0:00:44 > 0:00:49MUSIC: Strawberry Fields Forever by The Beatles
0:00:54 > 0:01:00# Let me take you down cos I'm going to
0:01:00 > 0:01:03# Strawberry Fields
0:01:05 > 0:01:09# Nothing is real
0:01:09 > 0:01:12# And nothing to get hung about
0:01:13 > 0:01:17# Strawberry Fields forever
0:01:18 > 0:01:22# Living is easy with eyes closed
0:01:24 > 0:01:27# Misunderstanding all you see. #
0:01:29 > 0:01:33To wind up our predictions for 1966, we've been looking into what
0:01:33 > 0:01:36is probably the most intriguing of all the trends.
0:01:36 > 0:01:40The trend in pop music.
0:01:40 > 0:01:42In 1966, everything's coming in.
0:01:42 > 0:01:45It may be the year for the individual artist,
0:01:45 > 0:01:48but anything with real talent, anything with real excitement,
0:01:48 > 0:01:51anything with real novelty, anything with real quality,
0:01:51 > 0:01:54anything that's really good of its own kind can break through.
0:02:01 > 0:02:06In 1966 I think the standard of the musicianship has got to be improved
0:02:06 > 0:02:09and there's definitely a jazz sound coming in.
0:02:21 > 0:02:27Everybody's madly looking round for a new soloist, male of female.
0:02:28 > 0:02:31Well, whilst everybody's busy looking it's just not going
0:02:31 > 0:02:33to happen and something else will happen.
0:02:40 > 0:02:43In 1966 it's very hard to say what's going to happen.
0:02:43 > 0:02:45The Liverpool sound's right out of the ring.
0:02:45 > 0:02:48If I had to put my money on any group in particular,
0:02:48 > 0:02:52I'd put it on The Who because what they do is to exaggerate and
0:02:52 > 0:02:55caricature everything that's gone before.
0:02:56 > 0:02:59# Strawberry Fields forever
0:03:03 > 0:03:09# Always know sometimes think it's me
0:03:09 > 0:03:11# But you know I know when it's a dream. #
0:03:11 > 0:03:14EXPLOSION
0:03:21 > 0:03:25SCREAMING
0:03:29 > 0:03:33In the last two or three years, young people have been,
0:03:33 > 0:03:38instead of just carrying on the way their parents told them to,
0:03:38 > 0:03:41they've started a big thing where they're anti-war and they
0:03:41 > 0:03:46love everybody and their sexual lives have become freer.
0:03:48 > 0:03:50The kids are looking for something else,
0:03:50 > 0:03:53or some different moral value because they're going to get
0:03:53 > 0:03:57all the things that were thought impossible 50 years ago.
0:03:57 > 0:03:59When did you first grow your hair long?
0:03:59 > 0:04:01- About 18 months ago.- Why?
0:04:01 > 0:04:04Cos I like long hair.
0:04:05 > 0:04:09MUSIC: Get Off Of My Cloud by The Rolling Stones
0:04:12 > 0:04:16# I live in an apartment on the 99th floor of my block. #
0:04:17 > 0:04:22In January 1966, the Rolling Stones' Get Off Of My Cloud was still
0:04:22 > 0:04:25in the top 30, three months after it was released.
0:04:25 > 0:04:29With its theatrical sense of aggression, aloofness and rebellion,
0:04:29 > 0:04:32its manic energy expressed the desire for something more,
0:04:32 > 0:04:36for some unspecified freedom, even abandon.
0:04:36 > 0:04:40The song's unstoppable momentum was a sign of the times
0:04:40 > 0:04:43and of a peace with the band's career.
0:04:43 > 0:04:45With their increasing record sales and fame,
0:04:45 > 0:04:48the Stones were building up a wild head of steam.
0:04:49 > 0:04:53This Dionysian frenzy was captured by film-maker of the moment
0:04:53 > 0:04:54Peter Whitehead.
0:04:54 > 0:04:58His cinema verite techniques made you an immediate part of the action
0:04:58 > 0:05:01and party to the group's inner workings.
0:05:03 > 0:05:06I just wanted to make it like he was sitting on the fence
0:05:06 > 0:05:09and couldn't make up his mind between one girl or the other
0:05:09 > 0:05:11and he couldn't stand sitting on the fence
0:05:11 > 0:05:13because it was getting very painful.
0:05:13 > 0:05:15'You listen to all popular songs ten years ago,
0:05:15 > 0:05:17'very few of them actually mean anything.
0:05:17 > 0:05:20'Songs didn't have any relation to what people actually spend
0:05:20 > 0:05:23'their lives doing like getting up, washing, going to work,
0:05:23 > 0:05:26'coming back and feeling very screwed up about certain things.'
0:05:26 > 0:05:28And, um, what was the other one I wanted?
0:05:28 > 0:05:32Have you got the, um, Rolling Stones' latest one?
0:05:32 > 0:05:34It's 19th Nervous Breakdown.
0:05:34 > 0:05:36MUSIC: 19th Nervous Breakdown by The Rolling Stones
0:05:36 > 0:05:39# Centre of a crowd Talking much too loud
0:05:39 > 0:05:41# Running up and down the stairs
0:05:41 > 0:05:46# Well, it seems to me that you have seen too much in too few years. #
0:05:46 > 0:05:50Released in the first week of February, 19th Nervous Breakdown was
0:05:50 > 0:05:55the first big pop statement of the year amping up the frenzy even more.
0:05:55 > 0:06:00It spoke of neurosis, disturbance and psychological complexity
0:06:00 > 0:06:03hinting at darker and deeper forces beneath the shiny surface of
0:06:03 > 0:06:06swinging London.
0:06:06 > 0:06:10# Here comes your 19th nervous breakdown. #
0:06:14 > 0:06:16# When you were a child you were treated kind
0:06:16 > 0:06:19# But you were never brought up right
0:06:19 > 0:06:21# You were always spoiled with a thousand toys
0:06:21 > 0:06:24# But still you cried all night
0:06:24 > 0:06:28# Your mother who neglected you owes a million dollars tax. #
0:06:28 > 0:06:32The quip about nuclear annihilation from a pop group manager,
0:06:32 > 0:06:36a sick joke worthy of Mad Magazine, yet symptomatic of the fact
0:06:36 > 0:06:40that the bomb cast its chilling shadow over everything.
0:06:40 > 0:06:44What if the nuclear button was pressed over our dead bodies
0:06:44 > 0:06:46or rather over the living members of CND -
0:06:46 > 0:06:50the Campaign for Nuclear Disarmament?
0:06:50 > 0:06:54Ban the bomb - it was music to the ears of the young protesters
0:06:54 > 0:06:57on the streets and anywhere else this collective voice could
0:06:57 > 0:06:59make itself heard.
0:07:04 > 0:07:05Keep it coming, keep it coming.
0:07:05 > 0:07:09Film director Lindsay Anderson captured the mood in The White Bus,
0:07:09 > 0:07:13a surreal mystery tour written by Shelagh Delaney.
0:07:22 > 0:07:26I'm glad to see a youngster turning out today.
0:07:26 > 0:07:29I know you don't all spend your lives singing and dancing
0:07:29 > 0:07:31and listening to records.
0:07:34 > 0:07:37EXPLOSION
0:07:37 > 0:07:40SIRENS BLARE
0:07:51 > 0:07:55MUSIC: Mushroom Clouds by Love
0:07:56 > 0:08:00# Mushroom clouds are forming
0:08:00 > 0:08:04# And the sky is dark
0:08:08 > 0:08:11# And grey. #
0:08:15 > 0:08:18One certainly felt that one's days were numbered,
0:08:18 > 0:08:19that there was going to be a nuclear war,
0:08:19 > 0:08:21that, inevitably there would be a nuclear war.
0:08:21 > 0:08:25The mere continued existence of these weapons guaranteed it
0:08:25 > 0:08:28and so it seemed necessary for people who were aware of
0:08:28 > 0:08:35these things to take action against all governments complicit with
0:08:35 > 0:08:41the manufacture and production and threatened use of nuclear weapons.
