0:00:02 > 0:00:04OK, this programme's so good I want to eat it.
0:00:05 > 0:00:07# Oooh
0:00:07 > 0:00:08# Love you... #
0:00:09 > 0:00:141984, and Top Of The Pops is in its '80s pomp.
0:00:14 > 0:00:17# Oooh and I love you... #
0:00:17 > 0:00:20There's never been a more gay time in pop than 1984.
0:00:21 > 0:00:25Hi-NRG, a new exultant sound from the gay club scene,
0:00:25 > 0:00:26hit the charts.
0:00:28 > 0:00:31They just said Searchin', Hazell Dean, I mean it was huge.
0:00:31 > 0:00:33# Absolute on power drive... #
0:00:35 > 0:00:38Advances in technology led to the rise of the one-man band.
0:00:40 > 0:00:41I was always acutely aware
0:00:41 > 0:00:45of the fact that I hadn't got a clue what I was doing.
0:00:45 > 0:00:47# Make a dream come true... #
0:00:47 > 0:00:49I think I got addicted to the fear.
0:00:51 > 0:00:55And a new jazz age saw the show come over all horny.
0:00:56 > 0:01:00I said that we were a bit like if Frank Sinatra was in The Clash.
0:01:01 > 0:01:05Pop had never been so big, so bold and so brash...
0:01:07 > 0:01:09She totally owned the stage.
0:01:09 > 0:01:11It's amazing to see somebody with such confidence.
0:01:13 > 0:01:16You've got to have a good time, cos it all could end tomorrow.
0:01:16 > 0:01:18We've got to go down swinging.
0:01:18 > 0:01:20..even briefly becoming Top of the Euro-Pops.
0:01:23 > 0:01:25"Music from Germany?"
0:01:25 > 0:01:28- "I don't know."- "Doesn't exist."
0:01:28 > 0:01:29# Oooh, love you... #
0:01:29 > 0:01:32It's the year of big hair - and big statements.
0:01:32 > 0:01:34# Love you... #
0:01:34 > 0:01:37I thought Nelson would be so happy in his cell
0:01:37 > 0:01:40to know that Top Of The Pops had provided balloons.
0:01:42 > 0:01:44And the Class of '84 surprised us all
0:01:44 > 0:01:46by setting aside their rivalries
0:01:46 > 0:01:49and taking over the Christmas Top Of The Pops
0:01:49 > 0:01:52like one big concerned, but happy, family.
0:01:52 > 0:01:54This was a moment of celebration
0:01:54 > 0:01:56that we'd kind of done this.
0:01:56 > 0:01:57We'd pulled this off.
0:02:05 > 0:02:06At the third stroke...
0:02:06 > 0:02:08- ..it will be 9:... - ..59...
0:02:08 > 0:02:10..and 20 seconds.
0:02:10 > 0:02:14As the Speaking Clock changed sex in 1984
0:02:14 > 0:02:16after nearly 50 years as a woman,
0:02:16 > 0:02:20it was clear that the old certainties were shifting.
0:02:24 > 0:02:27Industrial Britain was struggling to come to terms
0:02:27 > 0:02:28with the Thatcherite revolution.
0:02:30 > 0:02:33- You're working...- You get your 'un out and ours'll be out.
0:02:33 > 0:02:35Get moving. Move.
0:02:35 > 0:02:36Society was bitterly divided.
0:02:36 > 0:02:39And the resulting clashes were ugly.
0:02:41 > 0:02:43# 1984
0:02:43 > 0:02:47# 1984... #
0:02:47 > 0:02:50Top Of The Pops was also caught between the old and the new.
0:02:52 > 0:02:54It began the year by honouring its past...
0:02:57 > 0:03:00..but also embracing a brave new world.
0:03:00 > 0:03:02APPLAUSE
0:03:02 > 0:03:04Well, hello, fans. Now, you might think what we've got here
0:03:04 > 0:03:06is some kind of tribute to Mike Read
0:03:06 > 0:03:08but, actually, what we're celebrating
0:03:08 > 0:03:10is the 20th anniversary of Top Of The Pops.
0:03:10 > 0:03:12And I think we really look fab gear.
0:03:12 > 0:03:14Yeah, there is that. This is very 1984, though, this -
0:03:14 > 0:03:17- Frankie Goes To Hollywood. - Take it away, boys.
0:03:19 > 0:03:22With the Top 30 newly expanded to the Top 40,
0:03:22 > 0:03:24Top Of The Pops producer Michael Hurll
0:03:24 > 0:03:27took a punt on a new entry at number 35
0:03:27 > 0:03:30by a band causing ripples with their debut single.
0:03:30 > 0:03:33# Whoa-ho... #
0:03:33 > 0:03:35To be on it, that would have done me.
0:03:35 > 0:03:37That would have been the goal achieved,
0:03:37 > 0:03:40that we got a single and it got into the charts
0:03:40 > 0:03:42and we're on Top Of The Pops.
0:03:42 > 0:03:44# Relax, don't do it
0:03:44 > 0:03:46# When you wanna go to it
0:03:46 > 0:03:48# Relax, don't do it
0:03:48 > 0:03:50# When you wanna come... #
0:03:50 > 0:03:52And on an historic anniversary show,
0:03:52 > 0:03:53you wanted to look your best.
0:03:53 > 0:03:55# Relax... #
0:03:55 > 0:03:57So we all legged it down to Moss Bros, didn't we,
0:03:57 > 0:04:00- and all hired suits. - Yeah, Moss Bros in Covent Garden.
0:04:02 > 0:04:05Fitted up, looking like absolute lemons.
0:04:05 > 0:04:07Dickie bow, the lot.
0:04:10 > 0:04:12I remember, Holly came with no clothes.
0:04:12 > 0:04:15He wore a leather jacket that, sadly, was my leather jacket.
0:04:15 > 0:04:18And, looking back, why I possibly would want to buy a jacket
0:04:18 > 0:04:20with about 40 zips in,
0:04:20 > 0:04:21I do not know.
0:04:21 > 0:04:24But it suited him better than it suited me.
0:04:25 > 0:04:26# Relax, don't do it... #
0:04:26 > 0:04:29I remember watching it and thinking,
0:04:29 > 0:04:31"They look great," you know?
0:04:31 > 0:04:34They look so good and it works so well with the record.
0:04:34 > 0:04:36# Come
0:04:39 > 0:04:40# Whoo! #
0:04:40 > 0:04:44Relax's sound was the work of the man said to have invented the '80s -
0:04:44 > 0:04:46producer Trevor Horn.
0:04:48 > 0:04:50I was channelling them, you know?
0:04:50 > 0:04:53They told me very early on, we want to be
0:04:53 > 0:04:55like a cross between Kiss meets Donna Summer.
0:04:55 > 0:04:57- SYNTH - # Come... #
0:04:57 > 0:04:59It took many hours of experimenting
0:04:59 > 0:05:03before hitting on the sound he wanted for the record.
0:05:03 > 0:05:04So I had this piano going,
0:05:04 > 0:05:07"Gink, gink, gink, gink, gink, gink, gink, gink,"
0:05:07 > 0:05:10and then we got this device that locked the drum machine to it.
