Pop Goes BBC Two

This programme contains some strong language.

Music of some kind or other, for so many of us,

is a very important part of life.

-Oh, wow! Yeah!

-Music.

This is the B-side of our single, sports fans.

Hope it makes you sick.

VERY HIGH: # A-a-aaaah! #

I think, you know what? Hip-hop played a big part in this as well.

# Can I kick it?

# Yes, you can

# Can I kick it?

# Yes, you can! #

This is the search for the origins of human music.

# Get back

# Get back to where you once belonged... #

I will lead us from some of the most beautiful music...

# Every time

# We say goodbye... #

..back to the dawn of our species.

# She's so swishy in her satin and tat

# And her frock coat and bibbity-bobbity hat

# Oh, God I could do better than that. #

And we start with a skylark.

# Woke up, it was a Chelsea morning

# And the first thing that I heard

# Was a song outside my window

# The traffic wrote the words

# It came ringing up like Christmas bells

# Rapping up like pipes

# And drums

# Oh, won't you stay?

# We'll put on the day

# And we'll wear it

# Till the night comes

# Woke up, it was a Chelsea morning

# And the first thing that I saw

# Was the sun through yellow curtains

# And a rainbow on my wall

# Blue, red, green and gold to welcome you

# Crimson crystal beads to beckon

# Oh, won't you stay?

# We'll put on the day

# There's a sun show every second... #

APPLAUSE

Hello. It's a red letter day in the jazz calendar

so join our bunch of jazz bands, here

and also as far as I can see

pretty well half the musical profession of great Britain

in paying tribute to the master,

the man without whom jazz simply couldn't think of existing.

Ladies and gentlemen, meet our distinguished guest,

Duke Ellington.

APPLAUSE

THE BAND PLAYS

Thank you.

Ah!

Thank you.

Thanks so very much, ladies and gentlemen.

All the kids in the band want you to know

that we do love you madly!

That was our theme, Take The A Train.

And now, our next number,

we give you three guesses as to what the title is.

Well, we normally do give our audience three guesses

but you're so hip, we just don't dare.

APPLAUSE

'This is BBC Two.'

# If you like to gamble

# I tell you I'm your man

# You win some Lose some

# It's all the same to me

# The pleasure is to play

# It makes no difference what you say

# I don't share your greed

# The only card I need

# The Ace Of Spades

# The Ace Of Spades

# Going for the high one

# Dancing with the devil

# Going with the flow

# It's all a game to me

# Seven or eleven Snake eyes watching you

# Double up or quit

# Double stakes or split

# The Ace Of Spades

# The Ace Of Spades

# You know I'm born to lose

# And gambling's for fools

# But that's the way I like it, baby

# I don't wanna live forever

# And don't forget the joker! #

# I've been walking in the same way

# As I did

# Missing out the cracks in the pavement

# And tutting my heel

# And strutting my feet

# "Is there anything I can do for you, dear?

# "Is there anyone I could call?"

# No and thank you

# Please, Madam

# I ain't lost, just wandering

# Round my hometown

# Memories are fresh

# Round my hometown

# Ooh

# The people I've met, yeah

# Doo-diddy

# Da-da-da-da-day, yeah

# Doo-diddy

# Da-da-da-da-day, yeah

# Doo-doo-doo-doo

# O-o-o-o-oh

# Yeah

# Are the wonders of my world

# Are the wonders of my world

# Are the wonders of this world

# Are the wonders

# Of my world

# Of my world, yeah

# Of my world

# Of my world

# Yeah. #

You've got to get on the phone and take the money out of your pocket.

Don't go to the pub tonight, please. Stay in and give us the money.

There are people dying NOW so give me the money.

-And here's the number...

-We've probably got to...

-No!

-..get the address first, don't we?

-Let's just...

No, let's fuck the address.

Let's get the numbers cos that's how we're going to get it.

# So don't become

# Some background noise

# A backdrop for the girls and boys

# Who just don't know

# Or just don't care

# And just complain when you're not there

# You had your time

# You had the power

# You've yet to have your finest hour

# Radio... #

Everybody!

# All we hear is radio ga ga

# Radio goo goo

# Radio ga ga

# All we hear is radio ga ga

# Radio blah blah

# Radio, what's new?

# Radio

# Someone still loves you. #

Studio One's music was made downtown for downtown people.

The musicianship necessary

wasn't that easy to achieve if you were poor in Kingston.

But luckily, there was also a downtown academy.

If Studio One was Motown,

the Alpha Boys' School was the Juilliard School Of Music.

Alpha Boys' School

is a school that caters to the unfortunate.

It teaches them trades

that they can earn a living after they leave here.

And some go abroad.

I think you met Rico Rodriguez. He's a trombonist.

SOMBRE TROMBONE MUSIC

If it's Tuesday, it must be Whistle Test.

A point in response to a number of letters

we've had just lately about the Whistle Test badge.

Here he is, the star kicker.

I'm amazed at the number of badge collectors there are.

YODELLING

VERY HIGH: # A-a-a-a-a-ah

# Ah! #

They don't make them like that any more.

Well, right about now, in the place to be

on the da-da-da-de-dance tip.

The last band in the studio tonight are the living native tongues.

