Browse content similar to Episode 2. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Dancing is super fun. It's a form of expression and it's cool. | 0:00:02 | 0:00:07 | |
Oh, I know this song. Let's do the routine to it. It brings everyone together. It's great. | 0:00:07 | 0:00:12 | |
Having a dance craze gives us that chance to do something all together | 0:00:12 | 0:00:15 | |
and all feel like we are one animal. | 0:00:15 | 0:00:19 | |
There's been so many great dance crazes | 0:00:19 | 0:00:21 | |
and I've partaken in most of them. | 0:00:21 | 0:00:23 | |
It's fun, it's something that everyone can do. | 0:00:23 | 0:00:26 | |
Oh, it's camp as Christmas. | 0:00:26 | 0:00:27 | |
The moment any of these songs start, you're damned if you do and you're damned if you don't. | 0:00:27 | 0:00:32 | |
Better to slap on a smile and get stuck in, I reckon. | 0:00:32 | 0:00:34 | |
Hello, I'm TV's Robert Webb, | 0:00:38 | 0:00:40 | |
and I'm here to welcome you back to Pop's Greatest Dance Crazes. | 0:00:40 | 0:00:44 | |
This is part two of our countdown of the hippest, the sexiest, | 0:00:44 | 0:00:48 | |
the quirkiest and, let's be honest... | 0:00:48 | 0:00:51 | |
..the gayest dance crazes from the last 40 years. | 0:00:53 | 0:00:56 | |
So, get ready to groove as we continue our odyssey into the songs | 0:00:56 | 0:01:00 | |
that have got you bopping like idiots at office parties, | 0:01:00 | 0:01:04 | |
wedding discos, or alone in your front room, drunk. | 0:01:04 | 0:01:08 | |
At number 30, it's Bucks Fizz with their Eurovision winning song Making Your Mind Up. | 0:01:13 | 0:01:18 | |
In a bid to win the votes of the more backward European nations, | 0:01:18 | 0:01:22 | |
the song featured a routine that managed to be both childish and sexist. | 0:01:22 | 0:01:25 | |
It culminated in the male members of the band yanking off the skirts of the ladies. Like this... | 0:01:25 | 0:01:30 | |
Oh, your one doesn't do it. | 0:01:32 | 0:01:35 | |
Making Your Mind Up. | 0:01:39 | 0:01:41 | |
# You gotta speed it up And then you gotta slow it down... # | 0:01:42 | 0:01:47 | |
# And if you believe that a love can hit the top | 0:01:47 | 0:01:50 | |
# You gotta play your round... # | 0:01:50 | 0:01:51 | |
I used to remember doing that in the playground. That was my era. | 0:01:51 | 0:01:56 | |
# ..Making your mind up! # | 0:01:56 | 0:01:59 | |
SHE MUMBLES | 0:01:59 | 0:02:00 | |
# Making your mind up! # Is that it? | 0:02:00 | 0:02:02 | |
We were put together specifically to wear | 0:02:02 | 0:02:06 | |
bright colours, to all be blonde, | 0:02:06 | 0:02:09 | |
and to all do a happy little routine that would catch the judges' eyes. | 0:02:09 | 0:02:13 | |
# Don't let your indecision take you from behind... # Hands on bum. | 0:02:14 | 0:02:18 | |
# Take you from behind... # | 0:02:18 | 0:02:20 | |
# Trust your intuition Don't let others change your mind! # | 0:02:20 | 0:02:26 | |
Don't let others change your mind. See, they had a message. | 0:02:26 | 0:02:29 | |
They had a positive message. | 0:02:29 | 0:02:31 | |
I'd leap onto Mike, legs akimbo, run back to our mic stands. | 0:02:31 | 0:02:36 | |
The most memorable part of the song. | 0:02:36 | 0:02:38 | |
# But if you want to see some more... # | 0:02:38 | 0:02:41 | |
There was a point where they whipped the girls' skirts off to show off their knees. | 0:02:41 | 0:02:47 | |
The skirts came off and that was it. History was made. | 0:02:47 | 0:02:52 | |
Lady Gaga...nothing. | 0:02:52 | 0:02:55 | |
We saw Cheryl Baker's knees! | 0:02:55 | 0:02:56 | |
I'm sure that we won Eurovision because of the skirts. We only won by four points. | 0:02:56 | 0:03:01 | |
I'm sure that those four points were from people who were glad the skirts came off. | 0:03:01 | 0:03:05 | |
# But soon you will find that there comes a time | 0:03:05 | 0:03:07 | |
# For making your mind up. # | 0:03:07 | 0:03:10 | |
Finished. | 0:03:10 | 0:03:12 | |
At 29, it's a Python-esque take on an original '60s skank dance, by which I mean this. | 0:03:12 | 0:03:20 | |
MUSIC: "One Step Beyond" By Madness | 0:03:20 | 0:03:22 | |
God, it's knackering. Yes, it's Madness with One Step Beyond. | 0:03:29 | 0:03:34 | |
The tune was originally written by Jamaican ska singer Prince Buster, and it wasn't... | 0:03:34 | 0:03:40 | |
Oh, sod it. Watch the VT. | 0:03:40 | 0:03:43 | |
Hey you! Don't watch that. Watch this! | 0:03:43 | 0:03:46 | |
One step beyond! | 0:03:46 | 0:03:49 | |
I'm a massive Madness fan, | 0:03:50 | 0:03:52 | |
so you got to do all that, and you got to do the sort of running on the spot. It's just like drunken...raaah! | 0:03:52 | 0:03:57 | |
If you say the words One Step Beyond to me, | 0:04:00 | 0:04:02 | |
the first thing that comes into my head | 0:04:02 | 0:04:04 | |
is an overweight man jogging on the spot ferociously | 0:04:04 | 0:04:08 | |
and occasionally flailing out his arms and striking bystanders. | 0:04:08 | 0:04:11 | |
One step beyond! | 0:04:11 | 0:04:12 | |
It's one for the football supporters, isn't it, Madness? Whooa! | 0:04:12 | 0:04:18 | |
You know, they're called Madness, so everything that they do | 0:04:19 | 0:04:22 | |
can be as frenetic and insane and crazy as you like. | 0:04:22 | 0:04:28 | |
Their Jamaican ska inspired moves and high energy songs | 0:04:29 | 0:04:32 | |
made blokes everywhere want to climb on the nutty train. | 0:04:32 | 0:04:36 | |
All aboard. | 0:04:36 | 0:04:38 | |
The idea of dancing | 0:04:38 | 0:04:40 | |
had kind of fizzled out a little bit, | 0:04:40 | 0:04:42 | |
certainly amongst white working class, | 0:04:42 | 0:04:45 | |
middle class boys. | 0:04:45 | 0:04:47 | |
One step beyond! | 0:04:47 | 0:04:49 | |
And in fact, my hand has been shaken on a number of occasions by people | 0:04:49 | 0:04:53 | |
who've thanked me, in part, for making blokes dance again. | 0:04:53 | 0:04:58 | |
When they were in the pop charts, I would have been six, seven, eight, so all those family dos, | 0:05:00 | 0:05:06 | |
it was just lashed up blokes like my dad going, "Right, House Of Fun, you're bloody right it is." | 0:05:06 | 0:05:14 | |
It did make you want to dance. Your feet would go with the drums and your hips with the bass | 0:05:16 | 0:05:21 | |
and the elbows with the high hat. | 0:05:21 | 0:05:23 | |
I would imagine they could bring out Madness the DVD as a workout DVD | 0:05:25 | 0:05:29 | |
because it is really energetic. | 0:05:29 | 0:05:32 | |
I think it burns about 4,000 calories every time you do it, so... | 0:05:32 | 0:05:35 | |
This is Jai Ho, a song many of you know from the film Slumdog Millionaire. | 0:05:41 | 0:05:46 | |
For those of you who haven't seen it, it's about a destitute child who witnesses the murder of his mother, | 0:05:46 | 0:05:51 | |
is lured into a life of slavery, then scrapes a meagre existence | 0:05:51 | 0:05:55 | |
through the rest of his childhood before being beaten by the police. | 0:05:55 | 0:05:58 | |
And on that happy note, some dancing! | 0:05:58 | 0:06:02 | |
# This beat is heavy, so heavy You gonna feel it | 0:06:02 | 0:06:06 | |
# Jai ho You are the reason that I breathe | 0:06:06 | 0:06:10 | |
# You are the reason that I still believe | 0:06:10 | 0:06:13 | |
# You are my destiny | 0:06:13 | 0:06:15 | |
# Jai ho... # | 0:06:15 | 0:06:17 | |
Jai ho was really the dance that white people went, "I know a bit of Bollywood dancing." | 0:06:19 | 0:06:25 | |
# Jai ho! # | 0:06:25 | 0:06:28 | |
The general Bollywood/bhangra move is literally screw in a light bulb. | 0:06:28 | 0:06:32 | |
That's what you're doing. You're screwing a light bulb. | 0:06:32 | 0:06:35 | |
Maybe two light bulbs. | 0:06:35 | 0:06:37 | |
Look at that, eh? Danny Boyle, I'm ready for Slumdog 2! | 0:06:37 | 0:06:41 | |
# Never gonna let go... # | 0:06:41 | 0:06:44 | |
There was, like, some of these and da-da-da-da-da-da-boom. | 0:06:44 | 0:06:47 | |
And da-da-da-da-da-da-boom and, and then they got the scarves out. | 0:06:47 | 0:06:50 | |
It was great. Great, pure Bollywood fun. | 0:06:50 | 0:06:54 | |
Somewhat of a mixture of traditional dances with what's current. | 0:06:54 | 0:06:58 | |
You're like, "Oh, it's funky!" | 0:06:58 | 0:07:01 | |
It's all in the arms, isn't it? | 0:07:01 | 0:07:02 | |
Reaching out and looking and then reaching over, | 0:07:02 | 0:07:05 | |
"Oh, no, it's over there, everyone. | 0:07:05 | 0:07:07 | |
"No, it's over there!" | 0:07:07 | 0:07:08 | |
# ..So come and dance with me Jai ho...! # | 0:07:08 | 0:07:11 | |
What you need to do is this on the dance floor for three minutes | 0:07:11 | 0:07:15 | |
