Browse content similar to 1997-2010 Closer Than Close. Check below for episodes and series from the same categories and more!
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Pete Doherty is by far the most important man of our generation, | 0:00:02 | 0:00:05 | |
the most talented writer and poet, because he can teach us that, | 0:00:05 | 0:00:08 | |
you know, life can be a mess, but you have to appreciate those times, | 0:00:08 | 0:00:11 | |
because if you don't appreciate those times, how are you going to appreciate it when something's | 0:00:11 | 0:00:15 | |
glorious or something magical's happening? | 0:00:15 | 0:00:17 | |
MUSIC: Song 2 by Blur | 0:00:17 | 0:00:18 | |
Pop music has chronicled our lives and brought us closer together. | 0:00:20 | 0:00:23 | |
This is its story, told by those who love it the most. | 0:00:25 | 0:00:28 | |
The fans. | 0:00:29 | 0:00:30 | |
SCREAMING | 0:00:31 | 0:00:33 | |
Over the last year, | 0:00:33 | 0:00:34 | |
fans from all over the country have been digging out and sharing with us | 0:00:34 | 0:00:37 | |
some of their most treasured, rare and personal memorabilia. | 0:00:37 | 0:00:41 | |
A home-made tribute. | 0:00:41 | 0:00:43 | |
A special snapshot. | 0:00:43 | 0:00:44 | |
A cheeky biro. | 0:00:44 | 0:00:46 | |
All precious and all with a wonderful story. | 0:00:46 | 0:00:50 | |
We've underlined all the words | 0:00:52 | 0:00:54 | |
that really meant something to us at the time! | 0:00:54 | 0:00:56 | |
They probably don't mean anything now, do they, though? | 0:00:56 | 0:00:59 | |
The rave scene brought people together and gave us smiley culture! | 0:00:59 | 0:01:03 | |
This is my first album, Catch A Fire. | 0:01:04 | 0:01:08 | |
Sister took me down to Woolworths to buy this one. | 0:01:08 | 0:01:10 | |
So, whether you're a fan of grime or indie, synthpop or jazz, | 0:01:13 | 0:01:17 | |
girl bands, prog, or if, like me, you're fond of a bit of dance and hip-hop, | 0:01:17 | 0:01:21 | |
this is about us, the people at the very heart of this thing called pop. | 0:01:21 | 0:01:26 | |
SCREAMING | 0:01:27 | 0:01:29 | |
Tonight we begin in 1997. | 0:01:30 | 0:01:32 | |
As we crossed into the next century, eclecticism ruled and the lines | 0:01:34 | 0:01:38 | |
between all the different musical tribes began to blur. | 0:01:38 | 0:01:41 | |
Technology was ripping up the rule book for us fans, cos the way | 0:01:41 | 0:01:45 | |
we began to interact with our favourite bands changed forever. | 0:01:45 | 0:01:49 | |
SCREAMING | 0:01:49 | 0:01:50 | |
Up until now, us fans have loved bands from afar, | 0:01:52 | 0:01:56 | |
but in this era the gap between fan and band began to close. | 0:01:56 | 0:02:00 | |
It felt like everyone in the same gang. | 0:02:02 | 0:02:04 | |
They just welcomed everyone in and let them all be part of their world, really. | 0:02:04 | 0:02:08 | |
Amy, you could have moaned to her about your boyfriend or | 0:02:08 | 0:02:11 | |
about the guy that you'd got off with that hadn't called you and | 0:02:11 | 0:02:14 | |
she'd be there with you. | 0:02:14 | 0:02:16 | |
We were all really just in awe of her. | 0:02:16 | 0:02:18 | |
-She's incredible. -I mean, as a live musician, I haven't seen anyone better, to be honest. | 0:02:18 | 0:02:22 | |
-She puts out her hands for a hug. It's like, "God, I'm hugging Adele!" -HE LAUGHS | 0:02:22 | 0:02:26 | |
It's the time I went from music fan to spreading the word about | 0:02:27 | 0:02:30 | |
the latest new bands on Radio 1 and Top Of The Pops. | 0:02:30 | 0:02:34 | |
So, let's talk about... | 0:02:34 | 0:02:35 | |
..how the internet shook up our record collections. | 0:02:36 | 0:02:39 | |
How we called the shots. | 0:02:41 | 0:02:43 | |
How we got closer to our heroes. | 0:02:46 | 0:02:48 | |
In the late '90s, the internet has truly arrived, | 0:03:00 | 0:03:03 | |
opening up extraordinary horizons of information. | 0:03:03 | 0:03:07 | |
I think we're actually on the cusp of something exhilarating and terrifying. | 0:03:07 | 0:03:11 | |
But this new world was threatened by a calamitous computer | 0:03:15 | 0:03:18 | |
apocalypse that loomed at the end of the century. | 0:03:18 | 0:03:21 | |
Call 0845 601 2000 for your free action pack. | 0:03:22 | 0:03:25 | |
MUSIC: Paranoid Android by Radiohead | 0:03:27 | 0:03:29 | |
The digital age had us thrilled, scared and overloaded in equal measure. | 0:03:29 | 0:03:34 | |
But one band and its devoted fans seemed more attuned to the millennial anxiety, | 0:03:34 | 0:03:39 | |
and one record would capture our deepest fears and feelings. | 0:03:39 | 0:03:43 | |
In 1997, 15-year-old Emily couldn't wait for the UK release of | 0:03:46 | 0:03:51 | |
Radiohead's OK Computer. | 0:03:51 | 0:03:53 | |
Literally couldn't wait. | 0:03:53 | 0:03:55 | |
Really unglamorous peas box. | 0:03:57 | 0:03:59 | |
I've got a CD from Japan. | 0:03:59 | 0:04:03 | |
That's the Japanese one. | 0:04:03 | 0:04:04 | |
I pre-ordered it from HMV and it was, like, something ridiculous | 0:04:04 | 0:04:07 | |
like 30 quid, cos Japanese imports back then were so expensive. | 0:04:07 | 0:04:10 | |
But it just meant I got it a bit earlier. | 0:04:10 | 0:04:12 | |
It hit you. You know, Airbag smacked you in the face. | 0:04:12 | 0:04:15 | |
It was like, "Wow, what's that?" | 0:04:15 | 0:04:17 | |
-Exit Music is, "Oh, my God." -SHE LAUGHS | 0:04:24 | 0:04:27 | |
# You can laugh... # | 0:04:27 | 0:04:32 | |
I can remember exactly where I was when I first heard it. | 0:04:32 | 0:04:34 | |
I was in a shopping arcade in the middle of Nottingham and I just, | 0:04:34 | 0:04:37 | |
like, had to just lean on the wall. | 0:04:37 | 0:04:40 | |
It sounds really over the top, but it's true! | 0:04:40 | 0:04:42 | |
The crescendo where it builds and his voice just comes up, | 0:04:42 | 0:04:45 | |
it's incredible. | 0:04:45 | 0:04:47 | |
# Now we are one... # | 0:04:48 | 0:04:53 | |
I was a very messed-up teenager. | 0:04:55 | 0:04:58 | |
I stopped going to school. | 0:04:58 | 0:04:59 | |
Then my dad died, which just made everything worse. | 0:04:59 | 0:05:02 | |
And Thom had...you know, there was a depressive slant to his lyrics, without being too overt. | 0:05:02 | 0:05:08 | |
And it was just Thom's portrayal of being an outsider as well | 0:05:08 | 0:05:11 | |
which appealed to me. | 0:05:11 | 0:05:13 | |
With bands like Radiohead, they sort of...you know, | 0:05:13 | 0:05:17 | |
they bring you in and accept you. | 0:05:17 | 0:05:19 | |
# They don't | 0:05:19 | 0:05:22 | |
# They don't speak for us... # | 0:05:22 | 0:05:26 | |
Student Lucy also wanted to be in Radiohead's gang and got her | 0:05:28 | 0:05:32 | |
copy of OK Computer early from Japan too. | 0:05:32 | 0:05:35 | |
But Lucy wanted to pick the right moment to hear it, | 0:05:35 | 0:05:38 | |
which was just after computing class. | 0:05:38 | 0:05:41 | |
I remember sitting listening to it on a sunny day, | 0:05:41 | 0:05:44 | |
having just come out of HTML class at uni, which was ironic, | 0:05:44 | 0:05:48 | |
and it just opening out and there being | 0:05:48 | 0:05:51 | |
a lot of songs I'd heard already that now sounded finished. | 0:05:51 | 0:05:55 | |
And things like Let Down that I'd never heard before, | 0:05:55 | 0:05:57 | |
and The Tourist, and just... | 0:05:57 | 0:05:59 | |
It just opening out and being, "This is their sound now. | 0:05:59 | 0:06:03 | |
"They don't sound like anybody else." | 0:06:03 | 0:06:05 | |
# Let down and hanging around... # | 0:06:05 | 0:06:09 | |
OK Computer in its final glory. | 0:06:12 | 0:06:15 | |
Then of course it starts getting all these amazing reviews, like, | 0:06:17 | 0:06:20 | |
out-of-sight crazy reviews everywhere. | 0:06:20 | 0:06:22 | |
Ten out of ten in the NME, | 0:06:24 | 0:06:26 | |
Uncut, five-star in Q. | 0:06:26 | 0:06:29 | |
Only four in the Guardian, but... | 0:06:29 | 0:06:31 | |
She later says, "In 2017 your grandchildren will still be analysing this," | 0:06:32 | 0:06:37 | |
or something like that, which is scary. | 0:06:37 | 0:06:39 | |
'Scarily accurate, I would say. | 0:06:41 | 0:06:43 | |
'After OK Computer blew our minds, | 0:06:43 | 0:06:46 | |
'Radiohead were announced as Glastonbury headliners.' | 0:06:46 | 0:06:50 | |
Glastonbury was when they kind of go supernova, | 0:06:50 | 0:06:52 | |
and it's never quite the same after that. | 0:06:52 | 0:06:55 | |
Lucy didn't get tickets to Glastonbury, but young Emily did. | 0:06:55 | 0:06:59 | |
Glastonbury. | 0:06:59 | 0:07:00 | |
It's just the little guide that you got. | 0:07:00 | 0:07:02 | |
Got in. Pretty overwhelmed from the start, like, | 0:07:02 | 0:07:05 | |
"Whoa, there's so many people," and, "This is really terrifying." | 0:07:05 | 0:07:08 | |
# I know a place where the sun hits the sky... # | 0:07:10 | 0:07:15 | |
We just went down on the Saturday morning first thing, | 0:07:15 | 0:07:19 | |
to go and stand on the barrier. | 0:07:19 | 0:07:21 | |
And that's where we stayed all day. | 0:07:21 | 0:07:23 | |
Andy, can you turn on the lights so we can see the people, | 0:07:23 | 0:07:26 | |
-cos we haven't seen them yet. -CHEERING | 0:07:26 | 0:07:28 | |
Thank you. | 0:07:30 | 0:07:31 | |
Hello. | 0:07:31 | 0:07:32 | |
I was so glad they were finally on, | 0:07:32 | 0:07:34 | |
and Thom was there and he looked beautiful. | 0:07:34 | 0:07:36 | |
And the lighting was really intense and very orange. | 0:07:36 | 0:07:39 | |
# Karma police, arrest this girl... # | 0:07:41 | 0:07:46 | |
I was literally yelling, "Thom!" | 0:07:47 | 0:07:49 | |
Which is on the footage. | 0:07:49 | 0:07:50 | |
CHEERING AND APPLAUSE | 0:07:51 | 0:07:53 | |
But I remember we were quite dehydrated. | 0:07:58 | 0:08:00 | |
