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Well, here's something you've never seen before - | 0:00:07 | 0:00:10 | |
a dead as a doornail Top Of The Pops studio. | 0:00:10 | 0:00:13 | |
Usually raving like mentality itself, but today, it's sort of dead | 0:00:13 | 0:00:18 | |
because they've just finished. | 0:00:18 | 0:00:21 | |
Here I am to tell you about, well, where people do things | 0:00:21 | 0:00:26 | |
and what things are. This is where Pan's People dance, | 0:00:26 | 0:00:29 | |
you see, a nice, big, clear area. | 0:00:29 | 0:00:32 | |
Now, over here, we have where all the sound comes out of | 0:00:32 | 0:00:36 | |
so that everyone knows when to dance and all that. | 0:00:36 | 0:00:41 | |
That's the sound machine there, you see. | 0:00:41 | 0:00:44 | |
See, looks like a very old television set. | 0:00:44 | 0:00:47 | |
Over here, we have psychedelic lights what flash on and off | 0:00:47 | 0:00:51 | |
and give the impression of psychedelia. | 0:00:51 | 0:00:54 | |
Over here, we have, if I can get to it, area A, B, C. | 0:00:54 | 0:01:01 | |
When we're doing it, you see, somebody shouts "C!" | 0:01:01 | 0:01:04 | |
We all rush like mad over to here and say, "That was fab, wasn't it?" | 0:01:04 | 0:01:10 | |
and into the next song. | 0:01:10 | 0:01:13 | |
More flashing psychedelia. There's a Camera Two. | 0:01:13 | 0:01:17 | |
Now, what else do we do? That's about it, really. | 0:01:17 | 0:01:21 | |
As I say, it's usually raving but it's unraving today | 0:01:21 | 0:01:25 | |
because we've just done it and we're all terribly exhausted, | 0:01:25 | 0:01:28 | |
aren't we, Two? | 0:01:28 | 0:01:30 | |
I think he's passed away. Never mind. | 0:01:32 | 0:01:34 | |
Right, now then, by the miracle of television, | 0:01:36 | 0:01:40 | |
we are going over now to an interview with me | 0:01:40 | 0:01:42 | |
so let's miracleise. | 0:01:42 | 0:01:45 | |
Do you think that Top Of The Pops people overdo the special effects | 0:01:45 | 0:01:49 | |
and don't concentrate on the groups enough? | 0:01:49 | 0:01:51 | |
Whichever answer won't get me fired, | 0:01:51 | 0:01:55 | |
or, no, not at all. | 0:01:55 | 0:01:57 | |
A little psychedelia never hurt anybody. | 0:01:57 | 0:02:01 | |
I think it's wonderful in small doses | 0:02:01 | 0:02:03 | |
and that's what they give us it in, so that's all right. All right? | 0:02:03 | 0:02:07 | |
You don't think that groups mime too much, | 0:02:07 | 0:02:10 | |
that you can see that they're miming | 0:02:10 | 0:02:11 | |
and that makes you know that they're not doing it properly? | 0:02:11 | 0:02:14 | |
What can she ge talking angout? | 0:02:14 | 0:02:17 | |
No, Engelbert Humperdinck sang live on today's show | 0:02:17 | 0:02:21 | |
so that disproves that. | 0:02:21 | 0:02:23 | |
How does it feel to be interviewing one of Britain's top DJs | 0:02:23 | 0:02:27 | |
here in the Top Of The Pops studio? | 0:02:27 | 0:02:28 | |
-I'll tell you when we know. -Oh. | 0:02:28 | 0:02:30 | |
Mind of her own, she's got. | 0:02:30 | 0:02:32 | |
What type of music do you personally like? | 0:02:32 | 0:02:35 | |
