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This film was made originally about three years ago. | 0:00:02 | 0:00:05 | |
It's a film with none of the usual experts or statistics in it. | 0:00:05 | 0:00:10 | |
It's simply an attempt to set down, without comment, | 0:00:10 | 0:00:14 | |
the lives and opinions of five teenagers. | 0:00:14 | 0:00:17 | |
I suppose, as a teenager, you were looking for sophistication, | 0:00:17 | 0:00:21 | |
but you didn't know that that's what you were looking for. | 0:00:21 | 0:00:24 | |
They've all got at least one thing in common. They're all on threshold, | 0:00:24 | 0:00:27 | |
they're all about to struggle through into adult life. | 0:00:27 | 0:00:33 | |
My sort of teenage aspiration was to be...chic. | 0:00:33 | 0:00:37 | |
I wanted to be everything that I wasn't, really. | 0:00:37 | 0:00:39 | |
-Lady Lewisham, what do you think about our teenagers? -They're splendid. | 0:00:39 | 0:00:43 | |
This is us, see? We're today. | 0:00:43 | 0:00:45 | |
Definitely had aspirations to be sophisticated, | 0:00:45 | 0:00:48 | |
but always felt that I fell somewhat short of the mark. | 0:00:48 | 0:00:50 | |
I think you were looking for a place in the world, in a way. | 0:00:50 | 0:00:54 | |
"Where do I belong? Where do I fit in here?" | 0:00:54 | 0:00:57 | |
"And I'm clearly not a proper adult and I'm not a child any more." | 0:00:57 | 0:01:00 | |
Probably when he were a lad, to have a quiff and short at the sides | 0:01:00 | 0:01:05 | |
and bloody big drapes and everything and velvet collar, | 0:01:05 | 0:01:08 | |
that were probably outrageous then. | 0:01:08 | 0:01:10 | |
I think you were this innocent being led into this world, primarily by the media and advertising. | 0:01:10 | 0:01:15 | |
-Pint of Babycham. -Denim deodorant. | 0:01:15 | 0:01:18 | |
Peter Stuyvesant fags were exotic. | 0:01:18 | 0:01:20 | |
-The bottle of Blue Nun. -Ferrero Rocher, is it a terrible advert? | 0:01:20 | 0:01:23 | |
I was influenced by the Gold Blend couple. | 0:01:23 | 0:01:25 | |
-I've run out of coffee. -Come in. | 0:01:25 | 0:01:27 | |
And it was the lifestyle that you wanted, | 0:01:27 | 0:01:30 | |
but it isn't the lifestyle that I got. | 0:01:30 | 0:01:33 | |
It's that journey into investigating... | 0:01:33 | 0:01:37 | |
..that made it so painful, in a way. | 0:01:39 | 0:01:41 | |
You've only got to look and listen | 0:01:52 | 0:01:53 | |
to be quite sure that all these young people have got hep. | 0:01:53 | 0:01:56 | |
They're most definitely with it. | 0:01:56 | 0:01:59 | |
This is a high-class joint, but everywhere | 0:01:59 | 0:02:02 | |
the cats have their own little places | 0:02:02 | 0:02:04 | |
where they live the gospel that this is the age of the teenager. | 0:02:04 | 0:02:07 | |
Being a teenager is something I think you're only aware of afterwards. | 0:02:07 | 0:02:14 | |
But there wasn't much of a demand made on you. | 0:02:14 | 0:02:18 | |
It was kind of a licence to discover. | 0:02:18 | 0:02:20 | |
# Why don't they understand? # | 0:02:20 | 0:02:23 | |
And of course the world we lived in was still relatively innocent. | 0:02:23 | 0:02:27 | |
My ambition in life is to be famous, | 0:02:27 | 0:02:30 | |
-but I'm not quite sure. -Well, my ambition is to be rich. | 0:02:30 | 0:02:33 | |
if you've got money, you got everything, haven't you? | 0:02:33 | 0:02:36 | |
As a teenager, I suppose you were examining nearly everything you did. | 0:02:36 | 0:02:41 | |
You were thinking, "Well, OK, how am I going to look? What am I going to wear? | 0:02:41 | 0:02:45 | |
"How am I presenting myself to the world?" | 0:02:45 | 0:02:48 | |
And that's the time, probably when you're the teenager, when it's the strongest. | 0:02:48 | 0:02:52 | |
Teenagers, guys and dolls, can be trained in a few weeks to earn £8 or £10 a week. | 0:02:52 | 0:02:57 | |
The shops know it, so every town has a store with teenage departments, thriving on giving | 0:02:57 | 0:03:01 | |
the young people the fashions they demand, distinctive teenage fashions. | 0:03:01 | 0:03:05 | |
Teenagers are incredibly important as a market, because of their influence, | 0:03:05 | 0:03:08 | |
because of the fact that they're generally leading-edge, | 0:03:08 | 0:03:11 | |
they adopt much earlier, they adopt brands earlier, | 0:03:11 | 0:03:14 | |
and interestingly, on the whole, they can find a fair bit of disposable income off their parents. | 0:03:14 | 0:03:20 | |
So the pester power and the desire to purchase comes at that age. | 0:03:20 | 0:03:24 | |
The gramophone industry cashes in on the well-off teenagers to some tune. | 0:03:24 | 0:03:28 | |
80% of the disc output is bought by the youngsters. | 0:03:28 | 0:03:31 | |
That's 50 million records a year in Britain alone. | 0:03:31 | 0:03:34 | |
All industry knows that to please the teenagers is the golden way to big dividends. | 0:03:34 | 0:03:39 | |
When the coffee houses suddenly appeared, | 0:03:44 | 0:03:48 | |
I mean, this was like from Mars, you know, to the likes of me. | 0:03:48 | 0:03:53 | |
That was a place to go when you were young, not to the pub. | 0:03:55 | 0:04:00 | |
You'd meet in coffee houses with these wonderfully noisy machines | 0:04:00 | 0:04:04 | |
that go, "Pch-ch-ch..." | 0:04:04 | 0:04:05 | |
It would make a hell of a din. | 0:04:05 | 0:04:08 | |
And to go out just with another friend, a young person, that was also quite sophisticated, because | 0:04:08 | 0:04:13 | |
you really felt you'd arrived, you were a proper adult by then. | 0:04:13 | 0:04:16 | |
And to go into a coffee house, we did feel that, you know, we were now living, | 0:04:16 | 0:04:22 | |
this was living. | 0:04:22 | 0:04:24 | |
It was full of young people, and so, you know, you felt you were in | 0:04:26 | 0:04:30 | |
an adult world but there weren't any fuddy-duddies around. | 0:04:30 | 0:04:34 | |
A square in the wrong hole is just not dug, even by the jukebox. | 0:04:34 | 0:04:40 | |
I remember another one called the Macabre. | 0:04:40 | 0:04:42 | |
The tables were supposed to be coffins, all black, and it was very dark inside. | 0:04:46 | 0:04:52 | |
Oh, look, they have the Grave, the Dead March and the Danse Macabre. | 0:04:52 | 0:04:55 | |
Oh, that sounds ever so nice. | 0:04:55 | 0:04:57 | |
And it would take about three hours to get through one cup of coffee, because there was nowhere else to go. | 0:04:57 | 0:05:04 | |
We'd go, and we'd sit there with a black coffee in a clear cup. | 0:05:04 | 0:05:12 | |
And we'd sit with it, and we'd pose with it. The coffee was the star. | 0:05:12 | 0:05:16 | |
DOORBELL RINGS | 0:05:16 | 0:05:18 | |
I'm not sure if I was consciously aiming | 0:05:18 | 0:05:20 | |
for sophistication, but looking back, | 0:05:20 | 0:05:22 | |
that was absolutely the dream, | 0:05:22 | 0:05:24 | |
not to feel like a teenager, | 0:05:24 | 0:05:26 | |
but to feel like you were one of the people like the Gold Blend woman, | 0:05:26 | 0:05:30 | |
who was the absolute icon of sophistication. | 0:05:30 | 0:05:33 | |
She always had the most amazing earrings, | 0:05:35 | 0:05:37 | |
and her hair was always perfect, and you wanted | 0:05:37 | 0:05:40 | |
to be her, and everything she said, she sort of did that | 0:05:40 | 0:05:43 | |
for everything she said. | 0:05:43 | 0:05:45 | |
She couldn't say anything without doing that, and nor could he, | 0:05:45 | 0:05:49 | |
and there was about eight meanings to what they said, | 0:05:49 | 0:05:52 | |
and the main meaning was, "Make me coffee." | 0:05:52 | 0:05:54 | |
If this were a restaurant, they'd be putting chairs on tables. | 0:05:54 | 0:05:57 | |
And I'd be asking you back to my place for coffee. | 0:05:57 | 0:06:00 | |
But of course, I wouldn't accept. | 0:06:00 | 0:06:02 | |
Gold Blend? | 0:06:02 | 0:06:04 | |
-I could be persuaded. -There was a level of sophistication around | 0:06:04 | 0:06:08 | |
that kind of whole '80s look of a couple getting together, the dinner parties, the friends, | 0:06:08 | 0:06:16 | |
and frankly the premium coffee playing a key role | 0:06:16 | 0:06:19 | |
in that relationship that made it just feel very real in that era. | 0:06:19 | 0:06:23 | |
And I think we've all got to remember that at the time, you know, there used to the Dallas parties. | 0:06:23 | 0:06:28 | |
People used to go to people's houses, and every time Sue Ellen had a drink, | 0:06:28 | 0:06:31 | |
so did you, that was part of the game. | 0:06:31 | 0:06:33 | |
God, they were the world's most boring couple, weren't they? | 0:06:33 | 0:06:36 | |
If you think about it, the only thing they could speak to each other about was coffee. | 0:06:36 | 0:06:40 | |
-Pity I have to leave. -Leave? | 0:06:40 | 0:06:42 | |
I'm on the first flight to Milan in the morning. | 0:06:42 | 0:06:44 | |
-That's terrible. -Why? | 0:06:44 | 0:06:47 | |
They don't serve Gold Blend in Milan. | 0:06:47 | 0:06:49 | |
I guess it was successful to its target audience, which was people | 0:06:49 | 0:06:53 | |
who were actually buying coffee, but I was 13, I didn't like coffee. | 0:06:53 | 0:06:56 | |
But even now, it gives me a bit of a shiver of, | 0:06:56 | 0:06:57 | |
"Oh, Gold Blend, that's quite sophisticated." | 0:06:57 | 0:06:59 | |
At the end of the day, the Gold Blend couple is about a couple meeting, | 0:06:59 | 0:07:03 | |
getting together, having a romance and the whole, | 0:07:03 | 0:07:06 | |
"Will they? Won't they?" | 0:07:06 | 0:07:08 | |
Which got on every national newspaper. | 0:07:08 | 0:07:10 | |
