0:00:02 > 0:00:04In the beginning, God created pop.
0:00:04 > 0:00:08This programme contains very strong language.
0:00:08 > 0:00:11But pop was without form.
0:00:14 > 0:00:16Then appeared the boy band.
0:00:19 > 0:00:22Pure pop perfection incarnate.
0:00:22 > 0:00:24They are pop's perfect vessel.
0:00:24 > 0:00:26The perfect men,
0:00:26 > 0:00:27the perfect bodies,
0:00:27 > 0:00:29the perfect harmonies.
0:00:29 > 0:00:33They appear before us as an immaculate conception,
0:00:33 > 0:00:36seemingly descended from pop heaven.
0:00:36 > 0:00:38Dreamboat disciples, chosen and sent
0:00:38 > 0:00:43to spread pop's gospel to legions of screaming girls.
0:00:43 > 0:00:47MUSIC: "Could It Be Magic" by Take That
0:00:47 > 0:00:49But what mysterious elements
0:00:49 > 0:00:52and alchemy form these magical pop entities?
0:00:52 > 0:00:55How do they work? And what's it like to be in one?
0:00:55 > 0:01:00Welcome to the magical world of the boy band.
0:01:00 > 0:01:02# ..Talk about pop muzik
0:01:02 > 0:01:04# Talk about pop muzik
0:01:04 > 0:01:06- # Shoobi doobi do whap - It's all around you
0:01:06 > 0:01:08- # Bop Bop shoo whap - They wanna surround you
0:01:08 > 0:01:10- # Shoobi doobi do whap - It's all around you
0:01:10 > 0:01:12- # Bop Bop shoo whap - Hit it!
0:01:12 > 0:01:15# New York, London, Paris, Munich
0:01:15 > 0:01:17# Everybody talk about Hmm, pop muzik
0:01:17 > 0:01:22# Talk about pop muzik Talk about pop muzik... #
0:01:22 > 0:01:27You're a boy band... if you are a band of boys.
0:01:27 > 0:01:29Five young lads that just sing together.
0:01:29 > 0:01:31It is a team. When you're on stage,
0:01:31 > 0:01:34you're thinking about, "I want to kick some ass."
0:01:34 > 0:01:36It's a ball of energy
0:01:36 > 0:01:39and it's fun to look at and watch.
0:01:39 > 0:01:42And sometimes it's as fun to watch it fall apart.
0:01:43 > 0:01:47The boy band is a tried and tested pop phenomenon.
0:01:47 > 0:01:50The original prototypes are to be found in the self-formed
0:01:50 > 0:01:54male vocal groups and beat combos of the '60s.
0:01:54 > 0:01:58Boy bands have always, always been around.
0:01:58 > 0:02:01If you think of the Four Tops, Jackson 5.
0:02:01 > 0:02:04The Beatles even. They were all boy bands, really.
0:02:04 > 0:02:07I think we did set a standard
0:02:07 > 0:02:11that even nowadays groups have started following.
0:02:11 > 0:02:14# ..And I'm bringing you a love that's true
0:02:14 > 0:02:15# So, get ready
0:02:15 > 0:02:18# So, get ready... #
0:02:18 > 0:02:22But there have always been people seeking to simulate these pop pioneers.
0:02:24 > 0:02:27The boy band can also be a carefully manufactured beast.
0:02:27 > 0:02:30It's alive! It's alive!
0:02:30 > 0:02:34I imagine the record companies sit round in the boardroom and go,
0:02:34 > 0:02:37"Right, we need five people of this age, there's their songs.
0:02:37 > 0:02:41"There's their clothes. And go find them."
0:02:42 > 0:02:44Whatever the era, however they met,
0:02:44 > 0:02:48what makes these different bands of boys boy bands?
0:02:50 > 0:02:52Please, stop screaming.
0:02:53 > 0:02:55It's all about girls. Girls, girls, girls.
0:02:55 > 0:02:57If girls like them, you've got a hit.
0:02:57 > 0:03:02It's a way for young girls to explore their sexuality safely, I think.
0:03:02 > 0:03:04You're looking in a boy band for the same things
0:03:04 > 0:03:08that you're looking for in a pony - nice, clear eyes and a good coat.
0:03:09 > 0:03:11Our prime purpose
0:03:11 > 0:03:13is to sing love songs to girls.
0:03:15 > 0:03:19It's definitely a sexual thing. There's no doubt about that.
0:03:19 > 0:03:21I don't know what would happen
0:03:21 > 0:03:24if there weren't boy bands there
0:03:24 > 0:03:28for that excess female sexual energy to be channelled into.
0:03:28 > 0:03:30It might just be bedlam.
0:03:37 > 0:03:41Good-looking boys, sometimes put together,
0:03:41 > 0:03:44making girls scream and singing in harmony.
0:03:44 > 0:03:46# ..Hi, there, folks, how do you do?
0:03:46 > 0:03:50# We're mighty glad to be here with you... #
0:03:50 > 0:03:54These seem to be the eternal characteristics of a boy band.
0:03:54 > 0:03:58It's been a winning combination throughout pop history.
0:03:58 > 0:04:02So, why has boy band become a dirty word?
0:04:02 > 0:04:07- We didn't think we were a boy band. - That term, boy band, I don't...I just don't get.
0:04:07 > 0:04:11- Even the label said you're not a boy band. - You're not a boy band, is that right?
0:04:11 > 0:04:13- I'd say we're a pop band. - We're a pop band.
0:04:13 > 0:04:16Just because we're five teenagers who are the same sex
0:04:16 > 0:04:18doesn't necessarily mean
0:04:18 > 0:04:21that we're a boy band. Does that make sense?
0:04:21 > 0:04:24Stop being dicks. Embrace what you are, you know what I mean, like.
0:04:24 > 0:04:26People'll think you're more rad.
0:04:29 > 0:04:33So, who joins a boy band - if we are allowed to call it that - and why?
0:04:33 > 0:04:37# ..When will I Will I be famous? #
0:04:37 > 0:04:42Where does the journey begin? For many, it seems, there is an early craving for the spotlight.
0:04:42 > 0:04:44Any spotlight.
0:04:44 > 0:04:48As a child, I had ambition to be somebody.
0:04:48 > 0:04:50Cos I remember one question I asked myself,
0:04:50 > 0:04:52almost the first thing I remember,
0:04:52 > 0:04:54is, who am I, and why am I here?
0:04:54 > 0:04:58If I'm honest, I never really thought I would be in pop music.
0:04:58 > 0:05:01I wanted to be an actor and I, kind of, went to acting school.
0:05:01 > 0:05:04I'd done a few bits and bobs for TV.
0:05:04 > 0:05:05I was on Casualty and Hale And Pace.
0:05:05 > 0:05:07Must be better ones around. Come on.
0:05:07 > 0:05:09I got a job at Granada Television
0:05:09 > 0:05:12in Coronation Street.
0:05:12 > 0:05:14Not in this you're not, have you seen it out there?
0:05:14 > 0:05:17I started acting and singing in pantomimes and things like that.
0:05:19 > 0:05:21I did Coronation Street, I did Z-Cars.
0:05:21 > 0:05:23Yes, Willie Thatcher?
0:05:23 > 0:05:26Have you got a shilling for the gas? My ma's out of it.
0:05:26 > 0:05:29So, all of sudden, I'm watching the Beatles sing six tunes
0:05:29 > 0:05:33on The Ed Sullivan Show, and I think, "I want to do that.
0:05:33 > 0:05:35"I want all those girls screaming for me."
0:05:35 > 0:05:40I thought I was doing well with 10, 15 people outside the stage door.
0:05:45 > 0:05:48# ..Woke up this morning feeling fine
0:05:48 > 0:05:51# There's something special on my mind... #
0:05:51 > 0:05:55This appetite for adulation often leads our future heart-throbs
0:05:55 > 0:05:58to the wonderful world of pop in search of stardom.
0:05:58 > 0:06:02# ..Something tells me I'm into something good... #
0:06:04 > 0:06:07So, how does a wannabe star join a boy band?
0:06:07 > 0:06:12Back in the '60s, the DIY method was a favourite route in.
0:06:12 > 0:06:15I decided pretty soon that I would be...
0:06:15 > 0:06:19I was going to go full-on for music. Music career.
0:06:19 > 0:06:24# ..Something tells me I'm into something good... #
0:06:26 > 0:06:29And I saw the Beatles and I found four idiots
0:06:29 > 0:06:32who believed that I knew what I was doing.
0:06:32 > 0:06:34Although, there wasn't really a plan
0:06:34 > 0:06:37except that we wouldn't go to school and we wouldn't have jobs,
0:06:37 > 0:06:41and we would practise one song a day, every day,
0:06:41 > 0:06:43until we could be as good as the Beatles.
0:06:45 > 0:06:48Then there was the family route.
0:06:48 > 0:06:51For five brothers growing up in 1960s Indiana,
0:06:51 > 0:06:54the journey to boy band immortality began
0:06:54 > 0:06:57when a strict father discovered a hidden talent.
0:06:57 > 0:07:01# ..But can you remember? #
0:07:01 > 0:07:05The beginning of our music career happened
0:07:05 > 0:07:08when my father had a guitar and he used to play it.
0:07:08 > 0:07:11Then he'd put it in the closet cos he had to go to work.
0:07:11 > 0:07:13He would tell the brothers,
0:07:13 > 0:07:16while he's at work, don't touch his guitar.
0:07:16 > 0:07:19Tito, one day, started taking the guitar and playing it
0:07:19 > 0:07:20and messing around with it.