We hadn't eaten, we hadn't moved. | 0:08:00 | 0:08:02 | |
I just went. I just fainted. | 0:08:02 | 0:08:05 | |
Gone, you know. | 0:08:05 | 0:08:06 | |
Obviously they dragged me out. | 0:08:06 | 0:08:07 | |
Then the next thing I remember is waking up lying on a haystack, | 0:08:07 | 0:08:11 | |
with a nurse offering me a Kit Kat, and I could hear Street Spirit | 0:08:11 | 0:08:16 | |
but I couldn't see it. | 0:08:16 | 0:08:17 | |
# Fade out again... # | 0:08:17 | 0:08:25 | |
After Glastonbury, I decided I wanted to see them more. | 0:08:29 | 0:08:34 | |
It was a fantastic experience doing all that. | 0:08:39 | 0:08:43 | |
Travelling the country, getting to see all these exciting cities, meeting all these cool people. | 0:08:43 | 0:08:48 | |
Just to be around people who get it. It was amazing. | 0:08:48 | 0:08:51 | |
CHEERING | 0:08:53 | 0:08:56 | |
Thank you. | 0:08:57 | 0:08:59 | |
After Radiohead, | 0:08:59 | 0:09:00 | |
waves of indie bands appeared each week in the NME and Melody Maker. | 0:09:00 | 0:09:04 | |
The likes of Stereophonics, Embrace and Travis. | 0:09:04 | 0:09:08 | |
The music mags had always told us who and what to like, | 0:09:08 | 0:09:11 | |
but some of us weren't having it any more. | 0:09:11 | 0:09:13 | |
I've seen Travis play live a few times now, | 0:09:14 | 0:09:17 | |
they are a fantastic festival band, | 0:09:17 | 0:09:19 | |
but I was lucky to get to see them at all. | 0:09:19 | 0:09:21 | |
Their second album was roundly trounced by the critics, | 0:09:21 | 0:09:24 | |
and the lads took those harsh words to heart. | 0:09:24 | 0:09:27 | |
They almost considered calling it a day. | 0:09:27 | 0:09:30 | |
That was until 16-year-old superfan Moray Swan got involved. | 0:09:30 | 0:09:33 | |
In 1999, 16-year-old Moray wrote to the music press to express his opinion. | 0:09:35 | 0:09:41 | |
This is a remarkable tale of a fan saving his favourite band. | 0:09:41 | 0:09:45 | |
-So, here we go. -Here we have the letter. -SARA GASPS | 0:09:47 | 0:09:49 | |
"The review of the Travis gig, Melody Maker, March 6th | 0:09:49 | 0:09:52 | |
-"pissed me off immensely." -Yes, Moray! | 0:09:52 | 0:09:55 | |
"Its criticism was based around the fact that Travis write music | 0:09:55 | 0:09:58 | |
"from the heart and express themselves in their music. | 0:09:58 | 0:10:00 | |
-"But I'm sorry. What's so wrong with that?" -Oh, this is a killer line. | 0:10:00 | 0:10:04 | |
"It's music that lasts, not the image. | 0:10:04 | 0:10:07 | |
"Beethoven and Bach are not remembered for their funky hairstyles. | 0:10:07 | 0:10:10 | |
-"Moray Swan, Aberdeenshire." -Beautiful. -So... | 0:10:10 | 0:10:13 | |
SARA CLAPS | 0:10:13 | 0:10:14 | |
I get the message I was trying to write. | 0:10:14 | 0:10:15 | |
I don't think I'd write it the same way just now. | 0:10:15 | 0:10:19 | |
# My inside is outside... # | 0:10:19 | 0:10:22 | |
Travis were now experimenting with a new-fangled website, | 0:10:22 | 0:10:25 | |
a place where lead singer Fran Healy was occasionally available for | 0:10:25 | 0:10:29 | |
a chat, which meant Moray found himself in more direct | 0:10:29 | 0:10:32 | |
contact than you could ever imagine. | 0:10:32 | 0:10:34 | |
Back in 1999, the band actually had a very basic message board. | 0:10:35 | 0:10:39 | |
I'd left a little note and Fran had responded to say, | 0:10:39 | 0:10:42 | |
"Is that Moray that wrote the letter into Melody Maker?" | 0:10:42 | 0:10:46 | |
I was like, "Oh, hi, Fran. Yeah, it is, it's me." | 0:10:46 | 0:10:48 | |
So, he said... | 0:10:48 | 0:10:50 | |
"As a way of saying thank you for what you've done, | 0:10:50 | 0:10:52 | |
"for you taking the time to do that, we're playing Glasgow in October, | 0:10:52 | 0:10:55 | |
"I'll put you down on the access-all-areas. | 0:10:55 | 0:10:58 | |
"Please come along to the show. It would be lovely to meet you and say thanks in person." | 0:10:58 | 0:11:02 | |
-Boom. OK. -And I just kind of hit the floor. | 0:11:02 | 0:11:04 | |
MUSIC: U16 Girls by Travis | 0:11:06 | 0:11:08 | |
When I went up and introduced myself, | 0:11:10 | 0:11:11 | |
I couldn't get out my name before he went, "Moray!" | 0:11:11 | 0:11:14 | |
And he jumped up. | 0:11:14 | 0:11:15 | |
I got a hug as if it was a long-lost friend. | 0:11:15 | 0:11:18 | |
He was just saying, you know, what the letter had meant to him. | 0:11:18 | 0:11:20 | |
And when he read that, he thought, "There's a chink of light. | 0:11:20 | 0:11:23 | |
"Maybe it doesn't matter what the reviewers say. | 0:11:23 | 0:11:25 | |
"If the people get it, then we'll be OK." | 0:11:25 | 0:11:28 | |
And, yeah, by that point, the fans had got the music, | 0:11:28 | 0:11:31 | |
the people had cottoned on and they just exploded over the summer. | 0:11:31 | 0:11:34 | |
They played Glastonbury, the album had gone to number one. | 0:11:34 | 0:11:37 | |
Yeah, it was huge. | 0:11:37 | 0:11:38 | |
I mean, I was doing Radio 1 Breakfast at the time and we | 0:11:38 | 0:11:40 | |
just played it nonstop. | 0:11:40 | 0:11:42 | |
I mean, it was a massive album. | 0:11:42 | 0:11:44 | |
# Why does it always rain on me? | 0:11:44 | 0:11:47 | |
# Is it because I lied when I was 17? # | 0:11:48 | 0:11:52 | |
-But that is not the end of the story, is it? -No. | 0:11:52 | 0:11:55 | |
15 years on from when the letter was written in 1999, myself and | 0:11:55 | 0:11:58 | |
my beautiful wife-to-be Paula were getting married in Edinburgh. | 0:11:58 | 0:12:02 | |
Little did I know in the background, Paula, | 0:12:02 | 0:12:05 | |
on very much a long shot, had sent an e-mail into the dark to | 0:12:05 | 0:12:09 | |
the band's management company at the time, saying, | 0:12:09 | 0:12:13 | |
"Hello, I'm Paula. I'm getting married to Moray Swan. Fran knows him. | 0:12:13 | 0:12:18 | |
"It would be lovely if you could play the first dance for us." | 0:12:18 | 0:12:21 | |
I've got goose bumps, that's so nice! | 0:12:21 | 0:12:23 | |
So, she did that about six weeks before the wedding. | 0:12:23 | 0:12:25 | |
So, I was going to ask you what your reaction was, | 0:12:25 | 0:12:27 | |
but you can show me, can't you, cos you've got some footage of it? | 0:12:27 | 0:12:29 | |
Go on, let's see. | 0:12:29 | 0:12:31 | |
CHEERING AND APPLAUSE | 0:12:32 | 0:12:36 | |
-And there's Fran! -There he goes. | 0:12:41 | 0:12:42 | |
-Yeah. -With his marvellous beard. | 0:12:44 | 0:12:46 | |
The only problem that I had, | 0:12:46 | 0:12:47 | |
it was our own personal show from our musical hero and | 0:12:47 | 0:12:50 | |
everybody else got to watch him, | 0:12:50 | 0:12:53 | |
and for at least half the time I'm spinning and looking the wrong way. | 0:12:53 | 0:12:57 | |
# Out in the crowd, you are one in a million | 0:12:58 | 0:13:02 | |
# And I love you so | 0:13:02 | 0:13:05 | |
# Let's watch the flowers grow... # | 0:13:05 | 0:13:07 | |
Moray, it's been nice hearing the whole story. | 0:13:08 | 0:13:11 | |
-Will you let me know what the next instalment is, please? -Sure. Yeah. | 0:13:11 | 0:13:14 | |
CHEERING AND APPLAUSE | 0:13:14 | 0:13:16 | |
A story that only happened thanks to Moray and Fran's love of music | 0:13:17 | 0:13:20 | |
and the direct connection digital technology allowed. | 0:13:20 | 0:13:24 | |
CHEERING AND APPLAUSE | 0:13:25 | 0:13:26 | |
For our kid brothers and sisters, indie was far too serious. | 0:13:26 | 0:13:30 | |
Much more fun was the glitzy chart pop on, well, Radio 1, | 0:13:30 | 0:13:34 | |
and our growing fascination with celebrities. | 0:13:34 | 0:13:37 | |
We wanted to know more and more details about, | 0:13:37 | 0:13:40 | |
and get unprecedented access to, our pop stars' lives. | 0:13:40 | 0:13:44 | |
13-year-old Malcolm was captivated with the stars he saw in magazines. | 0:13:44 | 0:13:49 | |
All this kind of obsession of, like, actually going to see pop stars | 0:13:49 | 0:13:54 | |
and things in the flesh started, because I was a massive Eternal fan. | 0:13:54 | 0:13:57 | |
# Stay, stay... # | 0:13:58 | 0:14:01 | |
And, yeah, these are, like, concert banners. | 0:14:04 | 0:14:07 | |
That was, like, a Kelle from Eternal one. | 0:14:09 | 0:14:11 | |
'When Malcolm's home-made banners weren't getting the attention of | 0:14:11 | 0:14:14 | |
'his favourite member of Eternal, he wrote to her. | 0:14:14 | 0:14:17 | |
'And one day the phone rang.' | 0:14:17 | 0:14:19 | |
I was upstairs and my sister called me and she said, | 0:14:19 | 0:14:21 | |
"Oh, my God, I think Kelle from Eternal's on the phone." | 0:14:21 | 0:14:24 | |
And I was like, "Oh, my God, she got my letter!" | 0:14:24 | 0:14:26 | |
And, yeah, I went downstairs and... yeah, and it was her. | 0:14:26 | 0:14:29 | |
# Ah-h-h-h, do you, do you, do you, do you feel the power? # | 0:14:29 | 0:14:35 | |
I had a chat with her for about, I don't know, | 0:14:35 | 0:14:37 | |
20, 25 minutes or something and it was just, like, | 0:14:37 | 0:14:39 | |
the most bizarre thing, cos that was my first-ever interaction | 0:14:39 | 0:14:42 | |
with any pop star and I was absolutely besotted with Eternal. | 0:14:42 | 0:14:46 | |
This kick-started Malcolm's mission to get closer to the bands | 0:14:48 | 0:14:51 | |
he loved, and there was one perfect place to go. | 0:14:51 | 0:14:54 | |
The Brit Awards was just, like, the ultimate thing growing up. | 0:14:54 | 0:14:57 | |
Everyone watched it, whether they were kind of really into pop music | 0:14:57 | 0:15:00 | |
or not, but no fans kind of at that time had access. | 0:15:00 | 0:15:05 | |
So, Malcolm and his mates hatched an audacious plan - to go where | 0:15:06 | 0:15:10 | |
no fan had gone before. | 0:15:10 | 0:15:11 | |