For my GCSE French, we had to learn the Gold Blend adverts in French. | 0:07:10 | 0:07:14 | |
We had to translate them and learn them in French | 0:07:14 | 0:07:17 | |
and perform them to the parents, who must have been a bit bemused, | 0:07:17 | 0:07:21 | |
standing in the language lab as we were all there with massive hair | 0:07:21 | 0:07:25 | |
doing, "Je voudrais Gold Blend." | 0:07:25 | 0:07:27 | |
I forgot to say, I'll be in New York. | 0:07:27 | 0:07:30 | |
I hope you remembered to take some Gold Blend with you. | 0:07:30 | 0:07:34 | |
The BT couple are the only sort of modern equivalent that has come close to it, | 0:07:34 | 0:07:39 | |
but if you look at them, their lives are really quite mundane. | 0:07:39 | 0:07:42 | |
The BT couple also suffer from the fact that there are 400 channels, if you include all the Sky channels. | 0:07:42 | 0:07:47 | |
In the Gold Blend couple day, | 0:07:47 | 0:07:50 | |
there were probably four channels, and you always got to see it. | 0:07:50 | 0:07:54 | |
It became like a soap opera in the truest sense of one, | 0:07:54 | 0:07:58 | |
which you could follow week after week and month after month. | 0:07:58 | 0:08:01 | |
Disappointing, isn't it? | 0:08:01 | 0:08:03 | |
No teenagers are going to be doing those BT adverts as part of their GCSE French. | 0:08:03 | 0:08:08 | |
I don't know why I let you do that. | 0:08:08 | 0:08:10 | |
-Because I s... -You serve better coffee. | 0:08:10 | 0:08:13 | |
Besides...I love you. | 0:08:13 | 0:08:16 | |
One was influenced by everything, really, because the thing about being | 0:08:16 | 0:08:20 | |
a teenager is that you spend most of your time feeling uncomfortable, | 0:08:20 | 0:08:24 | |
not happy in your skin. | 0:08:24 | 0:08:25 | |
Whoever you were wasn't who you wanted to be, | 0:08:25 | 0:08:30 | |
so, er...if you saw an advert where the guy was on top of everything, | 0:08:30 | 0:08:35 | |
you emulated him, you acted that out. | 0:08:35 | 0:08:39 | |
Being a teenager was about fulfilling the fantasies one had about what it would be like to be grown-up. | 0:08:51 | 0:08:56 | |
There was always those people who were slightly older who seemed | 0:09:05 | 0:09:08 | |
to have it down, who seemed to be in control, | 0:09:08 | 0:09:12 | |
because that's what I wanted, I wanted to be in control. | 0:09:12 | 0:09:15 | |
Stuff was going on that really one just couldn't handle. | 0:09:15 | 0:09:20 | |
One's body was exploding all the time, | 0:09:20 | 0:09:23 | |
because it kept betraying you in quite difficult ways. | 0:09:23 | 0:09:28 | |
# All I want my body | 0:09:28 | 0:09:29 | |
# All I want my body | 0:09:29 | 0:09:31 | |
# All I want my body... # | 0:09:31 | 0:09:34 | |
I wish I was two inches small and had a smaller mouth. | 0:09:34 | 0:09:37 | |
I wish I could change my whole appearance so people wouldn't say I look like my sister. | 0:09:37 | 0:09:42 | |
I wish my hair didn't grow so quick, because then I wouldn't have to go and get it cut all the time. | 0:09:42 | 0:09:47 | |
If I could change my appearance, I'd make myself four inches taller, | 0:09:47 | 0:09:51 | |
my top lip smaller and my thighs thinner. | 0:09:51 | 0:09:54 | |
There's that moment when you think, "Oh, I could... | 0:09:54 | 0:09:56 | |
"Yeah, I could appear older, | 0:09:56 | 0:09:58 | |
"I want to appear older than everybody else. | 0:09:58 | 0:10:02 | |
"I want to seem worldly wise." | 0:10:02 | 0:10:04 | |
You're kind of playing with identities. | 0:10:04 | 0:10:06 | |
I remember I went through a phase of carrying a newspaper under my arm, | 0:10:06 | 0:10:10 | |
because I wanted to give off this slightly intellectual look. | 0:10:10 | 0:10:14 | |
I know adults do that now with the Wall Street Journal and the FT, because they want to give off | 0:10:14 | 0:10:18 | |
a certain image, but I used to do it with the Wolverhampton Ad News, | 0:10:18 | 0:10:22 | |
which was this free newspaper. And I'd walk around, | 0:10:22 | 0:10:25 | |
I wanted people to think I was someone who read newspapers. | 0:10:25 | 0:10:28 | |
Occasionally, I'd buy a copy of GQ or Esquire or something, thinking, | 0:10:28 | 0:10:33 | |
"Yeah, well, it's about time I started just changing the way | 0:10:33 | 0:10:36 | |
"I did things. So what do I need to do? | 0:10:36 | 0:10:38 | |
"I need to buy some different pants, and it says here I need to get | 0:10:38 | 0:10:41 | |
"quite an expensive thing to cut my nails with. I must do that." | 0:10:41 | 0:10:46 | |
So you're looking at... You know, it's ludicrous. | 0:10:46 | 0:10:49 | |
If you're a sort of podgy boy at school in Rutland, | 0:10:49 | 0:10:51 | |
looking at this thing going, | 0:10:51 | 0:10:53 | |
"So I need to lose quite a lot of weight and work out a lot, | 0:10:53 | 0:10:55 | |
"and then I could maybe rent a house with a swimming pool, | 0:10:55 | 0:10:58 | |
"and then I would definitely use some sort of Davidoff aftershave. | 0:10:58 | 0:11:03 | |
"If I've shaved. I'll use it without shaving. | 0:11:03 | 0:11:06 | |
"I don't care, I'm still a maverick. I'm young enough." | 0:11:06 | 0:11:08 | |
You'll become yourself. | 0:11:18 | 0:11:20 | |
You'll find success. | 0:11:20 | 0:11:22 | |
Old Spice. The classic fragrance. | 0:11:26 | 0:11:30 | |
The mark of a man. | 0:11:32 | 0:11:35 | |
Toiletries for men were something new after the war | 0:11:35 | 0:11:39 | |
in the '50s and particularly in the '60s, | 0:11:39 | 0:11:42 | |
and the '70s really brought that fulfilment together. | 0:11:42 | 0:11:46 | |
There was clearly that era which said, actually, | 0:11:46 | 0:11:50 | |
it's got to be hyper-masculine and an aspirational male audience, | 0:11:50 | 0:11:54 | |
because, obviously, you want no connotation of any femininity | 0:11:54 | 0:11:59 | |
in smelling nice or doing any kind of grooming at all. | 0:11:59 | 0:12:02 | |
And I think it's quite interesting that actually people believed it. | 0:12:02 | 0:12:07 | |
I mean, the sales in those days, | 0:12:07 | 0:12:08 | |
mainly at Christmas, I think there was | 0:12:08 | 0:12:11 | |
a lot of Christmas activity, you know, buy your double pack | 0:12:11 | 0:12:14 | |
of Old Spice for the Christmas stocking. | 0:12:14 | 0:12:17 | |
And that was kind of how it was bought. It was not bought as a regular purchase. | 0:12:17 | 0:12:21 | |
His antiperspirant? New Brut 33. | 0:12:26 | 0:12:30 | |
The one that I remember from my youth was, "Splash it all over!" Yeah? | 0:12:30 | 0:12:35 | |
Brut! Masculine, manly! | 0:12:35 | 0:12:37 | |
Men who get roughed up for a living stay well-groomed with new Brut 33, | 0:12:37 | 0:12:41 | |
Faberge's new range of toiletries, all with that great smell of Brut. | 0:12:41 | 0:12:45 | |
It was the kind of Sweeney of aftershaves. | 0:12:45 | 0:12:47 | |
You're so butch, I mean you've got Henry Cooper, | 0:12:47 | 0:12:50 | |
and who was that footballer with the poodle haircut? | 0:12:50 | 0:12:52 | |
Kevin Keegan! You see, obviously about as masculine as you could get. | 0:12:57 | 0:13:00 | |
And it came with this rather phallic bottle, I seem to remember, | 0:13:00 | 0:13:04 | |
which suggests to you that if you wear it, | 0:13:04 | 0:13:06 | |
the woman will look at you and see also a phallic symbol | 0:13:06 | 0:13:10 | |
and, therefore, she's yours. | 0:13:10 | 0:13:11 | |
And I mean, male grooming is a serious old area, especially if you're on the pull. | 0:13:11 | 0:13:15 | |
I mean, clearly, it's a key part of your upbringing, where you look for the brands that you aspire to. | 0:13:15 | 0:13:21 | |
Nothing beats a good workout, Henry. | 0:13:21 | 0:13:23 | |
And nothing beats the great smell of Brut. | 0:13:23 | 0:13:25 | |
Oh, yeah! Splash it on all over, Henry. | 0:13:25 | 0:13:27 | |
Here, how would you like to be in a Brut commercial? | 0:13:27 | 0:13:30 | |
Cor, fame at last! | 0:13:30 | 0:13:32 | |
Brut 33 Splash-on - | 0:13:32 | 0:13:34 | |
for the body beautiful. | 0:13:34 | 0:13:36 | |
All the young boys always smelt of Brut, | 0:13:36 | 0:13:39 | |
and even now, if I smelt it now, | 0:13:39 | 0:13:41 | |
it would take me back straightaway to discos and things, you know. | 0:13:41 | 0:13:45 | |
The sophistication in marketing has changed dramatically. | 0:13:45 | 0:13:48 | |
If you go back and you watch a lot of the advertising from the '80s, | 0:13:48 | 0:13:52 | |
what you will find is it's kind of quite macho. | 0:13:52 | 0:13:56 | |
It does live in a world of, you know, "All because the lady loves Milk Tray." | 0:13:56 | 0:14:00 | |
I mean, this guy who acts like James Bond and ends up on a boat and puts | 0:14:00 | 0:14:04 | |
down the Milk Tray, and you never see the woman, you just see her hand. | 0:14:04 | 0:14:08 | |
You know, through to Denim and some of the aftershave advertising, | 0:14:08 | 0:14:13 | |
which is all because the man doesn't have to try too hard. | 0:14:13 | 0:14:16 | |
What does that mean? The woman has to? | 0:14:16 | 0:14:17 | |
A big disaster I made was to buy... | 0:14:21 | 0:14:25 | |
er...Denim deodorant. | 0:14:25 | 0:14:28 | |
When a woman puts Denim on her man... | 0:14:28 | 0:14:32 | |
It aroused so many complaints. | 0:14:32 | 0:14:33 | |
..he knows | 0:14:33 | 0:14:35 | |
that the more she puts on... | 0:14:35 | 0:14:37 | |
..the more life...takes off. | 0:14:39 | 0:14:42 | |
Denim. | 0:14:43 | 0:14:45 | |
For men who don't have to try too hard. | 0:14:45 | 0:14:48 | |
Of all the things I've done in my life, that is the thing | 0:14:48 | 0:14:50 | |
