0:00:02 > 0:00:06This programme contains some strong language.
0:00:06 > 0:00:09Throughout the history of popular music, there've been fears
0:00:09 > 0:00:11it could turn gullible young groovers into anarchic,
0:00:11 > 0:00:13drug crazed sexual deviants.
0:00:13 > 0:00:17The BBC has always taken this threat extremely seriously
0:00:17 > 0:00:21and attempted to protect the nation's youth by preventing
0:00:21 > 0:00:25the worst musical misdemeanours from infecting the airwaves.
0:00:25 > 0:00:27# I'll always remember... #
0:00:27 > 0:00:32The story of banned records is the story of the rise of the teenager
0:00:32 > 0:00:35and the controversies surrounding youth culture
0:00:35 > 0:00:38- over the last 75 years. - # No future... #
0:00:38 > 0:00:43This pop group are going to, you know, cause anarchy, they're going to bring down the Government.
0:00:43 > 0:00:46It's also the story of the BBC's difficult struggle
0:00:46 > 0:00:51with the thin line between moral responsibility and censorship.
0:00:51 > 0:00:54The BBC Committee in those days is fascinating,
0:00:54 > 0:00:57I would love to have been a fly on the wall of the BBC Committee.
0:00:57 > 0:01:00And, ultimately, what it reveals is that there's
0:01:00 > 0:01:04nothing quite like being banned to guarantee chart success.
0:01:04 > 0:01:07Thank you, BBC, for banning that record and making it No.1.
0:01:07 > 0:01:09# Huh!
0:01:09 > 0:01:11# Ow! Ow! #
0:01:13 > 0:01:14NEEDLE SCRATCHES
0:01:14 > 0:01:16# Je t'aime... #
0:01:16 > 0:01:20If there's one subject guaranteed to get Auntie's knickers in a twist,
0:01:20 > 0:01:23it's a bit of "how's your father".
0:01:23 > 0:01:25Any hint of suspicious moaning and groaning on a record
0:01:25 > 0:01:27has generally given rise
0:01:27 > 0:01:31to an immediate ban from the BBC Radio playlist.
0:01:33 > 0:01:36This bout of musical foreplay
0:01:36 > 0:01:39between Serge Gainsbourg and Jane Birkin
0:01:39 > 0:01:41was even denounced by the Vatican!
0:01:43 > 0:01:48Back in 1956, this debut record by a 19-year-old Shirley Bassey
0:01:48 > 0:01:52was banned for daring to actually mention the S-word.
0:01:54 > 0:01:57# There's S for Scotch that's so direct
0:01:57 > 0:01:59# And for straight and simple sex. #
0:02:01 > 0:02:03And 30 years later,
0:02:03 > 0:02:08George Michael still paid the price of a ban for daring to want our...
0:02:08 > 0:02:09# Sex! #
0:02:11 > 0:02:13But when it comes to songs and sex,
0:02:13 > 0:02:16there is one repeat offender whose lewd lyrics
0:02:16 > 0:02:20led to an entire file of transgressions.
0:02:20 > 0:02:23Whether he was cleaning windows or playing his little ukulele,
0:02:23 > 0:02:25this cheeky chappy from the North
0:02:25 > 0:02:29fell foul of the BBC's Dance Music Policy Committee
0:02:29 > 0:02:31on countless occasions.
0:02:31 > 0:02:34In at No.1 on our list of Britain's Most Dangerous Songs
0:02:34 > 0:02:36is George Formby with...
0:02:36 > 0:02:39# Me little stick of Blackpool rock. #
0:02:45 > 0:02:47- WOMAN:- 'Are you sitting comfortably?
0:02:48 > 0:02:49'Then I'll begin.'
0:02:51 > 0:02:53When the BBC began with Lord Reith
0:02:53 > 0:02:56and the setting up of the organisation,
0:02:56 > 0:02:59they very much took the moral high ground that it wasn't just there to entertain,
0:02:59 > 0:03:03it was there to educate, it also had a moral purpose
0:03:03 > 0:03:05in sort of shaping the nation.
0:03:05 > 0:03:08The BBC realised that it had to have some sort of censorship
0:03:08 > 0:03:12and so the Dance Music Policy Committee would consider songs
0:03:12 > 0:03:14that were going to be heard over the air waves,
0:03:14 > 0:03:16either live or on gramophone record,
0:03:16 > 0:03:20and decide whether they were suitable for broadcast or not.
0:03:20 > 0:03:23George Formby was one of the biggest performers of the 1930s
0:03:23 > 0:03:27and his whole act was based on saucy innuendo.
0:03:27 > 0:03:30He was doing it over and over and over again.
0:03:30 > 0:03:32So he was certainly a repeat offender,
0:03:32 > 0:03:35and a repeat offender...several times in one song.
0:03:35 > 0:03:38# I'm leaning on the lamp post at the corner of the street
0:03:38 > 0:03:41# In case a certain little lady comes by
0:03:41 > 0:03:43# Oh, me
0:03:43 > 0:03:44# Oh, my
0:03:44 > 0:03:48# I hope the little lady comes by. #
0:03:48 > 0:03:51There's a case for saying that George Formby
0:03:51 > 0:03:53was Britain's first pop star, really,
0:03:53 > 0:03:57he was...the Robbie Williams, maybe, of his day.
0:03:57 > 0:04:02It became quintessentially English in its attitude to sex,
0:04:02 > 0:04:07which is both fascinated and embarrassed by it, you know.
0:04:07 > 0:04:08Growing up in Blackpool,
0:04:08 > 0:04:10we were always fascinated by George Formby.
0:04:10 > 0:04:13He was treated as a joke figure when I was growing up in the '70s,
0:04:13 > 0:04:15but as years have gone by, people have respected him a lot more.
0:04:15 > 0:04:17He's actually a brilliant musician,
0:04:17 > 0:04:19when he plays, he's a really good player,
0:04:19 > 0:04:22and the songs are really funny as well and clever.
0:04:22 > 0:04:25# With my little ukulele in my hand
0:04:25 > 0:04:29# Of course the people do not understand
0:04:29 > 0:04:31# Some say, "Why don't you be a Scout?" #
0:04:31 > 0:04:35Formby's clever double entendres proved a little too risque
0:04:35 > 0:04:39for the BBC and his song With My Little Ukulele In My Hand
0:04:39 > 0:04:42was the first to be withdrawn from the BBC playlist,
0:04:42 > 0:04:46until he changed the title to My Ukulele.
0:04:46 > 0:04:48APPLAUSE
0:04:48 > 0:04:50Thank you. And now I'm going to sing a song
0:04:50 > 0:04:53and they're going to make a film of it at the same time,
0:04:53 > 0:04:56so if you see any flashing, don't take any notice, you see.
0:04:59 > 0:05:03But he was soon at it again with My Little Stick of Blackpool Rock.
0:05:03 > 0:05:07# One afternoon, the band conductor up on his stand
0:05:07 > 0:05:11# Somehow lost his baton, it flew out of his hand
0:05:11 > 0:05:14# So I jumped in his place and then conducted the band
0:05:14 > 0:05:17# With me little stick of Blackpool rock. #
0:05:17 > 0:05:21This time it wasn't just the title, but whole verses
0:05:21 > 0:05:24that deeply offended the committee.
0:05:24 > 0:05:30Blackpool Rock, we're being led inevitably to one phallic conclusion, aren't we?
0:05:30 > 0:05:34Extraordinary to think... Perhaps he just thought after Ukulele, "Oh, sod it.
0:05:34 > 0:05:37"I'll make the most explicit thing..." And, of course,
0:05:37 > 0:05:40there's Blackpool in there and the seaside and the postcards.
0:05:40 > 0:05:42And I guess at that point he's playing to his public as well.
0:05:42 > 0:05:45# A girl while bathing come to me and shouted out, "Oh!"
0:05:45 > 0:05:49# She said, "I think I'm drowning and you'll save me, I know"
0:05:49 > 0:05:53# I said, "Well, if you're drowning do you mind letting go
0:05:53 > 0:05:56# "Of me little stick of Blackpool rock?" #
0:05:56 > 0:06:00George Formby always has a giggle in the voice
0:06:00 > 0:06:03and, in a way, that's why he gets away with it,
0:06:03 > 0:06:05because it's very tongue-in-cheek,
0:06:05 > 0:06:08he's not being graphically pervy,
0:06:08 > 0:06:11he's actually just, "Come on, it's a giggle."
0:06:11 > 0:06:15Lord Reith of the BBC was brought in to this, the Director General,
0:06:15 > 0:06:20and his view was, OK, George Formby does this sort of thing in the cinema
0:06:20 > 0:06:24and people can pay and go and see him do these songs and that's fine,
0:06:24 > 0:06:28but radio, as it was then, is for everyone
0:06:28 > 0:06:31and is coming into everybody's homes
0:06:31 > 0:06:34and therefore, you don't know who's going to listen to it
0:06:34 > 0:06:37and so we can't have these songs on air.
0:06:37 > 0:06:40# I had my photo taken once, it cost one and three
0:06:40 > 0:06:43# I said when it was done, "Is that supposed to me?"
0:06:43 > 0:06:47# "You probably mucked it up, the only thing I can see
0:06:47 > 0:06:50# "Is me little stick of Blackpool rock." #
0:06:50 > 0:06:53- MAN:- 'This is the National Programme from London.'
0:06:55 > 0:06:57The BBC at that time was...
0:06:57 > 0:07:00certainly saw itself as a moral guardian,
0:07:00 > 0:07:05against what they called the "rhythms of the jungle"
0:07:05 > 0:07:10or more unedifying aspects of culture.
