0:00:02 > 0:00:07Dancing is super fun. It's a form of expression and it's cool.
0:00:07 > 0:00:12Oh, I know this song. Let's do the routine to it. It brings everyone together. It's great.
0:00:12 > 0:00:15Having a dance craze gives us that chance to do something all together
0:00:15 > 0:00:19and all feel like we are one animal.
0:00:19 > 0:00:21There's been so many great dance crazes
0:00:21 > 0:00:23and I've partaken in most of them.
0:00:23 > 0:00:26It's fun, it's something that everyone can do.
0:00:26 > 0:00:27Oh, it's camp as Christmas.
0:00:27 > 0:00:32The moment any of these songs start, you're damned if you do and you're damned if you don't.
0:00:32 > 0:00:34Better to slap on a smile and get stuck in, I reckon.
0:00:38 > 0:00:40Hello, I'm TV's Robert Webb,
0:00:40 > 0:00:44and I'm here to welcome you back to Pop's Greatest Dance Crazes.
0:00:44 > 0:00:48This is part two of our countdown of the hippest, the sexiest,
0:00:48 > 0:00:51the quirkiest and, let's be honest...
0:00:53 > 0:00:56..the gayest dance crazes from the last 40 years.
0:00:56 > 0:01:00So, get ready to groove as we continue our odyssey into the songs
0:01:00 > 0:01:04that have got you bopping like idiots at office parties,
0:01:04 > 0:01:08wedding discos, or alone in your front room, drunk.
0:01:13 > 0:01:18At number 30, it's Bucks Fizz with their Eurovision winning song Making Your Mind Up.
0:01:18 > 0:01:22In a bid to win the votes of the more backward European nations,
0:01:22 > 0:01:25the song featured a routine that managed to be both childish and sexist.
0:01:25 > 0:01:30It culminated in the male members of the band yanking off the skirts of the ladies. Like this...
0:01:32 > 0:01:35Oh, your one doesn't do it.
0:01:39 > 0:01:41Making Your Mind Up.
0:01:42 > 0:01:47# You gotta speed it up And then you gotta slow it down... #
0:01:47 > 0:01:50# And if you believe that a love can hit the top
0:01:50 > 0:01:51# You gotta play your round... #
0:01:51 > 0:01:56I used to remember doing that in the playground. That was my era.
0:01:56 > 0:01:59# ..Making your mind up! #
0:01:59 > 0:02:00SHE MUMBLES
0:02:00 > 0:02:02# Making your mind up! # Is that it?
0:02:02 > 0:02:06We were put together specifically to wear
0:02:06 > 0:02:09bright colours, to all be blonde,
0:02:09 > 0:02:13and to all do a happy little routine that would catch the judges' eyes.
0:02:14 > 0:02:18# Don't let your indecision take you from behind... # Hands on bum.
0:02:18 > 0:02:20# Take you from behind... #
0:02:20 > 0:02:26# Trust your intuition Don't let others change your mind! #
0:02:26 > 0:02:29Don't let others change your mind. See, they had a message.
0:02:29 > 0:02:31They had a positive message.
0:02:31 > 0:02:36I'd leap onto Mike, legs akimbo, run back to our mic stands.
0:02:36 > 0:02:38The most memorable part of the song.
0:02:38 > 0:02:41# But if you want to see some more... #
0:02:41 > 0:02:47There was a point where they whipped the girls' skirts off to show off their knees.
0:02:47 > 0:02:52The skirts came off and that was it. History was made.
0:02:52 > 0:02:55Lady Gaga...nothing.
0:02:55 > 0:02:56We saw Cheryl Baker's knees!
0:02:56 > 0:03:01I'm sure that we won Eurovision because of the skirts. We only won by four points.
0:03:01 > 0:03:05I'm sure that those four points were from people who were glad the skirts came off.
0:03:05 > 0:03:07# But soon you will find that there comes a time
0:03:07 > 0:03:10# For making your mind up. #
0:03:10 > 0:03:12Finished.
0:03:12 > 0:03:20At 29, it's a Python-esque take on an original '60s skank dance, by which I mean this.
0:03:20 > 0:03:22MUSIC: "One Step Beyond" By Madness
0:03:29 > 0:03:34God, it's knackering. Yes, it's Madness with One Step Beyond.
0:03:34 > 0:03:40The tune was originally written by Jamaican ska singer Prince Buster, and it wasn't...
0:03:40 > 0:03:43Oh, sod it. Watch the VT.
0:03:43 > 0:03:46Hey you! Don't watch that. Watch this!
0:03:46 > 0:03:49One step beyond!
0:03:50 > 0:03:52I'm a massive Madness fan,
0:03:52 > 0:03:57so you got to do all that, and you got to do the sort of running on the spot. It's just like drunken...raaah!
0:04:00 > 0:04:02If you say the words One Step Beyond to me,
0:04:02 > 0:04:04the first thing that comes into my head
0:04:04 > 0:04:08is an overweight man jogging on the spot ferociously
0:04:08 > 0:04:11and occasionally flailing out his arms and striking bystanders.
0:04:11 > 0:04:12One step beyond!
0:04:12 > 0:04:18It's one for the football supporters, isn't it, Madness? Whooa!
0:04:19 > 0:04:22You know, they're called Madness, so everything that they do
0:04:22 > 0:04:28can be as frenetic and insane and crazy as you like.
0:04:29 > 0:04:32Their Jamaican ska inspired moves and high energy songs
0:04:32 > 0:04:36made blokes everywhere want to climb on the nutty train.
0:04:36 > 0:04:38All aboard.
0:04:38 > 0:04:40The idea of dancing
0:04:40 > 0:04:42had kind of fizzled out a little bit,
0:04:42 > 0:04:45certainly amongst white working class,
0:04:45 > 0:04:47middle class boys.
0:04:47 > 0:04:49One step beyond!
0:04:49 > 0:04:53And in fact, my hand has been shaken on a number of occasions by people
0:04:53 > 0:04:58who've thanked me, in part, for making blokes dance again.
0:05:00 > 0:05:06When they were in the pop charts, I would have been six, seven, eight, so all those family dos,
0:05:06 > 0:05:14it was just lashed up blokes like my dad going, "Right, House Of Fun, you're bloody right it is."
0:05:16 > 0:05:21It did make you want to dance. Your feet would go with the drums and your hips with the bass
0:05:21 > 0:05:23and the elbows with the high hat.
0:05:25 > 0:05:29I would imagine they could bring out Madness the DVD as a workout DVD
0:05:29 > 0:05:32because it is really energetic.
0:05:32 > 0:05:35I think it burns about 4,000 calories every time you do it, so...
0:05:41 > 0:05:46This is Jai Ho, a song many of you know from the film Slumdog Millionaire.
0:05:46 > 0:05:51For those of you who haven't seen it, it's about a destitute child who witnesses the murder of his mother,
0:05:51 > 0:05:55is lured into a life of slavery, then scrapes a meagre existence
0:05:55 > 0:05:58through the rest of his childhood before being beaten by the police.
0:05:58 > 0:06:02And on that happy note, some dancing!
0:06:02 > 0:06:06# This beat is heavy, so heavy You gonna feel it
0:06:06 > 0:06:10# Jai ho You are the reason that I breathe
0:06:10 > 0:06:13# You are the reason that I still believe
0:06:13 > 0:06:15# You are my destiny
0:06:15 > 0:06:17# Jai ho... #
0:06:19 > 0:06:25Jai ho was really the dance that white people went, "I know a bit of Bollywood dancing."
0:06:25 > 0:06:28# Jai ho! #
0:06:28 > 0:06:32The general Bollywood/bhangra move is literally screw in a light bulb.
0:06:32 > 0:06:35That's what you're doing. You're screwing a light bulb.
0:06:35 > 0:06:37Maybe two light bulbs.
0:06:37 > 0:06:41Look at that, eh? Danny Boyle, I'm ready for Slumdog 2!
0:06:41 > 0:06:44# Never gonna let go... #
0:06:44 > 0:06:47There was, like, some of these and da-da-da-da-da-da-boom.
0:06:47 > 0:06:50And da-da-da-da-da-da-boom and, and then they got the scarves out.
0:06:50 > 0:06:54It was great. Great, pure Bollywood fun.
0:06:54 > 0:06:58Somewhat of a mixture of traditional dances with what's current.
0:06:58 > 0:07:01You're like, "Oh, it's funky!"
0:07:01 > 0:07:02It's all in the arms, isn't it?
0:07:02 > 0:07:05Reaching out and looking and then reaching over,
0:07:05 > 0:07:07"Oh, no, it's over there, everyone.
0:07:07 > 0:07:08"No, it's over there!"
0:07:08 > 0:07:11# ..So come and dance with me Jai ho...! #
0:07:11 > 0:07:15What you need to do is this on the dance floor for three minutes
0:07:15 > 0:07:17and then put your hand out.
