0:00:02 > 0:00:04SCREAMING AND CHEERING
0:00:04 > 0:00:08Forget the boy bands standing there prettily in a row.
0:00:08 > 0:00:11Who needs girl groups and their synchronised swaying?
0:00:11 > 0:00:15Isn't pop in its purest form all about the solo star?
0:00:16 > 0:00:21Those objects of our obsession, fantasy and desire.
0:00:21 > 0:00:24Men and women who often don't need a surname
0:00:24 > 0:00:27but who always need to be seen and heard.
0:00:27 > 0:00:32I'm egotistical, I'm vain and you have to be vain to be a pop star.
0:00:32 > 0:00:36Ego is essential. I think to do anything, ego is essential.
0:00:36 > 0:00:39You can't really impose yourself on other people
0:00:39 > 0:00:43unless you think what you've got is worth offering.
0:00:45 > 0:00:48'Just amazing experience when you're on stage,
0:00:48 > 0:00:51'16,000 people going crazy, and even though the band's behind you,'
0:00:51 > 0:00:55you know they're not really there for the band, they've all come to see you.
0:00:55 > 0:00:57SCREAMING
0:00:57 > 0:01:01'All performers are needy. They're lying if they say they're not.'
0:01:01 > 0:01:04It's "love me", you know. It's Sally Field at the Oscars.
0:01:04 > 0:01:07You know, "You like me, you really like me!" It's that...
0:01:07 > 0:01:09That's what every performer wants, you know.
0:01:09 > 0:01:11# Talk about pop music
0:01:11 > 0:01:13# Talk about pop music
0:01:13 > 0:01:16- # Shoobie-doobie do-wop - # It's all around you
0:01:16 > 0:01:18- # Pop-pop shoo-wop - # I wanna surround you
0:01:18 > 0:01:20- # Shoobie-doobie do-wop - # It's all around you
0:01:20 > 0:01:23- # Pop-pop shoo-wop - # Hey!
0:01:23 > 0:01:25# New York, London, Paris, Munich
0:01:25 > 0:01:27# Everybody talk about pop music! #
0:01:27 > 0:01:29SCREAMING
0:01:29 > 0:01:32MUSIC: "I Can't Get You Out Of My Head" by Kylie Minogue
0:01:32 > 0:01:37This time it's all about the men and women who go it alone armed with just a microphone,
0:01:37 > 0:01:41some songs and an unquenchable desire to be pop top dog.
0:01:44 > 0:01:48Their fans may scream and swoon but that's not enough for pop's leading lights.
0:01:48 > 0:01:51You know it's new number one time now...
0:01:51 > 0:01:52OK, he's number one again!
0:01:52 > 0:01:55Still at number one for the third week running,
0:01:55 > 0:01:59it's Cliff and We Don't Talk Any More.
0:01:59 > 0:02:02For many, a career in pop is a constant unashamed search
0:02:02 > 0:02:05for concrete proof that they are the best loved,
0:02:05 > 0:02:08the most listened to, in short, the number one.
0:02:08 > 0:02:13# Used to think that life was sweet
0:02:13 > 0:02:17# Used to think we were so complete
0:02:17 > 0:02:23# I can't believe you'd throw it away... #
0:02:23 > 0:02:27'If you make records, the only reason is to be number one. That's what you aim at.'
0:02:27 > 0:02:30I've never heard of anybody that's made a record that's thinking,
0:02:30 > 0:02:34"I just want to get to number 30." It's a waste of time, don't do it!
0:02:36 > 0:02:39If you have a number seven, you're kind of on the periphery
0:02:39 > 0:02:42and kind of like, "Who's that? Hmm. Whatever."
0:02:42 > 0:02:44If you have a number one, it's just different.
0:02:44 > 0:02:48You become...the double-page spread in The Sun, you see.
0:02:48 > 0:02:53'My first single that I put out in the UK went to number 87.'
0:02:53 > 0:02:56And that didn't feel so good! Didn't feel very good at all!
0:02:56 > 0:03:00It was only my second single that went, you know, much higher,
0:03:00 > 0:03:02went to number one but you know, 87 sucked!
0:03:02 > 0:03:08'I know I'm achieving. When you're number one in the charts, no-one can actually tell you anything.'
0:03:08 > 0:03:11At that time, you're dominating things right now,
0:03:11 > 0:03:15and three in a row, your album, come on.
0:03:15 > 0:03:18# Cos, baby, it's you... #
0:03:18 > 0:03:21So where does it comes from,
0:03:21 > 0:03:23this brazen desire to be the centre of attention?
0:03:23 > 0:03:29To be feted as something special. To be a bigger big noise than all the other big noises.
0:03:29 > 0:03:31Is it something a pop star picks up on the job
0:03:31 > 0:03:35or is this craving for attention a trait they are born with?
0:03:35 > 0:03:37Pay attention, everyone, please.
0:03:37 > 0:03:38# We are young
0:03:38 > 0:03:40# We run green
0:03:40 > 0:03:43# Keep our teeth nice and clean... #
0:03:43 > 0:03:46And from a young age, I'd say about six.
0:03:46 > 0:03:51Five or six is when I knew what I wanted to do was sing and perform.
0:03:53 > 0:03:55'I remember a talent show in the community centre'
0:03:55 > 0:03:58when I was very young and me and my friend,
0:03:58 > 0:04:01we did body-popping or breakdancing and it was terrible.
0:04:01 > 0:04:06I did a lot of that. I was always chancing my arm, trying to get myself out there.
0:04:09 > 0:04:13I was always a bit of a show-off. I did like to be the centre of attention.
0:04:13 > 0:04:16I was in the Carp Drama Group in Ipswich.
0:04:16 > 0:04:18They're still talking about my Tweedledum.
0:04:21 > 0:04:24I got the bug to perform the very, very, very first time
0:04:24 > 0:04:28I heard a Michael Jackson track.
0:04:28 > 0:04:33I knew that moment at six years old that I was going to be on stage.
0:04:33 > 0:04:36MUSIC: "Smooth Criminal" by Michael Jackson
0:04:36 > 0:04:40But it's not just born show-offs that are lured to the limelight.
0:04:40 > 0:04:44The need to be the centre of attention can stem from something deeper.
0:04:44 > 0:04:47I wasn't academically as bright as some of the other boys.
0:04:47 > 0:04:49Self-esteem was low.
0:04:49 > 0:04:52Soon as I got a ukulele in my hand,
0:04:52 > 0:04:55and soon as I started singing to people, I felt good.
0:04:55 > 0:04:59# She ran underneath the table You could see she was unable... #
0:04:59 > 0:05:03My mum and dad divorced when I was very young and that had quite an effect on me in terms of,
0:05:03 > 0:05:07"Where am I going to get the attention from?" Who and how and the rest of it.
0:05:07 > 0:05:09And I think that kind of...
0:05:09 > 0:05:12blossomed into being an egomaniac wanting to be on a stage.
0:05:12 > 0:05:15# By the look in your eye... #
0:05:15 > 0:05:20And for some, being centre-stage is about proving something.
0:05:20 > 0:05:23'I was shy because I had a stutter'
0:05:23 > 0:05:27that was so bad I used to have time off of junior school
0:05:27 > 0:05:28to go to therapy.
0:05:28 > 0:05:30# Don't you know that
0:05:30 > 0:05:33# I'm the type of man
0:05:33 > 0:05:38# Who is always on the roam... #
0:05:38 > 0:05:41'And I think part of me being a musician'
0:05:41 > 0:05:43was almost...
0:05:43 > 0:05:45"I've got to beat this."
0:05:45 > 0:05:50# That's my home... #
0:05:50 > 0:05:52'Instead of hiding away from it,'
0:05:52 > 0:05:55I'm going to get up on the stage and, erm...
0:05:56 > 0:06:00..and go, "Look at me," instead of hiding behind people...
0:06:00 > 0:06:03# Yeah, that's my home... #
0:06:03 > 0:06:04..to conquer that fear.
0:06:04 > 0:06:06APPLAUSE
0:06:08 > 0:06:12- What an actor, our Tommy. - Oh, they were all good!
0:06:12 > 0:06:15MUSIC: "Crazy In Love" by Beyonce
0:06:15 > 0:06:17But whatever might be driving their dream,
0:06:17 > 0:06:21in the pop pantheon, there is a definite pecking order
0:06:21 > 0:06:24and broadly speaking, you can divide pop stars into two categories.
0:06:24 > 0:06:28I think there's two types of pop stars. You have the generals...
0:06:30 > 0:06:32..Beyonce, Kylie.
0:06:32 > 0:06:36Often generals are female, interestingly enough.
0:06:36 > 0:06:38The people who seem to be in charge.
0:06:38 > 0:06:41And they know what they're about.
0:06:41 > 0:06:44# O-oh, o-oh, o-oh, oh-no-no
0:06:44 > 0:06:46# O-oh, o-oh, o-oh, oh-no-no... #
0:06:46 > 0:06:49And then there's kind of the footsoldiers...
0:06:51 > 0:06:53The sort of journeymen, perfectly nice.
0:06:53 > 0:06:57Give them a nice song, they'll sing it brilliantly. That's fabulous.
0:06:57 > 0:06:59MUSIC: "Sweet Dreams" by Eurythmics
0:06:59 > 0:07:03Not every pop star can be a Kylie or a Beyonce plotting their next moves
0:07:03 > 0:07:06with the ice-cool instincts of a chess grandmaster.
0:07:06 > 0:07:09Many humbler souls are content for someone else
0:07:09 > 0:07:13to drive their career trajectory towards the heights.