I felt was most strongly complained about by the people around me, which is the horrendous smell. | 0:14:50 | 0:14:55 | |
Being a teenager, there was this battle going on with, you know, | 0:14:55 | 0:14:58 | |
you were kind of grubby and dirty, | 0:14:58 | 0:15:00 | |
but then you'd get round it, rather than by washing, | 0:15:00 | 0:15:04 | |
by spraying a load of stuff all over you. | 0:15:04 | 0:15:06 | |
That was the thing, this lethal combination | 0:15:06 | 0:15:09 | |
of dried sweat and Blue Stratos deodorant. | 0:15:09 | 0:15:12 | |
Taking poor girls out, the cocktail of stuff must have been... | 0:15:12 | 0:15:17 | |
You were fermenting. | 0:15:17 | 0:15:18 | |
I used to really lay it on. | 0:15:18 | 0:15:21 | |
You could smell me coming from about three streets away, | 0:15:21 | 0:15:25 | |
you know, and when you left, you left this after smell. | 0:15:25 | 0:15:29 | |
I mean, you could kind of follow it, you know, and people | 0:15:29 | 0:15:32 | |
could dip into it and think, "Oh, he's just been here, I see." | 0:15:32 | 0:15:35 | |
The first perfume I would sort of have got for myself | 0:15:35 | 0:15:38 | |
would have been Charlie. | 0:15:38 | 0:15:40 | |
Every single girl at school, I was at a girls' school, | 0:15:40 | 0:15:43 | |
we all used to sing the Charlie ad, which I'm sure, | 0:15:43 | 0:15:46 | |
looking back, was directed at 13 and 14-year-old girls, | 0:15:46 | 0:15:49 | |
because who else is going to buy that stuff? | 0:15:49 | 0:15:52 | |
# There's a fragrance... | 0:15:52 | 0:15:55 | |
# That's here today And they call it Charlie | 0:15:55 | 0:15:59 | |
# A different fragrance that thinks your way | 0:15:59 | 0:16:02 | |
# And they call it Charlie... # | 0:16:02 | 0:16:05 | |
And that was the first perfume which... | 0:16:05 | 0:16:07 | |
There's a bit of rebellion here, | 0:16:07 | 0:16:08 | |
because it was something your mum wouldn't have known about, | 0:16:08 | 0:16:12 | |
couldn't relate to a perfume called Charlie, that's a boy's name. | 0:16:12 | 0:16:15 | |
And I remember the girl who was in the advert, a very pretty blonde girl, | 0:16:15 | 0:16:20 | |
and she wore trousers, which was quite unusual, | 0:16:20 | 0:16:24 | |
because most adverts for perfume, the girl always had nice dresses on. | 0:16:24 | 0:16:28 | |
And I remember the thing that stands out about that advert | 0:16:28 | 0:16:32 | |
is the way she is walking with a long stride, | 0:16:32 | 0:16:34 | |
so she looked like a girl who was going places. | 0:16:34 | 0:16:38 | |
And that must have had some sort of effect on me, | 0:16:38 | 0:16:41 | |
because I rushed into our local House of Fraser and bought a bottle. | 0:16:41 | 0:16:46 | |
I think often brands do a really good job | 0:16:46 | 0:16:49 | |
of showing an aspirational lifestyle you'd like to have and, therefore, | 0:16:49 | 0:16:53 | |
you want to become part of it. And by becoming part of it, | 0:16:53 | 0:16:56 | |
even if it's not directly targeted to you and you're slightly young, | 0:16:56 | 0:16:59 | |
you'll probably remember it enough to go, "That's the one for me." | 0:16:59 | 0:17:04 | |
You're just buying into the product, aren't you? | 0:17:04 | 0:17:06 | |
You might not be able to afford all the things that she had, | 0:17:06 | 0:17:09 | |
but by spraying a bit of the perfume on, | 0:17:09 | 0:17:11 | |
you've just got a little bit of it, haven't you? | 0:17:11 | 0:17:14 | |
In a man's world, | 0:17:14 | 0:17:16 | |
a woman needs a lovely flawless complexion, | 0:17:16 | 0:17:19 | |
needs Camay - for the skin men can't ignore. | 0:17:19 | 0:17:23 | |
Feel it in the lather, creamy smooth, | 0:17:23 | 0:17:27 | |
creamy rich. | 0:17:27 | 0:17:30 | |
Parisian perfume worth nine guineas an ounce. | 0:17:30 | 0:17:34 | |
Oh, Camay, you'd think would make you... | 0:17:34 | 0:17:36 | |
Well, it was bound to, because there were all these glamorous women applying it to their skin | 0:17:36 | 0:17:41 | |
and looking brilliant, so if you were to buy it, | 0:17:41 | 0:17:43 | |
you hopefully would end up looking the same as they did. | 0:17:43 | 0:17:46 | |
This could be you when you care for your skin | 0:17:46 | 0:17:49 | |
with the world's most luxurious beauty soap. | 0:17:49 | 0:17:52 | |
It had a little song and it said, | 0:17:54 | 0:17:57 | |
"You'll be a little lovelier each day, with fabulous pink Camay." | 0:17:57 | 0:18:03 | |
They brought out the "pink". | 0:18:03 | 0:18:05 | |
Careful! That's very valuable. | 0:18:05 | 0:18:07 | |
It's real porcelain, isn't it? So smooth and delicate. It's beautiful. | 0:18:07 | 0:18:11 | |
Like...like your complexion. | 0:18:11 | 0:18:13 | |
-Oh. Do you think so? -Yes. -Like porcelain. | 0:18:13 | 0:18:17 | |
It must be Camay, with moisturising cream. | 0:18:17 | 0:18:20 | |
For lather so creamy, you'd think it came from a jar. | 0:18:20 | 0:18:23 | |
When you saw women on adverts who were sort of doing that into the mirror. | 0:18:23 | 0:18:28 | |
I remember actually pretending that there was a camera | 0:18:28 | 0:18:31 | |
in the mirror, and sort of saying - | 0:18:31 | 0:18:33 | |
because it was all Body Shop stuff I would use, cucumber cleansing milk - | 0:18:33 | 0:18:37 | |
"So with this cucumber cleansing milk I'd just sort of rub it on my cheeks | 0:18:37 | 0:18:41 | |
"and get a lather up," and because you felt like | 0:18:41 | 0:18:43 | |
you couldn't just wash your face, because women in adverts didn't | 0:18:43 | 0:18:46 | |
just wash their faces, they went like that, and then got a lather on their cheeks. | 0:18:46 | 0:18:50 | |
They didn't do their T-zone. It was just on the nice bit of their cheeks, that were all smooth. | 0:18:50 | 0:18:54 | |
Camay will take your skin out of the shadows and bring your loveliness to life. | 0:18:54 | 0:18:59 | |
Just pretending you were in an advert all the time. | 0:18:59 | 0:19:01 | |
It was so important to feel like you were in an advert. | 0:19:01 | 0:19:04 | |
Yeah. I'd forgotten about that. | 0:19:04 | 0:19:06 | |
I like watching the adverts because they're a form of entertainment in themselves. | 0:19:06 | 0:19:10 | |
I know that they are a con and a lot of the adverts have got nothing | 0:19:10 | 0:19:13 | |
to do with what they're selling, but I like watching them. | 0:19:13 | 0:19:16 | |
Advertising was annoyingly influential. | 0:19:16 | 0:19:20 | |
Adverts mean a way of life to me, because the whole world seems to be | 0:19:20 | 0:19:23 | |
run by adverts, and advertising is a big business in the world today. | 0:19:23 | 0:19:26 | |
And particularly as a teenager in the '70s, | 0:19:26 | 0:19:30 | |
when that medium of television hadn't been around that long. | 0:19:30 | 0:19:35 | |
I mean, I can remember being at school, and somebody saying to you, | 0:19:35 | 0:19:41 | |
"Have you got BBC Two?" | 0:19:41 | 0:19:43 | |
You know, just to have two BBC channels was quite sophisticated. | 0:19:43 | 0:19:49 | |
So it brought with it, | 0:19:49 | 0:19:51 | |
TV advertising came with a kind of kudos already built in. | 0:19:51 | 0:19:56 | |
So it was already quite sophisticated to some extent to have | 0:19:56 | 0:19:59 | |
seen an advert on television and be able to talk about it. | 0:19:59 | 0:20:02 | |
Ask any woman why she selects Imperial Leather | 0:20:04 | 0:20:07 | |
and she'll tell you it costs a little more, but it lasts so much longer. | 0:20:07 | 0:20:11 | |
I was led very much by my mother in this, because she bought this | 0:20:11 | 0:20:15 | |
thing, I think it was Cussons Imperial Leather. | 0:20:15 | 0:20:18 | |
And I think what was impressive about this is it had a little label on it, so that instead of having | 0:20:18 | 0:20:24 | |
soap that stuck to the side of the bath when it got wet, | 0:20:24 | 0:20:27 | |
this was so sophisticated that you - I remember she showed me, | 0:20:27 | 0:20:30 | |
look, you put it down like that, | 0:20:30 | 0:20:32 | |
and with the label thing on it, and then it doesn't stick. | 0:20:32 | 0:20:35 | |
And I thought that's just fantastic. | 0:20:35 | 0:20:38 | |
And the great thing about that brand is the way the branding survives | 0:20:38 | 0:20:43 | |
even though you keep on using it. | 0:20:43 | 0:20:45 | |
I remember when I was young, I had very strict parents. | 0:20:45 | 0:20:50 | |
I was allowed to do so very little. | 0:20:50 | 0:20:52 | |
When Diane got to early teenage, I suddenly remembered my own youth, | 0:20:52 | 0:20:56 | |
and how strict my parents were, and how I used to come in late at night, | 0:20:56 | 0:21:01 | |
and rub off my make-up, | 0:21:01 | 0:21:02 | |
rather than let my mother see it, which was entirely wrong. | 0:21:02 | 0:21:06 | |
Teenagers are a relatively new thing anyway. | 0:21:06 | 0:21:09 | |
There was a time when you just went from being a kid to being at work. | 0:21:09 | 0:21:13 | |
My father went to work at 12. | 0:21:13 | 0:21:15 | |
My mother went to work at 14. | 0:21:15 | 0:21:18 | |
He wasn't a teenager. | 0:21:18 | 0:21:20 | |
He was a child and then he was a grown-up. | 0:21:20 | 0:21:22 | |
My older siblings kind of left school and went to work, and so I was... | 0:21:22 | 0:21:27 | |
in this neither here nor there land where you were given the luxury of exploring a bit. | 0:21:27 | 0:21:34 | |
You know, pushing the envelope of leaving childhood and becoming an independent adult. | 0:21:34 | 0:21:39 | |
So I guess it was... It was like a big playground, | 0:21:39 | 0:21:43 | |
and the world was something you could explore. | 0:21:43 | 0:21:46 | |
