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The late 20th century gave us many great life enhancing advances | 0:00:06 | 0:00:10 | |
and inventions, like the computer, foreign travel for the masses, | 0:00:10 | 0:00:14 | |
and the girl group. | 0:00:14 | 0:00:18 | |
This programme contains some strong language. | 0:00:18 | 0:00:20 | |
Synchronised sisters with a sweet crazy dream, | 0:00:20 | 0:00:24 | |
a dream of singing songs about love and sisterhood, | 0:00:24 | 0:00:27 | |
moving as one in perfect precision and touching | 0:00:27 | 0:00:30 | |
the hearts of girls just like themselves across the planet. | 0:00:30 | 0:00:33 | |
# Goddess on the mountain top... # | 0:00:33 | 0:00:38 | |
Girl groups have that special power, that force of nature, | 0:00:38 | 0:00:42 | |
when they come together. | 0:00:42 | 0:00:44 | |
There's just a mass of female energy. | 0:00:44 | 0:00:46 | |
There's something really empowering about that. | 0:00:46 | 0:00:49 | |
# ..She's got it... # | 0:00:49 | 0:00:51 | |
It is that group of people | 0:00:51 | 0:00:52 | |
up there, giving you a full-on dance routine, | 0:00:52 | 0:00:55 | |
a full-on sparkly extravaganza. | 0:00:55 | 0:00:58 | |
# ..I'm your fire... # | 0:00:58 | 0:01:01 | |
I love 'em. | 0:01:01 | 0:01:02 | |
I've loved them since I was eight, and I love them to this day, | 0:01:02 | 0:01:06 | |
because they can deliver songs in a tender and emotional way | 0:01:06 | 0:01:10 | |
that no boys can. | 0:01:10 | 0:01:11 | |
# So won't you please | 0:01:11 | 0:01:13 | |
# Be my, be my baby | 0:01:13 | 0:01:15 | |
# Be my little baby... # | 0:01:15 | 0:01:17 | |
So are girl group sisters doing it for themselves? | 0:01:17 | 0:01:21 | |
When you walk out on the stage and there is an eruption from girls | 0:01:21 | 0:01:24 | |
and guys, it's just, this is what it's all about. | 0:01:24 | 0:01:29 | |
Or is nothing ever that perfect? | 0:01:29 | 0:01:32 | |
I think if anybody tells you there was no rivalry, | 0:01:33 | 0:01:36 | |
there was no jealousy, bitchiness, it's a lie. | 0:01:36 | 0:01:39 | |
# Talk about pop musik | 0:01:44 | 0:01:46 | |
# Talk about pop musik | 0:01:46 | 0:01:48 | |
# Shoobie, doobie, do wop | 0:01:48 | 0:01:49 | |
# It's all around you | 0:01:49 | 0:01:50 | |
# Pop, pop, shoo wop | 0:01:50 | 0:01:52 | |
# Gonna surround you | 0:01:52 | 0:01:53 | |
# Shoobie, doobie do wop | 0:01:53 | 0:01:54 | |
# It's all around you | 0:01:54 | 0:01:55 | |
-# Pop, pop, shoo wop -Hit it | 0:01:55 | 0:01:57 | |
# New York, London, Paris, Munich | 0:01:57 | 0:02:00 | |
# Everybody talk about pop musik | 0:02:00 | 0:02:01 | |
# Talk about pop musik... # | 0:02:01 | 0:02:03 | |
This is the story of girls who dare to dream. | 0:02:07 | 0:02:10 | |
Once upon a time, young girls whiled away the hours | 0:02:11 | 0:02:14 | |
daydreaming about the fantasy life of a fairytale princess. | 0:02:14 | 0:02:18 | |
Oh, to be whisked off their feet by Prince Charming, | 0:02:18 | 0:02:21 | |
to live in his castle, make beautiful babies, | 0:02:21 | 0:02:24 | |
and live happily ever after. | 0:02:24 | 0:02:26 | |
And then, along came rock 'n' roll, the invention of the teenager, | 0:02:28 | 0:02:32 | |
and the pop princess was born. | 0:02:32 | 0:02:35 | |
# All the women, independent | 0:02:35 | 0:02:36 | |
# Throw your hands up at me... # | 0:02:36 | 0:02:39 | |
This new dream was of singing songs about what it's like to be a girl, | 0:02:39 | 0:02:43 | |
to adoring audiences of girls just like them. | 0:02:43 | 0:02:46 | |
I think, it's like, you start off as, when you're really young, | 0:02:48 | 0:02:51 | |
you want to be a princess. | 0:02:51 | 0:02:52 | |
-Yeah. -And then princess morphs into... | 0:02:52 | 0:02:54 | |
-Supermodel. -Yeah, into pop star. | 0:02:54 | 0:02:56 | |
You get over supermodel, and then you realise, yeah, a pop star. | 0:02:56 | 0:03:01 | |
For some reason, I had it in my head from a really early age that | 0:03:05 | 0:03:08 | |
I really, really wanted to be famous, | 0:03:08 | 0:03:11 | |
and especially be | 0:03:11 | 0:03:12 | |
in a girl band and sing. | 0:03:12 | 0:03:14 | |
I was always in the mirror | 0:03:14 | 0:03:15 | |
with a hairbrush, | 0:03:15 | 0:03:17 | |
or always singing, | 0:03:17 | 0:03:18 | |
dancing, making up routines | 0:03:18 | 0:03:20 | |
with school friends, definitely it's a girl thing. | 0:03:20 | 0:03:23 | |
I would sing to every advert. | 0:03:23 | 0:03:25 | |
Anything on TV, | 0:03:25 | 0:03:26 | |
I'd be singing, riffing. | 0:03:26 | 0:03:28 | |
My mum would be like, | 0:03:28 | 0:03:29 | |
"Please, Jade, please, | 0:03:29 | 0:03:30 | |
"can we just watch something | 0:03:30 | 0:03:31 | |
"without you singing over it?" | 0:03:31 | 0:03:32 | |
I was like, | 0:03:32 | 0:03:34 | |
"One day, I'm going to be famous, wait, it'll be worth it." | 0:03:34 | 0:03:36 | |
# Remember my name | 0:03:36 | 0:03:38 | |
# Fame, I'm going to live forever | 0:03:38 | 0:03:43 | |
# Baby, remember my name... # | 0:03:43 | 0:03:45 | |
The dream is burning bright. | 0:03:45 | 0:03:47 | |
What's needed next is someone to share it with. | 0:03:47 | 0:03:49 | |
Maybe a sister or two. | 0:03:52 | 0:03:55 | |
We loved singing, and when we were really young, | 0:03:55 | 0:03:57 | |
we always pretended like | 0:03:57 | 0:03:59 | |
we were a girls group, | 0:03:59 | 0:04:00 | |
so we sang and we danced, | 0:04:00 | 0:04:01 | |
and we actually put on shows | 0:04:01 | 0:04:02 | |
for the family. | 0:04:02 | 0:04:04 | |
Back in the day, | 0:04:05 | 0:04:06 | |
the neighbourhood could be the place | 0:04:06 | 0:04:08 | |
to find fellow dreamers. | 0:04:08 | 0:04:10 | |
You really start in the group | 0:04:10 | 0:04:12 | |
without even knowing it. | 0:04:12 | 0:04:13 | |
And that's, and being in Brooklyn, | 0:04:13 | 0:04:14 | |
I come from Brooklyn, and that's | 0:04:14 | 0:04:16 | |
from walking around the streets | 0:04:16 | 0:04:17 | |
in Brooklyn singing, | 0:04:17 | 0:04:19 | |
sitting on the stoops, | 0:04:19 | 0:04:20 | |
and then we'd hear all the music on the radio, | 0:04:20 | 0:04:23 | |
and then we'd just sing all the doo-wop songs, | 0:04:23 | 0:04:25 | |
and all the harmonies, singing as a group. | 0:04:25 | 0:04:27 | |
And many a girl group is born in the playground. | 0:04:28 | 0:04:30 | |
# My boy lollipop Bum bum bum bum... # | 0:04:30 | 0:04:34 | |
When I was ten years old, I met Mutya, | 0:04:34 | 0:04:36 | |
and I remember we just | 0:04:36 | 0:04:37 | |
would sing with each other | 0:04:37 | 0:04:39 | |
all the time in school. | 0:04:39 | 0:04:40 | |
And we used to get girls to, kind of, do, like, backing dancing | 0:04:41 | 0:04:45 | |
while we took the leads on songs, and our voices just blended | 0:04:45 | 0:04:47 | |
so well together. | 0:04:47 | 0:04:49 | |
It was so weird. | 0:04:49 | 0:04:50 | |
It was like we had different tones, but sounded | 0:04:50 | 0:04:52 | |
almost like the same person. | 0:04:52 | 0:04:54 | |
And then, for a lucky few, something magical happens. | 0:04:55 | 0:04:58 | |
What started out as a bit of fun with friends has unlocked | 0:05:00 | 0:05:04 | |
something rare and precious. | 0:05:04 | 0:05:06 | |
When you have girls in the group, and everybody has beautiful harmony, | 0:05:07 | 0:05:11 | |
beautiful sounding voices, | 0:05:11 | 0:05:13 | |
you know, you hear those notes come out of these voices, | 0:05:13 | 0:05:17 | |
this voice box, but they are all different. | 0:05:17 | 0:05:19 | |
You know, it's amazing. It's beauty. It's so beautiful. | 0:05:19 | 0:05:23 | |
# So, raise your hand | 0:05:23 | 0:05:26 | |
# One fist in the air | 0:05:26 | 0:05:28 | |
# For freedom dom dom dom dom | 0:05:28 | 0:05:32 | |
# For being alive | 0:05:32 | 0:05:34 | |
# Not having a care | 0:05:34 | 0:05:36 | |
# For freedom dom dom dom dom... # | 0:05:36 | 0:05:41 | |
You know what's really scary? | 0:05:41 | 0:05:43 | |
We actually sometimes had a fifth tone. | 0:05:43 | 0:05:48 | |
There'd be four people singing four different notes | 0:05:48 | 0:05:50 | |
and we'll hear this fifth tone, like, that's a third above, | 0:05:50 | 0:05:54 | |
it's like some kind of harmonic that comes from our vibrations. | 0:05:54 | 0:05:59 | |
It's the angel. | 0:05:59 | 0:06:01 | |
It's the angel! | 0:06:01 | 0:06:02 | |
-She says it's an angel. -It's God's gift. | 0:06:02 | 0:06:05 | |
Suddenly, that dream of a singing sisterhood | 0:06:05 | 0:06:08 | |
feels a little closer to reality. | 0:06:08 | 0:06:10 | |
The unique feminine force of the girl group has been unleashed, | 0:06:10 | 0:06:14 | |
revealing an ultimate truth, | 0:06:14 | 0:06:15 | |
that sometimes in pop, three or more girls are better than one. | 0:06:15 | 0:06:21 | |
# Baby love, my baby love | 0:06:23 | 0:06:27 | |
# I need you, oh, how I need you | 0:06:27 | 0:06:31 | |
# But all you do is treat me bad | 0:06:31 | 0:06:35 | |
# Break my heart and leave me sad... # | 0:06:35 | 0:06:38 | |
We immediately knew that we had hit upon something very special, | 0:06:38 | 0:06:43 | |
OK, it was just, | 0:06:43 | 0:06:44 | |
we were looking at each other as if, my God, | 0:06:44 | 0:06:47 | |
this is pure magic. | 0:06:47 | 0:06:49 | |
It just felt just so perfect. | 0:06:49 | 0:06:50 | |
# ..Instead of breaking up | 0:06:52 | 0:06:56 | |
# Let's do some kissing and making up... # | 0:06:56 | 0:06:59 | |
Now, that's when the idea came to us that maybe we could do something big. | 0:06:59 | 0:07:05 | |
# ..Need to hold you | 0:07:05 | 0:07:08 | |
# Once again, my love... # | 0:07:08 | 0:07:09 | |
The Supremes' dreams of making it big seemed to be hanging by a thread | 0:07:09 | 0:07:13 | |