0:05:10 > 0:05:13PULSING BEAT FROM "RELAX"
0:05:13 > 0:05:15Switching to the chorus pattern, which went sort of....
0:05:15 > 0:05:17# Dig dig, di-dig dig-dig
0:05:17 > 0:05:19# Dig dig, di-dig dig dig-dig... #
0:05:19 > 0:05:21..with a whole load of percussion.
0:05:22 > 0:05:25I heard that change, it was like, this - we've got something here.
0:05:27 > 0:05:30I remember hearing it and thinking that's a hit all day long.
0:05:33 > 0:05:36Despite the song's orgasmic content
0:05:36 > 0:05:38and the band's reputation for controversy -
0:05:38 > 0:05:40or perhaps because of it -
0:05:40 > 0:05:44when Relax finally crept into the charts, Michael Hurll was keen...
0:05:44 > 0:05:45# Huh! #
0:05:45 > 0:05:46..on one condition.
0:05:49 > 0:05:51We got a pretty formal letter from Top Of The Pops
0:05:51 > 0:05:55saying it was important that the Frankies behaved themselves.
0:05:56 > 0:05:59So they couldn't have any chained-up women or anything like that.
0:06:00 > 0:06:01- Um... - HE CHUCKLES
0:06:03 > 0:06:06I thought, "Great, that's so cool."
0:06:06 > 0:06:09All they have to do now is turn and...
0:06:09 > 0:06:12be like good boys, you know?
0:06:12 > 0:06:14# But shoot it in the right direction
0:06:14 > 0:06:16# Hey, hey, hey, yeah
0:06:16 > 0:06:19# Make-Making it your intention
0:06:19 > 0:06:20# Ooh, yeah Ooh, yeah
0:06:20 > 0:06:22# Live those dreams
0:06:22 > 0:06:24# Scheme those schemes
0:06:24 > 0:06:25- # Gotta hit me - Hit me
0:06:25 > 0:06:26- # Hit me - Hit me
0:06:26 > 0:06:30# Hit me with those laser beams... #
0:06:30 > 0:06:33Michael Hurll saw that the record was going to be huge.
0:06:33 > 0:06:36He didn't have a problem with the lyrics at the time.
0:06:36 > 0:06:37You used to have to submit lyrics
0:06:37 > 0:06:40along with the records and everything else
0:06:40 > 0:06:43for directors to use, etc, or whatever,
0:06:43 > 0:06:44so they all had a copy of the lyrics,
0:06:44 > 0:06:47so they knew exactly what they were getting themselves into.
0:06:47 > 0:06:51CRESCENDO
0:06:51 > 0:06:53# Come. #
0:06:53 > 0:06:54CHEERING AND WHISTLING
0:06:54 > 0:06:55I always remember the next morning,
0:06:55 > 0:06:58Dave Robinson, who was running Island at the time,
0:06:58 > 0:07:00phoned me up and said, "You're not going to believe it,
0:07:00 > 0:07:04"we've just sold 55,000 units. It's gone mad."
0:07:04 > 0:07:07And I knew - I thought, I know it's going to go even madder,
0:07:07 > 0:07:08I can feel it.
0:07:10 > 0:07:13Top Of The Pops had played its part in propelling Relax up the charts,
0:07:13 > 0:07:17but less than a week later, this happened...
0:07:18 > 0:07:20We used to repeat the chart on a Wednesday morning.
0:07:20 > 0:07:22It was getting up to nine o'clock
0:07:22 > 0:07:24and I was trying to squeeze everything in.
0:07:24 > 0:07:26Adrian John was the only one in the studio with me,
0:07:26 > 0:07:29but we just didn't have time to squeeze them all in.
0:07:29 > 0:07:32And I remember Adrian saying,
0:07:32 > 0:07:33"Have you seen the sleeve of this?"
0:07:33 > 0:07:36And I said, "Well, if I'm going to drop something, I'll drop this."
0:07:39 > 0:07:41Things quickly snowballed.
0:07:42 > 0:07:45I was driving towards Radio 1, and ringing up ZTT and saying,
0:07:45 > 0:07:48"Look, they banned it, they've actually banned it!"
0:07:50 > 0:07:54We were in ZTT's offices when we found out it was banned,
0:07:54 > 0:07:57and champagne corks were popped.
0:07:57 > 0:08:01All it did was put it into turbo-drive.
0:08:03 > 0:08:05As Relax stormed up the charts,
0:08:05 > 0:08:09the BBC ban left Top Of The Pops with a Frankie-shaped hole.
0:08:10 > 0:08:13And at number one, Frankie Goes To Hollywood, Relax.
0:08:15 > 0:08:18And that's it for this week. Hope you enjoyed the show.
0:08:18 > 0:08:20The Rhythm Pals are going to make their way back to Radio 1.
0:08:20 > 0:08:23FILLER MUSIC
0:08:23 > 0:08:26It's all about who is number one.
0:08:26 > 0:08:27It's kind of like A Game Of Thrones,
0:08:27 > 0:08:30and we want to see who's going to be crowned.
0:08:30 > 0:08:32And Frankie deserved to be crowned,
0:08:32 > 0:08:35so it was an enormous let-down for everyone.
0:08:35 > 0:08:37BALLOON POPS, PEOPLE TALK
0:08:37 > 0:08:39To have a number one on Top Of The Pops,
0:08:39 > 0:08:40you can't really complain
0:08:40 > 0:08:43that you're not going to get the chance to perform it.
0:08:43 > 0:08:45Because you know you're off and running now, we're off.
0:08:45 > 0:08:48MUSIC INSIDE VENUE
0:08:48 > 0:08:51DRUMS AND SYNTHS
0:08:51 > 0:08:53- TV REPORTER:- 'This is Heaven,
0:08:53 > 0:08:55'one of London's newest and smartest discos.'
0:08:58 > 0:09:00The pumping beat of Relax
0:09:00 > 0:09:03reflected a style of electronic dance music known as Hi-NRG
0:09:03 > 0:09:07that had been popular in gay clubs, such as Heaven, for several years.
0:09:10 > 0:09:12Now, in 1984,
0:09:12 > 0:09:14Hi-NRG entered the mainstream.
0:09:16 > 0:09:18# It's raining men
0:09:18 > 0:09:21# Hallelujah, it's raining men
0:09:21 > 0:09:23# Amen
0:09:23 > 0:09:25# I'm gonna go out
0:09:25 > 0:09:27# I'm gonna let myself get
0:09:27 > 0:09:32# Absolutely soaking wet... #
0:09:32 > 0:09:33People loved disco in the '70s,
0:09:33 > 0:09:36it was a joyous, four-on-the-floor up-sound.
0:09:36 > 0:09:39Hi-NRG was the next logical evolution.
0:09:39 > 0:09:41# High energy
0:09:43 > 0:09:45# Your love is lifting me
0:09:45 > 0:09:48# Lifting me higher... #
0:09:50 > 0:09:52It was disco but with an electronic beat.
0:09:52 > 0:09:54It was disco for the '80s, not the '70s.
0:09:57 > 0:10:00Ian Levine had been the resident DJ at Heaven
0:10:00 > 0:10:02since it opened in 1979.