0:07:17 > 0:07:20I love Jai Ho.
0:07:20 > 0:07:21# ..Never gonna let go... #
0:07:21 > 0:07:27At one point you just see this flood of dancers doing exactly the same choreography. It was so good.
0:07:27 > 0:07:31It's such a great dance and it's so beautiful to see, like, rows of people doing it.
0:07:31 > 0:07:35Basically, any dance move looks amazing when you get loads of people to do it the same way.
0:07:35 > 0:07:37It could be anything.
0:07:37 > 0:07:40You could just be just... That as a dance move.
0:07:40 > 0:07:43You get 100 people to do that it would be an absolute craze.
0:07:43 > 0:07:46# ..So come and dance with me... #
0:07:46 > 0:07:48The Pussycat Dolls in saris
0:07:48 > 0:07:53with a man who has written some of the biggest soundtracks to Bollywood movies in the world,
0:07:53 > 0:07:57put them together over a bit of Danny Boyle telling everybody that,
0:07:57 > 0:08:03"You know, sometimes it's just about what's inside", and you've got a recipe for greatness.
0:08:05 > 0:08:07At number 27, it's Shakira and Wyclef Jean
0:08:07 > 0:08:11with their likable pop ditty Hips Don't Lie,
0:08:11 > 0:08:13which, if you think about it, is absolutely true.
0:08:13 > 0:08:15They don't say very much at all. Good point.
0:08:15 > 0:08:18# She make a man wanna speak Spanish... #
0:08:18 > 0:08:21Shakira. Like Rihanna, except with talent.
0:08:21 > 0:08:23Take it away, Shake-o.
0:08:23 > 0:08:26# Oh, baby when you talk like that
0:08:26 > 0:08:28# You make a woman go mad
0:08:28 > 0:08:31# So be wise and keep on... #
0:08:31 > 0:08:32The song just made her show off.
0:08:32 > 0:08:37She was basically saying, "Look at me. Belly dance for four minutes.
0:08:37 > 0:08:40"Belly dance to the left. I'm going to belly dance to the right.
0:08:40 > 0:08:44"I'm going to belly dance with my shoulder. I'm going to belly dance with my boobs.
0:08:44 > 0:08:48"I'm going to belly dance with my head." She's a belly dance explosion.
0:08:48 > 0:08:50Shakira, Shakira.
0:08:50 > 0:08:55# Oh, baby when you talk like that You make a woman go mad
0:08:55 > 0:08:59# So be wise and keep on Reading the signs of my body... #
0:08:59 > 0:09:03Shakira's dancing style is hypnotic, it really is.
0:09:03 > 0:09:05I mean, even as a choreographer, a dancer,
0:09:05 > 0:09:09when I watch her, you just kind of zone right into that belly button
0:09:09 > 0:09:12and you go, "How is she doing that?"
0:09:12 > 0:09:14It kind of has a life of its own.
0:09:14 > 0:09:16# Oh, the attraction The tension
0:09:16 > 0:09:18# Don't you see, baby... #
0:09:18 > 0:09:21She used to do belly-dancing in the convent that she went to school in
0:09:21 > 0:09:26and apparently the nuns were very supportive. Who knew?
0:09:26 > 0:09:30Obviously nuns in Colombia are quite different to the nuns that we know.
0:09:30 > 0:09:33# Never really knew that she could dance like this... #
0:09:33 > 0:09:36Note that Wyclef is adhering to the Golden Rule -
0:09:36 > 0:09:37do not attempt the Shakira
0:09:37 > 0:09:40unless you are a fully-trained professional.
0:09:40 > 0:09:42Her hips go like this.
0:09:42 > 0:09:46You think of a snake, right? I will attempt it now.
0:09:46 > 0:09:48So it kind of goes up and back down.
0:09:48 > 0:09:50That was really bad.
0:09:50 > 0:09:53They kind of... I can't do it. They go up like this and back down.
0:09:53 > 0:09:57And when your arms are doing all of this sort of stuff, you know,
0:09:57 > 0:10:02at the same time in opposition to your hips, it's tough.
0:10:02 > 0:10:05# I'm on tonight But my hips don't lie
0:10:05 > 0:10:07# And I'm starting to feel you, boy... #
0:10:07 > 0:10:08I work at Pineapple Studios
0:10:08 > 0:10:10and I remember when Shakira came out with that video,
0:10:10 > 0:10:13that belly dancing class that we had in Pineapple,
0:10:13 > 0:10:15like, I had 100 students plus. It was...
0:10:15 > 0:10:18crazy how many people wanted to move like Shakira.
0:10:18 > 0:10:21MIDDLE EASTERN-STYLE MUSIC PLAYS
0:10:21 > 0:10:24Belly dancing classes have long been popular with ladies of a certain age.
0:10:24 > 0:10:27How erotic is it? Does it drive men wild?
0:10:27 > 0:10:30I wouldn't say it drives men wild.
0:10:30 > 0:10:33Speaking on behalf of mankind, I have to say I disagree.
0:10:36 > 0:10:38Are you turned on?
0:10:40 > 0:10:42Not really.
0:10:42 > 0:10:43Come on, that's pretty good.
0:10:44 > 0:10:47It's very seductive, very sensuous.
0:10:48 > 0:10:52I've attempted it with varying degrees of success.
0:10:53 > 0:10:57The main component of doing belly dancing
0:10:57 > 0:11:01is forget any concept of personal dignity.
0:11:01 > 0:11:04That is the absolute bedrock.
0:11:04 > 0:11:10And once you've got beyond that, then it's remarkably simple.
0:11:10 > 0:11:14Wise words, Katie. I'm off now to clean the fluff from my belly button.
0:11:16 > 0:11:18Now back to a more innocent time
0:11:18 > 0:11:22when teenage pop stars could dress provocatively in sexy school uniforms
0:11:22 > 0:11:24and invite the listener to physically hit them.
0:11:24 > 0:11:27Yes, at number 26 it's Britney Spears
0:11:27 > 0:11:29and Hit Me Baby One More Time.
0:11:29 > 0:11:32It was a debut video that had American mums up in arms
0:11:32 > 0:11:37and American dads pretending to be up in arms while being secretly very pleased indeed.
0:11:37 > 0:11:38Oh, men!
0:11:38 > 0:11:40BELL RINGS
0:11:41 > 0:11:43# Oh, baby, baby
0:11:46 > 0:11:48# Oh, baby, baby... #
0:11:48 > 0:11:52Britney Spears with Hit Me Baby.
0:11:52 > 0:11:55It was... It was every man's dream.
0:11:56 > 0:11:58# Oh, baby, baby... #
0:11:58 > 0:12:00She came in as this little schoolgirl,
0:12:00 > 0:12:04but had this very innocent vibe,
0:12:04 > 0:12:08but had her shirt rolled up and had her little short skirt on
0:12:08 > 0:12:11and it was like, "Britney, you're not foolin' us."
0:12:11 > 0:12:13# You go... #
0:12:13 > 0:12:17When you're making a video, you try and take a real-life situation
0:12:17 > 0:12:20and then just sort of caricature it a little bit.
0:12:20 > 0:12:27And Britney's idea was quite simply that she wanted to be in a school and be thinking of boys.
0:12:27 > 0:12:29# My loneliness... #
0:12:29 > 0:12:33And then Britney said, "Why don't I dress up in a school girl's outfit?"
0:12:33 > 0:12:38And I'm sitting there thinking, "That sounds a bit racy to me," but you know, we went with it.
0:12:38 > 0:12:41There's something quite wrong about it, isn't there?
0:12:41 > 0:12:43You're watching it going, "No.
0:12:43 > 0:12:45"She's dressed as a schoolgirl."
0:12:45 > 0:12:48# Hit me baby one more time... #
0:12:48 > 0:12:52I loved when Britney first came out. It was just dance, you know.
0:12:52 > 0:12:55Ba, boom, she was going for it.
0:12:55 > 0:12:58She did, like, double pirouettes in that video.
0:12:58 > 0:13:01Well, Britney is all about the imaginary whip, OK?
0:13:01 > 0:13:05So she's very...
0:13:05 > 0:13:08Flick. She is all about that. All slashy, slashy, slashy.
0:13:08 > 0:13:09I didn't say slutty.
0:13:10 > 0:13:13The dance was a jazz-inspired dance.
0:13:13 > 0:13:19It was just a lot of arms and just what pop became.
0:13:19 > 0:13:21Britney was the face of pop at that point.
0:13:21 > 0:13:24# ..killing me. And I... #
0:13:24 > 0:13:26I think when you hear that song,
0:13:26 > 0:13:29you just want to strut around and have a dance.
0:13:29 > 0:13:30# Still believe When I'm not with you... #
0:13:30 > 0:13:33She owned it, you know?