0:07:13 > 0:07:17Usually that means finding a man with a plan, a Brian Epstein,
0:07:17 > 0:07:21an Andrew Loog Oldham, a Larry Palms.
0:07:21 > 0:07:24A kind of surrogate father figure with the nous and experience
0:07:24 > 0:07:29to turn cute but raw talent into something that will sell.
0:07:29 > 0:07:32But that means a grooming process,
0:07:32 > 0:07:35the smoothing of rough edges. Accentuation of good points,
0:07:35 > 0:07:37air-brushing of bad ones.
0:07:38 > 0:07:43And behind the scenes driving it all are these arch manipulators,
0:07:43 > 0:07:46creating and controlling their product,
0:07:46 > 0:07:49turning pop pipe dreams into reality.
0:07:50 > 0:07:54Nowadays, we see the star-making process,
0:07:54 > 0:07:57played out for our entertainment on prime-time TV.
0:07:57 > 0:08:01Fantastic! You are a big, big star!
0:08:01 > 0:08:03# Bend me, shake me
0:08:03 > 0:08:05# Anyway you want me
0:08:05 > 0:08:09# You got the power to turn on the light... #
0:08:09 > 0:08:11Morning, PWL?
0:08:11 > 0:08:15But the pop puppet-masters were once far more elusive figures,
0:08:15 > 0:08:20going about their business squirreled away in self-styled hit factories.
0:08:20 > 0:08:23Like this '80s hit-making trio in day-glo day-wear,
0:08:23 > 0:08:27whose public face was an outspoken ex-DJ from the Midlands
0:08:27 > 0:08:30with a pragmatic pop philosophy.
0:08:30 > 0:08:32Pop music is manufactured.
0:08:32 > 0:08:35It's manufactured by people that make money from it.
0:08:35 > 0:08:38Whether it be Frank Sinatra,
0:08:38 > 0:08:40whether it be Led Zeppelin,
0:08:40 > 0:08:43whether it be the Beatles or anybody,
0:08:43 > 0:08:46somebody has to market it and put it together.
0:08:46 > 0:08:50Nobody walks into a record company with a guitar and says,
0:08:50 > 0:08:53"Here, cop this, give us a million pounds!"
0:08:53 > 0:08:55Sorry, it don't work like that!
0:08:55 > 0:08:58Somebody's got to say, "Hey, play me that song again. Good little song, that.
0:08:58 > 0:09:00"Nip in here, just sign this contract,
0:09:00 > 0:09:04"put tight jeans on, get your hair cut.
0:09:07 > 0:09:10"Let's nip out and sell a few million records."
0:09:14 > 0:09:17One of Pete Waterman's first pop proteges didn't walk in off the street.
0:09:17 > 0:09:19He was already working there...
0:09:19 > 0:09:22as a tea boy.
0:09:22 > 0:09:24It was like a mini Motown, if you like.
0:09:24 > 0:09:27Unfortunately, without Marvin Gaye and Stevie Wonder and the rest!
0:09:27 > 0:09:31But the idea that, you know, they wrote, produced in-house,
0:09:31 > 0:09:34same people making those records day in, day out,
0:09:34 > 0:09:38it was a style, it was a thing, and we as the artist,
0:09:38 > 0:09:41I don't think we were artists, if I'm honest. I don't think we were.
0:09:43 > 0:09:45But when it came to making an actual record,
0:09:45 > 0:09:47sometimes they did it at lightning speed.
0:09:49 > 0:09:54Joining Rick on the production line was a blonde surfer boy off the telly
0:09:54 > 0:09:58whose wholesome Aussie charm made him perfect teen-idol material.
0:09:58 > 0:10:00Everybody thought they knew Jason Donovan.
0:10:00 > 0:10:03You watched him as you had your tea every day.
0:10:03 > 0:10:05I think the natural progression was, can you sing?
0:10:05 > 0:10:08Great, let's put out a song.
0:10:11 > 0:10:14You were literally booked into a studio in an afternoon.
0:10:14 > 0:10:17You would go in, late morning.
0:10:17 > 0:10:19They usually hadn't got the song together.
0:10:19 > 0:10:21There was some chord progressions.
0:10:23 > 0:10:25We're out of that key into another key.
0:10:25 > 0:10:27They would hum you the melody,
0:10:27 > 0:10:30give you some lyrics that they'd been working on,
0:10:30 > 0:10:32and literally you'd go in and do the chorus,
0:10:32 > 0:10:35then you'd probably go and wait in the room outside,
0:10:35 > 0:10:37and they would work on a verse.
0:10:37 > 0:10:40Come back in, 10 minutes later, and there's your song.
0:10:40 > 0:10:44# Too many broken hearts in the world
0:10:44 > 0:10:48# There's too many dreams can be broken in two... #
0:10:48 > 0:10:50It just was perfect, perfect.
0:10:51 > 0:10:54Teenage Jason Donovan, you know.
0:10:54 > 0:10:59Then they put him on a horse in the sunshine in Australia, with a guitar.
0:10:59 > 0:11:02It was like, ker-ching, thank you very much. All over.
0:11:04 > 0:11:07There's almost complete disregard for artistry, which I quite like.
0:11:07 > 0:11:10It's quite blatant, going, here's a singer, here's a song,
0:11:10 > 0:11:12sing it, clear off.
0:11:12 > 0:11:14And it's number one.
0:11:14 > 0:11:17# Too many broken hearts in the world. #
0:11:17 > 0:11:20Harnessing Jason's special kind of ordinariness worked a treat,
0:11:20 > 0:11:23and four UK number ones followed.
0:11:23 > 0:11:25The boy from Ramsey Street had become a young pop god,
0:11:25 > 0:11:28and the girls couldn't get enough of him.
0:11:29 > 0:11:34I think the funniest thing from a public thing was Rick Sky,
0:11:34 > 0:11:38who was the Daily Mirror entertainment show business correspondent,
0:11:38 > 0:11:41said, "Would you blow into this jar?",
0:11:41 > 0:11:44and we're talking air here of course.
0:11:47 > 0:11:48And he captured my breath.
0:11:50 > 0:11:52That was a sort of a competition to win my breath,
0:11:52 > 0:11:54and that went down huge.
0:11:56 > 0:12:00It's quite a smart idea, because you could just duplicate it,
0:12:00 > 0:12:03run around and get some air and put "Jason's Breath" on it,
0:12:03 > 0:12:04and away you go.
0:12:07 > 0:12:12OK, come and get it, it's Oh Boy!
0:12:14 > 0:12:19But Stock, Aitken and Waterman didn't invent the idea of the all-controlling Svengali.
0:12:19 > 0:12:21Rewind three decades to the end of the '50s,
0:12:21 > 0:12:24and British pop's Year Zero.
0:12:24 > 0:12:27Calling the pop shots then was Jack Good.
0:12:27 > 0:12:30A TV producer who mapped out the moves of the boy wonders
0:12:30 > 0:12:32on his Saturday night TV screen fest,
0:12:32 > 0:12:35with a forensic attention to detail.
0:12:36 > 0:12:38He moulded every one of us.
0:12:38 > 0:12:40He was like a director of a movie.
0:12:40 > 0:12:41He was a big help to me.
0:12:41 > 0:12:43He said, "Look, I want you on the show,
0:12:43 > 0:12:46"but you have to cut your sideburns off.
0:12:46 > 0:12:49"You've got to get rid of that guitar. You look a bit like Elvis,
0:12:49 > 0:12:51"and I don't think that's good.
0:12:51 > 0:12:53"Elvis is Elvis, you've got to be you."
0:12:53 > 0:12:56# Turn me loose
0:12:57 > 0:13:00# Turn me loose, I say
0:13:00 > 0:13:05# This is the first time I ever felt this way..."
0:13:05 > 0:13:08My natural performance was just to stand, and every now and then,
0:13:08 > 0:13:12try to be like Elvis, and go, "Uh-huh-huh."
0:13:12 > 0:13:15# So turn me loose. #
0:13:15 > 0:13:17On certain lines he would say,
0:13:17 > 0:13:20"When you sing this line, you're going to look up at the camera."
0:13:20 > 0:13:26# Turn me loose, turn me loose... #
0:13:26 > 0:13:29"OK, then you turn, turn round, and grab your arm like this."
0:13:32 > 0:13:34He kind of knew, better than I did really,
0:13:34 > 0:13:36what it was that would turn people on,
0:13:36 > 0:13:39and he was absolutely right,
0:13:39 > 0:13:42and I've been doing this for the rest of my life.
0:13:42 > 0:13:46Obediently carrying out a skilfully drawn up plan worked for Cliff,
0:13:46 > 0:13:49but can the desire to please go too far?
0:13:50 > 0:13:53When kids' TV was king,
0:13:53 > 0:13:57plugging a record often involved some prime time public humiliation.
0:13:59 > 0:14:03My record company will kill me. I've got my album here, my new single.
0:14:03 > 0:14:06- You look a lot younger on that. - Oh, shut up!
0:14:06 > 0:14:09This game is called "Pin the sting on the bee".
0:14:09 > 0:14:11Here comes the bee.
0:14:11 > 0:14:15I'm not playing this game! Forget it. I came here to promote my record.
0:14:15 > 0:14:18But is the price a pop star has to pay sometimes too much?
0:14:20 > 0:14:23The fantastic Gary Numan!
0:14:25 > 0:14:27Oh, God!
0:14:27 > 0:14:30If I could have dug a hole and put myself in it, I would have done it.
0:14:30 > 0:14:33I hated that. I was so glad when that side of it was finished.
0:14:33 > 0:14:36Which is the best football team?