One of my friends just starts sketching the pass that was, | 0:15:11 | 0:15:14 | |
like, around this guy's neck. | 0:15:14 | 0:15:16 | |
And we thought, "Why not just, like, give it a go and kind of | 0:15:16 | 0:15:20 | |
"try and create one?" | 0:15:20 | 0:15:21 | |
Went to my dad's office and we made these passes. | 0:15:23 | 0:15:25 | |
-So, it was like...it was so basic! -HE LAUGHS | 0:15:25 | 0:15:28 | |
# I'm a burning effigy of everything I used to be... # | 0:15:28 | 0:15:31 | |
And we went down to the arena and, yeah, we walked in. | 0:15:31 | 0:15:35 | |
# Let me entertain you... # | 0:15:36 | 0:15:41 | |
We watched the entire show and went to the aftershow party. | 0:15:41 | 0:15:45 | |
Whitney Houston was there, the Eurythmics, Cher and, like, | 0:15:45 | 0:15:50 | |
just all these enormous stars, and it was like, "What is going on? | 0:15:50 | 0:15:53 | |
"This is... We're never, ever going to beat this." | 0:15:53 | 0:15:56 | |
-And I was 15 at the time! -HE LAUGHS | 0:15:56 | 0:15:59 | |
It was just absolutely ridiculous! | 0:15:59 | 0:16:01 | |
I don't know how we got away with doing that. | 0:16:01 | 0:16:04 | |
Malcolm's escapades got him closer to, and later friendly with, | 0:16:06 | 0:16:10 | |
the stars he idolised. | 0:16:10 | 0:16:12 | |
I grew up in, like, real suburbia in Surrey and it was | 0:16:12 | 0:16:15 | |
kind of escaping this world which I found really boring | 0:16:15 | 0:16:21 | |
and plain and stuff, | 0:16:21 | 0:16:22 | |
and just getting on the train and being part of this glitzy world | 0:16:22 | 0:16:27 | |
of, like, showbiz and pop stars and we just wanted to be part of that. | 0:16:27 | 0:16:33 | |
It was just my world, it was just our world. | 0:16:33 | 0:16:35 | |
MUSIC: C'est La Vie by B*Witched. | 0:16:35 | 0:16:38 | |
It wasn't just teenagers trying to escape. | 0:16:42 | 0:16:44 | |
Those of us working nine to five also wanted to lose ourselves in another world. | 0:16:44 | 0:16:50 | |
# God is a DJ... # | 0:16:50 | 0:16:52 | |
Hordes of us were devouring music in the hours when pop fans were | 0:16:56 | 0:17:00 | |
safely tucked up in bed. | 0:17:00 | 0:17:02 | |
And the club nights had to get bigger to cater for us all. | 0:17:02 | 0:17:05 | |
I had an absolute ball at some of these huge nights, | 0:17:09 | 0:17:11 | |
from Bugged Out to Back To Basics. | 0:17:11 | 0:17:13 | |
And as the clubs got bigger and bigger, they got branded. | 0:17:13 | 0:17:16 | |
This is the era of the superclub. | 0:17:16 | 0:17:18 | |
# This is my church... # | 0:17:20 | 0:17:23 | |
Now these clubbing brands were our idols, it was the club nights we now | 0:17:23 | 0:17:26 | |
worshipped, from Cream in Liverpool to Ministry of Sound in London. | 0:17:26 | 0:17:30 | |
And to ensure we got in, we wore our best designer togs - Diesel, | 0:17:31 | 0:17:36 | |
Red or Dead, Patrick Cox loafers - no relation. | 0:17:36 | 0:17:39 | |
Leeds-born Rob was a devoted fan of Gatecrasher, | 0:17:40 | 0:17:44 | |
a club night based in Sheffield. | 0:17:44 | 0:17:46 | |
So much so he created his own Gatecrasher uniforms, | 0:17:46 | 0:17:49 | |
adorned with the club's lion logo. | 0:17:49 | 0:17:52 | |
Less designer store, more pet emporium. | 0:17:52 | 0:17:55 | |
Signature look was the top that I was most renowned for. | 0:17:56 | 0:18:01 | |
As you can see, it's had a bit of wear and tear over the years. | 0:18:01 | 0:18:05 | |
But this is kind of sort of my trademark top that, you know, | 0:18:05 | 0:18:08 | |
I custom-made. | 0:18:08 | 0:18:09 | |
With a "risk of electric shock" warning sign that I pinched off | 0:18:09 | 0:18:13 | |
the back of a drinks machine... | 0:18:13 | 0:18:15 | |
This is the flashing collar that I used to wear with my outfit. | 0:18:15 | 0:18:19 | |
It's actually a dog collar that I bought from a pet shop. | 0:18:19 | 0:18:21 | |
Rob was devoted to Gatecrasher. It became his spiritual home. | 0:18:23 | 0:18:28 | |
I'd gone through a few issues with regards to family moving away, | 0:18:28 | 0:18:32 | |
sort of leaving me, persuading me not to move back to Leeds | 0:18:32 | 0:18:35 | |
with them because I had a job. | 0:18:35 | 0:18:37 | |
I was working in a factory. | 0:18:37 | 0:18:39 | |
I was basically sofa-surfing. | 0:18:39 | 0:18:41 | |
Sometimes I even... I ended up, | 0:18:41 | 0:18:43 | |
you know, having to live out of my car for, you know, a week, | 0:18:43 | 0:18:46 | |
two weeks at a time. | 0:18:46 | 0:18:47 | |
Erm... | 0:18:47 | 0:18:49 | |
But, yeah, you know, it was all about living for the weekend and Gatecrasher. | 0:18:49 | 0:18:52 | |
# You're not alone... # | 0:18:52 | 0:18:54 | |
Rob loved Gatecrasher as much as any superfan loves their band, | 0:18:54 | 0:18:58 | |
and any memento of a great night out was treasured. | 0:18:58 | 0:19:01 | |
Here's a couple of lanyards from the Millennium. | 0:19:02 | 0:19:07 | |
And also from the Summer Sound System events that Gatecrasher held. | 0:19:07 | 0:19:12 | |
One of the projector slides. | 0:19:12 | 0:19:13 | |
This is the front of the cigarette machine. | 0:19:13 | 0:19:17 | |
MUSIC: Kernkraft 400 by Zombie Nation | 0:19:17 | 0:19:19 | |
We were all kind of sort of travelling the length and | 0:19:20 | 0:19:22 | |
breadth of Britain every Saturday, and going and supporting our club. | 0:19:22 | 0:19:26 | |
You think about the tribalism and the culture with football fans, | 0:19:26 | 0:19:30 | |
you know, and it was very much like that. | 0:19:30 | 0:19:31 | |
It was an identity, it was part of who we were. | 0:19:31 | 0:19:33 | |
Without the DJs offering much to mimic fashion-wise, | 0:19:37 | 0:19:41 | |
Rob and his friends with their home-made outfits were starting | 0:19:41 | 0:19:43 | |
a brand-new tribe on the dance floor - the Gatecrasher Kids. | 0:19:43 | 0:19:47 | |
The Gatecrasher Kids were someone that had a unique style. | 0:19:47 | 0:19:51 | |
If it was a lad that had spiked hair, colours in it, | 0:19:51 | 0:19:54 | |
we'd all congregate around the front of the stage and on the railings. | 0:19:54 | 0:19:57 | |
Really, it was kind of sort of the figurepoint of what almost became Gatecrasher's identity. | 0:19:57 | 0:20:02 | |
Rob and his friends noticed more and more clubbers joining their | 0:20:05 | 0:20:08 | |
Crasher Kid tribe, and so did the press. | 0:20:08 | 0:20:11 | |
For me the explosion really was myself and Lee appearing on | 0:20:11 | 0:20:15 | |
the cover of DJ Magazine. | 0:20:15 | 0:20:17 | |
At the time we were actually the first non-DJs to appear on | 0:20:17 | 0:20:22 | |
the front cover of the magazine | 0:20:22 | 0:20:23 | |
so it was an absolutely defining moment. | 0:20:23 | 0:20:25 | |
People were stopping asking for your photos. | 0:20:25 | 0:20:28 | |
We've had to sign front covers of DJ Magazines. | 0:20:28 | 0:20:31 | |
It almost became like a celebrity status. | 0:20:31 | 0:20:33 | |
It was just so weird. | 0:20:33 | 0:20:35 | |
We were just a group of people that went to a nightclub. | 0:20:35 | 0:20:37 | |
At the time, with regards to superclubs and things like that, | 0:20:37 | 0:20:40 | |
people, the crowd, go to see the DJs or the line-up. | 0:20:40 | 0:20:44 | |
People were coming to see us just as much as the DJs | 0:20:44 | 0:20:47 | |
and to experience the venue. | 0:20:47 | 0:20:50 | |
# I need a miracle, I need a miracle. # | 0:20:52 | 0:20:56 | |
It was the biggest influence I've had on my life. | 0:20:56 | 0:20:59 | |
When you look at the core group of friends that I've got, | 0:20:59 | 0:21:03 | |
they've all come from Gatecrasher. | 0:21:03 | 0:21:05 | |
I've got the tattoo on my arm - Gatecrasher's slogan in Spanish. | 0:21:05 | 0:21:08 | |
I definitely think it's defined me | 0:21:08 | 0:21:10 | |
and it's made me the person that I am today. | 0:21:10 | 0:21:13 | |
We played a lot of dance music on Radio 1 in the late '90s | 0:21:13 | 0:21:16 | |
but to get onto the playlist | 0:21:16 | 0:21:17 | |
songs usually had to have a mainstream record label behind them. | 0:21:17 | 0:21:21 | |
Fans of music that hadn't yet been picked up by the record industry | 0:21:23 | 0:21:27 | |
found it hard to hear new tracks. | 0:21:27 | 0:21:30 | |
Carl from Ipswich loved a new, very British sound called UK garage | 0:21:30 | 0:21:35 | |
that was struggling to be heard legally. | 0:21:35 | 0:21:38 | |
The only option was to tune in to pirate radio in his car. | 0:21:38 | 0:21:42 | |
At the time I was working as a chef. | 0:21:42 | 0:21:45 | |
Every two weeks I'd go down to London. | 0:21:45 | 0:21:47 | |
Coming straight in, you're fiddling with the stations. | 0:21:47 | 0:21:50 | |
Pirate radio was king. | 0:21:50 | 0:21:52 | |
You've got stations set up just for UK garage. | 0:21:52 | 0:21:56 | |
One of them would be London Underground. | 0:21:56 | 0:21:58 | |
You'd have ICE FM, you'd have Magic FM. | 0:21:58 | 0:22:01 | |
The music was something else. | 0:22:01 | 0:22:02 | |
They'd be playing all the latest dubs. | 0:22:02 | 0:22:04 | |
It got competitive as well. | 0:22:04 | 0:22:06 | |
Sometimes London Underground's not on and then you'd hear later on in | 0:22:06 | 0:22:10 | |
the week that someone from Deja Vu had gone over to London Underground | 0:22:10 | 0:22:15 | |
and so they're on and they're not on. | 0:22:15 | 0:22:18 | |
The pirates helped the music industry in this country. | 0:22:18 | 0:22:21 | |
Without that, we wouldn't have been where we are today. | 0:22:21 | 0:22:24 | |
The UK garage the pirates were playing was | 0:22:26 | 0:22:28 | |
a combination of the melodies of American house with the | 0:22:28 | 0:22:31 | |
basslines and fast tempo of jungle, | 0:22:31 | 0:22:34 | |
