The Edge - Eighties Special Issue (Jan 2018)

DURAN DURAN PRINCE DAVID BOWIE BON JOVI QUEEN

EIGHTIES

ISSUE

EDITORIAL

Eighties Issue

Editor’s Note

The Team

Welcome to the Eighties!

EDITOR

The 1980s were a golden age for entertainment. While Michael Jackson, David Bowie and Prince ruled over the charts, Star Wars and Back to the Future brought sci-fi to the masses in Hollywood. In arcades around the world, Pac-Man and the Super Mario Bros. entranced a generation. Families gathered around televisions to watch the first ever EastEnders duff-duff; to enjoy a good laugh with the Trotters; for a night in with Blackadder.

editor@theedgesusu.co.uk

James Barker

DEPUTY EDITOR

Rehana Nurmahi

deputy-editor@theedgesusu.co.uk

Head of Design Teague Hipkiss

design@theedgesusu.co.uk

Thirty years on, the icons of this era are still remembered as the cream of the crop. The irony of this ‘Eighties Issue’ – our special edition for 2018 – is that none of its twentyeight (amazing) contributors were born in time to see these incredible moments for themselves; but that only goes to show how legendary the ‘80s really were. Whether it be through binge-watching one of these classic series on Netflix, or downloading an app recreation of an arcade game, the ‘80s are intrinsically important to the entertainment of today.

NEws EDITOR

Within these fittingly retro pages, we have a tour de force of ‘80s goodness. After a quadruple page special of Nostalgic News (p. 3–6), we look at the ‘enduring simplicity’ of ‘80s teen movies (p. 7), and in Records, there’s a feast of rewind reviews to enjoy. A beginners’ guide to ‘80s cinema awaits on pages 17, 18 and 19, whilst the appeal of arcade gaming is put under the microscope in Culture (p. 24). To top it all off, we decide the decade’s most iconic live performers on pages 31 and 32. Just try not to be too nostalgic – it’s dangerous, y’know (p. 11).

film EDITOR

Returning briefly to the modern day, 2017 was an incredible year for The Edge. We earned more new members at Freshers’ than ever before; we released Stranger Things and Star Wars themed issues (turns out the ‘80s influence is a year-round thing); and, most recently, won an SPA award for our Mental Health collaboration with Wessex Scene. With another teamup coming up later this year, along with two more great issues, there’s never been a better time to get involved. Just hit up our social media for more information!

So, without further ado, let’s jump in the DeLorean and time travel back to the 1980s! There’s a whole feast of entertainment to be rediscovered…

James Barker Editor 01

Robert Pratley

news@theedgesusu.co.uk

Features EDITOR Thea Hartman

features@theedgesusu.co.uk

recORDS EDITOR Meg Holland

records@theedgesusu.co.uk David Mitchell-Baker

film@theedgesusu.co.uk

Culture EDITOR Josh Nicholson

culture@theedgesusu.co.uk

Live EDITOR

Carly-May Kavanagh

live@theedgesusu.co.uk

Head of Relations Xavier Voigt-Hill

relations@theedgesusu.co.uk

Head of publicity

Maddie Armour-Chélu

publicity@theedgesusu.co.uk

Head of events

Octavia Woodward

events@theedgesusu.co.uk

Online Manager Hannah Dadd

manager@theedgesusu.co.uk

VP Creative Industries Evie Reilly

vpdci@unionsouthampton.org With help from Sophie Jones (General Executive) and Sam Law (Records Executive)

EDITORIAL

Contents 31

Dangers of 11 The Nostalgia in the 2010s

Guide 17 AtoBeginner’s ‘80s Cinema Performers 31 Iconic from the ‘80s

Editorial

01 Welcome to the Eighties Issue 02 Contents

News

03 Nostalgic News: The timeline of the Eighties

Features

Live

29 Best Comedians from the ‘80s 31 Iconic Performers from the ‘80s

Follow Us! /theedgesusu

07 Rise of the Blockbuster: A Retrospective on 80s @theedgesusu Cinema 08 From ‘Thriller’ to ‘New Rules’: The Return of the @theedgesusu Big Sound 09 The Enduring Simplicity of ‘80s Teen Movies Front cover image courtesy of Annie Liebovitz 11 The Dangers of Nostalgia in the 2010s

Records

12 Artist in Focus: Prince 13 Rewind: Albums 15 Rewind: Singles

Film

17 A Beginner’s Guide to ‘80s Cinema 21 One to Watch: Ready Player One 22 Actor in Focus: Michael J Fox

Culture

23 The Edge’s Favourite ‘80s Sitcoms 24 The Golden Age of the Arcade 25 Author in Focus: Roald Dahl 27 Andrew Lloyd Webber: Architect of the ‘80s Musical 28 Review: Showstopper’s Fame

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NEWS

NOSTALGIC NEWS THE TIMELINE OF THE 80s 1980 PAC-MAN MADE ITS WAY TO ARCADES ROBERT PRATLEY

When you think of classic gaming, some obvious names spring to mind. Super Mario Bros, Tetris, Metroid, The Legend of Zelda - all great choices.

But they were all preceded by one yellow pillchomping ball of wagga-wagga-wagga who first came to our shores on 26th October 1980.

Pac-Man’s appeal and charm comes from the simplistic gameplay. You travel in straight lines through the twists and turns of progressively more difficult mazes collecting the yellow pills known as Pac-Dots, whilst

trying to avoid the fearsome four of ghosts- Blinky, Pinky, Inky, and Clyde. That is, until you get the four large flashing Power Pellets which turn the tables, allowing you to eat the ghosts for bonus points.

With 256 levels in total, completing the original Pac-Man is a challenge well-worthy of any gaming virtuoso. Who would have guessed this simplistic arcade outing would go on to become one the most recognisable and wellloved brands worldwide, with over 30 official spin-offs?

1981 RAIDERS OF THE LOST ARK WAS RELEASED MARIA GREEN

Steven Spielberg’s The Raiders of the Lost Ark, which marked the debut of Harrison Ford’s whip-cracking hero Indiana Jones was released 37 years ago on 12th June 1981.

The Raiders of the Lost Ark is the epitome of a flawless action-adventure. Set in the mid 1930’s, with the Second World War fast approaching, the film opens in a middle eastern jungle. Indy, our fearless hero, is scouring an ancient temple in search of a golden idol. Jones then finds himself globetrotting in a bid to prevent the Nazis from finding the Legendary Ark of Covenant from biblical myth.

1981

There is something deliciously exotic about this film, the loud call of tropical birds follows Indy, along with an atmosphere of palpable humidity. We watch in wonder as Indiana manoeuvres through thrilling booby traps and wild locations, each time slimly escaping the promise of a painful death.

A critical success, the film won five Academy Awards, as well as making $389.9 million at the Box Office; Raiders of the Lost Ark was just the beginning of a long legacy for the fedora-wearing archaeologist.

QUEEN RELEASED THEIR FIRST COMPILATION ALBUM SOPHIE JONES

Queen’s first compilation album was released 36 years ago, on 26th October 1981.

Their two-sided Greatest Hits collection had no universal cover, or even track listing, as they were determined by the singles that had been released and successful in each territory.

For the UK, where they had had enough top 20 hits

to fill an album, tracks spanned from ‘Seven Seas of Rhye’, which first appeared on their debut 1973 album, to ‘Flash’, from their latest release before the compilation, the soundtrack album for Flash Gordon.

Only Canada, Germany, Israel, the Netherlands and, later, the U.S. had the band’s collaboration with David Bowie, ‘Under Pressure’, as an added track.

Image courtesy of Bandai Namco

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NEWS

1981 ONLY FOOLS AND HORSES FIRST AIRED ON TV BRUNO RUSSELL

37 years after the first episode aired, on 8th September 1981, the antics of Del Boy and Rodney in Only Fools and Horses are part of the classic canon of British comedy.

David Jason’s portrayal of the archetypal London trader went to the hearts of the nation, alongside his ‘goofy’ brother Rodney (Nicholas Lyndhurst), their Grandad (Lennard Pearce), and Uncle Albert (the everchirpy Buster Merryfield) after Pearce’s death in 1984.

Only Fools and Horses has a unique place in the heart

of British comedy: for many it has become a nostalgia trip, but even for newcomers its comedic value is still as great as 30 years ago, and very few comedies have since achieved the same following and impact. Its final three episodes (aired every Christmas from 2011-13) achieved an extraordinary average audience of 18 million.

Its legacy cannot be denied: to call it one of the best programmes ever produced by the BBC would hardly seem an exaggeration.

1982 BLADE RUNNER DEBUTED IN CINEMAS LAURA WOODHOUSE

In a decade bursting with iconic cinema, it should come as no surprise that Ridley Scott released Blade Runner thirty-five years ago on 25th June 1982.

A loose adaptation of Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, Blade Runner has been described as a classic example of dystopia science-fiction by contemporary critics.

In science-fiction tradition, Scott’s film interrogates complex issues introduced by Dick such as the role of man in a machine world, our responsibility

and the possibility of sentience in technology.

Although it was positively received by critics, audiences struggled to engage with the film leading it to earn a respectable $32,868,943 in global box office receipts – barely a fraction of what Spielberg with E.T. the same year.

