCE THE LAUNCH OF SHAPERS OF THE 80s

➢ 1983, The Making of UK Club Culture — Definitive Face cover story by yours truly being read here in the Wham Rap! video. This account of how London nightlife had become an international magnet was first published as “an upstairs‑downstairs tale of two key nightspots” in The Face No 34 in February 1983. Photography © by Derek Ridgers. Reprinted in The Faber Book of Pop, 1995; and in Night Fever, Boxtree, 1997

69 Dean Street, Soho, club culture, The Face magazine, London, 1980s, clubbing, nightlife,Billys, Gargoyle,Red Studio,Blitz Kids

From The Face, February 1983

THE ORIGINAL HISTORY OF THE BLITZ KIDS

The Observer Music Magazine. Pictures © by Derek Ridgers

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

➢ Spandau Ballet, the Blitz Kids and the birth of the New Romantics — This much-recycled account originally penned by Shapers of the 80s tells who did what to make stars out of a club houseband, change the rhythm of the UK charts — and ultimately rejuvenate the British media. The obsessive fashionistas behind one small club in London in 1980 went on to dominate the international landscape of pop and fashion, while putting more British acts into the US Billboard charts than the 1960s ever achieved. Spandau Ballet songwriter Gary Kemp responded: “A superb piece. It will be referred to historically.”

EARLY 80s REPORTS REVISITED

➢ How three wizards met at the same crossroad in time — an inside scene-setter on the forces shaping the Swinging Eighties

➢ 1980, Strange days, strange nights, strange people: at The Blitz a decade dawns

➢ 1980, One week in the private worlds of the new young: London blazes with creativity

➢ 1980, Shapersofthe80s tells how Duran Duran’s road to stardom began in the Studio 54 of Birmingham, UK

➢ 1981, Birth of Duran’s Planet Earth … when other people’s faith put the Brummies into the charts

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Romance blossoms: Drummer Jon Moss gives George a peck at Planets club in July 1981 way before Culture Club existed. Photographed © by Shapersofthe80s

➢ Three key men in Boy George’s life – In 2010 the BBC turned the pop star’s teens ’n’ twenties into a 90-minute drama of foot-stamping, chair-throwing, cry-baby tantrums over his self-confessed “dysfunctional romances”, all of which he had documented in his eye-wateringly frank 1995 autobiography, Take It Like a Man. Shapers of the 80s summarises George O’Dowd’s stormy lovelife.

➢ Ex-Blitz Kids give their verdicts on the TV drama Worried About the Boy – During and after this heavily fictionalised life story was broadcast in 2010, Shapers of the 80s canvassed this authoritative mixture of opinions on the Boy George myth and in doing so reshaped the accepted clichés about the Blitz Kids.

Chris Sullivan, club-host, deejay, Wag club, Blue Rondo, pop music,We Can Be Heroes, youth culture,

At home in Kentish Town Chris Sullivan chooses the right zootsuit for today’s mood: his wardrobe is legendary, his taste impeccable, and his influence immeasurable. Shapersofthe80s shot this for his first Evening Standard interview in June 1981

➢ 1976–1984, How creative clubbing started and ended with the 80s – “We were all kids,” says Chris Sullivan who would eventually run the Wag, the coolest club in town, for 19 years. “We went out and had a go. Empowerment is what’s important about this story.”

Photocall: Spandau Ballet, Richard Burgess and assorted Blitz Kid designers gather for the press conference before their fashion-and-music shows in New York. Yes that is Sade towards the far right. Photograph © by Shapersofthe80s

➢ 1981, First Blitz invasion of the US – 21 Blitz Kids take Manhattan by storm with a fresh fashion show and the live new sound of London. Eye-witness words and pix by Shapers of the 80s

ROMANTIC REVIVAL OF THE NOUGHTIES

Sade  1983

Wow! Then and now: Sade backstage in August 1983 while still seeking a recording contract and, right, as shot to launch her 2010 album. Vintage picture © by Shapersofthe80s

➢ 2010, Shapers of the 80s finds comeback Shard comfy as ‘Auntie Sade’ – Having wowed the 80s clubbing scene, in 2011 Sade’s band won a Grammy award for Best R&B Performance By A Group.

➢ 2009, Onstage, Spandau Ballet’s Hadley and Kemp finally get huggy in a mighty musical Reformation – Shapers of the 80s follows the reunion of the band who wrote the new rules for pop in the Swinging 80s.

WE ARE ALL BOWIE’S CHILDREN NOW

David Bowie, Starman, 1972, Top of the Pops, tipping point, BBC

The moment the earth tilted July 6, 1972: During Starman on Top of the Pops, David Bowie drapes his arm around the shoulder of Mick Ronson. Video © BBC

➢ 40 years since “I picked on you-oo-oo”! July 6, 1972 saw the seminal pop moment — David Bowie’s first appearance on Top of the Pops as Ziggy Stardust, the day he created the next generation of popstar wannabes

➢ Where to draw a line between glitter and glam – defining what separates Slade from Bowie, the naff blokes in Bacofoil from starmen with pretensions

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➤ Essential pop-cultural landmarks reported here at Shapers of the 80s

Andrew Ridgeley,George Michael, Wham Rap, video, Face magazine, Club Culture,

Click pic to open the Wham Rap! video in another window … “Man or mouse” Andrew Ridgeley establishes his clubbing credentials – along with sidekick George Michael – in the opening shots of the Wham! video by reading this very Face cover story on Club Culture that you’re about to read!