but the DJs would cherry-pick from any genre to keep everyone dancing. | 0:22:34 | 0:22:39 | |
UK garage, it spoke to me. | 0:22:39 | 0:22:42 | |
I loved the soulfulness. | 0:22:42 | 0:22:44 | |
I loved the soulfulness, the R&B tracks. | 0:22:44 | 0:22:47 | |
Some of the UK-garage DJs would listen to an R&B track and | 0:22:47 | 0:22:51 | |
completely sweep it around and you'd think, "Wow, that is good, man!" | 0:22:51 | 0:22:58 | |
# Be sincere | 0:22:58 | 0:23:01 | |
# I'm crazy | 0:23:01 | 0:23:03 | |
# Don't do it. # | 0:23:03 | 0:23:05 | |
As pirate radio was spreading the sound, | 0:23:05 | 0:23:07 | |
UK-garage club nights were popping up all over London | 0:23:07 | 0:23:11 | |
and Carl was at the heart of this new club scene. | 0:23:11 | 0:23:14 | |
This is the famous Twice As Nice. | 0:23:14 | 0:23:16 | |
This was one of the big clubs. | 0:23:16 | 0:23:18 | |
Eight o'clock to 3am in the morning. | 0:23:18 | 0:23:20 | |
I don't know how people got to work. | 0:23:20 | 0:23:22 | |
I don't know how I got to work. | 0:23:22 | 0:23:24 | |
Oh, my God, that was so good. | 0:23:24 | 0:23:27 | |
# Do you really like it? # | 0:23:27 | 0:23:29 | |
UK-garage clubbers dressed up. It was all about looking your best. | 0:23:29 | 0:23:33 | |
Everyone's dressed to the nines. | 0:23:33 | 0:23:36 | |
People wanted to feel good and look good and feel important. | 0:23:36 | 0:23:39 | |
Everything was up class. | 0:23:39 | 0:23:41 | |
If you were wearing trainers you couldn't get it. | 0:23:41 | 0:23:43 | |
Once you got in, you might see celebrities. | 0:23:43 | 0:23:46 | |
But I was down there for the music. | 0:23:46 | 0:23:48 | |
I was always looking at the tune, trying to get the latest tune. | 0:23:48 | 0:23:52 | |
All those times, I wish they could come back. | 0:23:52 | 0:23:54 | |
# Re-rewind, inter selecta. # | 0:23:54 | 0:23:57 | |
Fan power drove UK garage over into the mainstream. | 0:23:57 | 0:24:01 | |
With the sheer amount of people loving it, | 0:24:01 | 0:24:03 | |
it was only a matter of time before it got into the charts | 0:24:03 | 0:24:06 | |
and it was now debuting in the top ten. | 0:24:06 | 0:24:09 | |
Tracks like Artful Dodger's Re-Rewind... | 0:24:09 | 0:24:12 | |
# Making waves, yeah. # | 0:24:12 | 0:24:14 | |
..Shanks & Bigfoot's Sweet Like Chocolate... | 0:24:14 | 0:24:17 | |
# Sweet like chocolate, boy. # | 0:24:17 | 0:24:20 | |
..and Craig David's Fill Me In, | 0:24:20 | 0:24:22 | |
which went straight in at number one. | 0:24:22 | 0:24:25 | |
# All right. # | 0:24:25 | 0:24:27 | |
Craig David was one of the biggest names in UK garage. | 0:24:31 | 0:24:35 | |
He was the sort of figurehead. | 0:24:35 | 0:24:36 | |
If you turned on Top Of The Pops or whatever, | 0:24:36 | 0:24:38 | |
you saw Craig David doing a world tour. | 0:24:38 | 0:24:40 | |
You went, "Oh, my God, he's from Southampton." | 0:24:40 | 0:24:43 | |
# Can you fill me in? | 0:24:43 | 0:24:45 | |
# I think I'll sing it again, I think I'll sing it again. # | 0:24:45 | 0:24:47 | |
Carl felt UK garage was an important moment in black music history. | 0:24:47 | 0:24:52 | |
UK garage was the first time that... we could say that was ours. | 0:24:52 | 0:24:56 | |
Garage was multicultural. | 0:24:56 | 0:24:58 | |
It was a black movement but you had a lot of white players | 0:24:58 | 0:25:01 | |
in there as well, but the main thing was it was British. | 0:25:01 | 0:25:04 | |
# I said, can you fill me in? # | 0:25:04 | 0:25:08 | |
UK garage was a grassroots sound that had snuck up on | 0:25:09 | 0:25:13 | |
the music industry thanks to the sheer enthusiasm of the fans. | 0:25:13 | 0:25:17 | |
Slowly the industry was cottoning on to the power of what we could do | 0:25:17 | 0:25:21 | |
to spread the word about a sound or band. | 0:25:21 | 0:25:24 | |
In the glossy world of music videos, however, | 0:25:24 | 0:25:27 | |
fans were never seen on screen. | 0:25:27 | 0:25:29 | |
But that didn't stop our new-found fascination with filming ourselves, | 0:25:29 | 0:25:33 | |
inspired by Video Nation and our increased access to video cameras. | 0:25:33 | 0:25:37 | |
So, in this sideboard here is where I keep my original | 0:25:41 | 0:25:45 | |
Feeder Just A Day videotape. | 0:25:45 | 0:25:47 | |
TRACK BEGINS | 0:25:52 | 0:25:54 | |
And there I am just standing around in the middle of the video. | 0:25:56 | 0:26:00 | |
Welsh rock band Feeder understood the power of fans and for | 0:26:05 | 0:26:08 | |
the first time ever asked them to be in the video for their 2001 track | 0:26:08 | 0:26:12 | |
Just A Day. | 0:26:12 | 0:26:14 | |
14-year-old Feeder fan Mark heard about the video | 0:26:14 | 0:26:17 | |
in a band newsletter. | 0:26:17 | 0:26:19 | |
So they said, "We want you to put the song on in your bedroom | 0:26:19 | 0:26:21 | |
"and just film yourself just doing whatever." | 0:26:21 | 0:26:26 | |
# Waking up at 12 in my clothes again | 0:26:26 | 0:26:28 | |
# Feel my head explode from a night of gin. # | 0:26:28 | 0:26:32 | |
So one Saturday afternoon I took myself up to my bedroom, | 0:26:32 | 0:26:35 | |
set the video camera up in the corner, got the guitar out, | 0:26:35 | 0:26:39 | |
bounced around the room, sang into the camera. | 0:26:39 | 0:26:42 | |
Put all my details on the cassette, stuck it in a bag, | 0:26:42 | 0:26:45 | |
sent it in the post and didn't really think more of it. | 0:26:45 | 0:26:47 | |
I was off on my paper round one morning and then came back to | 0:26:47 | 0:26:51 | |
my phone and there was a text on there that said, | 0:26:51 | 0:26:54 | |
"I've just seen you on TV." | 0:26:54 | 0:26:56 | |
HE LAUGHS | 0:26:58 | 0:26:59 | |
That just makes me laugh when I see that one. | 0:26:59 | 0:27:03 | |
Just those moves are like... | 0:27:03 | 0:27:05 | |
I can see myself moving like that when I was that age. | 0:27:05 | 0:27:08 | |
Looking back I just think why didn't you move a bit more? | 0:27:11 | 0:27:14 | |
Why didn't you do this, that or the other? | 0:27:14 | 0:27:17 | |
The strange thing is, by watching it I feel like I know all these people, | 0:27:17 | 0:27:20 | |
having never met any of them. | 0:27:20 | 0:27:23 | |
# Your friend, I blame myself. # | 0:27:23 | 0:27:26 | |
When this came out I don't think anyone had done anything | 0:27:26 | 0:27:29 | |
quite like it, which seems like such a simple idea for a video. | 0:27:29 | 0:27:32 | |
2001, pre-YouTube, pre-Myspace, pre any of that. | 0:27:32 | 0:27:36 | |
That didn't exist. | 0:27:36 | 0:27:38 | |
I still feel something, you know, when I see it, | 0:27:38 | 0:27:41 | |
like I saw it for the first time, because it is a part of my history. | 0:27:41 | 0:27:45 | |
'Don't know where that came from.' | 0:27:45 | 0:27:48 | |
Appearing in pop stars' videos wasn't enough. | 0:27:48 | 0:27:51 | |
We now wanted to be part of their lives, their struggle for success, | 0:27:51 | 0:27:54 | |
even to judge who would make it, | 0:27:54 | 0:27:56 | |
and Saturday-night telly was feeding this desire. | 0:27:56 | 0:28:00 | |
For the first time in ages, | 0:28:02 | 0:28:04 | |
whole families were coming together to watch the same music on | 0:28:04 | 0:28:07 | |
a Saturday night, old-fashioned entertainment with a twist, | 0:28:07 | 0:28:11 | |
letting us decide who would win or lose. | 0:28:11 | 0:28:14 | |
It was huge. We all had an emotional stake in the outcome | 0:28:14 | 0:28:17 | |
and it mattered for all sorts of reasons. | 0:28:17 | 0:28:21 | |
Mother and daughter Zoe and Jane had never liked the same singer before | 0:28:21 | 0:28:25 | |
until they both found themselves glued to the screen. | 0:28:25 | 0:28:29 | |
Pop Idol was a new show and it came really for us at the right time, | 0:28:29 | 0:28:34 | |
because my husband had just recently passed away | 0:28:34 | 0:28:37 | |
and I wasn't in a good place at all. | 0:28:37 | 0:28:40 | |
Pop Idol gave me a purpose | 0:28:40 | 0:28:43 | |
whereby it was something to look forward to. | 0:28:43 | 0:28:47 | |
CHEERING AND APPLAUSE | 0:28:48 | 0:28:50 | |
Will was their favourite from the beginning. | 0:28:50 | 0:28:54 | |
There was just something about him. | 0:28:54 | 0:28:56 | |
He didn't take any rubbish from anybody | 0:28:56 | 0:29:00 | |
and I knew that he had a good voice. | 0:29:00 | 0:29:03 | |
It made me want to pick up the phone to vote because I wanted him to win. | 0:29:03 | 0:29:08 | |
I'd never done anything like that before ever. | 0:29:08 | 0:29:11 | |
Will v Gareth was the ultimate talent contest, all decided by us, | 0:29:13 | 0:29:17 | |
so they campaigned election-style to secure our vote. | 0:29:17 | 0:29:21 | |
-NEWSREADER: -They've got the screaming girls. | 0:29:23 | 0:29:25 | |
They've got their own merchandising. | 0:29:25 | 0:29:27 | |
They've even got their own buses. | 0:29:27 | 0:29:29 | |
Yes, it's Will versus Gareth in the final of Pop Idol, | 0:29:29 | 0:29:31 | |
and with the big day less than a week away, | 0:29:31 | 0:29:34 | |
the attention being focused on these wannabe superstars | 0:29:34 | 0:29:36 | |
is getting more and more intense. | 0:29:36 | 0:29:39 | |
Gareth Gates was initially the favourite to win but no-one | 0:29:39 | 0:29:42 | |
knew the result until nearly 13 million of us | 0:29:42 | 0:29:45 | |
were sat in front of our TVs for the live final. | 0:29:45 | 0:29:49 | |
The winner of Pop Idol... | 0:29:49 | 0:29:53 | |
I remember sitting there thinking, | 0:29:53 | 0:29:54 | |
"Oh, just get on with it. I can't stand this. Just get on!" | 0:29:54 | 0:29:57 | |
Then I just said, "Oh, Gareth's won. He's won. Gareth's won. | 0:29:57 | 0:30:00 | |
"Will's got no chance." | 0:30:00 | 0:30:01 | |
..Will! | 0:30:01 | 0:30:03 | |