0:07:10 > 0:07:15I think what was going on there was almost censorship
0:07:15 > 0:07:19of working class expression and popular music.
0:07:19 > 0:07:24The two most popular film stars in England overall in the '30s
0:07:24 > 0:07:26were George Formby and Gracie Fields.
0:07:26 > 0:07:28But they came from North of the line, it was a Northern humour,
0:07:28 > 0:07:32it was a music hall humour, it wasn't Southern variety.
0:07:32 > 0:07:34It wasn't a comfortable night out in the West End,
0:07:34 > 0:07:36which is where the BBC positioned itself.
0:07:36 > 0:07:40Well, I guess, they thought if George Formby was singing the Latin names of plants, that'd be OK,
0:07:40 > 0:07:45but he must be up to something, you know what these Northerner are like, always trying to get one over you.
0:07:45 > 0:07:48It's a particularly interesting example of censorship in a way,
0:07:48 > 0:07:51it's class, it's a form of entertainment
0:07:51 > 0:07:55that was thought to be beyond the pale, from the point of view of middle class audiences,
0:07:55 > 0:08:00and it's not in the consensus, it's too kind of subversive, the music hall.
0:08:00 > 0:08:03They're as conflicted, I think, the establishment, about this issue, as they are about sex.
0:08:03 > 0:08:07They're a very well-meaning group of people, I think,
0:08:07 > 0:08:10who want to be liberal and progressive,
0:08:10 > 0:08:13but at the same ,time something in them kind of baulks a bit
0:08:13 > 0:08:17at Formby and his little stick of Blackpool rock.
0:08:17 > 0:08:20# It may be sticky, but I never complain
0:08:20 > 0:08:24# It's nice to have a nibble at it now and again. #
0:08:24 > 0:08:26NEEDLE SCRATCHES
0:08:29 > 0:08:32What to play and not to play when Britain's at war
0:08:32 > 0:08:35has always been one of the toughest decisions for the BBC.
0:08:35 > 0:08:39During the Gulf War of 1991
0:08:39 > 0:08:42the BBC released an extraordinary list of songs
0:08:42 > 0:08:44they feared could upset listeners.
0:08:44 > 0:08:48These included anything which suggested bombs...
0:08:48 > 0:08:51# My heart goes boom-bang-a-bang... #
0:08:51 > 0:08:54- ..nuclear weapons... - # Atomic! #
0:08:54 > 0:08:58- ..Middle Eastern countries... - # Walk like an Egyptian. #
0:08:58 > 0:09:03..and in fact, any British battle in the last 150 years.
0:09:03 > 0:09:05# Waterloo
0:09:05 > 0:09:08# I was defeated, you won the war. #
0:09:08 > 0:09:11There'll be something to get offended about in every pop record probably,
0:09:11 > 0:09:13that's why it's good!
0:09:16 > 0:09:19On the outbreak of the Second World War in 1939,
0:09:19 > 0:09:21the Dance Music Policy Committee
0:09:21 > 0:09:26felt the biggest threat to the nation's morale was.....crooners.
0:09:26 > 0:09:33# Light a candle in the chapel... #
0:09:33 > 0:09:35PHONE RINGS
0:09:35 > 0:09:38This song by Ol' Blue Eyes, Frank Sinatra,
0:09:38 > 0:09:42was banned for being "nauseatingly sentimental".
0:09:42 > 0:09:45But the song that makes it onto our Most Dangerous list
0:09:45 > 0:09:48is Bing Crosby with...
0:09:48 > 0:09:53# I'll be home for Christmas. #
0:09:54 > 0:09:57Bing Crosby was the first star of the microphone age.
0:09:57 > 0:10:00I mean, it's said with Bing that...
0:10:00 > 0:10:04he developed the art of intimate singing.
0:10:04 > 0:10:06People were using megaphones before then,
0:10:06 > 0:10:09you couldn't be really romantic with a megaphone.
0:10:09 > 0:10:13The singers got a little bit more light and shade into their singing,
0:10:13 > 0:10:14they were able to tell the story,
0:10:14 > 0:10:16they didn't just have to hit the back wall,
0:10:16 > 0:10:18and the crooner was born,
0:10:18 > 0:10:23the singers that just had the suave, sophisticated, rich voices.
0:10:23 > 0:10:27They could use airy tones, they could use the voice like a paint palette.
0:10:27 > 0:10:31So there is Bing Crosby with the most beautiful voice.
0:10:31 > 0:10:33# Christmas Eve... #
0:10:33 > 0:10:34In I'll Be Home For Christmas,
0:10:34 > 0:10:37Bing's dulcet tones tell the story of a soldier
0:10:37 > 0:10:41writing to tell his family he'll be home for the holidays.
0:10:41 > 0:10:45So, jingle those bells and nog those eggs.
0:10:45 > 0:10:49# I'll be home... #
0:10:49 > 0:10:52And then, just as he's nearing the end of the chorus,
0:10:52 > 0:10:54Bing hits us where it hurts.
0:10:54 > 0:11:02# If only in my dreams. #
0:11:04 > 0:11:07With this song, I'll Be Home For Christmas,
0:11:07 > 0:11:09he just over-eggs the melancholy.
0:11:09 > 0:11:12Cos his voice does have that slight sadness to it,
0:11:12 > 0:11:15but it just wasn't right. This is not the song that Britain's wants,
0:11:15 > 0:11:18we want "We'll meet again, I don't know where, don't know when,
0:11:18 > 0:11:21"but I know we'll meet again." We want positive songs.
0:11:21 > 0:11:24You wouldn't think Bing Crosby was in any way subversive,
0:11:24 > 0:11:27but at that moment, in that particular context,
0:11:27 > 0:11:29he was thought to be subversive.
0:11:29 > 0:11:33It's partly...England/Hollywood,
0:11:33 > 0:11:39but I think particularly it was, you know, against the Americanisation of emotion.
0:11:39 > 0:11:41I don't think the BBC liked that at all.
0:11:41 > 0:11:44There's a very good example on the file here
0:11:44 > 0:11:47that shows you exactly what the BBC
0:11:47 > 0:11:50thought about slushy songs during wartime.
0:11:53 > 0:11:57"We have recently adopted a policy of excluding sickly sentimentality
0:11:57 > 0:12:01"which, particularly when sung by certain vocalists,
0:12:01 > 0:12:05"can become nauseating and not at all in keeping with what we feel
0:12:05 > 0:12:10"to be the need of the public in this country in the fourth year of the war."
0:12:10 > 0:12:13# Would you like to swing on a star? #
0:12:13 > 0:12:17I think it's interesting that the BBC took such a negative view of crooners,
0:12:17 > 0:12:20because actually, there was - # You got me swinging on a star. #
0:12:20 > 0:12:24We don't what sentimentality, we don't want sadness.
0:12:24 > 0:12:29So I think it was partly that they were uncertain about these men crooning songs,
0:12:29 > 0:12:32but I think it was also just contextualising it
0:12:32 > 0:12:35to what was happening at that point in our country.
0:12:35 > 0:12:38Over in the States, however, it was a very different story.
0:12:38 > 0:12:41In 1943, I'll Be Home For Christmas
0:12:41 > 0:12:44peaked at No.3 in the US Billboard charts.
0:12:44 > 0:12:47And by the end of the war, Crosby topped a list of people
0:12:47 > 0:12:51who'd actually done more for GI morale than anyone else,
0:12:51 > 0:12:55ahead of President Roosevelt and General Eisenhower.
0:12:58 > 0:13:03Our next song was originally written in pre-war Berlin by Kurt Weill and Bertolt Brecht
0:13:03 > 0:13:06for their dark musical play The Threepenny Opera,
0:13:06 > 0:13:10but it went on to become part of the Great American Songbook.
0:13:10 > 0:13:13Carving out a place in our dangerous chart
0:13:13 > 0:13:17is Louis Armstrong's 1956 version of Mack The Knife.
0:13:17 > 0:13:22# Oh, the shark has pretty teeth, dear... #
0:13:22 > 0:13:26It's a fantastic piece of really evocative theatrical writing.
0:13:28 > 0:13:31It was written to introduce the character of Macheath,
0:13:31 > 0:13:36who is himself based on a highwayman from The Beggar's Opera of 1728.
0:13:36 > 0:13:38So, huge amounts of culture in this
0:13:38 > 0:13:42and was sung by a character on the left of the stage with a barrel organ
0:13:42 > 0:13:49who introduces the idea of the catalogue of violent crimes that this individual is capable of.
0:13:49 > 0:13:54What Brecht did was he brought together John Gay's Beggar's Opera and Jack the Ripper,
0:13:54 > 0:13:58the Whitechapel Murders, and so, Macheath, Mack, Jack,
0:13:58 > 0:14:03and so there's all this talk of knives and the backstreets of Whitechapel,
0:14:03 > 0:14:06Jenny Towler getting hers and all the rest of it.
0:14:08 > 0:14:14It was first translated, I think, in 1933, went to America and was a flop,
0:14:14 > 0:14:19there was another translation in '54 which was a hit on Broadway.
0:14:19 > 0:14:23And sitting in the audience for this off-Broadway show
0:14:23 > 0:14:26was music producer George Avakian.
0:14:26 > 0:14:29I tried to persuade musician after musician
0:14:29 > 0:14:33to do an instrumental version of Mack The Knife,
0:14:33 > 0:14:36all of whom rejected. "It's too simple.
0:14:36 > 0:14:39"It's only eight bars over and over again with key changes."
