0:00:04 > 0:00:05Hello, and welcome to the Scout.
0:00:05 > 0:00:08A little later on, Mrs Thompson will be telling us
0:00:08 > 0:00:11about her holiday in Sardinia, but first, some music.
0:00:11 > 0:00:13MUSIC: Don't Go by Yazoo
0:00:13 > 0:00:171982, the year statement hair and the look-at-me generation
0:00:17 > 0:00:19took over Top Of The Pops...
0:00:21 > 0:00:23..while the show itself went into overdrive.
0:00:23 > 0:00:26Suddenly, you see this man's got the whole studio.
0:00:28 > 0:00:30If you watch it, it's just a live take,
0:00:30 > 0:00:32one shot, and I don't think that had been done before.
0:00:32 > 0:00:35The kids from Fame embraced the show...
0:00:35 > 0:00:38- ALL:- Hi to everyone on Top Of The Pops!
0:00:38 > 0:00:40..and inspired the cheerleaders.
0:00:41 > 0:00:44And a featured dancer walked on the moon.
0:00:44 > 0:00:47They didn't know if something was pulling me backwards,
0:00:47 > 0:00:50if I had oil on the floor or if I had wheels on my shoes.
0:00:50 > 0:00:52# Said he was a killer! #
0:00:52 > 0:00:55It was a golden year for new pop.
0:00:55 > 0:00:58Top Of The Pops crammed with transformation,
0:00:58 > 0:01:00conceptualisation
0:01:00 > 0:01:02and aspiration.
0:01:02 > 0:01:03# Don't go! #
0:01:03 > 0:01:06They were very dour, grey times back then.
0:01:06 > 0:01:09So, Thursday night, 7.30, blam, you know.
0:01:09 > 0:01:11And it was capped by the stunning debut
0:01:11 > 0:01:13of the biggest new icon of the decade.
0:01:13 > 0:01:14# Don't go! #
0:01:14 > 0:01:18I did hear stores and people having cups of tea literally dropping,
0:01:18 > 0:01:20going, "What is that?"
0:01:22 > 0:01:24# Can't stop now, don't you know?
0:01:24 > 0:01:26# I'm never going to let you go Don't go. #
0:01:29 > 0:01:31MUSIC: O Superman by Laurie Anderson
0:01:31 > 0:01:35The brave new world of '82 saw the launch of the first CD player
0:01:35 > 0:01:38and the first voice-activated remote control.
0:01:38 > 0:01:41- Channel.- OK.- Four!
0:01:42 > 0:01:46- Repeat.- Four!- OK.
0:01:46 > 0:01:48This year would also see the arrival of Channel 4
0:01:48 > 0:01:52and the first real rival to Top Of The Pops.
0:01:52 > 0:01:54Walk to your television set and turn it up.
0:01:54 > 0:01:57It's November 5th and we're going to do something now that's going to go
0:01:57 > 0:01:59in the annals of television history.
0:01:59 > 0:02:02But it was also the year Britain went to war...
0:02:03 > 0:02:06..8,000 miles away in the Falkland Islands.
0:02:09 > 0:02:14While at home, unemployment hit a shocking high of 3 million.
0:02:15 > 0:02:19There have been many voices in the past few weeks calling on us
0:02:19 > 0:02:23to spend our way back towards a higher level of employment.
0:02:23 > 0:02:27Mr President, that is not what this government was elected to do.
0:02:29 > 0:02:31And a household phrase
0:02:31 > 0:02:34and a heartbreaking drama of life on the dole gripped the nation.
0:02:36 > 0:02:41- Gizza' job. Go on, gizz' it, go ahead.- A job?- Yeah, gizz' it!
0:02:42 > 0:02:46And this was reflected at TV Centre, home of Top Of The Pops,
0:02:46 > 0:02:49by the writers of chart hits, including a Christmas song
0:02:49 > 0:02:52that became the first new number one of '82.
0:02:55 > 0:02:59# Run for the sun, little one
0:02:59 > 0:03:02# You're an outlaw once again
0:03:02 > 0:03:05# Time to change, Superman
0:03:05 > 0:03:09# Will be with us while he can
0:03:09 > 0:03:13# In the land of make believe
0:03:13 > 0:03:15# Run for the sun, little one... #
0:03:15 > 0:03:17Land Of Make Believe is a fairy story.
0:03:17 > 0:03:18It was written by a guy
0:03:18 > 0:03:20called Pete Sinfield.
0:03:20 > 0:03:22He used to be in a band called King Crimson.
0:03:22 > 0:03:28MUSIC: 21st Century Schizoid Man by King Crimson
0:03:28 > 0:03:31And I think he probably wrote it sitting on a cushion
0:03:31 > 0:03:34with a spliff in his hand, playing his guitar.
0:03:34 > 0:03:39# Blood rack, barbed wire
0:03:39 > 0:03:42# Politicians' funeral pyre... #
0:03:42 > 0:03:45I'd learned how to write weird songs.
0:03:45 > 0:03:46Now I had to write weird songs
0:03:46 > 0:03:49that were going to be bought by 12-year-olds.
0:03:51 > 0:03:53I was trying to write a Christmas song.
0:03:53 > 0:03:59But I wanted to suggest that spooky, scary side of Christmas.
0:03:59 > 0:04:05# Shadows tapping at your window
0:04:05 > 0:04:12# Ghostly voices whisper, "Will you come and play?" #
0:04:13 > 0:04:16It was just in the beginning of the Thatcher era.
0:04:16 > 0:04:18# Or the corn in Carolina... #
0:04:18 > 0:04:23There was a lot of greed in the air and it was quite an evil atmosphere.
0:04:23 > 0:04:25Toby!
0:04:25 > 0:04:27# They're running after, you babe
0:04:27 > 0:04:31# Run for the sun, little one
0:04:31 > 0:04:33# You're an outlaw once again
0:04:33 > 0:04:35# Time to change, Superman... #
0:04:35 > 0:04:38It's a magical song, it came at a magical time of year
0:04:38 > 0:04:40when every little boy and girl, you know,
0:04:40 > 0:04:42is looking forward to Christmas.
0:04:42 > 0:04:44# In the land of make believe. #
0:04:44 > 0:04:48But look at any good fairy story and there's always a dark side,
0:04:48 > 0:04:50there's always a wicked witch.
0:04:50 > 0:04:52There a few lines we're talking about Thatcher,
0:04:52 > 0:04:56I referred to it as there being something nasty in your garden
0:04:56 > 0:04:59waiting till it can have your heart.
0:04:59 > 0:05:06# Something nasty in your garden's waiting
0:05:06 > 0:05:12# Patiently, till it can have your heart... #
0:05:12 > 0:05:15I mean, actually that's a bit creepy, it's a bit scary.
0:05:15 > 0:05:20# Don't you know it's out to get you running?
0:05:20 > 0:05:22# Keep on running
0:05:23 > 0:05:26# They're running after you, babe
0:05:26 > 0:05:28# Run for the sun... #
0:05:28 > 0:05:32On Top Of The Pops, there was a sort of false bonhomie
0:05:32 > 0:05:34which went with the spookiness.
0:05:34 > 0:05:36Though everything else is jolly merry
0:05:36 > 0:05:40and you've got your tangerine in your Christmas stocking,
0:05:40 > 0:05:43there's something that gets you between the shoulders.
0:05:43 > 0:05:46I didn't see that.
0:05:46 > 0:05:50Perhaps because I look at everything through rose-coloured glasses
0:05:50 > 0:05:52and I just saw it as a fairy story.
0:05:55 > 0:05:57# Aha... #
0:05:57 > 0:05:58Hidden message or not...
0:05:58 > 0:05:59# Aha... #
0:05:59 > 0:06:02..one thing Bucks Fizz enjoyed in this year...
0:06:02 > 0:06:03# Aha... #
0:06:03 > 0:06:06..was a step up in the staging of Top Of The Pops.
0:06:07 > 0:06:09# Da, da, da
0:06:11 > 0:06:12# Da, da, da... #
0:06:12 > 0:06:14In the music business, the show was the golden ticket.
0:06:14 > 0:06:16# Da, da, da. #
0:06:16 > 0:06:18And ambitious producer Michael Hurll
0:06:18 > 0:06:20dialled into the competition
0:06:20 > 0:06:24amongst record pluggers to push standards of presentation.
0:06:24 > 0:06:27# You don't love me Da, da, da... #
0:06:27 > 0:06:30I would go in to Michael and suggest, "Look, I've got an idea."
0:06:30 > 0:06:32And I would do it very respectfully because obviously,
0:06:32 > 0:06:34he was the producer, he's the director.
0:06:34 > 0:06:37- Erm, Spandau. Available, right? - Yeah.
0:06:37 > 0:06:40- And that is a rehearsal tonight, correct?- Yes.
0:06:40 > 0:06:42Right, rehearsal tonight in the studio.
0:06:42 > 0:06:45Whether it be Madness, where I was going in and suggesting the car
0:06:45 > 0:06:49or let's build a house in the middle of the studio and what do you think?
0:06:49 > 0:06:53# Our house In the middle of our street
0:06:53 > 0:06:56# Our house In the middle of our
0:06:56 > 0:07:01# Our house Was a castle and our keep
0:07:01 > 0:07:04# Our house In the middle of our street
0:07:04 > 0:07:07# Our house... #
0:07:07 > 0:07:10These were ideas that I think were very useful coming from us
0:07:10 > 0:07:12because from Michael's point of view,
0:07:12 > 0:07:15they helped and he was able to say, "I like that, let's do it."
0:07:17 > 0:07:19Driving My Car with Madness was really interesting.
