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