0:14:39 > 0:14:41I said, "Yeah, that's why you can do so much with it."
0:14:41 > 0:14:44It never occurred to me to do it vocally,
0:14:44 > 0:14:49because I thought, "Who's going to listen to words about blood flowing all over the place,
0:14:49 > 0:14:51"people getting killed?"
0:14:51 > 0:14:55But it was Turk Murphy who said to me, when I told him about this
0:14:55 > 0:15:01and played him the original cast recording of the show,
0:15:01 > 0:15:05"I'll do it if you want me to, but somebody else should do it,
0:15:05 > 0:15:08"somebody who can do it better than me." And I said, "Who's that?"
0:15:08 > 0:15:11That somebody was none other
0:15:11 > 0:15:15than American jazz trumpeter and singer, Louis Armstrong.
0:15:15 > 0:15:17# Start to spread...
0:15:17 > 0:15:20Well, Armstrong came from a fantastically complicated
0:15:20 > 0:15:25and difficult background himself. Very, very... I think his mother was a prostitute,
0:15:25 > 0:15:28his grandmother was a prostitute, he came from a very violent background in New Orleans
0:15:28 > 0:15:31and worked his way out of that through show business.
0:15:31 > 0:15:34So the background of it wouldn't have been completely unfamiliar to him,
0:15:34 > 0:15:36but I think the thing that would have really attracted him
0:15:36 > 0:15:39was not just the fact that it was a hit, it's a really theatrical piece
0:15:39 > 0:15:44and he was a very, very theatrical singer, brilliantly expressive,
0:15:44 > 0:15:47could appear to play several parts,
0:15:47 > 0:15:48great voices, great ways
0:15:48 > 0:15:52of expressing different characters within songs.
0:15:52 > 0:15:54It's just a drama, a fantastic drama.
0:15:55 > 0:16:00# Oh, the shark has pretty teeth, dear... #
0:16:00 > 0:16:03I can see how the melody and the feel of the song,
0:16:03 > 0:16:07I think it's that that probably would have attracted him as a musician.
0:16:07 > 0:16:11# Just a jack-knife has Macheath, dear
0:16:11 > 0:16:15# And he keeps it out of sight. #
0:16:15 > 0:16:18There's so many opportunities to scat all over that song,
0:16:18 > 0:16:22the timings of it, the way it pulls and gives and...
0:16:22 > 0:16:27So I think for him, just the jazz feel of it sat with him completely.
0:16:27 > 0:16:32Armstrong's version entered the British charts in March, 1956,
0:16:32 > 0:16:36but the pop transformation of Macheath, the cut-throat killer,
0:16:36 > 0:16:41into the convivial sounding Old Mackie still proved perilous for the BBC.
0:16:41 > 0:16:45They quickly banned all vocal versions of the song
0:16:45 > 0:16:49unless the context of the original opera was made clear.
0:16:49 > 0:16:52I can understand why it was banned,
0:16:52 > 0:16:54because the lyric, lest we forget,
0:16:54 > 0:16:57talks about the pearly white teeth of a shark
0:16:57 > 0:17:02and compares these to our character, lurking suspiciously on street corners
0:17:02 > 0:17:06and with a jack-knife in his pocket.
0:17:06 > 0:17:09And fairly soon, whenever Mack The Knife is out,
0:17:09 > 0:17:14"Scarlet billows start to flow," a fantastic line,
0:17:14 > 0:17:16and then later on in a very spooky verse,
0:17:16 > 0:17:18it says, "On a sidewalk..."
0:17:18 > 0:17:22# Oh, on the sidewalk, sunny morning... #
0:17:22 > 0:17:26..sunny morning, it's a brilliant line, what can go wrong?
0:17:26 > 0:17:29"There's a body, oozing life."
0:17:29 > 0:17:33And later on, there are cement bags that have been dropped off a boat.
0:17:33 > 0:17:39# And the cement is for the weight, dear... #
0:17:39 > 0:17:41You're told that that's not the content of the bags,
0:17:41 > 0:17:45but the cement is to weight them down, so there's no possible misunderstanding
0:17:45 > 0:17:49that this is about a very, very sinister, serial criminal.
0:17:49 > 0:17:51The lyric of Mack The Knife is very much to do with knives.
0:17:51 > 0:17:54There was certainly a moral panic in the mid-'50s about knife crime
0:17:54 > 0:17:57and spivs and razor blades.
0:17:57 > 0:18:03# ..you Macheath, back in town, yeah! #
0:18:03 > 0:18:06But despite its violent overtones,
0:18:06 > 0:18:09Armstrong's Mackie climbed up the charts.
0:18:09 > 0:18:13Then the BBC did a U-turn and the song was reprieved.
0:18:13 > 0:18:17The BBC can be a moral guardian, but if everyone out there buys the record,
0:18:17 > 0:18:20suddenly they're seen as against the trend of democracy,
0:18:20 > 0:18:22against the trend of populism.
0:18:22 > 0:18:26And they don't want to be seen as too sniffy - "It's all right then,
0:18:26 > 0:18:29"it's a hit, we'll allow it on the radio." So that's what happened.
0:18:29 > 0:18:33# Sweet Lucy Brown. #
0:18:33 > 0:18:37So despite it being banned as a stand-alone song,
0:18:37 > 0:18:39it's...it's re-emerged.
0:18:39 > 0:18:43I mean, it's been covered so many times and is part of the Great American Songbook.
0:18:43 > 0:18:48# ..back in town! #
0:18:48 > 0:18:53The BBC may have eventually surrendered to the popularity of Armstrong's toe-tapping Mackie,
0:18:53 > 0:18:58but with the emergence of rock 'n' roll and highly hormonal teenagers,
0:18:58 > 0:19:01they had other things to worry about.
0:19:01 > 0:19:05Next up, it's The Shangri-La's with Leader of the Pack.
0:19:05 > 0:19:08# Is she really going out with him?
0:19:08 > 0:19:10# Well, there she is, let's ask her.
0:19:10 > 0:19:12# Betty, is that Jimmy's ring you're wearing?
0:19:12 > 0:19:13Uh-huh.
0:19:13 > 0:19:15There was a culture in the late '50s and early '60s
0:19:15 > 0:19:19for these teen tragedy songs or death discs or splatter platters,
0:19:19 > 0:19:23I'm afraid they were called, rather horrendously, by some of the people who wrote them.
0:19:23 > 0:19:25# Gee, it must be great riding with him
0:19:25 > 0:19:29# Is he picking you up after school today?
0:19:29 > 0:19:30Uh-uh.
0:19:30 > 0:19:35Probably the reason that death discs started was down to the death of Buddy Holly.
0:19:35 > 0:19:40Because it is said that... a lot of the songwriters were in the Brill Building in New York,
0:19:40 > 0:19:43they would go and have their breakfast
0:19:43 > 0:19:47at Jack Dempsey's restaurant in New York
0:19:47 > 0:19:51and the news came in that Buddy Holly had been killed in a plane crash
0:19:51 > 0:19:55and the restaurant just...emptied immediately
0:19:55 > 0:19:58as all these songwriters went back to their cubicles
0:19:58 > 0:20:02to write songs about Buddy Holly, The Big Bopper and Richie Valens.
0:20:02 > 0:20:06# Teen angel, can you hear me? #
0:20:06 > 0:20:10# The girl I loved and lost a year ago. #
0:20:10 > 0:20:16They're driven by a very commercial cocktail of love, death,
0:20:16 > 0:20:21fate and most crucially, guilt.
0:20:21 > 0:20:25So the stories are broadly the same, boy and girl fall in love,
0:20:25 > 0:20:28boy and girl have an argument or they are forced to split up,
0:20:28 > 0:20:31and this ends in the tragic and violent death of the boy.
0:20:31 > 0:20:34And it's the girl's fault.
0:20:34 > 0:20:37And often it was girls who were singing about it.
0:20:37 > 0:20:41# He said to me he wanted to be near to... #
0:20:41 > 0:20:46There was a lot of anxiety about these teen death songs,
0:20:46 > 0:20:47it was girl talk,
0:20:47 > 0:20:53it was the first time that young women sang about their lives, the truth of their lives.
0:20:53 > 0:20:54Women had a lot more freedom
0:20:54 > 0:20:58and a lot more sexual freedom than their parents' generation.
0:20:58 > 0:21:02# That's when I fell for the leader of the pack. #
0:21:02 > 0:21:07The Shangri-Las, they were seen as a bit more edgy,
0:21:07 > 0:21:10a bit more gritty than a lot of the girl groups,
0:21:10 > 0:21:14they had a slightly more aggressive image,
0:21:14 > 0:21:20they sang with this real New York twang, they were seen as really hip,
0:21:20 > 0:21:23they were the girl gang that you wanted to hang out with.
0:21:23 > 0:21:27Leader of the Pack is a fantastic song,
0:21:27 > 0:21:33it's the sound of it, the vocal sound on that song is so identifiable
0:21:33 > 0:21:36that you can only hear the Shangri-La's version.
0:21:36 > 0:21:41It is brilliant. And it's gone on to be, I think it's Rolling Stone's Top 500.
0:21:41 > 0:21:47It's in the top 500 songs of all time, it's that strong a song.
0:21:47 > 0:21:50It was written by Shadow Morton, he always said, very quickly.
0:21:50 > 0:21:55He wrote it in several minutes on a piece of cardboard with his children's crayons while drunk.
0:21:55 > 0:21:57But it's a brilliant and really cynical piece of writing,
0:21:57 > 0:22:00cos it starts off with this scene of unimaginable innocence.