0:07:19 > 0:07:21It was one where we brought in the Morris Minor,
0:07:21 > 0:07:23the Maddie car, the Maddiemobile
0:07:23 > 0:07:25# I've been driving in my car
0:07:26 > 0:07:28# It's not quite a Jaguar
0:07:30 > 0:07:31# I bought it... #
0:07:31 > 0:07:33And there was a huge amount of issues
0:07:33 > 0:07:36because you can't bring a vehicle into a BBC studio that has fuel
0:07:36 > 0:07:38and you have to empty all the fuel and all that kind of stuff.
0:07:38 > 0:07:40# It was made in '59... #
0:07:41 > 0:07:43There was a skeleton behind it which the boys were
0:07:43 > 0:07:46using as kind of a xylophone or a percussive instrument.
0:07:46 > 0:07:49# It says Morris on the door The GPO owned it before
0:07:49 > 0:07:53# I drive in it for my job The governor calls me a slob. #
0:07:53 > 0:07:57I think it was very important creatively to kind of bring things
0:07:57 > 0:08:01and to gently nudge the BBC into allowing us
0:08:01 > 0:08:04to do things that looked visually much more exciting.
0:08:04 > 0:08:06Quite early on in 1982,
0:08:06 > 0:08:10Michael Hurll tried to create a circus atmosphere in the studio.
0:08:10 > 0:08:12MUSIC: Invitations by Shakatak
0:08:12 > 0:08:14And there were people on trapezes.
0:08:14 > 0:08:18There was this one girl hanging from her mouth from the trapeze.
0:08:18 > 0:08:20There was a merry-go-round.
0:08:20 > 0:08:24I mean, it was just extraordinary to have all this in Top Of The Pops.
0:08:24 > 0:08:27# And her fingers touch your hand below the lace... #
0:08:27 > 0:08:31And in May, the king of the pop video joined in
0:08:31 > 0:08:32at a Top Of The Pops
0:08:32 > 0:08:35that was becoming less about pretending to play
0:08:35 > 0:08:37and more about entertainment.
0:08:37 > 0:08:39Not so much mime as pantomime.
0:08:40 > 0:08:42I split the band up and I went solo.
0:08:42 > 0:08:46So, Goody Two Shoes was a very important critical record for me.
0:08:48 > 0:08:50I had a call from Michael Hurll saying,
0:08:50 > 0:08:52"Can we do something a bit different?
0:08:52 > 0:08:55"I'd like to try and open it up a little bit."
0:08:57 > 0:09:03I suggested, "Why don't we try and do a live video with the set?"
0:09:07 > 0:09:09I did some watercolours and I had a meeting with him.
0:09:09 > 0:09:11He just looked at it and he just said, "Yeah."
0:09:11 > 0:09:13# With the heartbreak open
0:09:13 > 0:09:16# So much you can't hide
0:09:16 > 0:09:18# Put on a little make-up, make-up
0:09:18 > 0:09:21# Make sure they get your good side, good side... #
0:09:21 > 0:09:22The first set was ancient Greece
0:09:22 > 0:09:26and girls in their kind of flowing robes.
0:09:26 > 0:09:28# Don't drink, don't smoke What do you do?
0:09:28 > 0:09:30# You don't drink, don't smoke... #
0:09:30 > 0:09:33And then to the Paris and the French maid.
0:09:33 > 0:09:35# There must be something inside
0:09:35 > 0:09:37# We don't follow fashion... #
0:09:37 > 0:09:40Suddenly you see this man's got the whole studio!
0:09:41 > 0:09:43# Don't drink, don't smoke What do you do? #
0:09:43 > 0:09:45He had freedom.
0:09:45 > 0:09:46# What do you do?
0:09:46 > 0:09:48# Subtle innuendos follow... #
0:09:48 > 0:09:51We went to Dick Turpin and the Puss in Boots road to London.
0:09:54 > 0:09:58And then all coming onto a circular stage at the end.
0:10:00 > 0:10:02# What do you do? You don't drink, don't smoke
0:10:02 > 0:10:04# What do you do?
0:10:04 > 0:10:06# Subtle innuendos follow
0:10:06 > 0:10:08# Must be something inside... #
0:10:08 > 0:10:10Definitely helped me get to number one.
0:10:10 > 0:10:12Because I was up against Madness with Our House on that one.
0:10:12 > 0:10:15# Subtle innuendos follow
0:10:15 > 0:10:17# Must be something inside. #
0:10:17 > 0:10:19If you watch it, it's just a live take,
0:10:19 > 0:10:22one shot, and I don't think that had been done before.
0:10:22 > 0:10:26MUSIC: Walking On Sunshine by Rockers Revenge
0:10:26 > 0:10:29In just three years, the circulation has overtaken
0:10:29 > 0:10:32all competition to become Britain's number one pop magazine.
0:10:32 > 0:10:362 million readers rely on the pen-chewing editorial team
0:10:36 > 0:10:37to come up with the goods.
0:10:39 > 0:10:42In the '80s, what was happening at Top Of The Pops was in sync
0:10:42 > 0:10:46with the dynamic use of the media by a new breed,
0:10:46 > 0:10:47as a self-aware new pop
0:10:47 > 0:10:50moved on from the old ways of the music press.
0:10:54 > 0:10:56Bands back then, obviously, they were very defined.
0:10:56 > 0:10:59Every band was like its own movie.
0:10:59 > 0:11:03When you look at Dexy's and The Human League and Duran Duran.
0:11:04 > 0:11:06The music scene was changing, definitely,
0:11:06 > 0:11:08and the way people wanted to present themselves was changing,
0:11:08 > 0:11:10and it was getting more and more glossy.
0:11:10 > 0:11:12The print technology was changing,
0:11:12 > 0:11:14so it went from the black inkies towards Record Mirror,
0:11:14 > 0:11:17towards Smash Hits, which was colour photography.
0:11:17 > 0:11:21And I mean, that affected how bands presented ourselves.
0:11:21 > 0:11:23There was a whole world of colour to play with.
0:11:23 > 0:11:24It was like that moment
0:11:24 > 0:11:26in The Wizard Of Oz when it kind of...
0:11:26 > 0:11:29One minute it's black and white, and then, boom, it's colour.
0:11:29 > 0:11:31# Walking on sunshine! #
0:11:31 > 0:11:35Smash Hits' cover picture was very bright, lots of eye contact.
0:11:35 > 0:11:38It was smiley, it was active, you know. It was kinetic.
0:11:39 > 0:11:43Whereas, you know, the NME's brand values at the time
0:11:43 > 0:11:47were detached, were serious, were furrowed brow.
0:11:47 > 0:11:49But after a while, the NME thought,
0:11:49 > 0:11:51"We can't compete with this. This is a new generation."
0:11:53 > 0:11:56We started to get a new emphasis on the look.
0:11:56 > 0:11:59And so, people tended to turn up
0:11:59 > 0:12:02with a new single or a new band with a new look.
0:12:02 > 0:12:05And so, it was very often represented by a picture
0:12:05 > 0:12:07before it was represented by a sound.
0:12:11 > 0:12:14And in spite of coming from Sheffield's streets,
0:12:14 > 0:12:17hit by massive closures and lay-offs,
0:12:17 > 0:12:20one group emerged from the city's earnest post-punk scene...
0:12:24 > 0:12:28..with the most self-aware and Technicolor concept of them all.
0:12:30 > 0:12:32In magazines,
0:12:32 > 0:12:33videos
0:12:33 > 0:12:36and on the floor of Top Of The Pops.
0:12:36 > 0:12:39Does appearing on Top Of The Pops
0:12:39 > 0:12:40affect your image in any way?
0:12:40 > 0:12:42It just means a lot more people get to know the group,
0:12:42 > 0:12:44and that's why we enjoy doing it so much.
0:12:44 > 0:12:47It's like introducing yourself personally to everybody,
0:12:47 > 0:12:49you know, through the television set.
0:12:49 > 0:12:51Top Of The Pops would always be taped on a Wednesday
0:12:51 > 0:12:53and it would go out Thursday.
0:12:53 > 0:12:56So Thursday, by about eight o'clock, you were famous, you know?
0:13:06 > 0:13:09Everybody had their own little visual shtick,
0:13:09 > 0:13:11so ours was definitely,
0:13:11 > 0:13:14even though we were walking down West Street signing on the dole,
0:13:14 > 0:13:18and like The Full Monty, we had aspirations of playing Las Vegas.
0:13:20 > 0:13:23# Who broke my heart? You did, you did... #
0:13:23 > 0:13:26For us, it was about building a whole separate universe,
0:13:26 > 0:13:28an imaginary world to live in.
0:13:28 > 0:13:31Because the real world was tough, yeah. It really was.
0:13:31 > 0:13:35# Shoot that poison arrow to my heart
0:13:35 > 0:13:37# Shoot that poison arrow
0:13:39 > 0:13:42# Shoot that poison arrow to my heart
0:13:42 > 0:13:45# Shoot that poison arrow. #
0:13:45 > 0:13:47I had a gold lame suit, which was kind of,
0:13:47 > 0:13:50walking around Sheffield in a gold lame suit was kind of dangerous.
0:13:50 > 0:13:53You'd walk in and the guys playing dominoes
0:13:53 > 0:13:56would kind of stand up and try and push you out the door.
0:13:58 > 0:14:00# Shoot that poison arrow. #
0:14:00 > 0:14:02With Poison Arrow, we were on Top Of The Pops.
0:14:02 > 0:14:04And we kind of came onto the show.
0:14:04 > 0:14:06We had the keyboards, the drums, the bass and the guitar.
0:14:08 > 0:14:11When we came to present The Look Of Love,
0:14:11 > 0:14:14we kind of wanted to play with the medium a bit, and we loved
0:14:14 > 0:14:18Smokey Robinson and The Miracles, the whole tradition of Motown.