when they failed their audition at Berry Gordy's Motown Records. | 0:07:13 | 0:07:16 | |
But these young wannabes from the Projects | 0:07:16 | 0:07:20 | |
weren't taking no for an answer. | 0:07:20 | 0:07:21 | |
We, The Supremes | 0:07:21 | 0:07:23 | |
actually made our point to come down to Motown | 0:07:23 | 0:07:27 | |
every day after high school. | 0:07:27 | 0:07:28 | |
We would see The Miracles come in and we'd say, "Hey, how you doing?" | 0:07:28 | 0:07:31 | |
We'd see Mary Wells. "Hey, Mary, how you doing?" | 0:07:31 | 0:07:34 | |
And one day, one of the producers came out and said, | 0:07:34 | 0:07:37 | |
"The thing is, and I hear the background singers | 0:07:37 | 0:07:39 | |
"and I hear the handclappers, we need..." | 0:07:39 | 0:07:41 | |
We said, "We'll do it! We'll do it!" | 0:07:41 | 0:07:43 | |
So, you know, we made ourselves likeable to everyone, | 0:07:43 | 0:07:47 | |
and then after a little while, Mr Berry Gordy, | 0:07:47 | 0:07:50 | |
he was like, "You girls really are serious, I think I'll sign you." | 0:07:50 | 0:07:53 | |
# Set me free, why don't you, babe? | 0:07:53 | 0:07:58 | |
# Get out my life Why don't you, babe? | 0:07:58 | 0:08:01 | |
# Cos you don't really love me | 0:08:01 | 0:08:03 | |
# You just keep me hanging on... # | 0:08:03 | 0:08:07 | |
The Supremes had the talent and steely determination to back it up. | 0:08:07 | 0:08:11 | |
But sometimes, the big break can come by simply being in | 0:08:11 | 0:08:14 | |
the right place at the right time. | 0:08:14 | 0:08:17 | |
'This is Warrington!' | 0:08:17 | 0:08:18 | |
I was in a nightclub in Warrington, Mr Smiths. | 0:08:21 | 0:08:23 | |
I was 17 and a guy actually approached me with a letter saying, | 0:08:23 | 0:08:27 | |
"I'm in The Porn Kings, | 0:08:27 | 0:08:29 | |
"we're looking for dancers." | 0:08:29 | 0:08:31 | |
And my forte was dancing. | 0:08:31 | 0:08:33 | |
Gets home to me mum, pissed as a fart. | 0:08:37 | 0:08:39 | |
Says to me mum, "Mum, this guy wants me to be in The Porn Kings." | 0:08:39 | 0:08:43 | |
Me mum says, "You're not going to be in no bleedin' bluey!" | 0:08:43 | 0:08:46 | |
Thinking it was like a porn movie. | 0:08:46 | 0:08:48 | |
And that, and that's how it started. | 0:08:48 | 0:08:50 | |
And then he kept saying, you know, | 0:08:50 | 0:08:52 | |
"You're too good to be just a backing dancer. | 0:08:52 | 0:08:54 | |
"There's a friend of mine starting a girl band. | 0:08:54 | 0:08:57 | |
"I think you should go for an audition." | 0:08:57 | 0:08:58 | |
I thought, why not? Give it a go, might as well go ahead with it. | 0:08:58 | 0:09:01 | |
Threw me Page Three photographs down, told dirty jokes, | 0:09:01 | 0:09:05 | |
sparks a cigarette up, sang a few songs | 0:09:05 | 0:09:07 | |
and went, "You're in the band!" | 0:09:07 | 0:09:09 | |
# So come on, baby Do it to me good now | 0:09:09 | 0:09:12 | |
# Do it to me slowly | 0:09:12 | 0:09:15 | |
# Huh, yeah | 0:09:15 | 0:09:16 | |
# Be the one and only... # | 0:09:16 | 0:09:18 | |
Whether it's by diehard determination | 0:09:18 | 0:09:21 | |
or barefaced cheek, | 0:09:21 | 0:09:23 | |
what hasn't changed in 50 years is that to make the leap | 0:09:23 | 0:09:25 | |
from dreamer to diva, a girl needs to impress whoever's in charge. | 0:09:25 | 0:09:29 | |
And more often than not, the gatekeeper to the music biz... | 0:09:29 | 0:09:33 | |
..is a man. | 0:09:36 | 0:09:37 | |
It's not easy to be in a girl group | 0:09:41 | 0:09:42 | |
in the first place. | 0:09:42 | 0:09:43 | |
It's not easy to be a girl | 0:09:43 | 0:09:45 | |
in the music business. | 0:09:45 | 0:09:47 | |
It's kind of a boys' club | 0:09:47 | 0:09:48 | |
in many aspects. | 0:09:48 | 0:09:51 | |
First, they see you as eye candy, or just young girls, | 0:09:51 | 0:09:54 | |
before they see the person, | 0:09:54 | 0:09:56 | |
the businesswoman, the artist | 0:09:56 | 0:09:58 | |
and you really have to fight | 0:09:58 | 0:10:00 | |
through the crap to be respected. | 0:10:00 | 0:10:02 | |
I probably would've crumbled under all of that if it'd been me | 0:10:04 | 0:10:07 | |
on my own, dealing with such a male industry by myself, | 0:10:07 | 0:10:10 | |
but I think with the girls, it was a lot easier. | 0:10:10 | 0:10:12 | |
There wasn't just one voice that people were dealing with, | 0:10:12 | 0:10:14 | |
there was four. | 0:10:14 | 0:10:16 | |
This is the point when female dreams and togetherness | 0:10:18 | 0:10:22 | |
collide with male logic and the need for control, | 0:10:22 | 0:10:25 | |
or in the case of '60s | 0:10:25 | 0:10:26 | |
super producer Phil Spector, | 0:10:26 | 0:10:28 | |
complete, total and absolute control. | 0:10:28 | 0:10:31 | |
I was 13, Didi was 16, so these are teenagers, | 0:10:33 | 0:10:35 | |
so I think that he knew exactly what he was doing. | 0:10:35 | 0:10:39 | |
When you're young, you can be controlled. | 0:10:39 | 0:10:42 | |
I shouldn't say this, but I also think probably | 0:10:42 | 0:10:45 | |
he wants somebody young, young girls that were stupid. | 0:10:45 | 0:10:49 | |
I don't think he would have gotten Barbra Streisand, | 0:10:49 | 0:10:51 | |
you know what I'm saying? | 0:10:51 | 0:10:52 | |
If she was in her 20s, because she would have known too much. | 0:10:52 | 0:10:55 | |
Following in that tradition, Svengali Richard Barrett | 0:10:57 | 0:11:00 | |
bossed the career of The Three Degrees for 20 years. | 0:11:00 | 0:11:05 | |
He was pretty much a tyrant | 0:11:08 | 0:11:10 | |
when it came to the three of us. | 0:11:10 | 0:11:12 | |
We knew it was either his way or the highway. | 0:11:12 | 0:11:15 | |
He would always tell you, | 0:11:15 | 0:11:17 | |
"I have a coin, here, | 0:11:17 | 0:11:19 | |
"and I can replace you | 0:11:19 | 0:11:20 | |
"at the drop of a hat. | 0:11:20 | 0:11:22 | |
"So, do what I say do, the way that I say do it, and we'll be fine." | 0:11:22 | 0:11:28 | |
# Got myself a crying, talking | 0:11:31 | 0:11:34 | |
# Sleeping, walking, living doll... # | 0:11:34 | 0:11:38 | |
Once they've signed on the dotted line, | 0:11:38 | 0:11:40 | |
generations of fledgling girl groups have found themselves | 0:11:40 | 0:11:44 | |
thrust into a secret process of moulding and grooming | 0:11:44 | 0:11:48 | |
to transform their raw talent and ambition into a slick, | 0:11:48 | 0:11:51 | |
chart-ready, pop proposition. | 0:11:51 | 0:11:54 | |
# ..Got the one and only walking, talking, living doll... # | 0:11:54 | 0:12:02 | |
Take Berry Gordy's Motown production line, | 0:12:05 | 0:12:07 | |
where nothing was left to chance. | 0:12:07 | 0:12:10 | |
# Nowhere to run to, baby | 0:12:12 | 0:12:16 | |
# Nowhere to hide... # | 0:12:16 | 0:12:19 | |
We had people training us the Motown way, and it was like a school. | 0:12:20 | 0:12:24 | |
There was Maurice King, teaching us the music theory. | 0:12:24 | 0:12:27 | |
There was Charlie Atkins, | 0:12:27 | 0:12:29 | |
who had been with Cholly Atkins, of vaudeville. | 0:12:29 | 0:12:32 | |
He taught us the proper way to dance, show business dance, | 0:12:32 | 0:12:35 | |
and Professor Maxine Powell told us, | 0:12:35 | 0:12:39 | |
"You are like flowers..." | 0:12:39 | 0:12:41 | |
I'm imitating her now, but lovingly, | 0:12:41 | 0:12:43 | |
"..and you all have your own particular beauty." | 0:12:43 | 0:12:46 | |
I remember one time, she said to us, | 0:12:47 | 0:12:49 | |
"You are diamonds in the rough, | 0:12:49 | 0:12:51 | |
"and we are just here to polish you." | 0:12:51 | 0:12:53 | |
Well, that would make you feel real good, right? | 0:12:53 | 0:12:55 | |
More than anywhere else in pop, a girl group will find themselves | 0:12:58 | 0:13:02 | |
judged on their looks, as well as their hooks. | 0:13:02 | 0:13:05 | |
There are really very few women who can't look attractive | 0:13:05 | 0:13:08 | |
when they're properly made up. | 0:13:08 | 0:13:10 | |
If you're a girl group then, you know, | 0:13:11 | 0:13:14 | |
instantly, people are going to think, | 0:13:14 | 0:13:15 | |
"Oh, something to look at." | 0:13:15 | 0:13:17 | |
You know, you're a product. | 0:13:17 | 0:13:19 | |
We all are, if we are going to put ourselves out there. | 0:13:19 | 0:13:22 | |
# One, two, three, four | 0:13:24 | 0:13:27 | |
# Everything he does, better than | 0:13:27 | 0:13:29 | |
# Anything ordinary... # | 0:13:29 | 0:13:32 | |
I don't think I want to see five scruffy girls | 0:13:32 | 0:13:34 | |
standing on a stage, which haven't | 0:13:34 | 0:13:37 | |
had their hair and make-up done | 0:13:37 | 0:13:38 | |
and their nails, and don't look | 0:13:38 | 0:13:39 | |
like they're bothered. | 0:13:39 | 0:13:41 | |
I want them to be glamorous. | 0:13:41 | 0:13:42 | |
# You're gonna make me Make me love you | 0:13:42 | 0:13:45 | |
# Nothing at all, nothing that I do | 0:13:45 | 0:13:47 | |
# Promise I made, promise I made | 0:13:47 | 0:13:50 | |
# Started to fade Started to fade, fade... # | 0:13:50 | 0:13:53 | |
The image that you have, the image that you choose, | 0:13:53 | 0:13:56 | |
or the image that you are, is, can make or break you. | 0:13:56 | 0:13:59 | |
The first rule of the girl group look | 0:14:02 | 0:14:04 | |
is for the visuals to have the same impact | 0:14:04 | 0:14:06 | |
as the supercharged multiple voices. | 0:14:06 | 0:14:08 | |
And since the invention of the girl group as we know it | 0:14:08 | 0:14:11 | |
in the late 50s, three of a kind | 0:14:11 | 0:14:12 | |
has been a winning formula. | 0:14:12 | 0:14:15 | |
# I met him on a Monday and my heart stood still | 0:14:15 | 0:14:18 | |
# Da do ron-ron-ron Da do ron-ron... # | 0:14:18 | 0:14:20 | |
These early incarnations were a celebration of sisterhood | 0:14:20 | 0:14:23 | |
and conformity. | 0:14:23 | 0:14:26 | |