and then put your hand out. | 0:07:15 | 0:07:17 | |
I love Jai Ho. | 0:07:17 | 0:07:20 | |
# ..Never gonna let go... # | 0:07:20 | 0:07:21 | |
At one point you just see this flood of dancers doing exactly the same choreography. It was so good. | 0:07:21 | 0:07:27 | |
It's such a great dance and it's so beautiful to see, like, rows of people doing it. | 0:07:27 | 0:07:31 | |
Basically, any dance move looks amazing when you get loads of people to do it the same way. | 0:07:31 | 0:07:35 | |
It could be anything. | 0:07:35 | 0:07:37 | |
You could just be just... That as a dance move. | 0:07:37 | 0:07:40 | |
You get 100 people to do that it would be an absolute craze. | 0:07:40 | 0:07:43 | |
# ..So come and dance with me... # | 0:07:43 | 0:07:46 | |
The Pussycat Dolls in saris | 0:07:46 | 0:07:48 | |
with a man who has written some of the biggest soundtracks to Bollywood movies in the world, | 0:07:48 | 0:07:53 | |
put them together over a bit of Danny Boyle telling everybody that, | 0:07:53 | 0:07:57 | |
"You know, sometimes it's just about what's inside", and you've got a recipe for greatness. | 0:07:57 | 0:08:03 | |
At number 27, it's Shakira and Wyclef Jean | 0:08:05 | 0:08:07 | |
with their likable pop ditty Hips Don't Lie, | 0:08:07 | 0:08:11 | |
which, if you think about it, is absolutely true. | 0:08:11 | 0:08:13 | |
They don't say very much at all. Good point. | 0:08:13 | 0:08:15 | |
# She make a man wanna speak Spanish... # | 0:08:15 | 0:08:18 | |
Shakira. Like Rihanna, except with talent. | 0:08:18 | 0:08:21 | |
Take it away, Shake-o. | 0:08:21 | 0:08:23 | |
# Oh, baby when you talk like that | 0:08:23 | 0:08:26 | |
# You make a woman go mad | 0:08:26 | 0:08:28 | |
# So be wise and keep on... # | 0:08:28 | 0:08:31 | |
The song just made her show off. | 0:08:31 | 0:08:32 | |
She was basically saying, "Look at me. Belly dance for four minutes. | 0:08:32 | 0:08:37 | |
"Belly dance to the left. I'm going to belly dance to the right. | 0:08:37 | 0:08:40 | |
"I'm going to belly dance with my shoulder. I'm going to belly dance with my boobs. | 0:08:40 | 0:08:44 | |
"I'm going to belly dance with my head." She's a belly dance explosion. | 0:08:44 | 0:08:48 | |
Shakira, Shakira. | 0:08:48 | 0:08:50 | |
# Oh, baby when you talk like that You make a woman go mad | 0:08:50 | 0:08:55 | |
# So be wise and keep on Reading the signs of my body... # | 0:08:55 | 0:08:59 | |
Shakira's dancing style is hypnotic, it really is. | 0:08:59 | 0:09:03 | |
I mean, even as a choreographer, a dancer, | 0:09:03 | 0:09:05 | |
when I watch her, you just kind of zone right into that belly button | 0:09:05 | 0:09:09 | |
and you go, "How is she doing that?" | 0:09:09 | 0:09:12 | |
It kind of has a life of its own. | 0:09:12 | 0:09:14 | |
# Oh, the attraction The tension | 0:09:14 | 0:09:16 | |
# Don't you see, baby... # | 0:09:16 | 0:09:18 | |
She used to do belly-dancing in the convent that she went to school in | 0:09:18 | 0:09:21 | |
and apparently the nuns were very supportive. Who knew? | 0:09:21 | 0:09:26 | |
Obviously nuns in Colombia are quite different to the nuns that we know. | 0:09:26 | 0:09:30 | |
# Never really knew that she could dance like this... # | 0:09:30 | 0:09:33 | |
Note that Wyclef is adhering to the Golden Rule - | 0:09:33 | 0:09:36 | |
do not attempt the Shakira | 0:09:36 | 0:09:37 | |
unless you are a fully-trained professional. | 0:09:37 | 0:09:40 | |
Her hips go like this. | 0:09:40 | 0:09:42 | |
You think of a snake, right? I will attempt it now. | 0:09:42 | 0:09:46 | |
So it kind of goes up and back down. | 0:09:46 | 0:09:48 | |
That was really bad. | 0:09:48 | 0:09:50 | |
They kind of... I can't do it. They go up like this and back down. | 0:09:50 | 0:09:53 | |
And when your arms are doing all of this sort of stuff, you know, | 0:09:53 | 0:09:57 | |
at the same time in opposition to your hips, it's tough. | 0:09:57 | 0:10:02 | |
# I'm on tonight But my hips don't lie | 0:10:02 | 0:10:05 | |
# And I'm starting to feel you, boy... # | 0:10:05 | 0:10:07 | |
I work at Pineapple Studios | 0:10:07 | 0:10:08 | |
and I remember when Shakira came out with that video, | 0:10:08 | 0:10:10 | |
that belly dancing class that we had in Pineapple, | 0:10:10 | 0:10:13 | |
like, I had 100 students plus. It was... | 0:10:13 | 0:10:15 | |
crazy how many people wanted to move like Shakira. | 0:10:15 | 0:10:18 | |
MIDDLE EASTERN-STYLE MUSIC PLAYS | 0:10:18 | 0:10:21 | |
Belly dancing classes have long been popular with ladies of a certain age. | 0:10:21 | 0:10:24 | |
How erotic is it? Does it drive men wild? | 0:10:24 | 0:10:27 | |
I wouldn't say it drives men wild. | 0:10:27 | 0:10:30 | |
Speaking on behalf of mankind, I have to say I disagree. | 0:10:30 | 0:10:33 | |
Are you turned on? | 0:10:36 | 0:10:38 | |
Not really. | 0:10:40 | 0:10:42 | |
Come on, that's pretty good. | 0:10:42 | 0:10:43 | |
It's very seductive, very sensuous. | 0:10:44 | 0:10:47 | |
I've attempted it with varying degrees of success. | 0:10:48 | 0:10:52 | |
The main component of doing belly dancing | 0:10:53 | 0:10:57 | |
is forget any concept of personal dignity. | 0:10:57 | 0:11:01 | |
That is the absolute bedrock. | 0:11:01 | 0:11:04 | |
And once you've got beyond that, then it's remarkably simple. | 0:11:04 | 0:11:10 | |
Wise words, Katie. I'm off now to clean the fluff from my belly button. | 0:11:10 | 0:11:14 | |
Now back to a more innocent time | 0:11:16 | 0:11:18 | |
when teenage pop stars could dress provocatively in sexy school uniforms | 0:11:18 | 0:11:22 | |
and invite the listener to physically hit them. | 0:11:22 | 0:11:24 | |
Yes, at number 26 it's Britney Spears | 0:11:24 | 0:11:27 | |
and Hit Me Baby One More Time. | 0:11:27 | 0:11:29 | |
It was a debut video that had American mums up in arms | 0:11:29 | 0:11:32 | |
and American dads pretending to be up in arms while being secretly very pleased indeed. | 0:11:32 | 0:11:37 | |
Oh, men! | 0:11:37 | 0:11:38 | |
BELL RINGS | 0:11:38 | 0:11:40 | |
# Oh, baby, baby | 0:11:41 | 0:11:43 | |
# Oh, baby, baby... # | 0:11:46 | 0:11:48 | |
Britney Spears with Hit Me Baby. | 0:11:48 | 0:11:52 | |
It was... It was every man's dream. | 0:11:52 | 0:11:55 | |
# Oh, baby, baby... # | 0:11:56 | 0:11:58 | |
She came in as this little schoolgirl, | 0:11:58 | 0:12:00 | |
but had this very innocent vibe, | 0:12:00 | 0:12:04 | |
but had her shirt rolled up and had her little short skirt on | 0:12:04 | 0:12:08 | |
and it was like, "Britney, you're not foolin' us." | 0:12:08 | 0:12:11 | |
# You go... # | 0:12:11 | 0:12:13 | |
When you're making a video, you try and take a real-life situation | 0:12:13 | 0:12:17 | |
and then just sort of caricature it a little bit. | 0:12:17 | 0:12:20 | |
And Britney's idea was quite simply that she wanted to be in a school and be thinking of boys. | 0:12:20 | 0:12:27 | |
# My loneliness... # | 0:12:27 | 0:12:29 | |
And then Britney said, "Why don't I dress up in a school girl's outfit?" | 0:12:29 | 0:12:33 | |
And I'm sitting there thinking, "That sounds a bit racy to me," but you know, we went with it. | 0:12:33 | 0:12:38 | |
There's something quite wrong about it, isn't there? | 0:12:38 | 0:12:41 | |
You're watching it going, "No. | 0:12:41 | 0:12:43 | |
"She's dressed as a schoolgirl." | 0:12:43 | 0:12:45 | |
# Hit me baby one more time... # | 0:12:45 | 0:12:48 | |
I loved when Britney first came out. It was just dance, you know. | 0:12:48 | 0:12:52 | |
Ba, boom, she was going for it. | 0:12:52 | 0:12:55 | |
She did, like, double pirouettes in that video. | 0:12:55 | 0:12:58 | |
Well, Britney is all about the imaginary whip, OK? | 0:12:58 | 0:13:01 | |
So she's very... | 0:13:01 | 0:13:05 | |
Flick. She is all about that. All slashy, slashy, slashy. | 0:13:05 | 0:13:08 | |
I didn't say slutty. | 0:13:08 | 0:13:09 | |
The dance was a jazz-inspired dance. | 0:13:10 | 0:13:13 | |
It was just a lot of arms and just what pop became. | 0:13:13 | 0:13:19 | |
Britney was the face of pop at that point. | 0:13:19 | 0:13:21 | |
# ..killing me. And I... # | 0:13:21 | 0:13:24 | |
I think when you hear that song, | 0:13:24 | 0:13:26 | |
you just want to strut around and have a dance. | 0:13:26 | 0:13:29 | |
# Still believe When I'm not with you... # | 0:13:29 | 0:13:30 | |
She owned it, you know? | 0:13:30 | 0:13:33 | |
# Hit me baby one more time. # | 0:13:33 | 0:13:36 | |
It was hot. | 0:13:36 | 0:13:37 | |