0:14:19 > 0:14:20# Whoa, whoa, whoa!
0:14:20 > 0:14:24# When your world is full of strange arrangements
0:14:24 > 0:14:27# And gravity won't pull you through... #
0:14:28 > 0:14:31We decided to present it as I'm there singing,
0:14:31 > 0:14:35and there's David Palmer, Mark White, Stephen Singleton
0:14:35 > 0:14:37and they're doing the moves,
0:14:37 > 0:14:38you know, choreographed moves.
0:14:38 > 0:14:40That was probably one of the toughest
0:14:40 > 0:14:42TV performances we ever did, yeah.
0:14:42 > 0:14:44# You know it's true
0:14:44 > 0:14:46# All I mean now
0:14:46 > 0:14:49# There's one thing, yes, one thing
0:14:49 > 0:14:51# That turns this grey sky to blue... #
0:14:51 > 0:14:54On Top Of The Pops, it was like going into the ring.
0:14:54 > 0:14:57You know, you put your gloves on and you're in there with your chorus
0:14:57 > 0:14:59and your verse, battling it out.
0:15:01 > 0:15:05# That's the look, that's the look Hip, hip hooray!
0:15:05 > 0:15:09# That's the look, that's the look # Yippee yi-yay
0:15:09 > 0:15:11# That's the look, that's the look
0:15:11 > 0:15:14# Be lucky in love
0:15:14 > 0:15:16# Look of love! #
0:15:18 > 0:15:24Some of our enjoyment, fear and idiocy is in that performance,
0:15:24 > 0:15:28but I think it's what makes it very entertaining, even today.
0:15:28 > 0:15:32MUSIC: Only You by Yazoo
0:15:32 > 0:15:35But ABC shedding instruments on Top Of The Pops
0:15:35 > 0:15:37was part of another trend,
0:15:37 > 0:15:40towards a freedom of presentation and line-up.
0:15:41 > 0:15:46# Sometimes when I think of her name When it's only a game
0:15:47 > 0:15:50# And I need you
0:15:50 > 0:15:53# Listen to the words that you say
0:15:53 > 0:15:56# It's getting harder to stay
0:15:56 > 0:15:58# When I see you... #
0:15:58 > 0:16:01There certainly was a huge amount of duos coming through.
0:16:01 > 0:16:04I think Soft Cell, Blancmange that I was working with...
0:16:06 > 0:16:08..Yazoo that I was working with.
0:16:08 > 0:16:09# And all I ever knew... #
0:16:09 > 0:16:12And back in those days, we were using things like Fairlights
0:16:12 > 0:16:15and Synclaviers, which were cutting-edge technology
0:16:15 > 0:16:18and able to play huge amounts of sounds at one go.
0:16:21 > 0:16:25So, you don't need to deal with what is traditionally
0:16:25 > 0:16:27the most difficult to thing to deal with in pop music,
0:16:27 > 0:16:29which is the drummer.
0:16:29 > 0:16:35In terms of doing a performance, it was all focused on those two people.
0:16:36 > 0:16:39# All I needed was the love you gave
0:16:40 > 0:16:44# All I needed for another day
0:16:44 > 0:16:48# And all I ever knew
0:16:48 > 0:16:50# Only you. #
0:16:50 > 0:16:52Cos it wasn't getting kind of watered down
0:16:52 > 0:16:54by other members of a band.
0:16:54 > 0:16:56It was just focusing on two people for the whole
0:16:56 > 0:16:57two and a half minutes.
0:16:57 > 0:16:59That's kind of quite powerful.
0:17:05 > 0:17:07I think a lot of people were visually expecting to see
0:17:07 > 0:17:10a drummer, they were expecting to see a guitarist.
0:17:10 > 0:17:12And they found it quite strange just to see two people,
0:17:12 > 0:17:15one person playing a keyboard and one person singing.
0:17:15 > 0:17:19And I think what the duo did is kind of ask us to re-evaluate
0:17:19 > 0:17:22what it is we're hearing with what we're seeing.
0:17:22 > 0:17:24And actually think, "No, this is fine, this is cool,
0:17:24 > 0:17:25"this is really good."
0:17:26 > 0:17:28- KIDS:- Oh!
0:17:28 > 0:17:31And one teenager duo made their debut with
0:17:31 > 0:17:34a Home Counties take on New York rap.
0:17:34 > 0:17:37And a take-no-prisoners manifesto for success.
0:17:40 > 0:17:43I got a call to go do a session at a studio
0:17:43 > 0:17:46and work with this band called Wham!
0:17:49 > 0:17:53There was this kid called George Michael, he was 18 maybe.
0:17:53 > 0:17:55He was extraordinary.
0:17:55 > 0:18:02He was so focused, he knew exactly what he wanted from this record.
0:18:03 > 0:18:08I did all the BVs of, "What the hell's gotten into you?"
0:18:08 > 0:18:12All the, "Get back, hands off, go for it!"
0:18:12 > 0:18:15And "Young Guns," all that stuff with him.
0:18:15 > 0:18:17And then I had to do the rap.
0:18:17 > 0:18:19"Hey, tell this jerk to take a hike,
0:18:19 > 0:18:21"there's something about that boy I don't like."
0:18:21 > 0:18:25And then he couldn't find the last two lines and I was like,
0:18:25 > 0:18:28"Oh, my God, I've got to do a Pal dog food commercial next,"
0:18:28 > 0:18:30and I'd already been there five hours,
0:18:30 > 0:18:32I didn't want to be late for Pal.
0:18:32 > 0:18:35So, I helped him with the last two lines.
0:18:35 > 0:18:37"Shut up, chick, that's a friend of mine.
0:18:37 > 0:18:40"Watch your mouth, babe, you're out of line."
0:18:40 > 0:18:42Those two lines are straight out of Chicago.
0:18:44 > 0:18:48But this isn't just the story of a duo and one backing singer.
0:18:48 > 0:18:51In keeping with presenting more freely,
0:18:51 > 0:18:53you were who you pretended to be.
0:18:55 > 0:18:57At the time, I was still living at home with my mum
0:18:57 > 0:18:59in Stratford, East London.
0:18:59 > 0:19:00Was working as a singer
0:19:00 > 0:19:03and occasionally doing a sort of little office job.
0:19:05 > 0:19:08I met Wham! They're just like, "You interested in doing some
0:19:08 > 0:19:10"Top Of The Pops stuff?
0:19:10 > 0:19:13"And it's basically Andrew and I, Shirlie's his girlfriend
0:19:13 > 0:19:15"but we want two girls in the band.
0:19:15 > 0:19:17"So she's going to be one, we want somebody else
0:19:17 > 0:19:18"who looks cool, looks good."
0:19:18 > 0:19:21I thought, "Oh, thank you, thanks for thinking of me.
0:19:21 > 0:19:22"Yeah, you fit the bill."
0:19:22 > 0:19:25And they were trying to be very polite, then basically they're like,
0:19:25 > 0:19:28"Yes, we'd just like you to kind of mime over these things."
0:19:28 > 0:19:33I was like, "Oh, I can't do that, I can't be miming. I'm a singer.
0:19:33 > 0:19:37"OK then, if I don't sing on the track, I have to walk."
0:19:37 > 0:19:41"OK then, we'll put you on the track." And I recorded something.
0:19:41 > 0:19:43But I just got washed out.
0:19:44 > 0:19:48# Young guns, having some fun Crazy ladies keep 'em on the run
0:19:48 > 0:19:53# Wise guys realise there's danger in emotional ties
0:19:53 > 0:19:55# See me, single and free
0:19:55 > 0:19:57# No tears, no fears What I want to be
0:19:57 > 0:20:01# One, two, take a look at you Death by matrimony! #
0:20:03 > 0:20:05When we performed Young Guns, finally,
0:20:05 > 0:20:09when the audience were there, it was absolutely electric.
0:20:09 > 0:20:11Went down so well.
0:20:11 > 0:20:12# Hey, sucker! #
0:20:12 > 0:20:15If you watch that first ever performance by Wham!
0:20:15 > 0:20:17on Top Of The Pops, you can see
0:20:17 > 0:20:21George choreographing his friends as he went along.
0:20:21 > 0:20:24So, he's pulling Andrew out to the front, he's arranging the girls.
0:20:24 > 0:20:27As well as giving his own performance everything he's got.
0:20:27 > 0:20:30# A married man? You're out of your head
0:20:30 > 0:20:31# Sleepless nights on an HP bed
0:20:31 > 0:20:34# A daddy by the time you're 21... #
0:20:34 > 0:20:37George already knew he definitely wanted something
0:20:37 > 0:20:38a bit more flashier.
0:20:38 > 0:20:40You know, statement, statement hands, showbizzy.
0:20:40 > 0:20:42# ..the good old days
0:20:42 > 0:20:44# Well, this young gun says Caution pays! #
0:20:44 > 0:20:46You know, the pointing and the going around.
0:20:46 > 0:20:48# Young guns having some fun
0:20:48 > 0:20:50# Crazy ladies keep 'em on the run... #
0:20:50 > 0:20:52That's the sort of thing that looks really good on the TV.
0:20:52 > 0:20:54# There's danger in emotional ties... #
0:20:54 > 0:20:57The night that this was on Top Of The Pops,
0:20:57 > 0:21:00I was living above a dry cleaners.
0:21:00 > 0:21:05I was desperate, poor, scrubbing my floor.
0:21:05 > 0:21:10And I just remember the smell of Pine Flash coming up at me.
0:21:10 > 0:21:15And I look up, Top Of The Pops is on and there it was.
0:21:15 > 0:21:21My big voice coming out of little Shirlie's mouth.