Playing for us very exclusively off their album,

People's Instinctive Travels And The Paths Of Rhythm,

is A Tribe Called Quest with their new single to be in January,

Can I Kick It?

And yes! Make some noise!

Everybody pump your fist, y'all. Pump your fist, y'all.

Pump your fist, y'all. Pump your fist, y'all.

-# Can I kick it?

-# Yes, you can!

-# Can I kick it?

-# Yes, you can!

-# Can I kick it?

-# Yes, you can!

-# Can I kick it?

-# Yes, you can!

-# Can I kick it?

-# Yes, you can!

-# Can I kick it?

-# Yes, you can!

-# Can I kick it?

-# Yes, you can!

# Well, I'm gone

-# Go on then!

-# Can I kick it?

# To all the people who can quest like A Tribe does

# Before this, did you really know what live was?

# Comprehend to the track

# For it's why, cuz

# Gettin' measures on the tip of the vibers

# Rock and roll to the beat of the funk fuzz

# Wipe your feet really good on the rhythm rug

# If you feel the urge to freak

# Do the jitterbug

# Come and spread your arms If you really need a hug

# Afrocentric living is a big shrug

# A life filled with fun That's what I love

# A lower plateau is what we're above

# If you diss us we won't even think of

# Will Nipper the doggy give a big shove?

# This rhythm really fits like a snug glove

# Like a box of positives it's a plus, love

# As the Tribe flies high like a dove.. #

-Yo, everybody say "Ho!"

-Ho!

-Say "Ho, ho!"

-Ho, ho!

-Say "Do that stuff."

-Do that stuff!

-That funky stuff!

-Funky stuff!

-Say "Ho!"

-Ho!

CHEERING AND APPLAUSE

If we see here,

this is saying the name of our big guest this week.

Please welcome the man that really needs little introduction,

Mr Johnny Cash.

CHEERING

# I hear the train a comin'

# It's rolling round the bend

# And I ain't seen the sunshine

# Since I don't know when

# I'm stuck in Folsom prison

# And time keeps draggin' on

# But that train keeps rollin'

# On down to San Antone

# When I was just a baby

# My mama told me

# Son

# Always be a good boy

# Don't ever play with guns

# But I shot a man in Reno

# Just to watch him die

# When I hear that whistle blowing

# I hang my head and cry

# Whoa! #

Well, this is the thing about the guitar.

Essentially, it's about doing that.

That's playing the guitar.

That looks rubbish, doesn't it?

So it turns into this and, you know, that.

And standing like that and going like this.

Well, I've been in spoof bands and I've been in real bands

and the stance is pretty much the same!

You know, we don't stand up and play.

We've developed this right from the start

where you go into what we call the attack position.

Which is that.

If the guitar is jutting out from your crotch to the audience,

there's quite a clear metaphor.

Directing their whatever it is at the crowd,

you sort of think, "Yeah, that's a cock."

Good evening. We're Pulp

and we're going to play a song called Common People for you,

which is the national anthem for the Netto generation

and it sounds like this.

ROBOTIC: Common people

# She came from Greece She had a thirst for knowledge

# She studied sculpture at Saint Martin's College

# That's where I

# Caught her eye

# She told me that her dad was loaded

# I said, in that case

# I'll have a rum and Coca Cola

# She said fine

# And then in 30 seconds' time

# She said

# I want to live like common people

# I want to do whatever common people do

# I want to sleep with common people

# I want to sleep with common people like you

# Well, what else could I do?

# I said I'll... I'll see what I can do

# I took her to a supermarket

# I don't know why

# But I had to start it somewhere

# So it started there

# I said Pretend you've got no money

# She just laughed and said

# Oh, you're so funny I said, Yeah?

# Well, I can't see anyone else smiling in here

# Are you sure

# You want to live like common people?

# You want to see whatever common people see?

# You want to sleep with common people?

# You want to sleep with common people like me?

# But she didn't understand

# She just smiled and held my hand

# Rent a flat above a shop

# Cut your hair and get a job

# Smoke some fags and play some pool

# Pretend you never went to school

# But still you'll never get it right

# Cos when you're laid in bed at night

# Watching roaches climb the wall

# If you called your dad

# He could stop it all, yeah

# You'll never live like common people

# You'll never do whatever common people do

# You'll never fail like common people

# You'll never watch your life slide out of view

# And then dance and drink and screw

# Because there's nothing else to do. #

# One day without you

# And I feel just like I'm somebody else

# One day without you

# And here come the fear you might find somebody else

# You know I'd like to keep you

# To keep you to myself and keep you by my side

# You know I'd love to keep you

# Just like I know it's wrong to try

# Just like babies are born to cry

# Every bird that sings

# Is born to fly

# One day without you

# And I feel just like I'm somebody else

# One day without you

# Here come the fear you might find somebody else

# You know I'd like to keep you

# To keep you to myself and keep you by my side

# You know I'd love to keep you

# But just like I know that it's wrong to try

# Just like babies are born to cry

# Every bird that sings

# Is born to fly. #

The album came out and the rest of us go,

"We've got to go on the road.

"We've just made a great album

"Are we going to not push it?"

And he agreed to do it against his better judgment

and that all went wrong.

We'd said the whole tour up and suddenly, boom.