# Hit me baby one more time. # | 0:13:37 | 0:13:39 | |
Hit Me Baby One More Time sold over nine million copies worldwide, | 0:13:39 | 0:13:43 | |
propelling Britney to pop superstardom and her devoted fans | 0:13:43 | 0:13:47 | |
eagerly embraced her sexy St Trinian's look. | 0:13:47 | 0:13:50 | |
Britney's fans copied everything about her, from what she wore, how she danced. | 0:13:50 | 0:13:55 | |
I think she created her own cult following. | 0:13:55 | 0:13:58 | |
All the girls used to have the knee-high socks | 0:14:00 | 0:14:03 | |
and a little skirt rolled up and shirt and tie. | 0:14:03 | 0:14:07 | |
You felt really cool cos Britney did it. | 0:14:07 | 0:14:11 | |
# Show me how you want it to be... # | 0:14:11 | 0:14:14 | |
We thought it was wicked. | 0:14:14 | 0:14:16 | |
We all wanted fluffy pens and over-knee socks. | 0:14:16 | 0:14:19 | |
We used to have talent shows at school and a lot of people would | 0:14:20 | 0:14:24 | |
enter as Britney and know all the dance moves. | 0:14:24 | 0:14:28 | |
We'd go along every lunchtime, pay our 50p and hope for the best! | 0:14:28 | 0:14:34 | |
# Give me a sign Hit me baby one more time. # | 0:14:34 | 0:14:41 | |
Since this routine, Britney's glittering career has pirouetted out | 0:14:41 | 0:14:46 | |
of control several times, but with each comeback | 0:14:46 | 0:14:49 | |
she demonstrates why she's still queen of the dance floor. | 0:14:49 | 0:14:54 | |
# Hit me baby one more time. # | 0:14:54 | 0:14:57 | |
BELL RINGS | 0:14:57 | 0:14:59 | |
Hello again. We're now exactly halfway through our rundown of the best ever dance crazes, | 0:15:02 | 0:15:08 | |
and I'm Robert Webb dressed as Adam Ant dressed as Prince Charming. | 0:15:08 | 0:15:13 | |
Confused? Then wait until I do this. | 0:15:13 | 0:15:16 | |
Her-ha! Her-ha! | 0:15:16 | 0:15:20 | |
Herrrr-ha! | 0:15:20 | 0:15:22 | |
Don't worry. I'm not off my nut on Meow Meow, | 0:15:22 | 0:15:24 | |
I'm performing one of the most popular dances of the early 1980s. | 0:15:24 | 0:15:28 | |
If you were a coal miner, the '80s were at best so-so, | 0:15:28 | 0:15:32 | |
but if you were a fan of dressing up like a dandy, | 0:15:32 | 0:15:35 | |
it really was the decade to be alive. | 0:15:35 | 0:15:37 | |
Stand and deliver! | 0:15:41 | 0:15:43 | |
I loved Adam Ant. I loved the way he made his face up | 0:15:45 | 0:15:48 | |
and his movements, and I loved him because he was individual. | 0:15:48 | 0:15:51 | |
# I'm the dandy highwayman you're too scared to mention... # | 0:15:51 | 0:15:54 | |
I have a confession to make - I was absolutely obsessed with Adam Ant, | 0:15:54 | 0:15:57 | |
and I desperately, desperately wanted to be him. | 0:15:57 | 0:15:59 | |
Absolutely adore the look. I think that was an era to be proud of. | 0:15:59 | 0:16:04 | |
# Stand and deliver | 0:16:04 | 0:16:07 | |
# Your money or your life. # | 0:16:07 | 0:16:09 | |
He was making his songs | 0:16:09 | 0:16:11 | |
into a fabulous piece of theatre. | 0:16:11 | 0:16:13 | |
He understood something essential which is, "I'm here to entertain you." | 0:16:15 | 0:16:20 | |
But it was Adam's magical transformation from punk pretender | 0:16:20 | 0:16:24 | |
to the Prince of Panto Pop that cemented his place in our top 50. | 0:16:24 | 0:16:28 | |
# Don't you ever | 0:16:28 | 0:16:30 | |
# Don't you ever... # | 0:16:30 | 0:16:32 | |
Prince Charming was just a sort of dance craze that I tried to start, | 0:16:32 | 0:16:37 | |
by dressing up and looking a bit wild. | 0:16:37 | 0:16:41 | |
# Don't you ever don't you ever... # | 0:16:41 | 0:16:44 | |
There's been so many great dance crazes, | 0:16:44 | 0:16:46 | |
but being a child of the '80s, | 0:16:46 | 0:16:48 | |
I've got to say my favourite is Adam Ant, Prince Charming. | 0:16:48 | 0:16:52 | |
The dance is made up of four key simple moves, | 0:16:53 | 0:16:56 | |
and each move represents Adam. | 0:16:56 | 0:16:58 | |
So this move represents courage. | 0:16:58 | 0:17:01 | |
The second move was about pride. | 0:17:01 | 0:17:04 | |
The third move is humour. And the final message is flair. | 0:17:04 | 0:17:08 | |
Which Adam had tonnes of. | 0:17:08 | 0:17:10 | |
Prince Charming, hey! Prince Charming, hey! | 0:17:11 | 0:17:14 | |
1, 2, 3, 4... | 0:17:14 | 0:17:17 | |
We had probably about 40 or 50 dancers, a huge set, | 0:17:17 | 0:17:21 | |
it looked like we were walking into a Hollywood movie set, | 0:17:21 | 0:17:25 | |
it was fantastic, and we had the wonderful, most beautiful Diana Dors. | 0:17:25 | 0:17:31 | |
1, 2, 3, 4. | 0:17:31 | 0:17:34 | |
The dance was a little bit tricky, and if you watch the video closely, | 0:17:34 | 0:17:37 | |
I wouldn't say she exactly gets the moves, but we decided in the spirit of things that that would be OK. | 0:17:37 | 0:17:42 | |
There was a whole feeling, a whole era, a whole time where I don't think that could ever happen again. | 0:17:42 | 0:17:50 | |
It's just very, very special. | 0:17:50 | 0:17:52 | |
# Don't you ever lower yourself... # | 0:17:52 | 0:17:55 | |
And our next dance comes from eccentric New Yorker, Lady Gaga. | 0:17:55 | 0:17:59 | |
In tribute to her infamous meat dress, I've wrapped my hand in some rashers of streaky bacon. See? | 0:17:59 | 0:18:05 | |
It's what I call my pork glove, and very comfortable it is, too. | 0:18:05 | 0:18:10 | |
I'm also wearing chicken underpants, but probably best not show you them now. Here's Gaga. | 0:18:10 | 0:18:15 | |
# Ooh-oooh-oh-oh-oh, | 0:18:19 | 0:18:24 | |
# Caught in a bad romance... # | 0:18:24 | 0:18:27 | |
Oh my God, I'm a huge fan of Lady Gaga. | 0:18:27 | 0:18:29 | |
I'm a huge Lady Gaga fan. | 0:18:29 | 0:18:31 | |
-Huge! -# Caught in a bad romance... # -She's saying, | 0:18:31 | 0:18:35 | |
if you do it, do it big and make a spectacle of it. | 0:18:35 | 0:18:39 | |
She don't care. | 0:18:39 | 0:18:41 | |
She's doing what she wants to do and I'm so into that. | 0:18:41 | 0:18:44 | |
# I want your loving I want your revenge | 0:18:44 | 0:18:47 | |
# You and me could write a bad romance... # | 0:18:47 | 0:18:51 | |
I just love the choreography. And it's now. | 0:18:51 | 0:18:55 | |
It's sort of taking Madonna and twisting it all around. | 0:18:55 | 0:19:00 | |
Gaga has this little claw thing and she calls people monsters, | 0:19:00 | 0:19:06 | |
and I went to the concert | 0:19:06 | 0:19:08 | |
and everyone's literally doing this claw. | 0:19:08 | 0:19:11 | |
When I came up with the claw in Bad Romance | 0:19:12 | 0:19:14 | |
it was because she played the record for me, | 0:19:14 | 0:19:17 | |
and it felt painful | 0:19:17 | 0:19:19 | |
and the first thing my hand did was tense up, | 0:19:19 | 0:19:21 | |
because when you want to love somebody and you can't have them, it feels like that. | 0:19:21 | 0:19:25 | |
-# I want your lovin'... # -What's happening, | 0:19:25 | 0:19:27 | |
"Ooh, ra, la-la-la," what's happening to me? | 0:19:27 | 0:19:31 | |
Then I was obsessed with the twist and Chubby Checker, | 0:19:33 | 0:19:36 | |
so I then I did everything. | 0:19:36 | 0:19:37 | |
She's not the best dancer, but she has | 0:19:39 | 0:19:41 | |
a very specific way of moving, | 0:19:41 | 0:19:43 | |
so a choreographer captures those awkward moments and makes them into dance sequences. | 0:19:43 | 0:19:48 | |
She wasn't a dancer, but she, like millions of young girls, took dance class. | 0:19:50 | 0:19:54 | |
You know, you learn a few things very early, a pas de bourree, a kick-ball-change, a hitchy koo. | 0:19:54 | 0:19:59 | |
So I put these classic dance steps in her choreography | 0:19:59 | 0:20:04 | |
and I said, "Well, I know that I'll make you a dancer." | 0:20:04 | 0:20:08 | |
# Can't read my, can't read my, no, he can't read my poker face... # | 0:20:08 | 0:20:13 | |
With Poker Face, it was about the club and the house, and there was just something | 0:20:13 | 0:20:18 | |
that came to me when I was like, "My-my-my poker face," you know. | 0:20:18 | 0:20:23 | |
# P-p-p-poker face... # | 0:20:24 | 0:20:25 | |
She does this sort of stuff a lot, doesn't she? | 0:20:25 | 0:20:28 | |
A bit of that. | 0:20:28 | 0:20:29 | |
It's pretty owlish and cool, isn't it? | 0:20:30 | 0:20:34 | |
And if in doubt, just take some more clothes off. | 0:20:34 | 0:20:36 | |
It works for me. | 0:20:36 | 0:20:38 | |
# Can't read my, can't ready my... # | 0:20:38 | 0:20:40 | |
It's just like mad things, they're actually simple, but great fun, | 0:20:40 | 0:20:45 | |
exuberant, camp, out there, in-your-face dance routines. | 0:20:45 | 0:20:50 | |