0:14:36 > 0:14:39- My best what? - Football team.
0:14:39 > 0:14:42I don't like football really, but I used to go and see Chelsea.
0:14:42 > 0:14:43Oh...
0:14:43 > 0:14:46It was rubbish. Utterly rubbish.
0:14:48 > 0:14:51One of pop's officer class, Adam Ant,
0:14:51 > 0:14:56was a man with 20-20 career vision, and for him the maths were clear.
0:14:56 > 0:15:01If sacrificing dignity meant more records sold, that was a fair swap.
0:15:01 > 0:15:04If you wanted to sell a record and get in the charts,
0:15:04 > 0:15:07then you had to go on kids' shows.
0:15:07 > 0:15:11Thank you for coming in to see us. Oh no, the Flinger!
0:15:11 > 0:15:13This is terrible. It's supposed to be Christmas, goodwill to men.
0:15:13 > 0:15:16You can't do that to Adam!
0:15:16 > 0:15:19So I thought, well, don't have any snobbery about it,
0:15:19 > 0:15:23so I basically just went for broke.
0:15:23 > 0:15:25I've never met this chap before.
0:15:25 > 0:15:28This is Gordon. He's a great fan of yours. He has his plaster on.
0:15:28 > 0:15:30Yeah, I like Gordon, he's all right.
0:15:30 > 0:15:33He's one of the most interesting people I've met lately.
0:15:33 > 0:15:35- Oh, thanks a lot!- No, I'm sorry.
0:15:35 > 0:15:38No, we all know that. We all know where we stand, Adam.
0:15:38 > 0:15:42I remember putting on a chicken suit on the Big Breakfast back in the day.
0:15:42 > 0:15:45That was probably the most ridiculous thing I've ever done.
0:15:45 > 0:15:47It was pretty embarrassing!
0:15:51 > 0:15:53But whether a pop star is just following orders,
0:15:53 > 0:15:56or in control of their destiny,
0:15:56 > 0:16:00there won't be any TV invitations to dress like a chicken, or chat with a talking sock
0:16:00 > 0:16:04unless there is a fantastic song to perform at the end of it.
0:16:04 > 0:16:08But what makes a great pop song great?
0:16:08 > 0:16:13It's got to be really sexy, subversive, stylish and humorous.
0:16:13 > 0:16:15It has to be a little feisty.
0:16:15 > 0:16:18I think all big pop songs have a little sass with them.
0:16:18 > 0:16:22It needs to be able to be whistled by the window cleaner.
0:16:22 > 0:16:25You want something that makes a good ring tone.
0:16:27 > 0:16:29Hello?
0:16:31 > 0:16:34But if many aspects of a star's career can be plotted out
0:16:34 > 0:16:36with meticulous efficiency,
0:16:36 > 0:16:39what about the all-important song?
0:16:39 > 0:16:41Can that be manufactured to order?
0:16:41 > 0:16:45A good pop song has to have intro, verse, chorus, verse, chorus.
0:16:45 > 0:16:46Verse, pre-chorus, chorus.
0:16:46 > 0:16:48Verse, pre-chorus, chorus, chorus.
0:16:48 > 0:16:51Verse, bridge, chorus or verse, B section, whatever.
0:16:51 > 0:16:53Guitar solo, middle eight.
0:16:53 > 0:16:54A verse, a bridge.
0:16:54 > 0:16:56The bit that tells you the chorus is coming,
0:16:56 > 0:16:58gets you a little bit more excited.
0:16:58 > 0:17:01The verse is just as catchy as the chorus.
0:17:01 > 0:17:02You do it all again.
0:17:02 > 0:17:07And pretty much every popular song now is in that formula.
0:17:10 > 0:17:12Can it really be as simple as that?
0:17:12 > 0:17:16Or is there a kind of synergy that happens with a truly great pop song?
0:17:17 > 0:17:22A mysterious alchemy, creating something special and unquantifiable.
0:17:22 > 0:17:24THUNDER
0:17:24 > 0:17:28MUSIC: "Billie Jean" by Michael Jackson
0:17:28 > 0:17:31There's just something about the magic of three and a half minutes.
0:17:31 > 0:17:35MUSIC: "Can't Get You Out Of My Head" by Kylie Minogue
0:17:35 > 0:17:39It feels like someone is telling you what's wrong with your life or good about it,
0:17:39 > 0:17:42and so you get very close to it very quickly.
0:17:42 > 0:17:45MUSIC: "Baby One More Time" by Britney Spears
0:17:46 > 0:17:49You know where you are, what you've been thinking,
0:17:49 > 0:17:51there's an emotional journey.
0:17:51 > 0:17:53MUSIC: "Faith" by George Michael
0:17:53 > 0:17:56One song can actually shift or change
0:17:56 > 0:17:58the way somebody actually feels or thinks.
0:17:58 > 0:17:59That's incredible.
0:17:59 > 0:18:02MUSIC: "Millennium" by Robbie Williams
0:18:04 > 0:18:07When you get a good performance and a magical song,
0:18:07 > 0:18:09and you put them together,
0:18:09 > 0:18:12and you have something that did not exist before,
0:18:12 > 0:18:14it's absolutely magical.
0:18:14 > 0:18:18MUSIC: "Millennium" by Robbie Williams
0:18:23 > 0:18:25- Wasn't that a delightful tune?- Yes.
0:18:25 > 0:18:29I enjoyed it more than anything I've heard for a long time.
0:18:30 > 0:18:34Brilliant, catchy songs are a massive part of the story.
0:18:34 > 0:18:37But not the whole story.
0:18:37 > 0:18:39A great pop star doesn't just seduce the ear.
0:18:39 > 0:18:43MUSIC: "U Got The Look" by Prince
0:18:44 > 0:18:47Image is vital.
0:18:47 > 0:18:53You need decent songs, as well, but every pop icon has a look.
0:18:53 > 0:18:56It's the thing that marks you out and identifies you,
0:18:56 > 0:18:59it gives what you do an immediacy.
0:18:59 > 0:19:03MUSIC: "Physical (You're So)" by Adam & The Ants
0:19:03 > 0:19:06Getting the image right did the trick for Adam Ant,
0:19:06 > 0:19:10propelling him from also-ran punk footsoldier to global star.
0:19:11 > 0:19:14And it all stemmed from advice received from
0:19:14 > 0:19:16one of music's greatest svengalis.
0:19:16 > 0:19:17When I met Malcolm McLaren,
0:19:17 > 0:19:20he basically said, "This cult thing's fine,
0:19:20 > 0:19:22"but you look all right and you've got muscles.
0:19:22 > 0:19:25"Now get on with it, and it's got to be your face on the cover."
0:19:25 > 0:19:26That was a big help.
0:19:29 > 0:19:32With a new-found belief in the importance of image,
0:19:32 > 0:19:34like a punk ugly duckling,
0:19:34 > 0:19:37Adam set about turning himself into a pop swan.
0:19:37 > 0:19:40This was a star bursting with ideas.
0:19:40 > 0:19:42He had complete control of his image.
0:19:42 > 0:19:45He dictated it, he invented it.
0:19:45 > 0:19:50He basically brought in a kind of dress-up aesthetic.
0:19:50 > 0:19:53# Well I'm standing here looking at you... #
0:19:53 > 0:19:57Adam's first visual volley across the bows of the charts
0:19:57 > 0:19:59was the dragoon/Apache.
0:20:02 > 0:20:03I think when people saw me
0:20:03 > 0:20:06on Top Of The Pops with the stripe
0:20:06 > 0:20:09and all of the military costumes, they would have assumed that
0:20:09 > 0:20:12I just dreamt that up and put it on, and I didn't.
0:20:12 > 0:20:14# So try another flavour
0:20:14 > 0:20:16# Antmusic
0:20:17 > 0:20:19# Antmusic... #
0:20:19 > 0:20:22There's really the Apache war stripe,
0:20:22 > 0:20:25cos I was declaring war on everybody,
0:20:25 > 0:20:27cos I thought that everyone had been...
0:20:27 > 0:20:30I mean, they hated Adam and the Ants, everyone hated us.
0:20:30 > 0:20:32We couldn't get arrested. And we were good.
0:20:32 > 0:20:34# Stand and deliver! #
0:20:34 > 0:20:39New for spring 1981 came Adam's yodelling Dick Turpin.
0:20:42 > 0:20:45# I'm the dandy highwayman who you're too scared to mention
0:20:45 > 0:20:49# I spend my cash on looking flash and grabbing your attention... #
0:20:49 > 0:20:52It was a great example, I guess, of being able to market a pop star
0:20:52 > 0:20:56with just a few signifiers that everyone could copy and be part of.
0:20:56 > 0:20:57One, and...go.
0:20:57 > 0:20:59Money!
0:20:59 > 0:21:01Great.
0:21:01 > 0:21:04- Bit of a transformation from yesterday.- It is.
0:21:04 > 0:21:06Hard on the heels of the dandy highwayman
0:21:06 > 0:21:08came a flit into the world of the fairy tale,
0:21:08 > 0:21:11and a new image that came complete with its own dance.
0:21:11 > 0:21:141, 2, 3, 4,
0:21:14 > 0:21:175, 6, 7, 8...
0:21:17 > 0:21:22I wanted to come out with a dance craze called the Prince Charming.
0:21:22 > 0:21:23# Don't you ever
0:21:23 > 0:21:25# Don't you ever
0:21:25 > 0:21:26# Lower yourself... #
0:21:26 > 0:21:30I literally sat down and thought, "What haven't I done that I can do?