We were set going with the most extraordinary wind of optimism. | 0:21:53 | 0:21:57 | |
# Well I told you once and I told you twice... # | 0:21:57 | 0:22:01 | |
I think the absolute classic difference between somewhere round my generation | 0:22:01 | 0:22:07 | |
is that for previous generations, being sophisticated was being more like your parents. | 0:22:07 | 0:22:11 | |
But for us being sophisticated was being completely different from our parents. | 0:22:11 | 0:22:15 | |
I've met very many teenagers up and down the country | 0:22:15 | 0:22:18 | |
when I have been travelling around, | 0:22:18 | 0:22:20 | |
and I've been always particularly struck by their enthusiasm about everything, by their new ideas. | 0:22:20 | 0:22:26 | |
After all, one must remember the extraordinary things that | 0:22:26 | 0:22:30 | |
ones parents and grandparents did, | 0:22:30 | 0:22:32 | |
all their latest crazes, which seem to us just as extraordinary now. | 0:22:32 | 0:22:36 | |
I think that most teenagers, | 0:22:36 | 0:22:38 | |
you either want to make an entrance or you want to absolutely disappear. | 0:22:38 | 0:22:42 | |
And you'd be caught between those two things, I think. | 0:22:42 | 0:22:46 | |
But I think, as a teenager, what I wanted more than anything was to be noticed. | 0:22:46 | 0:22:53 | |
There was an advert that said you were never alone with a Strand, | 0:22:53 | 0:22:58 | |
and in a way, it's true. You weren't. | 0:22:58 | 0:23:01 | |
You had a friend, and the friend was the cigarette, and the cigarette | 0:23:01 | 0:23:06 | |
was again a sign of maturity. | 0:23:06 | 0:23:09 | |
I smoked because one had to. | 0:23:12 | 0:23:16 | |
Again, it was about image. | 0:23:16 | 0:23:20 | |
You're never alone with a Strand. | 0:23:20 | 0:23:22 | |
The cigarette of the moment. | 0:23:22 | 0:23:24 | |
Strand, the new tipped cigarette. | 0:23:24 | 0:23:27 | |
Wonderful value at three and tuppence for 20. | 0:23:27 | 0:23:30 | |
Everyone was smoking in those days. | 0:23:32 | 0:23:34 | |
You'd go to party and it was kind of fog. | 0:23:34 | 0:23:37 | |
We didn't know the dangers of smoke. | 0:23:37 | 0:23:39 | |
We never even thought about it. Smoking was just to look grown-up. | 0:23:39 | 0:23:43 | |
I didn't even like the taste very much. | 0:23:43 | 0:23:45 | |
But if you had a cigarette, you looked like a woman, | 0:23:45 | 0:23:47 | |
you looked like a movie star for five minutes. | 0:23:47 | 0:23:50 | |
Now you take the two cigarettes... | 0:23:50 | 0:23:52 | |
MUSIC STARTS | 0:23:52 | 0:23:54 | |
# Da-da-da, de-da-dum... # | 0:23:54 | 0:23:57 | |
We can't go on meeting like this. | 0:23:58 | 0:24:00 | |
My dear, it was perfect! | 0:24:00 | 0:24:02 | |
APPLAUSE | 0:24:02 | 0:24:03 | |
I seem to remember on certain talk shows that were around then, that | 0:24:08 | 0:24:12 | |
actors and actresses would come on talk shows, smoking away, puffing away. | 0:24:12 | 0:24:16 | |
That was seen as the norm and you had to be one of the gang. | 0:24:16 | 0:24:18 | |
I didn't really like it. I just did it to fit in. | 0:24:18 | 0:24:20 | |
The staff of the school believe that if you blindly | 0:24:20 | 0:24:24 | |
forbid children to do something, then they will certainly revolt. | 0:24:24 | 0:24:27 | |
The answer is to allow them to find out for themselves whether these conventions are good or bad. | 0:24:27 | 0:24:32 | |
Besides which, smoking calms the nerves. | 0:24:32 | 0:24:35 | |
Smoking seemed very sophisticated. | 0:24:35 | 0:24:37 | |
I was at a boarding school, so like a couple of you | 0:24:37 | 0:24:39 | |
would pull some pounds together and think, "We'll go and get some cigarettes." | 0:24:39 | 0:24:43 | |
All round Burgess Hill School are woods and extensive grounds. | 0:24:43 | 0:24:47 | |
Here, without danger or worry to anyone, the youngsters run and play. | 0:24:47 | 0:24:50 | |
You'd go and try and hide in yet another bush somewhere, light cigarettes and then | 0:24:50 | 0:24:56 | |
take two or three drags, and your head is filled with the most heaviest, blackest smoke, | 0:24:56 | 0:25:00 | |
and you'd spend the rest of the afternoon vomiting on a playing field, | 0:25:00 | 0:25:04 | |
or desperately waiting for the fog to clear. | 0:25:04 | 0:25:06 | |
Then, of course, there are those idyllic scenes of people at leisure | 0:25:06 | 0:25:10 | |
we get in all those film advertisements for drink or for cigarettes. | 0:25:10 | 0:25:15 | |
Capture spring's exciting freshness in Consulate. | 0:25:20 | 0:25:23 | |
The cool cigarette. | 0:25:23 | 0:25:25 | |
The sort of logo was cool as a mountain stream, and you felt, | 0:25:25 | 0:25:29 | |
"Oh, this is, you know, this is great!" If you're going to have | 0:25:29 | 0:25:32 | |
something that's so sophisticated you feel as if you're in perhaps the Alps, or something. | 0:25:32 | 0:25:37 | |
I think the taste was eucalyptus. It was quite vile actually. | 0:25:37 | 0:25:40 | |
Menthol cigarettes. Cool. Clear. | 0:25:44 | 0:25:48 | |
Fresh as a mountain stream. | 0:25:48 | 0:25:52 | |
I think now, infinitely less aspirational is people | 0:25:56 | 0:26:00 | |
start to look at smoking as being pretty horrible, does kill you. | 0:26:00 | 0:26:04 | |
In the days of the Strand, no-one really knew if it killed you and you didn't care. | 0:26:04 | 0:26:08 | |
You wanted to look cool. Looking cool was more important, | 0:26:08 | 0:26:11 | |
hence why everyone smoked Sobranie Cocktail. | 0:26:11 | 0:26:14 | |
Sobranies were incredibly sophisticated. | 0:26:18 | 0:26:21 | |
That do I remember. | 0:26:21 | 0:26:22 | |
So whoever marketed them did manage to make us think, "Ooh..." | 0:26:22 | 0:26:26 | |
Even though men with moustaches were smoking them, you definitely | 0:26:26 | 0:26:29 | |
thought that was quite hip, and when they brought out the coloured ones, | 0:26:29 | 0:26:34 | |
that was just a work of genius. | 0:26:34 | 0:26:36 | |
Sobranie Cocktail, which was the most ridiculous | 0:26:36 | 0:26:38 | |
multi-coloured cigarette ever, that cost a ridiculous amount of money. | 0:26:38 | 0:26:41 | |
You had a pink one and a green one. | 0:26:41 | 0:26:44 | |
It was endlessly entertaining deciding which one you were going to choose. | 0:26:44 | 0:26:48 | |
Sobranie was hilarious, because it was one of those slightly odd brands. | 0:26:48 | 0:26:51 | |
They did Sobranie Black and Sobranie Cocktail. | 0:26:51 | 0:26:54 | |
Cocktail were the multi-coloured ones and they had a gold tip. | 0:26:54 | 0:26:57 | |
I mean, it really was the ultimate kind of show off cigarette! | 0:26:57 | 0:27:01 | |
I went to the Millets annual dinner dance, which was a fantastic event. | 0:27:01 | 0:27:07 | |
You've got to imagine a country of Saturday boys and area managers | 0:27:07 | 0:27:11 | |
doing their best to dress up and dancing to the Ray McVay Orchestra. | 0:27:11 | 0:27:15 | |
I thought, "I'm going to be sophisticated for this," | 0:27:15 | 0:27:17 | |
so I had what passed for a dinner suit and I bought a box of Sobranie Black Russian fags - pure class. | 0:27:17 | 0:27:23 | |
Blew it, though, as I only had to a box of matches with me, | 0:27:23 | 0:27:26 | |
so the effect was somewhat deleted, but... | 0:27:26 | 0:27:28 | |
I thought that was sophisticated. But you'd never do it | 0:27:28 | 0:27:31 | |
on a day-to-day basis, because you'd just look iffy, wouldn't you? | 0:27:31 | 0:27:34 | |
But with a DJ on - class. | 0:27:34 | 0:27:37 | |
That's when you're most susceptible to advertising. | 0:27:37 | 0:27:39 | |
Things that you think, "This is perfect. | 0:27:39 | 0:27:41 | |
"This will make me happy. | 0:27:41 | 0:27:43 | |
"I must like it, or I must appear to like it. | 0:27:43 | 0:27:45 | |
"I mustn't mention to people that actually this is disgusting." | 0:27:45 | 0:27:48 | |
I didn't smoke, actually. | 0:27:48 | 0:27:50 | |
I was one of the few people that didn't actually go along with the smoking thing. | 0:27:50 | 0:27:57 | |
I must have somehow had the wherewithal to realise | 0:27:57 | 0:28:01 | |
it wasn't a very good idea to create a habit. | 0:28:01 | 0:28:04 | |
"They're not very good for you. Oh, I'll have some of them." | 0:28:04 | 0:28:07 | |
But I would do loads of other things that weren't good for you like try and drink too much. | 0:28:07 | 0:28:12 | |
Alcohol of any sort, I suppose, you'd find terribly sophisticated. | 0:28:18 | 0:28:22 | |
By the time you've got into your 30s, you've already known two or three people whose lives | 0:28:22 | 0:28:27 | |
or careers have already been wrecked by the stuff. | 0:28:27 | 0:28:29 | |
# Ever and ever For ever and ever | 0:28:29 | 0:28:33 | |
# You'll be the one... # | 0:28:33 | 0:28:35 | |
As a teenager there was this sense that the drunker you got, the more sophisticated you got. | 0:28:35 | 0:28:40 | |
If you spend a lot of time in many bars in the City, you realise some people carry that attitude | 0:28:40 | 0:28:46 | |
for the whole of their trading career. | 0:28:46 | 0:28:48 | |
-Would you like a drink? -Yes, please. -What would you like? | 0:28:48 | 0:28:51 | |
-Bacardi and Coke, please. -Ice and lemon? | 0:28:51 | 0:28:52 | |
-Yes, please. -Great. Angela? | 0:28:52 | 0:28:54 | |
-Have you got gin? -Gin and tonic? | 0:28:54 | 0:28:56 | |
-Please. -Ice and lemon? -Yes, please. | 0:28:56 | 0:28:58 | |
Great. Lawrence, would you like to get the drinks, please? | 0:28:58 | 0:29:02 | |
Buying a Bacardi and Coke, | 0:29:02 | 0:29:04 | |