# RedOne... # | 0:20:50 | 0:20:52 | |
Lady Gaga's look is as famous as her music, and her piece de resistance was her scandalous meat dress. | 0:20:52 | 0:20:59 | |
# I've had a little bit too much... # | 0:20:59 | 0:21:02 | |
I think she has amazing fashion sense, and I love that it's so crazy | 0:21:02 | 0:21:05 | |
and so different that it really makes you stop and think. | 0:21:05 | 0:21:09 | |
Whether Gaga is living art or just a frustrated butcher, | 0:21:09 | 0:21:13 | |
she's inspired fans around the world to copy her style and moves. | 0:21:13 | 0:21:16 | |
It's just a shame she stinks of carrion. | 0:21:16 | 0:21:19 | |
Everyone wants to be Gaga, don't they? | 0:21:19 | 0:21:21 | |
And they all want to be able to dance like Gaga. | 0:21:21 | 0:21:24 | |
You look on the internet and there's so many sites, "We'll teach you the Gaga steps." | 0:21:24 | 0:21:29 | |
It has been a phenomenon. I mean, when I saw | 0:21:30 | 0:21:33 | |
a seven-year-old do the Bad Romance dance, absolutely was I affected. | 0:21:33 | 0:21:37 | |
I'm like, "my choreography is being done all around the world." | 0:21:37 | 0:21:41 | |
That just inspired me to know how powerful we are as choreographers. | 0:21:41 | 0:21:45 | |
# Just, ju-ju-just dance. # | 0:21:45 | 0:21:49 | |
Often, the best dances have the instructions built into the lyrics. | 0:21:49 | 0:21:53 | |
One thinks of Whip My Hair, by Willow Smith, and Sit Down, by James. | 0:21:53 | 0:21:57 | |
Our next track is much the same. | 0:21:57 | 0:21:59 | |
At number 23 we have DJ Casper and his Cha-cha Slide. | 0:21:59 | 0:22:04 | |
Clap, clap-clap, clap your hands. | 0:22:06 | 0:22:08 | |
All right now, we're going to do the basic step. | 0:22:08 | 0:22:10 | |
To the left. Take it back now, y'all. | 0:22:10 | 0:22:13 | |
One hop this time... | 0:22:14 | 0:22:15 | |
So you go, slide to the right, slide to the left. | 0:22:15 | 0:22:19 | |
One hop this time. | 0:22:19 | 0:22:21 | |
Two hops this time. | 0:22:21 | 0:22:23 | |
And this, cha-cha. | 0:22:23 | 0:22:24 | |
To the left. | 0:22:25 | 0:22:26 | |
Take it back now, y'all. | 0:22:26 | 0:22:28 | |
It's just slide to the right, it's just really basic moves. | 0:22:28 | 0:22:32 | |
One hop this time. | 0:22:32 | 0:22:33 | |
Two hops this time. Now cha-cha. I don't even know it that great, | 0:22:33 | 0:22:37 | |
but I know if you put that on in a club | 0:22:37 | 0:22:39 | |
now tonight, I would be able to do it, because it says it. | 0:22:39 | 0:22:43 | |
To the left. Take it back now, y'all. | 0:22:43 | 0:22:46 | |
Let's go to work. | 0:22:46 | 0:22:48 | |
Let's go to work. Let's go to work. | 0:22:48 | 0:22:50 | |
-But it depends where you work. -It does. | 0:22:50 | 0:22:53 | |
Most people that go to work aren't happy. | 0:22:53 | 0:22:55 | |
It's like, slide to the left. | 0:22:55 | 0:22:56 | |
I'm happy. Slide to the right. | 0:22:56 | 0:22:58 | |
-Woohoo! -Let's to go to work. | 0:22:58 | 0:23:00 | |
Oh, so boring. | 0:23:00 | 0:23:02 | |
I'm outta here, y'all. Peace. | 0:23:03 | 0:23:06 | |
We're going to dance and have some fun. | 0:23:06 | 0:23:09 | |
The 1980s were a time of division and strife. | 0:23:10 | 0:23:13 | |
Geoffrey Howe's 1981 austerity budget led to mass unemployment | 0:23:13 | 0:23:17 | |
and the destruction of Britain's manufacturing sector. | 0:23:17 | 0:23:20 | |
To counterbalance this, Black Lace released a single that had everyone in Britain doing this. | 0:23:20 | 0:23:25 | |
So the '80s basically evened out, then. | 0:23:25 | 0:23:29 | |
After a hard day's work, here I am at the Batley Frontier Club, and | 0:23:33 | 0:23:37 | |
we're going to ask a few people now why they've come to see Black Lace. | 0:23:37 | 0:23:41 | |
-Just pure, simple fun, good, clean fun. -The party atmosphere, yes. | 0:23:41 | 0:23:44 | |
-What's your favourite song of theirs? -Agadoo-doo-doo. | 0:23:44 | 0:23:47 | |
-Can you sing a bit more for us, perhaps? -I only know the title of it, I don't know the rest of it. | 0:23:47 | 0:23:52 | |
# Ag-a-doo-doo-doo, push pineapple, shake the tree... # | 0:23:52 | 0:23:56 | |
Agadoo was... | 0:23:56 | 0:23:58 | |
pretty much the song that, if you are 30 or thereabouts, | 0:23:58 | 0:24:02 | |
defined every childhood party you ever went to. | 0:24:02 | 0:24:07 | |
Aga-doo... | 0:24:07 | 0:24:09 | |
Doo-doo, push pineapple... | 0:24:09 | 0:24:11 | |
Shake the tree... | 0:24:11 | 0:24:12 | |
Da-da-uh-uh-uh... | 0:24:12 | 0:24:14 | |
Push pineapple, grind coffee... | 0:24:14 | 0:24:15 | |
To the left, to the right... | 0:24:15 | 0:24:18 | |
Jump up and down and to the knees... | 0:24:18 | 0:24:19 | |
Come and dance every night to the hula melodies. | 0:24:19 | 0:24:22 | |
# Hula melodies... # | 0:24:22 | 0:24:23 | |
Aga-doo-doo-doo was another don't, don't, don't for me, darling. | 0:24:23 | 0:24:27 | |
# I met a hula mistress somewhere in Waikiki. | 0:24:27 | 0:24:31 | |
# She was selling pineapple playing ukulele... # | 0:24:31 | 0:24:35 | |
Black Lace were two blokes from deepest Yorkshire, and Agadoo was their biggest UK hit. | 0:24:35 | 0:24:41 | |
But the cheesy chart-meisters have always divided opinion. | 0:24:41 | 0:24:44 | |
I mean, as a dancer, you know, any... | 0:24:44 | 0:24:46 | |
Well, hold on. I was going to say I embrace anything that gets people on the floor, but there is a limit. | 0:24:46 | 0:24:52 | |
Black Lace had mullet haircuts, they were a bit naff, they were like | 0:24:53 | 0:24:57 | |
DJs you would find in a Warrington disco club. | 0:24:57 | 0:25:02 | |
It's easy to mock, really very easy in this case, but these lads have paid their showbiz dues. | 0:25:02 | 0:25:07 | |
You know, they'd done the camps, they'd done the resorts, they knew their audience. | 0:25:07 | 0:25:13 | |
The wrinkles on those men's faces are not merely a sign of age, they're battle scars. | 0:25:13 | 0:25:19 | |
They know, when they walk into that room full of nanas and babies, | 0:25:19 | 0:25:24 | |
that somebody's got to get this party started. | 0:25:24 | 0:25:26 | |
# Agadoo-doo-doo, push pineapple, shake the tree... # | 0:25:26 | 0:25:30 | |
Agadoo has been voted the worst song of all time, but it sold | 0:25:30 | 0:25:34 | |
over a million copies worldwide, helped by the easy to perform dance. | 0:25:34 | 0:25:37 | |
But where exactly did the moves come from? | 0:25:37 | 0:25:40 | |
Agadoo the song actually | 0:25:40 | 0:25:41 | |
is French, it originates from France. | 0:25:41 | 0:25:43 | |
But the dance moves originate from a Derby nightclub. | 0:25:43 | 0:25:48 | |
The rumour is, Black Lace turned up to perform, and the bar staff | 0:25:48 | 0:25:52 | |
had come out with some kind of dance, and then it took off from there. | 0:25:52 | 0:25:56 | |
So, if you want to blame anybody for Agadoo, blame the French and Derby. | 0:25:56 | 0:26:00 | |
Consider it done, my friend. | 0:26:02 | 0:26:04 | |
First, when there's nothing but a slow-glowing dream, | 0:26:06 | 0:26:10 | |
that your fear seems to hide, deep inside your mind. | 0:26:10 | 0:26:15 | |
All alone I've cried silent tears full of pride | 0:26:15 | 0:26:20 | |
in a world made of steel, made of stone. | 0:26:20 | 0:26:24 | |
Or, to put it another way... | 0:26:24 | 0:26:25 | |
# What a feeling | 0:26:27 | 0:26:29 | |
# Being's believing... # | 0:26:30 | 0:26:33 | |
My God, I was good. | 0:26:34 | 0:26:36 | |
# I can have it all, now I'm dancing for my life... # | 0:26:36 | 0:26:39 | |
I think Robert Webb doing Flashdance for Comic Relief | 0:26:41 | 0:26:44 | |
is one of the funniest moments on British television. | 0:26:44 | 0:26:47 | |
-It was incredible, because it was almost like, is he being serious? -'Yes, I was, actually.' | 0:26:47 | 0:26:52 | |
I was initially watching it from a distance, I thought, "Phwoah, ooh, who's that?" | 0:26:56 | 0:27:02 | |
-'Calm down, I'm a married man.' -Robert's performance was outrageously funny. | 0:27:02 | 0:27:06 | |
I mean, the guy came out and played the part | 0:27:06 | 0:27:10 | |
and completely took command of the dance floor. | 0:27:10 | 0:27:14 | |
Took command? I owned that dance floor, baby! | 0:27:14 | 0:27:18 | |
He is pretty scary, and a pretty scarily good looking woman. | 0:27:18 | 0:27:22 | |
-Legs, great legs. -Thank you, Melanie. | 0:27:22 | 0:27:25 | |
# What a feeling. # | 0:27:28 | 0:27:30 | |
At 21, and let's not kid ourselves that it would even be in the top 50 if it weren't for my performance, | 0:27:33 | 0:27:39 | |