0:22:00 > 0:22:02Where do they meet?
0:22:02 > 0:22:04# I met him at the candy store
0:22:04 > 0:22:07# He turned around and smiled at me You get the picture? #
0:22:07 > 0:22:09And two a half minutes later,
0:22:09 > 0:22:12this guy's dead in a motorcycle accident on a wet road.
0:22:12 > 0:22:15And he's dead because her parents have intervened
0:22:15 > 0:22:18and said she cannot possibly go out with this boy
0:22:18 > 0:22:22because he's from the wrong side of the town, another important dimension to these songs,
0:22:22 > 0:22:25it's all about good girls going out with bad boys.
0:22:25 > 0:22:28And there is nothing more emblematic of a bad boy than a motorbike.
0:22:29 > 0:22:36# They said he came from the wrong side of town... #
0:22:36 > 0:22:38So Leader of the Pack was a big hit
0:22:38 > 0:22:42and this coincided with a lot of conflict between mods and rockers.
0:22:42 > 0:22:46That was when there was the big fight on Brighton sea front
0:22:46 > 0:22:49and there was a lot of anxiety amongst parents
0:22:49 > 0:22:53about their kids getting involved in violent subcultures,
0:22:53 > 0:23:01parents worried about their daughters travelling on the back of motorbikes, getting into danger.
0:23:01 > 0:23:03There was a kind of thing about the biker culture,
0:23:03 > 0:23:09so the cult of death within bikes was, I think, yeah, something that the BBC got quite worried about.
0:23:09 > 0:23:13Trying to define the borders of youth culture on behalf of youth.
0:23:14 > 0:23:17The BBC described Leader of the Pack as a "horror"
0:23:17 > 0:23:20and banned it from both radio and television,
0:23:20 > 0:23:23but it still reached No.11 in the UK charts
0:23:23 > 0:23:27as lovesick girls across Britain rushed out to buy the single
0:23:27 > 0:23:31and listen to the alluring roar of a bad boy on a bike.
0:23:31 > 0:23:35# That's why I fell for the leader of the pack. #
0:23:40 > 0:23:45By the mid-'60s, the BBC's Dance Music Policy Committee was disbanded
0:23:45 > 0:23:49and it was left to the discretion of individual producers to
0:23:49 > 0:23:51monitor this new pop culture.
0:23:51 > 0:23:52# Lucy in the sky with diamonds. #
0:23:52 > 0:23:55It wasn't just hemlines that were getting higher -
0:23:55 > 0:23:59the nation's favourite boy band was a major cause for concern.
0:24:01 > 0:24:04Next up, it's The Beatles and A Day In The Life.
0:24:04 > 0:24:08# I read the news today, oh, boy. #
0:24:08 > 0:24:11By '67, all kinds of things were coming together,
0:24:11 > 0:24:14there's a growing political unease,
0:24:14 > 0:24:19young working class, non-metropolitan, non-London people
0:24:19 > 0:24:21have started to get their records played on the radio.
0:24:21 > 0:24:23MUSIC: "Eight Miles High" by The Byrds
0:24:23 > 0:24:27There is a real sense of generational change.
0:24:27 > 0:24:31This is the first generation in Britain who've not had conscription.
0:24:35 > 0:24:41Basically, in the '60s, young people finally had enough money to buy records, to buy clothes.
0:24:41 > 0:24:43They couldn't buy a house or a car or anything,
0:24:43 > 0:24:47but the austerity of the post-war period had now gone,
0:24:47 > 0:24:49there was mass employment.
0:24:49 > 0:24:53Instead of it all being run by old people, now it was the young people who were taking over.
0:24:53 > 0:24:57MUSIC: "Purple Haze" by Jimi Hendrix
0:24:57 > 0:25:00The counter culture...it's more common now,
0:25:00 > 0:25:05but then, it really was just a few people really experimenting
0:25:05 > 0:25:09and experimenting with different ways to live your life,
0:25:09 > 0:25:11sexual liberation and gay liberation,
0:25:11 > 0:25:15and that was all there, simmering under the surface.
0:25:15 > 0:25:19So I think the BBC, in its status as moral guardian, probably felt,
0:25:19 > 0:25:22"We mustn't... We've got to be really careful with this,"
0:25:22 > 0:25:26and felt very nervous about its power.
0:25:28 > 0:25:34I think '67 was when music moved from being just part of the entertainment business, variety,
0:25:34 > 0:25:40and moved into an area where it began to be taken seriously as an art form,
0:25:40 > 0:25:42in other words, it carried messages.
0:25:42 > 0:25:47# Everyone smiles as you drift past the flowers... #
0:25:47 > 0:25:50I think psychedelic, as far as the establishment was concerned,
0:25:50 > 0:25:53was something a bit threatening,
0:25:53 > 0:25:57it was something which would change the normal perceptions of the world,
0:25:57 > 0:26:00something that would threaten the status quo.
0:26:00 > 0:26:05And particularly the BBC as the ultimate example of the status quo,
0:26:05 > 0:26:08really didn't like the sound of that at all.
0:26:09 > 0:26:11In the summer of '67, The Beatles released
0:26:11 > 0:26:16their own psychedelically inspired album, Sergeant Pepper's Lonely Hearts Club Band,
0:26:16 > 0:26:19which went straight in at No.1 in the album charts.
0:26:19 > 0:26:25# Sergeant Pepper's Lonely Hearts Club Band! #
0:26:25 > 0:26:27I knew The Beatles back then
0:26:27 > 0:26:30and I did go to quite a lot of Sergeant Pepper sessions.
0:26:31 > 0:26:37It was really an attempt to get away from the old image of the Fab Four and the mop tops and all of that
0:26:37 > 0:26:43and consequently they invented a new persona, they were Sergeant Pepper's Lonely Heart Clubs Band.
0:26:45 > 0:26:48That was the real peak of their psychedelic era
0:26:48 > 0:26:55where they were exploring through drugs the real transformation of consciousness.
0:26:55 > 0:26:58It's kaleidoscopic, it's lovely, it's full of great tunes.
0:26:58 > 0:27:02The whole idea is the concept of a vaudevillian band,
0:27:02 > 0:27:06but it's all infused with the heady smell of illegal substances
0:27:06 > 0:27:10and, you know, the slightly bright colours of LSD.
0:27:10 > 0:27:14# Woke up, got out of bed... #
0:27:14 > 0:27:20Strangely, on an entire album influenced by the band's mind-expanding experimentation,
0:27:20 > 0:27:27it was just the final track, A Day In The Life, that came under the BBC's moral microscope.
0:27:27 > 0:27:31Just running upstairs on a bus and lighting up a cigarette.
0:27:31 > 0:27:34That's exactly what my generation did, you could still smoke upstairs in buses.
0:27:34 > 0:27:38They're kind of parodying the straight life,
0:27:38 > 0:27:43the life that they saw their parents have, that they don't want to have.
0:27:43 > 0:27:48After lengthy correspondence with Joseph Lockwood at EMI,
0:27:48 > 0:27:53the BBC banned the song for what they believed to be a drug reference in just one line...
0:27:53 > 0:27:59# I'd love to turn you on. #
0:27:59 > 0:28:02The banning of this song, it wasn't just about the drugs reference,
0:28:02 > 0:28:09it was also an underlying fear about an attack on the establishment, essentially.
0:28:09 > 0:28:16And I think the fact that it ends on that massive, cacophonous E major chord right at the end
0:28:16 > 0:28:22with all the orchestra just going completely bonkers, I think it really was subversive.
0:28:22 > 0:28:26Younger people at the time were saying, "We don't understand this and we love it."
0:28:26 > 0:28:30I think some of the establishment were thinking, "We don't understand this and we fear it."
0:28:30 > 0:28:34It's like that Dylan line. There's something going on here, but you don't know what it is, Mr Jones."
0:28:34 > 0:28:36The BBC were being deeply paranoid, I think,
0:28:36 > 0:28:40also, they missed half the other songs that had drug references, there were sex references,
0:28:40 > 0:28:46so those crept through OK and no-one seemed to go mad and have orgies in the streets.
0:28:48 > 0:28:52In fact, another song on Sergeant Pepper did slip under the BBC's radar.
0:28:52 > 0:28:56# Lucy in the sky with diamonds
0:28:57 > 0:29:01# Lucy in the sky with diamonds. #
0:29:03 > 0:29:07It genuinely did come from a childhood drawing by Julian Lennon.
0:29:07 > 0:29:10He was then about four, I think, just going to a nursery school
0:29:10 > 0:29:15and one of his classmates was a girl called Lucy.
0:29:15 > 0:29:18And he did this drawing and his teacher asked him what it was called
0:29:18 > 0:29:20and he said, "It's Lucy in the sky with diamonds."
0:29:20 > 0:29:24And the teacher then wrote it across the top, he was too young to write, of course.
0:29:24 > 0:29:29And Lennon had this wonderful drawing on his wall and it said, "Lucy in the sky with diamonds."
0:29:29 > 0:29:32And it was only later after they had actually recorded it,
0:29:32 > 0:29:38according to McCartney, that they suddenly realised, "Oh, no, LSD! They're bound to read that into it!"
0:29:38 > 0:29:41I've never believed that...for a moment.
0:29:41 > 0:29:43And I don't think Lennon is the sort of guy
0:29:43 > 0:29:47who would have resisted the rather obvious joke either, you know what I mean?
0:29:47 > 0:29:50So I think it's a record about drugs
0:29:50 > 0:29:52written by a man who's been taking a lot of drugs.