Girl groups then were like the Mad Men typing pool | 0:14:26 | 0:14:28 | |
bursting into song. | 0:14:28 | 0:14:29 | |
Everybody was following everyone. | 0:14:29 | 0:14:32 | |
The Shirelles, The Chantels, you know, | 0:14:32 | 0:14:35 | |
Martha Reeves And The Vandellas... | 0:14:35 | 0:14:37 | |
I would see Martha with a blue pair of shoes | 0:14:37 | 0:14:39 | |
that matched her dress. | 0:14:39 | 0:14:40 | |
She would see us with the same thing. | 0:14:40 | 0:14:42 | |
Because everybody followed that pattern | 0:14:42 | 0:14:44 | |
of just looking like you're | 0:14:44 | 0:14:46 | |
graduating from high school, with the frilly dresses on, | 0:14:46 | 0:14:49 | |
a little bow, you know, everybody swaying the same way, | 0:14:49 | 0:14:52 | |
the hands moving the same way, the heads are going to the side. | 0:14:52 | 0:14:55 | |
That was what people wanted. | 0:14:55 | 0:14:57 | |
Highly groomed girls with a synchronised look | 0:15:01 | 0:15:04 | |
became the girl group template. | 0:15:04 | 0:15:06 | |
And the well-drilled matching frock format | 0:15:06 | 0:15:09 | |
got a flick-haired '70s spin from these wholesome Irish sisters. | 0:15:09 | 0:15:14 | |
# Hey! Hang on just a little longer... # | 0:15:14 | 0:15:20 | |
The Nolan sisters, sugar and spice, and all things nice. | 0:15:20 | 0:15:25 | |
We were given an image, manipulated into having an image | 0:15:25 | 0:15:28 | |
of being sweet, glorious, lovely sisters, | 0:15:28 | 0:15:30 | |
and we were nice girls, don't get me wrong, but nobody is that sweet. | 0:15:30 | 0:15:32 | |
# Yeah | 0:15:32 | 0:15:35 | |
# We're on a one-way ticket to anywhere | 0:15:35 | 0:15:39 | |
# There's no place we can go... # | 0:15:39 | 0:15:41 | |
But the truth was that off-duty life in The Nolans | 0:15:41 | 0:15:44 | |
was like a big night out with the girls, every night of the week. | 0:15:44 | 0:15:47 | |
You're drinking till seven in the morning, then on the bus at nine, | 0:15:47 | 0:15:51 | |
but what I did... Dark glasses, | 0:15:51 | 0:15:52 | |
then stay at the back of the bus, | 0:15:52 | 0:15:54 | |
-and they used to say... -"Leave her." | 0:15:54 | 0:15:55 | |
"Don't ask Bernie anything." | 0:15:55 | 0:15:57 | |
"Leave her till about one o'clock." | 0:15:57 | 0:15:59 | |
You know, our crew were devastated that Bernie could drink them | 0:15:59 | 0:16:02 | |
under the table, really. And it just didn't go down well with our image. | 0:16:02 | 0:16:04 | |
Even if their on-tour exploits got a little airbrushing, | 0:16:11 | 0:16:15 | |
The Nolans played up their family values | 0:16:15 | 0:16:17 | |
and flew the flag for the good girl end of the pop spectrum. | 0:16:17 | 0:16:20 | |
# He met Marmalade down in old New Orleans | 0:16:20 | 0:16:25 | |
# Struttin' her stuff on the street | 0:16:25 | 0:16:28 | |
# She said, "Hello, hey, Joe | 0:16:28 | 0:16:30 | |
# You wanna give it a go...?" # | 0:16:30 | 0:16:32 | |
Others, like '70s soul sisters Labelle, took a fiercer, | 0:16:32 | 0:16:35 | |
more sexually charged stance. | 0:16:35 | 0:16:38 | |
# ..Creole Lady Marmalade | 0:16:39 | 0:16:43 | |
# Voulez-vous coucher avec moi, ce soir? | 0:16:43 | 0:16:49 | |
# Voulez-vous coucher avec moi...? # | 0:16:49 | 0:16:52 | |
These days, though, when it comes to sexual expression, | 0:16:52 | 0:16:56 | |
girl groups often take a more direct approach. | 0:16:56 | 0:16:59 | |
But if they are largely aimed at teenage girls, | 0:16:59 | 0:17:02 | |
who is all the bare flesh for? | 0:17:02 | 0:17:05 | |
There is this element of, | 0:17:05 | 0:17:07 | |
if you are female | 0:17:07 | 0:17:08 | |
in the performing arts, | 0:17:08 | 0:17:10 | |
you have two project some level of allure, sexiness. | 0:17:10 | 0:17:14 | |
# Better move, cos we've arrived | 0:17:16 | 0:17:18 | |
# Lookin' sexy, lookin' fly... # | 0:17:18 | 0:17:22 | |
The dads want to leer at them. | 0:17:22 | 0:17:23 | |
The older brothers want to kind of go, oh... | 0:17:23 | 0:17:26 | |
So, the girl group exists for everyone, from kids to grandfathers. | 0:17:26 | 0:17:30 | |
# ..I don't think you're ready for this jelly | 0:17:30 | 0:17:32 | |
# I don't think you're ready for this | 0:17:32 | 0:17:34 | |
# Cos my body too bootylicious for ya, babe... # | 0:17:34 | 0:17:36 | |
While some men might join the party, lured in by looks | 0:17:36 | 0:17:39 | |
as much as the music, | 0:17:39 | 0:17:40 | |
a girl group must never lose sight of the fact | 0:17:40 | 0:17:43 | |
that their most devoted fans have always been teenage girls. | 0:17:43 | 0:17:47 | |
There's a really fine line with a girl band | 0:17:47 | 0:17:50 | |
and how they present themselves, because | 0:17:50 | 0:17:52 | |
they have to be quite careful not to position themselves | 0:17:52 | 0:17:54 | |
as being the sort of girl | 0:17:54 | 0:17:55 | |
that other girls don't like, | 0:17:55 | 0:17:56 | |
the sort of girl who might come along | 0:17:56 | 0:17:58 | |
and nick your boyfriend when you're 14. I mean, | 0:17:58 | 0:18:00 | |
that's the worst thing that can happen when you're 14. | 0:18:00 | 0:18:03 | |
# Are we about to get just a lil' hot and sweaty in this? | 0:18:03 | 0:18:05 | |
# Ooh, baby... # | 0:18:05 | 0:18:07 | |
A group who threatened to trample all over that fine line | 0:18:07 | 0:18:10 | |
was the Pussycat Dolls. | 0:18:10 | 0:18:12 | |
Their racy reputation gained as burlesque dancers | 0:18:12 | 0:18:14 | |
put them in need of a makeover if they were to convince | 0:18:14 | 0:18:17 | |
teenage female pop fans that they weren't really | 0:18:17 | 0:18:21 | |
a ruthless band of boyfriend stealers. | 0:18:21 | 0:18:22 | |
Originally, it came from a more theatrical, | 0:18:22 | 0:18:25 | |
cabaret place, | 0:18:25 | 0:18:26 | |
and that was the image, | 0:18:26 | 0:18:28 | |
and then we kind of made it | 0:18:28 | 0:18:30 | |
a little bit more street, | 0:18:30 | 0:18:32 | |
and a little bit more current, so kids could wear | 0:18:32 | 0:18:34 | |
some of our stuff as well. | 0:18:34 | 0:18:36 | |
It went from corsets and gloves and boas and all this stuff | 0:18:36 | 0:18:39 | |
to, all of a sudden, | 0:18:39 | 0:18:40 | |
we are these urban street chicks, and it was like, | 0:18:40 | 0:18:42 | |
I had a mohawk, Ashley had a braid, | 0:18:42 | 0:18:46 | |
Jessica, poor thing, | 0:18:46 | 0:18:48 | |
the most feminine girl ever, | 0:18:48 | 0:18:50 | |
and she had like a hoodie and all these pins in her hair. | 0:18:50 | 0:18:54 | |
And it was trying to find her inner ghetto goddess, I guess. | 0:18:54 | 0:18:57 | |
# Don't you wish your girlfriend was hot like me? | 0:18:57 | 0:19:02 | |
# Don't you wish your girlfriend was a freak like me? | 0:19:02 | 0:19:06 | |
# Don't you? # | 0:19:06 | 0:19:07 | |
A timely rethink on the image front | 0:19:07 | 0:19:09 | |
with Moulin Rouge style titillation out | 0:19:09 | 0:19:12 | |
and Lara Croft-esque empowerment in | 0:19:12 | 0:19:14 | |
was the Pussycat Dolls' attempt not to burn the bridges | 0:19:14 | 0:19:17 | |
to their core audience. | 0:19:17 | 0:19:19 | |
But there is another more powerful way | 0:19:19 | 0:19:21 | |
for a girl group to win the hearts and minds of young female fans. | 0:19:21 | 0:19:25 | |
# A few questions that I need to know | 0:19:28 | 0:19:32 | |
# How you could ever hurt me so | 0:19:32 | 0:19:34 | |
# I need to know what I've done wrong | 0:19:34 | 0:19:37 | |
# And how long it's been going on | 0:19:39 | 0:19:41 | |
# My head's spinning | 0:19:42 | 0:19:45 | |
# Boy I'm in a daze | 0:19:45 | 0:19:49 | |
# I feel isolated | 0:19:49 | 0:19:53 | |
# Don't want to communicate... # | 0:19:53 | 0:19:55 | |
The reason girl groups exist is because | 0:19:55 | 0:19:58 | |
teenage girls like to feel that | 0:19:58 | 0:20:00 | |
the girl groups are reflecting their reality, | 0:20:00 | 0:20:03 | |
singing about their experiences of lost love | 0:20:03 | 0:20:05 | |
and unrequited love, | 0:20:05 | 0:20:07 | |
that's all you really want a girl group to do. | 0:20:07 | 0:20:10 | |
# ..Never ever have I ever felt so low | 0:20:10 | 0:20:14 | |
# When are you going to take me out of this black hole? | 0:20:14 | 0:20:17 | |
# Never ever have I ever felt so sad... # | 0:20:17 | 0:20:21 | |
It's also about presenting something aspirational to girls, | 0:20:21 | 0:20:24 | |
as well, so you're not necessarily talking | 0:20:24 | 0:20:27 | |
to them explicitly about what's going on in their life right now, | 0:20:27 | 0:20:32 | |
but you're painting a dreamscape of what their lives might be like. | 0:20:32 | 0:20:35 | |
So you're offering that up to them. | 0:20:35 | 0:20:36 | |
Here's where you are, and maybe your life's not so great | 0:20:36 | 0:20:39 | |
because you're a teenager and it's all a bit difficult, | 0:20:39 | 0:20:41 | |
but look at this magnificence that could be yours. | 0:20:41 | 0:20:43 | |
# I need some love like I never needed love before | 0:20:43 | 0:20:48 | |
# I want to make love to ya, baby | 0:20:48 | 0:20:51 | |
# I had a little love Now I'm back for more | 0:20:51 | 0:20:55 | |
# I want to make love to ya, baby... # | 0:20:55 | 0:20:57 | |
Love in all its forms, endless, hopeless, and unrequited, | 0:20:57 | 0:21:00 | |
is guaranteed to chime with the teenage heart. | 0:21:00 | 0:21:02 | |
But what other magnificent emotions and obsessions hit the spot? | 0:21:02 | 0:21:06 | |
# Yeah, I'm in the mood for dancing | 0:21:06 | 0:21:11 | |
# Romancing Ooh, I'm giving it all tonight... # | 0:21:11 | 0:21:17 | |
There's the blissful sugar rush | 0:21:17 | 0:21:18 | |
of that storming the dancefloor with your mates moment. | 0:21:18 | 0:21:21 | |