Regardless, Blade Runner has cemented itself as a classic film as it still resonates with audiences today in new and expanding ways culminating in the release of a sequel, Blade Runner 2049 last year.

DURAN RELEASED SEVEN AND THE RAG 1983 DURAN TIGER FLETCHER JOHNSON

Duran Duran’s classic album, Seven and the Rag Tiger was released 35 years ago on 21st November 1983.

Simon LeBron and Co’s first and only album to reach number one in the states, Seven and the Rag Tiger contains some of the bands most iconic hits- such as ‘The Reflex’, ‘New Moon on Monday’, and ‘Union of the Snake’.

Capitalising on the albums success, the Birminghambased band celebrated with an intentional tour

lasting over a year-and-a-half(!) - solidifying their spot as an icon of British pop-funk.

The album is the definition of 80’s; catchy tunes blasting a concoction of techno and cheesy lyrics, finished off with a horrendously over-the-top music video. Something about this album is guaranteed to put a grin on your face, get those legs moving, and make you sing at the top of your lungs with your mum.

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NEWS

1984 THE TERMINATOR WAS RELEASED HOLLY HAMMOND

James Cameron’s The Terminator was released 34 years ago on 26th October 1984.

It follows Arnold Schwarzenegger’s Terminator as he travels back from 2029 to kill Sarah Connor so that she doesn’t become the mother of John Connor, the future hero of the rebellion against the machines. To prevent the Terminator from succeeding, John Connor sends back Kyle Reese who, in helping save Sarah, becomes John’s father.

‘I’ll be back’ - the time-travel action film, The Terminator went on to spawn four sequels (or

prequels considering how convoluted the timeline becomes at points) with another one currently in the works to be released in 2019. Through all of them, Schwarzenegger’s evolving Terminator has been the central figure and it was all kickstarted in the 1984 film that gave him just 14 lines of dialogue.

The Terminator was well-received and had a $4 million opening weekend in the US, and grossed over $78million worldwide.

It also won three Saturn awards for Best Science Fiction Film, Best Writing and Best Make-Up respectively.

1985 SUPER MARIO BROS. WAS RELEASED IN JAPAN LIANA DENT

Amidst a slumping game industry on the brink, Super Mario Bros. was released 32 years ago today on 13th September 1985.

Nintendo’s legendary designer Shigeru Miyamoto began work on a game to release with the company’s upcoming NES console. Full of secrets, power-ups and a land full of secrets to discover, Super Mario Bros. was a massive hit - the NES’ release was a success, the gaming industry was brought back from the brink, and it remains one of the best-selling video-games of all time.

Super Mario Bros. introduces the most familiar

trademarks of Mario’s world. Mario and Luigi traverse sidescrolling levels, jumping over gaps and onto enemy Goombas and Koopas, and grow stronger thanks to power-ups in the form of mushrooms.

Princess Toadstool, who we know today as Princess Peach, is kidnapped by the villainous Bowser, and so the Bros. must embark on a rescue mission.

Super Mario Bros. is the perfect example of Nintendo’s continuing innovations in the video-game industry, and this game has definitely earned the Italian plumber his place as Nintendo’s iconic mascot.

MOORE AND DAVE GIBBON 1986 ALAN FIRST PUBLISHED WATCHMEN SAM LAW

Usually, graphic novels are simple escapism into worlds filled with charismatic heroes and detestable villains that we can hop into for an hour and enjoy.

But sometimes, something quite special comes along, and that’s exactly what happened when Alan Moore and Dave Gibbons released the masterpiece that is Watchmen 32 years ago, in September and October 1986.

Covering themes of power, corruption, and the

idea of superheroes really walking among us, Watchmen focused on a group of relatable (if not always likeable) heroes in an alternate world where heroes exist but have been outlawed.

Since adapted into a 2009 feature film by Zack Snyder, Watchmen is a graphic novel that has better stood the test of time. It is a behemoth of the graphic novel landscape, and one that rightly deserves to be celebrated.

Image courtesy of Bandai Namco

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NEWS MAC RELEASED 1987 FLEETWOOD TANGO IN THE NIGHT HARRY FORTUNA

31 years ago, after a four-year hiatus, the infamous quintet Fleetwood Mac reformed to release Tango in the Night on 13th April 1987.

The album did not live up to the overriding success of 1977’s Rumours, yet still sold over fifteen million copies worldwide to become the second-best selling album in Fleetwood Mac’s discography.

Failing to hide the bands’ deep brooding troubles, even behind some classic hits of the late ‘80s

like ‘Little Lies’ and the peerless ‘Everywhere’, we are invited to see the real Fleetwood Mac. Tango in the Night is unlike any other album in that it allows us to really feel and really understand the artists behind it. We feel the pain and the trauma, and we bask in their ability to be an unstoppable musical force whilst acknowledging the individual members as deeply troubled human beings.

1988 ROALD DAHL’S MATILDA WAS FIRST PUBLISHED ELLIE BRAIN

Matilda, published 30 years ago on 1st October 1988 by the then 70-year-old Roald Dahl, continues to enthral and inspire audiences of all ages to this day.

Matilda tells the story of an incredibly gifted 5-year-old girl, Matilda Wormwood, who, after being continually rejected by her family and unappreciated by almost everyone in her life, she uses telekinetic powers to outsmart her parents, brother, and headmistress-from-hell, Miss Trunchbull.

When the story was first published, it received good

but not outstanding reviews. Perhaps an unintentional metaphor of how an underestimated girl, or in this case novel, could go on to do some extraordinary things.

Since publication, the novel has been turned into a 1996 movie starring, directed, and produced by Danny DeVito. It has also become a huge success on stage, winning Olivier and Tony awards, in the form of an all-singing, all-dancing, Matilda the Musical, with songs by Tim Minchin.

1989 THE LITTLE MERMAID WAS FIRST RELEASED BECCA BARNES

Disney’s beloved animated fantasy, The Little Mermaid, was released in US cinemas on 17th November 1989.

Based on the Danish fairy tale by Hans Christian Andersen, the film tells the story of a naive young mermaid named Ariel who dreams of becoming human.

Marking the start of the Disney Renaissance, the film went on to receive $211.3 million in total worldwide gross and two Academy Awards for Alan Menken

and Howard Ashman’s remarkable score and their uplifting Calypso-inspired anthem, ‘Under the Sea’.

The film has since inspired direct-to-video sequels, an animated series and a Broadway stage adaptation. A live action film adaptation is currently in the works, with Hamilton’s Lin Manuel Miranda reportedly working alongside Menken on some new original songs.

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FEATURES

A Retrospective on ‘80s Cinema Damian Meaden

W

ithout doubt, a lot of the themes in contemporary cinema were formed during the 1980s, a decade that not only saw the continuation of the ‘blockbuster hype’, but also reinvigorated faith in studio-based productions. The steady rise of the film ‘series’ is evident, with renowned franchises including Indiana Jones, James Bond and Star Wars all enjoying fresh or continued success at the box office.

Whilst nowadays we plan our cinema schedule around ‘event’ films - for example, for the next few years the attention of film fans has been captivated by the conclusion of the Marvel Cinematic Universe in Avengers: Infinity War, the continuation of the Fantastic Beasts spin-off series and the next installments in the Star Wars franchise - until the ‘80s this theme was very much an exception to the rule, and though some would argue this led to a marked decline in the popularity of smaller, independent films, the ‘80s have a number of notable classics.

Indeed, E.T. was the highest-grossing film of the decade at the box office, amassing an enviable $435 million upon release. Whilst we’re travelling back in time, it seems rude not to mention Back to the Future, one such production that was successful enough to spurn sequels. Thus, the emergence of sci-fi as a leader in the market is obvious, though unsurprising - the critically acclaimed original Star Wars trilogy found its conclusion with The Empire Strikes Back (1980) and Return of the Jedi (1983), with each success encouraging the film-makers of Hollywood to venture further out into space for their next smashhit.

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Fantasy films also returned to the forefront of studios’ agendas, though oddly enough cult-classics like Labyrinth, featuring the late David Bowie, along with Return to Oz, the high-budget but flop of a sequel to the original movie starring Judy Garland, only became successful once released to the public on the home video platform, and were considered failures on the big screen. The Neverending Story was also released in the 1980s and went on to enjoy a handful of sequels.

The direction of action films in the following decade was undoubtedly influenced by 1988’s Die Hard. The genre became popularised by actors such as Sylvester Stallone, Bruce Willis and Arnold Schwarzenegger and continued to thrive in the 1990s. Similarly in the East, Jackie Chan was revolutionising action films in China with Tsui Hark and John Woo, changing the landscape of action films for the foreseeable future.

Cross-genre films also enjoyed strength across the period, with The Breakfast Club being considered both a comedy and a teenage drama as five very different high school students are trapped together in detention and discover common anxieties that culminate in Brian’s detention essay. The same could be said of Ghostbusters, made even more iconic because of its title theme, which easily falls into the categories of sci-fi, comedy, action and fantasy.

Even if we leave to one side the sheer number of classics produced during the 1980s, there is little doubt that their lasting legacy surrounds the effect they would have on the cinema industry for many years to come.