0:13:33 > 0:13:36# Hit me baby one more time. #
0:13:36 > 0:13:37It was hot.
0:13:37 > 0:13:39# Hit me baby one more time. #
0:13:39 > 0:13:43Hit Me Baby One More Time sold over nine million copies worldwide,
0:13:43 > 0:13:47propelling Britney to pop superstardom and her devoted fans
0:13:47 > 0:13:50eagerly embraced her sexy St Trinian's look.
0:13:50 > 0:13:55Britney's fans copied everything about her, from what she wore, how she danced.
0:13:55 > 0:13:58I think she created her own cult following.
0:14:00 > 0:14:03All the girls used to have the knee-high socks
0:14:03 > 0:14:07and a little skirt rolled up and shirt and tie.
0:14:07 > 0:14:11You felt really cool cos Britney did it.
0:14:11 > 0:14:14# Show me how you want it to be... #
0:14:14 > 0:14:16We thought it was wicked.
0:14:16 > 0:14:19We all wanted fluffy pens and over-knee socks.
0:14:20 > 0:14:24We used to have talent shows at school and a lot of people would
0:14:24 > 0:14:28enter as Britney and know all the dance moves.
0:14:28 > 0:14:34We'd go along every lunchtime, pay our 50p and hope for the best!
0:14:34 > 0:14:41# Give me a sign Hit me baby one more time. #
0:14:41 > 0:14:46Since this routine, Britney's glittering career has pirouetted out
0:14:46 > 0:14:49of control several times, but with each comeback
0:14:49 > 0:14:54she demonstrates why she's still queen of the dance floor.
0:14:54 > 0:14:57# Hit me baby one more time. #
0:14:57 > 0:14:59BELL RINGS
0:15:02 > 0:15:08Hello again. We're now exactly halfway through our rundown of the best ever dance crazes,
0:15:08 > 0:15:13and I'm Robert Webb dressed as Adam Ant dressed as Prince Charming.
0:15:13 > 0:15:16Confused? Then wait until I do this.
0:15:16 > 0:15:20Her-ha! Her-ha!
0:15:20 > 0:15:22Herrrr-ha!
0:15:22 > 0:15:24Don't worry. I'm not off my nut on Meow Meow,
0:15:24 > 0:15:28I'm performing one of the most popular dances of the early 1980s.
0:15:28 > 0:15:32If you were a coal miner, the '80s were at best so-so,
0:15:32 > 0:15:35but if you were a fan of dressing up like a dandy,
0:15:35 > 0:15:37it really was the decade to be alive.
0:15:41 > 0:15:43Stand and deliver!
0:15:45 > 0:15:48I loved Adam Ant. I loved the way he made his face up
0:15:48 > 0:15:51and his movements, and I loved him because he was individual.
0:15:51 > 0:15:54# I'm the dandy highwayman you're too scared to mention... #
0:15:54 > 0:15:57I have a confession to make - I was absolutely obsessed with Adam Ant,
0:15:57 > 0:15:59and I desperately, desperately wanted to be him.
0:15:59 > 0:16:04Absolutely adore the look. I think that was an era to be proud of.
0:16:04 > 0:16:07# Stand and deliver
0:16:07 > 0:16:09# Your money or your life. #
0:16:09 > 0:16:11He was making his songs
0:16:11 > 0:16:13into a fabulous piece of theatre.
0:16:15 > 0:16:20He understood something essential which is, "I'm here to entertain you."
0:16:20 > 0:16:24But it was Adam's magical transformation from punk pretender
0:16:24 > 0:16:28to the Prince of Panto Pop that cemented his place in our top 50.
0:16:28 > 0:16:30# Don't you ever
0:16:30 > 0:16:32# Don't you ever... #
0:16:32 > 0:16:37Prince Charming was just a sort of dance craze that I tried to start,
0:16:37 > 0:16:41by dressing up and looking a bit wild.
0:16:41 > 0:16:44# Don't you ever don't you ever... #
0:16:44 > 0:16:46There's been so many great dance crazes,
0:16:46 > 0:16:48but being a child of the '80s,
0:16:48 > 0:16:52I've got to say my favourite is Adam Ant, Prince Charming.
0:16:53 > 0:16:56The dance is made up of four key simple moves,
0:16:56 > 0:16:58and each move represents Adam.
0:16:58 > 0:17:01So this move represents courage.
0:17:01 > 0:17:04The second move was about pride.
0:17:04 > 0:17:08The third move is humour. And the final message is flair.
0:17:08 > 0:17:10Which Adam had tonnes of.
0:17:11 > 0:17:14Prince Charming, hey! Prince Charming, hey!
0:17:14 > 0:17:171, 2, 3, 4...
0:17:17 > 0:17:21We had probably about 40 or 50 dancers, a huge set,
0:17:21 > 0:17:25it looked like we were walking into a Hollywood movie set,
0:17:25 > 0:17:31it was fantastic, and we had the wonderful, most beautiful Diana Dors.
0:17:31 > 0:17:341, 2, 3, 4.
0:17:34 > 0:17:37The dance was a little bit tricky, and if you watch the video closely,
0:17:37 > 0:17:42I wouldn't say she exactly gets the moves, but we decided in the spirit of things that that would be OK.
0:17:42 > 0:17:50There was a whole feeling, a whole era, a whole time where I don't think that could ever happen again.
0:17:50 > 0:17:52It's just very, very special.
0:17:52 > 0:17:55# Don't you ever lower yourself... #
0:17:55 > 0:17:59And our next dance comes from eccentric New Yorker, Lady Gaga.
0:17:59 > 0:18:05In tribute to her infamous meat dress, I've wrapped my hand in some rashers of streaky bacon. See?
0:18:05 > 0:18:10It's what I call my pork glove, and very comfortable it is, too.
0:18:10 > 0:18:15I'm also wearing chicken underpants, but probably best not show you them now. Here's Gaga.
0:18:19 > 0:18:24# Ooh-oooh-oh-oh-oh,
0:18:24 > 0:18:27# Caught in a bad romance... #
0:18:27 > 0:18:29Oh my God, I'm a huge fan of Lady Gaga.
0:18:29 > 0:18:31I'm a huge Lady Gaga fan.
0:18:31 > 0:18:35- Huge! - # Caught in a bad romance... # - She's saying,
0:18:35 > 0:18:39if you do it, do it big and make a spectacle of it.
0:18:39 > 0:18:41She don't care.
0:18:41 > 0:18:44She's doing what she wants to do and I'm so into that.
0:18:44 > 0:18:47# I want your loving I want your revenge
0:18:47 > 0:18:51# You and me could write a bad romance... #
0:18:51 > 0:18:55I just love the choreography. And it's now.
0:18:55 > 0:19:00It's sort of taking Madonna and twisting it all around.
0:19:00 > 0:19:06Gaga has this little claw thing and she calls people monsters,
0:19:06 > 0:19:08and I went to the concert
0:19:08 > 0:19:11and everyone's literally doing this claw.
0:19:12 > 0:19:14When I came up with the claw in Bad Romance
0:19:14 > 0:19:17it was because she played the record for me,
0:19:17 > 0:19:19and it felt painful
0:19:19 > 0:19:21and the first thing my hand did was tense up,
0:19:21 > 0:19:25because when you want to love somebody and you can't have them, it feels like that.
0:19:25 > 0:19:27- # I want your lovin'... # - What's happening,
0:19:27 > 0:19:31"Ooh, ra, la-la-la," what's happening to me?
0:19:33 > 0:19:36Then I was obsessed with the twist and Chubby Checker,
0:19:36 > 0:19:37so I then I did everything.
0:19:39 > 0:19:41She's not the best dancer, but she has
0:19:41 > 0:19:43a very specific way of moving,
0:19:43 > 0:19:48so a choreographer captures those awkward moments and makes them into dance sequences.
0:19:50 > 0:19:54She wasn't a dancer, but she, like millions of young girls, took dance class.
0:19:54 > 0:19:59You know, you learn a few things very early, a pas de bourree, a kick-ball-change, a hitchy koo.
0:19:59 > 0:20:04So I put these classic dance steps in her choreography
0:20:04 > 0:20:08and I said, "Well, I know that I'll make you a dancer."
0:20:08 > 0:20:13# Can't read my, can't read my, no, he can't read my poker face... #
0:20:13 > 0:20:18With Poker Face, it was about the club and the house, and there was just something
0:20:18 > 0:20:23that came to me when I was like, "My-my-my poker face," you know.
0:20:24 > 0:20:25# P-p-p-poker face... #
0:20:25 > 0:20:28She does this sort of stuff a lot, doesn't she?
0:20:28 > 0:20:29A bit of that.
0:20:30 > 0:20:34It's pretty owlish and cool, isn't it?