"I can't do this, I can't face it."

Because of that guilt I have always had

about not leaving Fleetwood Mac

flew off the couch and across the room

to seriously attack him.

And I did.

I mean, and I'm not real scary

but I can be fairly ferocious.

And I grabbed him, you know, which almost got me killed.

It got ugly.

Physically ugly.

# Lookin' out for love... #

He ended up chasing me all the way out of Christine's maze-like house

and down the street and then back up the street

and then he threw me against the car

and I screamed horrible obscenities at him.

And I thought he was going to kill me.

And I think he probably thought he was going to kill me, too.

And I said to him, "You know,

"if the rest of the people in the band don't get you,

"my family will.

"My dad and my brother will kill you."

And I just said, "Lindsey, why don't you just leave?"

He left.

But what I meant was, "Why don't you just leave the room?!"

That's true!

# Standing in the door of the Pink Flamingo

# Crying in the rain

# It was a kind of so-so love

# And I'm going to make sure it never

# Happens again

# You and I

# It had to be

# The standing joke of the year

# You were a sleep-around

# A lost and found

# And not for me, I fear

# Whoa, whoa, whoa

# I tried to make it work

# You in a cocktail skirt

# And me in a suit

# Well, it just wasn't me

# You're used to wearing less

# And now your life's a mess

# So insecure, you see

# I put up with all the scenes

# And this is one scene

# That's going to be played my way

# Take your hands

# Off me

# I don't belong

# To you, you see

# Take a look

# At my face

# For the last time

# I never knew you

# You never knew me

# Say hello, goodbye. #

Now, at the piano I'm going to have a little bit of a chat

with an incredibly talented woman who's got this album out.

Amy Winehouse!

Welcome to our show, Amy.

RESPONSE DROWNED BY APPLAUSE

Well, I suppose...

the public displays of affection,

-do you approve or disapprove of them?

-I approve wholeheartedly.

Yeah. Now, your writing on this record is fantastic,

-it's really great.

-Thank you very much.

Some great songs that you've written on here.

-The first one you played, Rehab.

-Yeah.

-When did write that one?

I wrote that in February or March,

in New York, with Mark Ronson.

And we were just walking down the street

and I sang the hook.

And he burst out laughing and said, "Who's that?"

I said, "I just made it up."

And he was like, "That would be really cool." And I said,

"Listen, let's go to the studio now and we can rock it out now."

# They tried to make me go to rehab

# I said no, no, no

# Yes, I've been black

# But when I come back

# You'll know, know, know

# I ain't got the time

# And if my daddy thinks I'm fine

# Just try to make me go to rehab

# I won't go, go, go

# I'd rather be

# At home with friends

# I ain't got 17 days

# Cos there's nothing

# There's nothing you can teach me

# I can't learn

# From Mr Hathaway

# I didn't get a lot in class

# But I know it don't come

# In a shot glass

# They tried to make me go to rehab

# I said no, no, no

# Yes, I've been black

# But when I come back

# You'll know, know, know

# I ain't got the time

# And if my daddy thinks I'm fine

# Just try to make me go to rehab

# I won't go, go, go. #

This is the B-side of our single, sports fans.

Hope it makes you sick.

I don't really mean that. Honestly, we're very nice chaps really.

# In the canyons of your mind

# I will wander through your brain

# To the ventricles of your heart

# My dear

# I'm in love with you again! #

'This song is offensive.'

# I love a good bum on a woman It makes my day

# To me it is palpable proof of God's existence

# A posterior

# Also I love breasts and arms and ankles, elbows, knees

# It is the tongue, the tongue

# The tongue on a woman that spoils the job for me

# Please understand I respect and admire the frailer sex

# And I honour them every bit as much as the next misogynist

# But give some women the ghost of a chance to talk and thereupon

# They will go on again, on again On again, on again

# On again, on again, on

# Well, believe it or not she appeared to me then and there

# The Blessed Virgin herself

# In answer to my prayer Despite the vulgarity

# Shimmering softly, dressed in blue and holding up a hand

# I cocked a pious ear as the Mother of God began

# But she went on again, on again On again, on and I

# Will have to state how very much

# I sympathise with the rest of the family

# Give some women the ghost of a chance to talk and thereupon

# They will go on again, on again On again, on again

# And again, and again And again, and again

# They will go on again, on again On again, on again

# On again, on again, on. #

# Suddenly Johnny gets the feeling

# He's being surrounded by horses

# Horses, horses, horses

# Coming in in all directions

# White, shining silver studs

# With their nose in flames

# He saw horses, horses, horses

# Horses, horses

# Horses, horses, horses

# Do you know how to pony

# Like bony maroney?

# Do you know how to twist?

# Well, it goes like this

# It goes like this

# Then you mash potato

# Do the alligator, do the alligator

# And you twist the twister

# Like your baby sister

# I want your baby sister

# Give me your baby sister

# Teach your baby sister

# To rise up from her knees

# Do the sweet pea

# Do the sweet pee pee

# Roll down on your back

# See you like it like that

# Like it like that Like it like that

# Like it like that

# Then you do the watusi

# Do the watusi

# Do the watusi... #

# I can think of younger days

# When living for my life

# Was everything

# A man could want to do

# But I could never

# See tomorrow

# I was never told

# About the sorrow

# And how can you mend

# A...

# A broken heart?

# Yeah

# How...

# Can you stop the rain

# From falling down?

# Tell me

# How can you stop

# The sun from shining?

# What makes the world go round?

# And...

# La-la-la-la

# La-la-la-la-la-la-la

# Ooh

# Oo-ooh

# La-la-la-la-la-la-la

-# La-la-ha-how

-# Can you stop

# Oh!

# The sun from shining?

# I wanna know

# What makes the world go round?

# Only

# Tears I've cried. #

'I've finally tracked The Specials down

to 2 Tone HQ, home of the hits.