0:08:41 > 0:08:46One should be prepared to go and sit down or stand up or march,
0:08:46 > 0:08:49just to cause a stir, to create a riot,
0:08:49 > 0:08:55to draw attention to insist that what was happening was
0:08:55 > 0:09:00immoral and criminal and vile upon a scale even worse than that of
0:09:00 > 0:09:02the German death camps.
0:09:06 > 0:09:08For the following 48 hours,
0:09:08 > 0:09:13an estimated one third of the entire land service of Britain would
0:09:13 > 0:09:17be covered by a total dose of radiation exceeding ten times
0:09:17 > 0:09:19the amount needed to kill a man in the open.
0:09:21 > 0:09:24For many of those within this area, who had remained even inside
0:09:24 > 0:09:29the shelter of their homes, there would be death within five weeks.
0:09:37 > 0:09:40A single early in the year - The Quiet Explosion by Birmingham
0:09:40 > 0:09:44band The Uglys - is about the calm before the nuclear storm.
0:09:44 > 0:09:47The eerie moment of anticipation between the bomb being
0:09:47 > 0:09:50dropped and the impact of the shockwave,
0:09:50 > 0:09:53the sound of silence before the apocalypse.
0:09:53 > 0:09:55# There was even less corrosion
0:09:55 > 0:09:57# Then be prepared
0:09:57 > 0:10:00# For a quiet explosion
0:10:03 > 0:10:06# In other lands... #
0:10:06 > 0:10:08Physically unmarked,
0:10:08 > 0:10:11there will almost inevitably be thousands of people suffering
0:10:11 > 0:10:16from many complex states of fear and shock due to the things
0:10:16 > 0:10:21they've seen and the things that have happened to them.
0:10:21 > 0:10:25Many of these people will probably lapse into
0:10:25 > 0:10:29a state of permanent neurosis because they will totally
0:10:29 > 0:10:33outnumber the psychiatric services needed to cure them.
0:10:35 > 0:10:41# Winter's day in the deep and dark December
0:10:43 > 0:10:46# I am alone
0:10:46 > 0:10:50# Gazing from my window to the streets below
0:10:50 > 0:10:54# On a freshly fallen silent shroud of snow
0:10:54 > 0:10:57# I am a rock
0:10:57 > 0:11:04# I am an island. #
0:11:04 > 0:11:09This song by Paul Simon which Weston Gavin has just sung
0:11:09 > 0:11:14is an almost clinical description of isolation.
0:11:14 > 0:11:19It expresses the wish for isolation...
0:11:22 > 0:11:24..while, in fact,
0:11:24 > 0:11:30hiding the far greater wish to be blasted out of this isolation.
0:11:30 > 0:11:37They are the kids who feel inadequate and lost, who drift,
0:11:37 > 0:11:39who become semi-delinquent,
0:11:39 > 0:11:43who use amphetamines, pep pills,
0:11:43 > 0:11:48the famous or infamous purple hearts, to a great extent
0:11:48 > 0:11:54mainly so as to kid themselves into a superman state
0:11:54 > 0:12:01to hide their own inadequacy from themselves.
0:12:01 > 0:12:05# From safe secluded youth into manhood's search for truth
0:12:05 > 0:12:09# His mother's eyes now wet had turned to stare
0:12:09 > 0:12:14# For he said, "I must be bound this day for London town." #
0:12:14 > 0:12:21It is very often the undamaged - but critical of society -
0:12:21 > 0:12:26young outsider who will speak for the damaged ones.
0:12:26 > 0:12:29It applies to homosexuals,
0:12:29 > 0:12:34who are very much a despised and outcast minority.
0:12:34 > 0:12:38They are probably the only minority in this country which is not
0:12:38 > 0:12:41yet equal before the law.
0:12:41 > 0:12:45# And the gay parties' ease change to public lavatories
0:12:45 > 0:12:48# Have turned to grey his pretty golden hair. #
0:12:51 > 0:12:55The troubadours of the Middle Ages sang to win the love of a lady.
0:12:55 > 0:13:02These troubadours of the 1960s sing to win your love for the unloved,
0:13:02 > 0:13:04the despised, the rejected.
0:13:06 > 0:13:10When one had been a refugee,
0:13:10 > 0:13:12one is an outcast.
0:13:12 > 0:13:19When somebody has TB, after it has healed there are scars left
0:13:19 > 0:13:23which are visible to the x-ray machine.
0:13:25 > 0:13:29Er, I'm no longer a refugee or an outcast
0:13:29 > 0:13:34but the scars are there and outcasts have x-ray eyes.
0:13:34 > 0:13:36CHILD SCREAMS
0:13:36 > 0:13:40At this distance, the heatwave is sufficient to cause melting
0:13:40 > 0:13:44of the upturned eyeball, third degree burning of the skin
0:13:44 > 0:13:46and ignition of furniture.
0:13:46 > 0:13:49SCREAMS
0:13:52 > 0:13:55BABY CRIES
0:13:57 > 0:14:00Under the table!
0:14:02 > 0:14:05The blastwave from a thermonuclear explosion
0:14:05 > 0:14:10has been likened to an enormous door slamming in the depths of Hell.
0:14:10 > 0:14:13LOUD RUMBLING
0:14:13 > 0:14:16The only doors slamming were those in the corridors
0:14:16 > 0:14:18of power at the BBC.
0:14:18 > 0:14:22The War Game was banned after government intervention.
0:14:22 > 0:14:25It was a BBC Wednesday play, a fiction,
0:14:25 > 0:14:28but its scenario was too close to reality.
0:14:28 > 0:14:31The drama begins with the supposition about the war
0:14:31 > 0:14:35which was raging in Vietnam with the Americans and South Vietnamese
0:14:35 > 0:14:37fighting the Communist north.
0:14:37 > 0:14:41What if America's arch enemy Soviet Russia and the newly-emerging
0:14:41 > 0:14:44superpower China got involved?
0:14:44 > 0:14:46It could all escalate with Russia mounting
0:14:46 > 0:14:50a nuclear strike on Britain, America's ally.
0:14:50 > 0:14:52Far-fetched, maybe,
0:14:52 > 0:14:55but it was a logic derived from an all-too-real conflict.
0:14:56 > 0:14:59GUNFIRE
0:15:03 > 0:15:05You can't believe that this nation
0:15:05 > 0:15:09can have been forced to fight the longest war in its history
0:15:09 > 0:15:12against this tiny poverty-stricken North Vietnam.
0:15:12 > 0:15:15Is there any chance that you'd advocate using nuclear weapons?
0:15:15 > 0:15:19Why should you guarantee the enemy freedom from any weapon?
0:15:19 > 0:15:22You know in your own heart you're not going to use it,
0:15:22 > 0:15:24again, with the relative strength of the two,
0:15:24 > 0:15:27we don't NEED to use this weapon, I'm convinced of that,
0:15:27 > 0:15:31but he should have a few dark moments during the night when
0:15:31 > 0:15:34he wonders what he'd do IF you used that weapon.
0:15:38 > 0:15:42For the whole world, these are the images of suffering of the 1960s.
0:15:42 > 0:15:45Young Vietnamese men and women who have never known
0:15:45 > 0:15:48a single day of true peace in their lifetime are already raising
0:15:48 > 0:15:51a second generation that knows only war.
0:15:51 > 0:15:56# Let me tell you the story of a soldier named Dan
0:15:58 > 0:16:02# Went out to fight the good fight in south Vietnam. #
0:16:05 > 0:16:07For the past 12 years, in ever-increasing numbers,
0:16:07 > 0:16:11young Americans have shared the agony of the people of Vietnam.
0:16:13 > 0:16:16With more than a million men from seven countries under arms,
0:16:16 > 0:16:20it's now the biggest conflict since World War II.
0:16:20 > 0:16:24A struggle to which the United States seems totally committed.
0:16:24 > 0:16:27Not since the Spanish Civil War has there been a conflict that
0:16:27 > 0:16:30has raised such powerful emotion throughout the world.
0:16:30 > 0:16:33It's an issue that's divided family and friends
0:16:33 > 0:16:36no less than statesmen and nations.
0:16:36 > 0:16:39As the debate becomes daily more inflamed, it becomes daily
0:16:39 > 0:16:43easier to lose sight of the military and political realities.
0:16:43 > 0:16:46Above all, of the fact that it's now a big war.
