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Blitz Kids

The Blitz Kids were a group of stylish young club-goers who frequented the Tuesday night sessions at the Blitz nightclub in Covent Garden, London, from 1979 to 1980. They are credited with launching the New Romantic subcultural movement, characterized by flamboyant fashion, androgynous styles, and a rejection of punk's aggression in favor of glamour inspired by 1930s cabaret, David Bowie, and European electronic music.) The scene originated from earlier nights hosted by Steve Strange and Rusty Egan at Billy's club in Soho starting in 1978, before relocating to Blitz, where a strict door policy enforced elaborate dress codes, attracting art school students and emerging talents. Key figures included Strange as the gatekeeper, Egan as DJ, and regulars like Boy George (then George O'Dowd), Stephen Jones, and members of future bands such as Spandau Ballet and Duran Duran. The group's visibility surged with David Bowie's 1980 visit to film the "Ashes to Ashes" video at the club, amplifying their influence on 1980s pop culture, fashion, and music.^[1]^[2]

History

Origins at Billy's

In late 1978, as punk's aggressive energy waned amid growing boredom and violence, Steve Strange and Rusty Egan—former punks drawn to glam rock influences like David Bowie and Roxy Music—launched a new club night at Billy's, a basement venue on Dean Street in Soho, London, to cultivate a more theatrical and glamorous alternative scene.^[3]^[4] Their collaboration, with Strange handling door duties and Egan DJing, rejected punk's conservatism in favor of creative expression through music and style.^[5] The events began as Tuesday-night "Bowie Nights" in December 1978, featuring tracks from Bowie, Kraftwerk, and Roxy Music in the club's dimly lit, unpretentious space.^[5]^[6] A strict dress code enforced by Strange demanded originality, prioritizing outrageous theatrical and historical costumes over conventional attire to foster androgyny and innovation.^[3]^[5] This key early initiative quickly drew a dedicated following, marking the nascent formation of what would become the Blitz Kids.^[4] The crowd at these gatherings comprised art students from Central Saint Martins, aspiring fashion designers, and unemployed youth seeking escape through experimentation with bold, androgynous appearances.^[5]^[7] Figures like a young Boy George, then working odd jobs, and Marilyn frequented the nights, blending straight, gay, working-class, and middle-class attendees in a vibrant, inclusive mix united by shared rebellion against mainstream norms.^[7]^[3] By mid-1979, tensions with Billy's management escalated over the crowd's eccentric behavior and rising popularity, culminating in the promoter doubling drink prices to exploit the influx, which prompted Strange and Egan to plan a relocation for greater control.^[5]

Launch at Blitz Club

Following the informal gatherings at Billy's nightclub in Soho, the Blitz Kids scene relocated to the Blitz wine bar at 4 Great Queen Street in Covent Garden, London, where Steve Strange and Rusty Egan established a dedicated Tuesday night event in 1979.^[8]^[9] The venue, a modest space with a capacity of around 200 people, served as a canvas for the emerging subculture, transforming a standard wine bar into a hub for creative expression amid the post-punk landscape.^[8] Strange and Egan curated the atmosphere to foster exclusivity and innovation, drawing an initial crowd of a few dozen regulars who sought an antidote to the fading punk era.^[10] Central to the launch was a rigorous door policy enforced by Steve Strange, who vetted entrants to ensure they embodied an experimental aesthetic, often rejecting those in casual attire in favor of outfits that blended theatrical costumes, historical references like 1940s tailoring, and eclectic elements such as charity shop finds or tribal-inspired accessories.^[8]^[9] This "no jeans or T-shirts" ethos prioritized visual drama, with full makeup and elaborate hairstyles as standard, creating an immediate sense of a curated tribe.^[10] Rusty Egan handled the DJ sets, spinning imported European electronic music including tracks by Kraftwerk and early synth-pop acts, which provided a futuristic soundtrack that encouraged posing and dancing over traditional moshing.^[11]^[12] The music selection, influenced by continental cabaret and electronic pioneers, helped define the night's sophisticated yet rebellious vibe from the outset.^[10] The initial reception was intimate but rapidly expanded as word spread through London's creative networks, particularly among students from art schools such as Central Saint Martins, who contributed to the growing pool of attendees.^[1] By late 1979, crowds had swelled from 50-100 to over 300 on peak nights, leading to long queues outside the venue and testing its capacity limits.^[5] Early media buzz amplified this growth, with Steve Strange proactively inviting journalists; the first mentions appeared in the Evening Standard and NME by early 1980, where reporters dubbed the stylish patrons "Blitz Kids" for their distinctive, media-savvy flair.^[8]^[13] These articles captured the scene's novelty, highlighting the fusion of fashion, music, and performance that positioned Blitz as the epicenter of a nascent cultural shift.^[14]