The last movement of Mendelssohn's violin concerto. No, seriously! | 0:02:35 | 0:02:39 | |
Up in my hut on a hill, we have a lot of chance to listen | 0:02:39 | 0:02:42 | |
to some really fine upstanding, God-fearing music | 0:02:42 | 0:02:45 | |
like Mendelssohn and the Simon Park Orchestra, but mostly everything. | 0:02:45 | 0:02:51 | |
I like a lot of things. I like Simon and Garfunkel | 0:02:51 | 0:02:54 | |
and Stevie Wonder and Mendelssohn and Tchaikovsky, | 0:02:54 | 0:02:58 | |
except he's a bit common, Tchaikovsky, don't you think? | 0:02:58 | 0:03:02 | |
Hmm. | 0:03:02 | 0:03:03 | |
What you get your ideas from for your zany effects? | 0:03:03 | 0:03:06 | |
Tony Blackburn. | 0:03:06 | 0:03:09 | |
Copy them all down every day | 0:03:09 | 0:03:11 | |
in between his schmaltz with your granny spot. | 0:03:11 | 0:03:15 | |
All that stuff. Mostly out of my brain, what there is left of it. | 0:03:15 | 0:03:19 | |
How long does it take to do Top Of The Pops? | 0:03:19 | 0:03:24 | |
Half an hour, usually. | 0:03:24 | 0:03:26 | |
Except if you make a mistake. | 0:03:26 | 0:03:28 | |
Sometimes we make a mistake, like last week I forgot to say, | 0:03:28 | 0:03:32 | |
"And here is David Bowie," and then I said it after the next record | 0:03:32 | 0:03:35 | |
when it was somebody else, so they had to stop the whole show. | 0:03:35 | 0:03:38 | |
God, it was drastic, dreadful. | 0:03:38 | 0:03:40 | |
They had to pay everyone twice. That's why I'm wearing rags. | 0:03:40 | 0:03:43 | |
They can't afford to pay me. Look at this, look at that. Mean. | 0:03:43 | 0:03:48 | |
Tony Blackburn gets all the suits out of props, you know. | 0:03:48 | 0:03:51 | |
He doesn't pay for them, not a penny. | 0:03:51 | 0:03:53 | |
Do you think people really want to listen to you going on every... | 0:03:55 | 0:03:59 | |
-Of course they do, darling! -Really? | 0:03:59 | 0:04:03 | |
How many people do listen to your show? | 0:04:03 | 0:04:06 | |
Well, my mother, Mrs Elizabeth Cole of 7 Primrose Close likes me, | 0:04:06 | 0:04:12 | |
and...I don't know. | 0:04:12 | 0:04:14 | |
They took a measurement a few weeks ago. | 0:04:14 | 0:04:17 | |
I think it was 16 degrees Fahrenheit | 0:04:17 | 0:04:19 | |
but we have a jolly time on the wireless. | 0:04:19 | 0:04:22 | |
You're leaving now, aren't you? | 0:04:22 | 0:04:25 | |
Oh! Yes, I'm going stereophonic, you see, | 0:04:25 | 0:04:29 | |
so that I'll be coming in one ear and out the other, as usual. | 0:04:29 | 0:04:33 | |
Is your show going to be very different then? | 0:04:35 | 0:04:37 | |
You'll be able to see it coming out of your radio like a green mist. | 0:04:37 | 0:04:42 | |
What do you think of commercial radio yourself? | 0:04:42 | 0:04:45 | |
I think it's wonderful. Buy it today! | 0:04:45 | 0:04:48 | |
It affects the mind, you know. | 0:04:48 | 0:04:50 | |
It does, in one ear and out the other. | 0:04:50 | 0:04:53 | |
I think it will be a good influence. | 0:04:53 | 0:04:55 | |
I think Radio 1 needs a boot up the beeb. | 0:04:55 | 0:04:58 | |
Oh, sorry about that. | 0:04:58 | 0:05:00 | |