0:16:46 > 0:16:49# And the war drags on
0:16:51 > 0:16:56# For there was no, no more world
0:16:58 > 0:17:02# And the tears came streaming down
0:17:05 > 0:17:09# As he lay there slowly burning
0:17:10 > 0:17:13# On the ground. #
0:17:14 > 0:17:20We have, of course, plans for help with various non-military aid
0:17:20 > 0:17:21of various kinds.
0:17:21 > 0:17:25I have reported to Parliament about the mission that went out.
0:17:25 > 0:17:31I think it was a paediatric mission, a medial mission anyway, with a view
0:17:31 > 0:17:34to giving help in medical services,
0:17:34 > 0:17:38services with handling refugees, and questions of that kind.
0:17:38 > 0:17:44But I have made it perfectly clear in Washington and repeated it many
0:17:44 > 0:17:48times in the House that, for the various reasons we have given,
0:17:48 > 0:17:51there is no question of our sending troops to Vietnam.
0:17:51 > 0:17:55MUSIC: All Tomorrow's Parties by The Velvet Underground
0:18:07 > 0:18:12# In what costume shall the poor girl wear? #
0:18:16 > 0:18:18Vietnam was a conscript war.
0:18:18 > 0:18:21Millions of young Americans faced the draft.
0:18:21 > 0:18:24One way to dodge it was to be a college student.
0:18:24 > 0:18:26You could also say you were queer,
0:18:26 > 0:18:29to plead homosexuality like Iggy Pop,
0:18:29 > 0:18:33or to plead insanity like Lou Reed of The Velvet Underground.
0:18:33 > 0:18:38Unlike some draft dodgers, he wasn't completely faking his instability.
0:18:38 > 0:18:41As a teenager, under the influence of his parents,
0:18:41 > 0:18:46he'd undergone electroconvulsive therapy, ECT, shock treatment.
0:18:46 > 0:18:50- What about ECT?- ECT, yes.
0:18:50 > 0:18:53Can you tell me if electric shock treatment does any more than
0:18:53 > 0:18:55simply shake the patient up?
0:18:57 > 0:18:59Now something between the teeth.
0:18:59 > 0:19:02That's to stop dislocation of the jaw.
0:19:06 > 0:19:09Notice how the electrodes are placed.
0:19:22 > 0:19:25Of course, we don't know how it works.
0:19:25 > 0:19:28All we know is it does work quite remarkably.
0:19:28 > 0:19:32I became very interested and concerned with the whole
0:19:32 > 0:19:37question of what we mean by somebody being neurotic or mad,
0:19:37 > 0:19:40abhorrent, psychopathic, psychotic.
0:19:40 > 0:19:42Criminal.
0:19:42 > 0:19:49And it seems to me that the society that we're constructing in the west
0:19:49 > 0:19:53and in the developed countries in the east, highly-developed
0:19:53 > 0:19:58technological countries in the east are on the same path.
0:19:58 > 0:20:01We are constructing a society which
0:20:01 > 0:20:06is inimical to human fulfilment,
0:20:06 > 0:20:10to human dignity, to human need,
0:20:10 > 0:20:13and, if you like, human grace.
0:20:14 > 0:20:16'Five...four...'
0:20:16 > 0:20:18Morgan, A Suitable Case For Treatment,
0:20:18 > 0:20:21was also by the writer of In Two Minds, David Mercer.
0:20:21 > 0:20:24EXPLOSION
0:20:24 > 0:20:27The film is a portrait of a rebellious young artist from
0:20:27 > 0:20:29a working-class background.
0:20:29 > 0:20:33After his upper-class wife divorces him for a rich gallery owner,
0:20:33 > 0:20:37he becomes obsessed about winning her back by any means necessary.
0:20:37 > 0:20:40Even if it costs him his sanity.
0:20:41 > 0:20:43Where is he?
0:20:43 > 0:20:45I'll try the studio!
0:20:49 > 0:20:52He's not up here.
0:20:52 > 0:20:54I know where he is.
0:20:55 > 0:20:58Right.
0:21:01 > 0:21:06# Here it comes, here it comes
0:21:06 > 0:21:09# Here it comes. #
0:21:12 > 0:21:16Oh, Mr Cartwright, thank heaven I've got you.
0:21:16 > 0:21:18Now listen very carefully.
0:21:18 > 0:21:21I want you to give a message to Mr Henson the moment he comes in.
0:21:24 > 0:21:27She's away!
0:21:27 > 0:21:33If Morgan kept it up, the ultimate thing to happen to him would be
0:21:33 > 0:21:34that he would have a lobotomy,
0:21:34 > 0:21:38which is an operation which cuts part of the brain off from
0:21:38 > 0:21:41another part of the brain in order to make someone behave normally.
0:21:41 > 0:21:44So what we can take that to mean is
0:21:44 > 0:21:47that the normal person
0:21:47 > 0:21:52has been subject to a successful social lobotomy.
0:21:52 > 0:21:55It's rather like...
0:21:56 > 0:22:00We know that even today that sometimes children who are
0:22:00 > 0:22:06brought up to be cripples, they are deliberately crippled and stunted
0:22:06 > 0:22:11in order to make money out of the state that they're in as cripples.
0:22:11 > 0:22:14Well, I think that what we're doing on
0:22:14 > 0:22:18a massive scale with all our children is to turn them into
0:22:18 > 0:22:20intellectual and spiritual and emotional cripples.
0:22:29 > 0:22:32This, according to some of the top fashion forecasters,
0:22:32 > 0:22:37is what you'll look like in 1966 - providing, of course, you're female.
0:22:37 > 0:22:40It's a composite photograph put together from the predictions
0:22:40 > 0:22:45of a top model, a top fashion journalist and two fashion students.
0:22:45 > 0:22:48And note, the knees are well and truly covered.
0:22:48 > 0:22:53The face to go with this outfit belongs to model Caroline Munro.
0:22:53 > 0:22:57It's just been voted the face of 1966 out of 700 girls who
0:22:57 > 0:23:00competed for the title sponsored by the Evening News.
0:23:00 > 0:23:04We think it's a great face, but really a continuation of 1965.
0:23:04 > 0:23:06There's a definite touch of the Shrimptons about it.
0:23:06 > 0:23:08Virtually no make-up except round the eyes,
0:23:08 > 0:23:11emphasis here on the lower lashes.
0:23:11 > 0:23:15Hair is its own browny colour and worn in the style of the 1900s.
0:23:15 > 0:23:19Caroline is 16 and if you look like her, say the experts,
0:23:19 > 0:23:23you have the face of 1966.
0:23:23 > 0:23:26MUSIC: Sha-La-La-La-Lee by The Small Faces
0:23:28 > 0:23:31# Picked her up on a Friday night
0:23:31 > 0:23:34# Sha la la la lee, yeah
0:23:34 > 0:23:38# I knew everything gonna be all right
0:23:38 > 0:23:41# Sha la la la lee, yeah
0:23:41 > 0:23:44# Sha la la la lee. #
0:23:46 > 0:23:49Bye, Mum!
0:23:49 > 0:23:52There could only ever be one true icon and she came out of
0:23:52 > 0:23:54Neasden in the early spring.
0:23:54 > 0:23:58The face of 1966 was the 16-year-old Lesley Hornby.
0:23:58 > 0:24:02Twiggy, as her manager and boyfriend Justin de Villeneuve called her.
0:24:04 > 0:24:09It all started last January
0:24:09 > 0:24:12when we went to an old friend of Justin's called Leonard,
0:24:12 > 0:24:16who's got a hairdressing salon in Mayfair,
0:24:16 > 0:24:19and he cut my hair very short and he got a friend of his,
0:24:19 > 0:24:24Barry Lategan, to take some photos of me and Deirdre McSharry of
0:24:24 > 0:24:27the Daily Express saw them and said, "Who is it?"
0:24:31 > 0:24:33She phoned us up and we went along to her office and she wrote
0:24:33 > 0:24:38a big article on me saying, "Twiggy, the new face of '66"
0:24:38 > 0:24:40or something like that.
0:24:40 > 0:24:42She stuck her neck out a bit really
0:24:42 > 0:24:46and it all happened from there really.