0:29:52 > 0:29:55# Lucy in the sky with diamonds... #
0:29:55 > 0:29:57NEEDLE SCRATCHES
0:30:01 > 0:30:06Drugs, sex, death discs - ultimately, minor misdemeanours.
0:30:06 > 0:30:09When it comes to the censorship of popular music,
0:30:09 > 0:30:14there's one murky backwater that the BBC simply refuses to tolerate -
0:30:14 > 0:30:16product placement.
0:30:16 > 0:30:19Among the many offenders... The Kinks.
0:30:19 > 0:30:22# Just like cherry cola. #
0:30:22 > 0:30:24Pink Floyd.
0:30:24 > 0:30:28# The Daily Standard... #
0:30:28 > 0:30:32- And Cliff Richard. - # ..in a Cadillac. #
0:30:32 > 0:30:37But for their blatant attempt to get free underwear for a lifetime,
0:30:37 > 0:30:42our next rock'n'roll delinquents are Mott the Hoople with All the Young Dudes.
0:30:45 > 0:30:49The BBC wouldn't want to advertise a particular product.
0:30:49 > 0:30:52And over the years there have been a lot of problems with that.
0:30:52 > 0:30:58About 1932-3, Henry Hall made a record called The Wonderful Radio Times
0:30:58 > 0:31:01and that was actually banned by the BBC.
0:31:01 > 0:31:06And, in more recent times, you've had Dr Hook with The Cover of Rolling Stone
0:31:06 > 0:31:08and that was banned.
0:31:08 > 0:31:13You had Paul Simon, who had an American No.1 with Kodachrome, and the BBC banned that.
0:31:18 > 0:31:22There is the rise of commercial television, the rise of commercial radio,
0:31:22 > 0:31:24Radio Caroline, pirate radio and so on.
0:31:24 > 0:31:31There's a particular sensitivity going on at that moment in the late '60s about advertising.
0:31:31 > 0:31:35That if the BBC allows any kind of advertising in at any level,
0:31:35 > 0:31:38then people will say, "What price the BBC?"
0:31:38 > 0:31:43And, it's very...it's very late '60s but it spreads over into the '70s,
0:31:43 > 0:31:49so there is this kind of... The moment they mention a product of any kind in whatever context,
0:31:49 > 0:31:54we're absolutely terrified of being accused of advertising, of actually promoting that product.
0:32:00 > 0:32:04In 1972, Mott the Hoople were failing to find success
0:32:04 > 0:32:07and were on the verge of splitting.
0:32:07 > 0:32:13Luckily, they had a famous fan who came to their rescue by donating one of his songs.
0:32:13 > 0:32:18It was a song Bowie, I think, wanted for Ziggy Stardust,
0:32:18 > 0:32:19part of the concept of Ziggy Stardust,
0:32:19 > 0:32:22which is a post-apocalyptic world nearing its end -
0:32:22 > 0:32:27the idea is that the kids are the last people left who know what's going on.
0:32:27 > 0:32:30It's a bleak song, it's got melancholy, it's got...
0:32:30 > 0:32:33It's an anthem, its anthemic.
0:32:33 > 0:32:37They recorded it with the original lyric which was, you know,
0:32:37 > 0:32:39"Stealing clothes from Marks & Sparks"
0:32:39 > 0:32:42# And Wendy's stealing clothes from Marks & Sparks. #
0:32:42 > 0:32:45He's not even saying Marks & Spencer's, he's saying Marks & Sparks,
0:32:45 > 0:32:49there's this bleak song about an apocalyptic world on its last legs
0:32:49 > 0:32:52and they think a line about stealing clothes from Marks & Sparks...
0:32:52 > 0:32:56"Oh, that reminds me, I must get some new pyjamas."
0:32:56 > 0:33:01The BBC refused to play the record unless the band substituted the offending lyrics.
0:33:01 > 0:33:08Fortunately, they'd kept their receipt and went back to the writer to exchange the goods.
0:33:08 > 0:33:12# And Wendy's stealing clothes from unlocked cars... #
0:33:12 > 0:33:15The ad-free version went on to give them a top three hit.
0:33:15 > 0:33:19# Yeah, I'm a dude, Dad. #
0:33:19 > 0:33:21Sort of odd that you can steal clothes,
0:33:21 > 0:33:24but you just can't steal 'em... You can steal 'em from parked cars but not from Marks & Sparks.
0:33:24 > 0:33:30I think products actually overrides the moral issue from the early '70s onwards.
0:33:30 > 0:33:34Whereas Reith would have seen the moral issue as the key one,
0:33:34 > 0:33:38by the '60s, the moral issue is beginning to recede and the BBC is beginning to see it
0:33:38 > 0:33:41as a bit naff to be the moral guardian of the nation.
0:33:41 > 0:33:43# Carry the news... #
0:33:43 > 0:33:45NEEDLE SCRATCHES
0:33:47 > 0:33:51In the dark and dingy '70s, one band more than any other
0:33:51 > 0:33:54was about to challenge the BBC's status as moral guardian.
0:33:54 > 0:33:59As Royal fever hit a peak in 1977, along came the Sex Pistols
0:33:59 > 0:34:03with anything but a tribute to the reigning monarch.
0:34:03 > 0:34:06- It's God Save The Queen. - This is the great kind of fissure
0:34:06 > 0:34:08that runs down the middle of the 1970s,
0:34:08 > 0:34:13which is probably creatively in some ways, politically, creatively, culturally,
0:34:13 > 0:34:19one of the most exciting, violent, turbulent, brilliant decades there's ever been.
0:34:19 > 0:34:24We wanted peace and love and now we've got war, we've got Northern Ireland,
0:34:24 > 0:34:28we've got problems all over the place.
0:34:28 > 0:34:30It was a bit of a dump, basically.
0:34:30 > 0:34:34I mean, I was...16, 17,
0:34:34 > 0:34:37there was a whole bunch of stuff going on,
0:34:37 > 0:34:40it was like the people who were supposed to be in charge of us
0:34:40 > 0:34:42just didn't seem to know what they was doing,
0:34:42 > 0:34:44there was strikes everywhere, there was power cuts,
0:34:44 > 0:34:47there was just a bit of an air of despondency.
0:34:47 > 0:34:49And then out of that comes punk rock,
0:34:49 > 0:34:51because musically, nothing's reflecting that.
0:34:51 > 0:34:54This was the necessary purgative force that was going to sort things out.
0:34:54 > 0:34:57# I am a antichrist
0:34:57 > 0:35:01# I am an anarchist. #
0:35:01 > 0:35:04When we started out with the Sex Pistols,
0:35:04 > 0:35:07we...didn't really know what we wanted to do,
0:35:07 > 0:35:09we just knew what we didn't want to do.
0:35:09 > 0:35:13I was the Head of the EMI Label Press Office.
0:35:13 > 0:35:15In 1976, we signed them.
0:35:15 > 0:35:18EMI, first and foremost, when they heard about this new band,
0:35:18 > 0:35:20would have thought, "Kids will buy these records."
0:35:20 > 0:35:22What matters most to EMI is money.
0:35:22 > 0:35:25That's always been the deal with pop music.
0:35:25 > 0:35:31The Sex Pistols released their debut single, Anarchy in the UK, in November, 1976.
0:35:31 > 0:35:34It just sounded absolutely incredible,
0:35:34 > 0:35:36we were just completely sold, hook, line and sinker.
0:35:36 > 0:35:38It was exactly what we felt about everything.
0:35:38 > 0:35:41Less than a week after its release,
0:35:41 > 0:35:45he band made a last minute appearance on The Today Show with Bill Grundy
0:35:45 > 0:35:49after fellow EMI signing Queen unexpectedly cancelled.
0:35:49 > 0:35:52Go on, you've got another five seconds, say something outrageous.
0:35:52 > 0:35:54You dirty bastard.
0:35:54 > 0:35:56Keep going. Keep going. Go on, again.
0:35:56 > 0:36:00- You dirty fucker.- What a clever boy. - What a fucking rotter.
0:36:00 > 0:36:03I'll be seeing you soon. I hope I'm not seeing you again.
0:36:03 > 0:36:05From me though, good night.
0:36:05 > 0:36:10Their appearance on The Today Show resulted in Grundy himself being banned for two weeks
0:36:10 > 0:36:14while the Sex Pistols were sworn into television folklore.
0:36:14 > 0:36:19It was...kind of funny, it was a laugh,
0:36:19 > 0:36:21it was a bit troubling.
0:36:21 > 0:36:23There was no preparation for it whatsoever.
0:36:23 > 0:36:28I mean, it is interesting that you look at the Sex Pistols now, arriving on television in '76-'77,
0:36:28 > 0:36:32and it would still look provocative to this day, you know.
0:36:32 > 0:36:36If you suddenly turned on the television and there was something looking like that,
0:36:36 > 0:36:38with that look in the eyes, that sort of combination
0:36:38 > 0:36:42of indifference and attention to some kind of detail
0:36:42 > 0:36:45that nobody in their right mind could really consider what that was,
0:36:45 > 0:36:48that was a tremendously futuristic moment, almost,
0:36:48 > 0:36:51it completely carved open everything.
0:36:51 > 0:36:54It was no wonder that it was quickly sat down upon,
0:36:54 > 0:36:56cos it was...that was genuinely dangerous.
0:36:56 > 0:37:00At that time to have a band on front of The Daily Mirror was incredible.
0:37:00 > 0:37:02You know, this bloke kicks his telly in
0:37:02 > 0:37:06because the Pistols swore on telly, how could any teenager refuse that?