0:07:20 > 0:07:23And then, one day, one of the strings broke.
0:07:23 > 0:07:26He kind of panicked and he put it back and my father came home
0:07:26 > 0:07:30and he was saying, "Who's been playing my guitar? Cos the string is broken."
0:07:30 > 0:07:32So, Tito was a little petrified at first.
0:07:32 > 0:07:35He beat my butt for it and that whole thing.
0:07:35 > 0:07:39And then, afterwards, he put it in my lap and asked me,
0:07:39 > 0:07:41he said, "Now, show me what you know."
0:07:41 > 0:07:44So, I was playing and crying.
0:07:44 > 0:07:48He was surprised that I knew as much as I did.
0:07:48 > 0:07:50So, the next day he took me out to a pawn shop
0:07:50 > 0:07:52and bought me my first guitar.
0:07:52 > 0:07:56And I've been playing since. And singing with the brothers.
0:07:56 > 0:07:59# ..Oh, darling, all I need is one more chance
0:07:59 > 0:08:00# To show you that I love you
0:08:00 > 0:08:03# Won't you please let me
0:08:03 > 0:08:05# Back in your heart
0:08:05 > 0:08:08# Oh, darling, I need one more chance
0:08:08 > 0:08:09# Ha! I'll show you that I love you
0:08:09 > 0:08:13- #- Baby- Oh- Baby- Oh- Baby- Oh
0:08:13 > 0:08:15# I want you back... #
0:08:15 > 0:08:18These are the organic templates of boy band formation.
0:08:18 > 0:08:20A model of brotherhood and male friendship
0:08:20 > 0:08:23pioneered by the likes of the Beatles,
0:08:23 > 0:08:26the Temptations and The Osmonds.
0:08:26 > 0:08:28# ..I want you back! #
0:08:28 > 0:08:31# Everyone else but you... #
0:08:31 > 0:08:34But not all boy bands grow up in houses together.
0:08:34 > 0:08:38Nowadays, they are often thrust together while in search of individual stardom.
0:08:38 > 0:08:41With X Factor boy band graduates One Direction,
0:08:41 > 0:08:44we saw this theory played out before our eyes.
0:08:44 > 0:08:47We all, kind of, entered the show as individuals.
0:08:47 > 0:08:49We all were waiting for the decision
0:08:49 > 0:08:52to see which solo artists would go through to judges' houses.
0:08:52 > 0:08:53We all got nos.
0:08:53 > 0:08:55That's it, guys. I'm really, really sorry.
0:08:57 > 0:09:00And then, like, five minutes later we were called back on stage,
0:09:00 > 0:09:04and Simon said, "We want to put you in a group."
0:09:06 > 0:09:08You've got a real shot here, guys.
0:09:08 > 0:09:11# ..That's what makes you beautiful... #
0:09:11 > 0:09:14Whether manufactured or not, perhaps joining a boy band
0:09:14 > 0:09:18provides the aspiring pop star with strength in numbers.
0:09:22 > 0:09:26My father explained it by saying, "You're strong together."
0:09:26 > 0:09:29And he took five sticks and he put them together
0:09:29 > 0:09:32and tried to break them and they wouldn't break.
0:09:32 > 0:09:35And then, he took one of the sticks and snapped it and said,
0:09:35 > 0:09:38"This is what will happen if you don't stay together.
0:09:38 > 0:09:40"You can be broken."
0:09:40 > 0:09:43Can it really be as simple as that?
0:09:43 > 0:09:48Boy X 3, 4 or 5 = greater chance of stardom.
0:09:48 > 0:09:50Ha-ha!
0:09:50 > 0:09:53There can be no weak links in the manufactured boy band
0:09:53 > 0:09:58because chasing stardom often requires some brutal sacrifices.
0:09:58 > 0:10:01# ..Everybody get up, sing it! #
0:10:01 > 0:10:04The 5ive audition come up, Simon Cowell stands there
0:10:04 > 0:10:07and he says, "You'll live in a house together from next week.
0:10:07 > 0:10:10"You can't tell anyone, just go along with this.
0:10:10 > 0:10:13"Do you want to be in this band?" We all said, "Yeah."
0:10:13 > 0:10:16# ..5ive will make get down now... #
0:10:16 > 0:10:18All that I could tell was my parents.
0:10:18 > 0:10:21I got home and my mate said, "How did it go?"
0:10:21 > 0:10:25"Oh, erm, I don't know yet." But a week later,
0:10:25 > 0:10:28I'd left all my friends behind and I hadn't told a soul.
0:10:28 > 0:10:30It was horrible. Horrible.
0:10:34 > 0:10:39These first baby steps to stardom can be a lonely experience.
0:10:41 > 0:10:45But forming or joining a boy band is just the start.
0:10:45 > 0:10:48Getting noticed is always a new act's first hurdle.
0:10:48 > 0:10:51For The Osmonds in the early '60s,
0:10:51 > 0:10:55this meant cornering the cute spot on The Andy Williams Show.
0:10:55 > 0:10:57There's the camera. Oh, no, there it is, over there.
0:10:57 > 0:11:02When we came and auditioned for Andy, it was like, wow.
0:11:02 > 0:11:07# ..Yes, sir, we know Claire And she is mighty sweet... #
0:11:07 > 0:11:09Sitting on the steps,
0:11:09 > 0:11:14singing harmony that was buzzing at such a young age.
0:11:14 > 0:11:18# ..Yes, sir, that's my baby No, sir, don't mean maybe... #
0:11:18 > 0:11:21And America just wanted to hear more of it.
0:11:21 > 0:11:24# ..Aa-a-ah... #
0:11:24 > 0:11:26APPLAUSE
0:11:26 > 0:11:30By the early '90s, more complicated times
0:11:30 > 0:11:33meant the boy band was having to find new ways to get itself noticed.
0:11:35 > 0:11:38How do you get this band across? Build up a fan base.
0:11:38 > 0:11:42I came up with this idea of doing a schools tour.
0:11:42 > 0:11:46For teenage Take That, this meant performing in bad shorts
0:11:46 > 0:11:48to school kids by day...
0:11:48 > 0:11:50And we are Take That.
0:11:50 > 0:11:52..then heading out in leather-studded codpieces
0:11:52 > 0:11:54to pursue the pink pound at night.
0:11:57 > 0:12:00We, obviously, were targeting the young girls in schools
0:12:00 > 0:12:04for all the reasons that boy bands would target young girls.
0:12:04 > 0:12:08And we were, obviously, targeting gay men.
0:12:08 > 0:12:11# ..Do what you like, oh-oh.
0:12:11 > 0:12:13# Do what you want... #
0:12:13 > 0:12:17After Take That had found their feet, a newly formed group from Ireland
0:12:17 > 0:12:20would take their first fledgling steps.
0:12:20 > 0:12:23They are going to be, or four of them are going to be,
0:12:23 > 0:12:24Ireland's answer to Take That.
0:12:24 > 0:12:28We were really catapulted into fame in Ireland.
0:12:28 > 0:12:30Within 24 hours of being picked,
0:12:30 > 0:12:32we were on the biggest TV chat show in the country.
0:12:32 > 0:12:35OK, well, who's who, now? You identify yourself.
0:12:35 > 0:12:37- I'm Ronan Keating. - Where are you from?- I'm from Swords.
0:12:37 > 0:12:39We didn't have a song, obviously,
0:12:39 > 0:12:41because we were only put together 24 hours before.
0:12:41 > 0:12:43We went on this TV show and we danced.
0:12:43 > 0:12:44Cue the music.
0:12:46 > 0:12:49# Burn baby, burn baby All my energy
0:12:49 > 0:12:51# Burn baby, burn baby... #
0:12:51 > 0:12:53There was no real choreography. It looked like a bunch of guys
0:12:53 > 0:12:57in the corner of a nightclub having a good time. It was chaos.
0:13:04 > 0:13:06But if you watch that front row in the audience, it's hilarious.
0:13:06 > 0:13:10Cos they're just sitting there going, "Oh, my God".
0:13:13 > 0:13:15It's cringe it's, it's so horrible.
0:13:21 > 0:13:23And we all thought we were superstars.
0:13:23 > 0:13:25I had a part-time job in a shoe shop
0:13:25 > 0:13:28and I remember walking down the street the next day.
0:13:28 > 0:13:30And I was like, "Hey, did you see me last night?
0:13:30 > 0:13:33"Hey, hey, did you see me last night? Hey, hey. Hey, it's me."
0:13:33 > 0:13:35I mean, moron. Eejit.
0:13:38 > 0:13:39But it's brilliant. It's funny.
0:13:44 > 0:13:45But what does it take for a boy band
0:13:45 > 0:13:47to move beyond these humble beginnings
0:13:47 > 0:13:49of auditions and chat shows?
0:13:50 > 0:13:55Since the dawn of pop, many have searched for a magic formula.
0:13:55 > 0:13:58What complex chemistry is at work?
0:13:58 > 0:14:03What are the essential elements that make up a truly great boy band?
0:14:03 > 0:14:06A lot of boy bands are manufactured.
0:14:06 > 0:14:08Whoever does, you know, end up putting them together,
0:14:08 > 0:14:11they need to be clever in the way that they put them together.
0:14:11 > 0:14:13That all the members bring something different.
0:14:13 > 0:14:17You know, having a group of clones in a band together, it doesn't work.
0:14:17 > 0:14:19There has to be characters.
0:14:19 > 0:14:21There has to be individuals that'll come forward.