"Next to the poodle parlour," the note said.

At last, a chance to meet the board of directors

of the fastest-growing independent record label

in the country.

-Hey!

-Hi, there. Straight upstairs, right?

-Yeah.

This is where the assault on the nation's airwaves was planned

with a unique mix of punk and reggae.

MUSIC AND SHOUTING

All right?!

THEY ALL SHOUT

MUSIC DROWNS SPEECH

...you got a receipt?

Got it! Got it!

LAUGHTER AND CHATTER

This is it.

This is where, sort of, 2 Tone...?

-This is...

-This is 2 Tone!

-LAUGHTER AND INDISTINCT CHATTER

-Showing him round the office.

Here we have the cheque books.

The receipts.

The cup... Oh, hang on.

The plunger.

I think this is our Bernie Rhodes contract.

LAUGHTER

CHEERING

No, we've got loads of contract actually.

# Stop your messing around

# A-a-a-ah

# Better think of your future

# A-a-a-ah

# Time you straightened right out

-# A-a-a-ah

-# Creating problems in town

# A-a-a-ah

# Rudy

# A message to you

# Rudy. #

# Souma yergon, sou nou yergon

# We are shaking the tree

# Souma yergon, sou nou yergon

# We are shaking the tree

# Turning the tide

# You are on the incoming wave

# Turning the tide

# You know you are nobody's slave

# Find your brothers and sisters

# Who can hear all the truth in what you say

# They can support you

# When you're on your way

# It's your day

# A woman's day

# It's your day

# A woman's day

# Souma yergon, sou nou yergon

# We are shaking the tree. #

CHEERING

Now, here comes Billy Paul. Eat your heart out, Mrs Smith.

# Me and Mrs Jones

# We got a thing

# Going on

# We both know that it's wrong

# But it's much too strong

# To let it cool down

# We meet every day

# At that same cafe

# 6.30

# I know, I know she'll be there

# Holding hands

# Making all kinds of plans

# While the jukebox plays our favourite song

# Me and Mrs...

# Mrs Jones

# Mrs Jones, Mrs Jones, Mrs Jones

# We've got a thing

# Going on... #

APPLAUSE

Once upon a time, there was a little girl

who lived in Dagenham, Essex.

Her name was Sandra Goodrich.

That doesn't make much of a name for herself at school,

nor at the Ford factory in Dagenham

where she got her first job.

But when she started to sing, she did make a name.

And the name is of course

Sandie Shaw.

# The streets are crowded

# And it's just as always

# In this part of the town, here

# People going into clubs and restaurants

# Just you look around here

# There's coloured fluorescent lights

# That help to add to the sun

# Oh, how I used to love

# The long walk home... #

When I was a little girl, I'd always have big dreams.

I always wanted to be either a model or a singer or an actress

or a famous artist or somebody...

..in the limelight.

# And I don't like what I must do tomorrow

# And I don't like what I must do

# Tomorrow. #

Right, here's another piece of completely escapist

light entertainment - Shipbuilding.

# Is it worth it?

# A new winter coat

# And shoes for the wife

# And a bicycle on the boy's birthday

# It's just a rumour that was spread around town

# By the women and children

# Soon we'll be shipbuilding

# Well, I ask you

# The boy said

# Dad, they're going to take me to task

# But I'll be back by Christmas

# It's just a rumour that was spread around town

# Somebody said that someone got filled in

# For saying that people get killed

# In the results of the shipbuilding

# With all the will in the world

# Diving for dear life

# When we could be

# Diving for pearls. #

APPLAUSE

I'd like to ask Dizzee Rascal.

Mr Rascal, do you feel yourself to be British?

Of course I'm British, man.

You know me. I'm here, man, what's good.

I think it don't matter what colour you are.

It matters what colour your heart is, man, and your intentions.

I think a black man, purple man,

Martian man can run the country. Whatever, man.

As long as he does right by the people.

Well, why don't you run for office?

See, that's a very good idea. I might have to do that one day.

Dizzee Rascal for Prime Minister, yeah?

What's happening?!

# Sup up your beer and collect your fags

# There's a row going on down near Slough

# Get out your mat and pray to the West

# I'll get out mine and pray for myself

# Thought you were smart when you took them on

# But you didn't take a peep in their artillery room

# All that rugby puts hairs on your chest

# What chance have you got

# Against a tie and a crest?

# Hello-hurrah What a nice day

# For the Eton Rifles

# Eton Rifles

# Hello-hurrah I hope rain stops play

# With the Eton Rifles

# Eton rifles. #

Thank you so much.