0:10:04 > 0:10:08Now, five years on, he teamed up again with Evelyn Thomas,
0:10:08 > 0:10:11an American singer he'd worked with in the '70s,
0:10:11 > 0:10:13to capture the new club sound.
0:10:14 > 0:10:17# It was only last week that we first met
0:10:17 > 0:10:19# When I was walking down the street... #
0:10:20 > 0:10:22I sat down with my co-producer and said,
0:10:22 > 0:10:24"Right, we're going to write a song called High Energy
0:10:24 > 0:10:27"as an anthem to the music which we're playing at Heaven."
0:10:27 > 0:10:30So we wrote this song called High Energy, it took one hour to write,
0:10:30 > 0:10:33took her one hour to sing it when she came in from America,
0:10:33 > 0:10:35and I just knew there and then it was a hit.
0:10:35 > 0:10:37# Oh, yeah
0:10:37 > 0:10:39# High energy
0:10:41 > 0:10:43# Your love is lifting me
0:10:43 > 0:10:45# Whoo whoo-oo-ooh
0:10:45 > 0:10:47# High energy... #
0:10:47 > 0:10:50To Top Of The Pops viewers, something might have sounded
0:10:50 > 0:10:52oddly familiar about the song.
0:10:52 > 0:10:55# Lifting me high... #
0:10:55 > 0:10:57- TREVOR HORN:- I think it was a track called High Energy
0:10:57 > 0:11:00that nicked "dink-dink, der-dink-dink-ding,
0:11:00 > 0:11:02"dink-dink, der-der-dink-dink dee-dee" -
0:11:02 > 0:11:04the gated keyboard part that I did.
0:11:04 > 0:11:07KEYBOARD PART RESEMBLES "RELAX"
0:11:08 > 0:11:11I must confess I'd heard Relax as a pre-release
0:11:11 > 0:11:14and liked it so much it certainly influenced me
0:11:14 > 0:11:15when I made High Energy.
0:11:15 > 0:11:18But what you may never know, and no-one has realised,
0:11:18 > 0:11:20is that the beat of High Energy is In The Navy.
0:11:20 > 0:11:23It's "We want you, we want you,
0:11:23 > 0:11:25"we want you for a new recruit."
0:11:25 > 0:11:26# Ba ba bam, ba-da ba bam
0:11:26 > 0:11:28# Ba ba ba-dam, ba-da ba bam. #
0:11:28 > 0:11:31# High energy
0:11:31 > 0:11:32# Yeah, yeah
0:11:32 > 0:11:35# Your love is lifting me
0:11:35 > 0:11:39# Lifting me high... #
0:11:39 > 0:11:43Hi-NRG tunes were usually sung by a female diva -
0:11:43 > 0:11:47but we had our own queen of Hi-NRG.
0:11:47 > 0:11:50# If I should lose you now... #
0:11:50 > 0:11:53Hazell Dean first appeared on the BBC
0:11:53 > 0:11:56in A Song For Europe in 1976.
0:11:58 > 0:11:59'I used to sing in bands.
0:11:59 > 0:12:03'Ian Anthony Stevens, who wrote and produced Searchin',
0:12:03 > 0:12:04'tracked me down,'
0:12:04 > 0:12:06and he played the track.
0:12:06 > 0:12:09And, of course, when I heard that track,
0:12:09 > 0:12:12it was just so different from anything else that I'd heard.
0:12:12 > 0:12:16MUSIC: "Searchin' (I Gotta Find a Man)"
0:12:16 > 0:12:18Recorded in spring 1983,
0:12:18 > 0:12:21Searchin' quickly became a huge club hit,
0:12:21 > 0:12:24reaching number one in the Hi-NRG charts.
0:12:25 > 0:12:27That track took me into the gay clubs,
0:12:27 > 0:12:31but I didn't know that there were gay charts, I had no idea.
0:12:32 > 0:12:35In 1984, a hit in the gay charts
0:12:35 > 0:12:37stood a good chance of mainstream success.
0:12:39 > 0:12:43And that spring, Searchin' went overground into the Top 40.
0:12:44 > 0:12:47OK, her first time on Top Of The Pops, the record's been out a year,
0:12:47 > 0:12:48it's about time it's a hit -
0:12:48 > 0:12:51and now it is, for Hazell Dean, it's called Searchin'.
0:12:51 > 0:12:52# Searchin'
0:12:52 > 0:12:55# Looking for love
0:12:55 > 0:12:57# All the time again
0:12:58 > 0:13:00- # Searchin' - Searchin'
0:13:00 > 0:13:02# Looking for love
0:13:02 > 0:13:04# I've got to find me a man... #
0:13:04 > 0:13:09Top Of The Pops couldn't resist the urge to replicate the atmosphere
0:13:09 > 0:13:12of a sweaty gay night spot in Television Centre.
0:13:12 > 0:13:15Cue two cute male dancers and a bit of a light show.
0:13:15 > 0:13:17# Looking for love... #
0:13:17 > 0:13:19There was a breakdown in the middle of the song.
0:13:19 > 0:13:23It was very sort of clubby, there were the little sim drums, you know,
0:13:23 > 0:13:25"der-der-dut, der-der-dut dut-der-der,"
0:13:25 > 0:13:26and the hand claps.
0:13:26 > 0:13:29DRUMS
0:13:29 > 0:13:31The old strobe lighting would come on,
0:13:31 > 0:13:34and I did my little dance - with the boys.
0:13:35 > 0:13:37It looked like a disco, I suppose.
0:13:37 > 0:13:38# Searchin'
0:13:38 > 0:13:40# Looking for love... #
0:13:40 > 0:13:44Two weeks later, Hazell was back to continue her search.
0:13:44 > 0:13:46# I've gotta find a man... #
0:13:46 > 0:13:49It was shot live, and so the camera kind of came off of me...
0:13:49 > 0:13:51DRUMS, CHEERING
0:13:51 > 0:13:54..it went on the boy and he was twirling his little thing round
0:13:54 > 0:13:56and he gets it all round his head.
0:13:56 > 0:13:59There's nothing they can do about it, cos it's live.
0:14:02 > 0:14:06# I don't need a guy who's been lonely one night... #
0:14:06 > 0:14:10The pulsating beat of Hi-NRG was one of the sounds of the year.
0:14:11 > 0:14:13And, for now, clubbers at Heaven
0:14:13 > 0:14:16continued to party like it was...1984.
0:14:19 > 0:14:22People wanted happy music in 1984.
0:14:22 > 0:14:24I think Hi-NRG reflected this,
0:14:24 > 0:14:27it gave people the chance to take off their shirts and dance
0:14:27 > 0:14:28and just enjoy themselves
0:14:28 > 0:14:30and dance till dawn, literally.
0:14:32 > 0:14:36I think it was the last hurrah
0:14:36 > 0:14:38of an era where people felt
0:14:38 > 0:14:43they could be, sexually, as free as they were at that particular time.
0:14:45 > 0:14:48This new freedom could still be celebrated in gay culture
0:14:48 > 0:14:50in a largely pre-AIDS Britain -
0:14:50 > 0:14:52but not by gay pop stars,
0:14:52 > 0:14:54few of whom were out.