0:14:24 > 0:14:27# It's been a hard day's night... #
0:14:27 > 0:14:30The importance of having strongly defined characters
0:14:30 > 0:14:33can be traced back to four lads from Liverpool
0:14:33 > 0:14:35who took a stranglehold on the world's imagination
0:14:35 > 0:14:36in the early '60s.
0:14:38 > 0:14:42The Beatles, inadvertently, set the kind of template
0:14:42 > 0:14:44for the kind of personalities within boy bands.
0:14:44 > 0:14:47There are four really distinct personalities there.
0:14:47 > 0:14:48# ..Work all day
0:14:48 > 0:14:51# To get you money To buy you things... #
0:14:51 > 0:14:54So, maybe that's why the sort of eternalness of the boy band works.
0:14:54 > 0:14:58Because, in some primal way, it links back to The Beatles.
0:14:58 > 0:15:00# Here we come... #
0:15:00 > 0:15:03Realising the power of personality in The Beatles,
0:15:03 > 0:15:06American TV producers set about creating a TV show
0:15:06 > 0:15:09that would simulate this template.
0:15:09 > 0:15:11# ..Hey, hey, we're The Monkees
0:15:11 > 0:15:14# And people say we monkey around... #
0:15:14 > 0:15:15And out of it, would spring
0:15:15 > 0:15:18the world's first ever manufactured boy band.
0:15:19 > 0:15:21The Monkees was not a band.
0:15:21 > 0:15:26The Monkees was a television show about a fictitious band
0:15:26 > 0:15:29that wanted to be The Beatles.
0:15:29 > 0:15:32That's the genesis.
0:15:36 > 0:15:39When they put the four of us together, 12 boys,
0:15:39 > 0:15:40they kept mixing them up.
0:15:40 > 0:15:44- Who are you?- I am Micky Dolenz. - Wrong, you are Monkee number one.
0:15:44 > 0:15:46No, I am. I am Monkee number one.
0:15:46 > 0:15:50All of a sudden, Micky, Mike, Peter and myself were left. That was it.
0:15:50 > 0:15:52I am Monkee number four.
0:15:52 > 0:15:56They were looking for characters. They were looking for personalities.
0:15:56 > 0:16:00They were looking for those people that jump out at you.
0:16:00 > 0:16:03Hey, everybody...
0:16:03 > 0:16:05Micky Dolenz was funny, people used to laugh at him.
0:16:05 > 0:16:09And he used to do these characters. And Peter Tork was the sympathetic one.
0:16:09 > 0:16:14And Mike was more of the authority, the older person within the band.
0:16:14 > 0:16:17I was this little cherub, you know, heart-throb,
0:16:17 > 0:16:20kind of, no hair on his body, kind of guy.
0:16:20 > 0:16:22# ..Then I saw her face
0:16:22 > 0:16:25# Now I'm a believer... #
0:16:25 > 0:16:27And then, something magical happened.
0:16:27 > 0:16:30The fans said, "We want you to be real."
0:16:32 > 0:16:34And we became real.
0:16:37 > 0:16:40By the collective screams of teenage girls around the world,
0:16:40 > 0:16:44these four characters were willed out of the television
0:16:44 > 0:16:46and into reality.
0:16:46 > 0:16:49Mike Nesmith to say The Monkees going on the road
0:16:49 > 0:16:53and playing live was like Pinocchio becoming a real, little boy.
0:16:53 > 0:16:56The Four Tops had brought the moves and harmonies.
0:16:56 > 0:16:59Herman's Hermits, the boy-next-door charm.
0:16:59 > 0:17:00But it was The Monkees
0:17:00 > 0:17:04who would truly set the template for the manufactured boy band.
0:17:04 > 0:17:07# ..Then I saw her face
0:17:07 > 0:17:09# Now I'm a believer
0:17:11 > 0:17:13# Not a trace
0:17:13 > 0:17:17# Of doubt in my mind
0:17:17 > 0:17:19- # I'm in love... # - Like The Beatles,
0:17:19 > 0:17:22teenagers could fall in love with more than just the music.
0:17:22 > 0:17:25They could fall in love with the different characters.
0:17:27 > 0:17:28Now, there should be somebody for everybody.
0:17:30 > 0:17:33Looking at boy bands in general, I mean,
0:17:33 > 0:17:36you do get certain characters that come through.
0:17:36 > 0:17:40There's the cute one, there's the tough one, there's the smart one.
0:17:40 > 0:17:42Whatever it is, you have all these different elements
0:17:42 > 0:17:43and it's important.
0:17:43 > 0:17:47I think I definitely was the wild card.
0:17:47 > 0:17:50I was extremely shy.
0:17:50 > 0:17:52I was more of an older brother.
0:17:52 > 0:17:57This kind of role, you know, that fits around you.
0:17:57 > 0:17:59This kind of role that starts to take place
0:17:59 > 0:18:03and then you end up being, like, almost a caricature of yourself.
0:18:03 > 0:18:05# Boys
0:18:05 > 0:18:07# Boys, boys, boys... #
0:18:07 > 0:18:11For some boy bands, these individual character types are obvious to them.
0:18:12 > 0:18:13Others seem less clear.
0:18:13 > 0:18:15- I'm not the cute one. - Mine's upside down.
0:18:15 > 0:18:17That's me, innit.
0:18:17 > 0:18:19I'm definitely not the quiet one.
0:18:19 > 0:18:22- Who's the quiet? No-one.- I'm the quiet one.- You three ain't....
0:18:22 > 0:18:23You're not quiet.
0:18:23 > 0:18:25I'd say I'm the spontaneous one.
0:18:25 > 0:18:28Why isn't there one called the gay one?
0:18:29 > 0:18:31There's always a gay one in a band.
0:18:32 > 0:18:34# ..The boys are back in town... #
0:18:34 > 0:18:36Whichever side they choose to butter their bread,
0:18:36 > 0:18:42what are the key boy band character types that turn up again and again?
0:18:42 > 0:18:47Meet the head boy. Often the main singer, sometimes the songwriter.
0:18:47 > 0:18:49He's the band's unofficial leader.
0:18:49 > 0:18:51Got the guy in the band who's like, "It's all about me."
0:18:51 > 0:18:53But you need that.
0:18:53 > 0:18:56I just imposed myself on them.
0:18:56 > 0:19:00And actually got in a couple of little fights
0:19:00 > 0:19:02with a couple of guys in the band at the very beginning.
0:19:02 > 0:19:04I was pushed to the front
0:19:04 > 0:19:06and I was the lead singer for an amount of time.
0:19:06 > 0:19:10There was times where it created situations in the band.
0:19:10 > 0:19:12There was awkward moments, you know,
0:19:12 > 0:19:15because people, other people would pick me as the leader
0:19:15 > 0:19:17or whatever it may be. And the other guys might, you know,
0:19:17 > 0:19:20it might put their noses out of joint a little.
0:19:20 > 0:19:22# ..What a show, there they go
0:19:22 > 0:19:25# Smoking up the sky, yeah! #
0:19:25 > 0:19:28But heavy is the head that wears the crown.
0:19:28 > 0:19:30# ..Crazy horses all got riders... #
0:19:30 > 0:19:33A young Merrill Osmond found his role as head boy
0:19:33 > 0:19:35came with its own, unique pressures.
0:19:35 > 0:19:37# ..Crazy horses
0:19:39 > 0:19:42# Crazy horses... #
0:19:43 > 0:19:47I was a manic depressant. And I always was very, very shy.
0:19:47 > 0:19:52I never, I was almost a hermit when I got into this thing.
0:19:52 > 0:19:54So, the pressures for me
0:19:54 > 0:19:59was not wanting to face thousands and thousands of people
0:19:59 > 0:20:02and have them just praise me. I wanted to hide in the back.
0:20:02 > 0:20:07I'm Merrill, I sing lead and, as you can see, I'm very relaxed.
0:20:07 > 0:20:09Pressure doesn't get to me.
0:20:09 > 0:20:14I broke down. I've had three nervous breakdowns in my life.
0:20:14 > 0:20:17And a lot of that had to do with just being forced into a world
0:20:17 > 0:20:21that I was not comfortable with.
0:20:21 > 0:20:23# ..See what they've done
0:20:23 > 0:20:24# What they've done
0:20:24 > 0:20:28# They've done, they've done They've done, they've done... #
0:20:29 > 0:20:31How about a seemingly less onerous role?
0:20:32 > 0:20:35What's it like being the band's unofficial mascot?
0:20:35 > 0:20:37The McCartney.
0:20:37 > 0:20:39The cute one.
0:20:39 > 0:20:41The job of the cute one
0:20:41 > 0:20:46is to keep things fun, keep things light-hearted.
0:20:46 > 0:20:48To be the, you know, the pin-up.
0:20:48 > 0:20:51# ..You know you need someone when the need's so strong
0:20:51 > 0:20:54# When they're gone you don't know how to go on... #
0:20:54 > 0:20:58I'd say Aston is the cute one in the band. Look at those eyes.
0:20:58 > 0:21:01- Look at those eyes.- That hair. - And those cheeks, that hair.
0:21:01 > 0:21:03His little cheeks.
0:21:04 > 0:21:07# ..Can't eat, I can't sleep
0:21:07 > 0:21:08# What else could it be?
0:21:08 > 0:21:10# Missing you so deep... #
0:21:10 > 0:21:14Unfortunately, the least expectations come with being the cute one
0:21:14 > 0:21:17and that, sort of, makes it easy and frustrating.
0:21:17 > 0:21:21As a cute, little guy, I have no problem with that,
0:21:21 > 0:21:25just don't tap me on the head, you know, cos I'll knock you out.