# We are family | 0:21:21 | 0:21:25 | |
# I've got all my sisters with me | 0:21:25 | 0:21:29 | |
# We are family... # | 0:21:29 | 0:21:32 | |
And the joy of being together with your sisters | 0:21:32 | 0:21:35 | |
is a heady musical message. | 0:21:35 | 0:21:37 | |
Girl groups are all about girl talk. | 0:21:39 | 0:21:42 | |
Their songs like musical extracts from a teenage girl's diary. | 0:21:42 | 0:21:45 | |
But it's also the case that many of the greatest | 0:21:45 | 0:21:48 | |
have actually been written by - whisper it - men. | 0:21:48 | 0:21:51 | |
'The first all-important decisions are made at the meeting, | 0:21:52 | 0:21:57 | |
'what tempo, what key, what sort of accompaniment.' | 0:21:57 | 0:22:00 | |
So, how do the backroom boys of the music biz tap into | 0:22:02 | 0:22:05 | |
the well of female emotion that overflows in a girl group classic? | 0:22:05 | 0:22:09 | |
You've got to understand the people in the band. | 0:22:09 | 0:22:11 | |
You've got to understand | 0:22:11 | 0:22:13 | |
what their philosophy is, | 0:22:13 | 0:22:15 | |
how they perform, | 0:22:15 | 0:22:17 | |
because you've got to write - a male, usually - for the female. | 0:22:17 | 0:22:22 | |
The name on many of the biggest girl group hits in recent years is | 0:22:24 | 0:22:28 | |
Xenomania, a crack team of Kent-based songsmiths, | 0:22:28 | 0:22:31 | |
led by a man called Brian, | 0:22:31 | 0:22:33 | |
with a knack for turning the everyday lives | 0:22:33 | 0:22:35 | |
of their girl group subjects into songs. | 0:22:35 | 0:22:39 | |
Xenomania were fantastic with us because Brian Higgins | 0:22:39 | 0:22:42 | |
would regularly sit down and be like, | 0:22:42 | 0:22:44 | |
"All right, mate, let's have a chat." | 0:22:44 | 0:22:47 | |
And we would sit down | 0:22:47 | 0:22:48 | |
and he would try and find out, | 0:22:48 | 0:22:49 | |
what was your day like, or what's happening with your boyfriend, | 0:22:49 | 0:22:53 | |
or what's happening here? And he would gather all this information | 0:22:53 | 0:22:56 | |
about all five of us and then they could go off and write songs. | 0:22:56 | 0:23:01 | |
# Nobody's perfect | 0:23:01 | 0:23:03 | |
# We've all gotta work it | 0:23:03 | 0:23:05 | |
# But, fellas, we're worth it | 0:23:05 | 0:23:07 | |
# So don't break the law... # | 0:23:07 | 0:23:08 | |
We actually never knew what the songs were going to sound like | 0:23:08 | 0:23:13 | |
until we got them at the very, very end. | 0:23:13 | 0:23:16 | |
I don't know how they done it. | 0:23:16 | 0:23:17 | |
# I'm just a love machine Feeding my fantasy | 0:23:17 | 0:23:21 | |
# Give me a kiss or three | 0:23:21 | 0:23:24 | |
# And I'm fine | 0:23:24 | 0:23:25 | |
# I need a squeeze a day... # | 0:23:25 | 0:23:28 | |
It's an age-old story, | 0:23:28 | 0:23:29 | |
the girl group singer putting her faith | 0:23:29 | 0:23:32 | |
in the musical maestro at the controls. | 0:23:32 | 0:23:35 | |
But can he be trusted? | 0:23:36 | 0:23:39 | |
When laying down her vocal for The Bangles' hit Eternal Flame, | 0:23:47 | 0:23:51 | |
Susanna Hoffs was introduced to her producer Davitt Sigerson's | 0:23:51 | 0:23:55 | |
idiosyncratic Olivia Newton-John studio method. | 0:23:55 | 0:23:58 | |
Davitt was doing this whole thing, | 0:23:58 | 0:24:00 | |
and it was really kind of sweet. | 0:24:00 | 0:24:01 | |
It was very artist friendly. He was | 0:24:01 | 0:24:03 | |
a very artist friendly producer, | 0:24:03 | 0:24:04 | |
and he was saying, | 0:24:04 | 0:24:06 | |
"On the nights that you sing, I want to have your favourite drinks." | 0:24:06 | 0:24:10 | |
It was really cute, if she said, I like this wine, | 0:24:10 | 0:24:13 | |
he'd have it there waiting. | 0:24:13 | 0:24:14 | |
Everybody had their stuff. | 0:24:14 | 0:24:16 | |
So he had told me this story that he'd just finished working | 0:24:16 | 0:24:19 | |
with Olivia and that she got her best vocal takes when she sang naked, | 0:24:19 | 0:24:22 | |
because that was just so freeing and so vulnerable, | 0:24:22 | 0:24:26 | |
and so free at the same time. And I'm thinking, | 0:24:26 | 0:24:29 | |
"Wow, that sounds really cool, I want to try that." | 0:24:29 | 0:24:31 | |
And sure enough, pretty soon, I'm coming into the studio going, | 0:24:31 | 0:24:35 | |
"OK, here goes." And I had my drink of choice, and then they would say, | 0:24:35 | 0:24:40 | |
"OK, time to sing it." | 0:24:40 | 0:24:42 | |
They would listen for the sound of the clothes dropping. | 0:24:42 | 0:24:44 | |
# Close your eyes | 0:24:46 | 0:24:48 | |
# Give me your hand, darling... # | 0:24:48 | 0:24:50 | |
You have to know something about our Susanna, | 0:24:50 | 0:24:52 | |
-as lovely as she is, she's very gullible. -Yes. | 0:24:52 | 0:24:55 | |
-Of course, they... -Made it up. | 0:24:55 | 0:24:58 | |
They made it up. | 0:24:58 | 0:25:00 | |
Davitt made that up and I fell for it. | 0:25:00 | 0:25:02 | |
# ..An eternal flame... # | 0:25:03 | 0:25:08 | |
Anyway, it's true, I did. Whatever, it happened. | 0:25:08 | 0:25:11 | |
Not all girls are quite so eager to please. | 0:25:15 | 0:25:19 | |
Bananarama had a revolutionary take on the girl group. | 0:25:19 | 0:25:23 | |
No towing the line, no dressing to please men, | 0:25:23 | 0:25:27 | |
no party invitation declined. | 0:25:27 | 0:25:29 | |
For the first three or four years, | 0:25:29 | 0:25:30 | |
it was just a complete laugh a minute, you know. | 0:25:30 | 0:25:33 | |
We kind of saw it as taking the piss | 0:25:33 | 0:25:37 | |
out of the music business, but it worked. | 0:25:37 | 0:25:40 | |
So, we ran with it. | 0:25:40 | 0:25:41 | |
I remember once, in somewhere like Pebble Mill, | 0:25:45 | 0:25:47 | |
and it was, like, moments before we were due live on-air, | 0:25:47 | 0:25:52 | |
and we found a big laundry basket | 0:25:52 | 0:25:54 | |
in the corridor of the TV studio, | 0:25:54 | 0:25:56 | |
and we hid in the laundry basket. | 0:25:56 | 0:25:58 | |
'Bananarama to stage, please.' | 0:25:58 | 0:26:00 | |
The runner came with his little headset | 0:26:00 | 0:26:02 | |
and he couldn't find us anywhere, | 0:26:02 | 0:26:05 | |
and was sat on top of the laundry basket, | 0:26:05 | 0:26:07 | |
and we were in the laundry basket, like, pissing ourselves laughing, | 0:26:07 | 0:26:12 | |
listening to their worried conversation. | 0:26:12 | 0:26:14 | |
Just stupid, we were like 14-year-old girls, | 0:26:14 | 0:26:17 | |
and we were able to stay being like 14-year-old girls | 0:26:17 | 0:26:19 | |
for years, you know? | 0:26:19 | 0:26:20 | |
By the time they came to record their fourth album, | 0:26:24 | 0:26:28 | |
Bananarama were big stars. | 0:26:28 | 0:26:30 | |
Welcome to the Hit Factory in London. | 0:26:30 | 0:26:32 | |
So when their DIY punk ethos collided with | 0:26:32 | 0:26:35 | |
the blokey bullishness of producer Pete Waterman, sparks flew. | 0:26:35 | 0:26:39 | |
Anybody who ever said to me that it's easy working with women | 0:26:40 | 0:26:43 | |
should have worked with Bananarama. | 0:26:43 | 0:26:45 | |
I've got to tell you, I think I aged 50 years just working with them. | 0:26:45 | 0:26:48 | |
They had Kylie and they had Jason, and they had Rick Astley | 0:26:50 | 0:26:53 | |
and they had, they were having | 0:26:53 | 0:26:54 | |
lots of success with loads of different artists | 0:26:54 | 0:26:57 | |
and they tried to apply the factory approach | 0:26:57 | 0:27:01 | |
to the Bananarama record, and I was really insulted. | 0:27:01 | 0:27:04 | |
They had a very strong idea of what they wanted to make. | 0:27:08 | 0:27:11 | |
I had a very strong idea of what I wanted them to do, | 0:27:11 | 0:27:14 | |
which was not what they wanted. | 0:27:14 | 0:27:16 | |
There was a lot of locking of horns, especially between me and Pete. | 0:27:16 | 0:27:21 | |
# Last night, I was dreaming | 0:27:21 | 0:27:24 | |
# I was locked in a prison cell | 0:27:24 | 0:27:28 | |
# When I woke up, I was screaming | 0:27:28 | 0:27:32 | |
# Calling out your name, woah! | 0:27:32 | 0:27:37 | |
# And the judge and the jury... # | 0:27:37 | 0:27:41 | |
I'm sure if you asked Alex Ferguson | 0:27:41 | 0:27:43 | |
what it's like managing 11 blokes and they're all trying to score one goal, | 0:27:43 | 0:27:46 | |
I'll tell you, he must say it's impossible. | 0:27:46 | 0:27:48 | |
Trying to get three women to agree on one subject | 0:27:48 | 0:27:50 | |
is almost twice as impossible. | 0:27:50 | 0:27:53 | |
He is a card, isn't he? | 0:27:53 | 0:27:55 | |
He does come out with quite shocking things! | 0:27:55 | 0:28:00 | |
# ..Come on, baby, can't you see? | 0:28:00 | 0:28:03 | |
# I stand accused of love in the first degree... # | 0:28:03 | 0:28:08 | |
When girl group Venus collides with music mogul Mars, | 0:28:11 | 0:28:14 | |
however interstellar the fallout, | 0:28:14 | 0:28:16 | |
if a group reaches the point where they have the look | 0:28:16 | 0:28:19 | |
and they've bagged a hit song, | 0:28:19 | 0:28:20 | |
it's time to prepare for takeoff. | 0:28:20 | 0:28:22 | |
Destination Dreamland. | 0:28:22 | 0:28:24 | |
What seemed like a fairytale all those years ago | 0:28:34 | 0:28:37 | |
is fast becoming reality. | 0:28:37 | 0:28:39 | |
We had this dream, we definitely had this dream, in the garage, | 0:28:41 | 0:28:44 | |
-that day back in 1981... -Awesome dream. -I know. ..and it came true. | 0:28:44 | 0:28:49 | |
# Don't stop believin' | 0:28:49 | 0:28:55 | |
# Hold on to that feeling | 0:28:55 | 0:28:58 | |
# Streetlight people... # | 0:28:58 | 0:29:04 | |
The album was at number one, the tour was selling out, | 0:29:05 | 0:29:09 | |
we were just nominated for a Brit, | 0:29:09 | 0:29:11 | |
then we won the Brit, | 0:29:11 | 0:29:12 | |
and I actually remember | 0:29:12 | 0:29:14 | |
thinking to myself, | 0:29:14 | 0:29:16 | |
I am so happy. | 0:29:16 | 0:29:20 | |