SCREAMING AND APPLAUSE | 0:30:03 | 0:30:05 | |
-Really? Pardon? -Will! | 0:30:05 | 0:30:07 | |
I remember actually shouting up, jumping up, "Yes, yes, yes!" | 0:30:07 | 0:30:13 | |
# I'm going to take this moment. # | 0:30:17 | 0:30:20 | |
After helping him win Pop Idol and buying his single Evergreen | 0:30:20 | 0:30:24 | |
to get him a Christmas number one, | 0:30:24 | 0:30:26 | |
Zoe and Jane then bought tickets to every Will Young gig they could. | 0:30:26 | 0:30:30 | |
We've been all over the place. | 0:30:31 | 0:30:34 | |
He's such a fantastic live vocalist. | 0:30:34 | 0:30:38 | |
It seems to us like he's singing to us. | 0:30:38 | 0:30:41 | |
That's how it makes you feel. | 0:30:41 | 0:30:44 | |
# I think I'd better leave right now | 0:30:44 | 0:30:47 | |
# Before I fall any deeper. # | 0:30:47 | 0:30:49 | |
After helping to create their star, | 0:30:49 | 0:30:51 | |
Zoe and Jane continue to support Will by buying all his merchandise. | 0:30:51 | 0:30:55 | |
Everywhere we've been to, we just buy everything. | 0:30:55 | 0:30:59 | |
T-shirts, programmes, mugs. | 0:30:59 | 0:31:02 | |
-Drink your tea with Will. -Yeah. | 0:31:02 | 0:31:05 | |
Filling walls and shelves was not enough to sate their appetite, | 0:31:05 | 0:31:09 | |
so they signed up for the Will Weekenders, | 0:31:09 | 0:31:12 | |
mini-breaks with other Will fans. | 0:31:12 | 0:31:14 | |
These are the badges that we used to have. | 0:31:14 | 0:31:17 | |
-Reading was the first one... -The first one. | 0:31:17 | 0:31:19 | |
..and that was just a mad weekend from beginning to end. | 0:31:19 | 0:31:22 | |
It was everything Will. | 0:31:22 | 0:31:24 | |
The music, quizzes. | 0:31:24 | 0:31:27 | |
-Karaoke. -Karaoke. | 0:31:27 | 0:31:29 | |
-You name it. -Raffles. -Raffles, everything. | 0:31:29 | 0:31:32 | |
That's what we had to eat, look. | 0:31:32 | 0:31:35 | |
Melon, chicken, cheese and coffee with mints. | 0:31:35 | 0:31:38 | |
We have had some wonderful times. | 0:31:38 | 0:31:40 | |
We go everywhere. We really do. | 0:31:40 | 0:31:43 | |
Do everything together, within reason. | 0:31:43 | 0:31:46 | |
Will-wise. | 0:31:46 | 0:31:49 | |
Yes. | 0:31:49 | 0:31:50 | |
# I think I'd better leave right now... # | 0:31:50 | 0:31:53 | |
Without Will, personally, I don't know where I would have been. | 0:31:53 | 0:31:57 | |
I can't say. I just don't know. | 0:31:57 | 0:32:00 | |
I know that it was the best thing that happened to me... | 0:32:00 | 0:32:03 | |
..and I wish Will knew how much he enriches people's lives. | 0:32:04 | 0:32:10 | |
# I think I'd better leave right now. # | 0:32:10 | 0:32:14 | |
Whilst we pushed Will and the other pop idols up the charts in | 0:32:19 | 0:32:22 | |
the early 2000s, not everything at this point was so neatly packaged. | 0:32:22 | 0:32:26 | |
Some of it recalled the raw energy of punk. | 0:32:26 | 0:32:30 | |
# I saw two shadow men on the Vallance Road | 0:32:30 | 0:32:33 | |
# Said they'd pay me for your address | 0:32:35 | 0:32:37 | |
# Oh, I was so bold. # | 0:32:37 | 0:32:40 | |
It's 2002 and a brand-new band explodes onto the scene | 0:32:40 | 0:32:44 | |
that makes everyone at Radio 1 sit up and pay attention. | 0:32:44 | 0:32:48 | |
The buzz around The Libertines reverberated through us all. | 0:32:48 | 0:32:52 | |
They were raw, they were loud, they were sexy, they were cool. | 0:32:52 | 0:32:55 | |
And they prided themselves on being close to their fans | 0:32:59 | 0:33:01 | |
from the very beginning. | 0:33:01 | 0:33:03 | |
Lead singer Pete attracted an especially devoted following. | 0:33:03 | 0:33:06 | |
Yeah, his lyrics are like poetry, | 0:33:06 | 0:33:08 | |
like how he releases music on the internet. No-one else does that. | 0:33:08 | 0:33:11 | |
That's, like, a direct link between me and him, | 0:33:11 | 0:33:13 | |
that he's releasing his music on the internet. | 0:33:13 | 0:33:15 | |
That means so much to me and all the fans, | 0:33:15 | 0:33:18 | |
cos it's as if he's talking to you, straight to you. | 0:33:18 | 0:33:21 | |
No-one else has got that. | 0:33:21 | 0:33:23 | |
I'm on my way now to meet a fan who was there from the very beginning | 0:33:23 | 0:33:26 | |
and quickly found himself at the heart of the Libertines world. | 0:33:26 | 0:33:29 | |
This is their fanzine, | 0:33:31 | 0:33:33 | |
-the one and only fanzine that they released for the fan club... -OK. | 0:33:33 | 0:33:37 | |
..a newsletter and my membership card as well. | 0:33:37 | 0:33:40 | |
What advantages were there to having this card? | 0:33:40 | 0:33:43 | |
Well, it was supposed to get us into a special fan-club gig, that | 0:33:43 | 0:33:47 | |
didn't happen cos they split up. | 0:33:47 | 0:33:50 | |
-So they managed to get out one fanzine before splitting up? -Yeah. | 0:33:50 | 0:33:53 | |
So here we go, we've got the Chronicle, the magazine. | 0:33:53 | 0:33:56 | |
"Albion is our vessel. | 0:33:56 | 0:33:57 | |
"Arcadia is our destination and our starting point. | 0:33:57 | 0:34:00 | |
"We needn't have a Classical education or a British passport. | 0:34:00 | 0:34:03 | |
"Only an imagination." | 0:34:03 | 0:34:05 | |
This, when you're 18, it's really cool, isn't it? | 0:34:05 | 0:34:08 | |
-Were you just totally on that ship with them? -Definitely, yeah. | 0:34:08 | 0:34:12 | |
We're here now in Camden. | 0:34:20 | 0:34:22 | |
It's now called The Assembly Rooms but it used to be The Barfly. | 0:34:22 | 0:34:25 | |
You saw them here, didn't you? | 0:34:25 | 0:34:26 | |
To hear The Libertines live was completely different to | 0:34:26 | 0:34:30 | |
pretty much any other gig I'd been to. | 0:34:30 | 0:34:32 | |
I'd read about gigs by The Clash, | 0:34:32 | 0:34:34 | |
so to see The Libertines live was almost like that. | 0:34:34 | 0:34:38 | |
It was just the four of them on stage, | 0:34:38 | 0:34:40 | |
just kind of banging through the songs. | 0:34:40 | 0:34:42 | |
-You got to know Pete pretty well, didn't you? -Yeah. | 0:34:47 | 0:34:49 | |
The first time I met him we were sat in the pub and then | 0:34:49 | 0:34:52 | |
Pete Doherty just walks in. | 0:34:52 | 0:34:54 | |
There's literally us and no-one else and my friend went up to him. | 0:34:54 | 0:34:58 | |
She just said to him, "Are you and Carl going to fight tonight?" | 0:34:58 | 0:35:01 | |
What did he say? | 0:35:01 | 0:35:02 | |
He just turned around and said, like, | 0:35:02 | 0:35:04 | |
-"No, I'm going to fight him," and pointed at me. -Beautiful. | 0:35:04 | 0:35:07 | |
-And this is where the relationship began, a beautiful friendship. -Yeah. | 0:35:07 | 0:35:10 | |
Do you feel like he just felt like one of the guys, really? | 0:35:10 | 0:35:14 | |
Yeah, definitely. | 0:35:14 | 0:35:15 | |
I mean, that's the way I think he seemed to come across | 0:35:15 | 0:35:18 | |
all throughout. It was almost as if he felt | 0:35:18 | 0:35:20 | |
like one of the fans himself. | 0:35:20 | 0:35:22 | |
-He was a fan of the band... -Yeah. -..as much as everyone else. | 0:35:22 | 0:35:25 | |
# They'll never forgive you but they won't let you go... # | 0:35:25 | 0:35:30 | |
You went on to see The Libertines play at quite a... | 0:35:30 | 0:35:32 | |
-well, a more unusual venue, didn't you? -Yeah. | 0:35:32 | 0:35:35 | |
Let's have a look. | 0:35:35 | 0:35:37 | |
OK, so... | 0:35:37 | 0:35:38 | |
-Oh, where's this? -This is in Pete's flat in Whitechapel. | 0:35:38 | 0:35:43 | |
OK. Gosh. | 0:35:43 | 0:35:44 | |
GUITAR PLAYS | 0:35:46 | 0:35:49 | |
# I'll never say never | 0:35:50 | 0:35:52 | |
# I'll never say never again... # | 0:35:52 | 0:35:54 | |
Pete would go online and go on the message board and say, | 0:35:54 | 0:35:57 | |
"I'm playing a gig in my flat tonight." | 0:35:57 | 0:35:59 | |
Up until now really, I mean, most bands and artists, | 0:35:59 | 0:36:02 | |
they want to keep their home address completely private so there's | 0:36:02 | 0:36:06 | |
no fans hanging around, nobody knows where they are, | 0:36:06 | 0:36:08 | |
-but here he is, inviting people into his actual home. -Yeah. | 0:36:08 | 0:36:11 | |
# Bare necessities of mother nature's recipes... # | 0:36:14 | 0:36:18 | |
That's you, isn't it?! | 0:36:18 | 0:36:20 | |
I spotted you. HE LAUGHS | 0:36:20 | 0:36:23 | |
INDISTINCT SPEECH AND LAUGHTER | 0:36:23 | 0:36:25 | |
They just welcomed everyone in, | 0:36:29 | 0:36:30 | |
let them all be part of their world, really. | 0:36:30 | 0:36:32 | |
-It felt like you'd kind of had a look behind the scenes, or... -Yeah. | 0:36:32 | 0:36:36 | |
They just got everyone involved, got everyone in the same gang. | 0:36:36 | 0:36:39 | |
Don't forget your membership card, | 0:36:39 | 0:36:41 | |
because it might come in handy again, you never know! | 0:36:41 | 0:36:43 | |
You might be able to collect some points on it. | 0:36:43 | 0:36:46 | |
-I'll take it right now. -HE LAUGHS | 0:36:46 | 0:36:48 | |
MUSIC FADES OUT | 0:36:51 | 0:36:52 | |
Out of that same north-London cool came a star with the voice | 0:36:56 | 0:36:59 | |
of a jazz siren and a connection to her fans that was closer | 0:36:59 | 0:37:03 | |
and deeper than any pop diva. | 0:37:03 | 0:37:06 | |
# You should be stronger than me... # | 0:37:06 | 0:37:10 | |
Uni student Sarah was the same age as Amy | 0:37:10 | 0:37:13 | |
and was smitten from the start. | 0:37:13 | 0:37:16 | |
These are some posters that I was really...I was really thrilled... | 0:37:17 | 0:37:22 | |
And it's double-sided, which I found very exciting. | 0:37:22 | 0:37:25 | |
That... I knew all the numbers! | 0:37:25 | 0:37:27 | |
I knew all the numbers, cos I'd looked at it so much. | 0:37:27 | 0:37:30 | |