0:21:30 > 0:21:33"I wonder what they'll fall for next?"
0:21:33 > 0:21:36And they did.
0:21:36 > 0:21:37# Prince Charming
0:21:37 > 0:21:39# Prince Charming
0:21:39 > 0:21:42# Ridicule is nothing to be scared of
0:21:42 > 0:21:43# Prince Charming... #
0:21:43 > 0:21:46It's one of the great pop truths.
0:21:46 > 0:21:49Getting the image right can take a star to another level.
0:21:49 > 0:21:51Think of Bowie's red flash,
0:21:51 > 0:21:54Jackson's white glove,
0:21:54 > 0:21:56Kylie's hot pants.
0:21:56 > 0:22:00But these days, finding the defining look needn't be about dressing up.
0:22:00 > 0:22:04On the day of the video shoot they styled me, and I said,
0:22:04 > 0:22:07"Can I take my shirt off for one of the shots?"
0:22:07 > 0:22:10"Well, it doesn't really, it's not really the kind of thing that we do,
0:22:10 > 0:22:12"but, you know, whatever."
0:22:12 > 0:22:13I said, "Please?"
0:22:13 > 0:22:15# Girl, when I look at you
0:22:15 > 0:22:18# Oh, I fall in love... #
0:22:18 > 0:22:20"We didn't know you worked out."
0:22:20 > 0:22:22I was like, "Yeah. I want to do
0:22:22 > 0:22:25"what Jean Claude Van Damme does, but do it in music."
0:22:25 > 0:22:29# Oh-h-h, mysterious girl... #
0:22:29 > 0:22:31I had abs to die for at that time!
0:22:31 > 0:22:33They're not like that now.
0:22:33 > 0:22:38But I had proper abs. And that was it, and that became my signature.
0:22:38 > 0:22:43# My love says the sweetest things
0:22:43 > 0:22:50# Everyone who knows him tells me that he brings me true loving... #
0:22:50 > 0:22:53For Dagenham diva Sandie Shaw,
0:22:53 > 0:22:55a pop star from perhaps a more innocent age,
0:22:55 > 0:22:59the visual gimmick was to expose another body part.
0:22:59 > 0:23:03In my first record session, I just naturally took my shoes off
0:23:03 > 0:23:06when I was singing, because that's what you do at home,
0:23:06 > 0:23:08and I felt comfortable like that.
0:23:08 > 0:23:10And somebody up there in the box listening said,
0:23:10 > 0:23:13"She sounds much better with her shoes off.
0:23:13 > 0:23:15"It's something to do with the carpet on the floor."
0:23:15 > 0:23:19So they encouraged me to continue singing like that.
0:23:19 > 0:23:21# How can you tell if somebody loves you?
0:23:21 > 0:23:23# How do you know they mean it? #
0:23:23 > 0:23:26And I can't see very well.
0:23:26 > 0:23:28When I started going on telly,
0:23:28 > 0:23:30I knew I'd fall off the end of the rostrum
0:23:30 > 0:23:33if I couldn't actually feel my way with my feet.
0:23:35 > 0:23:37And then other things built in on it.
0:23:37 > 0:23:40Like, Italians sort of called me the Barefoot Contessa,
0:23:40 > 0:23:45because it fitted into their image of sexy women in the kitchen,
0:23:45 > 0:23:48and also the Cinderella thing, you know,
0:23:48 > 0:23:50rags to riches and all that stuff.
0:23:50 > 0:23:53And it just captured people's thoughts.
0:23:59 > 0:24:05Sometimes elements of a star's image can arrive by happy accident.
0:24:05 > 0:24:08When Gary Numan crash-landed into the late '70s charts,
0:24:08 > 0:24:13this pallid, po-faced android seemed like a new kind of pop star,
0:24:13 > 0:24:16one whose image was adroitly fashioned as a response
0:24:16 > 0:24:18to late 20th century alienation,
0:24:18 > 0:24:22reflecting the blank despair of post-industrial Britain.
0:24:22 > 0:24:23Well, actually, no.
0:24:25 > 0:24:29The make-up thing was a little bit of my bad skin at the time,
0:24:29 > 0:24:31so when I did TV for the first time,
0:24:31 > 0:24:34they put loads of panstick on it to cover it up.
0:24:34 > 0:24:37# Here in my car I feel safest of all
0:24:37 > 0:24:39# I can lock all my doors
0:24:39 > 0:24:41# It's the only way to live
0:24:41 > 0:24:43# In cars... #
0:24:43 > 0:24:47I thought, "That looks all right." But it made my eyes look pasty,
0:24:47 > 0:24:50so I put loads of eye make-up on as well to make them stand out.
0:24:50 > 0:24:54# It keeps me stable for days in cars... #
0:24:57 > 0:24:59The not-smiling thing, I didn't smile to start with,
0:24:59 > 0:25:01because I was conscious of my teeth.
0:25:01 > 0:25:04And you read reviews of your Top Of The Pops performance,
0:25:04 > 0:25:06and they're talking about this
0:25:06 > 0:25:08"non-smiling android" sort of person.
0:25:08 > 0:25:09You read this and you think,
0:25:09 > 0:25:13"Well, that's...it's working, in a way that I didn't expect it to."
0:25:14 > 0:25:18Even if Gary Numan may have stumbled on part of his look,
0:25:18 > 0:25:21he was a star who came to the pop table with a game plan
0:25:21 > 0:25:23for both music and image.
0:25:23 > 0:25:27But what happens when a likeable but less image-conscious
0:25:27 > 0:25:30pop foot soldier is left to his own devices, sartorially speaking?
0:25:32 > 0:25:34Hi, I'm Rick Astley. I've come to go on Top Of The Pops.
0:25:34 > 0:25:37I wish somebody had styled me. I wish they had, believe me.
0:25:37 > 0:25:40That was the other crazy thing - the day I found out
0:25:40 > 0:25:42I was going to be on Top Of The Pops -
0:25:42 > 0:25:45believe me, in my day, Top Of The Pops was it.
0:25:45 > 0:25:46You get this call saying,
0:25:46 > 0:25:49"You have to come back to London tomorrow.
0:25:49 > 0:25:51"They're shooting Top Of The Pops and you're on it."
0:25:51 > 0:25:55I'm like, "Surely this doesn't happen like this.
0:25:55 > 0:25:58"Surely someone says, 'We're going to have a meeting.
0:25:58 > 0:26:00"'What's this fella going to wear on Top Of The Pops?
0:26:00 > 0:26:03"'How are we going to do it?'"
0:26:03 > 0:26:04and I'm going...
0:26:05 > 0:26:07"Right. Should I go to Manchester on the way down?
0:26:07 > 0:26:10"Cos at least I know some of the shops in Manchester."
0:26:12 > 0:26:13And that's what I did.
0:26:13 > 0:26:17I bought myself a jacket and went to Top Of The Pops.
0:26:17 > 0:26:20"Off you go, then, son. There's the mic.
0:26:20 > 0:26:22"You shuffle about like a good 'un."
0:26:22 > 0:26:23And that's what I did.
0:26:23 > 0:26:25# Never going to give you up
0:26:25 > 0:26:28# Never going to let you down
0:26:28 > 0:26:32# Never going to run around and desert you... #
0:26:32 > 0:26:34Inadvertent it may have been,
0:26:34 > 0:26:37but Rick Astley's anti-image image worked.
0:26:37 > 0:26:39He topped the charts in 25 countries
0:26:39 > 0:26:42and even made it big in America,
0:26:42 > 0:26:45which makes him walking proof in an off-the-peg blazer
0:26:45 > 0:26:48that chart-topping popstars don't have to be
0:26:48 > 0:26:51otherworldly beings beamed down from Planet Weirdo.
0:26:51 > 0:26:54Sometimes, the boy next door can win the spoils.
0:26:54 > 0:26:56He seemed so sweet and, yeah,
0:26:56 > 0:26:59a little bit, sort of, rubbishly dressed.
0:26:59 > 0:27:01He obviously didn't have a stylist,
0:27:01 > 0:27:05and looked like he picked his own clothes out, and everyone thought,
0:27:05 > 0:27:07"Oh, I'd like to pick your clothes out for you, Rick.
0:27:07 > 0:27:09"I'll take you shopping. And then for tea,
0:27:09 > 0:27:11"and then see where it leads after that!"
0:27:11 > 0:27:14Rick followed his instincts
0:27:14 > 0:27:17without an army of stylists with mood boards and meetings.
0:27:17 > 0:27:19Can you just wait a minute?
0:27:19 > 0:27:21There are special things for each of you.
0:27:21 > 0:27:25But long before The X Factor, some stars were happy to be
0:27:25 > 0:27:28a blank canvas for the ideas of others.
0:27:28 > 0:27:29The record company,
0:27:29 > 0:27:31because I was completely clueless,
0:27:31 > 0:27:35employ the services of a stylist, and you think,
0:27:35 > 0:27:39"OK, so this stylist must know what they're doing,
0:27:39 > 0:27:41"cos they're being paid huge quantities of money
0:27:41 > 0:27:44"by the record company. They know what they're doing,
0:27:44 > 0:27:47"therefore, I must look great!"
0:27:47 > 0:27:51# Wouldn't it be good to be in your shoes? #
0:27:51 > 0:27:55'In my fingerless gloves and ridiculous neck garment. You know?'
0:27:55 > 0:27:57I must look absolutely the business.
0:27:57 > 0:28:02# Wouldn't it be good if we could wish ourselves away? #
0:28:02 > 0:28:04'You're surrounded by people'
0:28:04 > 0:28:07who just think they know better about everything.