0:14:55 > 0:14:56- NEWS REPORT:- 'Rock star Elton John
0:14:56 > 0:14:58'was married in Australia this morning.
0:14:58 > 0:15:02'His bride was a German recording studio engineer, Renate Blauel.'
0:15:03 > 0:15:06There's never been a more gay time in pop than 1984,
0:15:06 > 0:15:09although a lot of artists are being very ambiguous, very cagey,
0:15:09 > 0:15:11about whether they're gay or not.
0:15:13 > 0:15:15Many of the biggest names in pop that year
0:15:15 > 0:15:17would later come out as gay,
0:15:17 > 0:15:21but in '84 they feared this might mean commercial suicide.
0:15:23 > 0:15:26There was huge pressure on artists
0:15:26 > 0:15:28not to be open about their sexuality.
0:15:28 > 0:15:29Let's call a spade a spade -
0:15:29 > 0:15:31the record companies didn't want them to.
0:15:31 > 0:15:34Here making their Top Of The Pops debut are Bronski Beat -
0:15:34 > 0:15:36performing live, Smalltown Boy.
0:15:37 > 0:15:40KEYBOARD INTRO
0:15:41 > 0:15:43But there was one band in the charts -
0:15:43 > 0:15:45and on Top Of The Pops in May -
0:15:45 > 0:15:50who were unapologetically out, proud and singing live.
0:15:50 > 0:15:54# To your soul
0:15:54 > 0:15:58# To your soul
0:15:58 > 0:16:05# Cry... #
0:16:07 > 0:16:14Smalltown Boy was probably the first overtly gay piece of propaganda
0:16:14 > 0:16:16ever on Top Of The Pops,
0:16:16 > 0:16:20and I think that makes it a piece of history.
0:16:20 > 0:16:23And it spoke to a generation of gay people
0:16:23 > 0:16:25up and down the country.
0:16:26 > 0:16:30# You leave in the morning with everything you own
0:16:30 > 0:16:33# In a little black case... ;
0:16:33 > 0:16:36Bronski Beat's frankness about their sexuality
0:16:36 > 0:16:39was still the exception rather than the rule.
0:16:39 > 0:16:42# And lonely face... #
0:16:42 > 0:16:45Other artists were very, very wary of Jimmy -
0:16:45 > 0:16:48and of each other, not just of Jimmy.
0:16:48 > 0:16:50There was always this fear that, somehow or other,
0:16:50 > 0:16:53it might infect them and infect their careers.
0:16:55 > 0:16:59Bronski Beat themselves had no such qualms -
0:16:59 > 0:17:01as the video for Smalltown Boy demonstrated.
0:17:01 > 0:17:05# But the answers you seek will never be found
0:17:05 > 0:17:08# At home... #
0:17:08 > 0:17:11Bronski Beat came out as an in-your-face gay group -
0:17:11 > 0:17:14like us or hate us, we're here and we're queer.
0:17:14 > 0:17:16That's what it was. Bronski Beat suffered no fools.
0:17:16 > 0:17:22# Run away, turn away Run away, turn away, run away... #
0:17:22 > 0:17:24We sing about things
0:17:24 > 0:17:27that emotionally sort of, like, move us emotionally,
0:17:27 > 0:17:29stimulate us. Everybody's entitled to do that.
0:17:29 > 0:17:32It just so happens that we're three gay men are doing that.
0:17:32 > 0:17:35# Contempt in your eyes when I turn to kiss his lips
0:17:38 > 0:17:41# Broken I lie All my feelings denied
0:17:41 > 0:17:43# Blood on your fist
0:17:45 > 0:17:48# Can you tell me why?
0:17:48 > 0:17:51# Can you tell me why...? #
0:17:51 > 0:17:54Top Of The Pops made Bronski Beat a pop group,
0:17:54 > 0:17:58and Top Of The Pops made them available and accessible
0:17:58 > 0:18:01and sold them to a whole generation -
0:18:01 > 0:18:04gay, straight, whatever.
0:18:04 > 0:18:07MUSIC: "Freedom" by Wham!
0:18:07 > 0:18:11Top Of The Pops' selling power had previously established Duran Duran,
0:18:11 > 0:18:13Culture Club, Spandau Ballet and Wham!
0:18:13 > 0:18:15as the Big Four of British pop.
0:18:17 > 0:18:20By 1984, they'd gone global and were in their pomp.
0:18:20 > 0:18:23# I don't want your freedom
0:18:23 > 0:18:26# I don't need to play around... #
0:18:26 > 0:18:30The Big Four, still vying for position with each other -
0:18:30 > 0:18:33but of all the bands, it's Wham!'s year.
0:18:33 > 0:18:36They have a different sound, not so much being the lads
0:18:36 > 0:18:39jumping around in little shorts as much as they used to.
0:18:39 > 0:18:43George Michael was a big Motown fan and this is coming through here.
0:18:43 > 0:18:45# Doo doo doo...
0:18:47 > 0:18:48- # Wild boys - Wild boys... #
0:18:48 > 0:18:52Duran Duran have become a stadium band.
0:18:52 > 0:18:54# Wild boys always... #
0:18:54 > 0:18:57And Spandau Ballet have lost their way.
0:18:57 > 0:18:59# I'm just an average boy... #
0:18:59 > 0:19:02Songs they're recording now are not memorable.
0:19:02 > 0:19:04# The shoo-be-doos you sing so well... #
0:19:05 > 0:19:08Culture Club? Mmm...
0:19:08 > 0:19:09They're losing their way a little too.
0:19:09 > 0:19:12# It's a miracle
0:19:12 > 0:19:13# It's a miracle... #
0:19:13 > 0:19:16International success had taken its toll on the Big Four bands.
0:19:18 > 0:19:20And advances in recording technology
0:19:20 > 0:19:24now threatened bands themselves with obsolescence.
0:19:24 > 0:19:25# It's a miracle... #
0:19:25 > 0:19:29I started off doing the one-man electronic band
0:19:29 > 0:19:32because I couldn't find any musicians around
0:19:32 > 0:19:33to work with at the time.
0:19:33 > 0:19:36MUSIC: "New Song" by Howard Jones
0:19:37 > 0:19:41I thought, well, I want to use the technology of the time
0:19:41 > 0:19:45and I want to write songs that are quite philosophically based.
0:19:45 > 0:19:48In a sense, New Song was like my manifesto.
0:19:50 > 0:19:51# Don't crack up
0:19:52 > 0:19:54# Bend your brain
0:19:54 > 0:19:56# See both sides
0:19:56 > 0:19:59# Throw off your mental chains
0:19:59 > 0:20:01# Ooh ooh ooh... #
0:20:01 > 0:20:04For his Top Of The Pops debut the previous year,
0:20:04 > 0:20:08one-man band Howard Jones brought along his friend Jed
0:20:08 > 0:20:10to get his message across.
0:20:12 > 0:20:14Jed was really fascinating to people,
0:20:14 > 0:20:16but I was incredibly nervous,
0:20:16 > 0:20:19and when I watch it back you don't really see that,
0:20:19 > 0:20:24but underneath the surface, it was sheer terror going on.