0:20:34 > 0:20:36And if in doubt, just take some more clothes off.
0:20:36 > 0:20:38It works for me.
0:20:38 > 0:20:40# Can't read my, can't ready my... #
0:20:40 > 0:20:45It's just like mad things, they're actually simple, but great fun,
0:20:45 > 0:20:50exuberant, camp, out there, in-your-face dance routines.
0:20:50 > 0:20:52# RedOne... #
0:20:52 > 0:20:59Lady Gaga's look is as famous as her music, and her piece de resistance was her scandalous meat dress.
0:20:59 > 0:21:02# I've had a little bit too much... #
0:21:02 > 0:21:05I think she has amazing fashion sense, and I love that it's so crazy
0:21:05 > 0:21:09and so different that it really makes you stop and think.
0:21:09 > 0:21:13Whether Gaga is living art or just a frustrated butcher,
0:21:13 > 0:21:16she's inspired fans around the world to copy her style and moves.
0:21:16 > 0:21:19It's just a shame she stinks of carrion.
0:21:19 > 0:21:21Everyone wants to be Gaga, don't they?
0:21:21 > 0:21:24And they all want to be able to dance like Gaga.
0:21:24 > 0:21:29You look on the internet and there's so many sites, "We'll teach you the Gaga steps."
0:21:30 > 0:21:33It has been a phenomenon. I mean, when I saw
0:21:33 > 0:21:37a seven-year-old do the Bad Romance dance, absolutely was I affected.
0:21:37 > 0:21:41I'm like, "my choreography is being done all around the world."
0:21:41 > 0:21:45That just inspired me to know how powerful we are as choreographers.
0:21:45 > 0:21:49# Just, ju-ju-just dance. #
0:21:49 > 0:21:53Often, the best dances have the instructions built into the lyrics.
0:21:53 > 0:21:57One thinks of Whip My Hair, by Willow Smith, and Sit Down, by James.
0:21:57 > 0:21:59Our next track is much the same.
0:21:59 > 0:22:04At number 23 we have DJ Casper and his Cha-cha Slide.
0:22:06 > 0:22:08Clap, clap-clap, clap your hands.
0:22:08 > 0:22:10All right now, we're going to do the basic step.
0:22:10 > 0:22:13To the left. Take it back now, y'all.
0:22:14 > 0:22:15One hop this time...
0:22:15 > 0:22:19So you go, slide to the right, slide to the left.
0:22:19 > 0:22:21One hop this time.
0:22:21 > 0:22:23Two hops this time.
0:22:23 > 0:22:24And this, cha-cha.
0:22:25 > 0:22:26To the left.
0:22:26 > 0:22:28Take it back now, y'all.
0:22:28 > 0:22:32It's just slide to the right, it's just really basic moves.
0:22:32 > 0:22:33One hop this time.
0:22:33 > 0:22:37Two hops this time. Now cha-cha. I don't even know it that great,
0:22:37 > 0:22:39but I know if you put that on in a club
0:22:39 > 0:22:43now tonight, I would be able to do it, because it says it.
0:22:43 > 0:22:46To the left. Take it back now, y'all.
0:22:46 > 0:22:48Let's go to work.
0:22:48 > 0:22:50Let's go to work. Let's go to work.
0:22:50 > 0:22:53- But it depends where you work. - It does.
0:22:53 > 0:22:55Most people that go to work aren't happy.
0:22:55 > 0:22:56It's like, slide to the left.
0:22:56 > 0:22:58I'm happy. Slide to the right.
0:22:58 > 0:23:00- Woohoo!- Let's to go to work.
0:23:00 > 0:23:02Oh, so boring.
0:23:03 > 0:23:06I'm outta here, y'all. Peace.
0:23:06 > 0:23:09We're going to dance and have some fun.
0:23:10 > 0:23:13The 1980s were a time of division and strife.
0:23:13 > 0:23:17Geoffrey Howe's 1981 austerity budget led to mass unemployment
0:23:17 > 0:23:20and the destruction of Britain's manufacturing sector.
0:23:20 > 0:23:25To counterbalance this, Black Lace released a single that had everyone in Britain doing this.
0:23:25 > 0:23:29So the '80s basically evened out, then.
0:23:33 > 0:23:37After a hard day's work, here I am at the Batley Frontier Club, and
0:23:37 > 0:23:41we're going to ask a few people now why they've come to see Black Lace.
0:23:41 > 0:23:44- Just pure, simple fun, good, clean fun.- The party atmosphere, yes.
0:23:44 > 0:23:47- What's your favourite song of theirs?- Agadoo-doo-doo.
0:23:47 > 0:23:52- Can you sing a bit more for us, perhaps?- I only know the title of it, I don't know the rest of it.
0:23:52 > 0:23:56# Ag-a-doo-doo-doo, push pineapple, shake the tree... #
0:23:56 > 0:23:58Agadoo was...
0:23:58 > 0:24:02pretty much the song that, if you are 30 or thereabouts,
0:24:02 > 0:24:07defined every childhood party you ever went to.
0:24:07 > 0:24:09Aga-doo...
0:24:09 > 0:24:11Doo-doo, push pineapple...
0:24:11 > 0:24:12Shake the tree...
0:24:12 > 0:24:14Da-da-uh-uh-uh...
0:24:14 > 0:24:15Push pineapple, grind coffee...
0:24:15 > 0:24:18To the left, to the right...
0:24:18 > 0:24:19Jump up and down and to the knees...
0:24:19 > 0:24:22Come and dance every night to the hula melodies.
0:24:22 > 0:24:23# Hula melodies... #
0:24:23 > 0:24:27Aga-doo-doo-doo was another don't, don't, don't for me, darling.
0:24:27 > 0:24:31# I met a hula mistress somewhere in Waikiki.
0:24:31 > 0:24:35# She was selling pineapple playing ukulele... #
0:24:35 > 0:24:41Black Lace were two blokes from deepest Yorkshire, and Agadoo was their biggest UK hit.
0:24:41 > 0:24:44But the cheesy chart-meisters have always divided opinion.
0:24:44 > 0:24:46I mean, as a dancer, you know, any...
0:24:46 > 0:24:52Well, hold on. I was going to say I embrace anything that gets people on the floor, but there is a limit.
0:24:53 > 0:24:57Black Lace had mullet haircuts, they were a bit naff, they were like
0:24:57 > 0:25:02DJs you would find in a Warrington disco club.
0:25:02 > 0:25:07It's easy to mock, really very easy in this case, but these lads have paid their showbiz dues.
0:25:07 > 0:25:13You know, they'd done the camps, they'd done the resorts, they knew their audience.
0:25:13 > 0:25:19The wrinkles on those men's faces are not merely a sign of age, they're battle scars.
0:25:19 > 0:25:24They know, when they walk into that room full of nanas and babies,
0:25:24 > 0:25:26that somebody's got to get this party started.
0:25:26 > 0:25:30# Agadoo-doo-doo, push pineapple, shake the tree... #
0:25:30 > 0:25:34Agadoo has been voted the worst song of all time, but it sold
0:25:34 > 0:25:37over a million copies worldwide, helped by the easy to perform dance.
0:25:37 > 0:25:40But where exactly did the moves come from?
0:25:40 > 0:25:41Agadoo the song actually
0:25:41 > 0:25:43is French, it originates from France.
0:25:43 > 0:25:48But the dance moves originate from a Derby nightclub.
0:25:48 > 0:25:52The rumour is, Black Lace turned up to perform, and the bar staff
0:25:52 > 0:25:56had come out with some kind of dance, and then it took off from there.
0:25:56 > 0:26:00So, if you want to blame anybody for Agadoo, blame the French and Derby.
0:26:02 > 0:26:04Consider it done, my friend.
0:26:06 > 0:26:10First, when there's nothing but a slow-glowing dream,
0:26:10 > 0:26:15that your fear seems to hide, deep inside your mind.
0:26:15 > 0:26:20All alone I've cried silent tears full of pride
0:26:20 > 0:26:24in a world made of steel, made of stone.
0:26:24 > 0:26:25Or, to put it another way...
0:26:27 > 0:26:29# What a feeling
0:26:30 > 0:26:33# Being's believing... #
0:26:34 > 0:26:36My God, I was good.
0:26:36 > 0:26:39# I can have it all, now I'm dancing for my life... #
0:26:41 > 0:26:44I think Robert Webb doing Flashdance for Comic Relief
0:26:44 > 0:26:47is one of the funniest moments on British television.
0:26:47 > 0:26:52- It was incredible, because it was almost like, is he being serious? - 'Yes, I was, actually.'
0:26:56 > 0:27:02I was initially watching it from a distance, I thought, "Phwoah, ooh, who's that?"
0:27:02 > 0:27:06- 'Calm down, I'm a married man.' - Robert's performance was outrageously funny.