0:21:21 > 0:21:23# Hey, tell this jerk to take a hike... #
0:21:23 > 0:21:25# There's something about that boy I don't like. #
0:21:25 > 0:21:27# Well, sugar, he don't mean the things he says
0:21:27 > 0:21:29# Get him out of my way cos I'm seeing red... #
0:21:29 > 0:21:31# We got plans to make We got things to buy. #
0:21:31 > 0:21:33These people can't talk like this!
0:21:33 > 0:21:36# Hey, shut up, chick That's a friend of mine
0:21:36 > 0:21:38# Just watch your mouth, babe You're out of line. #
0:21:38 > 0:21:40You know, that's how I talk. Not her!
0:21:40 > 0:21:44# Get back, hands off, go for it! Get back, hands off
0:21:44 > 0:21:48# Get back, hands off, go for it! Get back, hands off. #
0:21:48 > 0:21:52The whole thing is kind of funny, knowing that this was
0:21:52 > 0:21:57going to be a huge success and there was nothing I could do.
0:21:57 > 0:21:58# Young Guns, having some fun
0:21:58 > 0:22:01# Crazy ladies keep 'em on the run
0:22:01 > 0:22:05# Wise guys realise there's danger in emotional ties... #
0:22:05 > 0:22:07After we did that Top Of The Pops performance,
0:22:07 > 0:22:09we were like, "Yeah, we've got it, we've nailed it."
0:22:09 > 0:22:13We were very drunk with success and power and all the rest of it.
0:22:19 > 0:22:21Their performance was just fantastic.
0:22:21 > 0:22:23That first performance on Top Of The Pops
0:22:23 > 0:22:25just set everything alight.
0:22:25 > 0:22:29MUSIC: Fame by Irene Cara
0:22:38 > 0:22:39But Wham! weren't alone.
0:22:39 > 0:22:42Their naked ambition was echoed across the Atlantic
0:22:42 > 0:22:46in a Hollywood film whose theme tune shot up the charts.
0:22:48 > 0:22:51# I've got more in me
0:22:51 > 0:22:54# And you can set it free
0:22:54 > 0:22:58# I can catch the moon in my hand
0:22:58 > 0:23:01# Don't you know who I am?
0:23:01 > 0:23:03- # Remember my name - # Fame! #
0:23:03 > 0:23:06Not only did Fame go to number one,
0:23:06 > 0:23:10but the spin-off TV show Fame was scheduled to run
0:23:10 > 0:23:12in tandem with Top Of The Pops.
0:23:14 > 0:23:16Just before we go to the number one, which is Irene Cara and Fame,
0:23:16 > 0:23:20our film director, Gordon Elsbury, was in Los Angeles this week
0:23:20 > 0:23:21and he met up with the cast.
0:23:21 > 0:23:24He heard their record was number one, and this is the message
0:23:24 > 0:23:25they have for you.
0:23:25 > 0:23:28- ALL:- Hi, to everyone on Top Of The Pops!
0:23:28 > 0:23:30Stay tuned for the newest episode of Fame,
0:23:30 > 0:23:33coming up next, after Top Of The Pops.
0:23:33 > 0:23:34- ALL:- Bye!
0:23:37 > 0:23:39And the "Baby, look at me" ethos of Fame
0:23:39 > 0:23:42found its Top Of The Pops equivalent
0:23:42 > 0:23:45in Michael Hurll's squadron of audience cheerleaders,
0:23:45 > 0:23:51whose numbers got bigger and antics even more extrovert in 1982.
0:23:51 > 0:23:53# Some guys get all the fun
0:23:54 > 0:23:59# Some guys have all the luck All the luck
0:23:59 > 0:24:00# Woo, what you gonna do? #
0:24:00 > 0:24:04The atmosphere in the studio at Top Of The Pops was insane, yes.
0:24:04 > 0:24:05You can see it.
0:24:05 > 0:24:10They're revving that audience up, to a point of hysteria.
0:24:11 > 0:24:14The audience, if you look back,
0:24:14 > 0:24:17were obviously not your average boy and girl on the street.
0:24:17 > 0:24:21Because they'd stand on podiums and do this extravagant dancing.
0:24:21 > 0:24:23# It's good! #
0:24:23 > 0:24:26And the regular Joes would just be doing what everybody does.
0:24:27 > 0:24:29# Don't say you shouldn't do that. #
0:24:29 > 0:24:32If enthusiastic's there, they were kind of there.
0:24:32 > 0:24:33You know what I mean?
0:24:33 > 0:24:36# Say, I don't miss you every day
0:24:36 > 0:24:38# Don't need you anyway
0:24:38 > 0:24:41# Can take your love away. #
0:24:41 > 0:24:46And if you were a jazz funk band without a singer, times were tough.
0:24:46 > 0:24:49There's always somebody in front of me on the podium,
0:24:49 > 0:24:50pretty much all the time.
0:24:50 > 0:24:53There was a time when I think we were all thinking,
0:24:53 > 0:24:55"Wish they'd get rid of those bloody dancers."
0:24:55 > 0:24:59As the musicians found themselves outnumbered and upstaged,
0:24:59 > 0:25:03Michael Hurll also brought in strategically placed models
0:25:03 > 0:25:05and Page 3 girls.
0:25:05 > 0:25:09For Flick, the choreographer, it was...
0:25:09 > 0:25:12She's got a vision of what the dance is going to be like.
0:25:12 > 0:25:17So then, Michael then superimposes these beautiful girls
0:25:17 > 0:25:21that may have legs for days but have no dance ability.
0:25:26 > 0:25:30Women had tried to get so far and then with one shot,
0:25:30 > 0:25:34they were put down to a pair of tits and fuzzy hair.
0:25:34 > 0:25:37The Stranglers had two great hit singles this year.
0:25:37 > 0:25:41One was called Strange Little Girl, the other live, Golden Brown!
0:25:41 > 0:25:43THEY CHEER
0:25:43 > 0:25:45If things were tough for a jazz funk group,
0:25:45 > 0:25:50God help you if you were an ageing punk band with a world-weary waltz.
0:25:51 > 0:25:53The party atmosphere on Top Of The Pops was great
0:25:53 > 0:25:56for a lot of bands that were on there.
0:25:56 > 0:25:59But some bands really didn't enjoy the balloons and the streamers
0:25:59 > 0:26:01and the shouting and everything else.
0:26:01 > 0:26:05# Golden brown, texture like sun
0:26:05 > 0:26:08# Lays me down With my mind, she runs... #
0:26:08 > 0:26:12Like The Stranglers, for example, hated that kind of
0:26:12 > 0:26:15good-time party atmosphere because their music was serious.
0:26:15 > 0:26:17# Golden brown... #
0:26:17 > 0:26:19And at the Christmas show when they performed Golden Brown,
0:26:19 > 0:26:24which was supposedly, who knows, about drug-taking,
0:26:24 > 0:26:27part of my job at that point was to go round with a pin
0:26:27 > 0:26:29and try and burst as many balloons as I could
0:26:29 > 0:26:31and to keep the streamers away from them
0:26:31 > 0:26:34and stop the frivolity that was going on hitting the stage.
0:26:40 > 0:26:47# Never a frown with golden brown
0:26:47 > 0:26:52# Never a frown with golden brown. #
0:26:52 > 0:26:56THEY CHEER
0:26:56 > 0:26:58Seriously, on behalf of, particularly Gordon Elsbury
0:26:58 > 0:27:02and Michael Hurll up there, also the production crew and crew down here,
0:27:02 > 0:27:04thank you. That's one of the best audiences we've ever had
0:27:04 > 0:27:06for a live Top Of The Pops, so thank you so much.
0:27:06 > 0:27:10But perhaps inevitably, the world of cheerleaders developed
0:27:10 > 0:27:14a pecking order, and certain dancers started to climb the ranks.
0:27:15 > 0:27:19Craig Fairbrass was on a few times and got letters.
0:27:19 > 0:27:22And people would count them.
0:27:22 > 0:27:24And that would be taken note of.
0:27:25 > 0:27:28I mean, Craig was a stunning guy.
0:27:28 > 0:27:336'2", very slim, snake hips.
0:27:33 > 0:27:36# Oh, Mickey, what a pity you don't understand
0:27:36 > 0:27:40# You take me by the heart when you take me by the hand
0:27:40 > 0:27:43# Oh, Mickey, you're so pretty, can't you understand?
0:27:43 > 0:27:45# It's guys like you, Mickey! #
0:27:45 > 0:27:48So, Toni Basil comes up dressed like a clown.
0:27:48 > 0:27:50# Don't break my heart, Mickey! #
0:27:50 > 0:27:51And Craig has a feature.
0:27:52 > 0:27:54# Oh, Mickey, you're so fine
0:27:54 > 0:27:56# You're so fine, you blow my mind... #
0:27:56 > 0:27:59She bounced off him, she kind of rebound off him. It was very smooth.
0:27:59 > 0:28:01# Oh, Mickey, you're so fine You're so fine, you blow my mind
0:28:01 > 0:28:03# Hey, Mickey! #
0:28:03 > 0:28:04And he looked good.
0:28:04 > 0:28:06And that's worth, you know, a million dollars.
0:28:09 > 0:28:13See him now, he frightens the life out of me.
0:28:13 > 0:28:15You're going to regret that.
0:28:15 > 0:28:17He is now, I would call him, an action man.
0:28:20 > 0:28:21Quite rugged, tough.
0:28:25 > 0:28:26And doing really well in Hollywood.
0:28:28 > 0:28:29Argh!
0:28:34 > 0:28:38He's totally 360 degrees. But, hey, he's a professional.