0:20:24 > 0:20:26# Don't crack up... #
0:20:26 > 0:20:28And if you watch me, I'm, like, chewing gum,
0:20:28 > 0:20:31and I didn't have any gum in my mouth - it was like a nervous tic
0:20:31 > 0:20:33to try and calm myself down.
0:20:33 > 0:20:35# Ooh, ooh, ooh... #
0:20:35 > 0:20:37And then what happened was
0:20:37 > 0:20:40I think I got addicted to the fear.
0:20:40 > 0:20:43At number 12, Howard Jones, Hide And Seek.
0:20:43 > 0:20:45CHEERING
0:20:45 > 0:20:50In 1984, almost all acts on Top Of The Pops still mimed.
0:20:50 > 0:20:52So Howard ramped up that fear factor
0:20:52 > 0:20:54by playing and singing live.
0:20:56 > 0:20:59I've always been looking for those challenges
0:20:59 > 0:21:02that sort of push you a little bit further to take a risk,
0:21:02 > 0:21:05so I was really, really up for doing that,
0:21:05 > 0:21:09but I remember getting a bit lost in the dry ice a few times.
0:21:09 > 0:21:13# Built her elaborate home With its ups and its downs
0:21:15 > 0:21:17# Its rain and its sun
0:21:17 > 0:21:20# She decided that her work, it was done
0:21:20 > 0:21:22# Time to have fun... #
0:21:23 > 0:21:25That was the most enjoyable Top Of The Pops for me
0:21:25 > 0:21:29because of the sheer adrenaline going through me.
0:21:30 > 0:21:34# Hope you find it
0:21:34 > 0:21:41# Hope you find me in you... #
0:21:41 > 0:21:45Howard Jones wasn't the only solo act out of their comfort zone
0:21:45 > 0:21:47on Top Of The Pops in 1984.
0:21:49 > 0:21:51It was utterly terrifying.
0:21:51 > 0:21:52You know, I'm a guitar player
0:21:52 > 0:21:55and I'd spent the last five years playing guitar
0:21:55 > 0:21:56and I play guitar in the studio,
0:21:56 > 0:22:01so obviously I'm going to go on television with a keyboard.
0:22:01 > 0:22:03MUSIC: "Wouldn't It Be Good"
0:22:04 > 0:22:06Exposed and alone on the Top Of The Pops stage,
0:22:06 > 0:22:09with no mic and only a haircut for company,
0:22:09 > 0:22:13what you choose to wear can make a lasting impression.
0:22:14 > 0:22:16# I got it bad
0:22:16 > 0:22:18# You don't know how bad I got it... #
0:22:18 > 0:22:20Don't talk to me about that snood.
0:22:20 > 0:22:23It kind of...took on a life of its own,
0:22:23 > 0:22:27and it's literally been round my neck for my entire career.
0:22:29 > 0:22:31# The cold is biting
0:22:31 > 0:22:32# Through each and... #
0:22:32 > 0:22:35I could easily blame my stylist but the buck stops with me, really,
0:22:35 > 0:22:37because I did stand in front of that mirror and go,
0:22:37 > 0:22:40"Yeah, I'm going to go on national television looking like that.
0:22:40 > 0:22:42"That's... That's fine."
0:22:42 > 0:22:46# Wouldn't it be good to be in your shoes
0:22:46 > 0:22:51# Even if it was for just one day?
0:22:51 > 0:22:53# Wouldn't it be good
0:22:53 > 0:22:58# If we could wish ourselves away? #
0:22:59 > 0:23:01Two weeks later, Nik was back -
0:23:01 > 0:23:04and this time, the show had a trick up its sleeve.
0:23:04 > 0:23:06# To be on your side... #
0:23:06 > 0:23:09I think the second time I did it, the production people
0:23:09 > 0:23:12kind of realised, actually, there was nothing going on here.
0:23:14 > 0:23:16There's no great moves or anything.
0:23:16 > 0:23:18# Without a care...? #
0:23:18 > 0:23:21So they stuck the video of the song behind me
0:23:21 > 0:23:23and kept cutting between them.
0:23:23 > 0:23:24# You must be joking
0:23:24 > 0:23:27# You don't know a thing about it
0:23:27 > 0:23:28# You've got no problem... #
0:23:30 > 0:23:32I can understand why they did that, yeah.
0:23:32 > 0:23:34# The heat is stifling
0:23:34 > 0:23:37# Burning me up from the inside... #
0:23:37 > 0:23:42Nik Kershaw and Howard Jones were the perfect pop packages for 1984.
0:23:42 > 0:23:43Big hair, fancy clothes
0:23:43 > 0:23:45and a handful of catchy tunes.
0:23:49 > 0:23:51But alongside Hi-NRG,
0:23:51 > 0:23:54another underground club scene burst into the charts that year,
0:23:54 > 0:23:58combining jazz-cool and old-fashioned authenticity.
0:24:01 > 0:24:03With the Wag Club, it was a reaction
0:24:03 > 0:24:07against all the kind of, the rather soulless synth pop of the time,
0:24:07 > 0:24:09and I just wanted to do a club where people could dance,
0:24:09 > 0:24:11where they could listen to music.
0:24:11 > 0:24:13It was like a hybrid of Latin, funk and jazz.
0:24:13 > 0:24:15# Klacto vee sedstein
0:24:15 > 0:24:19# I wait and wonder what it means
0:24:19 > 0:24:21# Klacto vee sedstein... #
0:24:21 > 0:24:23Early pioneers of this sound and look
0:24:23 > 0:24:26were Chris Sullivan's band Blue Rondo A La Turk.
0:24:26 > 0:24:29And Top Of The Pops would inadvertently play a role
0:24:29 > 0:24:31in this flourishing scene.
0:24:31 > 0:24:32# And bruises all my dreams
0:24:32 > 0:24:34# Klacto vee sed... #
0:24:34 > 0:24:35In a queer kind of way,
0:24:35 > 0:24:38without Top Of The Pops there wouldn't have been a Wag Club,
0:24:38 > 0:24:40because we were going to go on Top Of The Pops one day
0:24:40 > 0:24:43and we were the most played record on Radio 1 -
0:24:43 > 0:24:47we got there, "Yeah, boys, you're on," do mic and all that stuff,
0:24:47 > 0:24:51dance routines, the splits, the backdrops, got all ready.
0:24:51 > 0:24:54The day before, they said, "Sorry, you've lost out to Ken Dodd."
0:24:54 > 0:24:58# Hold my hand if you're yellow, black or white... #
0:24:58 > 0:24:59They were so apologetic.
0:24:59 > 0:25:02They said, "If you stay where you are, you're on next week,"
0:25:02 > 0:25:04and we went down one place and that was it.
0:25:04 > 0:25:08# Hold my hand if you're yellow, black or white... #
0:25:08 > 0:25:09If I'd have gone on Top Of The Pops,
0:25:09 > 0:25:12undoubtedly we would have gone on to bigger success
0:25:12 > 0:25:14and, undoubtedly, I wouldn't have started the Wag Club,
0:25:14 > 0:25:16because I did that because I was skint!
0:25:18 > 0:25:20But out of that same scene
0:25:20 > 0:25:26emerged a singer who became one of the voices and the faces of 1984.