# Every time

# We say goodbye

# I die a little

# Every time

# We say goodbye

# I wonder why a little

# Why the Gods above me

# Who must be in the know

# Think so little of me

# They allow you

# To go

# When you're near

# There's such an air

# Of spring about it

# I can hear a lark

# Somewhere

# Begin to sing about it

# There's no love song finer

# But how strange

# The change

# From major to minor

# Every time we say

# Goodbye

# Goodbye. #

APPLAUSE

SCREAMING

# E-V-I-L E and Ice-T are on a jack move

# Layin' down the dope groove Smokin' those who disapprove

# Wreckin' the deck You'll regret if you cross, punk

# Rollin' like a truck Waxin' those who talk junk

# Violent your end Got your face in my crosshairs

# Wanna see your dome bust Cos I don't care

# Nuttin' bout you, your crew, cos you talk mess

# I'm the Lethal Weapon, boy Ridin' the apocalypse

# If you're in my way you'll lay beneath the ground soon

# Violence is my business The microphone of doom

# Mission that's to cure all punks as I bust caps

# Peelin' your back My ammunition hollow-point raps

# You try to run That makes it even more fun

# I just cold lamp and vamp you with the shotgun

# Cops try to flex

# But guns they'll never find

# My lethal weapon's my mind!

# Lethal weapon

# The lethal weapon

# The lethal weapon

# Assassinator if the people ain't steppin'

# The lethal weapon

# The lethal weapon. #

We're very fortunate enough to have Leonard Cohen with us.

You are an unusual thing in music in that you are a genuine poet.

What got you into the poetry?

Well, I don't know.

I thought that was the way to kind of win women's hearts.

-Did it work?

-Yes, it did!

LAUGHTER

I must try that.

Now, I think we've got a clip of you in 1967,

that neither of us have seen yet, with Julie Felix in 1967.

-Perhaps we could have...

-OK.

-There you are.

# I loved you in the morning Our kisses deep and warm

# Your hair upon the pillow

# Like a sleepy golden storm

# Yes, many loved before us

# I know that we are not new

# In city and in forest

# They smiled like me and you

# But let's not talk of love or chains

# And things we can't untie

# Your eyes are soft with sorrow

# Hey, that's

# No way to say goodbye

# Goodbye. #

APPLAUSE

-That's a fantastic song. Have you seen that recently?

-No, I haven't.

I never saw that. I remember the evening.

It was the first television show that I ever did in England

and one of the first I ever did everywhere

and Julie Felix invited me over to do it.

So I have never seen that clip.

Now, when I was working in Edinburgh during the summer,

lots of arts lovers were dribbling their claret down their cravats

and getting very excited over a young dancer

by the name of Michael Clark.

But when it comes to dancing, I'm a bit of a philistine myself,

although I did have to sit up and take notice

when I heard that this lad was dancing to music by The Fall.

All the group stayed up to watch The Old Grey Whistle Test,

not that I would, personally.

But you couldn't see the group, that was the funniest bit.

They stayed up to watch it with all the parents.

And all you could see was Michael Clark baring his arse.

It was dead funny.

Good evening and welcome to another GBE, a Gary Byrd Experience,

as the funky forces of the universe come together for us

to bring another set of Big Apple jams your way.

That's right, the perfect beat for you,

especially if you are up at Planet Rock, the Bronx,

where the Zulu Nation is in dance formation tonight.

I am the funk overlord.

I have come to take control of your mind.

MUSIC: "Looking For The Perfect Beat" by Afrika Bambaataa

So this is how Bam sends them to the street, hip-hopping,

looking for the perfect beat.

Rapping, scratching, breaking, shaking.

The success of hip-hop is in the making.

On TV and on radio,

you hear and see it wherever you go.

Graffiti began on the walls

and now it's sold in stores and malls.

APPLAUSE

# Tonight, you're mine

# Completely

# You give your love

# So sweetly

# Tonight, the light

# Of love is in your eyes

# But will you love me

# Tomorrow?

# Is this a lasting

# Treasure?

# Or just a moment's

# Pleasure?

# Can I believe

# The magic of your sighs?

# Will you still love me

# Tomorrow? #

APPLAUSE

Five, four, three, two, one.

Happy New Year!

Happy New Year!

-I'm so happy to be here tonight.

-Yeah!

-Once again, I'm so glad to be in your wonderful country.

-Oh, yeah.

-Hello, England.

-Yeah!

-I got a little message for you.

-All right!

I want to tell every woman and every man tonight,

that's ever needed anybody, someone to love,

that's ever had someone to love.

That's right.

-# You got yourself somebody

-Whoa!

-# Hold on to what you got

-Hold on!

# Don't try to get no more

-# Sometimes you get what you want

-Yeah!

# Then you lose what you had

# But there is a song I sing

# That I believe

# And I believe... #

Everybody, would you clap your hands?

Everybody. Everybody, come on.

Everybody. Everybody.

# Everybody... #

Let's sing it.

# Somebody

# Everybody

# Wants somebody

# To love

# Honey to cuddle

# Sugar to kiss

# Sometimes to miss

-# I need you, you

-You-ooh

-# I need you, you

-You-ooh

-# And I need you, you

-You-ooh

-# And I need you, you

-You-ooh

# Oh, sometimes I feel

# I feel a little sad inside

# My baby mistreats me

# And I get, get, get a little mad

-# But I need you

-You, you, you-ooh

-# Just to see me through

-You, you, you-ooh... #

Everybody. Come on, everybody.