0:21:25 > 0:21:27For the Jackson 5,
0:21:27 > 0:21:31the cuteness quota would be provided by a young Michael Jackson.
0:21:31 > 0:21:35Michael's role is obvious. You know, he was the little, young guy.
0:21:35 > 0:21:38And he was frisky and fun.
0:21:38 > 0:21:41The cute one can sometimes grow up
0:21:41 > 0:21:43and become the biggest star in the band.
0:21:43 > 0:21:46Michael was a little shy off the stage but, when it's show-time
0:21:46 > 0:21:51and the lights are on, he let's it all go.
0:21:51 > 0:21:54# ..My baby's always dancing
0:21:54 > 0:21:56# And it wouldn't be a bad thing
0:21:56 > 0:21:58# But I don't get no loving
0:21:58 > 0:22:00# And that's no lie
0:22:00 > 0:22:02# We spent the night in Frisco
0:22:02 > 0:22:05# At every kind of disco
0:22:05 > 0:22:06# From that night
0:22:06 > 0:22:08# I kissed that love goodbye
0:22:08 > 0:22:10# Don't blame on the sunshine... #
0:22:10 > 0:22:13What about a bit of sour to meet the cute one's sweet?
0:22:13 > 0:22:16Every group needs a wild card.
0:22:16 > 0:22:20# Wild boys, wild boys, wild boys! #
0:22:20 > 0:22:23From Ringo the joker. To Robbie the bad boy.
0:22:23 > 0:22:26"You are the best in show business.
0:22:26 > 0:22:28"You are the best personality and celebrity there's ever been."
0:22:30 > 0:22:36In a world of uniformity, the wild card is the band's loose cannon.
0:22:36 > 0:22:38I could kind of get away with a lot of stuff.
0:22:38 > 0:22:41Like, I mean, I didn't really have it be, you know,
0:22:41 > 0:22:42careful about what I said.
0:22:42 > 0:22:45And I just got a bit carried away, or drunk, you know,
0:22:45 > 0:22:47and just said some stupid things which I regret.
0:22:47 > 0:22:50You know, like, I said something about Nicola Roberts.
0:22:50 > 0:22:54I think I called her a rude, ginger bitch or something.
0:22:54 > 0:22:58I used to get really drunk and go and grab a fire extinguisher
0:22:58 > 0:23:01and walk into the bar and just spray everyone up.
0:23:04 > 0:23:06We got banned from that hotel.
0:23:06 > 0:23:10With ginger girl group members and hotel lobbies in constant danger,
0:23:10 > 0:23:14what's often required is a reassuring presence.
0:23:15 > 0:23:18An organiser. A mature head.
0:23:18 > 0:23:20A big brother.
0:23:22 > 0:23:24I was the one driving the car.
0:23:24 > 0:23:28I was the one, if the car broke, I was the one under there, fixing it.
0:23:28 > 0:23:31So, it spelt me out from the rest of the guys.
0:23:31 > 0:23:33Marvin's definitely the older brother.
0:23:33 > 0:23:35Marvin has the weight of the world on his shoulders.
0:23:35 > 0:23:37Marvin makes sure everyone's up in the morning,
0:23:37 > 0:23:39makes sure everyone has their passports.
0:23:39 > 0:23:41Like, "What time we getting picked up tomorrow?"
0:23:41 > 0:23:44"9 o'clock." "Yeah, 9 o'clock tomorrow, yeah?"
0:23:44 > 0:23:46"Yes, Marvin, 9 o'clock."
0:23:46 > 0:23:47Just to see if you heard.
0:23:48 > 0:23:51Last but not least, the often overlooked, quiet one.
0:23:51 > 0:23:54Usually found going about his job without fuss.
0:23:54 > 0:23:59Offering shapes somewhere at the back. Blink and you'll miss him.
0:23:59 > 0:24:01You'd be in interviews
0:24:01 > 0:24:04and all they'd want to do is talk to Brian and Tony. Brian and Tony.
0:24:04 > 0:24:06You'd sit in the back and you think,
0:24:06 > 0:24:08"What am I even doing here? I feel right stupid."
0:24:08 > 0:24:12And then you'd go home and you've got your mum and dad going,
0:24:12 > 0:24:15"Why didn't they ask you a question? Why didn't they hand you the mic?"
0:24:15 > 0:24:18So, you've got to take all of that on board as well.
0:24:18 > 0:24:23Yeah, I think he is quiet. I think he really is quiet.
0:24:23 > 0:24:26I'm not the quiet one but, you know, you get so many times
0:24:26 > 0:24:29where you're sitting there and no-one passes you the mic,
0:24:29 > 0:24:30no-one asks you the questions.
0:24:30 > 0:24:33If that keeps happening and keeps happening and keeps happening,
0:24:33 > 0:24:35you're going to be the quiet one.
0:24:35 > 0:24:37I think if you accept you're type-cast for life,
0:24:37 > 0:24:38then it'll be all right, I guess.
0:24:38 > 0:24:41If you try and battle against it and try and change things
0:24:41 > 0:24:44then it's going to be, then you're going to have some difficulties.
0:24:46 > 0:24:48Like it or not, every boy band character is a cog
0:24:48 > 0:24:50in a bigger pop machine.
0:24:50 > 0:24:53To truly succeed, a group needs a hit record.
0:24:53 > 0:24:55And to get that, you need one of these.
0:24:57 > 0:24:59The boy band needs a song.
0:24:59 > 0:25:03The song is always the most important part. Always.
0:25:04 > 0:25:08Being a songwriter, that's a sort of selfish response, you know.
0:25:08 > 0:25:13When marketing a product, you're looking for a band
0:25:13 > 0:25:17that has an image to sell the product, the song.
0:25:20 > 0:25:24In 1974, Mike Chapman found some particularly unlikely lads
0:25:24 > 0:25:26to market his songs.
0:25:26 > 0:25:29Overnight, he transformed Mud,
0:25:29 > 0:25:31a hard-working band of blokes,
0:25:31 > 0:25:33into one of history's less probable boy bands.
0:25:38 > 0:25:41They needed a number one and I've got a head full of hooks.
0:25:41 > 0:25:45So, I pulled out one of those hooks and just that particular day,
0:25:45 > 0:25:46it happened to be
0:25:46 > 0:25:48# ..That's right, that's right That's right, that's right
0:25:48 > 0:25:51# I really love your tiger light... #
0:25:51 > 0:25:54# ..That's neat, that's neat That's neat, that's neat
0:25:54 > 0:25:56# I really love your tiger feet
0:25:56 > 0:25:58# I really love your tiger feet! #
0:25:58 > 0:26:02Bang, it happened. It didn't take more than a day to write.
0:26:03 > 0:26:05But the idea of being puppets for the pop song
0:26:05 > 0:26:07took some selling at first.
0:26:08 > 0:26:10We didn't actually like it very much.
0:26:10 > 0:26:12But Mike Chapman said,
0:26:12 > 0:26:14"I don't sit up all night writing these songs
0:26:14 > 0:26:16"for you lot to turn it down.
0:26:16 > 0:26:19"You know, this record is going to sell 50,000 records a day."
0:26:19 > 0:26:23And he was totally wrong. Because it was selling, like, 75,000 a day.
0:26:24 > 0:26:27I can remember doing Top Of The Pops when Tiger Feet first went
0:26:27 > 0:26:31to number one and it was like a eureka moment, it was incredible.
0:26:31 > 0:26:33Champagne out.
0:26:33 > 0:26:36By the time we did the programme, we were probably all drunk.
0:26:36 > 0:26:39- # ..That's right- That's right - That's right- That's right
0:26:39 > 0:26:41# I really love your tiger light
0:26:41 > 0:26:44- # That's neat- That's neat - That's neat- That's neat
0:26:44 > 0:26:46# I really love your tiger feet... #
0:26:46 > 0:26:49It's quite nonsensical. But it works.
0:26:49 > 0:26:52I haven't got a clue what Tiger Feet is about, at all.
0:26:52 > 0:26:53The only thing I'm sure about
0:26:53 > 0:26:55is that I'm really glad we recorded it.
0:26:55 > 0:27:00It doesn't really mean thing at all. But, to me, it means a lot.
0:27:01 > 0:27:03# ..That's right's, that's right
0:27:03 > 0:27:06# T-T-T-T-Tiger feet
0:27:06 > 0:27:08# T-T-T-TTiger feet
0:27:08 > 0:27:11# I really love, I really love I really love... #
0:27:11 > 0:27:13Whether ridiculous or sublime,
0:27:13 > 0:27:17if the right song finds the right band to perform it,
0:27:17 > 0:27:19then pop magic is born.
0:27:21 > 0:27:23Take, for instance, Holland-Dozier-Holland in Motown.
0:27:23 > 0:27:27They, to us, were the perfect tailors of music.
0:27:27 > 0:27:29They'd say, "Here's what we like to do,
0:27:29 > 0:27:30"here's the music."
0:27:30 > 0:27:32He plays it on the piano.
0:27:32 > 0:27:35"Here's the harmonies we think would go with it,
0:27:35 > 0:27:37"can you add something to it?" "Yes, we can."
0:27:38 > 0:27:42It's the highway that you get on and you just ride this highway
0:27:42 > 0:27:45with the sounds that you have.
0:27:45 > 0:27:50And then Levi, his part is to take that and go.
0:27:50 > 0:27:52Deliver the motherfucking mail. Excuse me.
0:27:52 > 0:27:55# ..Sugar pie, honey bunch
0:27:55 > 0:27:57# You know that I love you
0:27:59 > 0:28:02# I can't help myself
0:28:02 > 0:28:06# I love you and nobody else... #
0:28:07 > 0:28:09This is what The Four Tops are.