0:37:06 > 0:37:12The front of national newspapers saying this pop group are going to cause anarchy,
0:37:12 > 0:37:15they're going to bring down the Government. Is your child a punk rocker?
0:37:15 > 0:37:17And...they were terrified.
0:37:17 > 0:37:18Anarchy In The UK got banned
0:37:18 > 0:37:22and it got banned not because of the record. You know, it had already been played,
0:37:22 > 0:37:25they were playing Anarchy In The UK quite happily.
0:37:25 > 0:37:28It got banned simply because of the behaviour of the band on television.
0:37:29 > 0:37:32# It's the only way to be! #
0:37:32 > 0:37:34Leslie Hill, the manager, was instructed to fire them,
0:37:34 > 0:37:37then off they went to A&M, where they lasted about a fortnight
0:37:37 > 0:37:39before they got fired from there as well.
0:37:39 > 0:37:41But one budding entrepreneur
0:37:41 > 0:37:44realised there was money to be made in being banned.
0:37:44 > 0:37:47Newly signed to Virgin and back in the studio,
0:37:47 > 0:37:51Glen and John began writing a song initially called No Future.
0:37:51 > 0:37:55I had...some ideas for some riffs and it wouldn't go away
0:37:55 > 0:37:59and in fact, I drove everybody mad, cos I kept doing this...
0:37:59 > 0:38:03And then...I went home
0:38:03 > 0:38:08and picked up my guitar and just started working it out on the guitar
0:38:08 > 0:38:11and it kind of turned into the guitar chords.
0:38:11 > 0:38:13John always had, like, a plastic bag full of lyrics.
0:38:13 > 0:38:17He never said, "Oh, I've got a song, can we get some music for it?"
0:38:17 > 0:38:19He would wait for us to play something
0:38:19 > 0:38:21and then dig something out.
0:38:21 > 0:38:23# God save the Queen
0:38:23 > 0:38:25# We mean it, man! #
0:38:25 > 0:38:30It was after I left that it came out and it occurred to somebody at the record company
0:38:30 > 0:38:34that it coincided with the Queen's Silver Jubilee.
0:38:34 > 0:38:37Erm...God Save The Queen.
0:38:37 > 0:38:40I mean, nothing was changed, it's just what it was called.
0:38:40 > 0:38:42But that whole bit at the end of the song, no future,
0:38:42 > 0:38:45that's originally what it was all about, you know.
0:38:45 > 0:38:49God Save The Queen was released on May the 27th, 1977,
0:38:49 > 0:38:53just 11 days prior to the Silver Jubilee holiday.
0:38:53 > 0:38:59The BBC described it as being in bad taste and chose not to broadcast it.
0:38:59 > 0:39:04This was a great, great pop song with a great chorus, unbelievable lyrics,
0:39:04 > 0:39:09that was, basically, you know, throwing bombs into the face of the establishment
0:39:09 > 0:39:14And to me, that's the definitive way that a banned and therefore apparently dangerous record
0:39:14 > 0:39:16should be, that it was truly dangerous.
0:39:16 > 0:39:20The lyrics to God Save The Queen could be written by Philip Larkin, I think,
0:39:20 > 0:39:26they've got that deadpan...hopeless English melancholy of something like that...
0:39:26 > 0:39:29"We're the flowers in the dustbin."
0:39:29 > 0:39:36And, "There's no future in England's dreaming," positively, like... It's Shakespearean, almost.
0:39:36 > 0:39:39It's a brilliant, brilliant lyric
0:39:39 > 0:39:42and it's a sort of a lament for a lost England
0:39:42 > 0:39:45that I don't think he utterly hates, but he hates what it's become.
0:39:45 > 0:39:49It helped when the BBC banned it, cos it made everybody at school go out and buy the record,
0:39:49 > 0:39:51because it was the naughtiest record you could possibly own.
0:39:51 > 0:39:54So having that must have tripled its sales.
0:39:54 > 0:39:58It would have been a top ten hit, but thank you, BBC, for banning that record and making it No.1.
0:39:58 > 0:40:04In the official UK charts, God Save The Queen only reached No.2,
0:40:04 > 0:40:08kept off the top spot by a raspy-voiced crooner.
0:40:08 > 0:40:11But there were persistent rumours of chart fiddling
0:40:11 > 0:40:17and that God Save The Queen was actually the biggest selling single in the UK at the time.
0:40:17 > 0:40:19Getting into the middle of the system and the establishment
0:40:19 > 0:40:22to such an extent they were having to fiddle their own chart,
0:40:22 > 0:40:26they're having to be corrupt and crooked, in a way,
0:40:26 > 0:40:28to try and stop it happening, and that was, you know,
0:40:28 > 0:40:33irresistible, that the heart of why there should be pop and rock, really.
0:40:40 > 0:40:44In the 1980s, it seemed the dark days of the previous decade were
0:40:44 > 0:40:47finally over - the charts were filled with frills,
0:40:47 > 0:40:51flounces and decadent sexuality, but one band took things a little
0:40:51 > 0:40:54too far for the BBC's liking.
0:40:55 > 0:41:00The year was 1984 and the song was Relax by Frankie Goes To Hollywood.
0:41:00 > 0:41:01# Relax, don't do it
0:41:01 > 0:41:03# When you wanna go to it
0:41:03 > 0:41:06# Relax, don't do it...#
0:41:06 > 0:41:09It came out in November 1983, and there was all
0:41:09 > 0:41:11that palaver about getting on the playlist
0:41:11 > 0:41:14and it didn't really get on the playlist,
0:41:14 > 0:41:16but it was getting a few plays in the evening,
0:41:16 > 0:41:18not enough to really make it a big hit, you know.
0:41:18 > 0:41:22Then it got the first Top Of The Pops of 1984
0:41:22 > 0:41:25and that was a big moment for the record.
0:41:25 > 0:41:28And the record shot up to like, you know, I think, No.2.
0:41:28 > 0:41:32On a Wednesday morning, we repeated the chart and I got up
0:41:32 > 0:41:36to about No.4 and, as always, there was never enough time.
0:41:36 > 0:41:40I had four songs left. I thought, I'm not going to fit them all in.
0:41:40 > 0:41:43With Relax, it was a 12-inch, and on the back was some ghastly
0:41:43 > 0:41:47comment about something. I didn't have time to play it, so I said, "I'll drop it."
0:41:47 > 0:41:51Somebody told me that Mike Read had had some kind of nervous breakdown on the radio,
0:41:51 > 0:41:57and I wonder, because on the sleeve, it mentioned the word "come".
0:41:57 > 0:42:00I think in the lyrics, "If you wanna come to it," or something,
0:42:00 > 0:42:02and I remember very specifically I'd put,
0:42:02 > 0:42:05as part of the design of the sleeve, I'd put little
0:42:05 > 0:42:08swimming sperm on the outside of the 7-inch sleeve.
0:42:08 > 0:42:12Paul Morley, their manager, whipped in and said, "It's banned,
0:42:12 > 0:42:15"it's banned," because I mentioned on air about the visual on the back.
0:42:15 > 0:42:19And I got the blame for banning it of course, but it was the BBC
0:42:19 > 0:42:21that banned it, not me.
0:42:21 > 0:42:24After Mike Read chose to omit Relax from the chart rundown,
0:42:24 > 0:42:28the BBC erred on the side of caution and removed it from their playlists,
0:42:28 > 0:42:34and for manager Paul Morley, it was a marketing dream come true.
0:42:34 > 0:42:37With Relax, it's so well stage managed,
0:42:37 > 0:42:40the whole thing is run by Paul Morley, he's a music journalist.
0:42:40 > 0:42:44He knows the little levers to pull and cause trouble.
0:42:44 > 0:42:46They're singing about gay sex,
0:42:46 > 0:42:50at the time, not that comfortable in mainstream-media terms.
0:42:50 > 0:42:55In the '80s there was intense anxiety about the impact of AIDS,
0:42:55 > 0:43:01and Frankie Goes To Hollywood and Relax runs counter to that.
0:43:01 > 0:43:04I think that was seen as incredibly threatening.
0:43:06 > 0:43:09The producers have a responsibility to their listening audience
0:43:09 > 0:43:11and that's what some of them initially played it
0:43:11 > 0:43:13and are now not playing it.
0:43:13 > 0:43:16It came to a point where any company, any corporate body,
0:43:16 > 0:43:19has to decide whether something like this is played or not.
0:43:19 > 0:43:22The controller of Radio One decided it shouldn't be played.
0:43:22 > 0:43:26I've almost been slandered for writing disgusting lyrics,
0:43:26 > 0:43:32which only someone with the mind of a sewer could see them as obscene.
0:43:32 > 0:43:35But with Relax, it wasn't just the lyrics that were
0:43:35 > 0:43:37a cause of concern for the Beeb.
0:43:37 > 0:43:41This was the MTV age and bands and their managers had cottoned on
0:43:41 > 0:43:46to the potential of a promotional video.
0:43:48 > 0:43:51I wanted it to look like the greatest party
0:43:51 > 0:43:53you, you could never get into, if you like.
0:43:53 > 0:43:56These great parties that you would hear about behind closed doors
0:43:56 > 0:43:59in New York especially, in the underground gay scene.
0:43:59 > 0:44:01That's playing with censorship,
0:44:01 > 0:44:05it's just an orgy, look, people having sex, outrageous!
0:44:05 > 0:44:10We'd all die out if we didn't have sex, or maybe not in the way Frankie has it.