FEATURES

From ‘Thriller’ to ‘New Rules’: The Return of the Big Sound I

Sam Law

f you’ve tuned into the radio anytime in the last few months, chances are there’s a particular sound you’ve heard again and again as they tick down through the charts. It took me a while to pick up on it, but when I discovered what it was, it grabbed me by the teeth and still hasn’t let go. Take another listen - to ‘The Louvre’

by Lorde, or to ‘tonite’ by LCD Soundsystem, or most obviously to ‘New Rules (Initial Talk Remix)’ by Dua Lipa. Now put on ‘Thriller’ by Michael Jackson, ‘Don’t You (Forget About Me)’ by Simple Minds or ‘In The Air Tonight’ by Phil Collins. Notice anything? That big 1980s sound - major notes that seem to ripple around the high school hall, space-age synth that takes you back to the days of E.T. and space shuttles, and most widely that vapid, reverberated drum beat that seems to cut through the entire song - is making a comeback, and how.

We are living in an era of real 1980s nostalgia when it comes to pop culture, and the music world is no exception. What’s interesting is how music producers aren’t going after pure nostalgia, as perhaps other players in the entertainment world are. That’s not to say nostalgia isn’t a factor in the return of that big 1980s sound - it almost certainly is. Jack Antonoff was born the year Prince’s Purple Rain was released, and it’s clear when listening to his 2017 album Gone Now (and to Lorde’s Melodrama and Taylor Swift’s aptly-titled 1989, which he produced) that growing up around reverberating synth and in particular those cutting drums has influenced his work; Ariel Rechtshaid, who produced Carly Rae Jepsen’s 2015 album Emotion, said of the sound that it’s “just

something that I’ve always kind of had in my head”.

And those millennials who were brought up on Michael Jackson and David Bowie will always be keen on the sounds that take them back to their childhood (is that not why so many students pour into Oceana’s cheese room every Wednesday night?). But why is this sound selling to the younger generation?

Well for one thing, it’s new. True, peak reverb was a thing - listen to any 1980s playlist for longer than an hour and you’ll see what I mean - but compared to the dry drums and grungy guitar of the 1990s and 2000s, dazzling synthesizers and that oh-so-noticeable drum beat provide a change of pace. But more than that, today’s producers are doing exciting things with the sound to attract a whole new audience who has never come across gated reverb or its cousins before. To use my previous example, Lorde’s ‘The Louvre’ is clearly not a 1980s song - there’s none of the pluckiness or dreaminess that characterized much of the music of that decade - but those cutting drums still manage to set it apart from anything else from even as recently as five years ago.

True, there are exceptions to this - nostalgia was clearly very much a factor in producing Initial Talk’s remix of Dua Lipa’s ‘New Rules’ - and it’s fair to say that the swooshing drum beats and laser gun synths we’re hearing more of aren’t exactly timeless sounds.

But then again, they are very cool, and I think most of all that’s why I’m excited to go back in time to explore the future of music.

Image courtesy of Epic Records and Warner Bros.

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FEATURES

The Enduring Simplicity of ‘80s Teen Movies Rehana Nurmahi

“I

want my life to be like an ‘80s movie... But no, John Hughes did not direct my life.”

Emma Stone utters these words in the 2010 teen comedy Easy A, decades after the heyday of John Hughes had passed. Teen movies have remained a pinnacle of film culture, and to be honest, there have been some great ones (Easy A included). And yet, even now, there seems to be a yearning for those ‘80s films and that culture; look at the way in which Stranger Things has grabbed the world’s attention.

Why is that? What is it about these films that makes them so enduring?

These stories are so incredibly simple, sum-themup-in-a-single-sentence simple, yet they capture our hearts so innately. Perhaps it is just the contrast from the over-complicated, plot-twisting, mind-bending films that producers are so set on churning out these days. The simplicity of such ordinary narratives is a breath of fresh air, and even more so, it is their focus on characters that makes them so special to us.

A key element of the ‘80s teen movie is their focus on characters, the fact that these stories are human stories about regular, everyday people. We long to see people like us on screen, and the people in these films are so normal: they are our families, our friends, our neighbours, our teachers... they are us. Yes, they get themselves into slightly weirder situations, and maybe they’re a bit prettier than average folk, but there’s something about them that reflects real life.

More specifically, it is these characters’ experiences of growing up. It’s Samantha from Sixteen Candles

wanting to be seen. It’s Ferris from Ferris Bueller’s Day Off wanting to just enjoy the little things. It’s Brian from The Breakfast Club not being able to deal with the pressure of school. There is not one character more relatable than the other, because every single one seems to capture a different facet of the teenage life. ‘80s directors, especially John Hughes, have this uncanny ability to fully understand what it’s like to be a teenager. They capture the FOMO, the awkward crushes, the competitiveness with siblings for parents’ affection. These really simple things seem to shrink when you’re an adult, but when for a teenager they are the biggest thing in the world.

And the beauty of these films is that they don’t belittle that - they treat these problems like they are the biggest thing in the world. They treat these characters as people whose opinions are cared about, as people with things worth saying. Teenagers aren’t always given this courtesy, yet these films never suggest that they shouldn’t. It’s not because these characters are perfect, because many are far from it, but it’s the reminder that growing up is such a big deal, and when we try to just dismiss it, we lose the beauty of it.

As Ferris Bueller so famously said, “Life moves pretty fast. If you don’t stop and look around every once in a while, you could miss it.”

Whether you’re currently going through that awkward stage of ‘teenagedom’, or whether that is a distant memory, revisiting these films makes these emotions so real. It’s nostalgic, it’s brilliant, and so so simple. It’s life. That’s what makes these films so enduring: they capture those moments in life that shape us without us realising it.

Image courtesy of Paramount Pictures

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FEATURES

The Danger s of No s tal gia

in the 2010’s T

Thea Hartman

he ‘80s, the ‘90s, the Golden Age, even ten years ago – we constantly want to live in a time that is not ours. It’s a human thing: even if we’ve always liked to fantasise about its possibilities (the 1985 classic Back to the Future and Orwell’s novel 1984 are mere examples of this fascination), we are afraid of the future, of what we can only anticipate, but never really know. Taking refuge in the past seems the only reasonable thing to do when there’s anxiety right, left, and centre, and films, books, and music are the closest thing we have to going back in time and leaving our fears behind for a bit.

However, while the rising levels of anxiety in regards to our future are perfectly understandable, the past couple of years took nostalgia to a whole other level.

The most popular films that aren’t adaptations or don’t feature superheroes are still tied to something from the past (Star Wars: The Last Jedi, Blade Runner 2049, Ghostbusters, Beauty and the Beast), there are whole TV shows paying tribute to the ‘80s (Stranger Things), and ‘old-school’ music is making a comeback.

Seeing this trend growing in amplitude as time passes feeds a worry: could this nostalgia be dangerous for the entertainment industry if it keeps growing?

It’s only natural for us to enjoy the things we grew up with, the music our parents were listening to when we were kids, the games we played, the films we saw.

Hearing Michael Jackson’s music, rewatching E.T. or reading Stephen King’s novels could never lose that fuzzy feeling of comfort and safety if you’d asked me five years ago. Now, that certainty has started to fade

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away, as constantly reviving all these masterpieces in various ways could make them lose that aura of the past which hugely contributes to their appeal.

Of course, if nostalgia can ever be healthy, there are some of these revivals that do it right. Even if paying tribute to the ‘80s is one of the major features of Stranger Things, its plot, emotional power, and wellbuilt characters lay the foundation of its greatness.

Once you allow yourself to be absorbed by the story, the hints to a King novel or a Police song playing in the background can only make you smile or maybe dig up an old playlist later to fill your night with some ‘80s joy, but they aren’t distracting. The latest Star Wars instalments haven’t recycled plots either; they have come up with new characters and content to fit the incredibly popular universe now spanning over 40 years.

However, the entertainment industry could do with more completely fresh content. Take Baby Driver, for instance, possibly the most original film of 2017, which impressed audience with its use of soundtrack and its fast-paced plot. Take Ed Sheeran, whose sound is so particular that we can now recognise his music from the very first beat. There’s nothing wrong with them paying tribute to what influenced their work, as nothing can ever be completely isolated, but originality should be a priority. Even if ‘the 2010s’ doesn’t sound nearly as good as ‘the ‘80s’, wouldn’t it be great to get this decade up there for future generations to look back to?

RECORDS

ARTIST IN FOCUS Prince Harry Fortuna A

singer, a songwriter, a musician, a producer, an actor, an icon. Prince, born in Minneapolis in 1958, was an artist that epitomised the musical innovation of the 1980s. As a musician, he refused to be caged to society’s norms, and dazzled the world with deeply erotic lyricism, excessive gyrating and tight spandex clothing that showed off the beauty of every inch of the 5’2 superstar. Being such a true individualist, and multi-talented artist, it is no wonder that Prince is recognised worldwide as a true inspiration and one of the most successful entertainers to emerge from the ‘80s.

In a decade that we now look back on to be immersed with so much pop culture and musical iconography, it can be easy to forget some artists amongst the swamp of 1980s paraphernalia; however, Prince undoubtedly stands out from the crowd. As a musician he was eclectic, as a performer he was flamboyant, and as an artist he was immense. Renowned for being a maverick and nonconformist in his nature, he created an identity for himself that was to live long in the memory of generations. Since his untimely passing in 2016, bonafide pop legend has continued to inspire and remains a unifying symbol of all that was good about 1980s music.