for which they didn't even give me so much as a Bafta, | 0:27:39 | 0:27:42 | |
it's Flashdance by Irene Cara. | 0:27:42 | 0:27:46 | |
# Well, I hear the music | 0:27:46 | 0:27:49 | |
# Close my eyes, feel the rhythm... | 0:27:49 | 0:27:53 | |
It was about a young girl who aspires to be | 0:27:53 | 0:27:56 | |
a legitimate dancer, and she right now is a welder | 0:27:56 | 0:27:59 | |
during the day, and at night she does this incredible, | 0:27:59 | 0:28:03 | |
music video-type dancing. | 0:28:03 | 0:28:05 | |
It was based | 0:28:06 | 0:28:07 | |
on some girls in Pittsburgh who were | 0:28:07 | 0:28:11 | |
working in strip clubs, or whatever, but they were trying to do something that represented themselves. | 0:28:11 | 0:28:16 | |
It was called flashdancing. | 0:28:16 | 0:28:19 | |
Wow, I'm such a huge fan of Flashdance, | 0:28:19 | 0:28:23 | |
especially the scene where she pulls the chain | 0:28:23 | 0:28:25 | |
and all the water goes over her. | 0:28:25 | 0:28:27 | |
And the water, pow. | 0:28:30 | 0:28:31 | |
That was my favourite. | 0:28:33 | 0:28:35 | |
I would have kicked myself round a steelworks if I could look like that in the end. | 0:28:35 | 0:28:39 | |
I think it was a movie that was just one great music video. | 0:28:39 | 0:28:43 | |
The film made everyone want to dance, and even people who had | 0:28:43 | 0:28:47 | |
never been near a dance studio wore leg warmers and Lycra. | 0:28:47 | 0:28:51 | |
Everyone knows the Flashdance look, with the cut-off shoulder and the leg warmers, the whole '80s feel. | 0:28:51 | 0:28:58 | |
# She's a maniac maniac on the floor... # | 0:28:58 | 0:29:01 | |
It was very, very Pineapple, what with the off the shoulder sweat | 0:29:01 | 0:29:05 | |
and the high-cut knickers and the crop in cotton Lycra. | 0:29:05 | 0:29:09 | |
To fulfil her dream, Alex needed a scholarship to the dance academy, | 0:29:12 | 0:29:16 | |
and we were all rooting for her on the day of the big audition. | 0:29:16 | 0:29:20 | |
When that music kicks in and she's doing that audition, | 0:29:20 | 0:29:23 | |
I could be 100 and I'd be dancing, | 0:29:23 | 0:29:25 | |
because it's the adrenalin, "You will do it, do it, do it, do it." | 0:29:25 | 0:29:28 | |
# First, when there's nothing... # | 0:29:29 | 0:29:33 | |
That scene, where she's just like living What A Feeling is just what dance is about in that era. | 0:29:33 | 0:29:39 | |
# In a world made of steel... # | 0:29:39 | 0:29:44 | |
I think people were caught up in the idea of somebody | 0:29:44 | 0:29:47 | |
wanting something enough and having their dream come true. | 0:29:47 | 0:29:50 | |
# What a feeling! | 0:29:51 | 0:29:53 | |
# Being's believing! # | 0:29:54 | 0:29:57 | |
She goes along the panel pointing you, you, you, and the kicks, everything. | 0:29:57 | 0:30:01 | |
Take your passion, make it happen. | 0:30:04 | 0:30:07 | |
It speaks to people's motivation, their faith in themselves. | 0:30:07 | 0:30:11 | |
Those are themes that are very human, very universal. | 0:30:11 | 0:30:15 | |
She's doing all these leaps and somersaults. | 0:30:17 | 0:30:20 | |
She turns on her back, | 0:30:20 | 0:30:21 | |
which is a very hardcore, hip hop move, then it was like, "Whoa." | 0:30:21 | 0:30:26 | |
Now, we don't want to break the spell but we do feel obliged | 0:30:29 | 0:30:33 | |
to point out that I'm not the only bloke to have danced that audition scene. | 0:30:33 | 0:30:37 | |
Is it an urban myth, that it was really a man that all the acrobatics and stuff? | 0:30:37 | 0:30:41 | |
I've watched that over and over again, and it's definitely not her doing that backspin! | 0:30:41 | 0:30:47 | |
Being asked to wear a leotard, tights and a wig | 0:30:47 | 0:30:50 | |
and being asked to shave my legs and my under arms... | 0:30:50 | 0:30:54 | |
I wasn't groomed to be an actor or anything like that, | 0:30:54 | 0:30:57 | |
where they would be like, "Oh, yeah, cool, all right, so you need me to shave my legs? | 0:30:57 | 0:31:02 | |
"I'll shave my ass, too, just in case." | 0:31:02 | 0:31:04 | |
I was like, "Yeah, you'd better give me some money for this." | 0:31:04 | 0:31:08 | |
Note to viewers - I didn't shave my ass when I did Flashdance. | 0:31:08 | 0:31:12 | |
If you like a man whose surname is a number, you'll love our next entry. | 0:31:17 | 0:31:20 | |
It's Hey Ya!, sung by Outkast's Andre 3000. | 0:31:20 | 0:31:24 | |
I'm actually toying with the idea of changing my name from Robert Webb to Bobby Millions. | 0:31:24 | 0:31:29 | |
I won't really do it, of course. It just sounds ace when I'm chatting up women on the street. | 0:31:29 | 0:31:34 | |
Anyway, the great thing about this video | 0:31:34 | 0:31:36 | |
is that Mr 3000 plays the roles of all the band members himself. | 0:31:36 | 0:31:41 | |
It had to be filmed in one day, too, so the less energetic the dance, the later it was in the shoot. | 0:31:41 | 0:31:46 | |
And unusually for something coming out of my mouth, that's actually true. Here is your number 20. | 0:31:46 | 0:31:51 | |
Oh, guys, get some vitamin C. | 0:31:51 | 0:31:53 | |
Come on. | 0:31:53 | 0:31:55 | |
# Hey, ya, hey ya... # | 0:31:59 | 0:32:05 | |
The Outkast dance was that. | 0:32:05 | 0:32:07 | |
# Hey, ya... # | 0:32:07 | 0:32:09 | |
It's pretty much that, isn't it? | 0:32:09 | 0:32:11 | |
# Doo-doo-doo-doo-doo-doo, doo-doo-doo-doo-doo-doo | 0:32:11 | 0:32:14 | |
# Doo-doo-doo-doo-doo-doo, | 0:32:14 | 0:32:16 | |
# Shake it, shake it, shake it, shake it, shake it... | 0:32:16 | 0:32:19 | |
Shake it like a Polaroid picture. I can only guess that it means shake your booty like a Polaroid picture. | 0:32:19 | 0:32:25 | |
# ..like a Polaroid picture... # | 0:32:25 | 0:32:26 | |
Shake it, shake it, shake, shake it... At one moment there's a slow motion. | 0:32:26 | 0:32:31 | |
I fell in love with that girl when that music video came out. | 0:32:31 | 0:32:34 | |
God, she's so hot. | 0:32:34 | 0:32:36 | |
Polaroid used the popularity of this song to try and revive sales of their cameras. | 0:32:36 | 0:32:42 | |
However, shaking a Polaroid | 0:32:42 | 0:32:44 | |
doesn't actually help to develop the picture, as the image is behind a protective film. | 0:32:44 | 0:32:48 | |
Indeed, vigorous shaking risks distorting the image and can actually cause the ink to separate. | 0:32:48 | 0:32:53 | |
I'm so sorry, that was incredibly boring, wasn't it? | 0:32:53 | 0:32:56 | |
And everyone did this to make them develop quicker, didn't they? | 0:32:56 | 0:32:59 | |
I don't know why. Photographers used to do this. | 0:32:59 | 0:33:03 | |
It was the heat I think that did it. But everyone used to shake them. | 0:33:03 | 0:33:06 | |
-I never had any Polaroid pictures of me. -It's digital now, really. It's been pretty much modernised. | 0:33:06 | 0:33:12 | |
-That's a good point, actually. -It's completely redundant. -Get over it, Outkast. | 0:33:12 | 0:33:16 | |
At number 19 on our list of pop's greatest dance crazes | 0:33:20 | 0:33:23 | |
we have the 1989 dance floor sensation the Lambada. | 0:33:23 | 0:33:26 | |
It's a sensual piece of music | 0:33:26 | 0:33:28 | |
that evokes romantic evenings by the beach, | 0:33:28 | 0:33:30 | |
eyes meeting over cocktails and a moustachioed busker in a sombrero going "Ayayayayeee!" | 0:33:30 | 0:33:36 | |
as he plays a guitar two feet from your table, | 0:33:36 | 0:33:38 | |
his phlegm drenching your deep fried calamari. Idiot. | 0:33:38 | 0:33:41 | |
We've brought in an expert to teach us the steps, | 0:33:42 | 0:33:46 | |
but first here's a reminder of the video that started the craze. | 0:33:46 | 0:33:51 | |
# Chorando se foi quem um dia so me fez chorar. # | 0:33:51 | 0:33:56 | |
The video featured two Brazilian kids, Chico and Roberta. | 0:33:56 | 0:34:01 | |
I was about the same age as the little boy. | 0:34:01 | 0:34:03 | |
My mum used to say, "Bradley, that looks like you." | 0:34:03 | 0:34:06 | |
But the girl that he dances with, my gosh I used to fancy her so bad. | 0:34:06 | 0:34:11 | |
This sort of slightly uncomfortable Lolita-ish girl | 0:34:14 | 0:34:19 | |
and her tiny dance partner sort of, | 0:34:19 | 0:34:22 | |
you never, wiggling around like doing this really quite full-on dance. | 0:34:22 | 0:34:26 | |
I'd feel uncomfortable if that came on telly when my parents were in the room. | 0:34:26 | 0:34:30 | |
Embarrassing, maybe, but that's what the Lambada was designed to do - to make us get up close and personal. | 0:34:30 | 0:34:36 | |