Peak Period and Closure

In early 1980, the Blitz Kids scene reached its zenith as its distinctive aesthetic captured wider attention, most notably through David Bowie's involvement in his music video for "Ashes to Ashes." On June 30, 1980, Bowie visited the club and enlisted several prominent Blitz Kids, including host Steve Strange and model Philip Salvo, along with Judi Frankland and David Claridge, to appear in the video, which was filmed on July 3 at Pett Level beach in East Sussex. Directed by David Mallet at a then-record cost of £250,000, the production showcased the group's extravagant, Pierrot-inspired looks, thrusting the subculture into national prominence upon its release later that year.^[15]^[16]) By spring 1980, the club's Tuesday nights had swelled to record crowds that often exceeded the venue's capacity, attracting over 500 attendees on peak evenings and leading to frequent overflows onto Covent Garden streets. These gatherings, fueled by the scene's flamboyant costumes and performative energy, occasionally sparked disturbances, prompting police interventions to manage the chaos from late-night dispersal and public altercations related to the group's provocative attire. The heightened visibility amplified the scene's allure, drawing media scrutiny that further cemented its status as a cultural phenomenon.^[10]^[8] The media frenzy peaked with features in influential publications, including the inaugural issue of i-D magazine in August 1980, launched by Blitz regular Perry Haines alongside founders Terry and Tricia Jones, which highlighted the group's street-style innovations and personal narratives. Similarly, The Face magazine's November 1980 article "The Cult With No Name" profiled the Blitz Kids' nightlife, formally dubbing them the "New Romantics" and capturing their fusion of music, fashion, and rebellion against post-punk austerity. These exposures transformed the insular club scene into a broader movement, influencing 1980s youth culture nationwide.^[17]^[18] The Blitz Tuesday nights concluded abruptly in October 1980 amid mounting pressures, including the expiration of the venue lease at 4 Great Queen Street, ongoing disputes with management over the bar's operations, and exhaustion among key organizers Steve Strange and Rusty Egan. The final night, held on October 7, marked an emotional farewell for the core group, after which participants dispersed to successor venues such as Le Beat Route in Soho and the larger Camden Palace, where the New Romantic energy continued to evolve. The wine bar itself persisted until 1981, but the signature club night that defined the Blitz Kids had ended, leaving an indelible mark on London's nightlife.^[4]^[5]

Key Figures

Core Organizers and DJs

Steve Strange, born Stephen John Harrington in 1959 in Rhondda, South Wales, emerged as a pivotal figure in the Blitz Kids scene as its primary promoter and enigmatic doorman.^[19] Drawing inspiration from the glam rock aesthetics of Roxy Music, Strange enforced a strict door policy at the Blitz Club, selecting patrons based on their visual flair and originality, which helped cultivate the scene's distinctive style.^[20] His role extended beyond gatekeeping; as a Welsh working-class youth who had relocated to London, Strange's early involvement in punk—particularly as a member of the short-lived band The Moors Murderers alongside Chrissie Hynde—marked his transition from punk's raw energy to the more theatrical glam influences that defined the Blitz.^[19] Later, he became the frontman of Visage, a band co-formed with key collaborator Rusty Egan, channeling the club's eclectic vibe into synth-pop anthems.^[21] Rusty Egan, a London native and former drummer for the new wave band Rich Kids from 1977 to 1978, served as the Blitz's co-founder and resident DJ, shaping its musical identity.^[22] Egan curated a soundtrack blending German electronic imports like Kraftwerk, glam rock from Roxy Music and David Bowie, Krautrock, disco, and experimental acts such as Throbbing Gristle, often incorporating live sets to create an immersive atmosphere.^[23] His background in punk drumming with Rich Kids, alongside future Ultravox member Midge Ure, informed his evolution toward the electronic and visual-oriented sounds of the New Romantic era, culminating in his co-founding of Visage with Strange.^[24] The partnership between Strange and Egan, which began in 1977 when Egan complimented Strange's striking punk-glam attire on London's King's Road, formed the backbone of the Blitz's operations.^[24] Their brotherly collaboration emphasized a shared vision of escapism through music and fashion, though creative tensions arose from Egan's focus on sonic innovation versus Strange's prioritization of visual spectacle and door aesthetics.^[24] Supporting staff, including bouncers and bartenders, maintained the club's intimate, selective environment, with occasional minor DJ contributions from figures like Jean-Jacques Burnel of The Stranglers providing early backing during the scene's formative nights.^[20] This dynamic duo's influence extended briefly to interactions with emerging talents among patrons, such as Boy George, fostering an ecosystem where style and sound intertwined.^[21]