Having sold over 100 million albums worldwide during his lifetime, Prince was inducted into the Rock and Roll Hall of Fame in 2004, his first year of eligibility.

Producing his most prominent works in the ‘80s, he released a series of ground-breaking albums including 1999, the album that really kick-started his career in 1982, with the titular track remaining one of Prince’s most well-known. However the icon’s most celebrated work, Purple Rain, was released in 1984, embodying the culmination of funk, pop, and rock that made Prince’s sound so distinct and revolutionary. As well as boasting timeless classics such as ‘When Doves Cry’ and ‘Let’s Go Crazy’, Prince introduced arguably one of the best songs of all time in its titular track, ‘Purple Rain’. The song utilises all of Prince’s vast vocal range, provides a mellifluous gospel chorus, and a fabled piercing guitar solo that lingers, still to this day, in the remnants of nostalgia.

Oozing a confidence that even surpassed arrogance, he painted himself as a deity amongst mortals. Whilst also adapting his album Purple Rain into a movie of the same name and starring as the lead role, Prince continued to display his multi-faceted arsenal of ability in his music until his death, all the while transgressing the boundaries of gender and sexuality, pioneering this sense of individuality that is so characterising of the ‘80s, along with the likes of George Michael, David Bowie and Freddie Mercury. As a true genius, his music will never be forgotten even long after we are wiped from the face of the Earth, for generations to follow us will undoubtedly bask in all his purple glory. He was born a man, lived as Prince, and died as a king of pop.

Image courtesy of Ron Wolfson/Landov

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RECORDS

Rewind Albums

Guns ‘N Roses - Appetite for Destruction David Mitchell-Baker

There hasn’t been an album in history that has changed the game quite like Appetite for Destruction, the

magnum opus of hard rock legends Guns N’ Roses. A drug fuelled, sex addicted, no holds barred boot through the door, Appetite opens at 11 and closes somewhere off the scale. There simply is not a collection of songs in the history of rock n’ roll that can hold a candle to the album; hits like ‘It’s So Easy’, ‘Mr Brownstone’ and ‘Nightrain’ still stand among the band’s best songs. Each bad-ass, bombastic and brilliant in their own right. And those are just a sampling of the album’s supporting players. Appetite has spawned huge milestones in rock like ‘Welcome to the Jungle’, perhaps the finest

opening track of all time, ‘Paradise City’, a sweetly constructed feel-good hit which surpasses any “banger” in the charts these days, and, of course, ‘Sweet Child O’ Mine’, the band’s most iconic song, a riff everyone knows and chorus everyone loves to sing along to, simply put, it’s songwriting perfection.

And just when Appetite can’t get any better, the behemoth ‘Rocket Queen’ rips forth and closes out the album in truly thunderous style. Appetite for Destruction started out as a statement from a group of hungry upstarts and became a legacy, it’s the finest album in the history of rock and roll.

Phil Collins - No Jacket Required Tom Hills

Phil Collins third solo studio album, No Jacket Required, seems a shoo-in to replace The Smiths at the top of the album charts. Stuffed with hits like “Sussudio”, “One More Night”, “Don’t Lose My Number” and “Take Me Home”, this is Phil Collins at his very best.

The album begins with ‘Sussudio’, a track which utilises synths, horns and of course drums to create a track which positively hums with energy and is simply impossible not to bob along with. The album shifts in tone with “One More Night”, a soft rock ballad in which Collins appeals for another chance to prove his love, his longing and desire coming through

in his delivery of each line. The tone then shifts again with ‘Don’t Lose My Number’ which includes a thumping drum beat, a sprinkling of electric guitar and a heavy dose of the synth which has come to define the music of the current decade. The album also possesses some hidden gems which bring out the political and personal sides of Collins. ‘Long Long Way to Go’ is Collins’s most political song to date; featuring backing vocals from Sting, the track reveals his frustrations with the state of the world and his belief that a lot more has to be done.

No Jacket Required is a tour de force which showcases Collins’ allround abilities and adaptability in Images courtesy of Geffen and Virgin Records

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performing different genres of music.

This is just further evidence of his prodigious skill as a musician and firmly cements his place as one of the finest singer-songwriters of our time.

RECORDS Michael Jackson - Thriller

Sam Law

In one line, Thriller is the album that finds Michael Jackson at his artistic peak and quite simply one of the best albums ever recorded.

Yes, it is a product of the 1980s notice the constant backing of the thunderclapping reverb drum beat used throughout, and the rather exquisite use of early synth on ‘Beat It’ and ‘Billie Jean’ - but there’s also very much an element of timelessness to the King of Pop’s sixth solo studio effort. From the tender ‘The Girl Is Mine’ to the irresistible allure of ‘P.Y.T. (Pretty Young Thing)’ and the knowing humour and sheer dancefloor seduction oozed by the

sublime title track, MJ has figured out exactly how to capture every aspect of human emotion and apply it to compact cassette form. To this day, I guarantee you’d be hard-pressed to find a better one-two-three hit than ‘Thriller’, ‘Beat It’, and ‘Billie Jean’. Thriller is a shimmering cascade of deliciously delicate synth-pop delights bouncing off its central glamrock-inspired central draws that hold up the album, allowing everything else to breathe and enjoy its time in the spotlight, and it is truly marvelous.

Sure, nostalgia feeds into Thriller’s appeal, but it’s far down the reasons to give it a listen: when seven of an

album’s nine tracks are Top 10 singles, and when that album has sold 65m copies worldwide, you know you have a masterpiece on your hands.

Bon Jovi - Slippery When Wet Meg Holland

A delve into all things 1980s would not be complete without acknowledging bona fide arena rockers, Bon Jovi.

After two successful albums, they returned in 1986 with their most notable work, Slippery When Wet. Named after the band’s trip to a strip club (pretty rockstar stuff), it features major hits like ‘Livin’ On A Prayer’, ‘You Give Love A Bad Name’ and ‘Wanted Dead or Alive’, in a record which can only be described as a brilliant cliché. With a vocal power unparalleled, the electric guitar laden tracks configure 10 songs which

somehow manage to sound all the same but somewhat different at the same time. Although not the crème de la crème of songwriting, it’s undeniable that Slippery When Wet’s most biggest tracks are some of the biggest out there. I don’t think I’ve ever been to a house party where ‘Livin’ On A Prayer’ can’t been played. It’s definitely one of those intergenerational tracks which won’t be going anywhere soon. It isn’t the ‘80s if there isn’t any cheese and Bon Jovi definitely supply us with more than enough. Named the top selling album of 1987

by Billboard, Slippery When Wet is the most important pop rock record of the decade.

Images courtesy of Epic Records,Vertigo Records, and Paul Natkin/Getty Images

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RECORDS

Toto - ‘Africa’

Rewind

Sam Law

Singles

Get your Walkmans ready, as this is one track that a hundred men or more couldn’t stop you from playing on repeat. Beautifully mixing marimbas and synthesizers, world and nostalgic pop, ‘Africa’ draws you in like a kid to an arcade with its gorgeously irresistible groove that’s smoother than the cream cheese you spread on your bagel in the morning, before taking a trip down to Pleasure Avenue in a truly orgasmic chorus laden with multi-part melodies and cascading

rivers of lush, unblemished, pure pop goodness. Never mind that the lyrics make no sense - you’re too busy belting them out at the top of your voice to care, and doubtless will be for days to come. And this is all without even mentioning the woodwind flute solo (yes, really) in the middle of the song that deserves a review all of its own. ‘Africa’ truly is a marvel of our time, and one of the greatest songs ever written.

U2 - ‘With Or Without You’ Thea Hartman

The guys from U2 have totally been a big deal lately, and they’re back again with the first single from their fifth album, The Joshua Tree... and it’s absolutely bitchin’! Although the beginning is quite slow and it doesn’t follow a verse-chorus structure, ‘With Or Without You’ provides a slow yet very satisfactory ascension towards an explosion of voice and guitars that isn’t aggressive or disruptive - and that’s what makes it a mood, not just a song.

Along with its poetic lyrics, it has the power of getting you to look think about *that* person who drives you crazy but without whom life isn’t quite the same. The thoughts go on, and on, along with a combo of guitars that reminds me of Bowie, until Bono hits some insane notes that bring you back from whatever galaxy it might have sent you to. It’s a brill track, and I wouldn’t be surprised if we were all still listening in, like, 30 years.

Rush - ‘Tom Sawyer’

David Mitchell-Baker

When the question “Musically, who is greatest band of all time?” is thrown out, you’ll often get a decent number of people passionately replying with the Canadian progressive rock trio Rush. Ask those same people for the greatest song, you’ll probably get ‘Tom Sawyer’, the band’s signature tune and one of the most enduring rock songs of all time. With a driving beat from drumming legend Neil Peart, the wailing banshee-like vocals of bassist Images courtesy of Columbia Records, Island Records, and Mercury Records

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and singer Geddy Lee, and an all time great guitar solo from Alex Lifeson, the song is endlessly re-listenable, catchy as all hell and damn cool.

From Lee’s unconventional delivery, to Peart’s refusal to play the expected and Lifeson’s swagger and gusto, ‘Tom Sawyer’ shows a band at their apex, as timeless as they come and genre defining, ‘Tom Sawyer’ is an utterly transcendental rock song from the living legends.