You need the energy of your partner that's holding your hand and he's like pulling you, hips, hips, hips. | 0:34:36 | 0:34:42 | |
The intimacy of the Lambada is quite aggressive for the Brits, because | 0:34:42 | 0:34:47 | |
everyone is a little bit more reserved here. | 0:34:47 | 0:34:50 | |
And of course, we know it's a Brazilian carnival type-dance. | 0:34:50 | 0:34:53 | |
-You need a partner. "Where is my partner? Partner?" -I think the Latino culture is really fiery. | 0:34:53 | 0:34:59 | |
There's no gap between the partner. It's really important to have that physical contact and eye contact. | 0:34:59 | 0:35:03 | |
You do it together and it's | 0:35:03 | 0:35:07 | |
almost like having a lot more fun than just dancing. | 0:35:07 | 0:35:10 | |
A lot of women just like wanted to put on a mini skirt and twirl and maybe show their panties, | 0:35:12 | 0:35:17 | |
-a glimpse of their panties. -I couldn't cope with it. | 0:35:17 | 0:35:20 | |
It was so beyond my experience of life, I didn't know what to do. | 0:35:20 | 0:35:23 | |
It was a very, very naughty, sexy dance. | 0:35:23 | 0:35:26 | |
That's what dancing is meant to be. | 0:35:28 | 0:35:30 | |
It's meant to be sexy and skilful and poised. | 0:35:30 | 0:35:34 | |
I agree, Rufus, but unfortunately not everyone is quite as skilful and sexy as Lorraine Kelly. | 0:35:34 | 0:35:40 | |
Oh, yeah! | 0:35:40 | 0:35:41 | |
One, two, three, four. | 0:35:42 | 0:35:44 | |
Right, next up it's YMCA by the Village People. Not really! | 0:35:57 | 0:36:01 | |
It is of course the Bangles with their lie about how Egyptians walk. | 0:36:01 | 0:36:06 | |
But first, a Bangles fact - when they were recording the song Eternal Flame, | 0:36:06 | 0:36:10 | |
producer Davitt Sigerson convinced them to sing naked. | 0:36:10 | 0:36:14 | |
There's only one thing I have to say about that. | 0:36:14 | 0:36:16 | |
If you've got a great song with a title like Walk Like An Egyptian, | 0:36:28 | 0:36:32 | |
what do you reckon you're going to do? | 0:36:32 | 0:36:34 | |
# All the old paintings on the tomb they do the sun dance don't you know... # | 0:36:34 | 0:36:38 | |
How did people move to Walk Like An Egyptian? | 0:36:38 | 0:36:41 | |
Everybody knows it's like that. | 0:36:41 | 0:36:43 | |
It did it for you, didn't it? | 0:36:43 | 0:36:45 | |
Easy. A bit of this. | 0:36:45 | 0:36:48 | |
Thing is, we had an Egyptian kid in our school and we used to just walk past him all the time going... | 0:36:50 | 0:36:54 | |
He had a terrible time. | 0:36:54 | 0:36:56 | |
# Walk like an Egyptian... # | 0:36:56 | 0:36:58 | |
The Bangles were a trailblazing, all-girl power pop combo from LA | 0:37:00 | 0:37:05 | |
who hit number three with this track in 1986. | 0:37:05 | 0:37:08 | |
But the moves weren't exactly groundbreaking. | 0:37:08 | 0:37:11 | |
The Egyptian dance was a dance that had been done like years ago, and then they brought it back. | 0:37:11 | 0:37:17 | |
The sand dances were performed in the music halls by very, very thin men in nappies. | 0:37:19 | 0:37:27 | |
The joke basically was, "Look at this very, very thin man skidding around on some sand." | 0:37:27 | 0:37:34 | |
You just wouldn't make a song now picking a country and saying, "They all look like that!" | 0:37:36 | 0:37:43 | |
You just wouldn't nowadays. | 0:37:43 | 0:37:44 | |
But, oh, back in the '80s you didn't think of such things. | 0:37:44 | 0:37:48 | |
Even the writer of the song admits the inspiration - | 0:37:48 | 0:37:51 | |
and he wasn't in Arabia and saw people doing that, it wasn't some documentary he saw people | 0:37:51 | 0:37:56 | |
doing that - the inspiration is when he saw people struggling on a ferry. | 0:37:56 | 0:38:01 | |
He saw people struggling to stand up on a ferry, doing that. "Oh, that looks Egyptian." | 0:38:01 | 0:38:06 | |
I think Walk Like People Struggling On A Ferry probably hasn't got the ring to it. | 0:38:06 | 0:38:10 | |
But I think what the Bangles fundamentally misunderstood | 0:38:11 | 0:38:14 | |
was that the pictorial hieroglyphic representation of Egyptian history was just that. | 0:38:14 | 0:38:20 | |
I'm not an Egyptologist, | 0:38:20 | 0:38:22 | |
but I don't think the Egyptians were walking around like that | 0:38:22 | 0:38:26 | |
and therefore I think the Bangles have done history a great disservice. | 0:38:26 | 0:38:30 | |
# Walk like an Egyptian. # | 0:38:30 | 0:38:33 | |
Hello there. I'm just rowing a small boat across a lake. | 0:38:39 | 0:38:43 | |
Hang on a minute, no I'm not. I'm actually sat on a dancefloor with a piece of broken glass in my bottom. | 0:38:43 | 0:38:50 | |
Which can only mean one thing - I'm hammered and the DJ's put on Oops Upside Your Head. | 0:38:50 | 0:38:55 | |
I could have stopped doing this ages ago, couldn't I? | 0:38:55 | 0:38:58 | |
# Oops upside your head | 0:39:04 | 0:39:07 | |
# Say oops upside your head | 0:39:07 | 0:39:09 | |
Oops Upside Your Head is a song played exclusively at family get-togethers. | 0:39:09 | 0:39:15 | |
It's basically a group sat up on the dance floor as if they were in canoes, a pint of lager either side. | 0:39:15 | 0:39:21 | |
It's the ultimate inclusive dance craze. | 0:39:21 | 0:39:24 | |
Assuming all the kids in your family drink lager. | 0:39:24 | 0:39:26 | |
In the '80s, Oops Upside Your Head used to come on all the time. | 0:39:26 | 0:39:30 | |
We used to sit on the floor and bash the floor. | 0:39:30 | 0:39:33 | |
Say Oops upside your head. And more. | 0:39:33 | 0:39:36 | |
Oops upside your head | 0:39:36 | 0:39:39 | |
Say oops upside your head. | 0:39:39 | 0:39:41 | |
It's basically line dancing for lazy people. | 0:39:42 | 0:39:44 | |
You can sit down and not worry about a thing. | 0:39:44 | 0:39:47 | |
It's a classic and it's one that gets everyone going. | 0:39:49 | 0:39:52 | |
-This is the biggest dance record at the moment. What do you do to this? -A sort of rowing motion. | 0:39:52 | 0:39:56 | |
-Sort of like at Henley. -Something similar. | 0:39:56 | 0:39:58 | |
-# Don't believe that I wanna dance... # -The first time we went | 0:39:58 | 0:40:02 | |
to perform the song scared me half to death. | 0:40:02 | 0:40:05 | |
Everybody started sitting down. I was freaking out! I was like, "Come on, everybody come on, oops, up..." | 0:40:05 | 0:40:10 | |
And they was all getting on the floor and I was like, "What's going on?" | 0:40:10 | 0:40:13 | |
I turned around to my brothers and I was like, "This don't look good." | 0:40:13 | 0:40:16 | |
Then I turned back around and everybody was rowing and I was like, "Whoa, what's this?" | 0:40:16 | 0:40:20 | |
After I figured out they was doing a dance I was like a happy camper. | 0:40:22 | 0:40:26 | |
The origins of the dance are shrouded in mystery, | 0:40:26 | 0:40:30 | |
but it seems like it was us Brits who first came up with the moves. | 0:40:30 | 0:40:33 | |
Pat the floor, slight double pat, oops upside your head, with a shimmy to the front. | 0:40:33 | 0:40:40 | |
Once you get the hang of it, it's actually quite easy. | 0:40:40 | 0:40:43 | |
And then someone is normally sick down the back of your shoulder. | 0:40:43 | 0:40:47 | |
# Oops upside your head... # | 0:40:47 | 0:40:50 | |
I said, "So what's this called?" And he was like, "The Row Dance," and I was like, "The Row Dance? | 0:40:50 | 0:40:54 | |
OK!" And I was like, "Everybody row, come on." | 0:40:54 | 0:40:57 | |
There's something strange about seeing people sitting on a dancefloor. | 0:40:57 | 0:41:00 | |
It kind of, is it a dance or is it a protest? | 0:41:00 | 0:41:03 | |
I don't know where it came from. It was a UK thing only. | 0:41:04 | 0:41:07 | |
They didn't do it in the States. I thought it was the coolest thing. | 0:41:07 | 0:41:10 | |
Do they still do it? They still do it. | 0:41:10 | 0:41:14 | |
That's all right. | 0:41:14 | 0:41:16 | |
We've all watched the X Factor and marvelled at Dannii Minogue's ability to make either positive, | 0:41:22 | 0:41:27 | |
negative or neutral remarks about a contestant's performance. | 0:41:27 | 0:41:31 | |
But how many of us realise that Dannii has a sister? | 0:41:31 | 0:41:36 | |
Well, she does, and her name is Kylie. | 0:41:36 | 0:41:40 | |
Interestingly, both Minogue sisters are so diddy that they sometimes save money on travel costs | 0:41:40 | 0:41:46 | |
by taking a sleeping pill, jumping into a Jiffy bag and being posted to their destination. | 0:41:46 | 0:41:51 | |
Incredible women. | 0:41:51 | 0:41:53 | |
