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Hello, I'm TV's Robert Webb and these are some of pop's greatest dance crazes. | 0:00:03 | 0:00:10 | |
At number 27, it's Shakira and Wyclef Jean | 0:00:11 | 0:00:13 | |
with their likable pop ditty Hips Don't Lie, | 0:00:13 | 0:00:17 | |
which, if you think about it, is absolutely true. | 0:00:17 | 0:00:19 | |
They don't say very much at all. Good point. | 0:00:19 | 0:00:21 | |
# She make a man wanna speak Spanish... # | 0:00:21 | 0:00:24 | |
Shakira. Like Rihanna, except with talent. | 0:00:24 | 0:00:27 | |
Take it away, Shake-o. | 0:00:27 | 0:00:29 | |
# Oh, baby when you talk like that | 0:00:29 | 0:00:32 | |
# You make a woman go mad | 0:00:32 | 0:00:34 | |
# So be wise and keep on... # | 0:00:34 | 0:00:36 | |
The song just made her show off. | 0:00:36 | 0:00:38 | |
She was basically saying, "Look at me. Belly dance for four minutes. | 0:00:38 | 0:00:42 | |
"Belly dance to the left. I'm going to belly dance to the right. | 0:00:42 | 0:00:46 | |
"I'm going to belly dance with my shoulder. I'm going to belly dance with my boobs. | 0:00:46 | 0:00:49 | |
"I'm going to belly dance with my head." She's a belly dance explosion. | 0:00:49 | 0:00:54 | |
Shakira, Shakira. | 0:00:54 | 0:00:56 | |
# Oh, baby when you talk like that You make a woman go mad | 0:00:56 | 0:01:01 | |
# So be wise and keep on Reading the signs of my body... # | 0:01:01 | 0:01:05 | |
Shakira's dancing style is hypnotic, it really is. | 0:01:05 | 0:01:09 | |
I mean, even as a choreographer, a dancer, | 0:01:09 | 0:01:11 | |
when I watch her, you just kind of zone right into that belly button | 0:01:11 | 0:01:15 | |
and you go, "How is she doing that?" | 0:01:15 | 0:01:18 | |
It kind of has a life of its own. | 0:01:18 | 0:01:20 | |
# Oh, the attraction The tension | 0:01:20 | 0:01:22 | |
# Don't you see, baby... # | 0:01:22 | 0:01:23 | |
She used to do belly-dancing in the convent that she went to school in | 0:01:23 | 0:01:27 | |
and apparently the nuns were very supportive. Who knew? | 0:01:27 | 0:01:32 | |
Obviously nuns in Colombia are quite different to the nuns that we know. | 0:01:32 | 0:01:36 | |
# Never really knew that she could dance like this... # | 0:01:36 | 0:01:39 | |
Note that Wyclef is adhering to the Golden Rule - | 0:01:39 | 0:01:42 | |
do not attempt the Shakira | 0:01:42 | 0:01:43 | |
unless you are a fully-trained professional. | 0:01:43 | 0:01:46 | |
Her hips go like this. | 0:01:46 | 0:01:49 | |
You think of a snake, right? I will attempt it now. | 0:01:49 | 0:01:52 | |
So it kind of goes up and back down. That was really bad. | 0:01:52 | 0:01:56 | |
They kind of... I can't do it. They go up like this and back down. | 0:01:56 | 0:01:59 | |
And when your arms are doing all of this sort of stuff, you know, | 0:01:59 | 0:02:03 | |
at the same time in opposition to your hips, it's tough. | 0:02:03 | 0:02:08 | |
# I'm on tonight But my hips don't lie | 0:02:08 | 0:02:11 | |
# And I'm starting to feel you, boy... # | 0:02:11 | 0:02:12 | |
I work at Pineapple Studios | 0:02:12 | 0:02:14 | |
and I remember when Shakira came out with that video, | 0:02:14 | 0:02:16 | |