0:28:09 > 0:28:11Woman, I love you so much I just can't help myself.
0:28:11 > 0:28:13I will cry for you.
0:28:13 > 0:28:15Yes, I would die for. Whatever it is.
0:28:15 > 0:28:18I'll wash the dishes, baby, come on.
0:28:18 > 0:28:20That's what The Four Tops were about.
0:28:20 > 0:28:23You know, baby, I would do anything for your love.
0:28:23 > 0:28:24# ..When you snap your fingers
0:28:24 > 0:28:26# Or wink your eye
0:28:26 > 0:28:28# I come a running to you
0:28:29 > 0:28:33# I'm tied to your apron string
0:28:33 > 0:28:37# And there's nothing that I can do
0:28:37 > 0:28:38# Oooh... #
0:28:39 > 0:28:43The right song, delivered perfectly, has the power
0:28:43 > 0:28:46to preserve a boy band in the heart of the teenager for ever.
0:28:46 > 0:28:49But what the male, Motown legends realised was that
0:28:49 > 0:28:54how the song was packaged and presented was just as crucial.
0:28:54 > 0:28:57You'd do your steps and you'd do them uniformly.
0:28:57 > 0:29:01Everything we did was kind of like really together.
0:29:03 > 0:29:05Just be really smooth with it and natural.
0:29:05 > 0:29:07That's how we'd come up with our signature move.
0:29:07 > 0:29:11Cos it's something that Obie just used to do on stage by himself
0:29:11 > 0:29:15and it was, hey, man, it was catchy. We all started doing it.
0:29:15 > 0:29:18# ..Can't help myself
0:29:18 > 0:29:20# No, I can't help myself... #
0:29:20 > 0:29:22Over the years,
0:29:22 > 0:29:25choreographed routines that were pioneered by the Motown greats...
0:29:25 > 0:29:27# ..Everybody, yeah
0:29:27 > 0:29:28# Yeah! #
0:29:28 > 0:29:32..have mutated into an array of signature boy band dance movements
0:29:32 > 0:29:35designed to make teenage hearts flutter.
0:29:39 > 0:29:43It's always important to have a few things. A hip thrust.
0:29:43 > 0:29:45If you thrust your hip, all the girls scream,
0:29:45 > 0:29:46it becomes part of the show.
0:29:50 > 0:29:52The classic air grab.
0:29:54 > 0:29:57That, right there. That kind of thing.
0:29:57 > 0:29:58So, whatever you do,
0:29:58 > 0:30:02- as long as you've got those things in there, you're good. - Bit of singing.
0:30:02 > 0:30:04But the boy bands should beware of straying too far
0:30:04 > 0:30:08from these conventions and should choose its choreographer wisely.
0:30:08 > 0:30:11As the dance routine can go horribly wrong.
0:30:14 > 0:30:17If you look back at some of the moves that we used to do.
0:30:17 > 0:30:18All these things, like this,
0:30:18 > 0:30:23those were karate moves that Chuck Norris himself taught us.
0:30:28 > 0:30:31Chuck Norris was the one that actually got all of us trained
0:30:31 > 0:30:35into being instructors in Tang Soo Do Korean karate.
0:30:37 > 0:30:41All of our dance moves were combined into katas
0:30:41 > 0:30:43and all different kinds of situations
0:30:43 > 0:30:45where we'd break boards on stage.
0:30:45 > 0:30:47We were animals, man.
0:30:50 > 0:30:53Chuck Norris was sparring with us one day and all five of us
0:30:53 > 0:30:57were just going after him and he was just defending like crazy.
0:30:57 > 0:31:01He did a round kick, he kicked me in the back and ruptured L4, L5 and S1.
0:31:04 > 0:31:09And I lived for 15, 20 years with ruptured discs
0:31:09 > 0:31:11because of Chuck Norris.
0:31:11 > 0:31:13And I don't think he knows even today
0:31:13 > 0:31:16what he did to Merrill Osmond.
0:31:21 > 0:31:23Whether spine-shuttering or not,
0:31:23 > 0:31:28a finely honed dance routine can be a powerful symbol of group unity.
0:31:29 > 0:31:31But there's no point in a boy band moving well
0:31:31 > 0:31:34if they look like a dog's dinner.
0:31:34 > 0:31:36Image is everything.
0:31:36 > 0:31:37First thing they see
0:31:37 > 0:31:40when you come to stage, before you hear voice usually, is how you look.
0:31:40 > 0:31:42First, you hit them with a look.
0:31:42 > 0:31:44If you've got a good look,
0:31:44 > 0:31:47a dress, you've dressed well, you look great, it's, wow.
0:31:47 > 0:31:49It's part of the image, the make-up.
0:31:49 > 0:31:52You're in show business, you need, you need special kind
0:31:52 > 0:31:55of appeal to your fans.
0:31:55 > 0:31:59# ..I've got sunshine
0:31:59 > 0:32:01# On a cloudy day... #
0:32:03 > 0:32:06The classic boy-band look starts with the suit.
0:32:06 > 0:32:09For the '60s Motown, male, vocal groups
0:32:09 > 0:32:10it was all about looking sharp.
0:32:10 > 0:32:13There was one particular time when we were at the Apollo,
0:32:13 > 0:32:15I said, "All right, Eddie, what we getting, man?
0:32:15 > 0:32:16"Tell me, what's happening?"
0:32:16 > 0:32:20He said, "Yeah, man, we're going to try these here purple uniforms."
0:32:20 > 0:32:24I said, "Purple? I'm too dark to be seen in purple.
0:32:24 > 0:32:27"I'm too black for that." "No, no, no, they're going to love it."
0:32:27 > 0:32:30When they opened up the curtain at the Apollo
0:32:30 > 0:32:32and we were standing there with the purple suits on,
0:32:32 > 0:32:35the place went bonkers.
0:32:38 > 0:32:41# ..Cheer up, Sleepy Jean... #
0:32:41 > 0:32:42Shuffle a bit further into the '60s
0:32:42 > 0:32:45and The Monkees loosened things up a little.
0:32:45 > 0:32:52# ..To a daydream believer And a homecoming queen... #
0:32:52 > 0:32:56The Monkees brought long hair into the living room.
0:32:56 > 0:32:57Up until that time,
0:32:57 > 0:33:01if you had long hair and you wore paisley bellbottoms,
0:33:01 > 0:33:04you were usually only seen getting arrested.
0:33:04 > 0:33:08It resonated with the youth around the world.
0:33:10 > 0:33:11As the '60s became the '70s,
0:33:11 > 0:33:15the Jackson 5 championed a psychedelic, Sesame Street look.
0:33:15 > 0:33:18Like, we weren't like The Temptations
0:33:18 > 0:33:21where they all wore the same coloured suits, same tie, same this.
0:33:21 > 0:33:23We wanted to be different.
0:33:27 > 0:33:29Meanwhile, on the other side of the Atlantic,
0:33:29 > 0:33:32a new look would spawn a teenage army.
0:33:37 > 0:33:41We thought about taking advantage of our tartan heritage.
0:33:41 > 0:33:43It caught on very quickly.
0:33:43 > 0:33:47Everything we touched turned to tartan, you know.
0:33:47 > 0:33:49Everywhere we went it was just mad.
0:33:49 > 0:33:51# ..I really love you... #
0:33:54 > 0:33:56The image helped people liked us.
0:33:56 > 0:33:58It was a pretty radical, little, boy-next-door,
0:33:58 > 0:34:01maybe slightly, slightly a bit rough.
0:34:01 > 0:34:03They're definitely better than The Osmonds.
0:34:03 > 0:34:07They've got a tartan gimmick and The Osmonds haven't.
0:34:07 > 0:34:10You can't go around with the American flag round your arm, can you?
0:34:10 > 0:34:13# ..How can I try to explain? #
0:34:13 > 0:34:15Fast forward two decades to the '90s
0:34:15 > 0:34:17and a, by now, less chaotic Boyzone
0:34:17 > 0:34:21were channelling a serene, choirboy-chic look.
0:34:21 > 0:34:22# ..Same, old story... #
0:34:22 > 0:34:27You know, and I think it was one of our strengths.
0:34:27 > 0:34:28Our looks were never flash.
0:34:28 > 0:34:32We were always, you know, like, the guys you'd see on the street.
0:34:32 > 0:34:34And I think that was one of our strengths.
0:34:34 > 0:34:36# ..That I have to go away... #
0:34:36 > 0:34:39I think we were, kind of, the working-class boy band.
0:34:41 > 0:34:44The working class in Ireland clearly dressed a bit differently
0:34:44 > 0:34:45to the working class in East London.
0:34:47 > 0:34:51We'd come from Walthamstow, we didn't come from Kensington.
0:34:53 > 0:34:54East 17 looked amazing.
0:34:56 > 0:34:58They had the hats on back-to-front
0:34:58 > 0:35:00and the big, sort of, baseball shirts which, you know,
0:35:00 > 0:35:02white kids just weren't wearing that kind of stuff.
0:35:02 > 0:35:04Incredible! What a look!
0:35:04 > 0:35:06# ..As we cuddle you can fantasise
0:35:07 > 0:35:09# Deep deep down Like sleep sugar... #
0:35:09 > 0:35:13It was more edgier, just really different.
0:35:13 > 0:35:16We wore, like, the Army camouflage gear, just a bit more street.
0:35:16 > 0:35:19And you had Take That out. They were the pretty boys.