RECORDS Frankie Goes To Hollywood - ‘Relax’ James Barker

There’s been a lot of talk recently about the controversial banning of certain books in the early 20th century, but did you know the BBC were restricting what music it played on TV and radio as late as the 1980s? Frankie Goes To Hollywood’s debut single ‘Relax’ was condoned for its “suggestive sleeve” – a.k.a. the song’s infamous hook “Relax, don’t do it / When you want to suck to it / Relax, don’t do it / When you want to come...” – and disappeared from the airwaves in 1983. However, much to the BBC’s embarrassment, this very scandal pushed the newcomers into the spotlight and ‘Relax’ hit

number one in early 1984. Awkward!

With an ambitious agenda of tackling “sex, war and religion” in the band’s debut, FGTH’s lead singer Holly Johnson heralded music’s edgiest scene yet with the arrival of ‘Relax’.

The creativity of this single track espoused the musical arrival of a spreading pop punk movement, reflected by Andy Warhol in art and the likes of Sid and Nancy in film.

Sexual liberty, unlimited creativity and most importantly, music meant to be enjoyed – this synth-infused four minute track set a trend that musicians

are still trying to recreate today.

The Cure - ‘Friday I’m in Love’ Sophie Trenear

If any song can parade the label “groovy” around more than ‘Friday I’m In Love’ by The Cure, then please do let me know, because goddamn – this song is wild. After writing the song, primary writer Robert Smith was convinced he had inadvertently stolen the now-famed chord progression from somewhere and ended up calling everyone he could think of in a state of sheer paranoia to play it to and check. Of course, the melody was actually realized by Smith himself

and now we have one of the greatest songs of all time – thank you Robert.

Taken from The Cure’s ninth studio album, the peppy refrain of ‘Friday I’m In Love’ deviates from the band’s trademark post-punk and new-wave quality to give something more along the lines of a “let’s get happy kind of record,” as Smith himself called it. The band never meant for it to become such a hit, but even now, even 25 years later, the song has made them timeless.

A Flock of Seagulls - ‘Space Age Love Song’

Teague Hipkiss

The label of ‘One Hit Wonder’ is a frequently double-edged sword for an artist, with the success of one track potentially eclipsing an entire discography. Directly following ‘I Ran (So Far Away), A Flock of Seagull’s fourth single ‘Space Age Love Song’ fell to one such overshadowing despite being the much stronger song.

In true A Flock of Seagulls fashion, the song is lyrically understated, employing just 24 unique words across four minutes. Mike Score’s minimalist vocals thus serve only as dressing to the ethereal, dream-like guitar riff, which blends into the echoey synths to create a gorgeous sound utterly befitting of the title ‘Space Age Love Song’.

Images courtesy of ZTT Records, Fiction Records, and Jive Records

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FILM

A Beginner’s Guide to

’80s Cinema

The Empire Strikes Back, dir. by Irvin Kershner (1980) Sam Law

As far as introductions to 1980s cinema goes, you can’t go wrong with the truly sensational Star Wars: Episode V - The Empire Strikes Back. A true masterpiece in storytelling (“I am your father”), visual effects (the opening battle on Hoth alone serves as one of the greatest sci-fi action scenes of all time) and worldbuilding (remember, it was Empire that introduced us to Boba Fett, Lando and Yoda). It has passed the test of time with flying colours, and is not only the best Star Wars ever made, or even one of the best sequels ever made, but one of the best films ever made. But although it has a timelessness about it in its sheer cinematic quality, Empire is also very obviously a product (and influencer) of its era: notice the beautiful neon cinematography of the climactic duel between Luke and Vader; the grubby, life-like “worn-in” aesthetic later popularised by Blade Runner and Aliens; and the sheer excitement and enthusiasm at the chance to explore space (we were introduced to Dagobah, Hoth and Cloud City in Empire) just as the space shuttle was doing in real life. It truly is one of the greatest films of that eclectic decade.

Aliens, dir. by James Cameron (1986)

Laura Woodhouse

After the success of Ridley Scott’s Alien, it came as no surprise when Twentieth Century Fox announced its intention to produce a sequel. More surprising was the direction James Cameron chose to take the franchise, making Aliens a classic example of science-fiction cinema, and a great introduction to a decade bursting with iconic films. Whereas Scott relied on horror, Cameron presented an outstanding blend of science-fiction and bombastic action. Aliens is a thriller bursting with cursing marines, deadly Xenomorphs and one of the best action heroines in cinematic history, Ellen Ripley. Aliens earned Sigourney Weaver both her iconic status and an Academy Award nomination, but the lasting effect Ripley has had on the representation of women in cinema can still be felt today: from Linda Hamilton’s Sarah Connor, to Jennifer Lawrence’s Katniss Everdeen, and Daisy Ridley’s Rey. In one film, Cameron proved that a sequel didn’t have to be a copy, and that a woman could be more than just a damsel-in-distress.

Images courtesy of Disney

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FILM Back to the Future, dir.

by Robert Zemeckis (1985) Josh Nicholson

Considering that we’re past the 2015 future predicted in the film’s sequel, you’d be forgiven for thinking Back to the Future is now little more than a dated 1980s trilogy past its sell-by date. However, this timey-wimey classic is still the absolute gem that it was when it released back in 1985. Featuring Michael J. Fox as rebellious teenager Marty McFly and Christopher Lloyd as eccentric scientist Dr. Emmett Brown, it’s the relationship between these unlikely friends that has helped Back to the Future stand the test of time. After a time travel mishap, Marty is thrown back in time to 1955 and accidentally throws his parent’s supposedly flourishing relationship into question. Director Robert Zemeckis cleverly uses a sci-fi premise to craft a film that is really a coming-of-age comedy at its core. It’s a shame that we haven’t seen Doc and Marty since the original trilogy released, but it means that the series still stands a symbol of the 1980s.

The Breakfast Club, dir. by John Hughes (1985)

Meg Holland

Any introduction to ‘80s cinema would be incomplete without citing John Hughes’ coming-of-age masterpiece, The Breakfast Club. Serving as one of the greatest high school movies of all time, it’s set over the course of a day in Saturday detention, in which all of the school’s stereotypes attend and ultimately break down their respective cliché’s to realise that they’re not all unreachable. Simple in its plot, The Breakfast Club is a film built on fast-paced dialogue and humour, with Bender the angsty antagonist - often dominating and commanding narrative direction, until his realisation that he can ‘get the girl’ by just showing his human side. It’s the final scene, where they tell their supervisor, Mr. Vernon, that: “you see us how you want to see us... but what we found is that each one of us is a brain, an athlete, a basket case, and a princess” and Bender raising his fist in triumph to Simple Mind’s ‘Don’t You (Forget About Me)’ that makes this movie such a great introduction to ‘80s cinema, and also to the architect of the teen movie genre, John Hughes. Often dubbed as his best work, The Breakfast Club remains timeless in its encapsulation of the strain of category controlled high school life.

Images courtesy of Universal Pictures

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FILM Beetlejuice, dir. by Tim Burton (1988) Eleanor Joyce

Tim Burton’s Beetlejuice is a bizarre tightrope walk between creepy and fun, and definitely worth including on a list of the best offerings from the ‘80s. After a car accident cuts short their time in the land of the living, Alec Baldwin and Geena Davis are forced to inhabit their house as ghosts for the next 50 years, and their attempts to scare off the obnoxious, bohemian new inhabitants fall flat. They enlist the help of Betelgeuse (pronounced Beetlejuice), a veteran poltergeist, but get far more than they bargained for when an unhinged, lascivious, mouldering spirit begins to wreak havoc. A high point of Tim Burton’s early career, Winona Ryder’s breakthrough role as vulnerable yet savvy goth girl Lydia Deetz is truly convincing and part of what gives the film so much heart, and Michael Keaton is equal parts cartoonish and scary as Beetlejuice. The dinner party possession scene is one of the most memorable moments and perfectly encapsulates the ‘80s trend for trailblazing and mixing genres - Beetlejuice ticks all the boxes as an offbeat fairytale about embracing weirdness that Burton throws inside a horror film and drives off a cliff. Great stuff.

Dirty Dancing, dir. by Emile Ardolino (1987) Hannah Billingsley-Dadd

Dirty Dancing is one of the most well-known cheesy rom-coms of the ‘80s, if not ever. The low budget, danced centred film quickly made a storm at the box-office and the hit song ‘(I’ve Had) the Time of My Life’ won a Grammy for best duet, alongside both a Golden Globe and Academy Award for Best Original Song. If you haven’t seen the movie, which you should, then you would have probably heard the song. The plot is a pretty simple, cute romance with a dancing twist. Baby (Jennifer Grey), sporting a very ‘80s perm and determined to go into the Peace Corps, has been dragged on her family holiday to an expensive dancing camp in America. While her sister jumps at the opportunity to show off her awful singing prowess, Baby joins in with less enthusiasm. Meanwhile, a struggling dance troop hired by the camp finds itself in trouble when the lead woman drops out. Baby attempts to be helpful by trying to learn the dance routine and take the lead so the troop can still be paid for their summer of work. After some flirty dancing, a little romance, a protective dad, and a cute speech, the movie ends with it’s famous song and Baby impressing her family with her new-found dancing ability.