that belly dancing class that we had in Pineapple, | 0:02:16 | 0:02:18 | |
like, I had 100 students plus. It was... | 0:02:18 | 0:02:21 | |
crazy how many people wanted to move like Shakira. | 0:02:21 | 0:02:23 | |
MIDDLE EASTERN-STYLE MUSIC PLAYS | 0:02:23 | 0:02:26 | |
Belly dancing classes have long been popular with ladies of a certain age. | 0:02:26 | 0:02:30 | |
How erotic is it? Does it drive men wild? | 0:02:30 | 0:02:33 | |
I wouldn't say it drives men wild. | 0:02:33 | 0:02:35 | |
Speaking on behalf of mankind, I have to say I disagree. | 0:02:35 | 0:02:39 | |
Are you turned on? | 0:02:42 | 0:02:45 | |
Not really. | 0:02:45 | 0:02:47 | |
Come on, that's pretty good. | 0:02:47 | 0:02:49 | |
It's very seductive, very sensuous. | 0:02:50 | 0:02:52 | |
I've attempted it with varying degrees of success. | 0:02:54 | 0:02:57 | |
The main component of doing belly dancing | 0:02:59 | 0:03:03 | |
is forget any concept of personal dignity. | 0:03:03 | 0:03:07 | |
That is the absolute bedrock. | 0:03:07 | 0:03:10 | |
And once you've got beyond that, then it's remarkably simple. | 0:03:10 | 0:03:16 | |
Wise words, Katie. I'm off now to clean the fluff from my belly button. | 0:03:16 | 0:03:20 | |
Now back to a more innocent time | 0:03:22 | 0:03:23 | |
when teenage pop stars could dress provocatively in sexy school uniforms | 0:03:23 | 0:03:28 | |
and invite the listener to physically hit them. | 0:03:28 | 0:03:30 | |
Yes, at number 26 it's Britney Spears | 0:03:30 | 0:03:32 | |
and Hit Me Baby One More Time. | 0:03:32 | 0:03:34 | |
It was her debut video that had American mums up in arms | 0:03:34 | 0:03:38 | |
and American dads pretending to be up in arms while being secretly very pleased indeed. | 0:03:38 | 0:03:42 | |
Oh, men! | 0:03:42 | 0:03:44 | |
BELL RINGS | 0:03:44 | 0:03:46 | |
# Oh, baby baby | 0:03:47 | 0:03:49 | |
# Oh, baby baby... # | 0:03:51 | 0:03:53 | |
Britney Spears with Hit Me Baby. | 0:03:53 | 0:03:58 | |
It was... It was every man's dream. | 0:03:58 | 0:04:01 | |
# Oh, baby baby... # | 0:04:02 | 0:04:04 | |
She came in as this little schoolgirl, | 0:04:04 | 0:04:06 | |
but had this very innocent vibe, | 0:04:06 | 0:04:10 | |
but had her shirt rolled up and had her little short skirt on | 0:04:10 | 0:04:14 | |
and it was like, "Britney, you not foolin' us." | 0:04:14 | 0:04:17 | |
When you're making a video, you try and take a real-life situation | 0:04:19 | 0:04:23 | |
and then just sort of caricature it a little bit. | 0:04:23 | 0:04:26 | |
And Britney's idea was quite simply that she wanted to be in a school and be thinking of boys. | 0:04:26 | 0:04:33 | |
And then Britney said, "Why do I dress up in a school girl's outfit?" | 0:04:35 | 0:04:38 | |
And I'm sitting there thinking, "That sounds a bit racy to me," but you know, we went with it. | 0:04:38 | 0:04:43 | |
There's something quite wrong about it, isn't there? | 0:04:43 | 0:04:47 | |
You're watching it going, "No. | 0:04:47 | 0:04:49 | |
"She's dressed as a schoolgirl." | 0:04:49 | 0:04:51 | |
# Hit me baby one more time... # | 0:04:51 | 0:04:54 | |
I loved when Britney first came out. It was just dance, you know. | 0:04:54 | 0:04:58 | |
