In September 1977, The Stranglers released their song “No More Heroes”. It symbolised the mood of youth in Britain, who were disillusioned with not only politicians and the political system, but also the mainstream pop music of the time. It was as though the realms of power (politics) and the forces of counter-culture (rock and roll) had become hollowed out, corrupted and alien to young people.

Having a hero is an important motivator for our career development, especially for the young. A hero represents a possible self. One that can solve the problems and overcome the barriers we perceive in our existence. They can foster hope and aspiration. They inspire us to action, and can be a touchstone or reference point when developing and pursuing our career goals.

In those dark years of the late 1970s new forms of musical expression like punk had been growing, with groups such as Richard Strange’s Doctors of Madness (the Sex Pistols were a support act). West Indian music that emerged in the 1960s such as ska and later reggae had a resurgence and gave voice to bands like The Specials, Madness and The Selecter. But despite The Stranglers’ lament, culture was still throwing up new heroes, showing us possible ways of being and thus working.

Which brings me to the sad passing of Judith Durham and Olivia Newton-John this month. Both experienced enormous success, Durham’s career stretching back to the early 1960s, and Newton-John was to hit the big time exactly a year after The Stranglers’ iconic song in September 1978 with Grease.

What struck me in the tributes that followed their passing was that Durham and Newton-John were true heroes. Newspapers and social media were full of personal accounts of how these singers had influenced people’s lives. Peter Ford in this paper described Newton-John’s passing as “Australia’s Princess Diana moment”. Her career highlight, the film Grease, has touched multiple generations around the world. We all loved her and wanted to be Sandy Olsson or Danny Zuko.

My friend Andy had a bomber jacket at the time with masking tape on the back spelling out “T-Birds”. He had a career goal courtesy of the film.

These bands and singers started out at a time when we all came together to consume their work in cinemas, on television, on Countdown and Top of the Pops. Nearly all of us grew up with either Durham’s Seekers or Newton-John. Finding heroes was easier back then.

I wonder, however, whether The Stranglers were right, only about a decade premature. In the 1980s music and television had yet to be fractured and scattered by the echo chamber silos of social media and streaming services. Maybe Kylie Minogue was “so lucky” in kicking off her career in that decade because she is one of the few candidates left standing with similar claims of national and international affection.