Images courtesy of Warner Bros. andVestron Pictures

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FILM

ONE TO WATCH Ready Player One

I

David Mitchell-Baker

f there were ever one work to encapsulate the overwhelming ‘80s nostalgia ride that the entertainment business seems to be on right now, it’s Ernest Cline’s “pop culture holy grail” Ready Player One. This coming March, Cline’s smash hit novel is finally arriving on the big screen, in the capable hands of one Steven Spielberg, no less.

Starring Tye Sheridan, Olivia Cooke, Simon Pegg, Ben Mendelsohn, T.J. Miller and Mark Rylance, Ready Player One takes place in a world in which Planet Earth is on its last legs as a stable society. But this impending dystopia has a saving grace - the OASIS, an immersive VR experience, epic in scope, populated by millions of regular users and filled to the brim with pop culture references. Think The Sims meets Skyrim, by way of an ‘80s entertainment crash course. But the OASIS will forever change when its creator James Halliday (Rylance) dies, leaving behind a will which reveals that he has hidden a series of clues within the OASIS, the discovery of which will lead to an easter egg. One lowly user, a Halliday superfan Wade Watts (Sheridan) stumbles upon this first clue, thus initiating an OASIS wide manhunt for Halliday’s egg and his fortune.

What sets Ready Player One out from every other blockbuster this coming year is the sheer inventiveness.

Whilst the story itself is enamouring and the characters endearing, the world of Ready Player One will be

like nothing you have ever seen before. To bring this creative bonanza to life, Spielberg reportedly created sets on an unparalleled level, and if his blockbuster track record is anything to go by, the action within his creation should be incredible.

The pop culture battle royale style of the film promises to be an exhilarating experience for the eyes (we’ve already seen glimpses of The Iron Giant, Freddy Krueger and Link), but it would be nothing without the great cast behind it. Sheridan is clearly a rising star, one whom Spielberg has a lot of faith in, Olivia Cooke was sensational in Me and Earl and the Dying Girl, T.J. Miller is always comedic gold, this feels like the perfect film for Hollywood’s resident geek Simon Pegg, Mendelsohn is establishing himself as one of the business’ most sought-after character actors, and Rylance is Spielberg’s new go-to guy, like Cruise and Hanks before him. It’s a thrilling ensemble who look set to elevate Cline’s fantastic material.

Ready Player One promises to be unique. In a world of sequels and remakes, Hollywood’s greatest living director is back with a movie from the ‘80s gen, for the new gen. The master is back, and he’s ready to define a generation all over again.

Ready Player One is set for a UK cinema release of 30th March.

Image courtesy of Warner Bros.

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FILM

ACTOR IN FOCUS Michael J. Fox Eleanor Joyce

O

ne of the most commonly Googled questions about Canadian-American actor Michael J. Fox is simply: ‘What happened to Michael J. Fox?’ Fox was a bonafide icon of the ‘80s, best known for playing time-travelling teen Marty McFly in the Back to the Future trilogy. Back to the Future is not all that Fox has appeared in throughout his long and varied career, however...

Fox landed a role in Canadian sitcom Leo and Me at fifteen, playing Jamie, the nephew of the title character.

Fox’s success led him to quit high school and move from Vancouver to LA, where he was cast in Palmerstown, USA, a television drama about two nine year old boys in the Deep South who overcome racial barriers. Fox then starred in Family Ties in 1982, a show about a clash of values between former hippie parents and their Republican children. The role of Alex Keaton won Fox three Emmy awards for his happy-go-lucky portrayal of the teenager.

1985’s Teen Wolf marked Fox’s big break in the film industry, where he was cast as Scott Howard, a high school student who also happened to be a werewolf.

The role reinforced Fox’s acting pedigree in fish-outof-water comedies. After Eric Stoltz was dropped from Back to the Future for being too intense, Fox was brought in as a more humorous Marty McFly. Critics found Fox ideally suited to the role of Marty, and classic scenes like Marty’s rendition of ‘Johnny B. Goode’ at

the Enchantment Under the Sea Dance just wouldn’t be the same without Fox’s trademark bewilderment and bright-eyed humour. Back to the Future was 1985’s highest grossing film and a hit with critics and audiences alike. In the late ‘80s, Fox went for more serious roles in films like 1987’s Light of Day, 1988’s Bright Lights, Big City, and 1989’s Casualties of War. He then shot the two Back to the Future sequels back-to-back, both less popular than the first film but immensely popular as a trilogy. ‘Back to the Future Day’ was celebrated on 21st October 2015, the day where Marty and Doc go to the future in the second film, and many promotions were made to mark the event, like Universal releasing a trailer for Jaws 19 and Mattel producing an advert for the films’ famous hoverboard.

Fox has been in the spotlight more recently for his high-profile fight against Parkinson’s Disease.

Diagnosed at 30, he quit his starring role in the ABC sitcom Spin City, his last full-time job. Since 2000, the Michael J. Fox Foundation for Parkinson’s Research has funded $325 million to improve treatment options for those suffering with the condition. He went back to work in 2013 on The Michael J. Fox Show, a sitcom about a news anchor with Parkinson’s coming out of retirement, based on his own experiences. Even without a pilot episode, NBC agreed to a 22-episode run, demonstrating the enduring appeal of Michael J. Fox and his work both in the past and in the future, wherever it may lead him.

Image courtesy of Universal Pictures

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CULTURE

THE EDGE’S Favourite ‘80s Sitcoms

Today we’ve got The Big Bang Theory, Brooklyn Nine-Nine and Mrs Brown’s Boys, but the 1980s had its own roster of sitcoms. While we couldn’t possibly discuss a whole decades worth of shows in a single article, The Edge have come together to talk about some of our personal favourites.

Red Dwarf (1988-1999) Tash Williamson

If only anyone outside your family or that one special friend knew what you were blabbering about when you threw in a quote from Red Dwarf. Sadly, in these days of HD and billion dollar budgets, most people overlook the raw comedic genius behind this sci-fi sitcom. Set aboard an abandoned spaceship after the death of the entire crew, the only survivors are Liverpudlian Dave Lister (Craig Charles), the highly-evolved offspring

of his cat creatively named Cat (Danny John-Jules), a hologram of his deceased frenemy Arnold Rimmer (Chris Charles) and an advanced robot called Kryten (Robert Llewellyn). Creators Rob Grant and Doug Naylor certainly didn’t let a minuscule budget get in their way as the scripts that propel the humble mining ship through space are infectiously good. So don’t be a smeg’ead, give it a chance.

Blackadder (1983-1989) Damian Meaden

Comedy might be an oversaturated market, but period sitcoms definitely aren’t, and none do it better than Blackadder, the BBC series that can accurately lay a claim to the comedy careers of many contemporary legends. The show originally ran across four series between 1983 and 1989, with the time period shifting from Tudor England to the Regency, before darting into the trenches of the First World War with effortless ease and five-star comedy aplenty. It centered on the fruitless attempts of several incarnations of the cunning, lord-

turned-butler-turned-Captain Edmund Blackadder and his dim, subservient companion Baldrick to ‘make it big’ in the world around them. Recurring roles from Hugh Laurie, Stephen Fry and other British legends including Miranda Richardson and the late Rik Mayall made this a true exhibition of everything the sitcom should be, underpinned by exceptional writing from the now-revered pairing of Ben Elton and Richard Curtis.

Only Fools and Horses (1981-1991) James Barker

Wheeler dealer Del Boy and his bedraggled brother Rodney are fondly remembered across Britain as icons of situation comedy. Often racking up a now unheard of 15 million viewers in the ‘80s, the Trotter brothers entertained us for ten years with their “get rich quick” schemes, and then returned for regular specials until its conclusion in 2003.

Thirty years on, their antics are still laughed about. From their accidental crime fighting as Batman and

Robin, to their disaster with a chandelier, David Jason and Nicholas Lyndhurst had audiences laughing until they cried – or genuinely sobbed, watching emotional moments such as Grandad’s death or Cassandra’s miscarriage. Comedy’s at its best when it’s heartfelt, and Only Fools and Horses’ brilliant blend of comedy and drama would inspire the Royle Familys and Gavin & Staceys that followed.

Image courtesy of the BBC

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CULTURE

Hannah Billingsley-Dadd When I was younger, I’d often spends hours slotting 10p pieces into those coin pushing machines. However, my dad would always explain how much better arcades were during his youth. Now reduced to a Pac-Man Google Doodle or that extortionate air hockey table at the corner of a bowling alley, the arcade used to be a thing of beauty.

Back when 50p of pocket money could buy you an afternoon of entertainment, there existed the arcade. Machines the size of a person with colourful buttons and a joystick displayed the pixelated graphics of your favourite game. Here are a handful of ‘80s favourites.

Space Invaders (1979) You’re surely familiar with Space Invaders. Aliens fall onto the screen and it’s your job to defend the terrain below by shooting them. It’s a very simple game and has no end; the aliens just keep falling until the player can’t cope and an invader reaches the bottom of the screen. Released in 1979, it marked the beginning of the ‘80s arcade craze. If you’re keen, it can still be played in many corners of the internet today.