# When you walk in the bar and you're dressed like a star... # | 0:37:30 | 0:37:35 | |
Desperate to see her live, Sarah dragged her friends to Amy's | 0:37:35 | 0:37:39 | |
next gig, a jazz festival in Wales. | 0:37:39 | 0:37:43 | |
So, this is...this is a set list, obviously, | 0:37:43 | 0:37:46 | |
from the first gig that I saw her at. | 0:37:46 | 0:37:51 | |
It was a very well-behaved crowd and they were all sat down and | 0:37:51 | 0:37:54 | |
they were all in very neat rows and my friend and I were at the front | 0:37:54 | 0:37:58 | |
and we were singing along, | 0:37:58 | 0:38:00 | |
really dancing, and so she was like, "I love these girls! | 0:38:00 | 0:38:03 | |
"I love these girls!" And everybody else was kind of... | 0:38:03 | 0:38:07 | |
Which must have been, like, really difficult for her, cos she just... | 0:38:07 | 0:38:10 | |
she was like, "Oh, come on! Come on, let's go." | 0:38:10 | 0:38:13 | |
Finally, on the last song, they got dancing and she was like, | 0:38:13 | 0:38:16 | |
"It's too late now, look, we've finished!" | 0:38:16 | 0:38:18 | |
# You don't like players | 0:38:18 | 0:38:20 | |
# That's what you said... # | 0:38:20 | 0:38:22 | |
She was brilliant, she was exactly as you wanted her to be. | 0:38:22 | 0:38:25 | |
She was friendly and she was funny, and then I was like, | 0:38:25 | 0:38:30 | |
"Can I have a picture?" | 0:38:30 | 0:38:31 | |
And then I had two people taking pictures, so I was like, | 0:38:31 | 0:38:34 | |
"I need a picture here and I need a picture here," | 0:38:34 | 0:38:37 | |
and she was like, "All right!" | 0:38:37 | 0:38:38 | |
And looking back now, I'm like, "Oh, my God, why wasn't I cool?" | 0:38:38 | 0:38:42 | |
I was hysterical, like... | 0:38:42 | 0:38:44 | |
SHE MUMBLES | 0:38:44 | 0:38:46 | |
Sarah connected deeply with Amy's lyrics. | 0:38:50 | 0:38:53 | |
There's that lovely moment on Frank where she talks about going | 0:38:53 | 0:38:56 | |
to this guy's house and she presses all the buzzers and the neighbours | 0:38:56 | 0:39:00 | |
are really cross with her and she just wants to see him, she just wants... | 0:39:00 | 0:39:03 | |
And she knows it's wrong, she knows it's embarrassing, | 0:39:03 | 0:39:05 | |
she knows it's not playing it cool. | 0:39:05 | 0:39:07 | |
And, you know, I did things like that. | 0:39:07 | 0:39:10 | |
# Your neighbours were screaming | 0:39:10 | 0:39:13 | |
# I don't have a key for downstairs | 0:39:13 | 0:39:17 | |
# So I pressed all the buzzers... | 0:39:18 | 0:39:22 | |
# Hoping you wouldn't be there. # | 0:39:23 | 0:39:26 | |
A lot of those pop stars at the time seemed very unobtainable. | 0:39:26 | 0:39:31 | |
Amy, you feel like you could've gone up to her in the pub, | 0:39:31 | 0:39:34 | |
you could've played pool with her, you could've moaned to her | 0:39:34 | 0:39:37 | |
about your boyfriend, or about the guy that you'd got off with | 0:39:37 | 0:39:40 | |
that hadn't called you and she'd be there with you. | 0:39:40 | 0:39:43 | |
# You're so beautiful... # | 0:39:43 | 0:39:47 | |
Artist Sally had been a fan of Amy Winehouse for six years when she | 0:39:47 | 0:39:52 | |
went with her family to a classic Camden haunt for a quiet drink. | 0:39:52 | 0:39:57 | |
This is the Hawley Arms pub and this is where my brother, | 0:39:57 | 0:40:00 | |
my dad and I were sat when we were having a glass of wine, | 0:40:00 | 0:40:04 | |
when Amy suddenly came around this corner. | 0:40:04 | 0:40:07 | |
# Take the box... # | 0:40:07 | 0:40:09 | |
It was one wet Wednesday afternoon and my brother and I had | 0:40:11 | 0:40:14 | |
arranged to meet my dad, who was down from York. | 0:40:14 | 0:40:17 | |
All of a sudden, the music went really loud and it was hurting | 0:40:17 | 0:40:20 | |
my dad's hearing aid. | 0:40:20 | 0:40:22 | |
So my brother went round to ask the bar staff, | 0:40:22 | 0:40:24 | |
"If you could just turn it down." | 0:40:24 | 0:40:26 | |
# I'm a-walkin' in the rain | 0:40:26 | 0:40:28 | |
# Tears are fallin' and I feel a pain... # | 0:40:28 | 0:40:30 | |
Matthew came back and he said, "Oh, my goodness, | 0:40:30 | 0:40:33 | |
"you won't believe who's putting the music on the jukebox, it's Amy Winehouse." | 0:40:33 | 0:40:36 | |
And then she just appeared and she just said, | 0:40:36 | 0:40:38 | |
"Oh, I've been asked if I can turn the music down cos it's | 0:40:38 | 0:40:41 | |
"hurting someone's hearing aid and I just wanted to apologise." | 0:40:41 | 0:40:44 | |
And we were a bit starstruck and then it was like | 0:40:44 | 0:40:46 | |
we'd known her for ages. She was just so friendly. | 0:40:46 | 0:40:49 | |
# My little runaway... # | 0:40:49 | 0:40:52 | |
You can see in the background here there's | 0:40:52 | 0:40:54 | |
a Bowie image that is just behind me, still. | 0:40:54 | 0:40:57 | |
I was explaining that I had a very good relationship with my dad, | 0:40:57 | 0:41:01 | |
like she had with her father, Mitch. | 0:41:01 | 0:41:03 | |
So she said, "Oh, come on, Dave, get up and have a dance with me," | 0:41:03 | 0:41:06 | |
so she got him up here and, you know, twirled him around | 0:41:06 | 0:41:10 | |
a couple of times, or he twirled her around a couple of times, | 0:41:10 | 0:41:13 | |
and yeah, she was just so personable and very friendly. | 0:41:13 | 0:41:16 | |
# Because I've forgotten all of young love's joy... # | 0:41:16 | 0:41:21 | |
Sally took the opportunity to show Amy photos of the mosaic | 0:41:21 | 0:41:24 | |
portraits she'd been making. | 0:41:24 | 0:41:27 | |
This is a mosaic that I created in 2007 and it was exhibited | 0:41:27 | 0:41:32 | |
in a few different places. | 0:41:32 | 0:41:34 | |
And then it was the one that Amy actually liked the best. | 0:41:34 | 0:41:37 | |
I feel very, very lucky that I got to meet her. | 0:41:37 | 0:41:40 | |
She was just a breath of fresh air. | 0:41:40 | 0:41:43 | |
The Brit and Grammy award-winning singer Amy Winehouse | 0:41:48 | 0:41:50 | |
has died at her home in North London. | 0:41:50 | 0:41:53 | |
# For you I was a flame... # | 0:41:53 | 0:41:57 | |
When she died, I just couldn't believe it. | 0:41:57 | 0:42:00 | |
I just thought, no, actually, | 0:42:00 | 0:42:02 | |
cos that's not the way it's going to go. | 0:42:02 | 0:42:05 | |
She's going to get better. | 0:42:05 | 0:42:06 | |
I just burst into tears. I was really, really upset. | 0:42:06 | 0:42:09 | |
I phoned my dad up and he cried. | 0:42:09 | 0:42:12 | |
It still feels really... | 0:42:12 | 0:42:16 | |
unfair that she's not here. | 0:42:16 | 0:42:21 | |
# We only said goodbye with words | 0:42:21 | 0:42:25 | |
# I died 100 times... # | 0:42:25 | 0:42:28 | |
We loved Amy, and had found out about her through the usual routes, | 0:42:28 | 0:42:32 | |
hearing a song on the radio, promoted by a record label. | 0:42:32 | 0:42:36 | |
But now some of us were bypassing the record industry and using | 0:42:36 | 0:42:40 | |
the internet to hunt out new sounds. | 0:42:40 | 0:42:42 | |
This is the era of accessible stars. | 0:42:42 | 0:42:45 | |
They made themselves accessible to us and we made them | 0:42:45 | 0:42:48 | |
accessible to the world. | 0:42:48 | 0:42:50 | |
In 2005, fans changed how the music industry worked forever. | 0:42:50 | 0:42:55 | |
A band from Sheffield, who first built a following on the internet, | 0:42:57 | 0:43:00 | |
are set to have the fastest-selling debut album | 0:43:00 | 0:43:03 | |
since chart records began. | 0:43:03 | 0:43:05 | |
These fans and thousands more like them have been crucial to | 0:43:05 | 0:43:07 | |
the success of the Arctic Monkeys. | 0:43:07 | 0:43:09 | |
This band, more than any other in the last decade, enjoys | 0:43:09 | 0:43:12 | |
a reputation based on word of mouth. | 0:43:12 | 0:43:15 | |
MUSIC: I Bet You Look Good On The Dancefloor by Arctic Monkeys | 0:43:15 | 0:43:18 | |
Sheffield Hallam Uni student Omar was one of those responsible | 0:43:21 | 0:43:25 | |
for the change. | 0:43:25 | 0:43:27 | |
This is the one that kicked off all the hype. | 0:43:27 | 0:43:30 | |
First release, it's an unofficial EP, | 0:43:30 | 0:43:32 | |
Five Minutes With Arctic Monkeys. | 0:43:32 | 0:43:34 | |
There's only 1,500 copies of the CD | 0:43:34 | 0:43:36 | |
and vinyl, so they're pretty rare. | 0:43:36 | 0:43:39 | |
I don't get them out very often. | 0:43:39 | 0:43:41 | |
# I don't want to hear you | 0:43:41 | 0:43:43 | |
# Fake tales of San Francisco | 0:43:43 | 0:43:45 | |
# Echo through the air... # | 0:43:45 | 0:43:48 | |
Listen to the songs. | 0:43:48 | 0:43:50 | |
They were urgent, they were catchy, they were...they were fresh, | 0:43:50 | 0:43:53 | |
they were punky and they were just exciting. | 0:43:53 | 0:43:57 | |
You know, it was about just being a lad around that time, | 0:43:57 | 0:44:00 | |
trying to pull girls and failing because of other boys | 0:44:00 | 0:44:04 | |
who had cars and lots of money. | 0:44:04 | 0:44:06 | |
They were songs that we knew about and could relate to. | 0:44:06 | 0:44:10 | |
# All that's left | 0:44:10 | 0:44:11 | |
# Is the proof that love's not only blind but deaf... # | 0:44:11 | 0:44:15 | |
Unsigned band Arctic Monkeys had given out demos at gigs, | 0:44:15 | 0:44:19 | |
but had no idea their songs were being shared online by their fans, | 0:44:19 | 0:44:24 | |
via MySpace and a fan forum. | 0:44:24 | 0:44:26 | |
I literally went online just to find out whatever I could, | 0:44:28 | 0:44:31 | |
got lucky, found the forum, found the link for their website | 0:44:31 | 0:44:35 | |
where all the downloads were and just downloaded them all, | 0:44:35 | 0:44:38 | |
put them on my MP3 player and walked to a friend's house | 0:44:38 | 0:44:41 | |
the next day and said, "You have to listen to this band." | 0:44:41 | 0:44:43 | |