0:44:10 > 0:44:14It wasn't that offensive to 90% of the population.
0:44:14 > 0:44:18They were almost bending over backwards to get banned, weren't they?
0:44:22 > 0:44:26The BBC issued an outright ban on the video for Relax
0:44:26 > 0:44:29and then a fortnight after Mike Read's initial outburst
0:44:29 > 0:44:32the song peaked at No.1.
0:44:32 > 0:44:36Frankie Goes To Hollywood goes to No.1 with Relax.
0:44:36 > 0:44:40Because it's forbidden, of course everybody wants it,
0:44:40 > 0:44:45so with Relax... I mean, it sold two million in the UK, which is a huge amount for a single.
0:44:45 > 0:44:48Paradoxically, the BBC and Mike Read, by banning it,
0:44:48 > 0:44:50certified it as what we wanted it to be all along -
0:44:50 > 0:44:53a genuinely dangerous record.
0:44:57 > 0:45:01# Take me dancing naked in the rain
0:45:01 > 0:45:04# Feel it washing over me... #
0:45:04 > 0:45:08Just a few years later, 1988 was dubbed Britain's
0:45:08 > 0:45:12Second Summer of Love as teenagers across the country
0:45:12 > 0:45:15took up dancing ecstatically all night long.
0:45:15 > 0:45:20Despite the smiley faces, the BBC joined the British Government
0:45:20 > 0:45:24in attempting to put a halt to this new musical mayhem.
0:45:24 > 0:45:29The next track on our banned list is We Call It Acieed by D Mob.
0:45:33 > 0:45:38The origins of acid house are from Chicago and Detroit.
0:45:38 > 0:45:41The music was very uplifting, the lyrics were very optimistic,
0:45:41 > 0:45:44there was a real message of hope and optimism,
0:45:44 > 0:45:49which was perfect timing. The Berlin Wall was falling, apartheid was crumbling,
0:45:49 > 0:45:52so everyone felt this massive change that was under way.
0:45:52 > 0:45:55There was a huge shift that was going on at the time
0:45:55 > 0:46:00and then all of a sudden, music boomed with this high energy sound.
0:46:00 > 0:46:05It was based on techno, which was a very stripped down, electronic version of disco music,
0:46:05 > 0:46:09but it had kind of big, happy synthesisers on it to reflect
0:46:09 > 0:46:14the rush of ecstasy and the sheer joy of a bony Cockney embracing you.
0:46:14 > 0:46:17# I wanna give you devotion... #
0:46:17 > 0:46:21Acid house burst out of the nightclubs and onto the street,
0:46:21 > 0:46:24but finding the party was half the fun.
0:46:24 > 0:46:27If you wanted to go to a rave, you had to famously phone a number
0:46:27 > 0:46:30that was on a flyer someone had given you in a club and then
0:46:30 > 0:46:35drive out - it was very mysterious, it was genuinely illegal.
0:46:35 > 0:46:38It all involved new technology, car phones and things like that.
0:46:38 > 0:46:41So you didn't know where you were going,
0:46:41 > 0:46:43sometimes it involved breaking the law.
0:46:43 > 0:46:46It involved outwitting the police.
0:46:46 > 0:46:49It seemed a very new form of entertainment at the time.
0:46:49 > 0:46:51What are you doing then?
0:46:51 > 0:46:54Waiting for someone to tell us where it is.
0:46:54 > 0:46:56Isn't that an old story?
0:46:56 > 0:47:00Yeah. Apparently, only one person knows where it is.
0:47:00 > 0:47:03That Second Summer of Love was again about transformation
0:47:03 > 0:47:07of consciousness - it was mass rave parties.
0:47:07 > 0:47:12There was a real political subtext to that, there was anti-Thatcherism,
0:47:12 > 0:47:15anti that yuppie individualism.
0:47:15 > 0:47:19It was about... dancing together as a collective.
0:47:22 > 0:47:26The interesting thing about press around acid house is that
0:47:26 > 0:47:28initially it's very positive.
0:47:28 > 0:47:32"Wow! There's a new sound, learn the crazy lingo!"
0:47:32 > 0:47:38You could send off to The Sun for a "Where's the acid party?" shirt with a smiley face on it.
0:47:38 > 0:47:43Some weeks later, they realised acid is a drug and it could be construed as a drug reference.
0:47:43 > 0:47:46And the illegality of the big raves
0:47:46 > 0:47:52became more apparent and it does this massive 180 degree turn.
0:47:52 > 0:47:56All of a sudden, the newspapers, the tabloids got onto it
0:47:56 > 0:48:00and started splashing it across the headlines,
0:48:00 > 0:48:06"Evil acid house, lock up your children, and where are your kids at the weekend?"
0:48:06 > 0:48:08Inevitably, all the press, good and bad,
0:48:08 > 0:48:12helped take the acid party straight into the charts.
0:48:12 > 0:48:17It's D Mob featuring Gary Haisman and We Call It Acieed!
0:48:24 > 0:48:30Acieed! Acieed! But that came out of a chant in a club in Charing Cross,
0:48:30 > 0:48:35in Future - a club run by Paul Oakenfold at the time in 1988.
0:48:35 > 0:48:41And this guy Gary Haisman, who became the face of that record,
0:48:41 > 0:48:43used to run around the club
0:48:43 > 0:48:49shouting, "Acid!" so it caught on, it was a catchy hook for a track.
0:48:49 > 0:48:52They Call It Acieed is a lovely record,
0:48:52 > 0:48:56it's in the sort of childish tradition of acid house,
0:48:56 > 0:49:02records like Charly by The Prodigy - it's a silly, cash-in record.
0:49:02 > 0:49:06Although the video for We Call It Acieed had already featured on Top Of The Pops,
0:49:06 > 0:49:11the BBC restricted the song on Radio One, citing that, "It wasn't right
0:49:11 > 0:49:14"for the mood of some programmes, such as The Breakfast Show."
0:49:14 > 0:49:19On the one hand, it's banned because of the references to drugs,
0:49:19 > 0:49:24but I also think there is a whole debate there about the road protests,
0:49:24 > 0:49:30and the protests about land and who owns the land in this country.
0:49:30 > 0:49:33And to celebrate our right to party!
0:49:33 > 0:49:37And the right for people to gather on public land,
0:49:37 > 0:49:40and this led to the Public Order Act
0:49:40 > 0:49:45which forbade gatherings of young people listening to repetitive beats.
0:49:45 > 0:49:51So there was a real anxiety about the anti-establishment
0:49:51 > 0:49:52nature of the song.
0:49:52 > 0:49:54It wasn't saying, "Take drugs,"
0:49:54 > 0:49:57and most of the people who bought it were too little to take drugs
0:49:57 > 0:50:00and most of the people who were taking drugs
0:50:00 > 0:50:04were too busy banging their faces against sheep to buy this record.
0:50:04 > 0:50:08It was the worst-directed moral panic of all time.
0:50:08 > 0:50:10And, of course, despite limited airplay
0:50:10 > 0:50:14We Call It Acieed danced all the way to No.3.
0:50:14 > 0:50:18It just made the track more popular and it sold more copies of it.
0:50:18 > 0:50:22I think on its first press, it had sold out instantly
0:50:22 > 0:50:26after the publicity that it received,
0:50:26 > 0:50:29and they couldn't get enough out into the record stores
0:50:29 > 0:50:30and out there in the shops.
0:50:30 > 0:50:35As with the first Summer of Love, while the BBC picked up on Acieed,
0:50:35 > 0:50:38other drug references completely passed them by.
0:50:38 > 0:50:40# 'Eezer Goode, 'Eezer Goode... #
0:50:40 > 0:50:43You just imagine the BBC going, "It's a nice record.
0:50:43 > 0:50:45"'Eezer Goode, 'Eezer Goode. Doesn't refer to drugs.
0:50:45 > 0:50:46"'Eezer Goode.
0:50:46 > 0:50:48"Nobody at any point is saying that ecstasy is good.
0:50:48 > 0:50:51"'Eezer Goode, 'Eezer Goode.
0:50:51 > 0:50:53"Oh, let's ban They Call It Acieed instead.
0:50:53 > 0:50:55"That's clearly a call to drugs."
0:50:57 > 0:50:59RECORD SCRAPES TO A HALT
0:51:01 > 0:51:04And so we come to the final track in our top ten,
0:51:04 > 0:51:07described by the Official UK Charts Company
0:51:07 > 0:51:11as "one of the most controversial chart contenders of all time".
0:51:11 > 0:51:13Now, we have some news to bring you
0:51:13 > 0:51:16about the former Prime Minister, Margaret Thatcher.
0:51:16 > 0:51:19We have heard from her spokesman, Lord Bell,
0:51:19 > 0:51:22that she has died this morning following a stroke.
0:51:22 > 0:51:27On April 8th 2013, Baroness Thatcher died
0:51:27 > 0:51:30and it caused a right ding-dong.
0:51:30 > 0:51:33In the media, you had heads of state falling over themselves
0:51:33 > 0:51:35to say what an amazing woman she was.
0:51:35 > 0:51:40Today, we lost a great leader, a great Prime Minister,
0:51:40 > 0:51:42and a great Briton.
0:51:42 > 0:51:45Margaret Thatcher didn't just lead our country.
0:51:45 > 0:51:46She saved our country.
0:51:46 > 0:51:50There were huge communities in the UK,
0:51:50 > 0:51:54mining communities, disadvantaged communities,
0:51:54 > 0:51:58people who felt, "No, this wasn't our experience of Margaret Thatcher."
0:51:58 > 0:51:59There's a whole other story to this.