0:28:07 > 0:28:11# Wouldn't it be good to be on your side? #
0:28:11 > 0:28:16The image is in place, even if it is Luke Skywalker meets Albert Steptoe.
0:28:16 > 0:28:20The signature song has been written, and pop magic happens.
0:28:23 > 0:28:27A new star has been born and sits in state on top of the pop pile.
0:28:27 > 0:28:28But sometimes,
0:28:28 > 0:28:32that magical topping-the-charts moment doesn't quite happen
0:28:32 > 0:28:37the way it had done in the new star's dreams.
0:28:37 > 0:28:39When my record first went to number one,
0:28:39 > 0:28:42I was in a pub in Richmond.
0:28:43 > 0:28:46I had been told it was going to chart
0:28:46 > 0:28:49and I didn't really know where it was going to fall.
0:28:49 > 0:28:51So we went to the barmaid and we said,
0:28:51 > 0:28:53"Please could you turn on the radio?
0:28:53 > 0:28:58"I'm a musician and I've got a song and it's going to be on Radio 1
0:28:58 > 0:29:00"and I really need to hear what's going on.
0:29:00 > 0:29:01"Can you turn on the radio?"
0:29:01 > 0:29:02She was like, "No.
0:29:02 > 0:29:05"The clients in here don't like listening to the radio."
0:29:05 > 0:29:06I was like, "OK, fine."
0:29:06 > 0:29:10So a friend of mine managed to buy a radio.
0:29:10 > 0:29:13We plugged it in at our table and listened quietly.
0:29:13 > 0:29:14Finally it got to my song,
0:29:14 > 0:29:18and we turned it up, and we blasted it.
0:29:18 > 0:29:21And they'd said, "And this week's number one is Mika,
0:29:21 > 0:29:24"and it was with Grace Kelly, and here's the song."
0:29:24 > 0:29:26# I could be brown, I could be blue
0:29:26 > 0:29:28# I could be violet sky
0:29:28 > 0:29:30# I could be hurtful, I could be purple
0:29:30 > 0:29:32# I could be anything you like... #
0:29:32 > 0:29:34And we just started screaming like maniacs.
0:29:34 > 0:29:37Our beers went all over the floor. I jumped on the table.
0:29:37 > 0:29:39It was literally like something from a movie.
0:29:39 > 0:29:42# I could be brown, I could be blue
0:29:42 > 0:29:43# I could be violet sky
0:29:43 > 0:29:46# I could be hurtful, I could be purple
0:29:46 > 0:29:48# I could be anything you like
0:29:48 > 0:29:50# Gotta be green, gotta be mean
0:29:50 > 0:29:52# Gotta be everything more... #
0:29:52 > 0:29:55The barmaid walks up and she goes, "Right, you lot, out."
0:29:55 > 0:29:58We were chucked out within 30 seconds.
0:29:58 > 0:29:59Radio in hand.
0:30:00 > 0:30:03It was such an anti-climax.
0:30:04 > 0:30:06Humphrey, we're leaving.
0:30:06 > 0:30:07Ker-ching!
0:30:07 > 0:30:11Savouring that special moment can be harder than it looks...
0:30:11 > 0:30:15MUSIC: "Friends Are Electric" by Gary Numan
0:30:15 > 0:30:18..especially if a debut hit makes a lightning ascent to the top.
0:30:18 > 0:30:20'I done absolutely nothing',
0:30:20 > 0:30:22I had a tiny little label,
0:30:22 > 0:30:24then, within two weeks after that,
0:30:24 > 0:30:27two or three weeks, I was number one...everywhere.
0:30:27 > 0:30:29I used to describe it as such
0:30:29 > 0:30:32that if you were standing in the train station,
0:30:32 > 0:30:35waiting for your train to come through,
0:30:35 > 0:30:38and then this huge monster great express train comes through
0:30:38 > 0:30:42and you put your hand out and you grab it and you hang on...
0:30:42 > 0:30:45And you're whisked off and everything's a blur and frightening,
0:30:45 > 0:30:47scary, you got no idea what's going on,
0:30:47 > 0:30:50and you're on the outside and you can see in.
0:30:50 > 0:30:51You can see people walking about.
0:30:51 > 0:30:55You can't really get to them or touch them
0:30:55 > 0:30:57and you're just hanging on and hanging on
0:30:57 > 0:31:01and you know you're going to fall off and then you do...
0:31:01 > 0:31:04SCREAMING
0:31:04 > 0:31:07..you find yourself in the middle of nowhere.
0:31:07 > 0:31:09And it's been unbelievably exciting...
0:31:09 > 0:31:12and the most scary thing that's ever happened in your life.
0:31:16 > 0:31:19But reaching the top doesn't have to be so traumatic.
0:31:19 > 0:31:22For others, scaling the pop summit is the moment
0:31:22 > 0:31:25their life has been building towards.
0:31:25 > 0:31:28SCREAMING
0:31:37 > 0:31:39You're top of the charts. Everyone, you're the top, top.
0:31:39 > 0:31:43No-one can, you're looking down, from the top.
0:31:43 > 0:31:48The smile, on my face... It was, I tried to be cool.
0:31:50 > 0:31:53But this was like a Cheshire cat. I could not stop smiling.
0:31:53 > 0:31:55CHEERING AND APPLAUSE
0:31:58 > 0:32:00Having my first number one was probably up there
0:32:00 > 0:32:02in one of the great days of my life.
0:32:02 > 0:32:05Having not had a number one for 25, 30 years,
0:32:05 > 0:32:09I know how special that moment is now.
0:32:09 > 0:32:13It's great, sitting in the back of a cab and I can say, "Here's my number one album.
0:32:13 > 0:32:16"My number one song". It's great.
0:32:16 > 0:32:18THUNDER CLAP
0:32:19 > 0:32:25The combination of fabulous popstar and stupendous song is a heady mix,
0:32:25 > 0:32:27producing a kind of perfect storm.
0:32:29 > 0:32:32At its epicentre, the popstar, glowing from its core,
0:32:32 > 0:32:35cocooned in a special, magical world.
0:32:35 > 0:32:41# If you are what you say you are, a superstar...#
0:32:41 > 0:32:46'You have to not get too caught up in the hype of it'
0:32:46 > 0:32:50and believe too much in it, because what happens is that you think
0:32:50 > 0:32:53you're the hottest thing out there.
0:32:53 > 0:32:57The women being into you, definitely good for the ego. I'm not going to lie.
0:32:57 > 0:33:00It makes you feel like you're on the top of the world.
0:33:00 > 0:33:05'It was girls, girls and girls and I admit that', you know,
0:33:05 > 0:33:09back in the late '90s. I was terrible.
0:33:09 > 0:33:12Dad never wanted me to get in the industry,
0:33:12 > 0:33:17and Mum, they said, "It's very bad, it's sex, drugs and rock and roll."
0:33:17 > 0:33:21I said, "Dad, I don't like rock and roll and I don't like drugs."
0:33:21 > 0:33:23'You definitely lose your perspective',
0:33:23 > 0:33:27because you don't live a normal life, you never pay for anything.
0:33:27 > 0:33:30I've been in thousands of hotels all around the world,
0:33:30 > 0:33:34eaten in some of the best restaurants in the world and never even seen the bill.
0:33:34 > 0:33:38# And the sexy lady next to you, you come too...#
0:33:38 > 0:33:40The one thing being a popstar did give me was cash.
0:33:40 > 0:33:44And there is a currency with fame
0:33:44 > 0:33:48that allows you to walk through doors that... It's a club.
0:33:48 > 0:33:53The walk through doors that not many other people can walk through.
0:33:53 > 0:33:57When a megastar takes up residence in the exclusive popstar bubble,
0:33:57 > 0:34:00the rules that govern the rest of us no longer apply.
0:34:00 > 0:34:04And previously closed doors swing open.
0:34:04 > 0:34:07'I get a call from Kanye West and he says to me'
0:34:07 > 0:34:10that we're going to go and see some art.
0:34:12 > 0:34:17So I went and we get into this little van - me, him and one other guy
0:34:17 > 0:34:19and we go to the Southbank
0:34:19 > 0:34:22and we get into the back side of the Tate Modern.
0:34:22 > 0:34:26They had opened the Tate Modern for an extra hour
0:34:26 > 0:34:28for him to walk around.
0:34:28 > 0:34:33Me and one other person, just to look at some of the exhibitions.
0:34:33 > 0:34:37# We are not what you think we are
0:34:37 > 0:34:40# We are golden, we are golden... #
0:34:40 > 0:34:44This is like a joke. You get to see the Tate Modern on your own.
0:34:44 > 0:34:49And things like that, to me, are, are pretty amazing.
0:34:49 > 0:34:52# Does that make me crazy...? #
0:34:52 > 0:34:55But can the pampered popstar start to lose perspective,
0:34:55 > 0:34:59in a world without rules and where everything's free?
0:34:59 > 0:35:01# Does that make me crazy...? #
0:35:01 > 0:35:04In the rock'n'roll sphere, the traditional reaction is to
0:35:04 > 0:35:09go on a wrecking spree and forget the consequences.
0:35:09 > 0:35:12But in the pop world, the folks are a bit more polite.
0:35:12 > 0:35:16You've got a little vibe going on here, haven't you?! Right...
0:35:16 > 0:35:18If you're a rock star, you can let off steam
0:35:18 > 0:35:22by throwing tellies out of windows or going on drug binges -
0:35:22 > 0:35:25there's a lot of options open to you.
0:35:25 > 0:35:29Whereas for popstars, you just look like a toddler having a tantrum.