This is a brand-new year.

And I want you to have the best of everything.

Oh, yeah! Happy New Year!

# And many, many, many, many, many

# Many more! #

2003. Lookin' at you.

APPLAUSE AND CHEERING

-Hello, I'm John Peel.

-And I'm Jo Whiley.

We're at the Glastonbury Festival in this Bedouin tent

which has been constructed really as a tribute to the important part

that Bedouin culture has played in popular music over the years.

We're here not really blending in very well, looking like

a pair of extras from Waiting For Godot or something.

And the theme of this event, of course, so far has been mud.

And it's good, British mud at that.

And there have been muddier festivals. There was one at the...

in the hills above Buxton in 1969.

Unspeakable. Unimaginably terrible.

This is nothing by comparison.

I have to say, this is like nothing I've ever been to in my life

or particularly want to go through again.

This should give you a rough idea of the festival so far.

MUSIC: "Sun Hits The Sky" by Supergrass

# I know a place where the sun hits the sky

# Everything changes and blows out the night

# Everyone knows why my tongue can't be tied. #

We'll be back at 11.35 with live music from Blur,

also Roni Size's Reprazent.

There is constant coverage all day long and all night long on Radio One.

You realise this is the end of the world we're witnessing here.

-Good night.

-See you.

We welcome now to the show,

one of America's top rhythm and blues singers.

From Mississippi, it's that famous boom-boom boy, John Lee Hooker.

# Boom, boom, boom, boom

# I'm gonna shoot you right down

# Right off of your feet

# Take you home with me

# Put you in my house

# Boom, boom, boom, boom

# I love to see you strut

# Up and down the floor

# When you're talking to me

# That baby talk

# I like it like that

# Oh, oh, oh, oh

# Whoa, baby

# Yes, ma'am

# Yes, ma'am

# Walk the walk, baby

# Whoa, baby!

# Walk the walk, baby

# Yes, ma'am. #

Even when, you know, you go to see your careers officer,

our Liam told him he wanted to be a pop star

when he went to see his careers officer. Can you imagine that?

And he said, "No," you know,

"Thou shalt work at Ford or McVities."

He was going, "No, you asked me what I wanted to do.

"I want to be in a band. I want to be a pop star."

And he kicked him out.

I said a rock'n'roll star.

He said, "You can't be that." I said, "Right then, a lumberjack.

"Get me a fucking job as a lumberjack, chopping trees down."

And then I went back about three months later and said,

"Yeah, can I sign off?" He went, "Why's that then?"

I went, "Cos I'm a rock'n'roll star.

"I've got a six album deal. Ta-ra."

MUSIC: "Fade In-Out" by Oasis

# Get on the roller coaster

# The fair's in town today

# You got to be bad enough

# To beat the brave. #

This next right. Not this one.

-We used to live down there.

-We used to live down there. Ashburn Avenue.

This is where we spent our childhoods round here.

-Knocking about round here.

-I miss not being near me mam.

-That's what I miss.

-Straight up here.

On the right up here is McVities, where me mam used to work.

-Big biscuit factory.

-We used to knock about in the park.

She'd work here. We'd meet her from the park about 11 at night.

-Walk her home.

-And walk her home. Load of biscuits.

Big boxes of Jaffa cakes. It was top. Penguins and...

BOTH: # Five, four, three, two, one Doo, doo-doo, doo, doo, doo-doo

# Five, four, three, two, one Doo, doo-doo, doo, doo, doo-doo

# Five, four, three, two, one. #

Me mam always drummed into us that we were no different,

we were no better or no worse than anybody else.

We were just the same as everybody else and whatever we wanted in life,

we could go and get it, you know,

if we believed in it enough. She was right. Weren't you?

# And all the roads we have to walk are winding

# And all the lights that light the way are blinding

# There are many things that I would like to say to you

# But I don't know how

# I said I don't know how

# I said maybe

# You're going to be the one that saves me

# And after all

# You're my wonderwall. #

MUSIC: "Everyday Robots" by Damon Albarn

# We are everyday robots on our phones

# In the process of getting home. #

'It became a record where I was singing about

'very much my own experiences.

'You know, how do we know that we really exist

'other than that little beam of light which is our history.

'I sort of started going

'back to places which I felt might

'give me some sense of who am I now and how do I feel about stuff?

'So I went back to Leytonstone.'

TANNOY: 'Please remember to take all your personal items with you

'when you leave the train.'

The first time I came back and I came out of the Tube,

I literally felt like a giant

because all my memories are from up to the age of nine.

I grew up in 1970s multicultural London.

From the smells coming out of people's back kitchens

to the people I went to school with, to the music, to just the general

sort of flavour of the place.

'I think that definitely played a big part in who I am.'

People try...to put us down.

# People try to put us down

# Talkin' about my generation

# Yeah, just because we get around

# Talkin' about my generation

# Things they do look awful c-cold. #

The Who on stage.

Here's an interview I did with Pete Townshend, the leader of The Who.