She did like, double pirouettes in that video. | 0:05:00 | 0:05:03 | |
Well Britney is all about the imaginary whip, OK? | 0:05:03 | 0:05:06 | |
So she's very... | 0:05:06 | 0:05:10 | |
Flick. She is all about that. All slashy, slashy, slashy. | 0:05:10 | 0:05:13 | |
I didn't say slutty. | 0:05:13 | 0:05:15 | |
The dance was a jazz-inspired dance. | 0:05:16 | 0:05:19 | |
It was just a lot of arms and just what pop became. | 0:05:19 | 0:05:24 | |
Britney was the face of pop at that point. | 0:05:24 | 0:05:27 | |
I think when you hear that song, you just want to strut around and have a dance. | 0:05:30 | 0:05:34 | |
She owned it, you know? | 0:05:36 | 0:05:39 | |
# Hit me baby one more time. # | 0:05:39 | 0:05:42 | |
It was hot. | 0:05:42 | 0:05:43 | |
# Hit me baby one more time. # | 0:05:43 | 0:05:45 | |
Hit Me Baby One More Time sold over nine million copies worldwide, | 0:05:45 | 0:05:49 | |
propelling Britney to pop superstardom and her devoted fans embraced her sexy St Trinian's look. | 0:05:49 | 0:05:56 | |
Britney's fans copied everything about her from what she wore, how she danced. | 0:05:56 | 0:06:00 | |
I think she created her own cult following. | 0:06:00 | 0:06:04 | |
All the girls used to have the knee-high socks | 0:06:06 | 0:06:08 | |
and a little skirt rolled up and shirt and tie. | 0:06:08 | 0:06:13 | |
You felt really cool cos Britney did it. | 0:06:13 | 0:06:17 | |
We thought it was wicked. | 0:06:20 | 0:06:21 | |
We all wanted fluffy pens and over-knee socks. | 0:06:21 | 0:06:25 | |
We used to have talent shows at school and a lot of people would | 0:06:26 | 0:06:29 | |
enter as Britney and know all the dance moves. | 0:06:29 | 0:06:34 | |
We'd go along every lunchtime, pay our 50p and hope for the best! | 0:06:34 | 0:06:40 | |
# Give me a sign Hit me baby one more time. # | 0:06:40 | 0:06:47 | |
Since this routine, Britney's glittering career has pirouetted out | 0:06:47 | 0:06:52 | |
of control several times, but with each comeback | 0:06:52 | 0:06:55 | |
she demonstrates why she's still queen of the dance floor. | 0:06:55 | 0:07:00 | |
# Hit me baby one more time. # | 0:07:00 | 0:07:03 | |
Her-ha! Her-ha! | 0:07:08 | 0:07:11 | |
Herrrr-ha! | 0:07:11 | 0:07:13 | |
Don't worry. I'm not off my nut on Meow Meow, | 0:07:13 | 0:07:15 | |
I'm performing one of the most popular dances of the early 1980s. | 0:07:15 | 0:07:19 | |
If you were a coal miner, the '80s were at best so-so | 0:07:19 | 0:07:23 | |
but if you were a fan of dressing up like a dandy, | 0:07:23 | 0:07:26 | |
it really was the decade to be alive. | 0:07:26 | 0:07:28 | |
Stand and deliver! | 0:07:33 | 0:07:35 | |
I loved Adam Ant. | 0:07:36 | 0:07:38 | |
I loved the way he made his face up and his movements, and I loved him because he was individual. | 0:07:38 | 0:07:43 | |
# I'm the dandy highwayman who you're too scared to mention... # | 0:07:43 | 0:07:45 | |
I have a confession to make - I was absolutely obsessed with Adam Ant, | 0:07:45 | 0:07:49 | |
and I desperately, desperately wanted to be him. | 0:07:49 | 0:07:51 | |
Absolutely adore the look. I think that was an era to be proud of. | 0:07:51 | 0:07:56 | |