0:35:19 > 0:35:23We were the rough-looking boys and it just worked.
0:35:25 > 0:35:29For the modern boy band, more explicit times mean
0:35:29 > 0:35:32it's often less about what the band IS wearing
0:35:32 > 0:35:33but what it ISN'T wearing.
0:35:33 > 0:35:36You're dealing with prepubescent girls,
0:35:36 > 0:35:39teenage girls, and gay men.
0:35:39 > 0:35:43What a fantastic... So what you got to do is get their kit off.
0:35:44 > 0:35:47That is peddling sex and not to be ashamed about.
0:35:47 > 0:35:52# ..I wanna love you down I wanna sex you up... #
0:35:52 > 0:35:56So at its core the boy band is about sex appeal,
0:35:56 > 0:36:00characters, song, dance routine, look.
0:36:02 > 0:36:06All these elements combine to create a potent cocktail.
0:36:06 > 0:36:09Sex is the boy band's key currency.
0:36:09 > 0:36:12They are tapping in to a force of nature.
0:36:12 > 0:36:14SCREAMING
0:36:18 > 0:36:21If you're a teenage girl, you fancy them,
0:36:21 > 0:36:24late teenage girl, you want to have sex with them.
0:36:24 > 0:36:26If you're in your 20s you want to have sex with them.
0:36:26 > 0:36:30In your 30s and 40s you want to mother them, then have sex with them.
0:36:31 > 0:36:35It's very flattering to think that you have provoked an emotion
0:36:35 > 0:36:38to where somebody, essentially, temporarily loses their mind.
0:36:38 > 0:36:40SCREAMING
0:36:40 > 0:36:43It still bothers me, like, when girls faint.
0:36:43 > 0:36:45You just literally see dozens
0:36:45 > 0:36:50and dozens of girls being carried over the barriers and taken out.
0:36:50 > 0:36:52It's... You kind of feel guilty, we caused that.
0:36:52 > 0:36:54SCREAMING AND CHANTING
0:36:55 > 0:36:57When that force of nature
0:36:57 > 0:37:01is unleashed in its thousands, the results can be overwhelming.
0:37:05 > 0:37:10It was really, really terror, almost, for me, almost trauma.
0:37:12 > 0:37:14We just sat there going, "Aghh!"
0:37:14 > 0:37:18CHANTING: We want The Osmonds!
0:37:30 > 0:37:32Not even the battle-hardened Bay City Rollers
0:37:32 > 0:37:35could be prepared for the scenes that would unfold
0:37:35 > 0:37:39at a Radio One Roadshow at Mallory Park in 1975.
0:37:40 > 0:37:43'Welcome back to the David Hamilton Show from Mallory Park.
0:37:43 > 0:37:46'You probably gathered we have a slight amount of chaos here.
0:37:46 > 0:37:50'One of the reasons is that we have the Bay City Rollers.'
0:37:50 > 0:37:53We weren't really thinking of any craziness that was going to happen.
0:37:53 > 0:37:56We were just going to do a radio interview.
0:37:56 > 0:37:59'All the stars are enjoying the fun and games here this afternoon,
0:37:59 > 0:38:03'Tony Blackburn is actually conducting boat rides on the lake.
0:38:03 > 0:38:08'Trevor of Showaddywaddy is waterskiing with all his clothes on!'
0:38:08 > 0:38:12Mallory Park, the racing track, there's a race going on,
0:38:12 > 0:38:14cars flying round the racing track, over 100 miles an hour.
0:38:14 > 0:38:18We get into the helicopter and we're flying James-Bond style.
0:38:18 > 0:38:20The BBC guy's going, "Yeah, that's the Bay City Rollers
0:38:20 > 0:38:23"in their helicopter just coming into land, now."
0:38:23 > 0:38:27That's probably the biggest mistake he ever made,
0:38:27 > 0:38:30because you could see people running past cars, in front of cars,
0:38:30 > 0:38:32cars skidding to avoid them.
0:38:32 > 0:38:35'We really must make an appeal to the fans if they can hear us,
0:38:35 > 0:38:38'keep away from the racetrack, Rollers fans are all over the place.'
0:38:38 > 0:38:41We landed and then we got into a boat
0:38:41 > 0:38:45and actually got physically pulled out of the boat by some fans,
0:38:45 > 0:38:46the boat got turned over.
0:38:46 > 0:38:48'We have the most amazing scenes going on here.
0:38:48 > 0:38:52'Girls are actually swimming across the river to get to their idols.'
0:38:52 > 0:38:55There was a Womble in the river trying to help some fans
0:38:55 > 0:38:59having difficulty, because they were doing their Wombling thing.
0:38:59 > 0:39:02'In the meantime, their idols are trying to get away,
0:39:02 > 0:39:05'and we're about to meet our next guest from Slade, Noddy Holder!'
0:39:05 > 0:39:08# ..We're all crazy now!
0:39:11 > 0:39:12# Said my my we're all... #
0:39:12 > 0:39:16But maniacal session isn't always confined to arenas.
0:39:16 > 0:39:19Sometimes fans must struggle to leave their
0:39:19 > 0:39:22burning passions behind after the show.
0:39:22 > 0:39:24We was touring Germany
0:39:24 > 0:39:27and we'd been on the tour bus driving from one city to another.
0:39:30 > 0:39:34We must have drove about 200 kilometres already.
0:39:34 > 0:39:36We come to a checkpoint.
0:39:36 > 0:39:40I remember us all going into our bunks upstairs in the tour coach.
0:39:40 > 0:39:45And Brian opened up his bunk and there was a fan laying in his bunk.
0:39:45 > 0:39:46He was like...
0:39:46 > 0:39:50And what she'd done, when we'd come out of the hotel
0:39:50 > 0:39:54she'd nipped in the luggage compartment and worked her way up.
0:39:54 > 0:39:56Nutter, nutter. Absolute nutter.
0:39:56 > 0:40:01I really think there is a clinical study to be done on what
0:40:01 > 0:40:04chemically happens, especially in the female brain.
0:40:04 > 0:40:07How does a 15-year-old find her way
0:40:07 > 0:40:11past four security guards into your hotel room?
0:40:11 > 0:40:15- And what do they think is going to happen?- What are they thinking?
0:40:15 > 0:40:16"He's going to see me,
0:40:16 > 0:40:18"we are going to fall in love, he is going to take me
0:40:18 > 0:40:21"to the bedroom and we are going to make passionate love."
0:40:24 > 0:40:26The power to invoke hysteria
0:40:26 > 0:40:28should be handled with great care, however,
0:40:28 > 0:40:32as a fan's dreams can turn into a band's nightmare.
0:40:34 > 0:40:38I had a stalker that stalked me all the way to Great Yarmouth,
0:40:38 > 0:40:40after Herman's Hermits was over.
0:40:40 > 0:40:43My wife and I would see her ride by on a horse,
0:40:43 > 0:40:47and then go by with a kid in a pram. It was a real wacko.
0:40:49 > 0:40:52I got sent some really weird stuff.
0:40:52 > 0:40:57You kind of get... Like I got sent a birthday card
0:40:57 > 0:41:01and when I opened it up it had pubes sellotaped into the inside.
0:41:01 > 0:41:04She'd shaved her pubes and put them in the card.
0:41:06 > 0:41:08The scary part is that it starts positive
0:41:08 > 0:41:10and then ends dark in some people.
0:41:10 > 0:41:13It's that obsession and then they go, "You've ignored me."
0:41:13 > 0:41:16You know, I have four death threats on my life right now.
0:41:16 > 0:41:19I am deputised in about five states.
0:41:19 > 0:41:21I used to carry a weapon
0:41:21 > 0:41:25and we're all licensed to do
0:41:25 > 0:41:28whatever needs to be done if needed.
0:41:28 > 0:41:30They want you on a wall.
0:41:30 > 0:41:32It's not like they hate you,
0:41:32 > 0:41:36they love you so much they want to put you on their wall as a trophy.
0:41:43 > 0:41:46The boy-band life can be a treacherous one,
0:41:46 > 0:41:50but there is always a mindful hand guiding them from on high.
0:41:50 > 0:41:53Meet their maker. The manager.
0:41:59 > 0:42:00LIGHTNING CRACKS
0:42:03 > 0:42:06I'm the pantomime villain. I'm the evil witch.
0:42:08 > 0:42:10We need the bad guy.
0:42:14 > 0:42:17I was very much a dictator of how I saw it going.
0:42:19 > 0:42:21With Tom and stuff, he was a hard person.
0:42:21 > 0:42:25We'd all be round the office, he'd be putting down phones on people,
0:42:25 > 0:42:30telling people to eff off, you'd be sitting there thinking, "Oh!"
0:42:30 > 0:42:32But spare a thought for the manager,
0:42:32 > 0:42:36as pulling all the strings comes with its own pressures.
0:42:36 > 0:42:38They can be very nice lads on their own.
0:42:38 > 0:42:41You put five of them together and it's impossible.
0:42:41 > 0:42:44By its very name, it's a boy band, it is made up of kids.
0:42:44 > 0:42:47"Why have you your haircut? I didn't.
0:42:47 > 0:42:50"Why haven't I had my haircut? Where's the manager?
0:42:50 > 0:42:53"Tell the manager I want my haircut." Cos that's what it's like.
0:42:53 > 0:42:56It's like trying to keep five monkeys in a bag.
0:42:56 > 0:43:01You have got to get these young kids together and make it into one unit.
0:43:02 > 0:43:06You have to go, "Here's the carrot, money, success,
0:43:06 > 0:43:11"whatever it is you want, here's the rules in the first place.