0:28:38 > 0:28:41MUSIC: The Message by Grandmaster Flash
0:28:48 > 0:28:49# It's like a jungle sometimes
0:28:49 > 0:28:52# It makes me wonder how I keep from going under. #
0:28:52 > 0:28:54'82 was a big year for a new American sound
0:28:54 > 0:28:57known back then as electro.
0:28:57 > 0:29:00As the first records crossed the Atlantic, the cheerleaders
0:29:00 > 0:29:02and dancers of Top Of The Pops treated them
0:29:02 > 0:29:05as they would any other dance record.
0:29:05 > 0:29:07Until Shalamar entered the charts.
0:29:08 > 0:29:12The band's singer, Jody, was pregnant and couldn't make the show.
0:29:12 > 0:29:13But Michael Hurll took a chance
0:29:13 > 0:29:16on guitarist and street dancer Jeffrey Daniel's offer
0:29:16 > 0:29:21to demonstrate a whole new set of dance moves, alone.
0:29:21 > 0:29:25I'd gotten to my hotel room and I just listened to the song
0:29:25 > 0:29:28and I just worked out a routine that I wanted to do.
0:29:30 > 0:29:34So, I began it as preparing myself to go out.
0:29:34 > 0:29:37So, I'm like in the mirror, I'm fixing myself up, I'm doing my hair.
0:29:37 > 0:29:41So, I'm kind of like re-enacting the theme of the song.
0:29:41 > 0:29:44# When you love someone, it's natural, not demanding... #
0:29:44 > 0:29:47I go back, I do the wall climber.
0:29:47 > 0:29:50# And that's one thing I'm proud to say I found in you... #
0:29:50 > 0:29:52Then I go back and I put my coat on.
0:29:52 > 0:29:55I had someone holding my jacket for me.
0:29:55 > 0:29:56And then I slip into my jacket,
0:29:56 > 0:29:58OK, I'm ready, let's go.
0:29:58 > 0:30:02# Gonna make this a night to remember... #
0:30:03 > 0:30:05And then that's when I went into the back cocking,
0:30:05 > 0:30:07where I cock back, like that.
0:30:08 > 0:30:13# And there's nothing in this world to come between me and you... #
0:30:13 > 0:30:16And then, bring myself back up again.
0:30:16 > 0:30:20# To think of what the power of love can do... #
0:30:23 > 0:30:26I knew that there was a music breakdown in the middle
0:30:26 > 0:30:30of the song with the bass... # Boom, boo-boom-boom, boom-boom. #
0:30:30 > 0:30:32So, there's a music breakdown,
0:30:32 > 0:30:37so I saved that part of the song to do the backslide.
0:30:37 > 0:30:40And so, I set it up, and when I knew it was coming...
0:30:47 > 0:30:51So, all the kids are going, "Wow!
0:30:51 > 0:30:54"That looks great, how do you do that?"
0:30:54 > 0:30:57# Gonna make this a night to remember... #
0:30:57 > 0:31:02And that's the first time I believe it had been shown on British TV.
0:31:02 > 0:31:06I even got one of the dancers to handcuff me at the end of the song
0:31:06 > 0:31:09and drag me into the backslide across the floor.
0:31:13 > 0:31:16The impact that it had on the public was that
0:31:16 > 0:31:19they didn't know if something was pulling me backwards,
0:31:19 > 0:31:22if I had oil on the floor, if I had wheels on my shoes.
0:31:22 > 0:31:26They couldn't work out how I was doing this backslide.
0:31:26 > 0:31:30So, we flew over to Amsterdam to continue our promotion.
0:31:30 > 0:31:33While we were in Amsterdam, the record company
0:31:33 > 0:31:35came banging on my hotel door.
0:31:35 > 0:31:38Said, "Jeffrey, Jeffrey, everyone's looking for you."
0:31:38 > 0:31:40I said, "What's happening? What did I do?"
0:31:40 > 0:31:42He said, "No, we have to go back to the UK.
0:31:42 > 0:31:45"That performance you did on Top Of The Pops yesterday
0:31:45 > 0:31:47"has everybody buzzing."
0:31:47 > 0:31:48A couple of weeks ago,
0:31:48 > 0:31:51Jeffrey Daniels from Shalamar danced his way onto the programme
0:31:51 > 0:31:54and we've had hundreds of letters of people asking for him back.
0:31:54 > 0:31:56Well, he is back, moving to his music, A Night To Remember.
0:31:56 > 0:32:00Then he was brought back, which is a really unusual phenomena,
0:32:00 > 0:32:01through public demand.
0:32:01 > 0:32:04Public demanded to see this man dance.
0:32:04 > 0:32:07MUSIC: A Night To Remember by Shalamar
0:32:08 > 0:32:12And so, the song was used as a backdrop to him.
0:32:12 > 0:32:15Normally, dancing is used as a package for the product.
0:32:15 > 0:32:16He became the product.
0:32:16 > 0:32:20# Let's make a toast to those who helped me this occasion
0:32:20 > 0:32:25# They turn their back on love, but that's what drove you straight to me
0:32:25 > 0:32:29# Now to you, I make a lasting dedication
0:32:29 > 0:32:31# I'll show you all that love... #
0:32:31 > 0:32:33Because of my performance on Top Of The Pops,
0:32:33 > 0:32:35somebody else was watching me.
0:32:42 > 0:32:45So, Michael actually wanted to learn a lot, all of the dancing.
0:32:45 > 0:32:47MUSIC: Billie Jean by Michael Jackson
0:32:47 > 0:32:50He wanted to learn popping, you know.
0:32:50 > 0:32:52He wanted to learn waving.
0:32:52 > 0:32:54Ticking - tck, tck, tck!
0:32:57 > 0:33:01And of course, after we taught Michael Jackson the backslide,
0:33:01 > 0:33:03so he names it the moonwalk.
0:33:03 > 0:33:06And once again, he waited for the breakdown.
0:33:06 > 0:33:08HE HUMS THE GUITAR RIFF
0:33:10 > 0:33:13When he did it on the Motown 25th, that was 1983,
0:33:13 > 0:33:15and that's the first time he did it.
0:33:15 > 0:33:19AUDIENCE SCREAM
0:33:19 > 0:33:21And I was in the audience and I was watching.
0:33:21 > 0:33:23# She says I am the one
0:33:23 > 0:33:26# But the kid is not my son
0:33:26 > 0:33:28# No, no, no! #
0:33:28 > 0:33:32So, it was the beginning of this new dance revolution,
0:33:32 > 0:33:36which was going on with the graffiti artists, which was going on
0:33:36 > 0:33:40with the DJs scratching and break-beating everything.
0:33:40 > 0:33:45That was the groundwork which is now called hip-hop.
0:33:46 > 0:33:49RADIO STATIC
0:33:55 > 0:33:59In '82, if you were after something different from pop,
0:33:59 > 0:34:02there was one person you could trust above all others
0:34:02 > 0:34:04for a taste of the alternative.
0:34:05 > 0:34:07And that's the end of tonight's programme on which you heard
0:34:07 > 0:34:11The Desperate Bicycles, The Slits, The Mekons, Alternative TV,
0:34:11 > 0:34:12the UK Subs and Sham 69.
0:34:12 > 0:34:15More of the same unpleasant and disorientating racket
0:34:15 > 0:34:16on tomorrow night's programme.
0:34:16 > 0:34:19Until then, from me, John Peel, good night and good riddance.
0:34:21 > 0:34:26John Peel had only ever hosted Top Of The Pops once back in 1968.
0:34:27 > 0:34:30Apparently, he used to tell me that it was such a mess,
0:34:30 > 0:34:33he had one of those admonishments along the lines of,
0:34:33 > 0:34:34"You'll never work in TV again!"
0:34:36 > 0:34:39But this year, in spite of turning Top Of The Pops
0:34:39 > 0:34:41into a three-ring circus,
0:34:41 > 0:34:43Michael Hurll invited John Peel back.
0:34:45 > 0:34:48This is from John Peel's diary.
0:34:48 > 0:34:51"To TV centre in a highly nervous condition.
0:34:51 > 0:34:53"I was rather thrown when I saw
0:34:53 > 0:34:56"how many kids there were in the studio.
0:34:56 > 0:34:59"I was introduced to them and left to say amusing things,
0:34:59 > 0:35:02"which I was quite clearly incapable of doing.
0:35:02 > 0:35:04"This rattled me.
0:35:04 > 0:35:06"I messed up takes two and three,
0:35:06 > 0:35:10"completely forgetting the spontaneous drolleries
0:35:10 > 0:35:14"I'd been working on for months and started sweating unpleasantly."
0:35:19 > 0:35:22Howdy, partners, and welcome to Top Of The Pops.
0:35:22 > 0:35:25This is my first Top Of The Pops in 14 years,
0:35:25 > 0:35:27but it's consistency that counts,
0:35:27 > 0:35:28so you can watch me again in 1996.
0:35:28 > 0:35:31And in case you're thinking to yourselves, "Who is that twerp?"
0:35:31 > 0:35:34I'm the bloke who comes on the radio late at night
0:35:34 > 0:35:36and plays you records by lots of sulky Belgians.
0:35:36 > 0:35:38These people are not Belgian. Theatre Of Hate.
0:35:38 > 0:35:42I mean, he genuinely was really chuffed to be asked to be on it.
0:35:42 > 0:35:45Cos I don't think he thought he'd ever do it again.
0:35:45 > 0:35:47Back to number 24, Renee and Renato coming up.
0:35:47 > 0:35:50See if you can guess which one's which.
0:35:50 > 0:35:53John Peel was a natural because as you heard John Peel
0:35:53 > 0:35:56and saw John Peel, that wasn't John Peel all the time.
0:35:56 > 0:35:59Love makes the world go round, and interesting philosophy,
0:35:59 > 0:36:00and those were The Jets.