Me whole life felt perfect. | 0:29:20 | 0:29:24 | |
You're living your passion, | 0:29:27 | 0:29:29 | |
you're living your dream, | 0:29:29 | 0:29:30 | |
you're working really hard and you're not even feeling tired. | 0:29:30 | 0:29:34 | |
It's just exhilarating. | 0:29:34 | 0:29:36 | |
I even took a mental picture, | 0:29:38 | 0:29:40 | |
to the point where I did this, | 0:29:40 | 0:29:42 | |
cos you're going to remember this, | 0:29:42 | 0:29:43 | |
and it was here in London, | 0:29:43 | 0:29:45 | |
performing to a sold-out crowd, | 0:29:45 | 0:29:47 | |
and everyone in that place was singing every single word, | 0:29:47 | 0:29:51 | |
and I think all of us looked to each other | 0:29:51 | 0:29:52 | |
with just some tears in our eyes, like, "Oh, my God! | 0:29:52 | 0:29:56 | |
"We did this! We did this!" | 0:29:56 | 0:29:58 | |
# ..Don't stop. # | 0:29:59 | 0:30:01 | |
CROWD CHEERS | 0:30:01 | 0:30:06 | |
With the fulfilment of the dream comes the VIP attention | 0:30:11 | 0:30:13 | |
of a court of primpers, crimpers, advisers, and assistants. | 0:30:13 | 0:30:17 | |
In the '60s, The Supremes discovered that they hadn't just | 0:30:17 | 0:30:20 | |
found fame and success for themselves, | 0:30:20 | 0:30:24 | |
they'd also acquired an entourage. | 0:30:24 | 0:30:26 | |
We were a very large operation, travelling in those days. | 0:30:26 | 0:30:30 | |
In fact, we did have our own band. | 0:30:30 | 0:30:31 | |
We had chaperones. | 0:30:31 | 0:30:34 | |
We had chaperones, I can't believe that, | 0:30:34 | 0:30:36 | |
until we were, like, 23. | 0:30:36 | 0:30:37 | |
So we had a huge entourage, | 0:30:37 | 0:30:39 | |
maybe 15 people, | 0:30:39 | 0:30:41 | |
so back then, that was pretty heavy duty. | 0:30:41 | 0:30:46 | |
Team Supremes might have seemed extravagant then, | 0:30:46 | 0:30:48 | |
but today's girl groups must wonder how they ever managed. | 0:30:48 | 0:30:51 | |
How many people? I don't know. We've got hair and make-up. | 0:30:51 | 0:30:54 | |
Stylists. | 0:30:54 | 0:30:55 | |
Two stylists. | 0:30:55 | 0:30:57 | |
Possibly a stylist's assistant. | 0:30:57 | 0:30:58 | |
Directors, all their assistants. | 0:30:58 | 0:31:00 | |
Manager. | 0:31:00 | 0:31:03 | |
Vocal coach. | 0:31:03 | 0:31:04 | |
Drivers. | 0:31:04 | 0:31:05 | |
Maybe a PR company. | 0:31:05 | 0:31:06 | |
Road manager, slash MD, slash... gosh, the poor guy did so many jobs. | 0:31:06 | 0:31:11 | |
-Dancers. -All the dancers. The band. | 0:31:11 | 0:31:13 | |
Jana Banana, who did wardrobe. | 0:31:13 | 0:31:15 | |
-Eight dogs. -Eight dogs. | 0:31:15 | 0:31:18 | |
It was like a huge tribe of people. | 0:31:18 | 0:31:21 | |
They were necessary. | 0:31:21 | 0:31:23 | |
For the successful girl group, entourage in tow, | 0:31:28 | 0:31:31 | |
the dream hatched in the schoolyard | 0:31:31 | 0:31:34 | |
is suddenly something the whole planet wants a piece of. | 0:31:34 | 0:31:38 | |
The world just changed. | 0:31:38 | 0:31:40 | |
My world has changed from living | 0:31:40 | 0:31:42 | |
in a one-bedroom council flat | 0:31:42 | 0:31:44 | |
at the age of 17 | 0:31:44 | 0:31:45 | |
to being in Japan five times, | 0:31:45 | 0:31:48 | |
south-east Asia, Singapore, Malaysia. It was crazy. | 0:31:48 | 0:31:52 | |
The furthest we'd ever been | 0:31:52 | 0:31:54 | |
was Benidorm, I think. | 0:31:54 | 0:31:55 | |
-Yeah. -So, Japan, wow. | 0:31:55 | 0:31:56 | |
So we go for this promotional tour and we get off the plane | 0:31:59 | 0:32:01 | |
and we can hear all this shouting and stuff. | 0:32:01 | 0:32:04 | |
-What the hell is that? You know? -Yeah. | 0:32:04 | 0:32:06 | |
And I said, I remember distinctly saying, | 0:32:06 | 0:32:07 | |
"Well, there must be somebody famous on the plane," you know, seriously. | 0:32:07 | 0:32:10 | |
All of a sudden, you hear, | 0:32:10 | 0:32:11 | |
"We want The Nolans!" | 0:32:11 | 0:32:13 | |
I'm thinking, "Oh, my God, it's us!" | 0:32:13 | 0:32:15 | |
And there's all these banners, | 0:32:15 | 0:32:16 | |
because we were number one there, but we didn't know. | 0:32:16 | 0:32:18 | |
And we were in the hotel, and they said, "No, you mustn't go out." | 0:32:18 | 0:32:21 | |
"Sod this! We're going out." | 0:32:21 | 0:32:23 | |
And we found the back entrance, the four of us, | 0:32:23 | 0:32:25 | |
and we went out, and we were in this shop, and I looked round, | 0:32:25 | 0:32:27 | |
and there's two little young schoolgirls at the door, | 0:32:27 | 0:32:30 | |
really excited, cute, you know, | 0:32:30 | 0:32:32 | |
and then I looked round again and there's 15. I think, | 0:32:32 | 0:32:35 | |
"Yeah, that's cute." The next time, I looked round, it's like The Birds, | 0:32:35 | 0:32:39 | |
you know the Hitchcock film? There's about 200. | 0:32:39 | 0:32:41 | |
# Big in Japan... # | 0:32:41 | 0:32:46 | |
How do we get out? This is scary now. | 0:32:46 | 0:32:48 | |
They were right. We shouldn't have come out. | 0:32:48 | 0:32:50 | |
So we pushed through them. "Hi, nice to meet you," and all that. | 0:32:50 | 0:32:53 | |
Pulling our hair and clothing. And we ran. We legged it, didn't we? | 0:32:53 | 0:32:56 | |
And we managed to get back to the hotel, but scared, like, | 0:32:56 | 0:32:58 | |
"Oh, my God! This is awful," but in a way, it was brilliant. | 0:32:58 | 0:33:02 | |
The Nolans were big in Japan. | 0:33:02 | 0:33:06 | |
Bananarama have had more UK chart entries | 0:33:06 | 0:33:08 | |
than any other girl group before or since, | 0:33:08 | 0:33:10 | |
and The Three Degrees managed to garner royal approval. | 0:33:10 | 0:33:13 | |
But when it comes to global success, | 0:33:13 | 0:33:16 | |
there is one British girl group who topped the lot. | 0:33:16 | 0:33:19 | |
Well, it's nice to see that somebody's taken Take That's crown | 0:33:19 | 0:33:22 | |
and is wearing it properly. | 0:33:22 | 0:33:24 | |
Long live pop and long live the Spice Girls! | 0:33:24 | 0:33:28 | |
# La la la la la la la la la | 0:33:28 | 0:33:31 | |
# La la la la la la laaaa... # | 0:33:31 | 0:33:36 | |
When the Spice Girls stomped into the scene in the mid-'90s, | 0:33:36 | 0:33:39 | |
the very idea of the girl group was in jeopardy. | 0:33:39 | 0:33:42 | |
The word was that what teenage girls | 0:33:42 | 0:33:45 | |
really, really wanted was five pretty boys standing in a row. | 0:33:45 | 0:33:48 | |
When we first started out, all we ever got was, | 0:33:50 | 0:33:52 | |
girl bands don't sell. | 0:33:52 | 0:33:54 | |
Not interested. | 0:33:54 | 0:33:55 | |
It's all about boy bands. | 0:33:55 | 0:33:57 | |
The Spice's first stroke of genius | 0:33:57 | 0:34:00 | |
was to steal the age-old boy band trick | 0:34:00 | 0:34:01 | |
of giving each member a distinctive individual character. | 0:34:01 | 0:34:06 | |
# Giving you everything... # | 0:34:06 | 0:34:08 | |
Posh, Scary, Baby, Ginger, and Sporty. | 0:34:08 | 0:34:14 | |
We were given our nicknames by Top Of The Pops Magazine. | 0:34:14 | 0:34:16 | |
Of course we played up to it. | 0:34:16 | 0:34:18 | |
We loved it. We became caricatures. | 0:34:18 | 0:34:20 | |
We had to do that, because I think if we were confined to, | 0:34:20 | 0:34:24 | |
you know, having a uniform and being a certain way, | 0:34:24 | 0:34:27 | |
we wouldn't have lasted five minutes. | 0:34:27 | 0:34:29 | |
And now it's time for the first award of the day, | 0:34:29 | 0:34:32 | |
so here's the nominees for Best New Act. | 0:34:32 | 0:34:34 | |
At five, it's Peter Andre. | 0:34:34 | 0:34:36 | |
At four, it's them Backstreet Boys. | 0:34:36 | 0:34:39 | |
But would this be enough to convince the boy band obsessed | 0:34:39 | 0:34:42 | |
teenager that this new girl group could be trusted | 0:34:42 | 0:34:44 | |
with her affections? | 0:34:44 | 0:34:45 | |
But here, at one, they're live, and they know what they want, | 0:34:45 | 0:34:48 | |
it's the Spice Girls! | 0:34:48 | 0:34:49 | |
# Tell you what I want What I really, really want | 0:34:49 | 0:34:51 | |
# So, tell me what you want What you really, really want | 0:34:51 | 0:34:54 | |
# I'll tell you what I want What I really, really want | 0:34:54 | 0:34:56 | |
# So tell me what you want What you really, really want | 0:34:56 | 0:34:58 | |
-# I wanna... -Ha... -I wanna... -Ha... -I wanna... -Ha... -I wanna... -Ha... | 0:34:58 | 0:35:00 | |
# I wanna really, really, really wanna zigazig ah... # | 0:35:00 | 0:35:03 | |
Masterstroke number two | 0:35:03 | 0:35:04 | |
was to make their debut single a kind of manifesto. | 0:35:04 | 0:35:07 | |
They took the implicit celebration of the power of girls | 0:35:07 | 0:35:11 | |
that had always been there in girl groups | 0:35:11 | 0:35:13 | |
and shouted it from the rooftops | 0:35:13 | 0:35:15 | |
as Girl Power. | 0:35:15 | 0:35:16 | |
# ..Get your act together We could be just fine | 0:35:16 | 0:35:19 | |
# I'll tell you what I want What I really, really want | 0:35:19 | 0:35:22 | |
# So tell me what you want What you really, really want | 0:35:22 | 0:35:24 | |
-# I wanna... -Ha... -I wanna... -Ha... -I wanna... -Ha... -I wanna... -Ha... | 0:35:24 | 0:35:26 | |
# I wanna really, really, really wanna zigazig ah | 0:35:26 | 0:35:29 | |
# If you wanna be my lover | 0:35:29 | 0:35:31 | |
# You gotta get with my friends Gotta get with my friends... # | 0:35:31 | 0:35:34 | |
Now you can be one of the gang. We can do whatever we want to do. | 0:35:34 | 0:35:36 | |
Get with us. We're your friends. | 0:35:36 | 0:35:38 | |
And I thought that was a really clever starting point for the girls. | 0:35:38 | 0:35:42 | |
# Make it last forever Friendship never ends | 0:35:42 | 0:35:46 | |
# ..If you wanna be... # | 0:35:46 | 0:35:47 | |
For us, it was really important from early on, | 0:35:47 | 0:35:51 | |