0:25:26 > 0:25:28# Pride, when you can't back down... #
0:25:28 > 0:25:31Sade first caught the eye as a backing vocalist
0:25:31 > 0:25:34with jazz-funk group Pride.
0:25:34 > 0:25:36# Pride, when you can't back down... #
0:25:36 > 0:25:38I used to hang out with Sade. She lived in this squat
0:25:38 > 0:25:41and she had all these records and we used to listen to records
0:25:41 > 0:25:44and used to think, "Oh, we should try and write our own songs."
0:25:44 > 0:25:47Just little jazzy, souly things.
0:25:47 > 0:25:49# Pushin' on, pushin' on... #
0:25:49 > 0:25:53The rules for pop success in 1984 were the same, whatever your sound -
0:25:53 > 0:25:57you needed a good image and a determination to succeed.
0:25:57 > 0:26:00# Do you realise you're going nowhere...? #
0:26:00 > 0:26:04We weren't accomplished songwriters or musicians.
0:26:04 > 0:26:08I think if any of us had been 10% better, it would have been horrible.
0:26:09 > 0:26:13She's making her debut with Your Love Is King - this is Sade.
0:26:17 > 0:26:18When Sade and her new band
0:26:18 > 0:26:21made their Top Of The Pops debut in March,
0:26:21 > 0:26:25the Wag Club ethos of real instruments and understatement
0:26:25 > 0:26:28sounded unlike much else in the charts at the time.
0:26:34 > 0:26:37# Your love is king
0:26:37 > 0:26:39# Crown you in my heart
0:26:39 > 0:26:42# Your love is king
0:26:42 > 0:26:44# Never need to part
0:26:44 > 0:26:46# Your kisses ring
0:26:48 > 0:26:50# Round and round and round my head
0:26:50 > 0:26:53# Touching the very part of me
0:26:53 > 0:26:55# That's making my soul sing
0:26:55 > 0:26:58# I'm crying out for more
0:26:58 > 0:27:03# Your love is king... #
0:27:03 > 0:27:05The first time we were on Top Of The Pops,
0:27:05 > 0:27:07I just remember looking at the audience
0:27:07 > 0:27:11and them being slightly confused as to how to dance to us.
0:27:11 > 0:27:13You know, cos it was kind of slow
0:27:13 > 0:27:15and it was, like, in 6/8 kind of time signature,
0:27:15 > 0:27:18and they weren't quite sure.
0:27:19 > 0:27:23Even the Top Of The Pops team were put in a tizz by Sade.
0:27:24 > 0:27:27The first time seeing our name on the countdown,
0:27:27 > 0:27:31and it said, "Sade, Your Love Is King," and it said "Slade".
0:27:31 > 0:27:35Sade, Your Love Is King, a chart entry at 37.
0:27:35 > 0:27:36Wow.
0:27:36 > 0:27:39Obviously, I love Slade, but it was a bit, you know...
0:27:39 > 0:27:42Did you like the way we deliberately misspelled "Sade" there?
0:27:42 > 0:27:44OK, let's get back to the charts.
0:27:46 > 0:27:49MUSIC: "Get Out Of Your Lazy Bed" by Matt Bianco
0:27:49 > 0:27:51# Get out of your lazy bed
0:27:51 > 0:27:52# Get up... #
0:27:52 > 0:27:54Suddenly, jazz was king.
0:27:54 > 0:27:56Step forward Matt Bianco,
0:27:56 > 0:27:59a more poppy offshoot of Blue Rondo A La Turk.
0:27:59 > 0:28:00# Get out of your lazy bed
0:28:00 > 0:28:01# Get up
0:28:01 > 0:28:03# Get up... #
0:28:04 > 0:28:06# Mr Solitaire
0:28:06 > 0:28:08# Don't need your love Don't want your love... #
0:28:08 > 0:28:12And Animal Nightlife added an air of sophistication.
0:28:12 > 0:28:15# Mr Solitaire
0:28:15 > 0:28:17# Don't need your love Don't want your love... #
0:28:17 > 0:28:18I mean, it was kind of crazy, really,
0:28:18 > 0:28:21when you think about how much success came out of that scene.
0:28:21 > 0:28:25We were reflecting what we saw when we went out clubbing
0:28:25 > 0:28:28and the friends that we had, really, in the real life, in the real world.
0:28:29 > 0:28:33You know, with Sade, it just went stratospheric.
0:28:34 > 0:28:36# No need to ask
0:28:36 > 0:28:39# He's a smooth operator... #
0:28:39 > 0:28:41By September, and their second single,
0:28:41 > 0:28:44everyone knew who Sade was.
0:28:44 > 0:28:47# Smooth operator...
0:28:47 > 0:28:49Sade came at a time when a lot of people
0:28:49 > 0:28:51were ready to embrace jazz music,
0:28:51 > 0:28:54and she was the perfect person to introduce it.
0:28:54 > 0:29:00# LA to Chicago, western male... #
0:29:00 > 0:29:03I loved the fact that there was someone from our scene,
0:29:03 > 0:29:06and it was a black woman being elevated.
0:29:06 > 0:29:09And she did it all on her own terms.
0:29:09 > 0:29:12# Smooth operator... #
0:29:12 > 0:29:14There was no-one who sounded like her
0:29:14 > 0:29:17and I think that's why, you know, she hit the ball out of the park.
0:29:19 > 0:29:21Despite its hip beginnings,
0:29:21 > 0:29:23the tasteful sound of jazz pop
0:29:23 > 0:29:27would quickly come to be associated with '80s consumerism -
0:29:27 > 0:29:29the cocktail years.
0:29:30 > 0:29:32There was a lot of places, like cocktail bars,
0:29:32 > 0:29:34that people used to go out.
0:29:34 > 0:29:36We got criticised - oh, it's cocktail lounge music, or whatever.
0:29:36 > 0:29:39But, you know, I'm not really going to apologise for that,
0:29:39 > 0:29:40for being sophisticated.
0:29:42 > 0:29:44# A licence to love
0:29:44 > 0:29:48# Insurance to hold
0:29:50 > 0:29:52# Melts all your memories and change... #
0:29:52 > 0:29:56What made Top Of The Pops performances like Sade's
0:29:56 > 0:29:57look more dynamic in 1984
0:29:57 > 0:30:02was the show's increasing use of hand-held cameras for close-ups.
0:30:03 > 0:30:04But, for the cameraman,
0:30:04 > 0:30:07it was an operation that didn't always go smoothly.
0:30:07 > 0:30:09# Smooth operator... #
0:30:09 > 0:30:11Although these portable cameras
0:30:11 > 0:30:14could get to all sorts of interesting places,
0:30:14 > 0:30:16when they first came out, in those early days,
0:30:16 > 0:30:20they tended to have very narrow-angle lenses on them.
0:30:20 > 0:30:23And that means, when you move around with a narrow-angle lens,
0:30:23 > 0:30:26every wobble, every shake really shows up.
0:30:30 > 0:30:34You tend to see quite a lot of those kind of very close,
0:30:34 > 0:30:36quite ugly shots, sometimes.
0:30:36 > 0:30:39They're low-angle because someone's standing on the ground looking up.
0:30:42 > 0:30:45It all becomes, then, about seeing the roof behind them.