that was the drink, because that was pure sophistication. The bat, | 0:29:04 | 0:29:09 | |
conjures up images of the Caribbean, | 0:29:09 | 0:29:11 | |
you can knock it back fairly quickly, | 0:29:11 | 0:29:12 | |
you don't mind the taste with Coke in it and it did say class to me. | 0:29:12 | 0:29:15 | |
As a word, what is Bacardi? I don't know. But that was really good. | 0:29:15 | 0:29:19 | |
Just drinking a litre of cider from a plastic bottle and things like that, and it's a Saturday afternoon | 0:29:19 | 0:29:24 | |
and you're sitting under a hedge and every five or six seconds just sticking your head out to see | 0:29:24 | 0:29:30 | |
if anyone's noticed that you're there, and yet deep down there's part of you thinking, | 0:29:30 | 0:29:36 | |
"Yeah, this is pretty grown-up. | 0:29:36 | 0:29:37 | |
"Just us and the White Lightning, the sound of the rain." | 0:29:37 | 0:29:40 | |
The first drink I ever had was a Babycham | 0:29:40 | 0:29:45 | |
in one of those shallow glasses | 0:29:45 | 0:29:47 | |
with a cherry on top. | 0:29:47 | 0:29:50 | |
Oh, gosh, to take that glass | 0:29:52 | 0:29:54 | |
in your hand, you know, and hold it by the stem. | 0:29:54 | 0:29:58 | |
It felt so grown-up. | 0:29:58 | 0:30:01 | |
Babycham was like the first alcopops. | 0:30:01 | 0:30:03 | |
It was the first one ever to sit in that market of very young drinkers, | 0:30:03 | 0:30:07 | |
didn't have a high alcohol content, | 0:30:07 | 0:30:10 | |
was quite fun and used what was in essence a Bambi character in cartoon. | 0:30:10 | 0:30:14 | |
We'd never, ever, ever be allowed to do that again. | 0:30:14 | 0:30:18 | |
There's a world of magic in a glass of Babycham. | 0:30:18 | 0:30:21 | |
A world of magic. | 0:30:21 | 0:30:24 | |
And it almost became too popular. | 0:30:24 | 0:30:27 | |
So by the time that we get through to the '70s | 0:30:27 | 0:30:30 | |
and particularly the '80s, | 0:30:30 | 0:30:32 | |
it had lost the momentum because it was associated with being a bit old-fashioned. | 0:30:32 | 0:30:36 | |
What would you like to drink, darling? | 0:30:36 | 0:30:38 | |
Oh, I'd love a Babycham. | 0:30:38 | 0:30:40 | |
I think the rebranding of Babycham and trying to appeal to men as well | 0:30:42 | 0:30:46 | |
as women was probably the moment with the death knell in the brand. | 0:30:46 | 0:30:51 | |
I think then you kind of go, "My God, you really are struggling." | 0:30:51 | 0:30:54 | |
Hey, I'd love a Babycham. | 0:30:54 | 0:30:57 | |
CROWD MUTTERS | 0:30:57 | 0:30:59 | |
Babycham. I want one. | 0:31:00 | 0:31:02 | |
Hey, Babycham. | 0:31:02 | 0:31:04 | |
The last throw of the dice - and I can imagine sitting in the room | 0:31:04 | 0:31:07 | |
at the time - was people going, "Hey, let's go for men as well. | 0:31:07 | 0:31:10 | |
"Why wouldn't we? We might be able to double the sales because there'll be more people involved." | 0:31:10 | 0:31:15 | |
And men went, "I'm not drinking that. I'd be an idiot." | 0:31:15 | 0:31:18 | |
I just would not have a Babycham. | 0:31:18 | 0:31:22 | |
That would mean your mates would leave you at the bar. | 0:31:22 | 0:31:25 | |
That's just not... No, no, no, no, no, no, no, no. | 0:31:25 | 0:31:29 | |
No, no, no, no. | 0:31:29 | 0:31:31 | |
My mother, she certainly had an eye for sophistication in booze. | 0:31:36 | 0:31:39 | |
She'd have anything coloured in a bottle because obviously it was more sophisticated. | 0:31:39 | 0:31:43 | |
It wasn't that kind of grey or brown or beige | 0:31:43 | 0:31:46 | |
and it was different for that reason. | 0:31:46 | 0:31:49 | |
How else can you explain Advocaat? | 0:31:49 | 0:31:52 | |
It's a bit like getting drunk on custard. | 0:31:52 | 0:31:54 | |
It was absolutely revolting. | 0:31:54 | 0:31:57 | |
Whose idea was it to make alcohol with egg? Ohh! | 0:31:57 | 0:32:02 | |
But when I had the money, I bought it. I bought Advocaat. | 0:32:02 | 0:32:06 | |
Tried it and then I realised no. | 0:32:06 | 0:32:08 | |
-Did you bring that, Sue? -Yes. | 0:32:08 | 0:32:10 | |
-Is it for us? -Yes. | 0:32:10 | 0:32:13 | |
Oh, thank you, Sue. | 0:32:13 | 0:32:15 | |
Oh, it's nothing very special, I'm afraid. | 0:32:15 | 0:32:17 | |
Oh, isn't that kind, Ange? | 0:32:17 | 0:32:20 | |
-Yes. -Oh, lovely, because Laurence likes a drop of wine, actually, yeah. | 0:32:20 | 0:32:25 | |
Oh, fantastic, it's Beaujolais. | 0:32:25 | 0:32:27 | |
Lovely. I won't be a sec. I'll just pop it in the fridge, OK? | 0:32:27 | 0:32:30 | |
Wine was difficult because... | 0:32:30 | 0:32:34 | |
..it asked for a degree of knowledge that really I didn't have | 0:32:35 | 0:32:39 | |
at the time, so you stuck with things that looked | 0:32:39 | 0:32:43 | |
possibly good and you tended to go by the label. | 0:32:43 | 0:32:47 | |
And, you know, if it was relatively cheap, | 0:32:47 | 0:32:51 | |
you know, one was a student. | 0:32:51 | 0:32:54 | |
Most people probably didn't know which wine to buy, so if you didn't know whether it was going to be | 0:32:54 | 0:32:58 | |
white or whether it was going to be red, it was safe to buy Mateus Rose. | 0:32:58 | 0:33:03 | |
Run away home tonight with Mateus, | 0:33:03 | 0:33:07 | |
a rose wine that's like a trip to Portugal. | 0:33:07 | 0:33:10 | |
Portugal. Climb the cobbled streets of yesterday in Obidos, | 0:33:12 | 0:33:17 | |
lunch in the shade of medieval walls on native cheese and wine, Mateus Rose. | 0:33:17 | 0:33:22 | |
# Hey, hey, hey Mateus Rose. # | 0:33:22 | 0:33:27 | |
Bring it on home. | 0:33:27 | 0:33:30 | |
The whole purpose to drink Mateus Rose was purely to get the bottle, | 0:33:31 | 0:33:35 | |
so you could make a lamp out of the bottle. | 0:33:35 | 0:33:37 | |
So it was a nice thing to have | 0:33:37 | 0:33:38 | |
in the corner of the room, I guess, in the '70s. | 0:33:38 | 0:33:41 | |
If you wanted to be a bit more sophisticated, | 0:33:41 | 0:33:43 | |
it would definitely be Cinzano and lemonade, I think. | 0:33:43 | 0:33:45 | |
-Ah, buona sera. -Good evening, sir. | 0:33:45 | 0:33:47 | |
-What can I get you? -Do you have the Cinzano of some sort, por favor? | 0:33:47 | 0:33:51 | |
Yes, sir. There is Cinzano Rosso, Secco, Bianco and new Rose. | 0:33:51 | 0:33:54 | |
Oh, the complete set. Somebody must have told you I was coming. | 0:33:54 | 0:33:58 | |
I'll have a Cinzano Bianco. | 0:33:58 | 0:34:00 | |
The Cinzano ads, I think, had two parts. | 0:34:00 | 0:34:02 | |
One was obviously Joan Collins, very glamorous, and Leonard Rossiter was slightly chaotic. | 0:34:02 | 0:34:08 | |
And Martin did a lot of that contradicting people. | 0:34:08 | 0:34:13 | |
So you had the slight idiot playing off someone who was very sophisticated. | 0:34:13 | 0:34:17 | |
-Hello. -Melissa, darling. You're early. Would you like a Cinzano? | 0:34:17 | 0:34:21 | |
No, thank you, I've just had one. | 0:34:21 | 0:34:23 | |
Theirs was one of the most famous because, of course, | 0:34:23 | 0:34:27 | |
whatever happened, he sort of won. | 0:34:27 | 0:34:30 | |
I just ordered our traditional drink, Cinzano Bianco. | 0:34:30 | 0:34:33 | |
Oh, a fusion of superb Italian wines and aromatic herbs. | 0:34:33 | 0:34:37 | |
One of our most refined European customs. Aah! | 0:34:37 | 0:34:41 | |
Oh. Ha! | 0:34:41 | 0:34:45 | |
I think they like you, Marisa. | 0:34:45 | 0:34:47 | |
My mum's a big fan of Cinzano, although she says "Sin-zano". | 0:34:47 | 0:34:49 | |
My mum's quite posh, but if she was here now, | 0:34:49 | 0:34:52 | |
she would absolutely swear that it is "Sin-zano". | 0:34:52 | 0:34:56 | |
One of the highlights for me about exoticism and international travel | 0:34:56 | 0:35:01 | |
was seeing Leonard Rossiter, who was a huge star at the time, | 0:35:01 | 0:35:05 | |
and Joan Collins, obviously a glamorous star. | 0:35:05 | 0:35:08 | |
Not only were they drinking this particular drink, they were on a plane. Oh, my God! | 0:35:08 | 0:35:13 | |
Your Cinzano Bianco, Senora. | 0:35:13 | 0:35:16 | |
-Thank you. -Ah, yes. Gracias. | 0:35:16 | 0:35:18 | |
-Ah, due? -No, no, no, mine was a Cinzano as well. | 0:35:18 | 0:35:21 | |
Some of that humour did sort of prick the pomposity | 0:35:21 | 0:35:25 | |
of the era and I think that was quite a clever way of doing it. | 0:35:25 | 0:35:27 | |
I'm being boring. Oh, sorry. | 0:35:27 | 0:35:30 | |
Sorry. | 0:35:30 | 0:35:32 | |
Getting your head down, sweetie? Jolly good idea. | 0:35:32 | 0:35:35 | |
You know, if you were on a plane - this is before easyJet. | 0:35:35 | 0:35:38 | |
People don't go on planes just to fly somewhere. | 0:35:38 | 0:35:40 | |
God, that's really decadent. | 0:35:40 | 0:35:42 | |
Before the war, of course, there was relatively no foreign travel for most of us. | 0:35:47 | 0:35:52 | |
It was only in the '50s that that tantalising new world of Europe | 0:35:52 | 0:35:57 | |
actually really came on to the scene. | 0:35:57 | 0:36:00 | |
And certainly then by the '60s, the package holiday industry was really picking up. | 0:36:00 | 0:36:05 | |
# We can fly | 0:36:05 | 0:36:08 | |
# We can fly... # | 0:36:08 | 0:36:11 | |
For ordinary people, it's not only more sensible, | 0:36:11 | 0:36:14 | |
it's more fun to make their plans in the depths of the English winter. | 0:36:14 | 0:36:18 | |
That's what this family are doing with their maps and...their arguments, of course. | 0:36:18 | 0:36:24 | |
The world was, from our point of view, | 0:36:24 | 0:36:27 | |
a much bigger world than it had been for our parents. | 0:36:27 | 0:36:31 | |
Mind you, it still was quite a big deal if you phoned up Newbury. | 0:36:31 | 0:36:37 | |