0:43:11 > 0:43:13"We all need to agree these rules."
0:43:15 > 0:43:19These rules the manager enforces can be traced back to
0:43:19 > 0:43:21the very origins of pop.
0:43:23 > 0:43:26They are the boy band commandments.
0:43:26 > 0:43:29If you're in a boy band you don't do drugs...
0:43:33 > 0:43:37Thou shalt not have a girlfriend, thou shalt not drink, thou shalt not smoke.
0:43:37 > 0:43:38..You're not gay...
0:43:41 > 0:43:44If somebody's gay and you're trying to sell records to girls,
0:43:44 > 0:43:47you don't want anybody to know they're gay.
0:43:47 > 0:43:52We were instructed and schooled that we couldn't talk about the war...
0:43:55 > 0:43:58Don't talk about the war, don't talk about civil rights,
0:43:58 > 0:44:01don't talk about gay liberation.
0:44:01 > 0:44:05But perhaps the most sacred rule of all concerns...
0:44:05 > 0:44:06..girlfriends.
0:44:07 > 0:44:12The most important rule really is be sexually available,
0:44:12 > 0:44:14apparently, to young girls.
0:44:14 > 0:44:18Boy bands are there to satisfy a certain market, you know,
0:44:18 > 0:44:21up-and-coming pubescent teenage girls.
0:44:21 > 0:44:24If you're 16 and a heart-throb,
0:44:24 > 0:44:27you probably don't want to go walking around with your new,
0:44:27 > 0:44:30cute girlfriend, or at least it's been proven that maybe negative.
0:44:30 > 0:44:34FAINT SCREAMING
0:44:40 > 0:44:42The female fans,
0:44:42 > 0:44:45they have an idol and they feel that they know you personally
0:44:45 > 0:44:48and they feel that they have a chance to be with you personally.
0:44:51 > 0:44:53When they buy that record and get that poster
0:44:53 > 0:44:56and put it on the wall, you belong to them.
0:44:56 > 0:44:59SHRIEKING
0:45:01 > 0:45:03When they listen to your music,
0:45:03 > 0:45:06they want to imagine that they're with you.
0:45:11 > 0:45:14They can scream all they want, but they weren't having me.
0:45:14 > 0:45:16My father wouldn't let me have them.
0:45:20 > 0:45:24You would always say that you didn't have a girlfriend at the moment,
0:45:24 > 0:45:28whether you did or not, because that was the image you were portraying.
0:45:28 > 0:45:31- Do you have a girlfriend?- No.
0:45:31 > 0:45:33- Would you tell me if you had one? - No.
0:45:33 > 0:45:37And it kept the door open for girls to think,
0:45:37 > 0:45:39"I'm going to marry him one day.
0:45:39 > 0:45:42"I'm going to be his girlfriend. He's waiting for me."
0:45:44 > 0:45:48All these rules are designed to uphold a childlike fantasy
0:45:48 > 0:45:50of the perfect boy and sustain the magic
0:45:50 > 0:45:52of the little girl's first crush.
0:45:53 > 0:45:56You want an idealised Prince Charming kind of figure,
0:45:56 > 0:45:59and that, I suppose,
0:45:59 > 0:46:02that's what the boy band have got to provide.
0:46:02 > 0:46:09You've got a kind of safe, clear, culturally sanctioned channel
0:46:09 > 0:46:11for all these - grr - emotions
0:46:11 > 0:46:15that you don't quite know what to call them yet.
0:46:17 > 0:46:20Everyone has to live up to a certain kind of standard.
0:46:20 > 0:46:22I must be dreaming!
0:46:22 > 0:46:24There it is. It's there, and if you break the rules,
0:46:24 > 0:46:27you're more or less screwed, in a way.
0:46:29 > 0:46:35Some pop stars are never cut out to fulfil this Prince Charming fantasy.
0:46:36 > 0:46:40In 1997, Brian Harvey of East 17 discovered what happens
0:46:40 > 0:46:43when you break a commandment.
0:46:43 > 0:46:45He did say a few silly things.
0:46:45 > 0:46:49Maybe thought he could act up to the bad boy and do what he wants.
0:46:49 > 0:46:52The lead singer of the pop group East 17 has been condemned
0:46:52 > 0:46:55for saying it's safe to take the drug ecstasy.
0:46:55 > 0:46:57I done 12 one night, you know what I mean?
0:46:57 > 0:46:59I have been off it on them, do you know what I mean?
0:46:59 > 0:47:00Really, it's a safe pill
0:47:00 > 0:47:03and it ain't doing you no harm. I don't see the problem.
0:47:03 > 0:47:09You do have to, you know, think about what you're saying.
0:47:11 > 0:47:13Otherwise it just ruins your career.
0:47:13 > 0:47:18# Stay now Baby, have you got to go away?
0:47:18 > 0:47:22# Don't think I could take the pain
0:47:22 > 0:47:26# Won't you stay another day? #
0:47:26 > 0:47:29Can I ask my honourable friend what his reaction is
0:47:29 > 0:47:34to the comments today from Brian Harvey of East 17?
0:47:34 > 0:47:37The stuff Brian said did mess things up.
0:47:37 > 0:47:40You had John Major in the House of Commons saying Brian's name.
0:47:40 > 0:47:44I would certainly regard any comments of that sort as wholly wrong.
0:47:44 > 0:47:50# ..Don't you know we've come too far now
0:47:50 > 0:47:56# Just to go and try to throw it all away... #
0:47:56 > 0:48:00Less than a day later, Brian Harvey was fired.
0:48:00 > 0:48:05I remember the radio stations smashing up our CDs on air.
0:48:05 > 0:48:08I don't think we've ever got over that as a group.
0:48:08 > 0:48:12You know, there's things that stick,
0:48:12 > 0:48:15and I think...I think that sticks.
0:48:15 > 0:48:17I think that's stuck.
0:48:17 > 0:48:22# ..Baby, have you got to go away?
0:48:22 > 0:48:26# Don't think I could take the pain
0:48:26 > 0:48:30# Won't you stay another day? #
0:48:35 > 0:48:37Despite the manager's best efforts,
0:48:37 > 0:48:41tensions always lurk beneath the boy band's shimmering surface.
0:48:41 > 0:48:45At some point, the boys will inevitably struggle
0:48:45 > 0:48:46to escape from Never Never Land.
0:48:46 > 0:48:49Boy bands fall into the trap where they all want to grow up
0:48:49 > 0:48:51and they all want to become men,
0:48:51 > 0:48:54but they're not allowed to because of what they are.
0:48:55 > 0:48:56We create monsters.
0:48:59 > 0:49:00We create these monsters
0:49:00 > 0:49:02and they come back and bite our heads off.
0:49:05 > 0:49:09You tend to lose control of them. They all want to be "credible".
0:49:09 > 0:49:12# ..I'm a man, yes, I am
0:49:12 > 0:49:14# And I can't help but love you so... #
0:49:14 > 0:49:16When you hear them saying those awful words,
0:49:16 > 0:49:18"We want to write our own songs,"
0:49:18 > 0:49:21you just know it's the beginning of the end.
0:49:23 > 0:49:26This is not just a modern malaise. By the late '60s,
0:49:26 > 0:49:30The Monkees were beginning to tire of being pop's original puppets.
0:49:31 > 0:49:33There were two Monkees.
0:49:33 > 0:49:36There were The Monkees that were singing the songs,
0:49:36 > 0:49:40that were picked and chosen by the powers that be.
0:49:40 > 0:49:46And then we had this palace revolt and we garnered the power
0:49:46 > 0:49:48and the control over the music.
0:49:48 > 0:49:51They were determined to write their own album.
0:49:51 > 0:49:56Headquarters was the first album that this other group made.
0:49:56 > 0:49:58# ..Why don't you cut your hair?
0:49:58 > 0:50:00# Why don't you live up there? #
0:50:00 > 0:50:05Headquarters was the sound of a boy band in rebellion.
0:50:05 > 0:50:07# ..Why don't you be like me?
0:50:07 > 0:50:09# Why don't you stop and see?
0:50:09 > 0:50:14# Why don't you hate who I hate Kill who I kill to be free? #
0:50:15 > 0:50:19Even '70s favourite tartan teddy bears the Bay City Rollers
0:50:19 > 0:50:22flirted with the idea of writing stoner rock.
0:50:24 > 0:50:28The guys in the band reckoned, "We'll do that, we'll write the next album."
0:50:28 > 0:50:32They were starting to write songs about being stoned on the 11th floor,
0:50:32 > 0:50:34chasing dragons and all this kind of stuff.
0:50:37 > 0:50:41Songs that referred to, let's say, a more grown-up life.
0:50:43 > 0:50:48For Les, the writing was on the wall. Time to get out of Bay City.
0:50:48 > 0:50:54# ..Bye-bye, baby, baby, goodbye
0:50:56 > 0:51:00# Bye-bye, baby, don't make me cry... #
0:51:00 > 0:51:02'So I decided that I was going to leave.'
0:51:02 > 0:51:05I was feeling very fearful and panicky,
0:51:05 > 0:51:08cos I couldn't believe I was actually saying it.
0:51:08 > 0:51:10What was I going to do?
0:51:10 > 0:51:13Wait a minute, I was going to give up this brilliant job and go out
0:51:13 > 0:51:15and take a chance by myself.
0:51:17 > 0:51:20It's often at this point that the underlying tension
0:51:20 > 0:51:24between individual desire and group unity reaches a head.
0:51:24 > 0:51:27Someone inevitably makes a bid for freedom
0:51:27 > 0:51:30and the boy band fugitive is born.