we knew we wanted to be a girl band for the girls. | 0:35:51 | 0:35:53 | |
CROWD: Girl Power! Girl Power! Girl Power! | 0:35:53 | 0:35:56 | |
It's the first time that you'd ever heard that mantra - | 0:35:58 | 0:36:00 | |
you can be whatever you want to be, just have belief | 0:36:00 | 0:36:02 | |
and take your girls with you, take your friends with you. | 0:36:02 | 0:36:05 | |
That sort of sisterhood, and I think that's what the appeal was, | 0:36:05 | 0:36:08 | |
that girls bought into it because they believed it. | 0:36:08 | 0:36:11 | |
They wanted to be in that group. | 0:36:11 | 0:36:13 | |
CROWD: Girl power! | 0:36:13 | 0:36:15 | |
The Spice Girls seized back the girl group audience from the boys | 0:36:15 | 0:36:18 | |
and changed the pop landscape forever. | 0:36:18 | 0:36:22 | |
They writ large the inclusive message of sisterhood | 0:36:22 | 0:36:25 | |
that had drawn young women to girl groups for half a century | 0:36:25 | 0:36:28 | |
and invited a new generation of girls into their girl group gang. | 0:36:28 | 0:36:32 | |
Across the ages, from The Nolans to the Spice Girls, | 0:36:38 | 0:36:42 | |
life in the groups seems to be like a teenage girl heaven, | 0:36:42 | 0:36:45 | |
a kind of endless 24/7 sleepover. | 0:36:45 | 0:36:48 | |
One of the best things about being in a girl group | 0:36:49 | 0:36:51 | |
is that you've always got a friend there, you know, | 0:36:51 | 0:36:54 | |
it's like a girly night every day of the week. | 0:36:54 | 0:36:56 | |
You know, you're in Sex And The City every week. | 0:36:56 | 0:36:58 | |
People would normally assume that you go to your separate rooms, | 0:36:58 | 0:37:01 | |
see you later, good night. | 0:37:01 | 0:37:03 | |
We don't! | 0:37:03 | 0:37:04 | |
We all have our own rooms, | 0:37:04 | 0:37:06 | |
but they all, for some reason, | 0:37:06 | 0:37:07 | |
it's this unwritten rule that's happened, | 0:37:07 | 0:37:10 | |
the girls always come and sleep in my room. | 0:37:10 | 0:37:12 | |
Yeah, we watch movies, chill out. | 0:37:12 | 0:37:14 | |
# Were going to dance till the broad daylight... # | 0:37:16 | 0:37:19 | |
We shared everything. I mean, we shared clothes, we shared... | 0:37:20 | 0:37:24 | |
We'd get on the telephone and talk about boyfriends, you know, | 0:37:24 | 0:37:27 | |
"Oh, my God! He's so cute! Oh, my God, he talked to me." | 0:37:27 | 0:37:30 | |
You know, we did all those girl things that girls do. | 0:37:30 | 0:37:33 | |
We loved each other and we had so much fun, and we'd always just | 0:37:33 | 0:37:37 | |
make each other laugh and be each other's support system. | 0:37:37 | 0:37:40 | |
If somebody is not feeling good, there's a circle around them | 0:37:40 | 0:37:42 | |
to communicate and be there for them and give them a hug. | 0:37:42 | 0:37:45 | |
# Nobody going to love me better... # | 0:37:45 | 0:37:47 | |
I didn't have much closeness in my life before the Pussycat Dolls | 0:37:49 | 0:37:54 | |
and they became my family. | 0:37:54 | 0:37:56 | |
The bond of sisterhood can grow as strong as flesh and blood, | 0:37:57 | 0:38:01 | |
and that's a good job, because like a real family, | 0:38:01 | 0:38:04 | |
girl groups end up spending a lot of time together. | 0:38:04 | 0:38:07 | |
-Not so much of a whip in the turn. Is that all right? -Uh-huh. | 0:38:12 | 0:38:15 | |
# Tumble out of bed and I stumble to the kitchen | 0:38:15 | 0:38:19 | |
# Pour myself a cup of ambition | 0:38:19 | 0:38:21 | |
# And yawn and stretch and try to come to life... # | 0:38:21 | 0:38:23 | |
I think it's completely different | 0:38:26 | 0:38:28 | |
to the vision you have as a kid, | 0:38:28 | 0:38:29 | |
having that dream of just being | 0:38:29 | 0:38:31 | |
on stage and singing and doing what you love, | 0:38:31 | 0:38:34 | |
and then when you actually get into it, | 0:38:34 | 0:38:36 | |
you actually find yourself doing less of the singing | 0:38:36 | 0:38:38 | |
and more of just the talking, and having to pose for pictures. | 0:38:38 | 0:38:41 | |
That's not always great. | 0:38:41 | 0:38:45 | |
An average day in the life of Atomic Kitten would be, up at six, | 0:38:45 | 0:38:49 | |
do a few schools, a bit of TV, a few more interviews... | 0:38:49 | 0:38:53 | |
-Fly to another country. -Yeah. | 0:38:53 | 0:38:56 | |
First, it's like, "Oh, my God! How great is this?!" | 0:38:56 | 0:39:00 | |
And you get to a certain point on photo shoots and they come in | 0:39:00 | 0:39:02 | |
and they do your hair, and you're just like, | 0:39:02 | 0:39:04 | |
"Fuck off and leave me alone!" | 0:39:04 | 0:39:06 | |
# Working nine to five | 0:39:06 | 0:39:08 | |
# What a way to make a living... # | 0:39:08 | 0:39:11 | |
Sharp words to a stylist, that's not very sisterly. | 0:39:11 | 0:39:15 | |
And it gets worse. | 0:39:15 | 0:39:16 | |
# ..Use your mind and you never get the credit | 0:39:16 | 0:39:19 | |
# It's enough to drive you | 0:39:19 | 0:39:21 | |
# Crazy if you let it... # | 0:39:21 | 0:39:25 | |
Girl groups can sit there and say, | 0:39:25 | 0:39:26 | |
"Oh, we're like sisters. We love each other." Yeah, you are. | 0:39:26 | 0:39:29 | |
But there's something about females being together, | 0:39:29 | 0:39:32 | |
it brings out these weird little insecurities. | 0:39:32 | 0:39:34 | |
People do start to become overly picky and slightly paranoid. | 0:39:34 | 0:39:39 | |
Girls, I hate to say it, we can be bitchy. | 0:39:39 | 0:39:42 | |
You know, we can be difficult. One-upmanship. | 0:39:42 | 0:39:46 | |
She was longer in make-up than me. I wanted to wear that dress. | 0:39:46 | 0:39:49 | |
You don't get that with boys. | 0:39:49 | 0:39:51 | |
There's so much pressure on you. | 0:39:51 | 0:39:52 | |
We were exhausted. We missed home. We missed our families | 0:39:52 | 0:39:55 | |
and everything and, you know, | 0:39:55 | 0:39:56 | |
within the band, you've got very different personalities, | 0:39:56 | 0:39:59 | |
and, you know, some of the girls were | 0:39:59 | 0:40:01 | |
pretty tricky to get along with a lot of the time. | 0:40:01 | 0:40:03 | |
The little minutiae of life, | 0:40:03 | 0:40:05 | |
the things like there's five cookies on that plate. | 0:40:05 | 0:40:08 | |
Who took the sixth cookie? | 0:40:08 | 0:40:10 | |
You know, that was my cookie. | 0:40:10 | 0:40:12 | |
When we go shopping for the dresses, that's the issue, | 0:40:12 | 0:40:15 | |
is because the colour you like, | 0:40:15 | 0:40:17 | |
I don't like, so we argue about it. | 0:40:17 | 0:40:19 | |
We were, like, always rowing with each other. | 0:40:19 | 0:40:22 | |
The sort of teenage things. Well, no, you said it. Well, you said it. | 0:40:22 | 0:40:25 | |
Well, you've sang that song. | 0:40:25 | 0:40:27 | |
I want to wear them jeans. No, I want to wear them. You have them. | 0:40:27 | 0:40:29 | |
I want that top. | 0:40:29 | 0:40:30 | |
If you didn't get into the car on time, and you had girls | 0:40:30 | 0:40:33 | |
waiting in the car outside, | 0:40:33 | 0:40:35 | |
that would cause World War Five, | 0:40:35 | 0:40:37 | |
because World War Three and Four had already happened the week before. | 0:40:37 | 0:40:41 | |
# Aaaah, I hate you so much right now | 0:40:41 | 0:40:46 | |
# I hate you so much right now... # | 0:40:46 | 0:40:47 | |
Even when singing sisters are actual sisters, petty squabbles can | 0:40:49 | 0:40:53 | |
suddenly get out of hand. | 0:40:53 | 0:40:55 | |
Everybody always asked us | 0:40:55 | 0:40:57 | |
all the time - do you fight? | 0:40:57 | 0:41:00 | |
The clothes, mascara, bobby pins, | 0:41:00 | 0:41:02 | |
anything in the dressing room, | 0:41:02 | 0:41:03 | |
we'd argue about. | 0:41:03 | 0:41:05 | |
With sisters, it gets deep. | 0:41:05 | 0:41:07 | |
I remember, we were in Mexico and this guy came in the dressing room. | 0:41:09 | 0:41:12 | |
He goes, "I'm a huge fan of Sister Sledge. Do you want anything? | 0:41:12 | 0:41:16 | |
"A pina colada? Or whatever." So we all ordered these pina coladas. | 0:41:16 | 0:41:19 | |
And while he's gone, the two sisters, Joni and Kim, get into this | 0:41:19 | 0:41:22 | |
really big argument. | 0:41:22 | 0:41:23 | |
-Kim's got a hothead. She's the hot-headed one. -Wait a minute! | 0:41:29 | 0:41:33 | |
-Let me finish, then you can respond. -OK. -See? | 0:41:33 | 0:41:37 | |
Anyway, she pulled my braids, and I was like, | 0:41:37 | 0:41:40 | |
"OK, that's the last time." So I pulled hers. | 0:41:40 | 0:41:42 | |
They've got each other's braids and they had this Mexican stand-off, | 0:41:42 | 0:41:45 | |
and they're holding it. And he walks in. | 0:41:45 | 0:41:50 | |
And we're locked in this braid lock, and he's like, | 0:41:50 | 0:41:52 | |
-he was so distressed. -It was really funny. -I felt so bad for him. | 0:41:52 | 0:41:55 | |
And I was like, it's OK, | 0:41:57 | 0:41:58 | |
it's going to be OK, just leave. | 0:41:58 | 0:42:01 | |
Life in the girl group bubble is intense and bust-ups will happen, | 0:42:07 | 0:42:11 | |
but sometimes, spats over cabs, cookies and cocktails | 0:42:11 | 0:42:14 | |
can be a symptom of something deeper, | 0:42:14 | 0:42:16 | |
that one of the pop princesses... | 0:42:16 | 0:42:18 | |
She will die! | 0:42:18 | 0:42:19 | |
..wants to be Queen. | 0:42:19 | 0:42:20 | |
There's always someone in the group | 0:42:20 | 0:42:22 | |
who naturally has that thing. I don't know what that thing is, | 0:42:22 | 0:42:27 | |
and that person doesn't even always have to have the best voice | 0:42:27 | 0:42:31 | |
or be the most talented. | 0:42:31 | 0:42:32 | |
They've just got that thing. | 0:42:32 | 0:42:34 | |
It's Kerry from Atomic Kitten! Yeah! | 0:42:35 | 0:42:37 | |
SMTV, they used to have chums. | 0:42:37 | 0:42:39 | |