0:27:06 > 0:27:10I mean, the guy came out and played the part
0:27:10 > 0:27:14and completely took command of the dance floor.
0:27:14 > 0:27:18Took command? I owned that dance floor, baby!
0:27:18 > 0:27:22He is pretty scary, and a pretty scarily good looking woman.
0:27:22 > 0:27:25- Legs, great legs.- Thank you, Melanie.
0:27:28 > 0:27:30# What a feeling. #
0:27:33 > 0:27:39At 21, and let's not kid ourselves that it would even be in the top 50 if it weren't for my performance,
0:27:39 > 0:27:42for which they didn't even give me so much as a Bafta,
0:27:42 > 0:27:46it's Flashdance by Irene Cara.
0:27:46 > 0:27:49# Well, I hear the music
0:27:49 > 0:27:53# Close my eyes, feel the rhythm...
0:27:53 > 0:27:56It was about a young girl who aspires to be
0:27:56 > 0:27:59a legitimate dancer, and she right now is a welder
0:27:59 > 0:28:03during the day, and at night she does this incredible,
0:28:03 > 0:28:05music video-type dancing.
0:28:06 > 0:28:07It was based
0:28:07 > 0:28:11on some girls in Pittsburgh who were
0:28:11 > 0:28:16working in strip clubs, or whatever, but they were trying to do something that represented themselves.
0:28:16 > 0:28:19It was called flashdancing.
0:28:19 > 0:28:23Wow, I'm such a huge fan of Flashdance,
0:28:23 > 0:28:25especially the scene where she pulls the chain
0:28:25 > 0:28:27and all the water goes over her.
0:28:30 > 0:28:31And the water, pow.
0:28:33 > 0:28:35That was my favourite.
0:28:35 > 0:28:39I would have kicked myself round a steelworks if I could look like that in the end.
0:28:39 > 0:28:43I think it was a movie that was just one great music video.
0:28:43 > 0:28:47The film made everyone want to dance, and even people who had
0:28:47 > 0:28:51never been near a dance studio wore leg warmers and Lycra.
0:28:51 > 0:28:58Everyone knows the Flashdance look, with the cut-off shoulder and the leg warmers, the whole '80s feel.
0:28:58 > 0:29:01# She's a maniac maniac on the floor... #
0:29:01 > 0:29:05It was very, very Pineapple, what with the off the shoulder sweat
0:29:05 > 0:29:09and the high-cut knickers and the crop in cotton Lycra.
0:29:12 > 0:29:16To fulfil her dream, Alex needed a scholarship to the dance academy,
0:29:16 > 0:29:20and we were all rooting for her on the day of the big audition.
0:29:20 > 0:29:23When that music kicks in and she's doing that audition,
0:29:23 > 0:29:25I could be 100 and I'd be dancing,
0:29:25 > 0:29:28because it's the adrenalin, "You will do it, do it, do it, do it."
0:29:29 > 0:29:33# First, when there's nothing... #
0:29:33 > 0:29:39That scene, where she's just like living What A Feeling is just what dance is about in that era.
0:29:39 > 0:29:44# In a world made of steel... #
0:29:44 > 0:29:47I think people were caught up in the idea of somebody
0:29:47 > 0:29:50wanting something enough and having their dream come true.
0:29:51 > 0:29:53# What a feeling!
0:29:54 > 0:29:57# Being's believing! #
0:29:57 > 0:30:01She goes along the panel pointing you, you, you, and the kicks, everything.
0:30:04 > 0:30:07Take your passion, make it happen.
0:30:07 > 0:30:11It speaks to people's motivation, their faith in themselves.
0:30:11 > 0:30:15Those are themes that are very human, very universal.
0:30:17 > 0:30:20She's doing all these leaps and somersaults.
0:30:20 > 0:30:21She turns on her back,
0:30:21 > 0:30:26which is a very hardcore, hip hop move, then it was like, "Whoa."
0:30:29 > 0:30:33Now, we don't want to break the spell but we do feel obliged
0:30:33 > 0:30:37to point out that I'm not the only bloke to have danced that audition scene.
0:30:37 > 0:30:41Is it an urban myth, that it was really a man that all the acrobatics and stuff?
0:30:41 > 0:30:47I've watched that over and over again, and it's definitely not her doing that backspin!
0:30:47 > 0:30:50Being asked to wear a leotard, tights and a wig
0:30:50 > 0:30:54and being asked to shave my legs and my under arms...
0:30:54 > 0:30:57I wasn't groomed to be an actor or anything like that,
0:30:57 > 0:31:02where they would be like, "Oh, yeah, cool, all right, so you need me to shave my legs?
0:31:02 > 0:31:04"I'll shave my ass, too, just in case."
0:31:04 > 0:31:08I was like, "Yeah, you'd better give me some money for this."
0:31:08 > 0:31:12Note to viewers - I didn't shave my ass when I did Flashdance.
0:31:17 > 0:31:20If you like a man whose surname is a number, you'll love our next entry.
0:31:20 > 0:31:24It's Hey Ya!, sung by Outkast's Andre 3000.
0:31:24 > 0:31:29I'm actually toying with the idea of changing my name from Robert Webb to Bobby Millions.
0:31:29 > 0:31:34I won't really do it, of course. It just sounds ace when I'm chatting up women on the street.
0:31:34 > 0:31:36Anyway, the great thing about this video
0:31:36 > 0:31:41is that Mr 3000 plays the roles of all the band members himself.
0:31:41 > 0:31:46It had to be filmed in one day, too, so the less energetic the dance, the later it was in the shoot.
0:31:46 > 0:31:51And unusually for something coming out of my mouth, that's actually true. Here is your number 20.
0:31:51 > 0:31:53Oh, guys, get some vitamin C.
0:31:53 > 0:31:55Come on.
0:31:59 > 0:32:05# Hey, ya, hey ya... #
0:32:05 > 0:32:07The Outkast dance was that.
0:32:07 > 0:32:09# Hey, ya... #
0:32:09 > 0:32:11It's pretty much that, isn't it?
0:32:11 > 0:32:14# Doo-doo-doo-doo-doo-doo, doo-doo-doo-doo-doo-doo
0:32:14 > 0:32:16# Doo-doo-doo-doo-doo-doo,
0:32:16 > 0:32:19# Shake it, shake it, shake it, shake it, shake it...
0:32:19 > 0:32:25Shake it like a Polaroid picture. I can only guess that it means shake your booty like a Polaroid picture.
0:32:25 > 0:32:26# ..like a Polaroid picture... #
0:32:26 > 0:32:31Shake it, shake it, shake, shake it... At one moment there's a slow motion.
0:32:31 > 0:32:34I fell in love with that girl when that music video came out.
0:32:34 > 0:32:36God, she's so hot.
0:32:36 > 0:32:42Polaroid used the popularity of this song to try and revive sales of their cameras.
0:32:42 > 0:32:44However, shaking a Polaroid
0:32:44 > 0:32:48doesn't actually help to develop the picture, as the image is behind a protective film.
0:32:48 > 0:32:53Indeed, vigorous shaking risks distorting the image and can actually cause the ink to separate.
0:32:53 > 0:32:56I'm so sorry, that was incredibly boring, wasn't it?
0:32:56 > 0:32:59And everyone did this to make them develop quicker, didn't they?
0:32:59 > 0:33:03I don't know why. Photographers used to do this.
0:33:03 > 0:33:06It was the heat I think that did it. But everyone used to shake them.
0:33:06 > 0:33:12- I never had any Polaroid pictures of me.- It's digital now, really. It's been pretty much modernised.
0:33:12 > 0:33:16- That's a good point, actually. - It's completely redundant. - Get over it, Outkast.
0:33:20 > 0:33:23At number 19 on our list of pop's greatest dance crazes
0:33:23 > 0:33:26we have the 1989 dance floor sensation the Lambada.
0:33:26 > 0:33:28It's a sensual piece of music
0:33:28 > 0:33:30that evokes romantic evenings by the beach,
0:33:30 > 0:33:36eyes meeting over cocktails and a moustachioed busker in a sombrero going "Ayayayayeee!"
0:33:36 > 0:33:38as he plays a guitar two feet from your table,
0:33:38 > 0:33:41his phlegm drenching your deep fried calamari. Idiot.
0:33:42 > 0:33:46We've brought in an expert to teach us the steps,
0:33:46 > 0:33:51but first here's a reminder of the video that started the craze.
0:33:51 > 0:33:56# Chorando se foi quem um dia so me fez chorar. #
0:33:56 > 0:34:01The video featured two Brazilian kids, Chico and Roberta.
0:34:01 > 0:34:03I was about the same age as the little boy.
0:34:03 > 0:34:06My mum used to say, "Bradley, that looks like you."
0:34:06 > 0:34:11But the girl that he dances with, my gosh I used to fancy her so bad.