# Everybody's doing a brand new dance now | 0:41:53 | 0:41:58 | |
# Come on, baby do the locomotion... # | 0:41:58 | 0:42:01 | |
Back in 1988, Kylie had a number two hit with The Locomotion, a cover of Little Eva's song | 0:42:01 | 0:42:07 | |
with a cute little dance that had us all pratting about with a chugga chugga motion. | 0:42:07 | 0:42:12 | |
But in 2001 Kylie got us grooving in a whole new and frankly much cooler style. | 0:42:12 | 0:42:18 | |
# ..do the locomotion with me... # | 0:42:18 | 0:42:20 | |
# La la la... # | 0:42:28 | 0:42:30 | |
Can't Get You Out Of My Head was a great dance track and a really iconic video. | 0:42:30 | 0:42:34 | |
I remember the white all-in-one with the hood and the robotic dance moves. | 0:42:34 | 0:42:38 | |
That was really cleverly choreographed, actually. It was simple but it was really effective. | 0:42:38 | 0:42:43 | |
# I just can't get you out of my head | 0:42:43 | 0:42:46 | |
# Boy, your lovin' is all I think about... # | 0:42:46 | 0:42:51 | |
Can't Get You Out Of My Head - choreographically, performance wise, | 0:42:51 | 0:42:54 | |
stylistic, clothing wise, it absolutely was a turning point for her. | 0:42:54 | 0:42:58 | |
Globally and internationally, she felt like a superstar. | 0:42:58 | 0:43:03 | |
# Every day... # | 0:43:03 | 0:43:05 | |
Loved that, that white suit Kylie wears in that video is so hot. | 0:43:05 | 0:43:10 | |
I love it. It's great. With a body like that, I mean phew. | 0:43:10 | 0:43:13 | |
# Won't you stay? # | 0:43:13 | 0:43:18 | |
Kylie asked me to come | 0:43:18 | 0:43:19 | |
into her dressing room and she showed me the dress | 0:43:19 | 0:43:23 | |
that she was going to be dancing in, | 0:43:23 | 0:43:24 | |
and... I said, "Where's the dress?" | 0:43:24 | 0:43:29 | |
The outfit she was wearing was completely covering her hair, | 0:43:29 | 0:43:33 | |
burka fashion. | 0:43:33 | 0:43:35 | |
She wore that and just looked like a goddess. | 0:43:35 | 0:43:38 | |
Anything could pop out at any sort of time and she was just this swirling sort of sexy ghost. | 0:43:38 | 0:43:44 | |
What looks so scrummy on Miss Minogue was foolishly copied by clubbers. | 0:43:44 | 0:43:48 | |
But out in the real world, it just never seemed to look as good. | 0:43:48 | 0:43:52 | |
Especially on men. I only wore mine once before donating it to Dr Barnardo's, | 0:43:52 | 0:43:56 | |
unwashed and with one particularly unsightly stain. | 0:43:56 | 0:43:59 | |
There would have been a lot of toupee tape going on there | 0:43:59 | 0:44:02 | |
for those quick turns, just to, just so it doesn't come out. | 0:44:02 | 0:44:07 | |
There was some double stick tape going on. They were going to get the staple gun out, | 0:44:07 | 0:44:11 | |
but they just decided to go with the double stick. | 0:44:11 | 0:44:14 | |
Some of the iconic moves from the Can't Get You Out Of My Head video for Kylie Minogue - I had a pivot | 0:44:14 | 0:44:20 | |
where I had her step forward, sliding your feet against the floor. | 0:44:20 | 0:44:25 | |
And locking, these are called quarter pivots, slide, quarter, pivot. | 0:44:25 | 0:44:30 | |
Hands are kind of here, bent, really kind of cool. | 0:44:33 | 0:44:36 | |
Have the head kind of go with it, grooving and moving. | 0:44:36 | 0:44:41 | |
You've got a great tune there that allowed the choreographer to go, "Well, this is easy. | 0:44:48 | 0:44:54 | |
"Can't get you out of my head, hands on my head." | 0:44:54 | 0:44:56 | |
That's it, you know, and just animate that. | 0:44:56 | 0:44:59 | |
# La la la, la la la la la... # | 0:44:59 | 0:45:03 | |
Kylie doesn't even know this, but when I was making up the steps for her video | 0:45:03 | 0:45:06 | |
she put me up in a beautiful hotel and I had three feet from the bed to the wall and I literally | 0:45:06 | 0:45:12 | |
had to make up all the dance steps so I was doing everything like this | 0:45:12 | 0:45:17 | |
and keeping everything parallel, and all the dance moves that I did had to be in a three foot confined space. | 0:45:17 | 0:45:24 | |
Someone like her doesn't have to move much to make people catch on | 0:45:24 | 0:45:27 | |
to it because you're just kind of like hypnotically into it. | 0:45:27 | 0:45:31 | |
Everyone, when it came on, everyone was like going like they're a little bit demented. | 0:45:33 | 0:45:38 | |
That is the beauty of great choreography, | 0:45:40 | 0:45:44 | |
that every single person can pick it up and they can do it on a dancefloor | 0:45:44 | 0:45:49 | |
and feel like they're a star themselves. | 0:45:49 | 0:45:51 | |
# And ever... # | 0:45:51 | 0:45:53 | |
Kylie called me one day and she's like, | 0:45:53 | 0:45:55 | |
"Oh my God, Michael, everybody's doing these dance steps in the clubs in London!" | 0:45:55 | 0:45:59 | |
And I was, like, so thrilled because any time a dance move catches on and becomes iconic, | 0:45:59 | 0:46:05 | |
it's just amazing. | 0:46:05 | 0:46:07 | |
If there's one thing you can always say about the British public, it's that they know their music. | 0:46:13 | 0:46:18 | |
That's why in 1998 they bought over 1.5 million copies of a single by Steps. | 0:46:18 | 0:46:23 | |
But then again, Tragedy was originally a Bee Gees song but H and the rest of the guys | 0:46:23 | 0:46:27 | |
really made it their own by coming up with these nifty little moves. | 0:46:27 | 0:46:31 | |
Maestro, if you please. | 0:46:31 | 0:46:32 | |
-# Tragedy... # -Tragedy! | 0:46:32 | 0:46:34 | |
-(SHOUTS) -When the feeling's gone and you can't go on, it's tragedy! | 0:46:34 | 0:46:37 | |
-When you know... -HE CHOKES | 0:46:37 | 0:46:42 | |
# With no-one to love you You're going nowhere | 0:46:42 | 0:46:45 | |
# Tragedy! | 0:46:47 | 0:46:49 | |
# When the feeling's gone and you can't go on, it's tragedy... # | 0:46:49 | 0:46:53 | |
Everybody remembers...Tragedy. | 0:46:53 | 0:46:55 | |
You can't not remember...Tragedy. | 0:46:55 | 0:46:57 | |
As soon as you hear Tragedy, I mean, even I can't help it. | 0:46:57 | 0:47:02 | |
If you played it now, I'd have to sit on my hands. | 0:47:02 | 0:47:04 | |
My hands automatically go up to my face. | 0:47:04 | 0:47:07 | |
Tragedy. Arms out. | 0:47:07 | 0:47:09 | |
Tragedy. | 0:47:09 | 0:47:10 | |
And the head. | 0:47:12 | 0:47:14 | |
That's one of my favourites! They didn't even care. | 0:47:15 | 0:47:18 | |
They weren't cool, but it didn't matter | 0:47:18 | 0:47:20 | |
and I still do the routine to Tragedy. | 0:47:20 | 0:47:22 | |
Tragedy. One, da, da, da. Tragedy. | 0:47:22 | 0:47:26 | |
Under the command of pop Svengali Pete Waterman Steps conquered the UK charts, | 0:47:27 | 0:47:31 | |
peddling their own brand of catchy pop songs and disco covers | 0:47:31 | 0:47:35 | |
accompanied by equally infectious dance routines. | 0:47:35 | 0:47:39 | |
Even Prince Charles was infected, joining their legion when they performed at Hyde Park. | 0:47:39 | 0:47:44 | |
I was worried that he would think that we were taking the mickey of his ears, | 0:47:45 | 0:47:49 | |
but of course, we were doing the Tragedy dance. | 0:47:49 | 0:47:51 | |
You know your dance craze has caught on when the future King knows the moves, | 0:47:51 | 0:47:55 | |
but actually, most people get the famous hand gesture wrong. | 0:47:55 | 0:47:58 | |
Our second single, Last Thing On My mind, had a similar dance routine to Tragedy. | 0:48:01 | 0:48:05 | |
We had a move like this and we called it "washing our hair". | 0:48:05 | 0:48:07 | |
And so some people do confuse that with that and you get a bit of a mix, but, you know, it's all good. | 0:48:07 | 0:48:13 | |
I just remember doing that. | 0:48:13 | 0:48:17 | |
Tragedy! | 0:48:17 | 0:48:18 | |
# Take a chance on a happy ending... # | 0:48:18 | 0:48:21 | |
With a string of 14 - yes, 14 consecutive top-5 singles, | 0:48:21 | 0:48:25 | |
Steps were based on a simple gimmick but boy, did it catch on. | 0:48:25 | 0:48:29 | |
We learned early on that everybody enjoyed | 0:48:29 | 0:48:32 | |
the dance routine as much as the song and it really went hand in hand for us and it became our signature. | 0:48:32 | 0:48:37 | |
The dancing was definitely as important as the music. | 0:48:37 | 0:48:41 | |
They were acting out what they were singing and that made it so easy for everyone to copy it. | 0:48:41 | 0:48:46 | |
# Stop our heart from mending... # | 0:48:46 | 0:48:48 | |
We decided it would be a good idea to actually have the dance moves | 0:48:48 | 0:48:53 | |
in the sleeves of our singles, so that the fans could join in. | 0:48:53 | 0:48:57 | |