0:51:59 > 0:52:04On the day she died, I was contacted, because I had done
0:52:04 > 0:52:08some previous stuff with music campaigns on Facebook.
0:52:08 > 0:52:10Let the joyous news be spread -
0:52:10 > 0:52:13the wicked old witch at last is dead.
0:52:13 > 0:52:17Mark Biddiss was called on to action a longstanding online campaign
0:52:17 > 0:52:19to get Ding Dong! The Witch Is Dead
0:52:19 > 0:52:24into the UK charts on the event of Margaret Thatcher's death.
0:52:24 > 0:52:26I wanted to stand up for people,
0:52:26 > 0:52:29for those who felt they didn't have a voice and see if we can give one
0:52:29 > 0:52:33in a more peaceful manner than people going out and rioting,
0:52:33 > 0:52:35which would never solve anything.
0:52:35 > 0:52:38When I first found out about the death of Margaret Thatcher,
0:52:38 > 0:52:39I was in a meeting with the controllers
0:52:39 > 0:52:41of the other radio stations
0:52:41 > 0:52:43and I must admit, I kind of sat back,
0:52:43 > 0:52:46because I thought, "Right, this is probably going to be
0:52:46 > 0:52:49"a discussion amongst Radio Four and Five Live controllers
0:52:49 > 0:52:51"about how the news coverage will unfold."
0:52:51 > 0:52:54MUNCHKINS SING
0:52:54 > 0:52:56By Wednesday in the mid-week chart,
0:52:56 > 0:52:59we had an entry of Ding Dong! The Witch Is Dead
0:52:59 > 0:53:02and suddenly it became my issue.
0:53:02 > 0:53:06It came out in 1936. We had the Munchkins singing joyfully
0:53:06 > 0:53:12when Dorothy's house goes splat onto the Wicked Witch of the East
0:53:12 > 0:53:14and there was that real mischievousness
0:53:14 > 0:53:15about using that song.
0:53:15 > 0:53:17It's what we call a migration of meaning,
0:53:17 > 0:53:20so something that means something in one context
0:53:20 > 0:53:24means something completely different when you put it in another context.
0:53:24 > 0:53:26And it's just beautifully subversive.
0:53:26 > 0:53:29I think it was something like 170 in the chart
0:53:29 > 0:53:31and then it just shot straight up.
0:53:31 > 0:53:35And then, yes, it started becoming a bit of an anthem so, you know,
0:53:35 > 0:53:39there was, you know, football crowds, I think,
0:53:39 > 0:53:41chanting, "Ding Dong!"
0:53:41 > 0:53:43Once Ding Dong! The Witch Is Dead
0:53:43 > 0:53:48became this wonderful underground hit via iTunes,
0:53:48 > 0:53:55suddenly there was much more media coverage of the opposite view.
0:53:55 > 0:53:58- Maggie! Maggie! Maggie! - CROWD:- Dead! Dead! Dead!
0:53:58 > 0:54:00The BBC was fantastically caught
0:54:00 > 0:54:02like a rabbit in the headlights with this one,
0:54:02 > 0:54:05because the establishment is on their case all the time
0:54:05 > 0:54:08and they're terrified what The Daily Mail think.
0:54:08 > 0:54:11You had a new Director General of the BBC
0:54:11 > 0:54:14and someone had said this is the first editorial decision
0:54:14 > 0:54:17they are going to make, and you also had the fact that the papers
0:54:17 > 0:54:22wanted to keep the story going between her death and the burial,
0:54:22 > 0:54:27so this was a really, really quite toxic situation
0:54:27 > 0:54:29to be in the middle of.
0:54:29 > 0:54:32With pressure mounting from the press and Tory campaigners,
0:54:32 > 0:54:37the BBC chose not to ban the song, but to play just five seconds.
0:54:37 > 0:54:40I'll actually never forget the moment I was told.
0:54:40 > 0:54:43I think it was ITN and they rung me up and said,
0:54:43 > 0:54:45"We've got a statement that the BBC
0:54:45 > 0:54:47"are literally going to play five seconds,"
0:54:47 > 0:54:51and first thought was, "That really is censorship."
0:54:52 > 0:54:55'We've got a brand-new entry at No.2.
0:54:55 > 0:54:59'To explain more, here's Newsbeat's music reporter, Sinead Garvan.'
0:54:59 > 0:55:01'This is Newsbeat.'
0:55:01 > 0:55:04'Tributes poured in across the world for Margaret Thatcher
0:55:04 > 0:55:06'when she died on Monday,
0:55:06 > 0:55:09'but there were also people throwing street parties around the UK.
0:55:09 > 0:55:13'An online campaign began in 2007 to try to get this song,
0:55:13 > 0:55:16'Ding Dong! The Witch Is Dead to No.1 in the charts
0:55:16 > 0:55:18'the week Lady Thatcher died.'
0:55:18 > 0:55:19# Ding, dong! The witch is dead
0:55:19 > 0:55:21# Which old which? The wicked witch!
0:55:21 > 0:55:25# Ding, dong! The wicked witch is dead... #
0:55:25 > 0:55:27They should have just played the record and explained it.
0:55:27 > 0:55:29I thought explaining what it was was a great idea.
0:55:29 > 0:55:33What I needed to do was reflect it, because it is historic fact
0:55:33 > 0:55:36and we need to reflect that historic fact,
0:55:36 > 0:55:38but we also need to be mindful of the fact
0:55:38 > 0:55:40that there is a grieving family
0:55:40 > 0:55:42and it could be seen by many as disrespectful.
0:55:42 > 0:55:45So I absolutely stand by that decision.
0:55:45 > 0:55:50The pressures that we were under all led to that very simple decision of,
0:55:50 > 0:55:51"It's got to be a compromise."
0:55:51 > 0:55:55MUSIC: "I Knew You Were Trouble" by Taylor Swift
0:56:04 > 0:56:06I don't regret it in the sense that,
0:56:06 > 0:56:09especially when you get letters from miners to say,
0:56:09 > 0:56:11"Who'd have thought someone down south,
0:56:11 > 0:56:13"a young guy, would have stood up for us?"
0:56:13 > 0:56:16It caused a ripple but it's also to make people feel a bit more,
0:56:16 > 0:56:18you can get listened to.
0:56:18 > 0:56:20It wasn't the most politest way,
0:56:20 > 0:56:23but it made a point and it got out there
0:56:23 > 0:56:26and I think it serves to say that people will speak
0:56:26 > 0:56:30if they do feel strongly. Rightly or wrongly, you can get a message out.
0:56:34 > 0:56:38Over the last 75 years, the reasons why the BBC have banned songs
0:56:38 > 0:56:41has changed radically with the times.
0:56:41 > 0:56:45It's unthinkable now that Formby's cheeky double entendres
0:56:45 > 0:56:49or Frankie's celebration of gay sex would be censored.
0:56:49 > 0:56:52And as long as there's the potential to offend,
0:56:52 > 0:56:54the BBC will continue to wrestle
0:56:54 > 0:56:59with the difficult question of what and what not to broadcast.
0:56:59 > 0:57:04I think the BBC's job is to be a moral guide in society,
0:57:04 > 0:57:07especially when it comes to music and young people.
0:57:07 > 0:57:11I think the BBC always has to take a responsible role.
0:57:11 > 0:57:14And actually, that's its strong point, too.
0:57:14 > 0:57:17But it always raises this question - "Is it right to censor?"
0:57:17 > 0:57:20# We have to be so careful... #
0:57:20 > 0:57:23It's not going to ban anything any more. They just don't play it.
0:57:23 > 0:57:25That's what happens now.
0:57:25 > 0:57:28It's not like they sit in smoking rooms and go,
0:57:28 > 0:57:29"We can't possibly play that.
0:57:29 > 0:57:32"The proles will start having sex or taking drugs."
0:57:32 > 0:57:36They still act like they've got to somehow protect people
0:57:36 > 0:57:38from this ridiculous danger.
0:57:38 > 0:57:41The culture that I think grips us now, the compliance culture,
0:57:41 > 0:57:45we're frightened that someone somewhere will be offended
0:57:45 > 0:57:47or will say, "The BBC has offended us."
0:57:47 > 0:57:48In these days of finger pointing,
0:57:48 > 0:57:50there is always somebody that will say,
0:57:50 > 0:57:52"Oh, look what so-and-so said.
0:57:52 > 0:57:55"Why did they do that? They shouldn't have done this."
0:57:55 > 0:57:58It really is damned if you do and damned if you don't.
0:57:58 > 0:58:02# But we have to be so careful all the time... #
0:58:02 > 0:58:05People tend to think that morality doesn't change,
0:58:05 > 0:58:06there are fixed values,
0:58:06 > 0:58:09there's good things and there's bad things,
0:58:09 > 0:58:11a kind of biblical, fundamentalist approach to morality.
0:58:11 > 0:58:13It's changed hugely.
0:58:13 > 0:58:17Unmentionable things from the '60s are now mentioned every night.
0:58:17 > 0:58:20However, other things are still unmentionable
0:58:20 > 0:58:23and it'll be interesting to see whether today's unmentionables
0:58:23 > 0:58:25are tomorrow's unmentionables as well.
0:58:25 > 0:58:27How fixed are they?
0:58:31 > 0:58:35# Oh, we had to be so careful
0:58:35 > 0:58:38# So very, very careful
0:58:38 > 0:58:44# We had to be so careful all the doggone time
0:58:44 > 0:58:49# We had to be so careful
0:58:49 > 0:58:54# All of the time. #