0:24:46 > 0:24:50# It felt so good when she answered me, oh, yeah
0:24:50 > 0:24:53# Oh, yeah
0:24:53 > 0:24:57# Oh, yeah, oh, yeah, oh, yeah
0:24:57 > 0:25:00# Want to know how my story ends
0:25:00 > 0:25:04# Sha la la la lee, yeah. #
0:25:04 > 0:25:09Do you feel out of place as a success because you started
0:25:09 > 0:25:12from ordinary working-class beginnings?
0:25:12 > 0:25:15No, why should I?
0:25:15 > 0:25:18Ten, 15 years ago, you might have done.
0:25:18 > 0:25:20Oh, yeah, I would have done, definitely,
0:25:20 > 0:25:22but I think, you know,
0:25:22 > 0:25:24ten or 15 years ago I'd have never been a model
0:25:24 > 0:25:28cos they were very beautiful women and I wouldn't have had
0:25:28 > 0:25:31a chance, but I think the look's completely changed now.
0:25:31 > 0:25:35I don't think it really matters what class or family you come from.
0:25:35 > 0:25:38If you're good enough in your job, you make it anyway.
0:25:38 > 0:25:43Twiggy now has a fantastic following of teenagers who identify themselves
0:25:43 > 0:25:47with her because she was at school a little while ago and her
0:25:47 > 0:25:51background, which is closer to them than, say, Baroness Thyssen,
0:25:51 > 0:25:52who's a very successful model.
0:25:52 > 0:25:56There's more of an identification and it's because of this and
0:25:56 > 0:25:58what The Beatles did,
0:25:58 > 0:26:02I think we can say Twiggy is a mini queen of the new social aristocracy.
0:26:02 > 0:26:06# There are some things that people need. #
0:26:08 > 0:26:10Sandie Shaw was another mini aristocrat
0:26:10 > 0:26:12from the outskirts of London.
0:26:12 > 0:26:15This time from Dagenham.
0:26:15 > 0:26:18She'd had her first hit in 1964 and by 1966,
0:26:18 > 0:26:24five top ten records later, she was still in her teens.
0:26:24 > 0:26:27# Nothing comes easy. #
0:26:29 > 0:26:33I was terribly...
0:26:33 > 0:26:36bored and wanted more out of life and didn't know
0:26:36 > 0:26:40how to go about it or what to do.
0:26:40 > 0:26:44I didn't think I had a chance to do anything and I became very
0:26:44 > 0:26:48frustrated and knotted up and all sort of bags of energy with
0:26:48 > 0:26:50nothing to do with it.
0:26:50 > 0:26:53I remember once, I was in a dance hall,
0:26:53 > 0:26:56and there was this group on and there was the most terrible
0:26:56 > 0:26:58singer singing and I turned around to my friend and said,
0:26:58 > 0:27:00"Look, even me and you could do better than that".
0:27:00 > 0:27:01She said, "You could anyway"
0:27:01 > 0:27:05so she went up to the group and she said something in their ear.
0:27:05 > 0:27:08Next thing I knew I was up on the stage singing with them.
0:27:08 > 0:27:12# Tomorrow I'll see him
0:27:12 > 0:27:17# Tomorrow he's arriving home after being
0:27:17 > 0:27:20# Away quite some time
0:27:23 > 0:27:27# And then there'll be him
0:27:27 > 0:27:30# Thinking I've been loving him alone
0:27:30 > 0:27:34# How can I say I don't want him to be mine? #
0:27:37 > 0:27:41Sandie, you said you'd like to get married and have five children.
0:27:41 > 0:27:44Does this mean that secretly you'd like to give up the business?
0:27:44 > 0:27:48No, no, if I was married I just wouldn't work so much.
0:27:48 > 0:27:51But you'd still work?
0:27:51 > 0:27:53Yes, a little cos I'd get bored otherwise.
0:27:53 > 0:27:56Between having children?
0:27:56 > 0:27:59- That's the work.- Oh, I see.
0:27:59 > 0:28:02When you didn't work, when you had your three children,
0:28:02 > 0:28:05when they were smaller, how did you like that?
0:28:05 > 0:28:09I hate being at home all day.
0:28:09 > 0:28:14Now I'm at work, I'd sooner be at work myself.
0:28:14 > 0:28:15I don't get so fed up.
0:28:15 > 0:28:19I was very irritable before when I was at home,
0:28:19 > 0:28:21but all that's finished now.
0:28:21 > 0:28:23I'm very independent now.
0:28:23 > 0:28:28# I'm walkin' all around the town
0:28:28 > 0:28:31# Singin' all the people down
0:28:31 > 0:28:35# Talkin' around, talkin' around
0:28:39 > 0:28:42# Me and my cat named Dog
0:28:42 > 0:28:46# Are walkin' high against the fog
0:28:46 > 0:28:50# Singin' the sun, singin' the sun
0:28:53 > 0:28:58# Happy, sad and crazy wonder
0:28:58 > 0:29:02# Chokin' up my mind with perpetual... #
0:29:02 > 0:29:05I manage a carnival novelty shop.
0:29:05 > 0:29:08I find it very interesting and you have a laugh.
0:29:08 > 0:29:10# Driftin' up and down the street
0:29:10 > 0:29:14# Searchin' for the sound of people. #
0:29:14 > 0:29:16Can I help you, sir?
0:29:16 > 0:29:19# Swingin' their feet
0:29:19 > 0:29:22# Dog is a good old cat. #
0:29:22 > 0:29:24There's the mustard pot.
0:29:27 > 0:29:30# That's where I'm at That's where I'm at
0:29:32 > 0:29:36# Happy, sad and crazy wonder. #
0:29:36 > 0:29:39Women now are not only financially independent in some degree,
0:29:39 > 0:29:42but are also able to do things long thought to be the prerogative
0:29:42 > 0:29:44of men.
0:29:44 > 0:29:46For many men there's nothing quite so masculine as the view from
0:29:46 > 0:29:48behind a steering wheel,
0:29:48 > 0:29:51but questions of what is masculine or feminine are less clear-cut.
0:29:51 > 0:29:54Men's work and women's work have to be bargained afresh by each
0:29:54 > 0:29:56partner in each marriage.
0:29:56 > 0:29:59In the past, roles were clearer. Men worked, women kept house.
0:29:59 > 0:30:03MUSIC: Little By Little by Dusty Springfield
0:30:06 > 0:30:10# Little by little by little by little by little
0:30:12 > 0:30:16# You're messing up my life Tearing me apart
0:30:16 > 0:30:21# Breaking up my world and I'm giving up my heart
0:30:23 > 0:30:26# Little by little by little by little. #
0:30:28 > 0:30:33It's A Man's World II is one of Pauline Boty's last paintings.
0:30:33 > 0:30:36She was to die of cancer in July 1966.
0:30:38 > 0:30:42Since the early '60s she'd been making TV and radio appearances,
0:30:42 > 0:30:44a celebrity artist.
0:30:44 > 0:30:46And the Brigitte Bardot of Wimbledon as she was called
0:30:46 > 0:30:50had long blurred the boundaries between art, fashion and pop.
0:30:54 > 0:30:57# Little by little by little by little by little, yeah. #
0:30:59 > 0:31:02- What's that? - That's the finger pointing at you.
0:31:02 > 0:31:05- The bomb.- That's Beethoven's pen.
0:31:06 > 0:31:09- Who's that?- That's Somerset Maugham.
0:31:09 > 0:31:13- I don't know who the lady peeping out of his eye is.- No.
0:31:13 > 0:31:15'I've always had very vivid dreams
0:31:15 > 0:31:18'and I can remember them very, very easily.
0:31:18 > 0:31:22'I've used the kind of atmosphere of my dreams in my collages.
0:31:22 > 0:31:25'I think there are two things about this and one is that
0:31:25 > 0:31:28'I often take the moment before something has actually happened
0:31:28 > 0:31:32'and you don't know if it's going to be terrible,
0:31:32 > 0:31:34'or it might be very funny.
0:31:34 > 0:31:38'The other thing is that something extraordinary is actually
0:31:38 > 0:31:42'happening and everyone around isn't taking any notice of it at all.'