0:36:00 > 0:36:03Three brothers, I'm advised, and I see no reason to disbelieve that.
0:36:03 > 0:36:06Now, Soft Cell. Last time I saw them, a rather squalid gig in Leeds.
0:36:06 > 0:36:08Now on Top Of The Pops.
0:36:08 > 0:36:12When Peel was on, he just didn't really smile,
0:36:12 > 0:36:14he didn't dance, he just stood there, he did it.
0:36:14 > 0:36:16We're going to play you out tonight with Shakatak.
0:36:16 > 0:36:20The fella in the dreadful shirt is my mate Bill Sharpe. Good night!
0:36:20 > 0:36:23It was great because it just gave it a different feel.
0:36:23 > 0:36:26In case you're a latecomer and you were thinking that was Motorhead,
0:36:26 > 0:36:28you're wrong, it was Dollar, Give Me Back My Heart.
0:36:28 > 0:36:31A rather surgical title for a family programme, in my view.
0:36:31 > 0:36:33This is Leo Sayer.
0:36:33 > 0:36:35There were occasions on Top Of The Pops
0:36:35 > 0:36:39where you were asked by Michael, the producer, to do an interview.
0:36:39 > 0:36:42And the interviews were, you know, quite quick
0:36:42 > 0:36:45and really not meaningful in the slightest.
0:36:45 > 0:36:48Well, that's the Duran Durans and she's still here.
0:36:48 > 0:36:49I think it's my jumper she's after.
0:36:49 > 0:36:52Debbie, do you have any particular favourites of your own
0:36:52 > 0:36:54- in the top 30?- Well... - While you're thinking about that,
0:36:54 > 0:36:57here's a chance for you to enjoy me doing the countdown.
0:36:57 > 0:36:59Michael Hurll, I think, was concerned that maybe
0:36:59 > 0:37:02some of the presentation on Top Of The Pops was getting a bit
0:37:02 > 0:37:05too unctuous and so eager to please and maybe a little bit bland.
0:37:05 > 0:37:07So, by introducing Peelie to the proceedings,
0:37:07 > 0:37:09you've got somebody who brought with him an edge.
0:37:09 > 0:37:11She made this herself in remedial needlework.
0:37:11 > 0:37:14It seemed like a good idea at the time, but I'm not so sure, myself.
0:37:14 > 0:37:18John Peel developed this act that he ran for years
0:37:18 > 0:37:21of pretending that he wasn't keen on being there.
0:37:21 > 0:37:23He LOVED being there.
0:37:23 > 0:37:26This is the first time I've managed to get my mother into the studio.
0:37:26 > 0:37:28We're going to go back to number 16, Soft Cell.
0:37:28 > 0:37:31I know that he would have been aware that maybe some of his credibility
0:37:31 > 0:37:35might have been diminished because he was so happy doing it.
0:37:35 > 0:37:36But he really didn't care.
0:37:36 > 0:37:40I mean, he was quite happy to mix with the young kids
0:37:40 > 0:37:43and the bands and the artists and things like that as a fan would.
0:37:43 > 0:37:45He really had that kind of mentality when he did it.
0:37:45 > 0:37:49It was like being part of - well, for both of us - a big party.
0:37:54 > 0:37:58If Peel became the court jester who refreshed the show,
0:37:58 > 0:38:00not everyone from his world of indie
0:38:00 > 0:38:02was buying into the Top Of The Pops party.
0:38:05 > 0:38:09Pigbag, we were fairly chaotic, disorganised,
0:38:09 > 0:38:14kind of anarchic, punk free jazz funk band.
0:38:16 > 0:38:18We didn't really play by the rules.
0:38:18 > 0:38:22Weren't really interested in being pop stars.
0:38:23 > 0:38:28We liked playing saxophones and trumpets and congas
0:38:28 > 0:38:30because we didn't need electricity.
0:38:30 > 0:38:32We could play in the park.
0:38:34 > 0:38:36Well, all our songs were 20 minutes long.
0:38:36 > 0:38:39We tended to just jam until we wanted to stop.
0:38:41 > 0:38:43You didn't know what to expect.
0:38:43 > 0:38:45And there was just this anarchy.
0:38:45 > 0:38:49But among the anarchy was definitely these cool little tunes.
0:38:49 > 0:38:53MUSIC: Papa's Got A Brand New Pigbag by Pigbag
0:38:54 > 0:38:57I mean, the early Pigbag sets were basically we'd play
0:38:57 > 0:39:01Papa's Got A Brand New Pigbag for most of the set.
0:39:01 > 0:39:0320 minutes, 30 minutes.
0:39:10 > 0:39:13The single had been in the indie charts for,
0:39:13 > 0:39:15I suppose, almost a year.
0:39:18 > 0:39:21When they reissued it, it shot straight into the chart
0:39:21 > 0:39:23and we got invited on to Top Of The Pops.
0:39:23 > 0:39:25But a few of us felt kind of like...
0:39:27 > 0:39:30..this is, "Why are we doing this kind of show?" You know?
0:39:36 > 0:39:39It didn't seem the right programme for us.
0:39:39 > 0:39:41Hi, folks. Welcome to Top Of The Pops.
0:39:41 > 0:39:43A great big party tonight, stacks of interest.
0:39:43 > 0:39:45Lots of bands and lots of action.
0:39:45 > 0:39:49You had some people in the band who didn't really
0:39:49 > 0:39:53think of it as something that would perhaps be that cool to do.
0:39:53 > 0:39:57You know, there was this hangover from punk, you know, The Clash.
0:39:57 > 0:39:59They said, "We're not going to do Top Of The Pops."
0:39:59 > 0:40:02And Roger Freeman, who played trombone,
0:40:02 > 0:40:05just said, "I'm not doing it."
0:40:05 > 0:40:09Roger said, "I ain't turning up, I ain't doing it, I've left."
0:40:09 > 0:40:12Join us on Radio 1 over the Easter holiday if you can
0:40:12 > 0:40:15for the marathon music quiz, all through Friday and into Saturday.
0:40:15 > 0:40:17Meantime, we'll say good night with Pigbag.
0:40:17 > 0:40:19Have a great Easter from Top Of The Pops.
0:40:22 > 0:40:26MUSIC: Papa's Got A Brand New Pigbag by Pigbag
0:40:26 > 0:40:29Doing Top Of The Pops for the first time,
0:40:29 > 0:40:31it was kind of a bit of an anti-climax, really.
0:40:31 > 0:40:35You know, our song was instrumental, we didn't have a singer,
0:40:35 > 0:40:37we didn't have that natural focus.
0:40:37 > 0:40:40So, I think they overcompensated with us with the dancers
0:40:40 > 0:40:42and the cheerleaders.
0:40:43 > 0:40:46It almost looked like they're part of the band, but they're not
0:40:46 > 0:40:51part of the band, they're like just hired Top Of The Pops cheerleaders.
0:41:04 > 0:41:07So, after the first two appearances later in the year,
0:41:07 > 0:41:10we were on the New Years' show, and it went out live.
0:41:10 > 0:41:14Which means BBC producers become Nazis, really.
0:41:17 > 0:41:20It's live television, it's got to work smoothly.
0:41:20 > 0:41:23And we made it not work very smoothly that day.
0:41:23 > 0:41:30Lots of drinking went on and I suppose I imbibed too much.
0:41:30 > 0:41:32I mean,
0:41:32 > 0:41:33surprisingly drunk.
0:41:33 > 0:41:39Beyond any sort of capacity to almost stand up.
0:41:40 > 0:41:44MUSIC: Papa's Got A Brand New Pigbag by Pigbag
0:41:45 > 0:41:49He goes on stage with a false beard, a raincoat,
0:41:49 > 0:41:52stuff we hadn't actually even seen ourselves.
0:41:54 > 0:41:58He was spinning his trumpet around, he wasn't miming properly.
0:42:00 > 0:42:05To me, the track's all about being anarchic, and it's a dance track.
0:42:05 > 0:42:07And I was trying to put that across.
0:42:08 > 0:42:11And the camera has basically moved away from us.
0:42:14 > 0:42:15And we just carried on.
0:42:15 > 0:42:18I mean, you can see us laughing and looking around and thinking,
0:42:18 > 0:42:20"What's going on?"
0:42:27 > 0:42:30At the end of the show, it's kind of deathly quiet.
0:42:30 > 0:42:32All just suddenly, you know, it's like...
0:42:32 > 0:42:34Thank you very much indeed, everybody.
0:42:34 > 0:42:36We are off the air.
0:42:36 > 0:42:38There was a producer shouting.
0:42:38 > 0:42:42Like we were school kids and he was the head master,
0:42:42 > 0:42:44saying that we'd ruined the show.
0:42:44 > 0:42:48And certain drunk parties decided to shout back.
0:42:48 > 0:42:50Which he obviously didn't like,
0:42:50 > 0:42:53being sworn at in his Top Of The Pops studio
0:42:53 > 0:42:55by some upstart band.
0:42:55 > 0:42:57And we were taken to our dressing room,
0:42:57 > 0:43:01told by somebody or other to get ready to leave
0:43:01 > 0:43:02as soon as we possibly could
0:43:02 > 0:43:05and we were escorted completely out of the building.
0:43:07 > 0:43:10MUSIC: When You Were Sweet Sixteen by The Fureys and Davey Arthur
0:43:16 > 0:43:20In the early '80s, in spite of IRA violence reaching a peak
0:43:20 > 0:43:24and the Irish as a whole having the finger pointed at them...
0:43:26 > 0:43:29..curiously, traditional Irish music had its moment.
0:43:32 > 0:43:36The Fureys and Davey Arthur and then Foster and Allen,
0:43:36 > 0:43:41nurtured by Terry Wogan, found their improbable place in the top 20.