I started by asking him about his parents, who were both musicians.

My father was in a band called The Squadronaires.

-The Squadronaires?

-Yes.

-I used to hear them in Butlins.

-At Butlins?

You probably used to see me then because I was always there.

My first sort of taste of show business sort of came from seeing

my father on the stage and hearing my mother on record

cos my mother started as a singer with The Squadronaires.

And seeing my father on stage,

he always used to smile this plastic smile like this.

That's show business.

IT HOWLS

# Sa kimi we nonaka

# No ibara no hana ka

# Sa yui yui

# Kurete kaereba

# Yarehoni hiki tomeru

# Mata hari no chindara kanushama yo

# Sa takusa toru nara izayoi tsukiyo

# Sa yui yui

# Futari de kigane mo yarehoni mizu irazu

# Mata hari no chindara kanushama yo

# Sa somete agemasho konji no kosode

# Sa yui yui

# Kakete okureyo nasake no tasuki

# Mata hari no chindara kanushama yo. #

THEY CHANT

WHISTLING

Now we're going to talk about the music we hear on the radio,

or rather the music we don't hear on the radio.

Are we being conditioned by radio producers and DJs into liking

what they want us to like? Do they actually stifle a lot of

the stuff we do want to hear as they don't think it's good for us?

With me is Tony Wilson,

a television journalist who, in his spare time,

is one of the people behind Factory Records,

one of the new independent labels,

Radio One DJ Paul Burnett

and Steve Morris from Joy Division.

Steve, I'd like to ask you the first question.

As a member of an up-and-coming band,

do you think you get a fair deal from the radio?

-Not really, no.

-And why do you think this is?

Well, by the radio, I assume you are referring to Radio One.

Well, the only times that our records have actually been

played on Radio One has been late at night on the John Peel show

and once on the Mike Read show on a Saturday on a Manchester special.

Is there an automatic right that you have

when you bring a record out that it should get played on Radio One?

If it's a brilliant record.

If it's better than most of the dross that's around,

and there are records that are better than most of the dross

that's around that don't get played cos they're slightly unsettling,

for the simple reason that they come from somewhere slightly

deeper within the soul than the level of a pure Hit Factory.

# Dance, dance, dance, dance dance to the radio

# Dance, dance, dance, dance dance to the radio

# Dance, dance, dance, dance dance to the radio

# Dance, dance, dance, dance dance to the radio

# Well, I could call out when the going gets tough

# The things you've learnt are no longer enough

# No language, just sound that's all we need now

# To synchronise love to the beat of the show

# And we could dance

# Dance, dance, dance, dance dance to the radio

# Dance, dance, dance, dance dance to the radio. #

# I'm a rolling stone all alone and lost. #

HE PLAYS: "Wildwood Flower" by Maybelle Carter

That was Mother Maybelle's Wildwood Flower

and she played it much better than that

but you could tell immediately who it was that was playing it.

Anyone who plays traditional country music

owes a debt to the Carter family.

If you listen to their music only

and if you didn't know anything about the Carters, you'd think

they were this wonderful close-knit family like the Waltons.

Nothing could be further from the truth.

Although they continued to record songs together,

the reality was that, behind the scenes, Sarah had left AP.

She left on her own. She didn't take the kids with her.

That's unbelievable in 1936.

# Punctured bicycle

# On a hillside, desolate

# Will nature make a man of me yet?

# And in this charming car

# This charming man

# Why pamper life's complexities

# When the leather runs smooth on the passenger seat?

# I would go out tonight

# But I haven't got a stitch to wear

# This man said it's gruesome

# That someone so handsome should care

# Ah!

# A jumped-up pantry boy

# Who never knew his place

# He said return the ring

# He knows so much about these things

# He knows so much about these things

# He knows so much

# About these things. #

CHEERING

MORRISSEY: Thank you.

What we're going to show you

is a visualisation and newsification

of a poem of a young poet, John Lennon.

And the poem is called, quite simply,

Deaf Ted, Danoota (And Me).

Thorg hilly grove and burly ive

Big daleys grass and tree

We clobber ever gallup

Deaf Ted, Danoota, and me

So if you hear a wondrous sight

Am blutter or at sea

Remember whom the mighty say

Deaf Ted, Danoota, and me

ALL: Sometimes we bring our friend, Malcolm.

CHEERING

HE MOUTHS

SQUEAK! SQUEAK!

IT SQUEAKS

# Jojo was a man who thought he was a loner

# But he knew it couldn't last

# Jojo left his home in Tucson, Arizona

# For some California grass

# Get back

# Get back

# Get back to where you once belonged

# Get back

# Get back

# Get back to where you once belonged

# Get back, Jo

# Go home

# Get back

# Get back

# Get back to where you once belonged

# Get back

# Get back

# Get back to where you once belonged

# Ooh

# Ooh-ooh, ooh-ooh

# Ooh... #

CHEERING Do you want to get back?

CHEERING

Do YOU want to get back?

OK. Me too.

# Get back, Loretta

# Your momma's waiting for you

# In her high-heel shoes

# And low-neck sweater

# Get back

# Yeah

# Oh, yeah!

# Get back!

# Oh, get back

# Get back to where you once belonged

# Get back

# Oh, get back

# Back to where you once belonged

# Get back

# Get back!

# Get back, go home

# Oh, yeah. #

CHEERING AND APPLAUSE

Tonight, they play live on television for the first time.