0:30:45 > 0:30:47And it's interesting, in the '80s,
0:30:47 > 0:30:51you've got those big banks of lights starting to appear.
0:30:53 > 0:30:56The lights were burning, burning hot.
0:30:56 > 0:30:58I mean, the heat that came out of those lights,
0:30:58 > 0:31:02if you stood on one of those stages with all those lights above you,
0:31:02 > 0:31:04your head was being grilled, basically.
0:31:04 > 0:31:06# Are you ready?
0:31:06 > 0:31:08Are you ready to dance? #
0:31:08 > 0:31:12The use of portable cameras allowed viewers to get up close and personal
0:31:12 > 0:31:13with performers on the show.
0:31:15 > 0:31:17If a performer like Cyndi Lauper came along
0:31:17 > 0:31:19and wanted to be able to carry off
0:31:19 > 0:31:21a slightly more flamboyant performance,
0:31:21 > 0:31:23we just had to go with it.
0:31:23 > 0:31:26# And girls, they wanna have fun... #
0:31:26 > 0:31:29During the first set of rehearsals,
0:31:29 > 0:31:33Michael spotted that she was going to be a great performer.
0:31:33 > 0:31:38And, as a result, he gave her not only one stage but two stages
0:31:38 > 0:31:40and the gantry to work with.
0:31:40 > 0:31:45# My father yells "Watcha gonna do with your life?"
0:31:45 > 0:31:49# Oh, Daddy dear, you know you're still number one
0:31:49 > 0:31:52# But girls, they wanna have fun
0:31:52 > 0:31:55# Oh, girls, just wanna have
0:31:55 > 0:31:59# That's all they really want... #
0:31:59 > 0:32:02Cyndi Lauper really goes for it with her performance.
0:32:02 > 0:32:05She runs up and down the scaffolding,
0:32:05 > 0:32:07she's playing drums on the scaffolding.
0:32:08 > 0:32:10She is kooky.
0:32:10 > 0:32:12She's grabbing people in the audience
0:32:12 > 0:32:14and making them dance with her.
0:32:14 > 0:32:16She's giving it all she's got.
0:32:16 > 0:32:18# Girls, they wanna have fun
0:32:18 > 0:32:21# Oh, girls just wanna have
0:32:21 > 0:32:24# That's all they really want... #
0:32:24 > 0:32:28In June 1984, Richard Branson's Virgin Atlantic
0:32:28 > 0:32:31began a service between London and New York.
0:32:31 > 0:32:33And if the Big Four were part of
0:32:33 > 0:32:35the second British invasion of the States,
0:32:35 > 0:32:39a new wave of US stars were coming the other way.
0:32:39 > 0:32:40# Like a virgin... #
0:32:40 > 0:32:42Including Madonna.
0:32:42 > 0:32:47# Touched for the very first time
0:32:47 > 0:32:50# Like a virgin
0:32:50 > 0:32:52# When your heart beats... #
0:32:52 > 0:32:55And her performance impressed the competition.
0:32:58 > 0:32:59I do remember Madonna on that show,
0:32:59 > 0:33:01because there'd been a lot of talk about her
0:33:01 > 0:33:04and I think it was quite a big thing that she was actually over.
0:33:04 > 0:33:06But she totally owned the stage.
0:33:06 > 0:33:08She was all over the stage.
0:33:08 > 0:33:10She was skipping around it and all sorts.
0:33:10 > 0:33:12It's amazing to see somebody with such confidence.
0:33:12 > 0:33:14# And you're mine... #
0:33:14 > 0:33:16What you need to look for, really,
0:33:16 > 0:33:18is she's wearing those provocative
0:33:18 > 0:33:21rosaries and crucifixes around her neck
0:33:21 > 0:33:23while she's singing Like A Virgin.
0:33:23 > 0:33:25So this was a glimpse of things to come.
0:33:27 > 0:33:29# With your heartbeat
0:33:29 > 0:33:31# Next to mine... #
0:33:31 > 0:33:33For young girls watching Top Of The Pops,
0:33:33 > 0:33:38Madonna and Cyndi Lauper offered themselves as brash new role models.
0:33:38 > 0:33:42Unconventional, a bit shocking, but plainly having a good time.
0:33:45 > 0:33:47Unlike Prime Minister Margaret Thatcher,
0:33:47 > 0:33:50who came under fire from the wives of striking miners.
0:33:52 > 0:33:55- NEWS REPORT:- 'One egg hit Mrs Thatcher squarely on the chest.
0:33:55 > 0:33:58'More eggs, and also tomatoes, ice cream and butter,
0:33:58 > 0:34:00'rained down on her entourage.'
0:34:00 > 0:34:04# It's a lot, it's a lot It's a lot like life... #
0:34:05 > 0:34:08As the year wore one, the miners' strike, which began that spring,
0:34:08 > 0:34:13saw communities torn apart amidst increasingly violent confrontations.
0:34:19 > 0:34:23I think it totally and utterly false to cast a slur on the police
0:34:23 > 0:34:27for the superb way in which they have handled this dispute.
0:34:28 > 0:34:32One television series caught the spirit of these troubled times,
0:34:32 > 0:34:35mixing up comedy, pop,
0:34:35 > 0:34:36and anarchy...
0:34:36 > 0:34:38I'm not into violence, Rick.
0:34:38 > 0:34:40But I'm really going to smash your face in!
0:34:40 > 0:34:42..and a hippie.
0:34:42 > 0:34:44Neil, how are you keeping that flowerpot up?
0:34:46 > 0:34:50Culturally, I think it was quite a shock, The Young Ones.
0:34:50 > 0:34:53I don't think anything like that had ever been seen before.
0:34:53 > 0:34:56Not sure if anything like that's been seen since, actually.
0:34:56 > 0:34:58What are we going to do?
0:34:58 > 0:35:00Only pop music can save us now.
0:35:09 > 0:35:11We had the bands in The Young Ones.
0:35:11 > 0:35:13It didn't seem that big a leap,
0:35:13 > 0:35:16one of the characters from The Young Ones on Top Of The Pops.
0:35:19 > 0:35:23Hello, shoes. I'm sorry, but I'm going to have to stand on you again.
0:35:24 > 0:35:26Oh, no. Where am I?
0:35:28 > 0:35:31Oh, no, I must be on Top Of The Pops. Heavy!
0:35:32 > 0:35:34What, what now?
0:35:34 > 0:35:35# I looked in the sky
0:35:35 > 0:35:37# Where an elephant's eye
0:35:37 > 0:35:40# Was looking at me
0:35:40 > 0:35:41# From a bubble-gum tree... #
0:35:41 > 0:35:45'The singing was mimed but there was talking in it,'
0:35:45 > 0:35:48so I was partially miming, and partially not miming.
0:35:48 > 0:35:50# Was letting in water
0:35:50 > 0:35:52# Letting in water... #
0:35:52 > 0:35:55'We made sure, in the speaking bits,'
0:35:55 > 0:35:57that we referenced a lot of other acts
0:35:57 > 0:35:59who were in the charts at the time.
0:35:59 > 0:36:00Listen to the lyrics, Paul Weller.
0:36:02 > 0:36:04'Which was funny at the time.'
0:36:04 > 0:36:06It doesn't seem so funny now.