# Stand and deliver | 0:07:56 | 0:07:59 | |
# Your money or your life. # | 0:07:59 | 0:08:01 | |
He was making his songs | 0:08:01 | 0:08:03 | |
into a fabulous piece of theatre. | 0:08:03 | 0:08:05 | |
He understood something essential which is, "I'm here to entertain you." | 0:08:07 | 0:08:11 | |
But it was Adam's magical transformation from punk pretender | 0:08:12 | 0:08:16 | |
to the Prince of Panto Pop that cemented his place in our top 50. | 0:08:16 | 0:08:20 | |
# Don't you ever, | 0:08:20 | 0:08:22 | |
# Don't you ever... # | 0:08:22 | 0:08:23 | |
Prince Charming was just a sort of dance craze that I tried to start, | 0:08:23 | 0:08:29 | |
by dressing up and looking a bit wild. | 0:08:29 | 0:08:32 | |
# Don't you ever, don't you ever... # | 0:08:32 | 0:08:36 | |
There's been so many great dance crazes, | 0:08:36 | 0:08:38 | |
but being a child of the Eighties, | 0:08:38 | 0:08:40 | |
I've got to say my favourite is Adam Ant, Prince Charming. | 0:08:40 | 0:08:43 | |
The dance is made up of four key simple moves, | 0:08:45 | 0:08:48 | |
and each move represents Adam. | 0:08:48 | 0:08:50 | |
So this move represents courage. | 0:08:50 | 0:08:53 | |
The second move was about pride. | 0:08:53 | 0:08:55 | |
The third move is humour. And the final message is flair. | 0:08:55 | 0:09:00 | |
Which Adam had tonnes of. | 0:09:00 | 0:09:02 | |
Prince Charming, hey! Prince Charming, hey! | 0:09:03 | 0:09:06 | |
1, 2, 3, 4... | 0:09:06 | 0:09:08 | |
We had probably about 40 or 50 dancers, a huge set, it looked | 0:09:08 | 0:09:14 | |
like walking into a Hollywood movie set, it was fantastic, and we had the wonderful, most beautiful Diana Dors. | 0:09:14 | 0:09:22 | |
The dance was a little bit tricky, and if you watch the video closely, | 0:09:25 | 0:09:28 | |
I wouldn't say she exactly gets the moves, but we decided in the spirit of things that that would be OK. | 0:09:28 | 0:09:34 | |
# Don't you ever... # | 0:09:34 | 0:09:36 | |
There was a whole feeling, a whole era, a whole time where I don't think that could ever happen again. | 0:09:36 | 0:09:42 | |
It's just very, very special. | 0:09:42 | 0:09:44 | |
# Don't you ever lower yourself... # | 0:09:44 | 0:09:47 | |
And our next dance comes from erccentric New Yorker, Lady GaGa. | 0:09:48 | 0:09:52 | |
In tribute to her infamous meat dress, I've wrapped my hand in some rashers of streaky bacon. See? | 0:09:52 | 0:09:58 | |
It's what I call my pork glove, and very comfortable it is, too. | 0:09:58 | 0:10:02 | |
I'm also wearing chicken underpants, but probably best not show you them now. Here's GaGa. | 0:10:02 | 0:10:07 | |
# Ooh-oooh-oh-oh-oh, | 0:10:11 | 0:10:17 | |
# Caught in a bad romance... # | 0:10:17 | 0:10:20 | |
Oh my God, I'm a huge fan of Lady GaGa. | 0:10:20 | 0:10:22 | |
I'm a huge Lady GaGa fan. | 0:10:22 | 0:10:24 | |
-Huge! -# Caught in a bad romance... # -She's saying, | 0:10:24 | 0:10:27 | |
if you do it, do it big and make a spectacle of it. | 0:10:27 | 0:10:32 | |
She don't care. | 0:10:32 | 0:10:33 | |
She's doing what she wants to do and I'm so into that. | 0:10:33 | 0:10:36 | |