I don't think the band realised at the time, but... | 0:44:43 | 0:44:46 | |
It was already too late, the songs were already out there. | 0:44:46 | 0:44:50 | |
And the buzz started. | 0:44:50 | 0:44:52 | |
There was a sense that there was something important happening, | 0:44:52 | 0:44:55 | |
something exciting, and we were right in the middle of it. | 0:44:55 | 0:44:57 | |
The gigs would sell out stupid quick. | 0:44:57 | 0:45:00 | |
And people already knew the songs, | 0:45:00 | 0:45:02 | |
even though they weren't being released. | 0:45:02 | 0:45:05 | |
# And what a scummy man | 0:45:05 | 0:45:08 | |
# Just give him half a chance | 0:45:08 | 0:45:10 | |
# I bet he'll rob you if he can. # | 0:45:10 | 0:45:12 | |
The only way they could was from the MP3s. | 0:45:12 | 0:45:15 | |
And that was a bit weird. | 0:45:15 | 0:45:17 | |
# I bet that you look good on the dance floor. # | 0:45:17 | 0:45:20 | |
In a couple of months, the whole country knew the word. | 0:45:20 | 0:45:23 | |
They're number one, welcome to the sensational Arctic Monkeys! | 0:45:23 | 0:45:26 | |
CHEERING AND APPLAUSE | 0:45:26 | 0:45:28 | |
After fans had spread the word for two years, the band were | 0:45:32 | 0:45:35 | |
finally signed in June 2005, | 0:45:35 | 0:45:38 | |
broke sales records with their debut album, and tickets | 0:45:38 | 0:45:41 | |
to the tour off the back of it sold out in under an hour. | 0:45:41 | 0:45:45 | |
I feel proud because they were still our boys, but... | 0:45:45 | 0:45:49 | |
You know they're going to make it and you know they'll be | 0:45:49 | 0:45:52 | |
around and everyone's going to really enjoy their songs. | 0:45:52 | 0:45:54 | |
# I'm so glad they turned us all away, we'll put it down to fate! | 0:45:54 | 0:45:58 | |
# I said a thousand million things | 0:46:00 | 0:46:01 | |
# That I could never say this morning... # | 0:46:01 | 0:46:04 | |
Omar made some lifelong friends from the online forums, | 0:46:04 | 0:46:08 | |
including Arctic Monkeys drummer Matt's mum. | 0:46:08 | 0:46:11 | |
Matt's mum. | 0:46:11 | 0:46:13 | |
She was on the forum, she was under a secret alias, | 0:46:13 | 0:46:16 | |
but word quickly got out who she was. | 0:46:16 | 0:46:18 | |
We'd see her at gigs, she was in the queue, handing out baked goods. | 0:46:18 | 0:46:23 | |
This forum-forged friendship meant Omar got more than | 0:46:24 | 0:46:27 | |
the usual band merchandise. | 0:46:27 | 0:46:30 | |
My friend Lee had a charity auction and he asked me | 0:46:30 | 0:46:33 | |
if I could get any items, so I sent Matt's mum, Jill, | 0:46:33 | 0:46:37 | |
a message saying, "Have you got anything that could be of value?" | 0:46:37 | 0:46:40 | |
She goes, "Yeah, I might have something." | 0:46:40 | 0:46:42 | |
So she gave me Matt's first drum skin, | 0:46:42 | 0:46:45 | |
and he obviously signed it on a bit of duct tape, | 0:46:45 | 0:46:47 | |
and we gave it a nice frame and put it on the auction. | 0:46:47 | 0:46:50 | |
My mum outbid everyone and then just gave it to me. | 0:46:50 | 0:46:53 | |
# I'm so glad they turned us all away, we'll put it down to fate! # | 0:46:53 | 0:46:57 | |
I joked to my mum that she was around when the Beatles | 0:46:57 | 0:47:00 | |
quickly got up and I was around when Arctic Monkeys did. | 0:47:00 | 0:47:03 | |
It was just right place, right time. | 0:47:03 | 0:47:05 | |
Arctic Monkeys fans pioneered a new relationship with our music. | 0:47:08 | 0:47:12 | |
Rather than artist and fan, it was a spectrum where artists | 0:47:12 | 0:47:16 | |
blended with fans in a seamless relationship that can take music | 0:47:16 | 0:47:20 | |
from the toughest of postcodes to the big wide world. | 0:47:20 | 0:47:24 | |
Spawned on pirate radio and blossoming on the streets of | 0:47:24 | 0:47:27 | |
East London, an edgy new sound was about to become the voice | 0:47:27 | 0:47:30 | |
of a generation - grime. | 0:47:30 | 0:47:33 | |
This was young MCs spitting fast and furious rhymes over beats | 0:47:33 | 0:47:36 | |
they'd made in their own bedrooms. | 0:47:36 | 0:47:38 | |
Oi! | 0:47:38 | 0:47:39 | |
MUSIC: Fix Up, Look Sharp by Dizzee Rascal | 0:47:39 | 0:47:42 | |
E3. It's real. | 0:47:42 | 0:47:44 | |
This is, like, the estate I grew up on. | 0:47:44 | 0:47:47 | |
This whole little area. | 0:47:47 | 0:47:49 | |
Canary Wharf, it's kind of like in your face. | 0:47:49 | 0:47:52 | |
On this side, everyone living like, sort of council estates and that. | 0:47:52 | 0:47:55 | |
It's all grimy kind of round here, innit? | 0:47:55 | 0:47:57 | |
Dizzee Rascal took grime from the streets of E3 and onto | 0:47:57 | 0:48:01 | |
the Mercury Awards stage and into the mainstream, | 0:48:01 | 0:48:04 | |
flooding the charts with a fresh crop of musical talent. | 0:48:04 | 0:48:07 | |
# Fix up, look sharp... # | 0:48:07 | 0:48:09 | |
Grime fan Jamal Edwards is a music entrepreneur whose website | 0:48:09 | 0:48:13 | |
has had over 100 million views and is worth over £8 million. | 0:48:13 | 0:48:19 | |
Grime's the reason I'm sitting here right now. | 0:48:19 | 0:48:22 | |
I started off as a fan, as, like, a...looking in on it | 0:48:22 | 0:48:25 | |
and just, like, peeping through the window | 0:48:25 | 0:48:27 | |
to actually filming with the artists that are around today. | 0:48:27 | 0:48:30 | |
# What do you call it, urban? # | 0:48:30 | 0:48:32 | |
But it all started with a canny teenager and his Christmas present. | 0:48:32 | 0:48:36 | |
I first started out filming with my mates and then I remember | 0:48:36 | 0:48:39 | |
I used to go to clubs and try and find the artist. | 0:48:39 | 0:48:42 | |
And when I went there, didn't know them, went up to them, | 0:48:42 | 0:48:45 | |
got my cousin, "Can you ask them to get...? I want to do a little freestyle." | 0:48:45 | 0:48:48 | |
And it's funny, cos when I look back at that, that was eight... | 0:48:48 | 0:48:51 | |
eight, nine years ago, now I do videos with them on a regular basis, | 0:48:51 | 0:48:54 | |
but at first it was just hustling. | 0:48:54 | 0:48:56 | |
SHOUTING AND INDISTINCT LYRICS | 0:48:56 | 0:48:59 | |
The sound that drew him to the clubs talked directly to him. | 0:49:01 | 0:49:04 | |
The reason why I was a fan of grime from the early days, | 0:49:04 | 0:49:07 | |
cos I thought it was something that related to me. | 0:49:07 | 0:49:09 | |
I never really related to, like, American rap, American hip-hop. | 0:49:09 | 0:49:12 | |
I related to something that was in the UK, born in the UK, | 0:49:12 | 0:49:15 | |
and it was just that raw sound and storytelling | 0:49:15 | 0:49:18 | |
that sort of made me just love it. | 0:49:18 | 0:49:21 | |
# Yo, yeah, Skepta! | 0:49:21 | 0:49:24 | |
# Always ready, the black Nigerian's way too heavy | 0:49:24 | 0:49:27 | |
# Every time I open my mouth, blud | 0:49:27 | 0:49:28 | |
# I say a lyric and another MC gets buried. # | 0:49:28 | 0:49:31 | |
It was just about real lyrics and it was also always about the beats | 0:49:31 | 0:49:35 | |
and it was just, like, snappy, it was hard, it was raw. | 0:49:35 | 0:49:38 | |
The moment that transformed Jamal and grime was the arrival of | 0:49:38 | 0:49:42 | |
a new online platform, YouTube, in 2005. | 0:49:42 | 0:49:46 | |
Jamal's videos now had a home accessible to millions, | 0:49:46 | 0:49:49 | |
and his channel, SPTV, was born, | 0:49:49 | 0:49:52 | |
and grime was given a shot in the arm. | 0:49:52 | 0:49:55 | |
YouTube, how it's changed the relationship between artists and | 0:49:55 | 0:49:58 | |
fans, it's made it closer. | 0:49:58 | 0:50:00 | |
So where now you can see what your favourite artists are getting | 0:50:00 | 0:50:03 | |
up to, you only used to hear of it on radio, | 0:50:03 | 0:50:06 | |
see it in the paper and see it on TV | 0:50:06 | 0:50:09 | |
and it was very controlled. | 0:50:09 | 0:50:10 | |
Whereas YouTube is a free, roaming experience. | 0:50:10 | 0:50:14 | |
It's, like, democratic, you can put whatever you want online. | 0:50:14 | 0:50:16 | |
# Knock, knock, what's your answer? | 0:50:16 | 0:50:19 | |
# You're top dog with a bark... # | 0:50:19 | 0:50:21 | |
At his heart, Jamal is still a grime fan. | 0:50:21 | 0:50:25 | |
I never thought I'd be sitting where I'm sitting now...never. | 0:50:25 | 0:50:28 | |
It was just for the love, to be a part of it. | 0:50:28 | 0:50:31 | |
That was my main aim. | 0:50:31 | 0:50:33 | |
Um, and now I am a part of it. | 0:50:33 | 0:50:35 | |
It's like, how do I take it to the next level? | 0:50:35 | 0:50:38 | |
And carry on exporting grime around the world. | 0:50:38 | 0:50:40 | |
# Stress on the brain, complain to the full | 0:50:40 | 0:50:42 | |
# Stress on the brain, complain to the max... # | 0:50:42 | 0:50:44 | |
Experiencing our fandom online | 0:50:44 | 0:50:46 | |
has taken us way beyond what we thought might be possible. | 0:50:46 | 0:50:49 | |
It's deepened the relationship with artists | 0:50:49 | 0:50:51 | |
and taken the most basic of all fan instincts, | 0:50:51 | 0:50:54 | |
to belt out the songs you love, | 0:50:54 | 0:50:56 | |
and made that joy shareable with millions. | 0:50:56 | 0:50:59 | |
18-year-old Katie often posts covers of her favourite pop stars' hits | 0:50:59 | 0:51:04 | |
to show her adoration. | 0:51:04 | 0:51:06 | |
# I wish nothing but the best for you, too... # | 0:51:06 | 0:51:12 | |
She fell for her idol in primary school. | 0:51:12 | 0:51:16 | |
I didn't actually originally know that it was Adele that I was | 0:51:16 | 0:51:19 | |
listening to when I first heard her. | 0:51:19 | 0:51:21 | |
It was in an emotional assembly and wondering who is this voice? | 0:51:21 | 0:51:26 | |
And, I want to know more. | 0:51:26 | 0:51:28 | |