Iconic Patrons and Regulars

One of the most prominent figures among the Blitz Kids was George O'Dowd, better known as Boy George, who began as a cloakroom attendant at the club while developing his signature androgynous style blending pirate chic, military uniforms, and glam rock influences.^[25]^[26] As an early performer and regular, he competed fiercely for attention in the club's spotlight, honing the flamboyant persona that propelled him to form Culture Club in 1981 and achieve global fame.^[26]^[14] Closely associated with Boy George was Peter Robinson, who adopted the stage name Marilyn and became renowned for his bleached blonde hair, heavy makeup, and androgynous aesthetic inspired by icons like Marilyn Monroe.^[7] As a devoted regular and Boy George's close friend, Marilyn embodied the scene's gender-bending ethos and frequently modeled in fashion shoots that captured the Blitz's extravagant style, helping to disseminate its visual language through print media.^[26]^[14] Siobhan Fahey, a fixture in the early gatherings that evolved into the Blitz scene, contributed to the formation of nascent pop groups among the patrons, drawing on her art school background to experiment with bold, theatrical looks.^[7] Her involvement helped seed the collaborative spirit that led to her co-founding Bananarama in 1980, channeling the club's emphasis on image and performance into mainstream success.^[14]^[26] The crowd also included influential creatives like milliner Stephen Jones, a regular whose innovative hats and accessories directly emerged from the club's demanding aesthetic standards, marking his breakthrough in the fashion world.^[27]^[28] Artist Dencil Williams, another key patron, brought psychological and artistic depth to the scene through his performances and later collaborations, including co-running the White Trash club night that extended the Blitz's experimental vibe.^[4]^[29] Figures like fashion designer Zandra Rhodes exerted a strong influence on the group's colorful, printed textiles and dramatic silhouettes, inspiring outfits that challenged conventional norms.^[4]^[30] The social fabric of the Blitz fostered tight-knit cliques united by shared creativity, yet rife with internal rivalries over style and attention, often exacerbated by tensions with the lingering post-punk crowd who viewed the scene as overly theatrical.^[26]^[11] This competitive dynamic, enforced by the organizers' strict door vetting based on originality, spurred intense networking that translated into tangible opportunities, such as modeling contracts for standouts like Boy George and Marilyn with major labels and photographers.^[26]^[14]