# I want your loving, I want your revenge | 0:10:36 | 0:10:39 | |
# You and me could write a bad romance... # | 0:10:39 | 0:10:43 | |
I just love the choreography. And it's now. | 0:10:43 | 0:10:47 | |
It's sort of taking Madonna and twisting it all around. | 0:10:47 | 0:10:52 | |
GaGa has this little claw thing and she calls people monsters, and | 0:10:52 | 0:10:58 | |
I went to the concert and everyone's literally doing this claw. | 0:10:58 | 0:11:02 | |
When I came up with the claw in Bad Romance | 0:11:03 | 0:11:06 | |
it was because she played the record for me, | 0:11:06 | 0:11:09 | |
and it felt painful | 0:11:09 | 0:11:10 | |
and the first thing my hand did was tense up, | 0:11:10 | 0:11:13 | |
because when you want to love somebody and you can't have them, it feels like that. | 0:11:13 | 0:11:17 | |
-# I want your lovin'... # -What's happening, | 0:11:17 | 0:11:19 | |
"Ooh, ra, la-la-la," what's happening to me? | 0:11:19 | 0:11:23 | |
Then I was obsessed with the twist and Chubby Checker, so I then I did everything. | 0:11:25 | 0:11:29 | |
She's not the best dancer, but she has | 0:11:31 | 0:11:33 | |
a very specific way of moving, | 0:11:33 | 0:11:35 | |
so a choreographer captures those awkward moments and makes them into dance equences. | 0:11:35 | 0:11:39 | |
She wasn't a dancer, but she, like millions of young girls, took dance class. | 0:11:41 | 0:11:46 | |
You know, you learn a few things very early, a pas de bourree, a kick-ball-change, a hitchy koo. | 0:11:46 | 0:11:51 | |
So I put these classic dance steps in her choreography | 0:11:51 | 0:11:56 | |
and I said, "Well, I know that I'll make you a dancer." | 0:11:56 | 0:11:59 | |
# Can't read my, can't read my, no, he can't read my poker face.... # | 0:11:59 | 0:12:05 | |
With Poker Face, it was about the club and the house, and there was just something | 0:12:05 | 0:12:10 | |
that came to me when I was like, "My-my-my poker face," you know. | 0:12:10 | 0:12:15 | |
# My-my-my poker face... # | 0:12:16 | 0:12:17 | |
She does this sort of stuff a lot, doesn't she? | 0:12:17 | 0:12:19 | |
A bit of that. | 0:12:19 | 0:12:21 | |
It's pretty owlish and cool, isn't it? | 0:12:22 | 0:12:25 | |
And if in doubt, just take some more clothes off. | 0:12:25 | 0:12:28 | |
It works for me. | 0:12:28 | 0:12:30 | |
It's just like mad things, they're actually simple, but great fun, | 0:12:32 | 0:12:36 | |
exuberant, camp, out there, in-your-face dance routines. | 0:12:36 | 0:12:42 | |
# RedOne... # | 0:12:42 | 0:12:43 | |
Lady GaGa's look is as famous as her music, and her piece de resistance was her scandalous meat dress. | 0:12:43 | 0:12:51 | |
# I've had a little bit too much... # | 0:12:51 | 0:12:54 | |
I think she has amazing fashion sense, and I love that it's so crazy | 0:12:54 | 0:12:57 | |
and so different that it really makes you stop and think. | 0:12:57 | 0:13:00 | |
Whether GaGa is living art or just a frustrated butcher, | 0:13:00 | 0:13:04 | |
she's inspired fans around the world to copy her style and moves. | 0:13:04 | 0:13:08 | |
It's just a shame she stinks of carrion. | 0:13:08 | 0:13:11 | |
Everyone wants to be GaGa, don't they? | 0:13:11 | 0:13:14 | |
And they all want to be able to dance like GaGa. | 0:13:14 | 0:13:16 | |