0:31:42 > 0:31:45MUSIC: Daytripper by The Beatles
0:32:02 > 0:32:05The Beatles had first taken LSD the previous year,
0:32:05 > 0:32:08opening up the doors of perception.
0:32:08 > 0:32:12The acid took full effect as they entered the lift of the Ab Lib Club.
0:32:12 > 0:32:15John and George had been given the drug by their dentist
0:32:15 > 0:32:19Dr John Riley at a dinner party earlier in the evening.
0:32:19 > 0:32:23# Took me so long to find out
0:32:23 > 0:32:26# I found out
0:32:29 > 0:32:31# Ooh, baby
0:32:33 > 0:32:36# She's a big teaser
0:32:36 > 0:32:39# She took me half the way there
0:32:39 > 0:32:43# She's a big teaser
0:32:43 > 0:32:45# She took me half the way there. #
0:32:48 > 0:32:50This is a psychedelic drug.
0:32:50 > 0:32:55That is a drug which expands or at least changes the consciousness.
0:32:55 > 0:32:58Mescaline is another such drug.
0:32:58 > 0:33:03But this is far and away the most powerful of the psychedelics.
0:33:06 > 0:33:09Three drops of this colourless, odourless,
0:33:09 > 0:33:13tasteless liquid would put you out of your mind for hours.
0:33:13 > 0:33:18Out of your normal mind into kinds of consciousness so fantastic,
0:33:18 > 0:33:22so self-revealing, so charged with emotion, that usually
0:33:22 > 0:33:26the first dose is the most profound experience in our lifetime
0:33:26 > 0:33:29and sometimes the most shattering.
0:33:29 > 0:33:31This can be psychological dynamite.
0:33:37 > 0:33:42A room at the beginning of an LSD experience may begin to undulate.
0:33:42 > 0:33:47Walls may seem to be breathing in and out or to be vibrating or
0:33:47 > 0:33:51to be moving like water.
0:33:53 > 0:33:57Colours become more vivid.
0:33:57 > 0:34:02Sometimes they begin to merge with sound and you get
0:34:02 > 0:34:07a synaesthetic experience and our distinctions between seeing
0:34:07 > 0:34:10and hearing and tasting and smelling dissolves
0:34:10 > 0:34:14so you're not sure whether you're touching a smell or smelling a sound
0:34:14 > 0:34:17or hearing a taste.
0:34:23 > 0:34:24Now why are you laughing?
0:34:24 > 0:34:26The microphone.
0:34:26 > 0:34:28The microphone there.
0:34:30 > 0:34:33# One pill makes you larger
0:34:33 > 0:34:37# And one pill makes you small
0:34:37 > 0:34:41# And the ones that mother gives you
0:34:41 > 0:34:44# Don't do anything at all
0:34:44 > 0:34:47# Go ask Alice
0:34:47 > 0:34:49# When she's ten feet tall. #
0:34:49 > 0:34:52There can be Alice in Wonderland-type
0:34:52 > 0:34:57transformations whereby one feels one's getting smaller or larger
0:34:57 > 0:34:59or disappearing altogether.
0:35:00 > 0:35:06It makes the constancy of the body image relatively inconstant.
0:35:15 > 0:35:18I beg your pardon, Your Majesty, for bringing these along
0:35:18 > 0:35:23but I hadn't quite finished my tea when I was sent for.
0:35:23 > 0:35:26# You just add some kind of mushroom. #
0:35:27 > 0:35:31Grace Slick was in The Great Society when she recorded the first version
0:35:31 > 0:35:34of the Lewis Carroll-inspired White Rabbit in San Francisco.
0:35:36 > 0:35:39They and her next group, Jefferson Airplane,
0:35:39 > 0:35:42were part of an emerging scene on the west coast of America.
0:35:42 > 0:35:45Along with The Byrds and Love, they saw their music as
0:35:45 > 0:35:49a way of expressing their LSD or psychedelic experiences.
0:35:52 > 0:35:57The LSD controversy has split America with hysteria on both sides.
0:35:58 > 0:36:02Black-market LSD is sold freely on every college campus
0:36:02 > 0:36:04and in some high schools.
0:36:04 > 0:36:08So far, it's strictly a middle-class escape hatch.
0:36:08 > 0:36:12There are groups of people taking this experience regularly in
0:36:12 > 0:36:14every big community and they include a high proportion of
0:36:14 > 0:36:17influential, cultured, successful people.
0:36:20 > 0:36:23Clinically, it works by giving the patient understanding of
0:36:23 > 0:36:28their unconscious processes which are basically ground in their
0:36:28 > 0:36:30early childhood.
0:36:30 > 0:36:33Speak roughly to your little boy and beat him when he sneezes.
0:36:33 > 0:36:36He only does it to annoy because he knows it teases.
0:36:38 > 0:36:40Here, nurse him for a bit.
0:36:42 > 0:36:45I've taken the drug myself under guidance 15 years ago
0:36:45 > 0:36:46and there's no argument.
0:36:46 > 0:36:50You can go right away back to your babyhood and experience fantastic
0:36:50 > 0:36:55things out of your babyhood of which you are completely unconscious.
0:36:55 > 0:37:01This journey inside has driven people mad, truly insane.
0:37:01 > 0:37:04That's one reason for the restrictions.
0:37:04 > 0:37:07A less obvious reason is authorities fear
0:37:07 > 0:37:11a social nonconformism by chemical subversion.
0:37:11 > 0:37:15A common and often desired result of frequent trips is less readiness
0:37:15 > 0:37:21to accept the conditioned attitudes and social myth that buttress power.
0:37:23 > 0:37:26Where am I?
0:37:27 > 0:37:30MUSIC: Substitute by The Who
0:37:35 > 0:37:39# You think we look pretty good together
0:37:42 > 0:37:47# You think my shoes are made of leather
0:37:48 > 0:37:52# But I'm a substitute for another guy
0:37:52 > 0:37:55# I look pretty tall but my heels are high
0:37:55 > 0:37:59# The simple things you see are all complicated
0:37:59 > 0:38:04# I look pretty young, but I'm just back-dated, yeah
0:38:06 > 0:38:10# Substitute your lies for fact
0:38:10 > 0:38:13# I see right through your plastic mac
0:38:13 > 0:38:17# I look all white, but my dad was black... #
0:38:19 > 0:38:22TUNELESS BANGING
0:38:28 > 0:38:31# I'm a boy, I'm a boy... #
0:38:39 > 0:38:42Also caters for aggression.
0:38:42 > 0:38:48For example, when, for a brief period I stopped smashing guitars on
0:38:48 > 0:38:52stage because it was costing a lot of money, kids started
0:38:52 > 0:38:56shouting out, "Smash your guitar, Pete, smash your guitar!"
0:38:56 > 0:38:59and getting quite annoyed that I wasn't.
0:38:59 > 0:39:02To a large percentage of boys that come to see the group,
0:39:02 > 0:39:04geezers that come to see the group,
0:39:04 > 0:39:08they've come to see me hit my amplifier with my guitar
0:39:08 > 0:39:10and perhaps see a guitar break, you know.
0:39:10 > 0:39:12At least they want to see me try.
0:39:12 > 0:39:15The fact is, our group hasn't got any quality.
0:39:15 > 0:39:17It's just music sensationalism.
0:39:17 > 0:39:22You do something big on the stage and 1,000 geezers sort of go, "Ah!"
0:39:23 > 0:39:26Your standards, you can find them anywhere.
0:39:26 > 0:39:29In the pop business we're lucky in that there are no standards.
0:39:29 > 0:39:34We're more interested in production and keeping moving
0:39:34 > 0:39:39and I think quality leads to a sort of statism really.
0:39:39 > 0:39:41But what do you mean by that?
0:39:41 > 0:39:44Well, it means that if you don't...
0:39:44 > 0:39:47If you steer clear of quality, you're all right.
0:39:49 > 0:39:53My personal motivation on the stage is quite simple.
0:39:53 > 0:39:56It consists of a hate of every kind of pop music
0:39:56 > 0:40:00and a hate of everything our group has done, really.
0:40:00 > 0:40:04You get higher and higher and you are at the peak of a crescendo,
0:40:04 > 0:40:08for example. Or the peak of a recording career. You find yourself
0:40:08 > 0:40:13chopping away at your own legs, sort of auto-destructive music.
