This work referred to the Thatcher/Reagan future capitalist utopia as a myth as much as it was a crusade, created by the new styled media capitalists. The Metropolis is not seen directly, possibly just glimpsed through a window. His sources are from art history, British social history, Freudian sexuality, the current political struggle, graffiti, crude cartoon sketches and images from popular culture such as porn magazines. This is the "Urban Yeadon", 1985/86...

"...a hard and 'real' view of life. Sex and politics, both of which figure large in his work, have an excitement, a rawness in its immediacy which involves and provokes. There is no charm here – more hard facts. The two men kiss, cuddle and fondle, their desire somewhat too urgent for the activity in hand: in the background the politics of Thatcher and Reagan force the pace as they ignore people in favour of their own desire to dominate." Emmanuel Cooper, Gay Times, June 1986.

"'Runaway Hotel' confronts you with two huge heads in a deep, passionate kiss, eyes closed. One of the young men is blond, the other dark. Above them is the evening city skyline of lit up skyscrapers and chimneys. The buildings are dark and gloomy but the two faces are soft and warm and exiting. It's amazing how a painting can be so shocking without being in the least pornographic....witty and thought-provoking, these are pictures to puzzle over and remember long after you have left the gallery. Personal and political, Yeadon looks in the mirror and produces what holds deeply buried fears, anxieties and pleasures." Donald Busby, Gay Scotland, June 1986

This section also includes The British Scene/Summer 1981, painted, 1982. It is a queue at a bus stop, and a comment on the inner city riots of 1981. A kind of 'Battle of San Romano". Also, the mural Giro City, painted in Coventry in collaboration with Peter Lelliot in 1984. 1983 - 1986