I mean, waltz with your mother, really. | 0:05:00 | 0:05:03 | |
-What do you really think of Top Of The Pops? -"Really"? | 0:05:03 | 0:05:07 | |
Really deep down, really? | 0:05:07 | 0:05:10 | |
Well, has anybody ever been fired twice from the BBC? | 0:05:10 | 0:05:13 | |
It's, you know, it's Top Of The Pops, what can you say? | 0:05:15 | 0:05:19 | |
It's loud! | 0:05:19 | 0:05:21 | |
Nice... | 0:05:21 | 0:05:22 | |
And you have to meet the groups as well. | 0:05:22 | 0:05:25 | |
You have to fight your way through tons of hair. | 0:05:25 | 0:05:27 | |
"Hello," they say, "I'm so and so." "Who are you?" I say. | 0:05:27 | 0:05:30 | |
They say, "I'm number one." I say, "Oh, sorry, dear. | 0:05:30 | 0:05:34 | |
"Don't hear about you up on my hut on the hill." | 0:05:34 | 0:05:37 | |
"Never heard of you," I say. | 0:05:37 | 0:05:39 | |
Then next week they're out of the charts and I'm still here. | 0:05:39 | 0:05:43 | |
I was last week. | 0:05:43 | 0:05:45 | |
Do you think Radio 1 will have to compete with the new radio station? | 0:05:45 | 0:05:52 | |
No, no, no. BBC compete? No, no, no. | 0:05:52 | 0:05:57 | |
When the ratings go down, | 0:05:57 | 0:05:58 | |
slap on Jeanette MacDonald and Nelson Eddy singing Springtime. | 0:05:58 | 0:06:01 | |
That'll get them going. | 0:06:01 | 0:06:03 | |
Radio 1, it will be going for ever, unless they close it down. | 0:06:03 | 0:06:07 | |
-Do you think they will? -What, close it down? -Yeah. | 0:06:07 | 0:06:10 | |
Don't know. I don't know. | 0:06:10 | 0:06:12 | |
If Tony Blackburn keeps on going about waltzing with your mother, | 0:06:12 | 0:06:16 | |
I'll go and kill him myself. Steal his teeth while I'm at it. | 0:06:16 | 0:06:19 | |
And the next question, right in here, please-ah! | 0:06:19 | 0:06:24 | |
Here we have, ladies and gentlemen, a wonderful questioner - on the left | 0:06:24 | 0:06:27 | |
or is it right, depending on which way you're looking? | 0:06:27 | 0:06:30 | |
She'll ask me a really wonderful question, really deep down from the bottom of her throat. | 0:06:30 | 0:06:34 | |
-What effects can you get out of Top Of The Pops? -Ding! | 0:06:34 | 0:06:37 | |
We can sort of turn things peculiar. | 0:06:37 | 0:06:39 | |
Can you turn something peculiar up there, please? | 0:06:39 | 0:06:42 | |
HE GIGGLES AND TITTERS | 0:06:42 | 0:06:45 | |
And even peculiarer. | 0:06:45 | 0:06:48 | |
Ooh, I like that. Ooh! | 0:06:48 | 0:06:50 | |
That's divine, could you... Ooh, I do feel ill. | 0:06:50 | 0:06:54 | |
Stop taking the pills. They can do that sort of thing. | 0:06:54 | 0:06:57 | |
Can I go to normal, please? | 0:06:57 | 0:06:59 | |
Could you just increase the tan a bit? Just give me a little tan. | 0:06:59 | 0:07:03 | |
See? South of France? Don't spend a penny. | 0:07:05 | 0:07:08 | |
Doodly-doo... Oh, that's better. Thank you. I like being normal. | 0:07:14 | 0:07:19 | |
And then there's the other perks, like you get to meet the stars. | 0:07:19 | 0:07:24 | |
The stars, yes. I was talking to the Simon Park Orchestra today. | 0:07:24 | 0:07:28 | |
Wonderful bunch of ladies. | 0:07:28 | 0:07:30 | |