0:34:14 > 0:34:19This sort of slightly uncomfortable Lolita-ish girl
0:34:19 > 0:34:22and her tiny dance partner sort of,
0:34:22 > 0:34:26you never, wiggling around like doing this really quite full-on dance.
0:34:26 > 0:34:30I'd feel uncomfortable if that came on telly when my parents were in the room.
0:34:30 > 0:34:36Embarrassing, maybe, but that's what the Lambada was designed to do - to make us get up close and personal.
0:34:36 > 0:34:42You need the energy of your partner that's holding your hand and he's like pulling you, hips, hips, hips.
0:34:42 > 0:34:47The intimacy of the Lambada is quite aggressive for the Brits, because
0:34:47 > 0:34:50everyone is a little bit more reserved here.
0:34:50 > 0:34:53And of course, we know it's a Brazilian carnival type-dance.
0:34:53 > 0:34:59- You need a partner. "Where is my partner? Partner?"- I think the Latino culture is really fiery.
0:34:59 > 0:35:03There's no gap between the partner. It's really important to have that physical contact and eye contact.
0:35:03 > 0:35:07You do it together and it's
0:35:07 > 0:35:10almost like having a lot more fun than just dancing.
0:35:12 > 0:35:17A lot of women just like wanted to put on a mini skirt and twirl and maybe show their panties,
0:35:17 > 0:35:20- a glimpse of their panties. - I couldn't cope with it.
0:35:20 > 0:35:23It was so beyond my experience of life, I didn't know what to do.
0:35:23 > 0:35:26It was a very, very naughty, sexy dance.
0:35:28 > 0:35:30That's what dancing is meant to be.
0:35:30 > 0:35:34It's meant to be sexy and skilful and poised.
0:35:34 > 0:35:40I agree, Rufus, but unfortunately not everyone is quite as skilful and sexy as Lorraine Kelly.
0:35:40 > 0:35:41Oh, yeah!
0:35:42 > 0:35:44One, two, three, four.
0:35:57 > 0:36:01Right, next up it's YMCA by the Village People. Not really!
0:36:01 > 0:36:06It is of course the Bangles with their lie about how Egyptians walk.
0:36:06 > 0:36:10But first, a Bangles fact - when they were recording the song Eternal Flame,
0:36:10 > 0:36:14producer Davitt Sigerson convinced them to sing naked.
0:36:14 > 0:36:16There's only one thing I have to say about that.
0:36:28 > 0:36:32If you've got a great song with a title like Walk Like An Egyptian,
0:36:32 > 0:36:34what do you reckon you're going to do?
0:36:34 > 0:36:38# All the old paintings on the tomb they do the sun dance don't you know... #
0:36:38 > 0:36:41How did people move to Walk Like An Egyptian?
0:36:41 > 0:36:43Everybody knows it's like that.
0:36:43 > 0:36:45It did it for you, didn't it?
0:36:45 > 0:36:48Easy. A bit of this.
0:36:50 > 0:36:54Thing is, we had an Egyptian kid in our school and we used to just walk past him all the time going...
0:36:54 > 0:36:56He had a terrible time.
0:36:56 > 0:36:58# Walk like an Egyptian... #
0:37:00 > 0:37:05The Bangles were a trailblazing, all-girl power pop combo from LA
0:37:05 > 0:37:08who hit number three with this track in 1986.
0:37:08 > 0:37:11But the moves weren't exactly groundbreaking.
0:37:11 > 0:37:17The Egyptian dance was a dance that had been done like years ago, and then they brought it back.
0:37:19 > 0:37:27The sand dances were performed in the music halls by very, very thin men in nappies.
0:37:27 > 0:37:34The joke basically was, "Look at this very, very thin man skidding around on some sand."
0:37:36 > 0:37:43You just wouldn't make a song now picking a country and saying, "They all look like that!"
0:37:43 > 0:37:44You just wouldn't nowadays.
0:37:44 > 0:37:48But, oh, back in the '80s you didn't think of such things.
0:37:48 > 0:37:51Even the writer of the song admits the inspiration -
0:37:51 > 0:37:56and he wasn't in Arabia and saw people doing that, it wasn't some documentary he saw people
0:37:56 > 0:38:01doing that - the inspiration is when he saw people struggling on a ferry.
0:38:01 > 0:38:06He saw people struggling to stand up on a ferry, doing that. "Oh, that looks Egyptian."
0:38:06 > 0:38:10I think Walk Like People Struggling On A Ferry probably hasn't got the ring to it.
0:38:11 > 0:38:14But I think what the Bangles fundamentally misunderstood
0:38:14 > 0:38:20was that the pictorial hieroglyphic representation of Egyptian history was just that.
0:38:20 > 0:38:22I'm not an Egyptologist,
0:38:22 > 0:38:26but I don't think the Egyptians were walking around like that
0:38:26 > 0:38:30and therefore I think the Bangles have done history a great disservice.
0:38:30 > 0:38:33# Walk like an Egyptian. #
0:38:39 > 0:38:43Hello there. I'm just rowing a small boat across a lake.
0:38:43 > 0:38:50Hang on a minute, no I'm not. I'm actually sat on a dancefloor with a piece of broken glass in my bottom.
0:38:50 > 0:38:55Which can only mean one thing - I'm hammered and the DJ's put on Oops Upside Your Head.
0:38:55 > 0:38:58I could have stopped doing this ages ago, couldn't I?
0:39:04 > 0:39:07# Oops upside your head
0:39:07 > 0:39:09# Say oops upside your head
0:39:09 > 0:39:15Oops Upside Your Head is a song played exclusively at family get-togethers.
0:39:15 > 0:39:21It's basically a group sat up on the dance floor as if they were in canoes, a pint of lager either side.
0:39:21 > 0:39:24It's the ultimate inclusive dance craze.
0:39:24 > 0:39:26Assuming all the kids in your family drink lager.
0:39:26 > 0:39:30In the '80s, Oops Upside Your Head used to come on all the time.
0:39:30 > 0:39:33We used to sit on the floor and bash the floor.
0:39:33 > 0:39:36Say Oops upside your head. And more.
0:39:36 > 0:39:39Oops upside your head
0:39:39 > 0:39:41Say oops upside your head.
0:39:42 > 0:39:44It's basically line dancing for lazy people.
0:39:44 > 0:39:47You can sit down and not worry about a thing.
0:39:49 > 0:39:52It's a classic and it's one that gets everyone going.
0:39:52 > 0:39:56- This is the biggest dance record at the moment. What do you do to this?- A sort of rowing motion.
0:39:56 > 0:39:58- Sort of like at Henley. - Something similar.
0:39:58 > 0:40:02- # Don't believe that I wanna dance... #- The first time we went
0:40:02 > 0:40:05to perform the song scared me half to death.
0:40:05 > 0:40:10Everybody started sitting down. I was freaking out! I was like, "Come on, everybody come on, oops, up..."
0:40:10 > 0:40:13And they was all getting on the floor and I was like, "What's going on?"
0:40:13 > 0:40:16I turned around to my brothers and I was like, "This don't look good."
0:40:16 > 0:40:20Then I turned back around and everybody was rowing and I was like, "Whoa, what's this?"
0:40:22 > 0:40:26After I figured out they was doing a dance I was like a happy camper.
0:40:26 > 0:40:30The origins of the dance are shrouded in mystery,
0:40:30 > 0:40:33but it seems like it was us Brits who first came up with the moves.
0:40:33 > 0:40:40Pat the floor, slight double pat, oops upside your head, with a shimmy to the front.
0:40:40 > 0:40:43Once you get the hang of it, it's actually quite easy.
0:40:43 > 0:40:47And then someone is normally sick down the back of your shoulder.
0:40:47 > 0:40:50# Oops upside your head... #
0:40:50 > 0:40:54I said, "So what's this called?" And he was like, "The Row Dance," and I was like, "The Row Dance?
0:40:54 > 0:40:57OK!" And I was like, "Everybody row, come on."
0:40:57 > 0:41:00There's something strange about seeing people sitting on a dancefloor.
0:41:00 > 0:41:03It kind of, is it a dance or is it a protest?
0:41:04 > 0:41:07I don't know where it came from. It was a UK thing only.
0:41:07 > 0:41:10They didn't do it in the States. I thought it was the coolest thing.
0:41:10 > 0:41:14Do they still do it? They still do it.
0:41:14 > 0:41:16That's all right.
0:41:22 > 0:41:27We've all watched the X Factor and marvelled at Dannii Minogue's ability to make either positive,
0:41:27 > 0:41:31negative or neutral remarks about a contestant's performance.
0:41:31 > 0:41:36But how many of us realise that Dannii has a sister?
0:41:36 > 0:41:40Well, she does, and her name is Kylie.