Already they are wondering in a bright dream of sunshine and strange cities. | 0:36:37 | 0:36:41 | |
But how, where? | 0:36:41 | 0:36:43 | |
Ship to this point, rail to that, coach up to here, fly there. | 0:36:43 | 0:36:48 | |
I went on a French exchange. | 0:36:48 | 0:36:50 | |
Unbelievably...extraordinary, glamorous thing to do. | 0:36:50 | 0:36:55 | |
A day trip to France was a big life event. | 0:36:55 | 0:36:58 | |
Mind you, where I grew up, going to Suffolk was a big trip. | 0:36:58 | 0:37:01 | |
So anything that was to France or beyond was exotic and, therefore, exotic had a higher value. | 0:37:01 | 0:37:06 | |
In those days, both the French and the Greek lavatory | 0:37:12 | 0:37:18 | |
were unbelievably appalling. | 0:37:18 | 0:37:21 | |
But the sophisticated thing was just to take them in your stride, | 0:37:21 | 0:37:26 | |
not make a fuss about it, darling. | 0:37:26 | 0:37:29 | |
That would reveal you as a sort of unsophisticated non-traveller. | 0:37:29 | 0:37:35 | |
So you just took them. | 0:37:35 | 0:37:37 | |
SHE LAUGHS | 0:37:37 | 0:37:38 | |
It's how you did these things that mattered. | 0:37:38 | 0:37:41 | |
As if you'd always had holes in the ground. | 0:37:41 | 0:37:44 | |
Once people got to Europe, they suddenly discovered all kinds of exciting things. Spaghetti? | 0:37:44 | 0:37:49 | |
How exotic! | 0:37:49 | 0:37:51 | |
The only spaghetti one had encountered had been in Heinz spaghetti loops in a tomato sauce. | 0:37:51 | 0:37:56 | |
This was very puzzling. Why would slimy worms be a national dish? | 0:37:56 | 0:38:01 | |
Now we're in the Common Market, we thought we ought to learn how to eat the stuff, so Glyn went | 0:38:01 | 0:38:05 | |
-onto the streets with plates of spaghetti. -That's very good. | 0:38:05 | 0:38:08 | |
Comes out to a yard! | 0:38:12 | 0:38:15 | |
Whether you ate it with a knife and fork, or whether you ate it with | 0:38:15 | 0:38:18 | |
a spoon and fork or, if you were really good, | 0:38:18 | 0:38:22 | |
you just ate it with a fork. | 0:38:22 | 0:38:24 | |
-Try it. -No, I don't... | 0:38:24 | 0:38:26 | |
It's gorgeous, absolutely gorgeous. | 0:38:28 | 0:38:30 | |
There we are. That's ready. | 0:38:30 | 0:38:33 | |
-I thought you were going to eat it. -No, I don't eat things like that | 0:38:33 | 0:38:36 | |
that's been out in the street with all the dirt. | 0:38:36 | 0:38:39 | |
There we were fiddling around, | 0:38:39 | 0:38:41 | |
trying to scoop it up onto forks and things, terribly ham-fisted. | 0:38:41 | 0:38:48 | |
Where do you put this bit or that bit? | 0:38:49 | 0:38:51 | |
And there was, again, that kind of splashing that came from it. | 0:38:51 | 0:38:55 | |
Get someone who likes spaghetti. There must be a Spanish bloke coming along. | 0:38:55 | 0:38:59 | |
This girl cooked spaghetti bolognese with mushrooms for us and at the time | 0:38:59 | 0:39:03 | |
I thought, "Well, this is really sophisticated. | 0:39:03 | 0:39:06 | |
"She's not breaking the spaghetti into tiny bits. She's putting in | 0:39:06 | 0:39:09 | |
"the whole, long things, letting the hot water do its work | 0:39:09 | 0:39:13 | |
"and letting it melt into the pan." | 0:39:13 | 0:39:16 | |
But looking back, it wasn't that sophisticated because what she used | 0:39:16 | 0:39:20 | |
was a tin of Campbell's condensed soup for the tomato. | 0:39:20 | 0:39:24 | |
There goes the spaghetti bolognese. That cooker drives me mad! | 0:39:24 | 0:39:27 | |
It's not the cooker needs changing. | 0:39:27 | 0:39:30 | |
It's the cook. | 0:39:30 | 0:39:31 | |
Hey, come on. | 0:39:31 | 0:39:34 | |
We'd be better off at a Berni. | 0:39:34 | 0:39:36 | |
For a great steak at a fair price, | 0:39:36 | 0:39:38 | |
a good choice of fish and poultry dishes, | 0:39:38 | 0:39:40 | |
a friendly wine list and even friendlier service, you're better off at a Berni Steak House. | 0:39:40 | 0:39:46 | |
-I might ruin the dinner every night. -I thought you did. | 0:39:46 | 0:39:49 | |
The first time I went to a restaurant, I think, was really late on in the '60s | 0:39:49 | 0:39:53 | |
when I went to university and the girl I was sharing digs with, | 0:39:53 | 0:39:58 | |
we went for her birthday to a Berni Inn. | 0:39:58 | 0:40:01 | |
Tennis champions eat at Berni Inns. | 0:40:04 | 0:40:06 | |
They like the first-class service. | 0:40:06 | 0:40:09 | |
Plush red seating, steak knives, black and white prints on the wall, | 0:40:11 | 0:40:16 | |
the smell of cooked meat, which even now is | 0:40:16 | 0:40:21 | |
one of my favourite things. | 0:40:21 | 0:40:22 | |
If this studio now was filled with the smell of cooking meat, | 0:40:22 | 0:40:25 | |
I wouldn't be talking to you. I'd just be sort of slavering. | 0:40:25 | 0:40:29 | |
Prawn cocktail or maybe an avocado, steak cooked to order | 0:40:30 | 0:40:36 | |
and Black Forest gateau to finish. | 0:40:36 | 0:40:38 | |
Almost the perfect meal I could eat as a teenager was prawn cocktail with Marie Rose sauce, | 0:40:38 | 0:40:44 | |
steak and chips, Death By Chocolate. | 0:40:44 | 0:40:46 | |
That is a tremendous meal. If I went to an Aberdeen Angus Steak House today, | 0:40:46 | 0:40:50 | |
that is probably the meal I would order. | 0:40:50 | 0:40:52 | |
That's probably all they serve. | 0:40:52 | 0:40:54 | |
As a business journalist, finding out why the Aberdeen Steak House | 0:40:55 | 0:41:00 | |
continues to trade is a bit like the Loch Ness monster mystery. | 0:41:00 | 0:41:03 | |
No-one really has come up with a good explanation. | 0:41:03 | 0:41:06 | |
There's all sorts of theories. Here was a restaurant that | 0:41:06 | 0:41:10 | |
apparently had no customers and served food so bad | 0:41:10 | 0:41:13 | |
I think one restaurant critic said it had all the appeal of herpes and none | 0:41:13 | 0:41:17 | |
of the laughs, and yet it continues going year after year after year. | 0:41:17 | 0:41:21 | |
Intellectually, I think the only rational explanation is that | 0:41:23 | 0:41:27 | |
it keeps going because teenagers keep on visiting it because they think it's sophisticated. | 0:41:27 | 0:41:32 | |
It just seems perfect. | 0:41:32 | 0:41:34 | |
When you discover steak and chips | 0:41:34 | 0:41:36 | |
and the fact that maybe in your life you can eat that all the time... | 0:41:36 | 0:41:40 | |
When I was a teenager, I remember reading an interview with Hugh Laurie | 0:41:40 | 0:41:44 | |
in which he was talking about what happiness would mean and he went, "To me, happiness is eating steak | 0:41:44 | 0:41:49 | |
"and chips, and I'm at a point in my life where I can actually eat steak and chips every day if I want." | 0:41:49 | 0:41:54 | |
I remember thinking, "Yeah, imagine that! That is absolutely something to aspire to." | 0:41:54 | 0:41:59 | |
Every day, you could be able to just walk into somewhere, have steak and chips. | 0:41:59 | 0:42:03 | |
That seemed like the ultimate in sophistication. | 0:42:03 | 0:42:05 | |
Loads of things that we now consider staples were a bit exotic. | 0:42:05 | 0:42:10 | |
Exoticism was itself quite smart, | 0:42:10 | 0:42:12 | |
whereas now, you know, if you had jerk chicken, | 0:42:12 | 0:42:15 | |
that would be exotic, but it wouldn't be posh and a curry wouldn't be posh. | 0:42:15 | 0:42:18 | |
But then exotic meant a little bit French or a little bit Italian and it was all really like, "Wow!" | 0:42:18 | 0:42:25 | |
You really have a number on yourself. | 0:42:25 | 0:42:27 | |
I think I would have aspired to a Chinese restaurant | 0:42:27 | 0:42:29 | |
because it was exotic, it was bulky, colourful and kind of fixed price. | 0:42:29 | 0:42:35 | |
I've always thought there's something very grown-up about an all-you-can-eat buffet. | 0:42:35 | 0:42:40 | |
HE CHUCKLES | 0:42:40 | 0:42:42 | |
And I think what the lady would have admired about my decision was that | 0:42:42 | 0:42:48 | |
there's a sort of thrift about it. | 0:42:48 | 0:42:49 | |
I remember being taken to a restaurant by my friend's dad | 0:42:49 | 0:42:53 | |
when I was about 15, and he said, | 0:42:53 | 0:42:56 | |
"Oh, Satnam, is this the first time you've been to a Chinese restaurant?" | 0:42:56 | 0:43:00 | |
As I was struggling with my chopsticks. | 0:43:00 | 0:43:02 | |
But, actually, it was the first time I'd ever been to any restaurant | 0:43:02 | 0:43:06 | |
and I was pretending I'd been to loads. | 0:43:06 | 0:43:08 | |
Two young people walking out, walked into a cinema restaurant in Chester | 0:43:10 | 0:43:14 | |
and learned how 1965 science is applied to cooking. | 0:43:14 | 0:43:18 | |
No more waiting. Each order served before you can say "knife". | 0:43:18 | 0:43:22 | |
Whether it's steak and chips, curry, | 0:43:22 | 0:43:25 | |
fish and chips or anything else on the menu, and it's done to a turn | 0:43:25 | 0:43:30 | |
in a matter of seconds, which is the big point of using microwave energy. | 0:43:30 | 0:43:34 | |
I remember my brother and I... My mum said, | 0:43:34 | 0:43:36 | |
"You two seem more excited about the microwave arriving than we do." | 0:43:36 | 0:43:39 | |
But we thought it was tremendously exciting to have this basically, | 0:43:39 | 0:43:43 | |
sort of nuclear-capable piece of machinery in our kitchen, | 0:43:43 | 0:43:47 | |
which we would be able to use to ruin food for the next 20 years. | 0:43:47 | 0:43:51 | |
Housewives are alleged to spend most of their time on the telephone or in the kitchen. | 0:43:51 | 0:43:55 | |