0:35:33 > 0:35:36They can't behave as rock stars, they can't do the things they do,
0:35:36 > 0:35:39and I think that frustrates them to a great degree.
0:35:39 > 0:35:42I used to do things like, I'd tear the curtains down in a hotel room.
0:35:45 > 0:35:48And I'd spend the rest of the night trying to put them back up.
0:35:50 > 0:35:54I've kicked the absolute shit out of my own luggage.
0:35:54 > 0:35:56BANGING
0:35:58 > 0:36:00I've kicked the shit out of it,
0:36:00 > 0:36:03at times when I've got into a hotel room...
0:36:06 > 0:36:09..rather than kick the hotel room, cos I'd have to pay for that.
0:36:14 > 0:36:17They've had the hit. They've enjoyed the perks.
0:36:17 > 0:36:20They've even done a little DIY on the way.
0:36:20 > 0:36:22But it's now that a terrifying beast awaits.
0:36:22 > 0:36:27It's time for a star to meet their public.
0:36:27 > 0:36:29An unpredictable and volatile horde,
0:36:29 > 0:36:32desperate to show its love of its new favourite by...
0:36:32 > 0:36:34SCREAMING
0:36:34 > 0:36:37..drowning them out completely.
0:36:38 > 0:36:42It was really unbelievable. I couldn't begin to
0:36:42 > 0:36:44understand how this was happening.
0:36:47 > 0:36:50I found it terrifying. To the point that I couldn't
0:36:50 > 0:36:53look at audiences in the eye.
0:36:55 > 0:36:59There were these people standing screaming at me, saying things like,
0:36:59 > 0:37:01"Will you marry me?"
0:37:01 > 0:37:04And I was offended, and I was like,
0:37:04 > 0:37:06"Why aren't these people sitting quietly
0:37:06 > 0:37:08"and listening to me?!"
0:37:09 > 0:37:13It could sometimes get in the way of what you were trying to achieve,
0:37:13 > 0:37:16cos you wanted to be heard!
0:37:16 > 0:37:19And they never heard you. Maybe it was a good thing, in a way.
0:37:21 > 0:37:23But a star can get used to the adulation.
0:37:23 > 0:37:25How are you feeling out there?!
0:37:25 > 0:37:28SCREAMING
0:37:28 > 0:37:32The more they scream, the more I think I'm just Mick Jagger on stage.
0:37:32 > 0:37:35I feel like wherever I point, lightning bolts
0:37:35 > 0:37:40are going to come out of my fingertips, and it's just... the greatest natural high.
0:37:40 > 0:37:42# Me with the floorshow, kickin' with your torso
0:37:42 > 0:37:45# Boys gettin' high and the girls even more so
0:37:45 > 0:37:49# Wave your hands if you're not with the man, can I kick it...? #
0:37:49 > 0:37:53There's part of you going, "What's the point, what's the point?"
0:37:53 > 0:37:55And there's another part of me going, "I must be...
0:37:55 > 0:37:58"I'm sex on legs. I must be really special,
0:37:58 > 0:38:01"cos all these young women are screaming at me."
0:38:01 > 0:38:07# ..can I get a witness, every girl, every man... #
0:38:07 > 0:38:10My fans still scream, but only once.
0:38:10 > 0:38:12You know, like when I come on, they go "Aaaagh!"
0:38:12 > 0:38:16Then I can make them scream if I do something that I know they'll like.
0:38:16 > 0:38:19# I don't wanna rock, DJ... #
0:38:19 > 0:38:21You grab your arm like this...
0:38:21 > 0:38:25I'm going to pretend I'm the most amazing sex god in the world
0:38:25 > 0:38:28by doing all these winks and little smiles, and they swoon for it,
0:38:28 > 0:38:29they go absolutely crazy for it.
0:38:29 > 0:38:32SCREAMING
0:38:32 > 0:38:34It was all about this...
0:38:39 > 0:38:41Teenage girls scream at popstars
0:38:41 > 0:38:44because it's hard to articulate what they're really thinking -
0:38:44 > 0:38:47"I really want to have sex with you, but I don't quite know what sex is
0:38:47 > 0:38:50"and it's a bit scary and dangerous, so..."
0:38:50 > 0:38:53SCREAMING
0:38:53 > 0:38:56# Pussycat, pussycat, I've got flowers... #
0:38:56 > 0:39:01It's not just compliments, marriage proposals and decibels.
0:39:01 > 0:39:04Pop audiences want to show their love in other ways...
0:39:06 > 0:39:10Ever since I saw them throwing knickers on Tom Jones's stage,
0:39:10 > 0:39:13I realised that when it happened to me for the first time
0:39:13 > 0:39:15that was another sign I'd made it.
0:39:15 > 0:39:18First pair of knickers came up on stage, I thought,
0:39:18 > 0:39:20"OK. Now I know what's going on."
0:39:20 > 0:39:25I made the mistake early on, I used to get interviewed by Smash Hits -
0:39:25 > 0:39:29"What's your favourite colour, what's your favourite this..."
0:39:29 > 0:39:32and at one point I made the mistake of saying I liked rhubarb yoghurt,
0:39:32 > 0:39:34and Marmite.
0:39:34 > 0:39:36The rhubarb yoghurt wasn't so bad - it made a bit of a mess
0:39:36 > 0:39:38when it hit you...
0:39:40 > 0:39:45But the Marmite, which came in the jar, that was just dangerous.
0:39:45 > 0:39:49The odd bras, the odd pants, Y-fronts...
0:39:49 > 0:39:53You know. Chupa Chups, that was the weirdest one.
0:39:53 > 0:39:56I did a festival once, and people threw Chupa Chups.
0:39:56 > 0:39:59I think that was maybe just because they didn't like the performance!
0:40:05 > 0:40:07When fan love reaches such an intense pitch
0:40:07 > 0:40:10that it takes groceries to express it fully,
0:40:10 > 0:40:15a timeless truth becomes clear. A popstar can run,
0:40:15 > 0:40:17but they can't hide.
0:40:21 > 0:40:24Once the fans are on the rampage...
0:40:24 > 0:40:29it's like an unstoppable force of nature.
0:40:29 > 0:40:33It takes a steely nerve to meet them head on.
0:40:33 > 0:40:36It might be a signing session, or a simple stroll down the street.
0:40:36 > 0:40:39But however it happens, one thing's for sure.
0:40:39 > 0:40:41The combination of popstar and fan
0:40:41 > 0:40:47produces a chemical reaction that can send a teenage nervous system into meltdown.
0:40:47 > 0:40:49What are you so upset about?
0:40:49 > 0:40:52I wanted to see him. They said he was coming round the back,
0:40:52 > 0:40:55I've been waiting for ages to see him.
0:40:58 > 0:41:01- Why are you so upset?- He's smashing!
0:41:04 > 0:41:08- Are you a Shayne Ward fan?- Yes. - What did you think of his performance tonight?- I loved it.
0:41:08 > 0:41:10- What was good about it? - Everything!
0:41:10 > 0:41:12- What do you like about him? - His looks...
0:41:12 > 0:41:16I came out of the arena with my tour manager, and I always used to sign the autographs.
0:41:16 > 0:41:18I saw a little group of girls crying and...
0:41:18 > 0:41:21I mean, obviously they were behind a fence,
0:41:21 > 0:41:23just in case they ate me alive...
0:41:25 > 0:41:29A touch of the hand, a hug, a kiss... They were going hysterical.
0:41:29 > 0:41:33- I kissed him hand!- I kissed his hand! - I kissed his hand.
0:41:33 > 0:41:36I went, oh... Oh, he's lovely!
0:41:36 > 0:41:39SCREAMING
0:41:39 > 0:41:44CHANTING: We want David! We want David!
0:41:52 > 0:41:55When you meet someone one-on-one and they are an absolute fan...
0:41:55 > 0:41:59I have definitely found that in the past, especially when it was really bonkers.
0:41:59 > 0:42:01I found that really difficult.
0:42:01 > 0:42:04- Can I have a kiss before I go? - You certainly can.
0:42:06 > 0:42:09I'd kind of say to them, "Let's calm down. Let's have a cup of tea."
0:42:12 > 0:42:17He just sends you mad. He's so good-looking, it's not true.
0:42:19 > 0:42:22You get people that will faint... Or even wet themselves.
0:42:22 > 0:42:26Cos they love you so much. That you've never met.
0:42:26 > 0:42:30CHANTING: Paul Young! Paul Young!
0:42:30 > 0:42:33- We love Paul Young. - He has a good body.
0:42:33 > 0:42:37I'd gone from having no minders to one minder to two minders.
0:42:37 > 0:42:41And then the two minders were ex-SAS, because it was getting...
0:42:41 > 0:42:45it was quite difficult to get out of gigs and into hotels.
0:42:49 > 0:42:52It gets a bit scary when they lift up the car you're in.
0:42:53 > 0:42:56Two reasons - one, because they can get hurt,
0:42:56 > 0:42:58and secondly because it's terrifying.
0:42:58 > 0:43:02We couldn't go into shopping centres.
0:43:02 > 0:43:04WILL!
0:43:04 > 0:43:08We couldn't walk down high streets on the tour. I remember being stuck
0:43:08 > 0:43:13in the frozen food section of M&S. It was terribly uncomfortable.
0:43:15 > 0:43:19Having fans is great. It's fantastic.
0:43:19 > 0:43:22But what's it like when fantastic turns to fanatical?
0:43:27 > 0:43:29That hand touched Jason Donovan.
0:43:29 > 0:43:31I did have a Belgian woman once
0:43:31 > 0:43:35who I think stayed outside my house for about four years,
0:43:35 > 0:43:40and filmed me, every day, walking in and out of my house...