0:41:40 > 0:41:46Interestingly, both Minogue sisters are so diddy that they sometimes save money on travel costs
0:41:46 > 0:41:51by taking a sleeping pill, jumping into a Jiffy bag and being posted to their destination.
0:41:51 > 0:41:53Incredible women.
0:41:53 > 0:41:58# Everybody's doing a brand new dance now
0:41:58 > 0:42:01# Come on, baby do the locomotion... #
0:42:01 > 0:42:07Back in 1988, Kylie had a number two hit with The Locomotion, a cover of Little Eva's song
0:42:07 > 0:42:12with a cute little dance that had us all pratting about with a chugga chugga motion.
0:42:12 > 0:42:18But in 2001 Kylie got us grooving in a whole new and frankly much cooler style.
0:42:18 > 0:42:20# ..do the locomotion with me... #
0:42:28 > 0:42:30# La la la... #
0:42:30 > 0:42:34Can't Get You Out Of My Head was a great dance track and a really iconic video.
0:42:34 > 0:42:38I remember the white all-in-one with the hood and the robotic dance moves.
0:42:38 > 0:42:43That was really cleverly choreographed, actually. It was simple but it was really effective.
0:42:43 > 0:42:46# I just can't get you out of my head
0:42:46 > 0:42:51# Boy, your lovin' is all I think about... #
0:42:51 > 0:42:54Can't Get You Out Of My Head - choreographically, performance wise,
0:42:54 > 0:42:58stylistic, clothing wise, it absolutely was a turning point for her.
0:42:58 > 0:43:03Globally and internationally, she felt like a superstar.
0:43:03 > 0:43:05# Every day... #
0:43:05 > 0:43:10Loved that, that white suit Kylie wears in that video is so hot.
0:43:10 > 0:43:13I love it. It's great. With a body like that, I mean phew.
0:43:13 > 0:43:18# Won't you stay? #
0:43:18 > 0:43:19Kylie asked me to come
0:43:19 > 0:43:23into her dressing room and she showed me the dress
0:43:23 > 0:43:24that she was going to be dancing in,
0:43:24 > 0:43:29and... I said, "Where's the dress?"
0:43:29 > 0:43:33The outfit she was wearing was completely covering her hair,
0:43:33 > 0:43:35burka fashion.
0:43:35 > 0:43:38She wore that and just looked like a goddess.
0:43:38 > 0:43:44Anything could pop out at any sort of time and she was just this swirling sort of sexy ghost.
0:43:44 > 0:43:48What looks so scrummy on Miss Minogue was foolishly copied by clubbers.
0:43:48 > 0:43:52But out in the real world, it just never seemed to look as good.
0:43:52 > 0:43:56Especially on men. I only wore mine once before donating it to Dr Barnardo's,
0:43:56 > 0:43:59unwashed and with one particularly unsightly stain.
0:43:59 > 0:44:02There would have been a lot of toupee tape going on there
0:44:02 > 0:44:07for those quick turns, just to, just so it doesn't come out.
0:44:07 > 0:44:11There was some double stick tape going on. They were going to get the staple gun out,
0:44:11 > 0:44:14but they just decided to go with the double stick.
0:44:14 > 0:44:20Some of the iconic moves from the Can't Get You Out Of My Head video for Kylie Minogue - I had a pivot
0:44:20 > 0:44:25where I had her step forward, sliding your feet against the floor.
0:44:25 > 0:44:30And locking, these are called quarter pivots, slide, quarter, pivot.
0:44:33 > 0:44:36Hands are kind of here, bent, really kind of cool.
0:44:36 > 0:44:41Have the head kind of go with it, grooving and moving.
0:44:48 > 0:44:54You've got a great tune there that allowed the choreographer to go, "Well, this is easy.
0:44:54 > 0:44:56"Can't get you out of my head, hands on my head."
0:44:56 > 0:44:59That's it, you know, and just animate that.
0:44:59 > 0:45:03# La la la, la la la la la... #
0:45:03 > 0:45:06Kylie doesn't even know this, but when I was making up the steps for her video
0:45:06 > 0:45:12she put me up in a beautiful hotel and I had three feet from the bed to the wall and I literally
0:45:12 > 0:45:17had to make up all the dance steps so I was doing everything like this
0:45:17 > 0:45:24and keeping everything parallel, and all the dance moves that I did had to be in a three foot confined space.
0:45:24 > 0:45:27Someone like her doesn't have to move much to make people catch on
0:45:27 > 0:45:31to it because you're just kind of like hypnotically into it.
0:45:33 > 0:45:38Everyone, when it came on, everyone was like going like they're a little bit demented.
0:45:40 > 0:45:44That is the beauty of great choreography,
0:45:44 > 0:45:49that every single person can pick it up and they can do it on a dancefloor
0:45:49 > 0:45:51and feel like they're a star themselves.
0:45:51 > 0:45:53# And ever... #
0:45:53 > 0:45:55Kylie called me one day and she's like,
0:45:55 > 0:45:59"Oh my God, Michael, everybody's doing these dance steps in the clubs in London!"
0:45:59 > 0:46:05And I was, like, so thrilled because any time a dance move catches on and becomes iconic,
0:46:05 > 0:46:07it's just amazing.
0:46:13 > 0:46:18If there's one thing you can always say about the British public, it's that they know their music.
0:46:18 > 0:46:23That's why in 1998 they bought over 1.5 million copies of a single by Steps.
0:46:23 > 0:46:27But then again, Tragedy was originally a Bee Gees song but H and the rest of the guys
0:46:27 > 0:46:31really made it their own by coming up with these nifty little moves.
0:46:31 > 0:46:32Maestro, if you please.
0:46:32 > 0:46:34- # Tragedy... #- Tragedy!
0:46:34 > 0:46:37- (SHOUTS)- When the feeling's gone and you can't go on, it's tragedy!
0:46:37 > 0:46:42- When you know... - HE CHOKES
0:46:42 > 0:46:45# With no-one to love you You're going nowhere
0:46:47 > 0:46:49# Tragedy!
0:46:49 > 0:46:53# When the feeling's gone and you can't go on, it's tragedy... #
0:46:53 > 0:46:55Everybody remembers...Tragedy.
0:46:55 > 0:46:57You can't not remember...Tragedy.
0:46:57 > 0:47:02As soon as you hear Tragedy, I mean, even I can't help it.
0:47:02 > 0:47:04If you played it now, I'd have to sit on my hands.
0:47:04 > 0:47:07My hands automatically go up to my face.
0:47:07 > 0:47:09Tragedy. Arms out.
0:47:09 > 0:47:10Tragedy.
0:47:12 > 0:47:14And the head.
0:47:15 > 0:47:18That's one of my favourites! They didn't even care.
0:47:18 > 0:47:20They weren't cool, but it didn't matter
0:47:20 > 0:47:22and I still do the routine to Tragedy.
0:47:22 > 0:47:26Tragedy. One, da, da, da. Tragedy.
0:47:27 > 0:47:31Under the command of pop Svengali Pete Waterman Steps conquered the UK charts,
0:47:31 > 0:47:35peddling their own brand of catchy pop songs and disco covers
0:47:35 > 0:47:39accompanied by equally infectious dance routines.
0:47:39 > 0:47:44Even Prince Charles was infected, joining their legion when they performed at Hyde Park.
0:47:45 > 0:47:49I was worried that he would think that we were taking the mickey of his ears,
0:47:49 > 0:47:51but of course, we were doing the Tragedy dance.
0:47:51 > 0:47:55You know your dance craze has caught on when the future King knows the moves,
0:47:55 > 0:47:58but actually, most people get the famous hand gesture wrong.
0:48:01 > 0:48:05Our second single, Last Thing On My mind, had a similar dance routine to Tragedy.
0:48:05 > 0:48:07We had a move like this and we called it "washing our hair".
0:48:07 > 0:48:13And so some people do confuse that with that and you get a bit of a mix, but, you know, it's all good.
0:48:13 > 0:48:17I just remember doing that.
0:48:17 > 0:48:18Tragedy!
0:48:18 > 0:48:21# Take a chance on a happy ending... #
0:48:21 > 0:48:25With a string of 14 - yes, 14 consecutive top-5 singles,
0:48:25 > 0:48:29Steps were based on a simple gimmick but boy, did it catch on.
0:48:29 > 0:48:32We learned early on that everybody enjoyed
0:48:32 > 0:48:37the dance routine as much as the song and it really went hand in hand for us and it became our signature.
0:48:37 > 0:48:41The dancing was definitely as important as the music.
0:48:41 > 0:48:46They were acting out what they were singing and that made it so easy for everyone to copy it.
0:48:46 > 0:48:48# Stop our heart from mending... #
0:48:48 > 0:48:53We decided it would be a good idea to actually have the dance moves
0:48:53 > 0:48:57in the sleeves of our singles, so that the fans could join in.