Pac-Man (1980) Although Pac-Man is perhaps the most famous of all arcade characters, the ghost-muncher now lives his life decorating novelty t-shirts and mugs. Released in 1980, it was developed by Japanese developer Namco and was winning awards soon after its launch. It’s got a simple premise involving a wedge-shaped yellow character, a maze, various coloured dots and some ghosts. If you can successfully manoeuvre around the maze and eat every dot, you’ll proceed to the next level. I’m sure you’ll all agree this utterly addictive game is worthy of its fame.

Donkey Kong (1981) Released in 1981, Nintendo’s Donkey Kong was our first opportunity to meet everyone’s favourite plumber.

Although he wasn’t yet called Mario, our moustachioed hero was already rescuing damsels-in-distress from vicious baddies, avoiding obstacles and jumping over bottomless pits. If your house has a Mario Kart obsession like mine, it wouldn’t be around if this arcade classic hadn’t saved Nintendo from financial doom.

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CULTURE

AUTHOR IN FOCUS Roald Dahl Nelly Mair T

he ‘80s might not immediately conjure up an image of Roald Dahl, but some of his most popular novels like The BFG, Matilda and The Witches were released in the tubular decade. His books are still incredibly successful; they have sold more than two hundred and fifty million copies worldwide and are still being adapted into films even now, The BFG having been adapted by Stephen Spielberg only last year.

While Roald Dahl’s stories might be world famous, his life story is just as interesting as any magical chocolate factory. He didn’t start of as an author, Dahl was an RAF pilot in World War II and only began writing after he was sent home because of headaches and blackouts. The Saturday Evening Post asked one of their writers to get anecdotes about Dahl’s experience and transform them into a story. Instead, the anecdotes Dahl produced were published unedited and became his first short story, titled ‘Shot Down Over Libya’. After his invalidation from the Air Force, Dahl worked in the U.S to discourage isolationist attitudes and promote Britain’s interests. However, he also continued with his writing career and published his first story for children in 1943.

He went on to write stories that defined childhoods for many. Whether it’s from reading Charlie and the Chocolate Factory, watching the iconic pancake scene in the film adaptation of Matilda, or lying awake thinking about the terrifying hags from The Witches, I don’t think many people can say that Roald Dahl did not influence their youth in some way. Roald Dahl’s

writing has an enviable quality in that it is dark, in a way that is intoxicatingly different from the overt sentimentality which can be found in most children’s books, whilst also maintaining a real humour.

The characters were colourful, the plots were ridiculously entertaining and the famous Quetin Blake illustrations came to define the way we see Roald Dahl.

Despite disturbing stories of a weird man tricking and probably traumatising children (Charlie and the Chocolate Factory), poisoning relatives (George’s Marvellous Medicine) and kidnapping (The BFG), the stories still manage to be optimistic, seeming to suggest happy endings for even the most unfortunate of children.

Not only was Roald Dahl a beloved children’s author, but he also wrote many short stories for adults. Like his writing for children, the work relied on the element of unconventionality and surprise. The stories take the disturbing aspect of Dahl’s children’s stories and turns it into something which at times seems unpalatable, but is still intriguing for the twist endings and same distinctive voice.

Roald Dahl’s stories were wonderfully unique and hold a special place in the hearts of many who knew his stories in childhood. He died in 1990 and since then, his clever, macabre and amusing outlook on children’s literature has never quite been like replicated, although his voice is the kind that will surely continue to enchant children for generations to come.

Image courtesy of Getty images

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CULTURE

ANDREW LLOYD WEBBER Architect of the ‘80s Musical

D

Eleanor Joyce

ubbed by the New York Times as the most commercially successful composer in history, Andrew Lloyd Webber radically redefined musicals in the ‘80s. Where before there had been happy-go-lucky Rodgers and Hammerstein musicals, Lloyd Webber ushered in sheer blockbusters that didn’t shy away from darker themes. His synthesis of traditional musical elements with unusual ideas met with resounding success, capitalising on the live element of theatre to keep audiences on the edge of their seats and render musical theatre an experience with a capital ‘E’.

By the beginning of the ‘80s, Lloyd Webber already had such smash hits as Joseph and the Amazing Technicolour Dreamcoat, Jesus Christ Superstar and Evita under his belt. Each brought a new element to the genre – Joseph was a modern oratorio, Jesus Christ Superstar was arguably the first rock musical, and Evita was controversially based on recent political history.

Not content, Lloyd Webber wanted to adapt one of his favourite childhood books into a musical, but this was no easy task when said book was T.S. Eliot’s bizarre feline poetry anthology Old Possum’s Book of Practical Cats. Even the cast were confused by the idea that the original poems were to be the only text.

The resulting musical Cats, debuting in 1981, was therefore a showcase of Lloyd Webber’s eclecticism and sheer daring. By cleverly parodying American musical forms, jazz, electro-acoustic songs and even hymns, Cats made up for its lack of spoken dialogue through a combination of Lloyd Webber’s showmanship and the superb choreography of Gillian Lynne. The famous show tune ‘Memory’ won Lloyd Webber the Ivor Novello award for Best Song Musically and Lyrically, and the song was covered by Barbra Streisand, cementing its place in the public consciousness.

Starlight Express followed Cats in 1984, famously (and precariously) performed on roller skates and revolving

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around a child’s train set that comes to life. This could have been another adaptation of a children’s book series, Thomas the Tank Engine, but without the required permission from author Reverend Awdry, Lloyd Webber refashioned his train-based narrative into a reworking of the Cinderella story instead. The songs were challenging for the cast, requiring sopranos to sing a high G in ‘AC/DC’ – such vocal acrobatics are another hallmark of Lloyd Webber’s scores.

1986’s The Phantom of the Opera, however, is perhaps one of Lloyd Webber’s greatest works, and is currently the longest running show in Broadway history and second only to 1985’s Les Misérables on the West End. Phantom, a story of love, opera and a creepy subterranean genius, became the epitome of the ‘megamusical’, an all-singing, all-dancing extravaganza of epic proportions. The afore-mentioned West End staples Les Misérables and 1989’s Miss Saigon are examples of shows that boast immersive special effects and elaborate sets in the Lloyd Webber mould. At this point, Phantom is thirty-two years old and a familiar title to many West End visitors, to the extent that audience members can be enticed into theatres with the promise of unparalleled spectacle.

Lloyd Webber is by no means everybody’s cup of tea.

Allegations of plagiarism have been thrown around regarding several of his songs, some of which have been settled amicably, and can be summed up by Pink Floyd vocalist Roger Waters – “Life’s too long to bother with suing Andrew f**king Lloyd Webber.” Some might even argue that the plot of his musicals are melodramatic and the songs hideously over-the-top, but the earnestness and aura of grandeur surrounding his work has almost become synonymous with musicals in general. It is in the ‘80s where Lloyd Webber came into his own and produced musical after musical that inspired the likes of Rent, Wicked and The Lion King, each of which took the path of Cats, Starlight Express and Phantom.

CULTURE

THEATRE REVIEW:

Showstoppers’ Fame Josh Nicholson

S

howstoppers have travelled back to the 1980s to bring Fame to the Annex Theatre! The totally tubular ‘80s musical was a perfect choice for the societies’ annual Freshers’ Show, the production’s large and diverse cast allowing a variety of talented newcomers to feature.

Based on ‘80s movie of the same name, Fame takes place in New York’s famous High School of Performing Arts and follows a group of students from their time as freshmen to their senior year. As you’d imagine, it’s filled to the brim with blossoming romances, teen angst and big dreams; a great story with a great setting. I was initially cautious when I realised that the cast would be attempting accents, but there were only a handful of noticeable slips and it helped keep the vibe of the source material.

Impressively for a Freshers’ Show, the cast featured absolutely no duds. Christina Olgaard was fabulous as Carmen Diaz and Alex Soden made a fantastic stage debut as the timid Schlomo. Chrystine Ashiagbor and Sophie Harvey also deserve props for their excellent portrayal of two of the show’s only older characters and their incredible fast-talking rendition of ‘Teacher’s Argument’. However, it’s Joe Chamberlain and Izzy Black that need special mention for absolutely stealing the show. Chamberlain provided hilarious comic relief as the leather jacket wearing José Vegas, the audience loving his hilarious rendition of the slightly saucy ‘Can’t Keep it Down’, and Black

shone as the lovably shy Serena Katz, her powerful performance of ‘Think of Meryl Streep’ certainly one of the best moments of the night.

While generally well-choreographed, there were certainly moments when actors were struggling to keep in time. This was especially noticeable in scenes featuring the entire cast, with Alex Wareham’s excellent rendition of ‘Dancin’ on the Sidewalk’ and the reprise of ‘Hard Work’ at times slightly undermined by their backup dancers. However, this could very easily be owed to teething problems on the first night, and the show’s choreography truly shone when watching Zoe Blackall’s incredible ballet scenes and the awesome tap dancing section.

In the spirit of the High School of Performing Arts, Fame also featured an excellent live-band and great musical direction. As well as adding a real professional touch to the entire production, it felt incredibly natural to have the actors joined by the band members on stage. It may have been painfully obvious when the cast mimed playing instruments alongside the real musicians, but this only added to the show’s cheesy charm.

It would be easy to say that Fame was “good for a Freshers’ Show”, but this production was genuinely fabulous, stacking up to the professional shows that Performing Arts regularly produce across the year.