-Will they have to do this in future? -I don't think they'll spend nearly so much time in the kitchen. | 0:43:55 | 0:44:00 | |
One thing which is just coming in now is the microwave oven. | 0:44:00 | 0:44:03 | |
Microwaves are radio waves of very high energy | 0:44:03 | 0:44:06 | |
and they can cook food at tremendous speed, straight from the freezer. | 0:44:06 | 0:44:10 | |
You just pop a piece of frozen food in there, close the door, | 0:44:10 | 0:44:14 | |
set a switch for, say, 90 seconds, | 0:44:14 | 0:44:17 | |
push the button and, literally, 90 seconds later | 0:44:17 | 0:44:19 | |
you can take a piping hot meal out of that oven. | 0:44:19 | 0:44:22 | |
I remember someone saying, "When it stops, the beeps go, but you mustn't open it for five seconds. | 0:44:22 | 0:44:27 | |
"You've got to let all the waves go back into the machine, otherwise, | 0:44:27 | 0:44:31 | |
"it beeps, you open it and you're hit with all the microwaves and you'll be partially cooked as well." | 0:44:31 | 0:44:36 | |
Now instant food looks like the opposite of good food. | 0:44:36 | 0:44:40 | |
But then it looked like modern food and modern was good | 0:44:40 | 0:44:45 | |
and superior and advanced and progressive, until you actually encountered it. | 0:44:45 | 0:44:49 | |
As kids, we were constantly trying to persuade my mum to buy | 0:44:49 | 0:44:54 | |
Smash potato and Vesta curries | 0:44:54 | 0:44:57 | |
and those ready meals that were very few and far between then. | 0:44:57 | 0:45:01 | |
This is the chef, the Vesta chef, | 0:45:01 | 0:45:03 | |
who diced the beef, sliced the onion, mixed the fruit, ground the spice, | 0:45:03 | 0:45:08 | |
stirred the curry, prepared the rice | 0:45:08 | 0:45:10 | |
that went into Vesta beef curry, and it took him three hours. | 0:45:10 | 0:45:13 | |
The Vesta curry was, certainly for us and where I lived, | 0:45:13 | 0:45:17 | |
that was the first meal that you bought | 0:45:17 | 0:45:19 | |
that you didn't have to stand and cook yourself. | 0:45:19 | 0:45:21 | |
This is the wife who went to the pantry, who opened the packet, | 0:45:21 | 0:45:24 | |
then cooked and served that wonderful Vesta beef curry, and she did it all in 20 minutes. | 0:45:24 | 0:45:28 | |
The rice was boil-in-the-bag and I think you'd literally put boiling | 0:45:28 | 0:45:32 | |
water from the kettle into the curry | 0:45:32 | 0:45:35 | |
and waited for it to reconstitute into this sort of brown mass. | 0:45:35 | 0:45:39 | |
What I remember about that was the colour, really. | 0:45:39 | 0:45:43 | |
The colours were colours you'd never see anywhere in nature, you know. | 0:45:43 | 0:45:50 | |
You thought, "How does it get to be that kind of yellow?" | 0:45:50 | 0:45:52 | |
Because of its brightness, one assumed it to be good, | 0:45:52 | 0:45:57 | |
which may have been a mistake. | 0:45:57 | 0:45:59 | |
We thought they were marvellous and that was, honestly, the first taste | 0:45:59 | 0:46:03 | |
of curry and that was so exotic to have a curry. | 0:46:03 | 0:46:06 | |
My mum had never made a curry. | 0:46:06 | 0:46:08 | |
-Now, your dinner. -That's all right. | 0:46:08 | 0:46:10 | |
I've got some Indian takeaway. | 0:46:10 | 0:46:12 | |
Then will you kindly eat it in the kitchen with the extractor fan full on. | 0:46:12 | 0:46:16 | |
Last time, this upholstery wreaked of vindaloo for a week. | 0:46:16 | 0:46:20 | |
I think we would have been watching in the evening at | 0:46:22 | 0:46:25 | |
about 7.30, we'd have been starting to watch The Good Life | 0:46:25 | 0:46:28 | |
and thinking that they were quite sophisticated in a way, | 0:46:28 | 0:46:33 | |
even though they were supposedly a bit left-field. | 0:46:33 | 0:46:37 | |
But they would have been eating healthy food, probably muesli. | 0:46:37 | 0:46:40 | |
Muesli was something that was most definitely sophisticated. | 0:46:40 | 0:46:43 | |
Somebody had the brilliant idea of marketing twigs, bits of beak and gravel, and we took it. | 0:46:43 | 0:46:48 | |
It is a seriously appealing breakfast. Well done. | 0:46:48 | 0:46:51 | |
The idea that you could eat something that was kind of | 0:46:51 | 0:46:54 | |
good for you was a bit of a new idea, or it seemed to be anyway. | 0:46:54 | 0:46:59 | |
I don't know what we were doing before, but certainly, in our household, I remember my mum | 0:46:59 | 0:47:04 | |
one day saying, "What about eating this at breakfast, muesli?" | 0:47:04 | 0:47:09 | |
You'd go, "What? | 0:47:09 | 0:47:10 | |
"No, we have big American companies called Kellogg's | 0:47:10 | 0:47:14 | |
"that supply us with our breakfast. Don't mess with the rules." | 0:47:14 | 0:47:19 | |
Muesli holds a strange sort of sway over me. | 0:47:19 | 0:47:23 | |
I think muesli basically came in at roughly the same time as having a duvet was the thing to do. | 0:47:23 | 0:47:30 | |
Every house would have to move from | 0:47:30 | 0:47:34 | |
an ordinary breakfast cereal and blankets and a sheet, | 0:47:34 | 0:47:39 | |
and then in comes the revolution of muesli and duvets at the same time. | 0:47:39 | 0:47:44 | |
"So what did you have for breakfast today? | 0:47:44 | 0:47:47 | |
"Yeah, yeah, Coco Pops. | 0:47:47 | 0:47:49 | |
"Yeah, I used to have Coco Pops. | 0:47:49 | 0:47:51 | |
"Course, these days, it's all about muesli in our house." | 0:47:51 | 0:47:57 | |
Now show us how you come into a room gracefully. | 0:47:57 | 0:48:01 | |
That's grand. | 0:48:01 | 0:48:03 | |
Very nice. | 0:48:09 | 0:48:11 | |
Ten out of ten. | 0:48:11 | 0:48:13 | |
When they've mastered the difficult art of entering a room | 0:48:13 | 0:48:16 | |
and the even more formidable task of sitting down, these girls will move on to other basic essentials of life | 0:48:16 | 0:48:23 | |
in an age of technological marvels and social change. | 0:48:23 | 0:48:27 | |
For example, how to dangle a pretty glass at a party. | 0:48:27 | 0:48:31 | |
There was a real phase at my school of people having dinner parties | 0:48:31 | 0:48:34 | |
for their 16th birthdays, which is hilarious. We should have been going clubbing. | 0:48:34 | 0:48:38 | |
No teenager should try and do a dinner party. Who cares about food when you're a teenager? | 0:48:42 | 0:48:47 | |
I mean, you don't care, but you kind of feel like you should. | 0:48:47 | 0:48:50 | |
Someone's parents would have to go upstairs for the night | 0:48:50 | 0:48:54 | |
and we'd all sit around the dinner party and we'd have to wear black tie. | 0:48:54 | 0:48:59 | |
We didn't even know any boys, so it was a dinner party of eight girls | 0:48:59 | 0:49:02 | |
with a load of shortcake. It was embarrassing. | 0:49:02 | 0:49:05 | |
You'd have melon. | 0:49:05 | 0:49:07 | |
I actually remember my friend Ruth on her birthday was so drunk. | 0:49:07 | 0:49:12 | |
It must have been her 18th, I guess. | 0:49:12 | 0:49:14 | |
She was so drunk that she fell asleep in the melon in her full-length black satin gown. | 0:49:14 | 0:49:18 | |
We thought we were sophisticated, and that was what you were aiming for completely. | 0:49:18 | 0:49:22 | |
To me, that seemed another world away, the idea | 0:49:24 | 0:49:27 | |
of getting people round to your house and giving them dinner | 0:49:27 | 0:49:30 | |
and then remembering that you needed to have some sort of chocolate mints | 0:49:30 | 0:49:35 | |
that people could have afterwards. | 0:49:35 | 0:49:37 | |
After I've wined and dined them, then I cosset them | 0:49:37 | 0:49:41 | |
with a log fire, some old French brandy, a bottomless coffee pot | 0:49:41 | 0:49:45 | |
and lots of After Eight wafer-thin mints. | 0:49:45 | 0:49:47 | |
I always give them After Eight. | 0:49:47 | 0:49:50 | |
Cool, creamy peppermint in rich, dark chocolate. | 0:49:50 | 0:49:53 | |
So clever to have all that in such a slim shape. | 0:49:53 | 0:49:56 | |
Luxury, unashamed luxury. | 0:49:56 | 0:49:59 | |
After Eight wafer-thin mints. | 0:49:59 | 0:50:02 | |
After Eight, which was launched at the beginning of the '60s, when it | 0:50:02 | 0:50:05 | |
first came in, very sophisticated and the name says it, doesn't it? | 0:50:05 | 0:50:09 | |
After Eight. Sort of a bit luxury, a dinner brand. | 0:50:09 | 0:50:13 | |
Almost decadent in a way. | 0:50:13 | 0:50:15 | |
I don't know if that's being a bit silly, but I just seem to remember | 0:50:15 | 0:50:18 | |
the whole thing, opening the box, the black wrapper inside, | 0:50:18 | 0:50:22 | |
the whole experience of the chocolate... | 0:50:22 | 0:50:25 | |
Just being really, really posh. | 0:50:28 | 0:50:30 | |
There's a kind of internal fantasy in that | 0:50:30 | 0:50:32 | |
we would get After Eights at Christmas and I would pretend | 0:50:32 | 0:50:35 | |
I was eating them at a dinner party, | 0:50:35 | 0:50:37 | |
eating English food, which were things we never did, you know. | 0:50:37 | 0:50:40 | |
The nocturnal activities of this species are fascinating. | 0:50:40 | 0:50:43 | |
Some nibble delicious wafer-thin After Eights. | 0:50:43 | 0:50:47 | |
You offer the box around and you take it out. | 0:50:47 | 0:50:49 | |
Instead of taking the whole thing out, you'd leave the black wrapper in the box. | 0:50:49 | 0:50:53 | |
You'd take the chocolate and the wrappers would stay in the box. | 0:50:53 | 0:50:56 | |
Here we see a challenge to the dominant male, | 0:50:56 | 0:50:58 | |
who's clearly marked his territory. | 0:50:58 | 0:51:01 | |
You'd be rummaging around to see if there was one left. | 0:51:01 | 0:51:04 | |
You'd just spend the whole time doing that with them. | 0:51:04 | 0:51:06 | |