0:48:59 > 0:49:04We wanted the steps and that's what their name was and that's what they showed us - steps.
0:49:04 > 0:49:07If they were called Acapella Harmonies, it'd be a different story,
0:49:07 > 0:49:10but they were called Steps, they delivered steps. That's why we like them.
0:49:10 > 0:49:15Regardless of your level of dance, the routines were simple,
0:49:15 > 0:49:18everybody at home could join in and that's what we wanted.
0:49:18 > 0:49:21I mean, they were no Beyonce.
0:49:21 > 0:49:24Do you know what I mean? They were no Jackson Five.
0:49:24 > 0:49:26I think they knew that, the public knew that.
0:49:26 > 0:49:29But what they were, when they were, was great.
0:49:29 > 0:49:30# Best forgotten! #
0:49:36 > 0:49:39# Oh, ho, ho, ho... #
0:49:39 > 0:49:42- Huh!- Hoo, ha!
0:49:42 > 0:49:47# Oh, ho, ho, ho... Oh, ho, ho, ho... #
0:49:47 > 0:49:51- Diddly, diddly....- # Everybody was kung fu fighting... #
0:49:51 > 0:49:56At number 14, it's 1974 and we're back in the era of Bruce Lee,
0:49:56 > 0:50:02Hong Kong Phooey and, as Carl said, everybody was kung fu fighting.
0:50:02 > 0:50:06We looked around the youth clubs and there was these classes of people
0:50:06 > 0:50:10with white suits, different coloured belts, grabbing at each other.
0:50:10 > 0:50:14This is from our kung fu range.
0:50:14 > 0:50:16I get quite carried away when I...
0:50:16 > 0:50:21I think he really grabbed the Zeitgeist by the proverbials.
0:50:21 > 0:50:26You ask anybody, basically over 30 and they were always into some kind of martial art.
0:50:26 > 0:50:29I don't think there were really any set moves to this.
0:50:29 > 0:50:32I think it's just doing bad karate.
0:50:32 > 0:50:34It's that, you've had one karate class at school
0:50:34 > 0:50:39and you think that allows you, whilst drunk, to be able to do high kicks in the disco.
0:50:39 > 0:50:45It's not advisable to introduce violent moves to a crowded nightclub and the Kung Fu Fighting dance
0:50:45 > 0:50:49got a reputation for causing damage on the dance floor.
0:50:49 > 0:50:52We were told not to show the violent part of this thing.
0:50:52 > 0:50:57So, it turned into a little bit of comedy, a little bit of fun,
0:50:57 > 0:51:00using the dance but still using all the movements.
0:51:02 > 0:51:06If there was ever a dance to knock drinks over, this was it. People lashing out.
0:51:06 > 0:51:09Never, ever do this dance in a place with waitress service,
0:51:09 > 0:51:12because those trays are going to be flying, with expert timing.
0:51:12 > 0:51:15It really will be a little bit frightening.
0:51:15 > 0:51:18- # Oh, ho, ho, ho... #- The song may have sold in vast quantities,
0:51:18 > 0:51:22but didn't become truly culturally significant
0:51:22 > 0:51:27until the Mitchell brothers gave us their version, in the now legendary spin-off show, Far Eastenders.
0:51:27 > 0:51:29# Everybody was kung fu fighting... #
0:51:29 > 0:51:33I definitely enjoyed Kung Fu Fighting and the dance moves, which was,
0:51:33 > 0:51:37quite cool and sway, so I was just...
0:51:37 > 0:51:40and then it gives you the opportunity to do that in people's face.
0:51:40 > 0:51:42# Kung fu.... #
0:51:42 > 0:51:45If I was drunk, maybe I'd put a couple of kicks in there.
0:51:45 > 0:51:51Although it was a novelty song, it's actually a good enough track to stand the test of time.
0:51:51 > 0:51:57It's been said that it's been number one in every musical territory on the planet.
0:51:57 > 0:51:59And even today, it's still being played.
0:51:59 > 0:52:02I'm very, very proud.
0:52:02 > 0:52:06Carl has every right to feel proud, unlike those two numpties.
0:52:06 > 0:52:08Sorry, Mum.
0:52:08 > 0:52:09# Don't blame it on sunshine
0:52:09 > 0:52:11# Don't blame it on the moonlight... #
0:52:11 > 0:52:14At number 13, it's Blame It On The Boogie.
0:52:14 > 0:52:17But it's not the Jacksons' version that most of us know and love,
0:52:17 > 0:52:19because they didn't make up the dance.
0:52:19 > 0:52:21Incidentally, they didn't even write the song.
0:52:21 > 0:52:25That was a fella called Mick Jackson from Sheffield, but there's no time
0:52:25 > 0:52:30to dwell on that now because... Actually, there is time to dwell on that but I just don't want to.
0:52:30 > 0:52:33- Instead, let's learn about the dance.- # Blame it on the boogie... #
0:52:39 > 0:52:40People ask me, "Who are Big Fun?"
0:52:40 > 0:52:43And I say, "Sunshine, moonlight, good times."
0:52:43 > 0:52:45"Oh, yes, I remember Big Fun now."
0:52:45 > 0:52:46# Don't blame it on the sunshine
0:52:46 > 0:52:48# Don't blame it on the moonlight... #
0:52:50 > 0:52:54- Yeah, we were the guys that did that dance routine! - # Don't blame it on the sunshine... #
0:52:54 > 0:53:02We were the first all-dancing boy band, prior to Boyzone, Take That, we were on Top Of The Pops.
0:53:02 > 0:53:04We were on front covers of magazines.
0:53:04 > 0:53:07Everyone was just like, screaming and doing the routine.
0:53:07 > 0:53:10We got the most amazing response everywhere we went.
0:53:10 > 0:53:14Big Fun. What a great name, because they were literally having big fun,
0:53:14 > 0:53:16as they shot to fame in the early '90s.
0:53:16 > 0:53:22They were produced by Stock, Aitken and Waterman, but the band had creative input, oh yes.
0:53:22 > 0:53:27The boys made up their groovy little dance in the kitchen of their north London flat.
0:53:27 > 0:53:29We came up with the idea of doing something simple.
0:53:29 > 0:53:33With every main word for the chorus, we just tried to do something that would relate to it.
0:53:33 > 0:53:36Don't blame it on the sunshine.
0:53:36 > 0:53:38Moonlight, don't know where that came from.
0:53:38 > 0:53:41Then there's the good times, a kind of sexual thing, that's a bit rude.
0:53:41 > 0:53:45We'd have called it at school, a sort of sex-skiing kind of move.
0:53:45 > 0:53:47As a kid, I didn't really approve of that.
0:53:49 > 0:53:51# Don't blame it on the sunshine
0:53:51 > 0:53:52# Don't blame it on the moonlight
0:53:52 > 0:53:55# Don't blame it on the good times... # Blokes loving this.
0:53:55 > 0:53:59Once you get a bit of a pelvic thrust in there, can't go wrong.
0:53:59 > 0:54:05I hate all that sort of stuff, where the choreography is speaking the words.
0:54:05 > 0:54:10I mean, it's great for two or three-year-olds, but please, don't bring it into pop.
0:54:10 > 0:54:13The other two guys, Jason and Mark are like, "No, we can't do that."
0:54:13 > 0:54:16I said, "Just trust me, I think it'll really work".
0:54:16 > 0:54:19And it did. The response was incredible.
0:54:19 > 0:54:23Everyone was doing the dance routine.
0:54:23 > 0:54:25I don't think people boogie enough.
0:54:25 > 0:54:27They blame the boogie too much.
0:54:27 > 0:54:30They never specify what the crime is, do they?
0:54:30 > 0:54:33They just give you advice on who you should blame it on.
0:54:33 > 0:54:36Accompanied by illustrative dance!
0:54:36 > 0:54:39# I just can't, I just can't I just can't control my feet... #
0:54:39 > 0:54:42# I just can't, I just can't... #
0:54:42 > 0:54:43# I just can't control my feet... #
0:54:43 > 0:54:48# I just can't, I just can't I just can't control my feet... #
0:54:48 > 0:54:51Big Fun had it all, the looks, the bum bags and a few catchy songs,
0:54:51 > 0:54:55but in 1995, their name stopped being literal and became ironic
0:54:55 > 0:54:58as they were dumped by their record label.
0:54:58 > 0:55:01Big Fun mania was over as quick as you could say, Take That.
0:55:04 > 0:55:08# Body movin', body movin' Body movin', we be body movin'. #
0:55:08 > 0:55:11So far so good, but I hear you ask,
0:55:11 > 0:55:15"what will be the craziest of all the dance crazes?"
0:55:15 > 0:55:18Join us next time to find out. See you soon.
0:55:26 > 0:55:29Subtitles by Red Bee Media Ltd