The future of Showstoppers is clearly in good hands!

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LIVE

Comedians Best

from the ‘80s

Rowan Atkinson

Hannah Billinglsey-Dadd

Rowan Atkinson, known as Mr Bean, Johnny English and, of course Blackadder, has been entertaining the nation since 1979. During the ‘80s he was a rising stand-up comedian, delivering his humorous anecdotes, embellished with dramatic pauses and funny asides as he toured the UK. Although Atkinson presented a satirical radio show on BBC Radio 3, his

comedy career in the early ‘80s really kicked off with Not the Nine O’Clock News, a humorous television show on BBC 2 at, you wouldn’t be surprised to know, nine o’clock. The show was a parody of the nine o’clock news broadcasted at the same time on BBC 1. The funny sketches and scenes shown related to the news of the week and were written and often delivered by Atkinson.

Although somewhat less known, for four months in 1980 Atkinson toured the UK with his standup routine. My personal favourite being, although technically not recorded in the ‘80s, his Tom, Dick and Harry funeral routine, where he delivers their parting speech as a vicar. Having performed live at the theatre with the famous Monty Python gang, Atkinson’s delivery of stage presence and natural wit made him a quick favourite with the British public, and probably helped launch him into the success of Blackadder. A recording of his stage performances has been available since the ‘80s and if you ever want a good chortle I suggest you check it out!

Image courtesy of the BBC

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LIVE Robin Williams Abi Cutler

If asked about the late Robin Williams, many people of our generation would think of the beloved actor from such films as Mrs Doubtfire, Dead Poets Society, the Night at the Museum trilogy, Hook, Jumanji: the list goes on and on. Yet Williams, who very sadly died in the summer of 2014, was extremely big on the stand-up comedy scene in the 1980s. For those who haven’t seen any of his televised gigs on YouTube (and I recommend you do!), think of the way he behaves in any of the comedy films in which you have seen him. Think of the wacky, goofy energy he brings to his comic roles, and the variety of hilarious voices, and now times that by ten. Insert some crude language and racy humour and this is pretty much what you see on stage in his stand-up shows.

Yes, Williams comes across as a complete and utter madman in his comedy routines, and it is an act which is absolutely endearing to watch. His classic ‘80s dress code of a loud, baggy shirt and floppy hair only adds to the overall effect; when you watch him running and jumping around the stage you will end up feeling exhausted yourself. It is Williams’ relationship with the audience which only goes to emphasise his rare comic gift: not only is he a genius of timing, but he is truly able to ‘feel the room’, and as soon as he steps onto a stage he immediately bounces off the reaction of his audience, creating a fresh and exciting

atmosphere. When I say he has a gift I really mean it, Robin Williams was an exceptionally talented comedian.

Although he broke into the comedy circuit in San Francisco in the 1970s, it was the ‘80s in which he exploded onto the scene as a big name in comedy.

Thanks to his fame as an actor, he was able to tour some live shows in this decade which were televised, and extremely popular. These included An Evening With Robin Williams in 1982, and Robin Williams: Live At The Met in 1986 (in which Williams was the first to point out what an incredible yet simultaneously crazy opportunity it was to perform at New York’s prestigious Metropolitan Opera House at the Lincoln Centre). These performances are packed full of what Williams did best: witty material about politics, alcohol/drugs and social issues of the time, improvisation with his audiences in which he doesn’t need even a second before he quips a response, all accompanied with his hilarious voices, impersonations and manic energy which seem to come so naturally to him and fill the entire auditorium with his vibrant personality.

If you are looking for a masterclass in comedy, Robin Williams is certainly your man: this legendary comic genius of both stage and screen was brimming with natural talent and timing. Having been over three years since the devastating news of his passing, he still is, and always will be, sorely missed by all.

Image courtesy of Benua Vista productions

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LIVE

Iconic Performers from the ‘80s

Michael Jackson Tom Hills

When you think of ‘80s musical icons, the first thing that will pop into many people’s minds is Michael Jackson: the ‘King of Pop’ and one of the greatest entertainers of all time. Jackson released two albums during the ‘80s: the best-selling album of all time, Thriller in 1982 and his record-breaking follow-up Bad in 1987. These albums propelled him to superstardom and thrust Jackson to the forefront of the musical world.

Yet, Jackson was not only a superstar in the studio; he also became renowned for his thrilling and exhilarating live performances. Even today, Jackson’s dance moves remain incomparable and it was on the stage where he was in his element. The unveiling of his signature moonwalk in 1983 during the Motown 25th Anniversary telecast, in a breath-taking performance of “Billie Jean” was merely a sign of things to come.

Later on, Jackson’s exhilartating “Smooth Criminal” routine, featuring the gravity-defying 45 degree angle lean, would wow crowds across the globe. Jackson was, by any measure, an incredible dancer and during his live performances he would flaunt his full array of moves, whipping out gyrations, spins, silky footwork and much, much more.

Jackson became renowned for the spectacle of his live performances with his choreography, costuming and set design marking him out as a pioneer in his field. Think of Michael Jackson and you see the black sequined jacket, the solitary silver sequined glove, the white fedora from “Smooth Criminal”, and the red and black leather jacket from “Thriller”. To Jackson, performing wasn’t just about the music, but about everything else which came with it. It was this attention to detail which marked him out from the crowd.

Queen

Harry Fortuna

Queen is unarguably one of the most successful and most iconic bands of all time. We do not only associate them with hordes of chart-topping hits and the unparalleled uniqueness of frontman Freddie Mercury, but they are identified with their outstanding live performances.

Nowhere is this more evident than when looking back at the band’s career-defining performance at Live Aid in July of 1985, which is now widely considered to be one of the best live performances of all time. With every strut, every pose, and every fist pump, Freddie Mercury embodied the ultimate stage persona, captivating the audience and the moment with greater ease than any other frontman in history. Whilst boasting what is undoubtedly the greatest rock voice of all time, Freddie and co. stole the show for themselves, eclipsing the efforts of legendary artists such as David Bowie, Elton John and Paul McCartney. In a mere twenty minutes through pure vigour, passion and bravado, Freddie

enraptured not only a sold-out Wembley Stadium, but also a TV audience of over 1.9 billion, revitalising the band and cementing them firmly in the history books.

From ‘Bohemian Rhapsody’ to ‘We Are the Champions’ each rendition topped the last as the four-piece took the concept of live performances to a height the world had yet to experience.

Image courtesy of Suzie Gibbons/Getty

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LIVE David Bowie Sophie Browne

The ‘80s were a curious time for David Bowie. Never had he sold more records, had bigger hits, his influence was everywhere. The result, the pioneering video for the single ‘Ashes to Ashes’, saw Bowie reinvent himself for the MTV generation. It also heralded a decade of mixed fortunes.

she reminisced about her time with Bowie and said: “He’s worth idolising”. In the same year, he created hit album Let’s Dance, which, selling seven million, was his best-selling album, and started the Serious Moonlight Tour, which saw him perform to 2.6 million people in 15 countries over six months.

The 1980 album it came from, Scary Monsters, was a critical and commercial hit and spawned another of his greatest anthems, ‘Fashion’. A year later he duetted with Queen on the equally commercial chart-topping single, ‘Under Pressure’. But the former glam rocker hadn’t just changed the direction of his music. In 1980 he also divorced his wife of ten years, Angie Bowie, and threw himself into acting. In 1983 he made an erotic horror movie, The Hunger, and started a threeyear relationship with 36-year-old co-star Susan Sarandon who he called “pure dynamite”. Last year

In 1984 he released Tonight, an album made up, largely, of cover versions. Though it also included self-penned classics like ‘Loving the Alien’ and ‘Blue Jean’, it was panned by many critics. But a career-high came in 1985 when charity duet with Mick Jagger, ‘Dancing in the Street’, went straight to number one and he performed as part of the global famine-relief fundraiser, Live Aid. When he took to the stage at Wembley Stadium, the world marveled at a living legend. Yet the notoriously humble Bowie didn’t change.

Duran Duran

Xavier Voigt-Hill

Contemporary live experiences of the ‘80s tend towards a tiresome domain, with stages trodden either by imposters in misplaced homage or the apparent desperation of the era’s fading vestiges themselves.

Fortunately, when time came for Duran Duran to close Southampton’s Common People festival in 2016, a tenacious turn gave everyone from rabid nostalgists to even the most previously indifferent youth a commanding, career-spanning glance at how new wave flair should be.

With 13 album releases to catch up on since their only previous shows in the city - a brace at the Gaumont (now Mayflower) in 1981 to

support their self-titled debut - new material was kept to a mid-set minimum after delivering Paper Gods’ sprawling seven-minute title track with near-disturbing precision to open. With pouts clearly as sharp as ever, their setup dwarfed anything else the Common had seen in a while, with psychedelic visuals, tiered staging, and the night sky making way for flames and confetti respectively through Nile Rodgers collaborations old (‘The Wild Boys,’ 1984) and new (‘Pressure Off,’ 2015).

Before leathered frontman Simon Le Bon’s voice could give way to an inspired crowd, the ‘80s delight was completed with a tear, paying tribute to David Bowie and Prince into a fitting beach finale in ‘Rio.’

Image courtesy of Gunter W Kienitz/Rex

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