0:51:30 > 0:51:32There's always this member who decides
0:51:32 > 0:51:34they are bigger than the band or need to go off.
0:51:34 > 0:51:38It is a pressure cooker, it's a melting pot of madness
0:51:38 > 0:51:40and after an amount of time, you need to become
0:51:40 > 0:51:43a human being again on your own, stand on your own two feet.
0:51:43 > 0:51:46Pressure will just build up until you're like,
0:51:46 > 0:51:48"I don't want to be in this band any more,
0:51:48 > 0:51:50"I could do better on my own.
0:51:53 > 0:51:56From Donny Osmond to Justin Timberlake,
0:51:56 > 0:51:59history is littered with these want-away stars.
0:51:59 > 0:52:04But there's one escape story that puts the rest in the shade.
0:52:04 > 0:52:08I can remember with Robbie, when it was just beginning to unravel.
0:52:08 > 0:52:12I've actually got nothing interesting whatsoever to say.
0:52:12 > 0:52:16Which is quite un... Quite a bit disturbing.
0:52:16 > 0:52:18You could tell he wanted to break free.
0:52:18 > 0:52:21He just didn't want to be known as Robbie from Take That.
0:52:21 > 0:52:24Why have we got to rehearse? You make me do it.
0:52:24 > 0:52:26Everyone was a bit pissed off with him
0:52:26 > 0:52:31because his hair was bleached blond and he was acting like an indie act.
0:52:31 > 0:52:34He took a car and drove all the way to Glastonbury.
0:52:34 > 0:52:36I came down last year, had a really good time
0:52:36 > 0:52:37and thought I'd come down this time.
0:52:37 > 0:52:41He arrived at Glastonbury absolutely hammered.
0:52:41 > 0:52:43The beer's great.
0:52:43 > 0:52:48He was getting a bit fed up of what he saw as a straitjacket.
0:52:48 > 0:52:50The sort of band I'm in, people look at me
0:52:50 > 0:52:53as if to say, "You're not supposed to be here."
0:52:53 > 0:52:56Everything Changes, the hit song by take that, proved to be
0:52:56 > 0:53:00true to life after Robbie Williams's decision to go it alone.
0:53:00 > 0:53:02I think he got to the stage with Robbie where
0:53:02 > 0:53:05he just felt like he was in chains.
0:53:08 > 0:53:10If the desire to strike out alone
0:53:10 > 0:53:12doesn't spell the beginning of the end,
0:53:12 > 0:53:15then real life can quickly sneak up on the boy band
0:53:15 > 0:53:18and shatter what's left of the illusion.
0:53:21 > 0:53:23Yeah, there were points when it was hell. Literally hell.
0:53:26 > 0:53:29"You WILL get on that plane, you WILL do this.
0:53:29 > 0:53:30"No, you've NOT got time to eat."
0:53:34 > 0:53:38I was really struggling because I'd just become a father.
0:53:38 > 0:53:40My first boy was premature,
0:53:40 > 0:53:45and he was in an incubator and he weren't breathing himself properly.
0:53:45 > 0:53:49"Can you go on Live & Kicking?" "Fuck off. No! I can't.
0:53:49 > 0:53:51"I want to see if my baby's going to survive."
0:53:55 > 0:53:59I'd have ended up in a loony bin, and I just said,
0:53:59 > 0:54:01"No. No, I won't, I can't."
0:54:07 > 0:54:11When the dream is finally over, the boy band member
0:54:11 > 0:54:14will often struggle to re-adjust to the civilian world.
0:54:14 > 0:54:18Life after pop can be a shock to the system.
0:54:19 > 0:54:23There is a period of time when, all of a sudden, the bubble bursts.
0:54:27 > 0:54:29I was out in the cold, so I had to start thinking
0:54:29 > 0:54:36"How do I make money and support myself, my wife and my young son?"
0:54:36 > 0:54:40That took on a whole different realism for me.
0:54:42 > 0:54:44When I left, I became reclusive afterwards
0:54:44 > 0:54:47and stayed in the house for a long time.
0:54:49 > 0:54:52I was kind of happy-ish, I suppose, in a depressed way.
0:54:52 > 0:54:59# ..No alarms and no surprises
0:54:59 > 0:55:05# No alarms and no surprises... #
0:55:05 > 0:55:09It gets a bit dark. I was just like, "Shit, what am I going to do now?"
0:55:09 > 0:55:14And, yeah, so I just decided instead of getting another job,
0:55:14 > 0:55:17I would just drink myself stupid.
0:55:19 > 0:55:26It's hard, it's hard, coming from a band into so-called reality again.
0:55:32 > 0:55:36So is it ever really possible to leave a boy band past behind?
0:55:36 > 0:55:39How does the post-pop mind acclimatise?
0:55:39 > 0:55:44As time goes by, a level of acceptance seems to settle in.
0:55:44 > 0:55:47Ultimately, I think every teen idol becomes
0:55:47 > 0:55:50an impersonator of themselves in some way.
0:55:50 > 0:55:54I go into a bar or a go into a place and they are doing a karaoke.
0:55:54 > 0:55:57More often than not, they'll come over and say,
0:55:57 > 0:56:00"Hey, Dave, will you do Daydream Believer?"
0:56:00 > 0:56:04Now, 20 years ago, I would have said "no". But now I say, "Why not?"
0:56:06 > 0:56:09I do the best Davy Jones anyone's ever seen.
0:56:09 > 0:56:11# I could hide 'neath the wings
0:56:11 > 0:56:13# Of a bluebird as she sings... #
0:56:13 > 0:56:17I'm very, very proud of being in 5ive, to the point where
0:56:17 > 0:56:20if I walk into a pub and someone says to me,
0:56:20 > 0:56:22"Oh, yeah, it's that geezer from 5ive,"
0:56:22 > 0:56:24I just go, "Sold 20 million albums, mate.
0:56:24 > 0:56:28"You've probably bought one of them, and the pint I'm drinking,
0:56:28 > 0:56:31"you've probably paid for. Go and be a dickhead somewhere else."
0:56:33 > 0:56:36I think acceptance is a wonderful tool
0:56:36 > 0:56:40and I'm glad my therapist taught me it, because it helps a lot.
0:56:40 > 0:56:45# ..Never forget where you're coming from... #
0:56:45 > 0:56:48For ever embalmed by their boy band past,
0:56:48 > 0:56:50many eventually return to what they know best.
0:56:50 > 0:56:54It's time to resurrect the group for the reunion.
0:56:54 > 0:56:58Their songs, their hits become part of everybody's lives.
0:56:58 > 0:56:59The public demands it.
0:56:59 > 0:57:03They want you to get back, they want to see you one more time.
0:57:03 > 0:57:08You are creating an emotion that the fan says,
0:57:08 > 0:57:10"You are mine,
0:57:10 > 0:57:12"and I am going to be there for you
0:57:12 > 0:57:13"for the rest of my life."
0:57:15 > 0:57:17Perhaps the boy band reunion is about the reliving
0:57:17 > 0:57:21of a special time and place in the past,
0:57:21 > 0:57:24a place where the boy band and fans gather together
0:57:24 > 0:57:26to worship at the altar of youth.
0:57:28 > 0:57:32I've been entertaining almost the same audience for the last 40 years,
0:57:32 > 0:57:34because they've been growing up with me.
0:57:34 > 0:57:36It's a re-creation thing.
0:57:36 > 0:57:38I'm a Doctor Who of my generation, so I take them back
0:57:38 > 0:57:41to those days and try and recreate that time,
0:57:41 > 0:57:44and it's good. It's really good.
0:57:44 > 0:57:48We've done gigs and fans we ain't seen for 12 years are there.
0:57:48 > 0:57:51It's just nice to feel wanted again.
0:57:52 > 0:57:56It's kind of like someone throwing you a birthday party every night.
0:57:56 > 0:57:59You almost can't do anything wrong.
0:58:04 > 0:58:08So when all is said and done, is the journey to boy band immortality
0:58:08 > 0:58:10a journey worth taking?
0:58:10 > 0:58:14I miss it a lot. It's very, very special.
0:58:14 > 0:58:18We became each other's best friends outside of being brothers.
0:58:18 > 0:58:21We were a team, a force.
0:58:21 > 0:58:25I was 16 years of age and I got to live the dream.
0:58:25 > 0:58:27I wouldn't change a thing.
0:58:29 > 0:58:32It was just the best thing that could ever happen to you.
0:58:32 > 0:58:34Every boy should have an experience like that.
0:58:36 > 0:58:38For sure.
0:58:38 > 0:58:42# ..Oh, baby give me one more chance... #
0:58:42 > 0:58:45Next time, it's women on a mission.
0:58:45 > 0:58:49We immediately knew that we had hit upon something very special.
0:58:49 > 0:58:53Synchronised sisters were the burning dream that nothing can extinguish.
0:58:53 > 0:58:57I think if anybody tells you that there was no jealousy,
0:58:57 > 0:59:00bitchiness, it's a lie.
0:59:00 > 0:59:02Pop's mysterious sisterhoods proudly proclaiming,
0:59:02 > 0:59:05"I'm in a girl group."
0:59:06 > 0:59:08# ..Tried to live without your love
0:59:08 > 0:59:10# One long sleepless night
0:59:10 > 0:59:16# Let me show you, girl that I know wrong from right
0:59:16 > 0:59:20# Every street you walk on I leave tear stains on the ground
0:59:20 > 0:59:25# Following the girl I didn't even want around... #
0:59:25 > 0:59:28Subtitles by Red Bee Media Ltd