Music & Magazines in the 1980s
The 1980s was a period of enormous creativity within youth culture; there was a proliferation of sub-cultures, each with their own uniform and musical style. Each group had its own music publication, which became part of their image, part of their routine, reflected their membership of their own particular group. This is not an exhaustive list, but will give you a fair idea of how some magazines came into being, who their original audience was and how they would have appealed to them.
New Romantics
New Romantics were, as you can see, a fairly expressive lot; it was common for men to wear make-up, jewellery, large shoulder pads and layered shirts. Their style was show-cased by Spandau Ballet (above left) and Duran Duran (above right). Fans of these two bands were in serious competition with each other, over which band was better. The magazine which met their needs was Smash Hits. This publication was concerned with chart success, youth, beauty and the latest pin-ups. To be included in it was a real criteria of success for bands in the 1980s.
As you can see by the above example of an article on Kirsty MacColl, the images took precedence over the text, though there was an element of journalism involved, in that interviews would be carried out. It became common for these interviews to focus on a pop star’s wardrobe, hobbies and private life, as the magazine was clearly aimed at young teens, who were desperate to emulate their idols.
This kind of ‘tabloid’ journalism led to the reputation of Smash Hits readers not being serious about the music, merely concerned with image and superficiality. Certainly, a large percentage of the readership were young teenage girls, who would spend their pocket money in a stereotypical and easily predicted way: make-up, jewellery, chart singles, Smash Hits magazines, etc. The advent of the music video certainly appealed to this image-conscious youth, allowing bands to show-case their latest hair-style or eyeliner, which fans went straight out to copy. You can see a cycle of consumerism growing from this burgeoning youth culture.
Top of the Pops was the televisual equivalent of Smash Hits, though as a part of the institution of the BBC was meant to appeal to the whole youth audience (with its funding by licence fee and its commitment to inform, educate and entertain the whole of the population!) - so did try to include all genres of music. However, ToTP lost its appeal to many more serious musicians because of its focus on the Charts, the convention of having the number 1 record played every week (even if it was at that slot for 16 weeks, as did happen from time to time), the cheesy Radio 1 presenters, and the fact that many bands were not very good at live performance (studios becoming more technologically advanced) meaning that most artists mimed on ToTP.
You can understand why many young people were disillusioned by the music press and the proliferation of pop bands with little or no talent. This came to a climax with Stock, Aitken & Waterman, who produced innumerable pop acts, all with a similar sound - Kylie Minogue, Jason Donovan, Rick Astley, Sonia, etc.
The Goths
Left: The Smiths Right: The Cure
No less concerned with image, the Goths (or the Hair-Bears as they were called at my school) were a much more serious bunch who wore a lot of black clothing, contrasting white and black make-up and whose attitude to life seemed fairly dark, too. The lyrics to their songs were more self-reflective than their New Romantics counter-parts and sometimes depressing e.g. The Smiths had hits with “Girlfriend in a Coma†and “Heaven Knows (I’m Miserable Now)â€. These Goths would no sooner be seen with a copy of Smash Hits than wear pink; the NME was the publication of choice.
The NME actually started in 1952 and was printed on newspaper (until 2002), and it was this rough-cut image which partly leant the magazine it’s serious, music-journalistic reputation. Interviews with bands were about their influences, their beliefs, their attitudes to politics; there was a rejection of conventional society, especially of the rising importance of gaining wealth in Thatcher’s consumerist Conservative Britain. Major concerts and festivals, such as Glastonbury, were heavily featured. The magazine did come under some criticism for allowing The Smiths too much space, and was dubbed the New Morrissey Express.
The NME is still publishing today, though now in full colour, though the inner pages still tend to be slightly rough and grainy, rather than full gloss. There is still some sense that those readers from the 1980s expect something slightly underground/more serious than a glossy magazine. It is still a weekly publication, so this may be a cost-cutting measure or a reflection of a recycling issue. It also carries that suggestion that what is printed one day is more or less forgotten the next, so that the music press need to keep up with the changes in the business or they will lose popularity and relevance.
It is worth looking at the NME’s website, though certain areas can only be accessed once a fee is paid. Smash Hits no longer exists in print form, although is available on the internet and digital TV. Top of the Pops no longer exists on TV, though the magazine is still available - targetting a young “tweenie†audience.