We wanted the steps and that's what their name was and that's what they showed us - steps. | 0:48:59 | 0:49:04 | |
If they were called Acapella Harmonies, it'd be a different story, | 0:49:04 | 0:49:07 | |
but they were called Steps, they delivered steps. That's why we like them. | 0:49:07 | 0:49:10 | |
Regardless of your level of dance, the routines were simple, | 0:49:10 | 0:49:15 | |
everybody at home could join in and that's what we wanted. | 0:49:15 | 0:49:18 | |
I mean, they were no Beyonce. | 0:49:18 | 0:49:21 | |
Do you know what I mean? They were no Jackson Five. | 0:49:21 | 0:49:24 | |
I think they knew that, the public knew that. | 0:49:24 | 0:49:26 | |
But what they were, when they were, was great. | 0:49:26 | 0:49:29 | |
# Best forgotten! # | 0:49:29 | 0:49:30 | |
# Oh, ho, ho, ho... # | 0:49:36 | 0:49:39 | |
-Huh! -Hoo, ha! | 0:49:39 | 0:49:42 | |
# Oh, ho, ho, ho... Oh, ho, ho, ho... # | 0:49:42 | 0:49:47 | |
-Diddly, diddly.... -# Everybody was kung fu fighting... # | 0:49:47 | 0:49:51 | |
At number 14, it's 1974 and we're back in the era of Bruce Lee, | 0:49:51 | 0:49:56 | |
Hong Kong Phooey and, as Carl said, everybody was kung fu fighting. | 0:49:56 | 0:50:02 | |
We looked around the youth clubs and there was these classes of people | 0:50:02 | 0:50:06 | |
with white suits, different coloured belts, grabbing at each other. | 0:50:06 | 0:50:10 | |
This is from our kung fu range. | 0:50:10 | 0:50:14 | |
I get quite carried away when I... | 0:50:14 | 0:50:16 | |
I think he really grabbed the Zeitgeist by the proverbials. | 0:50:16 | 0:50:21 | |
You ask anybody, basically over 30 and they were always into some kind of martial art. | 0:50:21 | 0:50:26 | |
I don't think there were really any set moves to this. | 0:50:26 | 0:50:29 | |
I think it's just doing bad karate. | 0:50:29 | 0:50:32 | |
It's that, you've had one karate class at school | 0:50:32 | 0:50:34 | |
and you think that allows you, whilst drunk, to be able to do high kicks in the disco. | 0:50:34 | 0:50:39 | |
It's not advisable to introduce violent moves to a crowded nightclub and the Kung Fu Fighting dance | 0:50:39 | 0:50:45 | |
got a reputation for causing damage on the dance floor. | 0:50:45 | 0:50:49 | |
We were told not to show the violent part of this thing. | 0:50:49 | 0:50:52 | |
So, it turned into a little bit of comedy, a little bit of fun, | 0:50:52 | 0:50:57 | |
using the dance but still using all the movements. | 0:50:57 | 0:51:00 | |
If there was ever a dance to knock drinks over, this was it. People lashing out. | 0:51:02 | 0:51:06 | |
Never, ever do this dance in a place with waitress service, | 0:51:06 | 0:51:09 | |
because those trays are going to be flying, with expert timing. | 0:51:09 | 0:51:12 | |
It really will be a little bit frightening. | 0:51:12 | 0:51:15 | |
-# Oh, ho, ho, ho... # -The song may have sold in vast quantities, | 0:51:15 | 0:51:18 | |
but didn't become truly culturally significant | 0:51:18 | 0:51:22 | |
until the Mitchell brothers gave us their version, in the now legendary spin-off show, Far Eastenders. | 0:51:22 | 0:51:27 | |
# Everybody was kung fu fighting... # | 0:51:27 | 0:51:29 | |
I definitely enjoyed Kung Fu Fighting and the dance moves, which was, | 0:51:29 | 0:51:33 | |
quite cool and sway, so I was just... | 0:51:33 | 0:51:37 | |
and then it gives you the opportunity to do that in people's face. | 0:51:37 | 0:51:40 | |
# Kung fu.... # | 0:51:40 | 0:51:42 | |
If I was drunk, maybe I'd put a couple of kicks in there. | 0:51:42 | 0:51:45 | |
Although it was a novelty song, it's actually a good enough track to stand the test of time. | 0:51:45 | 0:51:51 | |
It's been said that it's been number one in every musical territory on the planet. | 0:51:51 | 0:51:57 | |
And even today, it's still being played. | 0:51:57 | 0:51:59 | |
I'm very, very proud. | 0:51:59 | 0:52:02 | |
Carl has every right to feel proud, unlike those two numpties. | 0:52:02 | 0:52:06 | |
Sorry, Mum. | 0:52:06 | 0:52:08 | |
# Don't blame it on sunshine | 0:52:08 | 0:52:09 | |
# Don't blame it on the moonlight... # | 0:52:09 | 0:52:11 | |
At number 13, it's Blame It On The Boogie. | 0:52:11 | 0:52:14 | |
But it's not the Jacksons' version that most of us know and love, | 0:52:14 | 0:52:17 | |
because they didn't make up the dance. | 0:52:17 | 0:52:19 | |
Incidentally, they didn't even write the song. | 0:52:19 | 0:52:21 | |
That was a fella called Mick Jackson from Sheffield, but there's no time | 0:52:21 | 0:52:25 | |
to dwell on that now because... Actually, there is time to dwell on that but I just don't want to. | 0:52:25 | 0:52:30 | |
-Instead, let's learn about the dance. -# Blame it on the boogie... # | 0:52:30 | 0:52:33 | |
People ask me, "Who are Big Fun?" | 0:52:39 | 0:52:40 | |
And I say, "Sunshine, moonlight, good times." | 0:52:40 | 0:52:43 | |
"Oh, yes, I remember Big Fun now." | 0:52:43 | 0:52:45 | |
# Don't blame it on the sunshine | 0:52:45 | 0:52:46 | |
# Don't blame it on the moonlight... # | 0:52:46 | 0:52:48 | |
-Yeah, we were the guys that did that dance routine! -# Don't blame it on the sunshine... # | 0:52:50 | 0:52:54 | |
We were the first all-dancing boy band, prior to Boyzone, Take That, we were on Top Of The Pops. | 0:52:54 | 0:53:02 | |
We were on front covers of magazines. | 0:53:02 | 0:53:04 | |
Everyone was just like, screaming and doing the routine. | 0:53:04 | 0:53:07 | |
We got the most amazing response everywhere we went. | 0:53:07 | 0:53:10 | |
Big Fun. What a great name, because they were literally having big fun, | 0:53:10 | 0:53:14 | |
as they shot to fame in the early '90s. | 0:53:14 | 0:53:16 | |
They were produced by Stock, Aitken and Waterman, but the band had creative input, oh yes. | 0:53:16 | 0:53:22 | |
The boys made up their groovy little dance in the kitchen of their north London flat. | 0:53:22 | 0:53:27 | |
We came up with the idea of doing something simple. | 0:53:27 | 0:53:29 | |
With every main word for the chorus, we just tried to do something that would relate to it. | 0:53:29 | 0:53:33 | |
Don't blame it on the sunshine. | 0:53:33 | 0:53:36 | |
Moonlight, don't know where that came from. | 0:53:36 | 0:53:38 | |
Then there's the good times, a kind of sexual thing, that's a bit rude. | 0:53:38 | 0:53:41 | |
We'd have called it at school, a sort of sex-skiing kind of move. | 0:53:41 | 0:53:45 | |
As a kid, I didn't really approve of that. | 0:53:45 | 0:53:47 | |
# Don't blame it on the sunshine | 0:53:49 | 0:53:51 | |
# Don't blame it on the moonlight | 0:53:51 | 0:53:52 | |
# Don't blame it on the good times... # Blokes loving this. | 0:53:52 | 0:53:55 | |
Once you get a bit of a pelvic thrust in there, can't go wrong. | 0:53:55 | 0:53:59 | |
I hate all that sort of stuff, where the choreography is speaking the words. | 0:53:59 | 0:54:05 | |
I mean, it's great for two or three-year-olds, but please, don't bring it into pop. | 0:54:05 | 0:54:10 | |
The other two guys, Jason and Mark are like, "No, we can't do that." | 0:54:10 | 0:54:13 | |
I said, "Just trust me, I think it'll really work". | 0:54:13 | 0:54:16 | |
And it did. The response was incredible. | 0:54:16 | 0:54:19 | |
Everyone was doing the dance routine. | 0:54:19 | 0:54:23 | |
I don't think people boogie enough. | 0:54:23 | 0:54:25 | |
They blame the boogie too much. | 0:54:25 | 0:54:27 | |
They never specify what the crime is, do they? | 0:54:27 | 0:54:30 | |
They just give you advice on who you should blame it on. | 0:54:30 | 0:54:33 | |
Accompanied by illustrative dance! | 0:54:33 | 0:54:36 | |
# I just can't, I just can't I just can't control my feet... # | 0:54:36 | 0:54:39 | |
# I just can't, I just can't... # | 0:54:39 | 0:54:42 | |
# I just can't control my feet... # | 0:54:42 | 0:54:43 | |
# I just can't, I just can't I just can't control my feet... # | 0:54:43 | 0:54:48 | |
Big Fun had it all, the looks, the bum bags and a few catchy songs, | 0:54:48 | 0:54:51 | |
but in 1995, their name stopped being literal and became ironic | 0:54:51 | 0:54:55 | |
as they were dumped by their record label. | 0:54:55 | 0:54:58 | |
Big Fun mania was over as quick as you could say, Take That. | 0:54:58 | 0:55:01 | |
# Body movin', body movin' Body movin', we be body movin'. # | 0:55:04 | 0:55:08 | |
So far so good, but I hear you ask, | 0:55:08 | 0:55:11 | |
"what will be the craziest of all the dance crazes?" | 0:55:11 | 0:55:15 | |
Join us next time to find out. See you soon. | 0:55:15 | 0:55:18 | |
Subtitles by Red Bee Media Ltd | 0:55:26 | 0:55:29 |