# I heard | 0:51:28 | 0:51:30 | |
# That you're settled down | 0:51:32 | 0:51:36 | |
# That you... # | 0:51:36 | 0:51:38 | |
Her Brit Award performance in 2011... | 0:51:38 | 0:51:40 | |
hit me. | 0:51:40 | 0:51:42 | |
Seeing Adele perform and for the whole room to be still, | 0:51:42 | 0:51:45 | |
it just made me cry. | 0:51:45 | 0:51:47 | |
I could understand her pain behind the words | 0:51:47 | 0:51:50 | |
and I could see the emotion | 0:51:50 | 0:51:52 | |
and hear it in her voice and I think it just touched me. | 0:51:52 | 0:51:55 | |
# Sometimes it lasts in love | 0:51:55 | 0:51:58 | |
# But sometimes it hurts instead. # | 0:51:58 | 0:52:00 | |
Katie started collecting anything to do with her new-found hero | 0:52:00 | 0:52:04 | |
and covered her side of the bedroom she shares with her little sister. | 0:52:04 | 0:52:08 | |
This is my side of the room. | 0:52:08 | 0:52:11 | |
And that's my little sister's side of the room. | 0:52:11 | 0:52:13 | |
She doesn't really have much over there any more. | 0:52:13 | 0:52:16 | |
There is just an agreement that I don't put anything over that side | 0:52:16 | 0:52:20 | |
but I'm OK with that. | 0:52:20 | 0:52:22 | |
I've got a lot of quotes on here. | 0:52:22 | 0:52:24 | |
This one always has stuck out to me since I was about 14. | 0:52:24 | 0:52:28 | |
That's just, like, my life story. | 0:52:28 | 0:52:30 | |
I did this when I was about 15. | 0:52:30 | 0:52:33 | |
I'm not a very good artist. | 0:52:33 | 0:52:35 | |
I can't draw to save my life. | 0:52:35 | 0:52:36 | |
But... | 0:52:36 | 0:52:37 | |
I drew the outline of her Rolling In The Deep look, | 0:52:37 | 0:52:40 | |
so this was, like, the honeycomb hair. | 0:52:40 | 0:52:42 | |
# We could have had it all... | 0:52:42 | 0:52:45 | |
# Rolling in the deep... # | 0:52:47 | 0:52:50 | |
Adele may well be a world-famous pop star | 0:52:50 | 0:52:53 | |
but it's not her celebrity status that Katie's drawn to. | 0:52:53 | 0:52:56 | |
For my generation, to have an idol who is down-to-earth, normal, | 0:52:56 | 0:53:03 | |
that is definitely what appeals to me. | 0:53:03 | 0:53:05 | |
When you're an artist you need to actually be relatable, | 0:53:05 | 0:53:08 | |
not just by your lyrics, not just by your music, | 0:53:08 | 0:53:11 | |
by yourself, and I think she's hit it right on the nail | 0:53:11 | 0:53:14 | |
with being relatable for everyone. | 0:53:14 | 0:53:16 | |
Fellow Adele fans Glenn and Ronan | 0:53:21 | 0:53:23 | |
also decided to post a video of themselves | 0:53:23 | 0:53:25 | |
covering Adele a couple of days before seeing her in concert. | 0:53:25 | 0:53:29 | |
# That you found the one | 0:53:29 | 0:53:32 | |
# And you're married now... # | 0:53:32 | 0:53:35 | |
We knew Adele was coming to Dublin, where we were both living. | 0:53:36 | 0:53:38 | |
We knew she was coming that week | 0:53:38 | 0:53:40 | |
so Glenn said, "Look, we both love Adele's music, | 0:53:40 | 0:53:43 | |
"why don't we do something to mark the occasion?" | 0:53:43 | 0:53:45 | |
And, we posted the video online. | 0:53:45 | 0:53:47 | |
It just took off for whatever reason, it sparked, | 0:53:47 | 0:53:49 | |
and I think overnight it had something like five million views, | 0:53:49 | 0:53:51 | |
which was just insane. | 0:53:51 | 0:53:52 | |
We posted it on the Thursday and the Saturday was when we went to the concert. | 0:53:52 | 0:53:56 | |
OK, so you're at the concert, it's amazing. | 0:53:56 | 0:53:59 | |
Tell us what happens next. | 0:53:59 | 0:54:01 | |
So about three songs from the end of her concert, | 0:54:01 | 0:54:03 | |
we were already just in awe of her. | 0:54:03 | 0:54:04 | |
As a live musician, I haven't seen anyone better, to be honest. | 0:54:04 | 0:54:08 | |
Adele said, "I saw this video during the week of two Irish guys." | 0:54:08 | 0:54:11 | |
At this point I think Glenn grabbed my arm, or vice-versa, | 0:54:11 | 0:54:14 | |
-I'm not sure which. -What?! | 0:54:14 | 0:54:16 | |
She said, "Their names are Glenn and Ronan. | 0:54:16 | 0:54:18 | |
"I believe they're here in the audience." | 0:54:18 | 0:54:20 | |
We leapt out of our seats, flailing arms. | 0:54:20 | 0:54:22 | |
Everyone looking at us like we're crazy. | 0:54:22 | 0:54:24 | |
She said, "I'd like you guys to come down to the stage now." | 0:54:24 | 0:54:27 | |
At which point Glenn got a tug on the shoulder. | 0:54:27 | 0:54:29 | |
There's a security guard saying, "Follow me." | 0:54:29 | 0:54:31 | |
-Are you ready to relive the magic? -Yes. -Sure. | 0:54:31 | 0:54:33 | |
Let's have a look, it's so good. | 0:54:33 | 0:54:35 | |
-ADELE: -Oh, here they are! | 0:54:36 | 0:54:38 | |
CHEERING AND APPLAUSE | 0:54:38 | 0:54:40 | |
Oh, come on. You can't put it online and meet me in Dublin | 0:54:43 | 0:54:46 | |
and not think I'm going to tell you to come up. | 0:54:46 | 0:54:48 | |
How are you feeling at this point? | 0:54:48 | 0:54:50 | |
-She's one of your idols. -Absolutely shellshocked. | 0:54:50 | 0:54:53 | |
And then she puts out her hands for a hug. I'm hugging Adele. | 0:54:53 | 0:54:55 | |
Will you sing to them what you put online? | 0:54:55 | 0:54:59 | |
CHEERING AND APPLAUSE | 0:54:59 | 0:55:01 | |
I'm saying to Ronan, "Ronan, I don't remember it, | 0:55:03 | 0:55:05 | |
"I don't remember it. Do you remember it?" | 0:55:05 | 0:55:07 | |
What were you saying? | 0:55:07 | 0:55:09 | |
He was very calm. | 0:55:09 | 0:55:11 | |
She set it all up just in the hope that you guys happened to be in the crowd? | 0:55:11 | 0:55:14 | |
Well, we had obviously tweeted out, | 0:55:14 | 0:55:17 | |
but you never know that anyone's going to see that. | 0:55:17 | 0:55:19 | |
We genuinely had no idea when we arrived that she knew we existed, | 0:55:19 | 0:55:22 | |
let alone what she had planned. | 0:55:22 | 0:55:24 | |
There she is just standing back, giving us her stage. | 0:55:29 | 0:55:34 | |
# I've heard... | 0:55:34 | 0:55:35 | |
CROWD SINGS ALONG | 0:55:35 | 0:55:36 | |
# That your dreams came true... # | 0:55:36 | 0:55:38 | |
She loves you guys. | 0:55:41 | 0:55:43 | |
# This is my last night with you... # | 0:55:43 | 0:55:49 | |
I don't think it'll matter how many times we watch it, | 0:55:49 | 0:55:52 | |
there will always be part of us that goes, "That can't have happened." | 0:55:52 | 0:55:55 | |
I mean, it did, and we are so grateful | 0:55:55 | 0:55:57 | |
and it's definitely a highlight in our life so far. | 0:55:57 | 0:55:59 | |
So you've sang for Adele - would you sing for us now, please? | 0:55:59 | 0:56:03 | |
-We'd love to. -Absolutely. | 0:56:03 | 0:56:05 | |
# I've heard that your dreams came true | 0:56:09 | 0:56:13 | |
# Guess she gave you things | 0:56:13 | 0:56:17 | |
# I didn't give to you | 0:56:17 | 0:56:19 | |
# And I can't keep up with your turning tables | 0:56:21 | 0:56:28 | |
# Under your thumb, I can't breathe | 0:56:28 | 0:56:33 | |
-BOTH: -# Never mind, I'll find someone like you | 0:56:35 | 0:56:41 | |
# I wish nothing but the best for you...too | 0:56:41 | 0:56:47 | |
# I can't give you the heart you think you gave me | 0:56:49 | 0:56:55 | |
# It's time to say goodbye... # | 0:56:55 | 0:56:58 | |
Over six amazing decades we have loved our pop music, | 0:57:03 | 0:57:08 | |
more than any kind of culture. | 0:57:08 | 0:57:10 | |
We've gone from wide-eyed, star-struck devotees... | 0:57:10 | 0:57:14 | |
John, Paul, George, Ringo. John, Paul, George, Ringo. | 0:57:14 | 0:57:17 | |
..to believing our music was saying something important about the world. | 0:57:19 | 0:57:23 | |
Reggae has done more for race relations in England | 0:57:23 | 0:57:28 | |
than a lot of things. | 0:57:28 | 0:57:30 | |
Being a fan has allowed us to express our identity... | 0:57:30 | 0:57:33 | |
I sat and listened to it at the dining-room table | 0:57:33 | 0:57:36 | |
with my headphones on | 0:57:36 | 0:57:37 | |
and basically changed as a person. | 0:57:37 | 0:57:40 | |
..escape our surroundings... | 0:57:40 | 0:57:42 | |
Northern Soul was a way of life. | 0:57:42 | 0:57:44 | |
I worked in a bacon factory. | 0:57:44 | 0:57:47 | |
It was great to be able to think I've got | 0:57:47 | 0:57:49 | |
a weekend to look forward to. | 0:57:49 | 0:57:51 | |
..explode with unbridled happiness. | 0:57:51 | 0:57:54 | |
Goose bumps... | 0:57:54 | 0:57:56 | |
Still! How does that work? | 0:57:56 | 0:57:58 | |
# Sometimes I feel like | 0:58:00 | 0:58:02 | |
# Throwing my hands up in the air... # | 0:58:02 | 0:58:04 | |
The digital revolution has also been a revolution in our | 0:58:04 | 0:58:07 | |
relationship with our music and the artists who make it. | 0:58:07 | 0:58:11 | |
It's no longer enough just to be a fan. | 0:58:11 | 0:58:13 | |
Today we seem more like pop partners. | 0:58:13 | 0:58:16 | |
By 2010 we had a bewildering but brilliant array of music to | 0:58:16 | 0:58:21 | |
get passionate about. | 0:58:21 | 0:58:22 | |
And we could keep our entire record collections in our pocket. | 0:58:22 | 0:58:26 | |
Now with so much choice about there's a bit of | 0:58:26 | 0:58:28 | |
a danger that true fandom could become a thing of the past. | 0:58:28 | 0:58:31 | |
But the truth is, | 0:58:31 | 0:58:33 | |
the internet brought us even closer to our musical heroes. | 0:58:33 | 0:58:37 | |
The future is looking pretty fun for us fans. | 0:58:37 | 0:58:40 | |
# You got the love You got the love | 0:58:41 | 0:58:45 | |
# You got the love | 0:58:45 | 0:58:47 | |
# You got the love You got the love | 0:58:49 | 0:58:53 | |
# You got the love | 0:58:53 | 0:58:56 | |
# Sometimes I feel like saying, "Lord, I just don't care" | 0:59:07 | 0:59:11 | |
# But you've got the love I need to see me through. # | 0:59:11 | 0:59:14 |