Cultural Impact

Fashion and Style Innovations

The Blitz Kids' core aesthetic was an eclectic fusion of 18th-century pirate motifs, tribal patterns, and futuristic silhouettes, characterized by heavy applications of dramatic makeup, backcombed and voluminous hair, and deliberate gender-blurring through androgynous clothing and accessories.^[8] This style rejected the preceding punk era's aggression in favor of romantic escapism, often incorporating elements like ruffled shirts, military jackets, and clingfilm-inspired outfits that evoked both historical grandeur and speculative sci-fi visions.^[31] Gender fluidity was central, with patrons blending masculine tailoring from the 1940s with feminine theatrical flourishes, such as Picasso-inspired blue-period makeup, to challenge binary norms in a conservative Thatcher-era Britain.^[6] Influences on this aesthetic drew heavily from Vivienne Westwood's punk legacy, which infused the scene with a DIY rebellion against conformity, while historical references to Regency dandies and Elizabethan court dress added layers of opulent revivalism.^[10] Imported styles from Japan, including avant-pop geisha elements and futuristic dance aesthetics, merged with inspirations from Berlin's cabaret and electronic scenes, such as Weimar-era decadence and Kraftwerk's sleek minimalism, creating a postmodern collage that spanned centuries and continents.^[6] These global threads were filtered through London's underground, transforming continental cinema and art school experimentation into wearable narratives of reinvention. Key innovations emerged from custom pieces crafted by Blitz regulars, including milliner Stephen Jones's gravity-defying hats that crowned elaborate ensembles and Helen Robinson's tribal chic designs at her PX shop, which offered otherworldly garments blending modern fabrics with ethnic-inspired patterns.^[6] A pervasive DIY ethos dominated, with participants altering thrift-store finds from Oxfam into bespoke creations, emphasizing bricolage and personal ingenuity over mass production.^[31] Patrons like Boy George exemplified this as style icons, their layered, eclectic looks becoming synonymous with the scene's boundary-pushing creativity.^[8] The club's strict door policy, enforced by Steve Strange, played a pivotal role in fostering exclusivity and stylistic innovation by rejecting conventional appearances in favor of originality, compelling aspiring attendees to invest hours in elaborate preparations that heightened personal creativity and group cohesion.^[8] This selective entry created a safe, insular environment for queer expression amid 1980s societal tensions, indirectly amplifying the scene's visual radicalism.^[10] By 1981, the Blitz aesthetic spurred commercialization through early endorsements from designers like Katharine Hamnett, whose casual, slogan-adorned pieces echoed the scene's bold messaging and unisex functionality, paving the way for high-street adaptations that democratized elements like piecrust collars and oversized accessories.^[10] Media exposure in newspapers and television further propelled these innovations from club exclusivity to broader retail influence, marking a shift from subversive subculture to mainstream vogue.^[8]

Musical Contributions and Bands

The musical soundtrack of the Blitz Kids scene evolved significantly under the curation of resident DJ Rusty Egan, beginning in 1979 with a focus on glam rock influences such as David Bowie and Roxy Music, which provided an escapist contrast to the preceding punk era.^[5] By 1980, playlists shifted toward synth-heavy imports, incorporating electronic acts like Telex and Yellow Magic Orchestra, alongside live performances from bands such as Japan, reflecting the scene's growing embrace of international electronic sounds and futuristic aesthetics.^[5]^[32] Egan's sets, documented in curated collections of Blitz classics, emphasized seamless transitions between tracks to create an immersive, non-stop atmosphere that mirrored the club's theatrical vibe.^[33] This evolution underpinned the New Romantic musical philosophy emerging from the Blitz, which rejected punk's aggressive minimalism in favor of theatrical pop characterized by elaborate synthesizers and performances that integrated fashion as a core element of expression.^[5] The scene prioritized glamour and innovation over punk's austerity, fostering a blend of European electronica and soulful influences to evoke escapism amid 1980s economic malaise.^[5] The Blitz directly birthed several key New Romantic bands, including Visage, formed in 1978 by Steve Strange and Rusty Egan alongside Magazine members Dave Formula and Barry Adamson, whose debut single "Mind of a Toy" was released in late 1980 from their self-titled album.^[34] Similarly, Spandau Ballet originated in 1979 among Blitz regulars, with vocalist Tony Hadley and bassist Martin Kemp central to the lineup, achieving early success with their 1980 hit "To Cut a Long Story Short" as the club's de facto house band.^[35] Other groups drew inspiration from Blitz visits, such as Duran Duran, whose Birmingham attendees emulated the scene's style and sound at local venues like the Rum Runner.^[36] Boy George, a prominent Blitz patron, channeled post-club experiences into forming Culture Club in 1981, debuting with a synth-pop sound that echoed the venue's eclectic influences.^[26]^[37] Recordings from the scene exemplified its international flair, notably Visage's "Fade to Grey" (1980), which featured spoken French vocals by Brigitte Arens and synthesized elements drawing from European and global electronic traditions.^[34] This track, a staple of Egan's playlists, highlighted the Blitz's role in blending multilingual and multicultural sounds to propel the New Romantic movement beyond London's underground.^[5]