0:43:44 > 0:43:46When I first started off, I remember
0:43:46 > 0:43:48I'd be turning up at different hotels,
0:43:48 > 0:43:54but this woman would always turn up with her guitar - the whole straw hat kind of vibe,
0:43:54 > 0:43:57looked a little bit like a female version of Worzel Gummidge,
0:43:57 > 0:44:01and she'd just always be there sitting playing one of my songs.
0:44:02 > 0:44:05It was weird cos she never really spoke to me,
0:44:05 > 0:44:09she'd just be singing...and then she'd walk off with the guitar
0:44:09 > 0:44:11and I'd just be like, "This is really bizarre."
0:44:11 > 0:44:16I just did a show, and I went back to my bedroom in the hotel,
0:44:16 > 0:44:19and I went into the shower and I was getting ready,
0:44:19 > 0:44:23and I walk out of the shower and there's this guy kind of trembling
0:44:23 > 0:44:27on the bed, who worked in the hotel and he'd managed to get himself in.
0:44:27 > 0:44:31And he was obviously really high on crystal meth or something, and he was just out of control.
0:44:31 > 0:44:35The next day I'd be in Edinburgh or Glasgow for a show - who's there at the hotel?
0:44:36 > 0:44:40She'd just always be there, sitting playing one of my songs.
0:44:40 > 0:44:42# We were making love by Wednesday... #
0:44:42 > 0:44:45I'm like, "This is crazy."
0:44:45 > 0:44:50I'm in my towel, I run out of my hotel room into the hallway, and I run into the elevator.
0:44:50 > 0:44:53Of course - I run into the elevator, and he follows me in,
0:44:53 > 0:44:57so I've gone from being in the bedroom with this guy
0:44:57 > 0:45:00to being in the elevator in my towel and we're just looking at each other.
0:45:00 > 0:45:06As we're going down to the ground floor! How did I get myself into an even worse situation?!
0:45:06 > 0:45:08I burst into the lobby,
0:45:08 > 0:45:12and I'm frantically in this towel with this guy literally trying to
0:45:12 > 0:45:14hold on to me, but he's half foaming at the mouth.
0:45:14 > 0:45:18When it got really weird is when I went to Amsterdam and she turned up in Amsterdam,
0:45:18 > 0:45:21and was there at the hotel playing that little guitar.
0:45:21 > 0:45:24Like, "You know what? This is crazy."
0:45:24 > 0:45:28Then I think she got into Usher or someone else, I don't know.
0:45:28 > 0:45:30The best part of it was that they upgraded my room
0:45:30 > 0:45:32because it was the hotel's fault,
0:45:32 > 0:45:35and I didn't have to pay for a three-day stay!
0:45:38 > 0:45:41So I wish things like that would happen more often.
0:45:42 > 0:45:45But fans who love not wisely but too well
0:45:45 > 0:45:48can be the least of a pop star's problems.
0:45:51 > 0:45:54I've had people that come up and tell you they DON'T like you.
0:45:54 > 0:45:57I think just because they are...
0:45:57 > 0:45:59That's their personality, they're volatile,
0:45:59 > 0:46:03and they get a kick out of saying, "I think your records are crap."
0:46:04 > 0:46:07Of course you've got to have your fair share of people
0:46:07 > 0:46:10that don't like what you do. But a lot are just attention seekers
0:46:10 > 0:46:12who are jealous cos their girlfriend likes you.
0:46:14 > 0:46:19How many people can tell you that you're a wanker in one day? Quite a few, actually!
0:46:19 > 0:46:21In my experience. Quite a few.
0:46:21 > 0:46:22# Don't
0:46:22 > 0:46:24# Don't you want me...? #
0:46:25 > 0:46:27People just go at you, just with bats, with their words.
0:46:27 > 0:46:31Especially nowadays with Facebook and all the social network things.
0:46:31 > 0:46:34People can be very cruel,
0:46:34 > 0:46:37and I think that if you really love what you're doing, which I do,
0:46:37 > 0:46:42you've really got to be willing to sacrifice some of that, and really got to just be able to brush it off.
0:46:45 > 0:46:48If you say, for example, on Twitter,
0:46:48 > 0:46:50one thing that people don't like...
0:46:50 > 0:46:52I've woken up one morning
0:46:52 > 0:46:55and received 10,000 or 15,000 people
0:46:55 > 0:46:58telling you they hate you.
0:46:58 > 0:47:02That can... Sometimes when it's that full-on, you can be, like... SHE GASPS
0:47:02 > 0:47:07# Do you really want to hurt me...? #
0:47:07 > 0:47:12Thousands professing their hatred in the virtual universe is one thing.
0:47:12 > 0:47:15But that is nothing compared with what can happen in the real world
0:47:15 > 0:47:18when an anti-fan with a grudge gets a pop star in their sights...
0:47:18 > 0:47:20literally.
0:47:20 > 0:47:24I've had a couple of death threats this year.
0:47:24 > 0:47:27I didn't have any last year, I had another one the year before that.
0:47:27 > 0:47:29But that's an occupational hazard.
0:47:31 > 0:47:34I had somebody send me a live bullet in the post,
0:47:34 > 0:47:37when I did three nights at Wembley.
0:47:37 > 0:47:39I got this live bullet - which are not easy to get,
0:47:39 > 0:47:42so they obviously had access to this sort of thing.
0:47:42 > 0:47:44Saying, "I was going to shoot you at Wembley,
0:47:44 > 0:47:49"but I was enjoying myself so much I thought I'd do it another time"!
0:47:49 > 0:47:54Oh, fair enough, mate. Yeah. That makes sense to me. Why would you?
0:47:54 > 0:47:56And these people are out there, walking about.
0:47:56 > 0:47:58When all you've done is written a song
0:47:58 > 0:48:04that a few people liked. You think, where does that all come from?
0:48:05 > 0:48:09# So when you're near me, darling can't you hear me, SOS... #
0:48:11 > 0:48:15Part of what makes pop great is the way things never stay the same.
0:48:15 > 0:48:18The pop scene is transient. The audience fickle.
0:48:18 > 0:48:21And if a star falls foul of this changeable landscape,
0:48:21 > 0:48:25the slide down to ground level can be a painful one.
0:48:26 > 0:48:29Being a pop star's is like being a boxer.
0:48:29 > 0:48:32You've got to be able to take 10,000 punches in the face.
0:48:32 > 0:48:37And you're one hit away from complete success, or disaster.
0:48:37 > 0:48:41And because it's pop, people think, "Oh, light" - and it ain't.
0:48:41 > 0:48:45I think it's really important to have a thick skin when you're in the music industry
0:48:45 > 0:48:48because you're working with a lot of sharks,
0:48:48 > 0:48:50and you're working with a lot of ruthless people
0:48:50 > 0:48:54that will drop you like you're a penny. They won't care. It's a business.
0:48:54 > 0:48:58# When you're gone, how can I even try to go on...? #
0:48:58 > 0:49:01It's very fickle, it's very hard.
0:49:01 > 0:49:04I think like in any job, any industry, it can be very fickle.
0:49:04 > 0:49:08The minute you run into a sort of dip, which you have to,
0:49:08 > 0:49:11because any artist has dips, then the knives come out.
0:49:11 > 0:49:16Everyone's after you, they're waiting for you to make a mistake. Then suddenly the only way is down.
0:49:16 > 0:49:18MUSIC: "Bitter Sweet Symphony" by The Verve.
0:49:20 > 0:49:24He'd been Britain's biggest popstar in the early '80s.
0:49:24 > 0:49:26He'd gone on to have hits in America.
0:49:26 > 0:49:29But Adam Ant ended up on a pop road to nowhere,
0:49:29 > 0:49:33and life on the music business treadmill
0:49:33 > 0:49:35was threatening to destroy him.
0:49:37 > 0:49:41We had to produce one album, four singles, four videos,
0:49:41 > 0:49:43world tours in one year, every year.
0:49:44 > 0:49:47Now, that is a road to destruction.
0:49:47 > 0:49:53For an overstretched and exhausted Adam, something had to give.
0:49:55 > 0:50:00- REPORTER:- 'Police visited the 47-year-old's home in Primrose Hill on Monday evening
0:50:00 > 0:50:04'after receiving a call expressing concern for his welfare.
0:50:04 > 0:50:09'He was eventually found near Camden Lock and admitted to the Royal Free Hospital.'
0:50:09 > 0:50:12I had, like, 11 days off in five, six years.
0:50:12 > 0:50:15You know, I ended up in the lunatic asylum as a result of it,
0:50:15 > 0:50:21so my health and my family suffered cos I couldn't provide for them.
0:50:21 > 0:50:26When people who have this more sort of artistic, sensitive disposition
0:50:26 > 0:50:30are placed under a great deal of pressure to create,
0:50:30 > 0:50:33to come up with something better than they did last time,
0:50:33 > 0:50:36sometimes you do become quite damaged.
0:50:36 > 0:50:40- REPORTER:- Having been sectioned under the Mental Health Act and admitted to the Secure Alice Ward
0:50:40 > 0:50:45at the Royal Free Hospital, doctors are now entitled to detain Adam Ant
0:50:45 > 0:50:48for a total of 28 days whilst they assess his condition.
0:50:50 > 0:50:55For Adam Ant, the fall from grace was a dramatic, headline-grabbing affair.
0:50:55 > 0:51:00But more often, the demise of a pop career is painfully slow and drawn-out,
0:51:00 > 0:51:03and without so much as a by-line in the local rag.