They'd always asked me to play the role. | 0:42:39 | 0:42:41 | |
That's a frightfully interesting smell. | 0:42:41 | 0:42:44 | |
What perfume are you wearing? | 0:42:44 | 0:42:46 | |
-Sweat. -Look at that! Aren't we getting on fabulously, yeah? | 0:42:46 | 0:42:51 | |
The girls were like, "Why do we never get a go?" | 0:42:51 | 0:42:52 | |
And I went, "You do it. I really, really, I don't mind. | 0:42:52 | 0:42:57 | |
"It's not me." And they go, "No, the producer wants you to do it." | 0:42:57 | 0:42:59 | |
"Well, I can't argue with that." | 0:42:59 | 0:43:01 | |
Unfortunately, that's how it works. It was probably the blonde hair and big boobs. | 0:43:01 | 0:43:05 | |
When the men from the music business hone in on a favourite member, | 0:43:10 | 0:43:12 | |
it can only mean trouble. | 0:43:12 | 0:43:15 | |
# Slide your feet up the streets | 0:43:15 | 0:43:17 | |
# Bend your back, shift your arm Then you pull it back | 0:43:17 | 0:43:20 | |
-# Like Sergeant O... -Oh-Way-Oh -So strike a pose on a Cadillac | 0:43:20 | 0:43:24 | |
# If you want to find all the cops | 0:43:24 | 0:43:26 | |
# They're hanging out in the doughnut shop | 0:43:26 | 0:43:29 | |
-# They sing and dance... -Oh-Way-Oh | 0:43:29 | 0:43:32 | |
# They spin their clock Cruise down the block... # | 0:43:32 | 0:43:35 | |
There was an element of, like, this is amazing, | 0:43:35 | 0:43:38 | |
but it did bring up some of the... | 0:43:38 | 0:43:40 | |
some of the issues that we had in the band. | 0:43:40 | 0:43:42 | |
All the Bangles wrote and sang, | 0:43:42 | 0:43:45 | |
but the male gaze of the music industry | 0:43:45 | 0:43:48 | |
began to zero in on sultry Susanna, | 0:43:48 | 0:43:51 | |
a fact not lost on the sisters whose band it was in the first place. | 0:43:51 | 0:43:54 | |
I had a problem because my overarching | 0:43:54 | 0:43:56 | |
and all-encompassing view | 0:43:56 | 0:43:59 | |
was always the four, the gang, that image, that form, that force. | 0:43:59 | 0:44:03 | |
That's what I wanted it to be. | 0:44:03 | 0:44:06 | |
# ..Walk like an Egyptian... # | 0:44:08 | 0:44:13 | |
If Susanna had a vocal on a song that was a single, you know, | 0:44:19 | 0:44:22 | |
then the guy who's going to shoot | 0:44:22 | 0:44:24 | |
the video is going to be, | 0:44:24 | 0:44:26 | |
you know, just shooting Susanna. | 0:44:26 | 0:44:28 | |
And that became increasingly difficult. | 0:44:28 | 0:44:30 | |
There were definitely fissures and fractures that started to appear. | 0:44:30 | 0:44:35 | |
Once the cracks begin to appear, an unspoken fear starts to rise | 0:44:38 | 0:44:41 | |
to the surface. | 0:44:41 | 0:44:42 | |
That within the ranks, there may be a solo star, | 0:44:45 | 0:44:51 | |
just waiting to escape. | 0:44:51 | 0:44:53 | |
In the beginning, you are part of a group, | 0:44:56 | 0:44:59 | |
and you have this pledge that - we'll be together forever. | 0:44:59 | 0:45:02 | |
And then you have to come down to reality and you see, | 0:45:02 | 0:45:06 | |
wow, it doesn't last forever. | 0:45:06 | 0:45:10 | |
# My world is empty without you, babe | 0:45:10 | 0:45:15 | |
# My world is empty without you, babe... # | 0:45:15 | 0:45:20 | |
Motown mogul Berry Gordy gave The Supremes their start in pop, | 0:45:21 | 0:45:26 | |
but soon, Diana Ross's relationship with him | 0:45:26 | 0:45:28 | |
became about more than just the music. | 0:45:28 | 0:45:30 | |
And at the peak of the group's success, | 0:45:32 | 0:45:34 | |
they started hatching a plan for her solo career. | 0:45:34 | 0:45:37 | |
Florence Ballard, you know, she was really the original singer | 0:45:38 | 0:45:43 | |
and Diana Ross was the one that was more marketable. | 0:45:43 | 0:45:45 | |
That's where I think the biggest problem comes in the band. | 0:45:45 | 0:45:48 | |
I think no-one wants to be a background singer. No-one. | 0:45:48 | 0:45:53 | |
# I remember Momma says | 0:45:53 | 0:45:55 | |
# You can't hurry love | 0:45:55 | 0:45:56 | |
# No, you just have to wait | 0:45:56 | 0:45:59 | |
# She said, love don't come easy | 0:45:59 | 0:46:01 | |
# It's a game of give-and-take | 0:46:01 | 0:46:04 | |
# How long must I wait? | 0:46:04 | 0:46:05 | |
# How much more can I take? | 0:46:05 | 0:46:07 | |
# Before loneliness... # | 0:46:07 | 0:46:11 | |
They wanted to change our names from The Supremes | 0:46:11 | 0:46:14 | |
to Diana Ross And The Supremes. | 0:46:14 | 0:46:16 | |
We were kind of pushed back in terms of our power, | 0:46:17 | 0:46:19 | |
we were losing more power now, with this new identity. | 0:46:19 | 0:46:26 | |
And it was not a good feeling, you know, it was destroying us. | 0:46:26 | 0:46:30 | |
Finally, Diana Ross kissed the girls, | 0:46:39 | 0:46:43 | |
said goodbye to sisterhood, | 0:46:43 | 0:46:47 | |
and set off alone. | 0:46:47 | 0:46:48 | |
# No mountain high enough | 0:46:48 | 0:46:52 | |
# No valley low enough... # | 0:46:52 | 0:46:54 | |
For Diana Ross, dating the boss | 0:46:54 | 0:46:55 | |
didn't exactly harm her career prospects. | 0:46:55 | 0:46:57 | |
But having your eye | 0:46:57 | 0:46:58 | |
on the ultimate prize and being singled out | 0:46:58 | 0:47:00 | |
by the man in charge for special attention doesn't always | 0:47:00 | 0:47:03 | |
work so well. | 0:47:03 | 0:47:05 | |
People make strategic moves of who they date. You know, | 0:47:05 | 0:47:09 | |
it's easy for somebody to think, | 0:47:09 | 0:47:11 | |
"Well, you know what? | 0:47:11 | 0:47:12 | |
"If I have the producer, | 0:47:12 | 0:47:13 | |
"then I can be a bigger star." | 0:47:13 | 0:47:14 | |
The Ronettes! | 0:47:14 | 0:47:17 | |
It's usually egos that will tend to make someone go, | 0:47:17 | 0:47:22 | |
I want to stand out front more. | 0:47:22 | 0:47:24 | |
And my cousin Ronnie had that. | 0:47:24 | 0:47:26 | |
# There's been a lot of talk around | 0:47:26 | 0:47:30 | |
# That you've been seen with a certain party... # | 0:47:30 | 0:47:35 | |
The young Ronnie Bennett had always been the leader of this pack, | 0:47:35 | 0:47:39 | |
but when she, her sister Estelle, and cousin Nedra recorded with | 0:47:39 | 0:47:41 | |
maverick pop genius Phil Spector, | 0:47:41 | 0:47:44 | |
the result was girl group gold. | 0:47:44 | 0:47:47 | |
But Ronnie wanted more. | 0:47:49 | 0:47:51 | |
# ..Is this what I get for lovin' you, baby...? # | 0:47:51 | 0:47:55 | |
He was a small stature person. He had insecurities. | 0:47:57 | 0:48:02 | |
Extremely talented, but extremely, deep down inside, messed up. | 0:48:02 | 0:48:08 | |
# ..You said you'd never hurt me... # | 0:48:08 | 0:48:12 | |
I knew Ronnie and so I knew who she liked. | 0:48:12 | 0:48:16 | |
And I was like, "That's not it." | 0:48:19 | 0:48:21 | |
This little short guy that's eccentric and spits when he talks. | 0:48:21 | 0:48:27 | |
So, I knew that it was a career move. | 0:48:27 | 0:48:30 | |
OK. Let's forget about the intro for now. Let's just come right in. | 0:48:30 | 0:48:34 | |
One, two, three, four. | 0:48:34 | 0:48:35 | |
It's one thing being a control freak in the studio, | 0:48:35 | 0:48:39 | |
but Spector applied the same | 0:48:39 | 0:48:41 | |
obsessive approach to his relationship with Ronnie. | 0:48:41 | 0:48:43 | |
He wanted to know where she was at, calling all the time, | 0:48:46 | 0:48:49 | |
he didn't get a hotel, you know, he's calling all night long. | 0:48:49 | 0:48:52 | |
Leave the phone off the hook, | 0:48:52 | 0:48:54 | |
so I can hear you breathe. | 0:48:54 | 0:48:56 | |
# I'll make you happy, baby | 0:48:58 | 0:49:02 | |
# Just wait and see | 0:49:02 | 0:49:06 | |
# For every kiss you give me | 0:49:06 | 0:49:10 | |
# I'll give you three... # | 0:49:10 | 0:49:13 | |
The world fell in love with The Ronettes, | 0:49:13 | 0:49:15 | |
but Spector only had eyes for one of them. | 0:49:15 | 0:49:18 | |
When I began to sense and see | 0:49:20 | 0:49:24 | |
that Ronnie, herself - and she is my cousin, I love her - | 0:49:24 | 0:49:28 | |
began to let him go, "Well, I could push you here," | 0:49:28 | 0:49:33 | |
I said, "Oh, I see what's happening." | 0:49:33 | 0:49:36 | |
So, it was like, let's talk this over. | 0:49:36 | 0:49:39 | |
The day we're not a trio, we're over. | 0:49:39 | 0:49:44 | |
Just weeks before Phil and Ronnie tied the knot, | 0:49:44 | 0:49:49 | |
the Ronettes broke up. | 0:49:49 | 0:49:51 | |
But Ronnie's solo career never took flight. | 0:49:51 | 0:49:54 | |
Instead, she found herself locked away in a Hollywood mansion | 0:49:54 | 0:49:57 | |
by the reclusive Spector. | 0:49:57 | 0:49:58 | |
Sometimes, the end of the dream isn't hastened | 0:50:04 | 0:50:06 | |
by the lure for solo stardom. | 0:50:06 | 0:50:08 | |
But it's always personal. | 0:50:08 | 0:50:11 | |
Go from being best friends to really irritating each other. | 0:50:15 | 0:50:20 | |
And, erm, | 0:50:20 | 0:50:23 | |
and then not wanting to be around each other, you know. | 0:50:23 | 0:50:26 | |
Those two were best friends from when they were little kids, | 0:50:32 | 0:50:37 | |
so they started to, you know, go to the pub without inviting me, | 0:50:37 | 0:50:41 | |
and things like that. | 0:50:41 | 0:50:42 | |
I felt lonely and lost | 0:50:44 | 0:50:47 | |
and friendless and really unhappy. | 0:50:47 | 0:50:51 | |
Being girls, we're more emotional, maybe men are more pragmatic | 0:50:54 | 0:51:00 | |
and they'll just hate each other and have separate limos | 0:51:00 | 0:51:02 | |
and separate dressing rooms, but still turn up for the dosh. | 0:51:02 | 0:51:06 | |
I wouldn't like to stand on stage with somebody that | 0:51:06 | 0:51:11 | |
I felt resentment for and, you know, life's too short. | 0:51:11 | 0:51:14 | |
# Just make it go away... # | 0:51:16 | 0:51:22 | |
By leaving, it means... | 0:51:22 | 0:51:23 | |