Broader Influence on 1980s Culture

The Blitz Kids' distinctive style and ethos garnered significant media attention by 1980, with The Sunday Times Magazine featuring a spread on core members at the Covent Garden club in its April 27 edition, marking one of the earliest major profiles of the scene.^[38] This coverage, combined with a September 1980 Sounds magazine article titled "The New Romantics: A Manifesto for the '80s," popularized the "New Romantics" label and propelled the subculture from London's underground into nationwide youth trends, inspiring copycat clubs and fashion experiments across the UK.^[39]^[1] The scene's embrace of androgynous aesthetics and fluid self-presentation directly challenged prevailing gender norms, fostering an environment of inclusivity that blurred traditional boundaries of masculinity and femininity.^[40] Figures like Boy George, a regular patron whose flamboyant, gender-ambiguous image as Culture Club's frontman became emblematic, significantly advanced LGBTQ+ visibility in mainstream media during an era of conservative backlash under Thatcherism.^[41] This promotion of queer expression influenced broader societal attitudes toward sexual identity and personal style. The Blitz Kids' influence extended globally through the early 1980s, as New Romantic acts gained traction on MTV, with Duran Duran's polished videos exemplifying the scene's export to American and European audiences starting in 1981.^[42] This visibility inspired parallel club cultures, such as New York's Mudd Club, where similar emphases on eclectic fashion and performance art echoed the London original amid the no-wave scene.^[43] Economically, the movement invigorated London's fashion sector by elevating DIY and avant-garde designs to commercial prominence, with Blitz alumni like milliner Stephen Jones transitioning from club outfits to high-end collaborations that defined 1980s couture.^[44] Many participants, including Steve Strange—who appeared in Derek Jarman's 1978 film Jubilee as a precursor to the scene—later shaped advertising and film visuals, channeling the subculture's theatricality into broader creative industries.^[8] By the mid-1980s, however, the New Romantics faced criticism for perceived elitism, with its door policy and emphasis on exclusivity alienating broader punk adherents who viewed the scene as detached from grassroots rebellion.^[45] Detractors also lambasted its rapid commercialization, arguing that major-label signings and synthesized pop diluted the raw, anti-establishment ethos of late-1970s punk.^[46]

Legacy and Revivals

Documentaries and Literature

Several key books have documented the Blitz Kids scene through personal accounts and historical analysis. Steve Strange's autobiography, Blitzed!: The Autobiography of Steve Strange (2002), provides an insider's perspective on the club's rise, drawing from his role as host and detailing the nightlife, music, and personal excesses of the era. Dylan Jones's Sweet Dreams: The Story of the New Romantics (2020) compiles over 180 interviews with participants, offering oral histories that trace the movement's origins at Blitz and its evolution into broader 1980s culture.^[47] Blitz: The Club That Created the Eighties by Robert Elms (2025) expands on these narratives with reflections from the Steve Strange estate and other contributors, emphasizing the club's foundational impact.^[48] Documentaries have captured the Blitz Kids' legacy through survivor testimonies and archival footage. The film Blitzed! The 80s Blitz Kids Story (2021), directed by Bruce Ashley and Michael Donald for Sky Arts, features interviews with original attendees, exploring the club's role amid 1970s social challenges like racism and economic strife.^[49] BBC Radio London's retrospective episode "Rediscovering the eccentric world of the 1980s 'Blitz Kids'" (2025), part of the London Uncovered series on BBC Sounds, revisits the scene's influence on fashion and music, incorporating audio clips and participant recollections from the decade's club nights.^[50] Other media, including magazine archives and photo collections, preserve visual records of the era. i-D magazine, launched in 1980 by Terry Jones, chronicled the Blitz Kids in its early issues through street-style photography and features on emerging designers and musicians.^[51] The photo book Blitz Club Blitz Kids by Homer Sykes (enlarged second edition, 2025), tied to the Design Museum's exhibition, compiles previously unseen 1980 images of clubgoers, highlighting their theatrical attire and diverse expressions.^[52] These works often romanticize the Blitz Kids as vibrant innovators who defied Thatcher-era austerity through glamour and reinvention, yet they also reveal darker elements like widespread drug use and social exclusions. For instance, Strange's memoir candidly addresses amphetamine-fueled nights and rivalries, while Jones's interviews expose gatekeeping that favored certain aesthetics over inclusivity.^[53] ^[54] Early publications show gaps in coverage, with limited attention to non-white or working-class participants despite their presence in the scene; memoirs from key figures like Boy George briefly reference these dynamics but prioritize celebrity narratives. Recent revivals, such as the 2025 Design Museum exhibition, have begun addressing these gaps by highlighting diverse contributors from the original scene.^[55]^[10]