The Stone Roses.

# Your knuckles whiten on the wheel

# The last thing that your hands will feel

# Your final flight can't be delayed

# No earth, just sky It's so serene

# Your pink, fat lips let go a scream

# You fry and melt I love the scene

# Sometimes I

# Fantasize

# When the streets are cold and lonely

# And the... #

-What's happened?

-She's coming.

Hey, get back.

Well, I'm sorry about that.

Looks like we've had a power shortage or something.

HE SHOUTS

So we'll move on to the next item. And...

And they ask you to come and then they mess with the power.

Martin Parr is one of Britain's leading photographers,

known for his innovative colour work

and for creating a new school of British documentary photography.

We've wasted our time, lads.

We'll do it... We'll sort it out in a minute.

His latest book, The Cost Of Living,

chronicles how the comfortable classes spend their time and money.

But, like some of his previous work,

the latest photographs are controversial.

Critics allege he is exploiting his subjects rather than making

-social commentary.

-Amateurs! Amateurs!

MUSIC: "I'm Afraid Of Me" by Culture Club

# Fire, desire, love and reaction

# He must be someone... #

John was always going on about,

"Don't worry, we'll get on Top Of The Pops

"and we'll have a number one."

I mean, that was what he would say. He would keep saying it.

And he knew it was going to happen.

For the first time on Top Of The Pops, it's Culture Club.

MUSIC: "Do You Really Want To Hurt Me?" by Culture Club

# Give me time

# To realise my crime

# Let me love and steal... #

I didn't think everyone was going to go mad over me.

I thought we'd have a full-on freak following, which is what

we had in the beginning. Boys in make-up, girls, ex-punks.

You know, sort of freaky girls and boys.

That was our audience and then, overnight, after being on TV,

we became pop pin-ups.

But, certainly, that's not what I expected or planned.

# Do you really want to hurt me?

# Do you really want to make me cry... #

Basically, all I knew is, with the band, is that they just

had to see the band, George in particular.

I went home and told my mum, "I've just started a band with this guy"

She looked and went, "Don't tell your father."

That was the reaction.

But George actually didn't tone himself down

but he brought himself down from being an out-and-out thing

that was out there, queen of the night,

into some sort of image, really sort of quite beautiful, but...

He had an image.

He even had a shape, George, he had that sort of shape. I don't know.

George was sort of like a living logo.

# Do you really want to hurt me?

# Do you really want to make me cry? #

# Stir it up

# Little darling

# Stir it up

# Come on, baby

# Stir it up

# Little darling

# Stir it up

# Whoa

-# It's been a long, long time

-Stir it together

-# Since I've got you on my mind

-Ooh-ooh-ooh-ooh

# Whoa-oh, yeah

-# And now you are here

-Stir it together

# I say it's OK

# To see what we could do, baby

# Just me and you

# Come on and stir it up

# Little darling

# Stir it up

# Come on, baby

# It's our business

# Stir it up

# Ooh, yeah, mama

# Little darling

# Stir it up

# Whoa, yeah, yeah. #

# Well, I'm up on the 11th floor

# And I'm watching the cruisers below

# You know, my heart's in the basement

# My weekend's at an all-time low

# Well, he's down on the street

# And he's trying hard to pull Sister Flo

# Cos she's hoping to score

# Well, I can't see her letting him go

# Walk out of her heart

# Walk out of her mind

# Oh, no, no

# She's so swishy in her satin and tat

# In her frock coat and bipperty-bopperty hat

# Oh, God, I could do better than that. #

I saw Ziggy on stage and it looked like... It looked like he was dead.

It looked like a tribute. Like someone else was playing the part.

Oh, yes. Very much.

I get occasional flashes of what he used to be like but it's...

The actual performance is a little more perfunctory, I think,

than it ever was before.

BACKGROUND THUD

-So what's happening...

-Absolute Ruhe, bitte!

I noticed that the music, now, is more...

more daring, more adventurous, more fractured.

Is there a danger that by following your instinct,

your aesthetic instincts, if you like, your artistic instincts,

that you will jeopardise that, you know, the money and the good life?

No shit, Sherlock.

Yes, I think...

I think I've rather sort of hit that one on the head at the moment.

It's quite a relief, really. I feel a lot more free in what I do.

# From all the unborn chicken voices in my head

# What's there?

# What's there?

# When I am king you will be first against the wall

# With your opinion, which is of no consequence at all

# What's there?

# What's there?

# You don't remember You don't remember

# Why don't you remember my name?

# Off with his head, man Off with his head, man

# Why don't he remember my name I guess he does

APPLAUSE AND CHEERING

-JAY Z:

-Yes. So crazy right now.

Most incredibly.

It's your girl, B.

It's your boy, Young.

Glastonbury, are you ready? Sing.

# Uh-oh, uh-oh, uh-oh, oh-no-no... #

-Come on!

-# Uh-oh, uh-oh, uh-oh, oh-no-no

# Uh-oh, uh-oh, uh-oh, oh-no-no. #

Play it. One, two, three, four.