You look on the internet and there's so many sites, "We'll teach you the GaGa steps." | 0:13:16 | 0:13:21 | |
It has been a phenomenon. I mean, when I saw | 0:13:22 | 0:13:25 | |
a seven-year-old do the Bad Romance dance, absolutely was I affected. | 0:13:25 | 0:13:29 | |
I'm like, "my choreography is being done all around the world." | 0:13:29 | 0:13:32 | |
That just inspired me to know how powerful we are as choreographers. | 0:13:32 | 0:13:37 | |
# Just, just, just dance. # | 0:13:37 | 0:13:40 | |
Often, the best dances have the instructions built into the lyrics. | 0:13:41 | 0:13:45 | |
One thinks of Whip My Hair, by Willow Smith, and Sit Down, by James. | 0:13:45 | 0:13:49 | |
Our next track is much the same. | 0:13:49 | 0:13:51 | |
At number 23 we have DJ Casper and his Cha-cha Slide. | 0:13:51 | 0:13:56 | |
Clap, clap-clap, clap your hands. | 0:13:57 | 0:13:59 | |
All right now, we're going to do the basic step. | 0:13:59 | 0:14:02 | |
To the left. Take it back now, y'all. | 0:14:02 | 0:14:05 | |
One hop this time... | 0:14:05 | 0:14:07 | |
So you go, slide to the right, slide to the left. | 0:14:07 | 0:14:11 | |
One hop this time. | 0:14:11 | 0:14:13 | |
Two hops this time. | 0:14:13 | 0:14:14 | |
And this, cha-cha. | 0:14:14 | 0:14:16 | |
To the left. | 0:14:17 | 0:14:18 | |
Take it back now, y'all. | 0:14:18 | 0:14:20 | |
It's just slide to the right, it's just really basic moves. | 0:14:20 | 0:14:24 | |
One hop this time. | 0:14:24 | 0:14:25 | |
Two hops this time. Now cha-cha. I don't even know it that great, | 0:14:25 | 0:14:29 | |
but I know if you put that on in a club | 0:14:29 | 0:14:31 | |
now tonight, I would be able to do it, because it says it. | 0:14:31 | 0:14:35 | |
To the left. Take it back now, y'all. | 0:14:35 | 0:14:38 | |
Let go to work. | 0:14:38 | 0:14:39 | |
Let go to work. Let's go to work. | 0:14:39 | 0:14:42 | |
-But it depends where you work. -It does. | 0:14:42 | 0:14:44 | |
Most people that go to work aren't happy. | 0:14:44 | 0:14:47 | |
It's like, slide to the left. | 0:14:47 | 0:14:48 | |
I'm happy. Slide to the right. | 0:14:48 | 0:14:50 | |
-Woohoo! -Let's to go to work. | 0:14:50 | 0:14:52 | |
Oh, so boring. | 0:14:52 | 0:14:54 | |
I'm out of here, y'all. Peace. | 0:14:54 | 0:14:57 | |
The 1980s were a time of division and strife. | 0:15:01 | 0:15:05 | |
Geoffrey Howe's 1981 austerity budget led to mass unemployment | 0:15:05 | 0:15:09 | |
and the destruction of Britain's manufacturing sector. | 0:15:09 | 0:15:11 | |
To counterbalance this, Black Lace released a single that had everyone in Britain doing this. | 0:15:11 | 0:15:17 | |
So the Eighties basically evened out, then. | 0:15:17 | 0:15:19 | |
After a hard day's work, here I am at the Batley Frontier Club, and | 0:15:24 | 0:15:29 | |
we're going to ask a few people now why they've come to see Black Lace. | 0:15:29 | 0:15:32 | |
-Just pure, simple fun, good, clean fun. -The party atmosphere, yes. | 0:15:32 | 0:15:36 | |
-What's your favourite song of theirs? -Agadoo-doo-doo. | 0:15:36 | 0:15:39 | |
-Can you sing a bit more for us, perhaps? -I only the title of it, like, I don't know the rest of it. | 0:15:39 | 0:15:44 | |