0:43:44 > 0:43:46The British audience just took to it
0:43:46 > 0:43:49and it went right up to number 18 in the charts
0:43:49 > 0:43:50and got us on Top Of The Pops.
0:43:50 > 0:43:56So, we went from Dublin to London. Stayed in a guesthouse in Kilburn.
0:43:56 > 0:43:59All the Irish bands used to stay there.
0:44:03 > 0:44:07So, you know, there could be six beds in a room.
0:44:07 > 0:44:10But, you know, you could have your breakfast at one o'clock on the day.
0:44:10 > 0:44:14There was no such thing as breakfast was over at nine or 10.
0:44:15 > 0:44:17So, it was serious fun.
0:44:19 > 0:44:22Here's a traditional song from Foster and Allen.
0:44:22 > 0:44:24They come from Westmeath, it's in Ireland,
0:44:24 > 0:44:26and they do it in their own impeccable way.
0:44:26 > 0:44:32# Come, ye maidens young and fair
0:44:34 > 0:44:40# All you that are blooming in your prime... #
0:44:43 > 0:44:45When we went on to do Top Of The Pops,
0:44:45 > 0:44:50we were wearing the 18th-century Irish gear.
0:44:52 > 0:44:55Everybody thought we were dressed as leprechauns,
0:44:55 > 0:44:58but we had been wearing those suits from 1975.
0:45:01 > 0:45:05# For thyme, it is a precious... #
0:45:05 > 0:45:08The media, they tore into us because, you know,
0:45:08 > 0:45:12for daring to dress up as leprechauns for Top Of The Pops.
0:45:12 > 0:45:14# And thyme brings all things to my... #
0:45:14 > 0:45:19The suits were probably more help than the actual song.
0:45:19 > 0:45:21# Thyme with all its flavours... #
0:45:21 > 0:45:23People mightn't remember our names.
0:45:25 > 0:45:27But they all remembered the suits.
0:45:27 > 0:45:32# Thyme brings all things to my mind. #
0:45:35 > 0:45:40Really, it was a programme that, I suppose if you want to be
0:45:40 > 0:45:43really down to earth about it, we shouldn't have been on.
0:45:43 > 0:45:45So, you tell us!
0:45:45 > 0:45:48We weren't a pop group by any...
0:45:48 > 0:45:52No matter how much imagination you had, we weren't a pop group.
0:45:52 > 0:45:56MUSIC: Geno by Dexy's Midnight Runners
0:46:01 > 0:46:06But the irony for the real Irishmen with a perceived phoney image
0:46:06 > 0:46:08was that in the same studio
0:46:08 > 0:46:12there was a band from Birmingham without a big hit for two years
0:46:12 > 0:46:16who re-emerged with a surprising new image.
0:46:18 > 0:46:20Ladies and gentlemen,
0:46:20 > 0:46:23I give you the Celtic Soul brothers and Strong Devoted.
0:46:28 > 0:46:32It was an affectation, really. The whole Irish thing was fake.
0:46:35 > 0:46:38When we were talking about incorporating the strings,
0:46:38 > 0:46:41Kevin came up with the idea to call them the Emerald Express.
0:46:41 > 0:46:45- # Celtic Soul Brothers! # - They were very English.
0:46:45 > 0:46:47They all changed their names.
0:46:47 > 0:46:49Helen Bevington went to Helen O'Hara.
0:46:50 > 0:46:53Steve Shaw, which is a pretty Irish name anyway,
0:46:53 > 0:46:55got renamed to Steve Brennan.
0:46:55 > 0:46:59And there's a guy called Roger who became Roger Macduff.
0:46:59 > 0:47:02And collectively, they became the Emerald Express.
0:47:02 > 0:47:04# Seemed it, dreamed it, scheemed it. #
0:47:05 > 0:47:08When Helen joined the band,
0:47:08 > 0:47:10she came out of the Birmingham conservatoire
0:47:10 > 0:47:14as the lead violinist with an orchestra.
0:47:14 > 0:47:17Kevin asked us to play as hard as you can.
0:47:17 > 0:47:20You had to really lay your bow into the fiddle,
0:47:20 > 0:47:24use all the open strings you can, don't use any rubato.
0:47:24 > 0:47:26Play with the same phrasing as the brass.
0:47:26 > 0:47:28And that created a unique sound.
0:47:28 > 0:47:31# You see, I know this to be true
0:47:33 > 0:47:36# Now, would I lie to you?
0:47:40 > 0:47:43# And I'm not waiting for approval from you... #
0:47:45 > 0:47:48While first single Celtic Soul Brothers
0:47:48 > 0:47:51didn't make the top 30, the next single took off
0:47:51 > 0:47:55and came with a memorable tweak to Dexy's reinvention.
0:47:55 > 0:47:58# How do you do? #
0:47:58 > 0:48:03We were talking about what could be wear to go with the new sound.
0:48:03 > 0:48:05Going into Birmingham Central Library,
0:48:05 > 0:48:07you know, doing a bit of research,
0:48:07 > 0:48:12looking up what Romany Gypsies would have traditionally worn.
0:48:12 > 0:48:16Kevin went down to Kings Road and he brought loads of
0:48:16 > 0:48:19massive oversized dungarees back to the rehearsal.
0:48:20 > 0:48:23And the look on some of the band's faces were priceless.
0:48:26 > 0:48:29# Come on, Eileen Oh, I swear what he means
0:48:29 > 0:48:34# At this moment You mean everything
0:48:34 > 0:48:38# You in that dress My thoughts I confess... #
0:48:38 > 0:48:43It was this seriousness and commitment to the point where Kevin
0:48:43 > 0:48:46would want us to wear our stage clothes around often in the street.
0:48:48 > 0:48:52We were quite intense. Very serious about what we did.
0:48:56 > 0:49:00# These people round here... #
0:49:00 > 0:49:03You know, even when we went to Top Of The Pops,
0:49:03 > 0:49:07there was a lot of the dos and don'ts in Dexy's, if you like.
0:49:07 > 0:49:10# No, not us No, never!
0:49:10 > 0:49:13# We are far too young and clever
0:49:13 > 0:49:14# Remember
0:49:14 > 0:49:20# Too-ra-loo-ra, too-ra-loo-rye, aye... #
0:49:20 > 0:49:23It was understood from the rest of the band that you didn't talk
0:49:23 > 0:49:25to any other bands, you know, if you were at Top Of The Pops.
0:49:25 > 0:49:27And you kept yourself completely separate.
0:49:27 > 0:49:30# Come on, Eileen Oh, I swear what he means
0:49:30 > 0:49:35# Aah, come on let's take off everything
0:49:35 > 0:49:38# That pretty red dress, Eileen Tell him yes
0:49:38 > 0:49:42# Aah, come on, let's Aah, come on, Eileen... #
0:49:43 > 0:49:47You didn't argue. You didn't argue with Kevin or the rest of the band.
0:49:47 > 0:49:48You did as you were told.
0:49:48 > 0:49:51If you wanted to be in the group, you did as you were told, really.
0:49:53 > 0:49:57Come On Eileen was the most successful single of the year,
0:49:57 > 0:50:00topping the charts for four weeks running.
0:50:00 > 0:50:03But the follow-up would lead to one of the most notorious moments
0:50:03 > 0:50:04of Top Of The Pops,
0:50:04 > 0:50:07when producer Michael Hurll went along with a whimsical
0:50:07 > 0:50:12staging suggestion of Kevin's for a special edition of the show.
0:50:12 > 0:50:14And welcome to a special edition Top Of The Pops.
0:50:14 > 0:50:16Today, it's Radio 1's 15th anniversary.
0:50:16 > 0:50:17And to help celebrate,
0:50:17 > 0:50:20all my Radio 1 colleagues are here to help introduce the hits.
0:50:20 > 0:50:22And we kick off with Dexy's Midnight Runners
0:50:22 > 0:50:23and Jackie Wilson Said.
0:50:23 > 0:50:27An in-joke within the band was to call it Jocky Wilson.
0:50:27 > 0:50:30I think someone said at rehearsal one time,
0:50:30 > 0:50:33"Jocky Wilson said I'm in heaven when you smile."
0:50:33 > 0:50:36# Jackie Wilson said, "It was great news to see
0:50:36 > 0:50:37# "I kind of love you, baby"... #
0:50:37 > 0:50:41And at Top Of The Pops, Kevin said, "I wonder if they'll go for this."
0:50:42 > 0:50:43# Oh... #
0:50:43 > 0:50:46And I saw this big picture of Jocky Wilson, the darts player,
0:50:46 > 0:50:49and I thought, "That's a bit odd." And I thought, "Wait a minute."
0:50:49 > 0:50:52One dart could give him the world championship, double 16.
0:50:52 > 0:50:54Yes!
0:50:56 > 0:51:00And that's to Jocky Wilson! 1982.
0:51:00 > 0:51:02It's not Jocky Wilson, it's Jackie Wilson.
0:51:02 > 0:51:05# I'm in heaven
0:51:05 > 0:51:07# I'm in heaven... #
0:51:07 > 0:51:10Later that week, a couple of the newspapers started saying,
0:51:10 > 0:51:13"How could the BBC make this ridiculous mistake?"
0:51:13 > 0:51:15# When you smile, when you smile
0:51:15 > 0:51:17# I'm in heaven... #
0:51:17 > 0:51:20When the BBC saw the negative press they got,
0:51:20 > 0:51:24we heard via the record company that they weren't happy
0:51:24 > 0:51:27that they'd been made to look foolish.
0:51:27 > 0:51:30And that that might reflect on any more chances
0:51:30 > 0:51:32to play on Top Of The Pops for us, you know.
0:51:37 > 0:51:40We never went on Top Of The Pops again after that!