0:40:13 > 0:40:17# Ride my bike across the street
0:40:17 > 0:40:21# Cut myself and see my blood
0:40:21 > 0:40:25# I wanna come home all covered in mud
0:40:29 > 0:40:33# I'm a boy, I'm a boy But my ma won't admit it
0:40:33 > 0:40:36# I'm a boy, I'm a boy, I'm a boy
0:40:36 > 0:40:44# I'm a boy, I'm a boy, I'm a boy I'm a boy, I'm a boy, I'm a boy
0:40:44 > 0:40:49# I'm a boy. #
0:40:54 > 0:40:58The auto-destructive artist Gustav Metzger,
0:40:58 > 0:41:01who'd influenced The Who's Pete Townshend as an art student,
0:41:01 > 0:41:05was one of the chief organisers of the Destruction in Art Symposium.
0:41:05 > 0:41:07This series of exhibitions,
0:41:07 > 0:41:11events and happenings in London took place over several days.
0:41:11 > 0:41:14It attracted avant-garde artists from all over the world,
0:41:14 > 0:41:16including the Viennese Actionists,
0:41:16 > 0:41:20whose performances with dead sheep and humans smeared with entrails
0:41:20 > 0:41:25led to a charge of staging "a lewd and indecent exhibition".
0:41:27 > 0:41:29Yoko Ono, whose association with Fluxus,
0:41:29 > 0:41:33a group of American Neo-Dadaists, performed Cut, during which
0:41:33 > 0:41:37she invited members of the audience to come up on stage and...cut.
0:41:39 > 0:41:42Audience participation, confrontation,
0:41:42 > 0:41:46the idea of devising situations to upset convention and change
0:41:46 > 0:41:50the world, this was the aesthetic of the Happening which dissolved
0:41:50 > 0:41:53the distinction between painting, sculpture, theatre, film,
0:41:53 > 0:41:55music and dance.
0:41:56 > 0:42:00The idea was a total environment, where the senses were assaulted,
0:42:00 > 0:42:03deranged and transformed like a drug experience.
0:42:05 > 0:42:07This was the approach of Andy Warhol's Factory house band,
0:42:07 > 0:42:12the Velvet Underground who, as part of the Exploding Plastic Inevitable,
0:42:12 > 0:42:16participated in "Happenings" rather than simply playing concerts.
0:42:16 > 0:42:19Lighting the touchpaper for a disco inferno.
0:42:28 > 0:42:31# Meeting people on my way
0:42:31 > 0:42:35# Seemingly I've known one day
0:42:35 > 0:42:38# Familiarity of things
0:42:38 > 0:42:42# That my dreaming always brings
0:42:42 > 0:42:45# Happenings ten years' time ago
0:42:45 > 0:42:49# Situations we really know
0:42:49 > 0:42:52# But the knowing is in the mind
0:42:52 > 0:42:56# Sinking deep into the well of time
0:42:56 > 0:42:59# Sinking deep into the well of time... #
0:43:13 > 0:43:16- RADIO:- They think it's all over. It is now.
0:43:16 > 0:43:23# I hear the sound of distant drums
0:43:25 > 0:43:33# Far away, far away... #
0:43:35 > 0:43:38As a reflection of record sales,
0:43:38 > 0:43:41the charts gave back a split image.
0:43:41 > 0:43:45The more pop pushed the boundaries, the greater the resistance.
0:43:46 > 0:43:49Jim Reeves' Distant Drums was the British number one for five weeks in
0:43:49 > 0:43:52the autumn, slowing everything down.
0:43:55 > 0:44:00# So, Mary, marry me
0:44:00 > 0:44:05# Let's not wait
0:44:05 > 0:44:10# Let's share all the time we can
0:44:10 > 0:44:12# Before it's too late... #
0:44:12 > 0:44:13You've gone a long way from
0:44:13 > 0:44:15I Want To Hold Your Hand to Eleanor Rigby.
0:44:15 > 0:44:17What direction are you trying to move your music?
0:44:17 > 0:44:21We're just trying to move it in a forward direction and this is
0:44:21 > 0:44:23the point, this is why we are getting in all these messes
0:44:23 > 0:44:25with saying things.
0:44:25 > 0:44:28Because, you know, we're just trying to move forward.
0:44:30 > 0:44:33The sleeves of the Beatles' American compilation album,
0:44:33 > 0:44:35Yesterday And Today,
0:44:35 > 0:44:39were deemed too disturbing by their record company and pulped.
0:44:39 > 0:44:41Buried in a swampy landfill in Pennsylvania.
0:44:42 > 0:44:45But it was only the start of their troubles.
0:44:45 > 0:44:48John Lennon had compared the Beatles' popularity
0:44:48 > 0:44:49to that of Jesus Christ.
0:44:52 > 0:44:55SCREAMING
0:45:04 > 0:45:07The Beatles were picketed in Japan,
0:45:07 > 0:45:09they were thrown out of the Philippines
0:45:09 > 0:45:11and now they are being banned in America.
0:45:11 > 0:45:13Is this the end of The Beatles?
0:45:15 > 0:45:18- They are going to be executed. - What do you mean?
0:45:18 > 0:45:22- They are going to have their heads taken off.- What, all of them?
0:45:22 > 0:45:25- Yes, the whole lot.- Do you mind being asked questions about Vietnam?
0:45:25 > 0:45:26Does this seem useful?
0:45:26 > 0:45:29It seems a bit silly to be in America and for none of them to
0:45:29 > 0:45:31mention Vietnam, as if nothing was happening.
0:45:31 > 0:45:33- Hold your tongue.- I won't!
0:45:33 > 0:45:35You can't just keep quiet about anything that's going on in
0:45:35 > 0:45:39the world, unless you are a monk. Sorry, monks, I didn't mean it!
0:45:39 > 0:45:40I meant, actually...
0:45:40 > 0:45:43The Klan has taken issue with The Beatles on the remarks they made
0:45:43 > 0:45:44about Christianity.
0:45:44 > 0:45:48But wasn't it their remarks about civil rights and colour that
0:45:48 > 0:45:51- annoyed you more, really? - I don't have any knowledge of...
0:45:51 > 0:45:54It is hard for me to tell through the mop-heads and all of
0:45:54 > 0:45:56that conglomeration that they have
0:45:56 > 0:45:58whether they are even white or black themselves -
0:45:58 > 0:46:01I couldn't prove to you whether they are white or black.
0:46:01 > 0:46:05# Winchester Cathedral
0:46:05 > 0:46:07# You're bringing me down
0:46:09 > 0:46:13# You stood and you watched as... #
0:46:13 > 0:46:15I'm told that some of these motifs,
0:46:15 > 0:46:17the designs don't sell so well.
0:46:17 > 0:46:22- And yet, others sell like hot cakes. Why?- The slightly kinky ones.
0:46:22 > 0:46:26- Lots of straps.- Oh, the lady with the straps all over her bust, yes.
0:46:28 > 0:46:32Time is elastic - forwards and backwards.
0:46:32 > 0:46:36The vogue for Victoriana and Edwardiana was part of
0:46:36 > 0:46:38a more pervasive retro culture,
0:46:38 > 0:46:43the sort of recycling of the past found in Winchester Cathedral.
0:46:44 > 0:46:48This was a huge hit on both sides of the Atlantic for
0:46:48 > 0:46:50the New Vaudeville Band,
0:46:50 > 0:46:54and their gentle pastiche of the 1920s jazz age.
0:46:54 > 0:46:57But some retro wasn't at all nostalgic,
0:46:57 > 0:47:01more a dandified gesture of reappropriation.
0:47:01 > 0:47:04We own the past now and can do what we like with it.
0:47:05 > 0:47:09The pillaging started when Mick Jagger wore a Grenadier Guards
0:47:09 > 0:47:11jacket on Ready Steady Go.
0:47:11 > 0:47:15It was Jagger being tongue-in-cheek, a bit camp, anti-authoritarian.
0:47:15 > 0:47:19But doing so in militaria, the body armour of authority.