You'd always find one. There'd always be one tucked away. "I've got it!" | 0:51:06 | 0:51:10 | |
With awesome eyesight, this creature | 0:51:10 | 0:51:12 | |
spots one lone After Eight and devours mercilessly. | 0:51:12 | 0:51:16 | |
-And here... -Blasted film crew got in here again! | 0:51:16 | 0:51:20 | |
Oh, dear, it looks as though we've been spotted. | 0:51:20 | 0:51:22 | |
It's my favourite chocolate, After Eights. | 0:51:22 | 0:51:24 | |
I was thinking about having a box a couple of nights ago. | 0:51:24 | 0:51:27 | |
Always give him After Eight. | 0:51:27 | 0:51:30 | |
Cool, creamy peppermint in rich, dark chocolate. | 0:51:30 | 0:51:34 | |
Luxury. Unashamed luxury. | 0:51:34 | 0:51:38 | |
After Eights sold themselves on the tag line, "pure unashamed luxury," | 0:51:38 | 0:51:42 | |
which was hilarious because they actually cost about 80p. | 0:51:42 | 0:51:46 | |
As if pure unashamed luxury could be that cheap, that was the brilliance. | 0:51:46 | 0:51:50 | |
You could buy them in the newsagent's, take them to someone's birthday party instead of | 0:51:50 | 0:51:54 | |
a box of Matchmakers and they'd be just about one up from Matchmakers, unless it was orange Matchmakers. | 0:51:54 | 0:51:59 | |
I suppose if there's a brand that's taken over from the After Eight, it's Ferrero Rocher. | 0:51:59 | 0:52:04 | |
What was interesting about that period in marketing was | 0:52:04 | 0:52:06 | |
it was an invitation to places you'd never see or go. | 0:52:06 | 0:52:09 | |
The ambassador's receptions are noted in society | 0:52:09 | 0:52:13 | |
for their host's exquisite taste that captivates his guests. | 0:52:13 | 0:52:17 | |
This was a long time before as much freedom of information and 24 media coverage. | 0:52:17 | 0:52:24 | |
You know, there wasn't Hello! and OK! | 0:52:24 | 0:52:26 | |
You didn't get a look into it the world of the drinks parties | 0:52:26 | 0:52:30 | |
in London and the famous people doing stuff. You just didn't. | 0:52:30 | 0:52:34 | |
And the ambassador's reception, great example of, "My God, it's full of really posh people. | 0:52:34 | 0:52:39 | |
"So that's what an ambassador's reception looks like and he serves | 0:52:39 | 0:52:42 | |
"those funny gold chocolates, delivered by some bloke with white gloves on." | 0:52:42 | 0:52:47 | |
Ferrero Rocher. | 0:52:48 | 0:52:51 | |
Delicious. | 0:52:51 | 0:52:53 | |
Excellente. | 0:52:53 | 0:52:56 | |
Monsieur, with this Rocher you will spoil us. | 0:52:56 | 0:53:00 | |
Ferrero Rocher, a sign of taste. | 0:53:00 | 0:53:03 | |
People looked at it and went, "Well, that's just a bit unusual | 0:53:03 | 0:53:06 | |
"and if I take that in a nice box, I'm quite a sophisticated person taking that round to my neighbours." | 0:53:06 | 0:53:12 | |
I think keeping up with the Joneses was a big part of this era. | 0:53:12 | 0:53:14 | |
To me, actually, the wrapping does it alone for Ferrero. | 0:53:14 | 0:53:18 | |
They don't need to do anything else. | 0:53:18 | 0:53:20 | |
As a teenager, if I was walking around a confectioner | 0:53:20 | 0:53:23 | |
and you saw the Ferrero Rocher, you'd think, "Well, they're there, | 0:53:23 | 0:53:26 | |
"they're tempting, but I must hold back until I'm a member of the diplomatic community." | 0:53:26 | 0:53:31 | |
It did create that balance between, "Was it aspiration or was it funny?" | 0:53:31 | 0:53:34 | |
No-one could work it out and in some ways that was its charm. | 0:53:34 | 0:53:37 | |
Are you playing the best game in the world because you're highly aspirational | 0:53:37 | 0:53:41 | |
and it's beautiful, or are you kind of going, | 0:53:41 | 0:53:43 | |
"This is a bit pony," and actually you should laugh at the fact that | 0:53:43 | 0:53:47 | |
the quality and the delivery is awful? | 0:53:47 | 0:53:49 | |
Who knows? It worked. | 0:53:49 | 0:53:51 | |
At the end of the day, it just did a phenomenal job for branding Ferrero Rocher chocolates | 0:53:51 | 0:53:57 | |
and actually creating a brand that people bought a lot of, remarkably. | 0:53:57 | 0:54:01 | |
# What is a teenager's prayer? # | 0:54:01 | 0:54:07 | |
# It's not very hard to define... # | 0:54:10 | 0:54:15 | |
I don't think when I was a teenager that I thought that any of my | 0:54:15 | 0:54:22 | |
sort of teenage discontents were going to be solved by an object, | 0:54:22 | 0:54:27 | |
which I think now I'd be much more likely to think, | 0:54:27 | 0:54:32 | |
"Yeah, in a Mercedes, things might be very different." | 0:54:32 | 0:54:36 | |
So, I look back on my youthful self and think, "Yeah, respect. | 0:54:36 | 0:54:41 | |
"I like you more than I like myself now." | 0:54:41 | 0:54:44 | |
I think I was so used to being on the wrong side of everything. | 0:54:50 | 0:54:54 | |
I was just so uncool for so long and so, like, | 0:54:54 | 0:54:57 | |
loud when everybody else was being quiet and quiet when everybody else was being loud. | 0:54:57 | 0:55:01 | |
I had everything so wrong for so long | 0:55:01 | 0:55:05 | |
that I kind of stopped caring. | 0:55:05 | 0:55:07 | |
I tell you what is a weird thing about teenagers | 0:55:13 | 0:55:16 | |
is so many things... | 0:55:16 | 0:55:19 | |
Suddenly your eyes are opened to and seem sophisticated that | 0:55:19 | 0:55:22 | |
even problems seem like quite a sophisticated thing. | 0:55:22 | 0:55:26 | |
You're really sort of angst-ridden and you wallow in that a bit, and it's not just... | 0:55:32 | 0:55:37 | |
If you've got a problem now, you think, "God, I wish I didn't feel like this." | 0:55:37 | 0:55:41 | |
But as a teenager, you love that you feel like that because you realise you're an adult | 0:55:41 | 0:55:44 | |
and it makes you identify with the songs you're listening to or the films you're watching, | 0:55:44 | 0:55:49 | |
and you think, "Yeah, when Julia Roberts as a prostitute feels like that about | 0:55:49 | 0:55:54 | |
"Richard Gere, that's exactly how I feel about Richard Saxby." | 0:55:54 | 0:55:56 | |
You've got such a warped view of the world that you do start thinking, | 0:56:04 | 0:56:08 | |
"Well, it seems to be quite sophisticated to have something quite wrong with you. | 0:56:08 | 0:56:12 | |
"You know, depression, that would be quite cool, quite a cool thing to have. | 0:56:12 | 0:56:17 | |
"You know, serious organ failure... | 0:56:17 | 0:56:19 | |
"Just a constant people fluttering around you, | 0:56:19 | 0:56:22 | |
"checking that you're OK." | 0:56:22 | 0:56:24 | |
At the time, I thought I was very happy, | 0:56:24 | 0:56:27 | |
but in fact I must have been in a state of very severe depression. | 0:56:27 | 0:56:32 | |
One of my hobbies was writing poetry and some of my poetry of the period was absolutely revolting. | 0:56:32 | 0:56:37 | |
I went on a sports holiday when I was about 13 | 0:56:45 | 0:56:48 | |
and there was a guy who I met who I just absolutely loved. | 0:56:48 | 0:56:52 | |
There was, like, a vague... | 0:56:52 | 0:56:54 | |
I think we might have even kissed, but only just. | 0:56:54 | 0:56:59 | |
And then he went to boarding school, I think, | 0:56:59 | 0:57:04 | |
and I was waiting for him to write to me, and I did write a poem. | 0:57:04 | 0:57:07 | |
I think I wrote one poem for which I will never forgive myself. | 0:57:07 | 0:57:11 | |
Certainly, the first two lines were, "Is it worth the pain and sorrow, | 0:57:14 | 0:57:18 | |
"the thinking, well, he'll phone tomorrow?" | 0:57:18 | 0:57:21 | |
Hang on, it's coming back to me now. | 0:57:22 | 0:57:24 | |
The last line... The last line... This is pathetic. | 0:57:24 | 0:57:30 | |
"The listening to my friends insist that he does know I exist." | 0:57:30 | 0:57:35 | |
And I think it went on like that. | 0:57:35 | 0:57:37 | |
And I remember thinking, "This is really good. | 0:57:37 | 0:57:39 | |
"I mean, not only does this really capture how I'm feeling, but this is | 0:57:39 | 0:57:42 | |
"really good, this is a really grown-up, proper, good poem. | 0:57:42 | 0:57:45 | |
"It really rhymes quite successfully." | 0:57:45 | 0:57:48 | |
But the last line of the poem was, "Don't hate me for being unhappy," | 0:57:51 | 0:57:56 | |
which is just... Oh. | 0:57:56 | 0:57:58 | |
Actually, saying it out loud now, it is quite good. | 0:57:58 | 0:58:01 | |
Now you sort of think, "Perhaps if I go running five times a week, I'll start feeling better." | 0:58:01 | 0:58:06 | |
But I can't believe there's a period in your life when you think, "I'll just write | 0:58:06 | 0:58:10 | |
"this down in a way that rhymes or I won't get through the afternoon." | 0:58:10 | 0:58:13 | |
I can't remember the rest of it now. But he never did get back in touch with me. | 0:58:13 | 0:58:16 | |
Yeah. | 0:58:16 | 0:58:18 | |
I'm glad I was a teenager then. | 0:58:21 | 0:58:23 | |
I don't think I'd want to be a teenager now... | 0:58:23 | 0:58:27 | |
because it's more complex now. | 0:58:27 | 0:58:29 | |
There are more choices, and I think it's pretty hard for a teenager | 0:58:29 | 0:58:34 | |
to successfully move through, whereas, we just had to realise | 0:58:34 | 0:58:39 | |
the hard way that dungarees were what painters wore. | 0:58:39 | 0:58:43 | |
# Are teenage dreams so hard to beat | 0:58:50 | 0:58:53 | |
# Every time she walks down the street | 0:58:53 | 0:58:57 | |
# Another girl in the neighbourhood | 0:58:57 | 0:59:00 | |
# Wish she was mine She looks so good | 0:59:00 | 0:59:04 | |
# I wanna hold you Wanna hold you tight | 0:59:04 | 0:59:06 | |
# Get teenage kicks right through the night... # | 0:59:06 | 0:59:09 |