leaving the thing that you love doing most in the world | 0:51:23 | 0:51:27 | |
and that you're so passionate about, | 0:51:27 | 0:51:29 | |
and, yeah, it's... | 0:51:29 | 0:51:33 | |
it's a difficult thing to leave. | 0:51:33 | 0:51:36 | |
As Siobhan found out, | 0:51:38 | 0:51:40 | |
walking out on the thing you wanted the most of all in life is tough. | 0:51:40 | 0:51:46 | |
Whatever the era, | 0:51:46 | 0:51:47 | |
when an original girl group member leaves, | 0:51:47 | 0:51:50 | |
it's like part of the dream of sisterhood has died. | 0:51:50 | 0:51:53 | |
Geri Halliwell, otherwise known as Ginger Spice, | 0:51:53 | 0:51:55 | |
has confirmed that she has left the Spice Girls. | 0:51:55 | 0:51:59 | |
She says differences between her and the other band members | 0:51:59 | 0:52:02 | |
were to blame for her decision. | 0:52:02 | 0:52:04 | |
# Goodbye, my friend | 0:52:04 | 0:52:07 | |
# I know you're gone You said you're gone | 0:52:07 | 0:52:09 | |
# But I can still feel you here | 0:52:09 | 0:52:11 | |
# It's not the end | 0:52:11 | 0:52:14 | |
# You gotta keep it strong Before the pain turns into fear... # | 0:52:14 | 0:52:18 | |
I don't know all of Geri's reasons behind leaving, | 0:52:18 | 0:52:21 | |
but I know she was very unhappy and | 0:52:21 | 0:52:23 | |
she felt that she had to jump ship. | 0:52:23 | 0:52:24 | |
# No, no, no, no... # | 0:52:24 | 0:52:29 | |
It was a really sad time for all of us. | 0:52:29 | 0:52:33 | |
It's just a bit sad when you kind of achieve your dream, | 0:52:33 | 0:52:38 | |
it's not what it's cracked up to be, you know? | 0:52:38 | 0:52:40 | |
I kind of think that was the beginning of our decline, | 0:52:40 | 0:52:44 | |
because the power we had was the five of us, | 0:52:44 | 0:52:47 | |
you know, it was the jigsaw puzzle, | 0:52:47 | 0:52:49 | |
and it just wasn't the same any more. | 0:52:49 | 0:52:52 | |
The dynamic had changed. | 0:52:52 | 0:52:54 | |
# ..It's not the end... # | 0:52:54 | 0:52:56 | |
We would never have considered finding a replacement for Geri, | 0:52:56 | 0:53:01 | |
because, you know, | 0:53:01 | 0:53:04 | |
if someone else had come in, | 0:53:04 | 0:53:05 | |
they would have been an intruder, you know, | 0:53:05 | 0:53:07 | |
it was something that the five of us... It was our baby. | 0:53:07 | 0:53:10 | |
# ..You know it's time to say goodbye... # | 0:53:10 | 0:53:15 | |
Like the purity of a first love, | 0:53:15 | 0:53:17 | |
their devotion to the original line up meant | 0:53:17 | 0:53:20 | |
that adding a new Spice was unthinkable. | 0:53:20 | 0:53:22 | |
# Looking back on when we first met... # | 0:53:22 | 0:53:25 | |
But not all girl groups are like the Spice Girls. | 0:53:25 | 0:53:28 | |
I'll never forget the day | 0:53:28 | 0:53:31 | |
I told the girls I was leaving. | 0:53:31 | 0:53:33 | |
Liz jumped out of the car, ran down the street, was like thinking, | 0:53:33 | 0:53:36 | |
that's the end of the band, | 0:53:36 | 0:53:37 | |
and this is where Tash, I saw Tash grow from a young girl to a woman. | 0:53:37 | 0:53:42 | |
She grabbed hold of Liz and went, "Don't worry, | 0:53:42 | 0:53:45 | |
"we're going to be absolutely fine, | 0:53:45 | 0:53:47 | |
"and we're going to find somebody else." | 0:53:47 | 0:53:49 | |
I thought, "Bitch!" | 0:53:49 | 0:53:50 | |
# You can make me whole again... # | 0:53:50 | 0:53:56 | |
As far as the man from the music business is concerned, yes, | 0:53:59 | 0:54:04 | |
it's all very sad when someone makes their exit, | 0:54:04 | 0:54:07 | |
but the show must go on, and after all, | 0:54:07 | 0:54:08 | |
there are plenty more dreamers out there. | 0:54:08 | 0:54:10 | |
When Siobhan quit Bananarama, they drafted in their old chum | 0:54:10 | 0:54:14 | |
Jackie to replenish the three. | 0:54:14 | 0:54:15 | |
When Diana Ross had turned her back on The Supremes, | 0:54:15 | 0:54:19 | |
Motown had well-drilled substitutes | 0:54:19 | 0:54:21 | |
waiting in the wings to make up the numbers. | 0:54:21 | 0:54:23 | |
# Another one bites the dust. # | 0:54:23 | 0:54:26 | |
As for The Three Degrees, strictly speaking, | 0:54:26 | 0:54:29 | |
if all members are taken into account, | 0:54:29 | 0:54:32 | |
The 14 Degrees would be nearer the mark. | 0:54:32 | 0:54:35 | |
I started out in the beginning, left, Sheila took my place. | 0:54:35 | 0:54:39 | |
When I came back, it was to replace Fayette Pinkney | 0:54:39 | 0:54:42 | |
# When will I see you again...? # | 0:54:43 | 0:54:48 | |
-Val replaced... -Sonia. -No, Janet. -Sonia. -No. | 0:54:49 | 0:54:54 | |
Everybody keeps getting that wrong. | 0:54:54 | 0:54:55 | |
# ..Are we in love...? # | 0:54:58 | 0:55:00 | |
I don't know, it gets confusing | 0:55:00 | 0:55:02 | |
when you're trying to figure out who replaced who. | 0:55:02 | 0:55:05 | |
# ..Is this my beginning...? # | 0:55:05 | 0:55:07 | |
If they're not sure who joined when, how are we supposed to keep up? | 0:55:07 | 0:55:12 | |
And what of the Sugababes? | 0:55:14 | 0:55:16 | |
Still chalking up hits after 11 years. | 0:55:16 | 0:55:20 | |
Total members across the band's history, six. | 0:55:20 | 0:55:23 | |
Original members still in the band now, zero. | 0:55:23 | 0:55:26 | |
I think that's what's helped the band last so long, | 0:55:26 | 0:55:29 | |
-because it's just a new personality, a new voice coming in. -Yeah. | 0:55:29 | 0:55:35 | |
# Round, round, baby Round, round | 0:55:35 | 0:55:38 | |
# Spinning out on me | 0:55:38 | 0:55:40 | |
# I don't need no man | 0:55:40 | 0:55:41 | |
# Got my kicks for free... # | 0:55:41 | 0:55:43 | |
Whoever wants to continue singing, you know, | 0:55:43 | 0:55:46 | |
under the name Sugababes, if it makes you happy, why not? | 0:55:46 | 0:55:49 | |
I've been in the group for ten years. Mel's been in it for six. | 0:55:52 | 0:55:55 | |
Jade's been in it for two, so we've been that history of making, | 0:55:55 | 0:55:59 | |
you know, building that name. | 0:55:59 | 0:56:01 | |
I would prefer to remember it from when we first started | 0:56:01 | 0:56:05 | |
going in and busting our butts to make a record, | 0:56:05 | 0:56:10 | |
and that, to me... Whenever I see Mutya, whenever we sing together, | 0:56:10 | 0:56:14 | |
whenever I hear our voices together, | 0:56:14 | 0:56:16 | |
and with Siobhan's as well, that's when I feel like a Sugababe. | 0:56:16 | 0:56:20 | |
You don't think I'm sounding bitchy, do you? | 0:56:23 | 0:56:25 | |
# Train comes I don't know its destination... # | 0:56:25 | 0:56:32 | |
So what should we make of the Sugababes regenerating again | 0:56:32 | 0:56:35 | |
and again, like pop Time Lords? | 0:56:35 | 0:56:36 | |
A cynical ploy dreamed up by marketing men? | 0:56:36 | 0:56:39 | |
Or is it actually proof that the girl group dream is | 0:56:39 | 0:56:42 | |
so powerful that we just don't want it to die? | 0:56:42 | 0:56:45 | |
Even when the dream has lain dormant for decades, | 0:56:50 | 0:56:53 | |
sisters have reunited to rekindle the spark. | 0:56:53 | 0:56:56 | |
We were all women of a certain age, and you think | 0:56:56 | 0:56:57 | |
it's never going to happen to us again, | 0:56:57 | 0:57:00 | |
and there we were as a girl group in 2009. | 0:57:00 | 0:57:02 | |
# I'm in the mood for dancing | 0:57:06 | 0:57:10 | |
# Romancing... # | 0:57:10 | 0:57:12 | |
We could see women of our age, who'd grown up with us as a girl band, | 0:57:12 | 0:57:16 | |
if you like, and they're crying, | 0:57:16 | 0:57:17 | |
and they've got their kids with them and it was just amazing. | 0:57:17 | 0:57:20 | |
Best thing ever. | 0:57:20 | 0:57:22 | |
# ..So come on and hold me tight... # | 0:57:22 | 0:57:23 | |
Even those who vowed never to return | 0:57:23 | 0:57:26 | |
will put it all behind them to live the dream once more. | 0:57:26 | 0:57:30 | |
So much water had, you know, passed under the bridge. | 0:57:30 | 0:57:33 | |
that I just thought, you know what, | 0:57:33 | 0:57:35 | |
when am I ever going to get the opportunity to do these things again? | 0:57:35 | 0:57:37 | |
So, I thought, let's just go for it. | 0:57:37 | 0:57:41 | |
Let's just do it. | 0:57:41 | 0:57:43 | |
# Slam me to the left... # | 0:57:43 | 0:57:45 | |
A Spice Girls reunion they said would never happen. | 0:57:45 | 0:57:48 | |
The generation spanning appeal of The Nolans, | 0:57:48 | 0:57:51 | |
and the apparent indestructibility of the Sugababes | 0:57:51 | 0:57:54 | |
are all proof that whatever a group's been through, | 0:57:54 | 0:57:58 | |
the feuds, the fatigue, and failed friendships, | 0:57:58 | 0:58:02 | |
however it's threatened by personal pressure, internal paranoia | 0:58:02 | 0:58:05 | |
and even old age, | 0:58:05 | 0:58:06 | |
somehow, the sisterhood and the dream emerge triumphant. | 0:58:06 | 0:58:11 | |
And that's Girl Power! | 0:58:11 | 0:58:13 | |
We put on a great show, we saw all our wonderful fans, | 0:58:13 | 0:58:15 | |
probably for the last time, and I've got great memories of those shows. | 0:58:15 | 0:58:21 | |
# ..If you're havin' a good time | 0:58:21 | 0:58:23 | |
# Shake it to the right... # | 0:58:23 | 0:58:25 | |
But by the end of it, we all wanted to kill each other. | 0:58:25 | 0:58:29 | |
Next time, it's all about the solo stars, | 0:58:31 | 0:58:34 | |
the men and women who go it alone, armed with a microphone, | 0:58:34 | 0:58:39 | |
some songs, and an unquenchable desire to be pop top dog. | 0:58:39 | 0:58:43 | |
I'm egotistical. I'm vain, and you have to be to be a pop star. | 0:58:43 | 0:58:47 | |
I found it terrifying. I couldn't look at audiences. | 0:58:47 | 0:58:50 | |
I couldn't begin to understand how this was happening to me. | 0:58:50 | 0:58:53 | |
Subtitles by Red Bee Media Ltd | 0:59:05 | 0:59:08 |