# Ag-a-doo-doo-doo, push pineapple, shake the tree... # | 0:15:44 | 0:15:48 | |
Agadoo was... | 0:15:48 | 0:15:50 | |
pretty much the song that, if you are 30 or thereabouts, | 0:15:50 | 0:15:54 | |
defined every childhood party you ever went to. | 0:15:54 | 0:15:59 | |
Aga-doo... | 0:15:59 | 0:16:00 | |
Doo-doo, push pineapple... | 0:16:00 | 0:16:02 | |
Shake the tree... | 0:16:02 | 0:16:04 | |
Da-da-uh-uh-uh... | 0:16:04 | 0:16:05 | |
Push pineapple, grind coffee... | 0:16:05 | 0:16:07 | |
To the left, to the right... | 0:16:07 | 0:16:09 | |
Jump up and down and to the knees... | 0:16:09 | 0:16:11 | |
Come and dance every night to the hula melodies. | 0:16:11 | 0:16:14 | |
# Sing the hula melodies... # | 0:16:14 | 0:16:15 | |
Aga-doo-doo-doo was another don't, don't, don't for me, darling. | 0:16:15 | 0:16:19 | |
# I met a hula mistress somewhere in Waikiki. | 0:16:19 | 0:16:23 | |
# She was selling pineapple, playing ukelele... # | 0:16:23 | 0:16:27 | |
Black Lace were two blokes from deepest Yorkshire, and Agadoo was their biggest UK hit. | 0:16:27 | 0:16:32 | |
But the cheesy chart-meisters have always divided opinion. | 0:16:32 | 0:16:36 | |
I mean, as a dancer, you know, any... | 0:16:36 | 0:16:38 | |
Well, hold on. I was going to say I embrace anything that gets people on the floor, but there is a limit. | 0:16:38 | 0:16:43 | |
Black Lace had mullet haircuts, they were a bit naff, they were like | 0:16:44 | 0:16:49 | |
DJs you would find in a Warrington disco club. | 0:16:49 | 0:16:53 | |
It's easy to mock, really very easy in this case, but these lads have paid their showbiz dues. | 0:16:53 | 0:16:59 | |
You know, they'd done the camps, they'd done the resorts, they knew their audience. | 0:16:59 | 0:17:05 | |
The wrinkles on those men's faces are not merely a sign of age, they're battle scars. | 0:17:05 | 0:17:11 | |
They know, when they walk into that room full of nanas and babies, | 0:17:11 | 0:17:15 | |
that somebody's got to get this party started. | 0:17:15 | 0:17:18 | |
# Agadoo-doo-doo, push pineapple, shake the tree... # | 0:17:18 | 0:17:21 | |
Agadoo has been voted the worst song of all time, but it sold | 0:17:21 | 0:17:25 | |
over a million copies worldwide, helped by the easy to perform dance. | 0:17:25 | 0:17:29 | |
But where exactly did the moves come from? | 0:17:29 | 0:17:32 | |
Agadoo the song actually | 0:17:32 | 0:17:33 | |
is French, it originates from France. | 0:17:33 | 0:17:35 | |
But the dance moves originate from a Derby nightclub. | 0:17:35 | 0:17:40 | |
The rumour is, Black Lace turned up to perform, and the bar staff | 0:17:40 | 0:17:45 | |
had come out with some kind of dance, and then it took off from there. | 0:17:45 | 0:17:48 | |
So, if you want to blame anybody for Agadoo, blame the French and Derby. | 0:17:48 | 0:17:52 | |
Consider it done, my friend. | 0:17:54 | 0:17:56 | |
So, that's your lot. | 0:18:00 | 0:18:02 | |
If, like me, you spent the whole show dancing along to each and every song, | 0:18:02 | 0:18:06 | |
then, like me, you probably stink. | 0:18:06 | 0:18:09 | |
Take a shower. Seriously, have a shower. Now. | 0:18:09 | 0:18:12 | |
Goodbye! | 0:18:13 | 0:18:16 |