Reunions and Exhibitions

In 2011, founders Steve Strange and Rusty Egan hosted a one-off reunion event at the former site of the Blitz club in London's Holborn, marking the 30th anniversary of the original nights and drawing original attendees alongside newer enthusiasts for a night of music and reminiscence.^[56] Egan DJed selections from the era's electronic and new wave sounds, while Strange served as host, emphasizing the club's role in fostering creativity amid economic hardship.^[57] The 2021 documentary Blitzed! The 80s Blitz Kids' Story, directed by Bruce Ashley and Michael Donald, premiered on Sky Arts on March 13, featuring interviews with key figures including Marilyn, who reflected on the club's transformative impact on personal expression and pop culture.^[58] The film, which aired to wide acclaim for its archival footage and participant testimonies, included discussions on the scene's influence without formal public panels, though private viewings highlighted its role in reviving interest in the era.^[49] The most significant recent tribute is the exhibition Blitz: The Club That Shaped the 80s at London's Design Museum, running from September 20, 2025, to March 29, 2026, and curated with input from original participants like Rusty Egan.^[10] It showcases over 250 artifacts, including costumes by designers such as Stephen Jones and Westwood-inspired pieces, promotional flyers, musical instruments from associated bands, and design sketches that capture the club's eclectic aesthetic.^[8] Interactive elements feature augmented reality experiences via Snapchat, allowing visitors to virtually step into recreated club scenes, alongside a program of talks and guided tours exploring the night's atmosphere and legacy.^[59] Additional tributes in 2024 and 2025 have included social media-driven revivals, where users on platforms like Instagram and TikTok recreate Blitz-inspired looks and share archival clips, amplifying the scene's visibility ahead of the exhibition.^[60] These digital efforts underscore the club's enduring appeal, with the Design Museum show addressing contemporary echoes in global fashion, such as gender-fluid styling in K-pop visuals and viral TikTok trends blending 1980s glamour with modern streetwear.^[10] A companion book, We Can Be Heroes: Blitz – The Club That Shaped the 80s, further documents these connections through essays and images.^[61]