0:47:19 > 0:47:22Then the shop he'd bought the jacket from, which was called
0:47:22 > 0:47:26I Was Lord Kitchener's Valet, couldn't sell them fast enough.
0:47:36 > 0:47:38# I feel good
0:47:40 > 0:47:42# I knew that I would, now
0:47:44 > 0:47:46# I feel good
0:47:47 > 0:47:49# I knew that I would, now
0:47:50 > 0:47:55# So good, so good, I got you... #
0:47:59 > 0:48:02You didn't hear much James Brown, Wilson Pickett
0:48:02 > 0:48:07and Otis Redding on national radio. That is, the BBC and nothing but.
0:48:07 > 0:48:10Black American acts had been in the charts before but their
0:48:10 > 0:48:15growing dominance during 1966 owed a lot to pirate radio stations,
0:48:15 > 0:48:20rebelling against the BBC and government broadcasting controls.
0:48:20 > 0:48:23They played the sort of pop music your parents didn't like
0:48:23 > 0:48:25and a lot of soul,
0:48:25 > 0:48:29including new American releases not yet available in British shops.
0:48:31 > 0:48:35# I can't get no satisfaction
0:48:35 > 0:48:40# I can't get no, no satisfaction... #
0:48:40 > 0:48:43Why is soul music the biggest thing there is in England now?
0:48:43 > 0:48:44In your opinion.
0:48:44 > 0:48:47Well, I think they want to make a little change or something
0:48:47 > 0:48:49and hear some of the soul music.
0:48:50 > 0:48:54ITV's Ready Steady Go shared the pirate sensibility.
0:48:54 > 0:48:57Its weekly transmission with the liberating catchphrase
0:48:57 > 0:49:00"the weekend starts here" invited you into
0:49:00 > 0:49:04a club where you could dance and be part of the in-crowd.
0:49:04 > 0:49:08It wasn't exclusive - more like a cult with a mass audience.
0:49:08 > 0:49:10# I'll be there... #
0:49:10 > 0:49:12Otis Redding, like James Brown,
0:49:12 > 0:49:15had a whole Ready Steady Go devoted to him.
0:49:15 > 0:49:18The first such special had been in 1965,
0:49:18 > 0:49:22when Dusty Springfield showcased the Motown label,
0:49:22 > 0:49:25helping to spark off the invasion of the British charts by
0:49:25 > 0:49:29the Supremes, Martha Reeves and the Vandellas, the Miracles,
0:49:29 > 0:49:33Stevie Wonder, Marvin Gaye and the Temptations.
0:49:33 > 0:49:36But the biggest black American success of the year was
0:49:36 > 0:49:39the Four Tops with the Motown blockbuster
0:49:39 > 0:49:40Reach Out I'll Be There.
0:49:40 > 0:49:43- # Reach out for me - Reach out
0:49:43 > 0:49:45# Reach out for me
0:49:48 > 0:49:51# I'll be there
0:49:51 > 0:49:55# To love and comfort you
0:49:55 > 0:49:58# And I'll be there
0:49:58 > 0:50:03# To cherish and care for you... #
0:50:03 > 0:50:05Tiles, Oxford Street, London.
0:50:05 > 0:50:08Although Otis Reading performed there and The Animals did
0:50:08 > 0:50:12so on its opening night, it was the discotheque element,
0:50:12 > 0:50:17the records played by house DJs like Jeff Dexter that enabled this
0:50:17 > 0:50:21new soul music to find its dedicated audience of dancers.
0:50:21 > 0:50:24They were young, and for the American writer Tom Wolfe when
0:50:24 > 0:50:29he visited this early disco, they typified a whole social shift.
0:50:29 > 0:50:33# And through your tears you look around
0:50:33 > 0:50:37# But there's no peace of mind to be found
0:50:37 > 0:50:38# I know what you're thinking
0:50:38 > 0:50:42# You're a loner, no love of your own, but darling
0:50:42 > 0:50:43# Reach out
0:50:43 > 0:50:46# Come on, girl Reach out for me
0:50:46 > 0:50:48# Reach out
0:50:50 > 0:50:52# Just look over your shoulder
0:50:52 > 0:51:00# I'll be there to give you all the love you need. #
0:51:00 > 0:51:02Some time ago, we discussed a letter from a girl
0:51:02 > 0:51:05who wanted to come to London and was wondering what kind
0:51:05 > 0:51:08of accommodation she should expect and how to get it.
0:51:08 > 0:51:11We had so many follow-up letters after that, we decided to look
0:51:11 > 0:51:14a little more closely into the accommodation situation here.
0:51:14 > 0:51:18London is a vast and lonely city, and demand for any kind of
0:51:18 > 0:51:20accommodation is greater than supply.
0:51:20 > 0:51:23There seem to three common ways to set up house.
0:51:23 > 0:51:26The furnished bedsit, and the furnished or unfurnished flat,
0:51:26 > 0:51:28or flatlet.
0:51:28 > 0:51:29Marion Harrison, for instance,
0:51:29 > 0:51:33shares a double bedsit in Hampstead with a fellow Liverpudlian.
0:51:33 > 0:51:37Rent divided between them comes to £3.12s.6d each.
0:51:37 > 0:51:39The girls wash in the kitchen sink.
0:51:39 > 0:51:41The bathroom and toilet are in the basement.
0:51:41 > 0:51:45The most difficult part about it if we want to have boyfriends in
0:51:45 > 0:51:47and we want to be on our own with a boyfriend,
0:51:47 > 0:51:49the other one has to go out.
0:51:52 > 0:51:55Elaine West is 23, a nurse.
0:51:55 > 0:51:58She shares this ground floor flat in Westbourne Park, North London,
0:51:58 > 0:52:03with three other girls. That means they each pay £2.12s.6d.
0:52:03 > 0:52:07The flat is completely self-contained with two rooms,
0:52:07 > 0:52:09kitchen, bathroom and separate toilet.
0:52:09 > 0:52:12I have in the past asked the landlord, or several times, to
0:52:12 > 0:52:14fix things, but it's very difficult to get hold of him.
0:52:14 > 0:52:18I've rung his number numerous times and got a very efficient secretary
0:52:18 > 0:52:21who said, "Oh, yes, leave your number and he'll ring you back."
0:52:21 > 0:52:23But I've had no joy with this.
0:52:23 > 0:52:26He doesn't seem to ring back and you ring again and again and
0:52:26 > 0:52:27nothing happens.
0:52:27 > 0:52:30# There's a crack up in the ceiling
0:52:30 > 0:52:34# And the kitchen sink is leaking
0:52:34 > 0:52:38# Out of work and got no money
0:52:38 > 0:52:41# A Sunday joint of bread and honey... #
0:52:41 > 0:52:43The Kinks' Dead End Street paints
0:52:43 > 0:52:47a bleak picture, but with a zany satiric humour.
0:52:47 > 0:52:48Dismissed as "sick" by
0:52:48 > 0:52:50a Top Of The Pops producer in November,
0:52:50 > 0:52:54the single's promotional film was banned by the BBC.
0:52:54 > 0:52:56# The rent collector's knocking, trying to get in... #
0:52:56 > 0:53:00Ray Davies said that he wanted to write a depression song at a time
0:53:00 > 0:53:04when the country was still suffering under the government's imposition of
0:53:04 > 0:53:09a wages and prices freeze, a major blip in the '60s economic boom.
0:53:09 > 0:53:12# People are living in dead end street. #
0:53:18 > 0:53:21Dead End Street echoed what writers and directors
0:53:21 > 0:53:23were regularly doing on TV.
0:53:25 > 0:53:27The Wednesday Play in particular
0:53:27 > 0:53:29often focused on controversial issues.
0:53:29 > 0:53:33With the most powerful medium of the day concentrated
0:53:33 > 0:53:36into only three channels, you could address the nation.
0:53:43 > 0:53:47# I think I'm going back... #
0:53:47 > 0:53:49Written by Jeremy Sandford,
0:53:49 > 0:53:52no drama ever had the impact of Cathy Come Home.
0:53:52 > 0:53:56The whole country talked about it the following day.
0:53:56 > 0:54:00A huge TV event which led to the setting up of the homelessness
0:54:00 > 0:54:03charity Shelter.