0:51:03 > 0:51:07In '92, I was... I was...barren.
0:51:07 > 0:51:09I had no ideas. In a terrible state.
0:51:09 > 0:51:12I put out an album in '92 but it was rubbish, you know.
0:51:12 > 0:51:15I'll have to be honest. But it was all I had.
0:51:16 > 0:51:19'I thought I was dead and buried. Couldn't give it away,
0:51:19 > 0:51:22'couldn't give tickets away and nobody was interested.'
0:51:22 > 0:51:26I would've even welcomed some hostile press cos there wasn't any.
0:51:26 > 0:51:30When a once adored star starts craving a press hatchet job
0:51:30 > 0:51:34just to know someone's listening, the writing is on the wall.
0:51:34 > 0:51:36This is not going to end well.
0:51:36 > 0:51:41'When the career started to slide, I listened to advice, which is a kiss of death...'
0:51:41 > 0:51:44I stopped being obsessively arrogant and I started to think...
0:51:44 > 0:51:47All of my obsessive arrogance, I'm failing.
0:51:49 > 0:51:53'You only actually think about it when you're on the way down,
0:51:53 > 0:51:55'when nobody's buying your records.
0:51:55 > 0:52:00'You start looking back at the old records and think, "What was it about those records that people loved?"'
0:52:00 > 0:52:04And you start trying to change what you're doing at that moment,
0:52:04 > 0:52:08to sort of fit in with that, and that's a bad thing to do.
0:52:08 > 0:52:10MUSIC: "Vogue" by Madonna
0:52:10 > 0:52:14Very few among the mass popstar ranks will eke out
0:52:14 > 0:52:16a really long career.
0:52:17 > 0:52:21But there are some who seem to postpone the pop sell-by date
0:52:21 > 0:52:23indefinitely.
0:52:23 > 0:52:27# Look around Everywhere you turn is heartache
0:52:27 > 0:52:30# It's everywhere that you go... #
0:52:30 > 0:52:33The really successful, enduring popstars are the ones
0:52:33 > 0:52:38where you actually believe that they can reinvent themselves.
0:52:38 > 0:52:40There's this idea that the average pop life-span
0:52:40 > 0:52:42is like that of a fruit fly
0:52:42 > 0:52:45but actually, there is a way of making it work.
0:52:47 > 0:52:50# I know a place where you can get away... #
0:52:50 > 0:52:53Madonna is a great example.
0:52:53 > 0:52:58We've watched her evolve and different people connect to her at different times of her life.
0:52:58 > 0:53:03But SHE'S on a journey and you're kind of moving with her.
0:53:03 > 0:53:05# Hey, hey, hey, come on, vogue... #
0:53:05 > 0:53:07It's incredible to watch.
0:53:07 > 0:53:10# Let your body go with the flow... #
0:53:10 > 0:53:14'I think you have to be really clever in this business to change with the times'
0:53:14 > 0:53:18but you also have to be clever and find your style, find your sound,
0:53:18 > 0:53:20and grow, you know, and change.
0:53:20 > 0:53:26# I closed my eyes
0:53:26 > 0:53:29# Drew back the curtain... #
0:53:29 > 0:53:32But growth and change are tricky things to get right.
0:53:32 > 0:53:36Hit factory footsoldier Jason Donovan seemed to have carried off
0:53:36 > 0:53:38his own homespun kind of reinvention
0:53:38 > 0:53:42by swapping teen heart-throb status for musical theatre star.
0:53:42 > 0:53:44But Jason wanted more.
0:53:44 > 0:53:49'I was Joseph at The Palladium'
0:53:49 > 0:53:53on a huge wage with a big record, a hit show...
0:53:53 > 0:53:56# And the world was waking
0:53:56 > 0:53:59# Any dream will do... #
0:53:59 > 0:54:01..and I wanted to be Kurt Cobain from Nirvana.
0:54:01 > 0:54:04# With the lights out It's less dangerous
0:54:04 > 0:54:07# Here we are now
0:54:07 > 0:54:10# Entertain us... #
0:54:10 > 0:54:12I did. That's what I wanted to be.
0:54:12 > 0:54:15I looked at myself in a loincloth in the mirror and thought,
0:54:15 > 0:54:17"What the hell are you doing?"
0:54:17 > 0:54:21# A mulatto An albino
0:54:21 > 0:54:23# A mosquito... #
0:54:23 > 0:54:26The affable Aussie made a fatal mistake -
0:54:26 > 0:54:29to chase some rock 'n' roll cred,
0:54:29 > 0:54:33casting aside the loincloth in favour of some leather trousers...
0:54:33 > 0:54:35and an insatiable Coke habit.
0:54:35 > 0:54:38- NEWSREADER:- Donovan collapsed in this Bondi delicatessen.
0:54:38 > 0:54:44Witnesses called an ambulance, officers had to give him oxygen as he lay on the floor of the shop.
0:54:44 > 0:54:48Once stabilised, Donovan was taken to the Prince Of Wales Hospital.
0:54:51 > 0:54:53I thought that by being, you know,
0:54:53 > 0:54:56out of it and being cool and stuff was...
0:54:56 > 0:54:58That that would create another character
0:54:58 > 0:55:00that probably would have hits
0:55:00 > 0:55:03and I'd turn into Liam Gallagher from Oasis and off I'd go again
0:55:03 > 0:55:05and you know...
0:55:05 > 0:55:08Sitting in the back of an ambulance having collapsed from cocaine
0:55:08 > 0:55:14is a particular moment in my life I feel I'm not proud of.
0:55:19 > 0:55:20Pfff, that's life,
0:55:20 > 0:55:21you know?
0:55:23 > 0:55:26I'm through it and that's never going to happen again.
0:55:26 > 0:55:30MUSIC: "Stayin' Alive" by The Bee Gees
0:55:30 > 0:55:33Touching though individual stories might be, is this actually
0:55:33 > 0:55:36just the Darwinian reality of the pop world -
0:55:36 > 0:55:38that only the special few survive
0:55:38 > 0:55:40while the majority fall by the wayside?
0:55:40 > 0:55:45I think it's really hard to define when you stop becoming a popstar.
0:55:45 > 0:55:49We think of pop music and youth, you know, they kind of go hand-in-hand.
0:55:49 > 0:55:55At the age of 53, I wouldn't want to be considered a popstar.
0:55:55 > 0:55:58Ex-popstar, maybe. That's all right.
0:55:58 > 0:56:01You can't be an old popstar.
0:56:01 > 0:56:05I think that should be... written down somewhere.
0:56:05 > 0:56:07Probably IS written down somewhere!
0:56:07 > 0:56:09# Ha, ha, stayin' alive... #
0:56:09 > 0:56:12I think there's an age limit to being a popstar
0:56:12 > 0:56:14unless you're someone like Tom Jones.
0:56:14 > 0:56:16Tom Jones rocks it, man.
0:56:17 > 0:56:22Tom Jones is one of a select few to buck the pop law of the jungle.
0:56:22 > 0:56:25To defy chart extinction by sticking it out so long, that questions
0:56:25 > 0:56:28of being in and out of fashion are no longer the point.
0:56:28 > 0:56:32Well into his fifth decade, the boy from the valleys stopped being
0:56:32 > 0:56:36just a popstar and became a musical elder statesman.
0:56:36 > 0:56:37A pop icon.
0:56:39 > 0:56:43I think that when a pop performer reaches a certain age,
0:56:43 > 0:56:46they start gunning for icon status.
0:56:46 > 0:56:49They're like, "Right, where can I go? Icon now."
0:56:49 > 0:56:52And at some point in your career if you're around long enough,
0:56:52 > 0:56:56you become an icon and as an icon you just don't know, it's...
0:56:56 > 0:56:59The public take over. It's in their imagination
0:56:59 > 0:57:00and they've created you.
0:57:00 > 0:57:05# Don't let the sun go down on me, yeah... #
0:57:05 > 0:57:08Whether they are long players coolly remaining in command
0:57:08 > 0:57:12of their career until icon status is achieved,
0:57:12 > 0:57:18or three-minute wonders whose star illuminates the pop landscape intensely but briefly,
0:57:18 > 0:57:20whatever mistakes they may have made along the way,
0:57:20 > 0:57:23whatever they go on to do afterwards,
0:57:23 > 0:57:25they have served us well.
0:57:25 > 0:57:27# Oooohhhh
0:57:27 > 0:57:31# But losing everything
0:57:31 > 0:57:37# Is like the sun going down on me. #
0:57:37 > 0:57:41They see us as being some kind of form of escapism.
0:57:42 > 0:57:47But you've got to have those things, those sparkly things that make life worth living.
0:57:47 > 0:57:50# Don't let the sun... #
0:57:50 > 0:57:53They give their fantasies over to you
0:57:53 > 0:57:57and you play with them nicely and give them back.
0:57:57 > 0:58:00# It's always someone else I see... #
0:58:00 > 0:58:04I think a popstar is a hero or a heroine.
0:58:04 > 0:58:08You want to look like them, you want to sound like them
0:58:08 > 0:58:12and it's not a bad thing. You need heroes. I think you need heroes.
0:58:12 > 0:58:16They brighten our days, making the world a better place.
0:58:16 > 0:58:22So, to those who have served on the pop frontline, we salute you.
0:58:22 > 0:58:28# ..Is like the sun going down on me. #
0:58:33 > 0:58:41- # Don't let the sun go down on me - # Don't let the sun
0:58:41 > 0:58:47# Although I search myself It's always someone I see... #
0:58:47 > 0:58:52Subtitles by Red Bee Media Ltd