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About - Culture Club
By 1981, Boy George had renamed the group Culture Club and Suede had been replaced by Roy Hay (b. August 12, 1961), a former member of Russian Bouquet. Toward ...<|separator|>
[40]
1980, Just don't call us New Romantics | Shapers of the 80s
Aug 21, 2010 · Lo! The Pose Age was well and truly declared open. During the Blitz Club's first mould-breaking year media coverage had been zero to minimal.
[41]
Steve Strange: memories of the man behind the make-up
Mar 15, 2015 · It was my first experience of unbridled Blitz Kid creativity. ... He was just a sweet working-class boy from Wales who liked to dress up and party ...Missing: background Roxy
[42]
[PDF] Exploring the Queer Potential of London's Blitz in the ... - Excursions
With punk having fractured and dissipated by the late 1970s, key. New Romantic figures Rusty Egan and Steve Strange started a Bowie ... 'Blitzed: The 80s Blitz ...Missing: excerpt | Show results with:excerpt
[43]
Exploring the Queer Potential of London's Blitz in the Early Thatcher ...
Aug 8, 2025 · This paper concentrates on the ways in which masculinity and male (homo)sexuality were challenged, depicted, and expressed within the New ...<|separator|>
[44]
The Story Of The New Romantics - Classic Pop Magazine
Sep 7, 2021 · The New Romantics brought a burst of colour and style to a drab and depressing music scene in the first years of the 1980s.
[45]
The Blitz Kids | Living In Oblivion
Jan 4, 2016 · It all started in 1978 in London, where a club called Billy's held regular Bowie nights. The themed night drew kids disillusioned with the punk scene.Missing: global Mudd
[46]
Blitz Was the London Club Night of the '80s. Stephen Jones ... - Vogue
Sep 25, 2025 · Stephen Jones gives Vogue a tour of a new London Design Museum exhibition which celebrates the lasting influence of the Blitz club.
[47]
The Normal Archives - ELECTRICITYCLUB.CO.UK
However, the New Romantics had made their mark. An elitist movement that was exclusive at its core despite the protestations of some, one amusing modern day ...
[48]
New Romantic Queering Tactics of English Pop in Early Thatcherite ...
In this article I will ask how the supposed stylishness, elitism and lavishness of English pop - both in its dandyist performances and new cosmopolitan demi- ...
[49]
Sweet Dreams: The Story of the New Romantics - Barnes & Noble
In stock Rating 5.0 2 Oct 6, 2020 · ``Drawn from over 180 interviews with friends, rivals, lovers and collaborators, some of whom have never before spoken about their relationship ...
[50]
Blitz: The Club That Created the Eighties eBook : Elms ... - Amazon.com
Britain was black and white; the Blitz Kids switched on the colour. In Blitz, Elms reflects on a club night founded by working-class kids, one whose impact ...
[51]
Film Review: Blitzed! The 80s Blitz Kids' Story - The Queer Review
Apr 6, 2021 · Having befriended each other on the Kings Road, in 1978 Rusty Egan—an engaging raconteur in the film—and Steve Strange (the house guest that ...
[52]
Rediscovering the eccentric world of the 1980s 'Blitz Kids' - BBC
Sep 19, 2025 · The Blitz club in Covent Garden shaped the fashion, music and pop culture of the decade.
[53]
Blitz era club kids inspire this nostalgic fashion shoot
Mar 5, 2021 · Robbie Lawrence and Max Clark went to Dunbar, in Scotland, to photograph looks inspired by little-known 80s nightlife designer Stephen Linard.Missing: 1980 | Show results with:1980
[54]
https://www.buzzmag.co.uk/sweet-dreams-the-story-of-the-new-romantics-book-review/
[55]
Blitzed!: The Autobiography of Steve Strange - Google Books
BLITZED! recounts the rise and fall of the Blitz Kid himself and recounts from the epicentre the excess of the early eighties: the clubs, the people, the music, ...
[56]
Sweet Dreams book review - Buzz Magazine
Sep 22, 2020 · Sweet Dreams is a must-read for anyone who wants to dig deep into the fashion, music, flamboyancy and hedonism of a scene that looked forwards ...
[57]
Blitz Kids/New Romantic Memoirs (6 books) - Goodreads
Memoirs, autobiographies of from the small group of people who frequented the Billy's, The Blitz Club, Hell, Club for Heroes, etc between 1978 and 1984(ish).
[58]
Return To THE BLITZ CLUB 2011 - ELECTRICITYCLUB.CO.UK
Feb 21, 2011 · The Blitz Club celebrated its 30th Anniversary with a special reunion at its old site which is now The Red Rooms in Holborn, London.Missing: Scala | Show results with:Scala
[59]
2011 Life? Tough? At the Blitz reunion, Rusty delivers a message to ...
Jan 17, 2011 · The Blitz Club and a load of moist-eyed old New Romantics from 1979 find themselves mingling with a sprinkling of floral Neo Romantics from 2011.Missing: Scala | Show results with:Scala
[60]
The Blitz Club Archives - ELECTRICITYCLUB.CO.UK
'Blitzed' is the new Sky Arts documentary about the colourful London club night attended by aspirational young people driven to escape, express and create. It ...
[61]
Step into London's Legendary Blitz Club with Snap AR
Sep 18, 2025 · The entrance of the Design Museum will recreate the famous door policy of the club ... exclusive club's doors and immerse themselves in the ...
[62]
Blitz Nightclub Is Celebrated In Museum Exhibit - Forbes
who were inspired by David Bowie, Roxy ...
[63]
https://designmuseumshop.com/products/book-we-can-be-heroes-blitz-the-club-that-shaped-the-80s