0:54:03 > 0:54:05It begins romantically enough,
0:54:05 > 0:54:08enhanced by the casting of Carol White, a star,
0:54:08 > 0:54:09and another Brigitte Bardot -
0:54:09 > 0:54:13in her case, the Bardot of Battersea.
0:54:13 > 0:54:16She could be in a boy-meets-girl pop song, but it soon
0:54:16 > 0:54:20begins to sound more like something Ray Davies might have written.
0:54:20 > 0:54:24- That was through the radioactive dust, was it?- Oh, yeah.- Oh.
0:54:25 > 0:54:27There's 200,000 more families in the London area
0:54:27 > 0:54:29than there are homes to put them.
0:54:29 > 0:54:32And in addition, there's 60,000 single persons living
0:54:32 > 0:54:35without sinks or stoves. In seven central London boroughs,
0:54:35 > 0:54:38at least one in 10 of all household is overcrowded.
0:54:38 > 0:54:41That is to say, living more than 1.5 people per room.
0:54:41 > 0:54:43Hello.
0:54:43 > 0:54:46- Is your room still to let? - No, is it still in that place?
0:54:46 > 0:54:48Yes, it is.
0:54:48 > 0:54:49Well, you know,
0:54:49 > 0:54:52it'll be a week tomorrow since I told them to take it out.
0:54:52 > 0:54:54A few years back,
0:54:54 > 0:54:57figures released by the LCC revealed that families of certain sizes
0:54:57 > 0:54:59at the rate of building in force
0:54:59 > 0:55:02would be 350 years on the housing list before they were offered
0:55:02 > 0:55:03a house.
0:55:03 > 0:55:09Birmingham, 39,000 families on the waiting list, Leeds, 13,500.
0:55:09 > 0:55:12After Cathy's husband Reg has an accident at work
0:55:12 > 0:55:15and eventually loses his job, things quickly spiral.
0:55:15 > 0:55:18Unemployment, eviction, homelessness,
0:55:18 > 0:55:20breakdown of the marriage.
0:55:20 > 0:55:23Eventually, the children are taken into care.
0:55:23 > 0:55:26The drama was produced by Tony Garnett and shot by
0:55:26 > 0:55:29its director Ken Loach like a documentary.
0:55:29 > 0:55:33Its voiceovers like placards in Agitprop theatre
0:55:33 > 0:55:35or banners on a left-wing demo.
0:55:35 > 0:55:38SHE SOBS
0:55:38 > 0:55:40These people are casualties of the welfare state.
0:55:40 > 0:55:42Perhaps the worst casualties of all.
0:55:42 > 0:55:44They are pushed around like so much human litter
0:55:44 > 0:55:46and nobody will help them.
0:55:51 > 0:55:53Originally, homelessness was regarded as
0:55:53 > 0:55:55a passing post-war phase,
0:55:55 > 0:56:00but the problem now appears to be with us for the foreseeable future.
0:56:03 > 0:56:05You're not having my kids!
0:56:05 > 0:56:07You're not having them!
0:56:07 > 0:56:09BABY CRIES, SHE SCREAMS
0:56:22 > 0:56:27# Tell me a story about how you adore me
0:56:27 > 0:56:31# Live in the shadow See through the shadow
0:56:31 > 0:56:36# Live through the shadow Tear at the shadow
0:56:36 > 0:56:39# Hate in the shadow
0:56:39 > 0:56:45# And love in your shadowy life
0:56:45 > 0:56:50# Have you seen your lover, baby, standing in the shadow?
0:56:50 > 0:56:55# Has he had another baby, standing in the shadow?
0:56:55 > 0:56:58# Baby, where have you been all your life?
0:56:59 > 0:57:03# Talking about all the people
0:57:03 > 0:57:09# Who would try anything twice
0:57:11 > 0:57:16# Have you seen your mother, baby, standing in the shadow?
0:57:16 > 0:57:21# Have you had another baby, standing in the shadow?
0:57:21 > 0:57:25# You take your choice at this time
0:57:25 > 0:57:29# The brave old world or a slide
0:57:29 > 0:57:36# To the depths of decline. #
0:57:43 > 0:57:48In late 1966, British pop was juddering to a halt.
0:57:48 > 0:57:51After their bitter experiences in America and the Far East in
0:57:51 > 0:57:54late summer, The Beatles would never tour again.
0:57:54 > 0:57:57Through out the autumn, they did a disappearing act,
0:57:57 > 0:58:00like the Cheshire Cat, conspicuous by their absence.
0:58:00 > 0:58:06It felt like they had left a vacuum, an empty stage, but not for long.
0:58:06 > 0:58:12# I, I love the colourful clothes she wears
0:58:12 > 0:58:18# And the way the sunlight plays upon her hair... #
0:58:18 > 0:58:22Clamouring to fill the situation vacant was a new kind of pop group -
0:58:22 > 0:58:27or rather band - noted for sheer musical ability and showmanship.
0:58:27 > 0:58:29Towards the end of the year,
0:58:29 > 0:58:33The Jimi Hendrix Experience and Cream released chart singles.
0:58:36 > 0:58:40But it was a Californian pop group who dominated the charts with
0:58:40 > 0:58:42their number-one hit Good Vibrations.
0:58:43 > 0:58:48The Beach Boys were reinventing themselves as craftsmen.
0:58:48 > 0:58:53Good Vibrations was at that point the most expensive single ever made.
0:58:53 > 0:58:55It was highly wrought and technological,
0:58:55 > 0:58:57built up of complex sound layers.
0:59:00 > 0:59:04Its mastermind Brian Wilson saw the studio as the future.
0:59:07 > 0:59:09And so did The Beatles.
0:59:09 > 0:59:11By the end of the year,
0:59:11 > 0:59:13not only had they recorded Strawberry Fields Forever,
0:59:13 > 0:59:16they had also begun to record
0:59:16 > 0:59:19Sgt Pepper's Lonely Hearts Club Band -
0:59:19 > 0:59:23an album, of course, they would never perform live.
0:59:23 > 0:59:25- Can I ask you a few questions?- Yes.
0:59:25 > 0:59:27Do you think the tours, like the American tours,
0:59:27 > 0:59:29are you fed up of being Beatles and Beatlemania?
0:59:29 > 0:59:32The thing is, we can't do a tour like we've been doing all
0:59:32 > 0:59:34these years because our music's progressed,
0:59:34 > 0:59:36we've used more instruments.
0:59:36 > 0:59:39It'd be soft, us going on stage the four of us and trying
0:59:39 > 0:59:42to do the records we've made with orchestras and bands and things.
0:59:42 > 0:59:44If we went on stage,
0:59:44 > 0:59:46we'd have to have a whole line-up of men behind us.
0:59:46 > 0:59:49Are you getting bored of being The Beatles after all this time?
0:59:49 > 0:59:51I'm having a great time.
0:59:51 > 0:59:53Merry Christmas to you.
0:59:53 > 0:59:55Long time since I've seen you.
0:59:59 > 1:00:01What sort of people live about here?
1:00:02 > 1:00:04(In that direction lives a Hatter,
1:00:04 > 1:00:06(and in that direction lives a March Hare.
1:00:06 > 1:00:08(They're both mad.)
1:00:08 > 1:00:11But I don't want to go among mad people.
1:00:11 > 1:00:13(Oh, you can't help that.
1:00:13 > 1:00:15(We're all mad here.
1:00:15 > 1:00:17(I'm mad. You're mad.)
1:00:20 > 1:00:23(By the by, what became of the baby?
1:00:23 > 1:00:26(I'd nearly forgotten to ask.)
1:00:26 > 1:00:28It turned into a pig.
1:00:28 > 1:00:30(I thought it would.)
1:00:34 > 1:00:36(Did you say pig, or fig?)
1:00:36 > 1:00:37I said pig.
1:00:39 > 1:00:42Jonathan Miller's masterpiece Alice in Wonderland
1:00:42 > 1:00:46was broadcast by the BBC on 28th December.
1:00:48 > 1:00:521966 was the last year singles would outsell albums
1:00:52 > 1:00:55and progressive pop, as it was called at the end of the year,
1:00:55 > 1:00:58would soon be known as rock.
1:00:58 > 1:01:01The world of pop music would never be the same again.