THE MOST READ FEATURE ARTICLE AMONG 720,000 VIEWS SINCE THE LAUNCH OF SHAPERS OF THE 80s

➢ 1983, The Making of UK Club Culture — Definitive Face cover story by yours truly seen here in the Wham Rap! video. This account of how London nightlife had become an international magnet was first published as “an upstairs‑downstairs tale of two key nightspots” in The Face No 34 in February 1983. Photography © by Derek Ridgers. Reprinted in The Faber Book of Pop, 1995; and in Night Fever, Boxtree, 1997

69 Dean Street, Soho, club culture, The Face magazine, London, 1980s, clubbing, nightlife,Billys, Gargoyle,Red Studio,Blitz Kids

From The Face, February 1983

THE ORIGINAL HISTORY OF THE BLITZ KIDS

The Observer Music Magazine. Pictures © by Derek Ridgers

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

➢ Spandau Ballet, the Blitz Kids and the birth of the New Romantics — The much-plundered story originally researched by Shapers of the 80s tells who did what to make stars out of a club houseband, change the rhythm of the UK charts — and ultimately rejuvenate the British media. The obsessive fashionistas behind one small club in London in 1980 went on to dominate the international landscape of pop and fashion, while putting more British acts into the US Billboard charts than the 1960s ever achieved.

EARLY 80s REPORTS REVISITED

➢ How three wizards met at the same crossroad in time — an inside scene-setter on the forces shaping the Swinging Eighties

➢ 1980, Strange days, strange nights, strange people: at The Blitz a decade dawns

➢ 1980, One week in the private worlds of the new young: London blazes with creativity

➢ 1980, Shapersofthe80s tells how Duran Duran’s road to stardom began in the Studio 54 of Birmingham, UK

➢ 1981, Birth of Duran’s Planet Earth … when other people’s faith put the Brummies into the charts

Romance blossoms: Drummer Jon Moss gives George O’Dowd a peck at Planets club in July 1981 way before their band Culture Club existed. Photographed © by Shapersofthe80s

➢ Three key men in Boy George’s life – In 2010 the BBC turned the pop star’s teens ’n’ twenties into a 90-minute drama of foot-stamping, chair-throwing, cry-baby tantrums over his self-confessed “dysfunctional romances”, all of which he had documented in his eye-wateringly frank 1995 autobiography, Take It Like a Man. Shapers of the 80s summarises George O’Dowd’s stormy lovelife.

➢ Ex-Blitz Kids give their verdicts on the TV drama Worried About the Boy – During and after its broadcast in 2010, this authoritative mixture of opinions on the Boy George story reshaped the accepted clichés about the Blitz Kids.

Chris Sullivan, club-host, deejay, Wag club, Blue Rondo, pop music,We Can Be Heroes, youth culture,

At home in Kentish Town Chris Sullivan chooses the right zootsuit for today’s mood: his wardrobe is legendary, his taste impeccable, and his influence immeasurable. Shapersofthe80s shot this for his first Evening Standard interview in June 1981

➢ 1976–1984, How creative clubbing started and ended with the 80s – “We were all kids,” says Chris Sullivan who would eventually host the Wag, the coolest club in town, for 19 years. “We went out and had a go. Empowerment is what’s important about this story.”

Photocall: Spandau Ballet, Richard Burgess and assorted Blitz Kid designers gather for the press conference before their fashion-and-music shows in New York. Yes that is Sade towards the far right. Photograph © by Shapersofthe80s

➢ 1981, First Blitz invasion of the US – 21 Blitz Kids take Manhattan by storm with a fresh fashion show and the live new sound of London. Eye-witness words and pix by Shapers of the 80s

ROMANTIC REVIVAL OF THE NOUGHTIES

Sade  1983

Wow! Then and now: Sade backstage in August 1983 while still seeking a recording contract and, right, as shot to launch her 2010 album. Vintage picture © by Shapersofthe80s

➢ 2010, Shapers of the 80s finds comeback Shard comfy as ‘Auntie Sade’ – Having wowed the 80s clubbing scene, in 2011 Sade’s band won a Grammy award for Best R&B Performance By A Group.

➢ 2009, Onstage, Spandau Ballet’s Hadley and Kemp finally get huggy in a mighty Reformation – Shapers of the 80s follows the reunion of the band who wrote the new rules for pop in the Swinging 80s.

WE ARE ALL BOWIE’S CHILDREN NOW

David Bowie, Starman, 1972, Top of the Pops, tipping point, BBC

The moment the earth tilted July 6, 1972: During Starman on Top of the Pops, David Bowie drapes his arm around the shoulder of Mick Ronson. Video © BBC

➢ 40 years since “I picked on you-oo-oo”! July 6, 1972 saw the seminal pop moment — David Bowie’s first appearance on Top of the Pops as Ziggy Stardust, the day he created the next generation of popstar wannabes

➢ Where to draw a line between glitter and glam – defining what separates the naff blokes in Bacofoil from starmen with pretensions

FRONT PAGE