0:51:46 > 0:51:50But the biggest new star of '82 was yet to arrive.
0:51:52 > 0:51:54Only a year ago, he'd been a cheerleader
0:51:54 > 0:51:57in a Top Of The Pops studio audience.
0:51:57 > 0:51:58And now, he had a band.
0:52:00 > 0:52:05But Culture Club's first two singles flopped.
0:52:05 > 0:52:08Their last chance rested with the next single.
0:52:08 > 0:52:11And the record label's choice, a slow reggae song,
0:52:11 > 0:52:12seemed a huge risk.
0:52:14 > 0:52:17George was really not sure about it.
0:52:17 > 0:52:21You know, this is a really difficult track to release.
0:52:21 > 0:52:23It's a very unusual flavour.
0:52:23 > 0:52:24It is a reggae track,
0:52:24 > 0:52:26but it's not a sort of authentic reggae track.
0:52:26 > 0:52:30It's our interpretation of reggae.
0:52:30 > 0:52:34# Give me time... #
0:52:34 > 0:52:38We did have some absolutely dreadful reviews.
0:52:38 > 0:52:41I mean, they weren't just bad reviews, they were spiteful.
0:52:41 > 0:52:44Including one that said it was like third-rate reggae or something.
0:52:48 > 0:52:51But within days of it being released,
0:52:51 > 0:52:53it was clear something had changed.
0:52:56 > 0:52:59I remember just turning on the radio of my car one day going,
0:52:59 > 0:53:01"They're playing Do You Really Want To Hurt Me?"
0:53:01 > 0:53:03And it was Radio 2.
0:53:04 > 0:53:05Very sort of like that,
0:53:05 > 0:53:07"Good morning, I hope you're having your coffee.
0:53:07 > 0:53:10"We've got a record here to make you feel better."
0:53:10 > 0:53:12- It was that kind of thing. - # Inside... #
0:53:12 > 0:53:16Nobody had seen George in the flesh, and yet I felt in my heart,
0:53:16 > 0:53:19as did Virgin and everyone else, if the world could see George -
0:53:19 > 0:53:24and the only way to see George in 1982 was Top Of The Pops -
0:53:24 > 0:53:27it would make all the difference, and it worked.
0:53:28 > 0:53:31# Do you really want to hurt me?
0:53:32 > 0:53:36# Do you really want to make me cry?
0:53:37 > 0:53:42# Precious kisses Words that burn me
0:53:42 > 0:53:44# Lovers never ask you why... #
0:53:44 > 0:53:48The immediate reaction was, "Oh, my God."
0:53:48 > 0:53:51# In my heart, the fire's burning
0:53:51 > 0:53:52# Choose my colour... #
0:53:52 > 0:53:55What is George? Is he male or is he female?
0:53:55 > 0:53:57And yet, this beautiful voice.
0:53:57 > 0:54:01# Precious people always tell me
0:54:01 > 0:54:04# That's a step, a step too far... #
0:54:04 > 0:54:07I did hear stories of people, I know it sounds ridiculous now,
0:54:07 > 0:54:10of people having cups of tea and literally dropping them
0:54:10 > 0:54:11in their lap, going, "What is that?"
0:54:11 > 0:54:15# Do you really want to make me cry?
0:54:15 > 0:54:19# Do you really want to hurt me? #
0:54:19 > 0:54:23That was the thing about him, because the record was so beautiful
0:54:23 > 0:54:25and it was so delicate, and sort of like a flower, you know.
0:54:25 > 0:54:28And George, you know, he was so light on his feet.
0:54:33 > 0:54:35And George's make-up is fantastic.
0:54:35 > 0:54:38Women would go, "I wish I could do mine as good as that."
0:54:38 > 0:54:41# You've been talking but believe me
0:54:43 > 0:54:45# If it's true, you do not know... #
0:54:45 > 0:54:47He did, he looked unbelievable.
0:54:47 > 0:54:49It's why I fell in love with him.
0:54:49 > 0:54:51You know, it's like, "Shit."
0:54:51 > 0:54:54I'm serious, I met George, I was like, "Oh, my God, I've got a crush.
0:54:54 > 0:54:56"Looks like a girl. It's not a girl, it's a man."
0:54:56 > 0:55:00# If it's love you want from me
0:55:00 > 0:55:03# Then take it away
0:55:05 > 0:55:07# Every thing... #
0:55:07 > 0:55:11Also, there were few multicultural groups at that time.
0:55:13 > 0:55:18George had the kind of big coat and the sort of Hasidic Jew vibe
0:55:18 > 0:55:19with the hat.
0:55:19 > 0:55:22And a lot of that imagery came to him through Jon Moss,
0:55:22 > 0:55:24because Jon Moss was from a Jewish family.
0:55:24 > 0:55:28Mikey, of course, has the Afro-Caribbean heritage,
0:55:28 > 0:55:29his family are Jamaican.
0:55:30 > 0:55:33Roy, you've got the quintessentially British,
0:55:33 > 0:55:36Essex working-class British iconography.
0:55:36 > 0:55:39People felt there was something really happening,
0:55:39 > 0:55:40I think that was the main thing.
0:55:40 > 0:55:43People looked at him and went, "Blimey, what is this?"
0:55:43 > 0:55:46Hi, nice to meet you.
0:55:46 > 0:55:47Culture Club.
0:55:47 > 0:55:50- You're at number two at the moment, aren't you?- Yes.
0:55:50 > 0:55:53- So, don't look at me like that! - THEY LAUGH
0:55:53 > 0:55:56- You've got the wrong idea. - No, quite.
0:55:56 > 0:56:00- My mum asked me... - THEY LAUGH
0:56:00 > 0:56:02..would I ask you, "Are you all right?"
0:56:02 > 0:56:05I'm fine. Did she buy my record? She must have bought my record.
0:56:05 > 0:56:06Yes, she's an enormous fan.
0:56:06 > 0:56:10A lot of housewives have bought our record, that's why it's number two.
0:56:10 > 0:56:12Enormous fan of yours. Hope to make it to number one.
0:56:12 > 0:56:14Thank you, Culture Club, and George!
0:56:14 > 0:56:15We were in Edinburgh in a hotel room
0:56:15 > 0:56:17and we had a tour manager who came in,
0:56:17 > 0:56:19and I was with George in the room,
0:56:19 > 0:56:21and he said, "Congratulations, guys, you're number one."
0:56:21 > 0:56:24A brand-new number one. It's Do You Really Want To Hurt Me?
0:56:24 > 0:56:25It's Culture Club.
0:56:25 > 0:56:27And I remember jumping around the room.
0:56:27 > 0:56:30I remember sort of being naked, covered in champagne.
0:56:31 > 0:56:34But the one thing I do remember is we felt invincible.
0:56:34 > 0:56:36And it's a great feeling. People don't get it.
0:56:36 > 0:56:38I hope everybody has it once in their life,
0:56:38 > 0:56:41when you're doing something and you know you're invincible.
0:56:42 > 0:56:44In December with their next single,
0:56:44 > 0:56:47Culture Club were chasing the Christmas top spot,
0:56:47 > 0:56:50in competition with The Jam's farewell.
0:56:50 > 0:56:53But the brand-new number one which I've been promising you
0:56:53 > 0:56:55comes from The Jam - what a way to finish off a fantastic career.
0:56:55 > 0:56:57It looks like they're set
0:56:57 > 0:56:59- for Christmas with Beat Surrender. - THEY CHEER
0:56:59 > 0:57:02# Beat surrender!
0:57:03 > 0:57:07# Come on, boy Come on, girl
0:57:07 > 0:57:09# Succumb to the beat surrender
0:57:09 > 0:57:12# Come on, boy Come on, girl
0:57:12 > 0:57:15# Succumb to the beat surrender... #
0:57:15 > 0:57:17Until...
0:57:17 > 0:57:21# Save your love, my darling Save your love... #
0:57:21 > 0:57:24Appropriately enough, it's Father Christmas.
0:57:24 > 0:57:26Wait a minute, no, it's not, it's Renato.
0:57:26 > 0:57:29- Congratulations on your success. - Thank you, thank you very much.
0:57:29 > 0:57:31How are you going to spend your Christmas?
0:57:31 > 0:57:34Me and Renee, for a change, we're going to have a night off.
0:57:34 > 0:57:35# The reddest rose I'll always... #
0:57:35 > 0:57:39But the Italian and the blonde were one-hit wonders. Just a diversion.
0:57:44 > 0:57:48As a new year dawned with more statement hair,
0:57:48 > 0:57:49power duos
0:57:49 > 0:57:51and reinventions.
0:57:52 > 0:57:54Younger DJs frolicked on a new set...
0:57:54 > 0:57:56Hi, good evening, welcome to Top Of The Pops.
0:57:56 > 0:57:57What a great show we've got.
0:57:57 > 0:58:00..as indie made its grand entrance.
0:58:00 > 0:58:03Top Of The Pops, hosting its first live band performance
0:58:03 > 0:58:05in a generation.
0:58:05 > 0:58:10# How does it feel when you treat me like you do
0:58:11 > 0:58:17# And you've laid your hands upon me and told me who you are
0:58:19 > 0:58:22# I thought I was mistaken
0:58:22 > 0:58:26# And I thought I'd heard you speak
0:58:26 > 0:58:30# Tell me, how do I feel?
0:58:30 > 0:58:32# Tell me now, how do I feel?
0:58:34 > 0:58:37# Those who came before me
0:58:37 > 0:58:41# Lived through their vocations
0:58:41 > 0:58:44# From the past until completion
0:58:44 > 0:58:48# Will turn away no more
0:58:48 > 0:58:52# And I still find it so hard
0:58:52 > 0:58:55# To say what I need to say... #