And then Elton John, who throws a fabulous party. | 0:07:30 | 0:07:34 | |
And all them, so free records and stars, | 0:07:34 | 0:07:37 | |
what more could one ask for? | 0:07:37 | 0:07:39 | |
I mean, for what more could one ask, being the BBC. Doodly-doo. | 0:07:39 | 0:07:44 | |
The tea is terrible though. | 0:07:44 | 0:07:46 | |
How long does it take you to do your own radio show? | 0:07:46 | 0:07:48 | |
About... About a day, really. | 0:07:48 | 0:07:53 | |
And then another day to edit out all the naughty bits that they'll never accept, | 0:07:53 | 0:07:58 | |
and then another day to edit all the naughty bits together, | 0:07:58 | 0:08:01 | |
erase them, and you end up with a few reels of tape | 0:08:01 | 0:08:04 | |
because they are very mean with the tape here. | 0:08:04 | 0:08:06 | |
Very mean with the tape. Very mean. | 0:08:06 | 0:08:08 | |
Have you ever done anything terribly wrong, like smashing a camera? | 0:08:08 | 0:08:12 | |
Yes, I joined Top Of The Pops! | 0:08:12 | 0:08:14 | |
No, I haven't smashed the cameras. | 0:08:14 | 0:08:18 | |
I'll do that before I leave. | 0:08:18 | 0:08:20 | |
I think it should be live though. That's what I think, | 0:08:20 | 0:08:23 | |
because then it would be fab and there'd be real mistakes then. | 0:08:23 | 0:08:27 | |
Wouldn't that be exciting? Real mistakes. | 0:08:27 | 0:08:30 | |
I used to do that on Ready Steady Go, which we can't mention, | 0:08:30 | 0:08:33 | |
and that's quite exciting because a lot of people used to watch | 0:08:33 | 0:08:36 | |
-just to see what went wrong. -Why can't you mention it? | 0:08:36 | 0:08:38 | |
-And it did, a lot. -Why can't you mention it? | 0:08:38 | 0:08:40 | |
Mention what? | 0:08:40 | 0:08:41 | |
Mention what, what's she talking about, mention what? | 0:08:41 | 0:08:44 | |
Why did you install a £13,000 studio into your home? | 0:08:44 | 0:08:50 | |
Well, it saves coming to London and we live about 220 miles away | 0:08:50 | 0:08:54 | |
so that's 440 a week. | 0:08:54 | 0:08:58 | |
That's, in a year, 440 times 42... 52 weeks in a year? | 0:08:58 | 0:09:02 | |
Ask Noel Edmonds, he's good with sums. | 0:09:02 | 0:09:05 | |
But it saved me all that travelling and I like fiddling with tape. | 0:09:05 | 0:09:09 | |
It's my hobby. I like fiddling...with tape. | 0:09:09 | 0:09:14 | |
My hobby, that is. | 0:09:14 | 0:09:15 | |
Why don't you just move to London, or do you like the country better? | 0:09:15 | 0:09:19 | |
Yes, the country's lovely. Lovely stuff, it is. | 0:09:19 | 0:09:23 | |
All grass and stuff and trees, it's wonderful. | 0:09:23 | 0:09:26 | |
London's nice though, in contrast, so when I do come to London, | 0:09:26 | 0:09:30 | |
it's nice, but if I was in it all the time, | 0:09:30 | 0:09:32 | |
I don't think I'd think it was nice a lot. | 0:09:32 | 0:09:35 | |
But it's the nicest city in the world, I think. | 0:09:35 | 0:09:38 | |
Thank you very much. > | 0:09:38 | 0:09:39 | |
Thank you. | 0:09:39 | 0:09:41 | |
Well, it's just been so wonderful! | 0:09:41 | 0:09:44 | |
Subtitles by Red Bee Media Ltd | 0:09:45 | 0:09:47 |