0:36:08 > 0:36:11I think it's fascinating when you get someone like Nigel Planer
0:36:11 > 0:36:13coming into the studio because, of course,
0:36:13 > 0:36:16they're going to be interested, if it's a comedy song,
0:36:16 > 0:36:20in making sure that you're on them when the line's being spoken
0:36:20 > 0:36:22and that you're going to get the comedy.
0:36:22 > 0:36:24Oh, no, what's happening?
0:36:25 > 0:36:27There was a tradition, Top Of The Pops shot,
0:36:27 > 0:36:30the person singing and the camera comes round,
0:36:30 > 0:36:31dollying round, round, round like that -
0:36:31 > 0:36:33then they cut to another one.
0:36:33 > 0:36:35I AM on Top Of The Pops.
0:36:35 > 0:36:37'But, of course, in a narrative sketch,
0:36:37 > 0:36:39'you've got to set something up and pay it off.'
0:36:39 > 0:36:43..in the bath with my shoes on, cos it won't make any difference.
0:36:44 > 0:36:47'And so, we wrote a different camera script for them,
0:36:47 > 0:36:50'so it was a little bit challenging to say,'
0:36:50 > 0:36:51"No, you must be on my face
0:36:51 > 0:36:55"when I hit myself in the head with the microphone.
0:36:55 > 0:36:57"Don't be around the back here."
0:36:57 > 0:36:58Hang on, hang on.
0:37:04 > 0:37:07'It was fun breaking the fourth wall'
0:37:07 > 0:37:09and talking to the audience and making them laugh.
0:37:09 > 0:37:12It kind of ruined Top Of The Pops. We hope.
0:37:17 > 0:37:19Back in the real world,
0:37:19 > 0:37:23laughter was in short supply in the Cold War Britain of '84.
0:37:31 > 0:37:35And, so, having courted controversy with sex on Relax,
0:37:35 > 0:37:39Frankie Goes To Hollywood now turned their sights on war.
0:37:41 > 0:37:45Frankies didn't have any obvious material for a second single.
0:37:45 > 0:37:48They had Two Tribes, but their original version of Two Tribes
0:37:48 > 0:37:51was quite random and quite sort of indie.
0:37:52 > 0:37:55I knew the second single, when you've had a massive single,
0:37:55 > 0:37:58if you don't get the second single away, you're dead meat.
0:37:58 > 0:38:00This bit's good.
0:38:01 > 0:38:04'I remember walking into Studio Two at Sarm, and Trevor said,'
0:38:04 > 0:38:07"Well, I've had a play around with a few bits. Have a listen to this,
0:38:07 > 0:38:10and put it on to the bigs, put it on to number 11, as they say,
0:38:10 > 0:38:12and, you know...
0:38:12 > 0:38:14blew us away.
0:38:18 > 0:38:21When Two Tribes crashed straight in at number one
0:38:21 > 0:38:23and remained there for much of the summer,
0:38:23 > 0:38:25Michael Hurll was finally able
0:38:25 > 0:38:28to welcome Frankie back to Top Of The Pops with open arms.
0:38:28 > 0:38:30# When two tribes go to war
0:38:30 > 0:38:34# Money's all that you can score
0:38:34 > 0:38:36# Working on the black gas
0:38:36 > 0:38:38# Cowboy number one
0:38:38 > 0:38:41# A born-again poor man's son... #
0:38:41 > 0:38:44Now, at last, it's their time to get crowned.
0:38:44 > 0:38:49Nine times in a row, and Michael Hurll gives them this platform,
0:38:49 > 0:38:51because he owes it to them, frankly.
0:38:52 > 0:38:55With Two Tribes looking indomitable at number one,
0:38:55 > 0:38:59its nearest challenger became their own song, Relax,
0:38:59 > 0:39:02which had risen up the charts again to reach number two.
0:39:08 > 0:39:11And Michael Hurll got more than he bargained for
0:39:11 > 0:39:14when Frankie made their fifth live appearance on the show,
0:39:14 > 0:39:16brandishing firearms.
0:39:16 > 0:39:19# I'm working for the black gas... #
0:39:21 > 0:39:22We'd done it a few times,
0:39:22 > 0:39:24so we're a bit cheeky and a bit lairy now.
0:39:24 > 0:39:26And it was a live show.
0:39:26 > 0:39:29When we did the dress rehearsals, we were saying...
0:39:29 > 0:39:32Don't pull the guns, cos they won't let us do it.
0:39:32 > 0:39:33Don't pull the guns out.
0:39:33 > 0:39:35# Follow me... #
0:39:35 > 0:39:40But it was only when the thing was live that we pulled guns out.
0:39:40 > 0:39:41We'd pulled out these replica guns.
0:39:41 > 0:39:44# Follow me... #
0:39:47 > 0:39:49And our manager was watching it in the gallery
0:39:49 > 0:39:51with Michael Hurll, and he's gone...
0:39:51 > 0:39:54"This is brilliant, because I didn't know they were gone do it."
0:39:54 > 0:39:56He's in the clear. There's nothing he can do about it,
0:39:56 > 0:39:59but he's just got a great bit of telly there, like.
0:39:59 > 0:40:01These nutters have just pulled guns out.
0:40:12 > 0:40:15The Frankie propaganda machine was now an unstoppable force,
0:40:15 > 0:40:19and their secret weapon was the T-shirt.
0:40:20 > 0:40:23I think it was actually Paul Rutherford's idea to go,
0:40:23 > 0:40:25"Why can't we have some T-shirts made,
0:40:25 > 0:40:28"like these Katharine Hamnett ones?"
0:40:28 > 0:40:31The first one was the Pershing one, wasn't it?
0:40:31 > 0:40:33REPORTER: 'And one young lady with a message.'
0:40:33 > 0:40:36- THATCHER:- Now, one moment.
0:40:37 > 0:40:40AIR-RAID SIREN
0:40:40 > 0:40:42But being the biggest band in Britain
0:40:42 > 0:40:44brought intense tabloid scrutiny.
0:40:48 > 0:40:50That was the performance where,
0:40:50 > 0:40:52at the beginning, Holly is seen reading The Sun.
0:40:52 > 0:40:57And The Sun were doorstepping his parents about his sexuality,
0:40:57 > 0:40:59so he wasn't pleased.
0:41:15 > 0:41:16To round it off,
0:41:16 > 0:41:20Holly showed it wasn't only girls who wanted to have fun.
0:41:20 > 0:41:23# Money's all that you can score... #
0:41:23 > 0:41:26And now we have the hand-held cameras coming into their own,
0:41:26 > 0:41:29and it's all a little bit wobbly but it's all a bit risque
0:41:29 > 0:41:31and it's all a little bit fun.
0:41:31 > 0:41:33# Working for the black gas... #
0:41:35 > 0:41:36It was a nightmare for Michael Hurll.
0:41:36 > 0:41:38I remember him being less than pleased.
0:41:38 > 0:41:40But the end performance was
0:41:40 > 0:41:43one of the classic Top Of The Pops performances.
0:41:44 > 0:41:48# Listen to the voice sing and follow me... #
0:41:48 > 0:41:52Holly's inspired Pied Piper walkabout led Top Of The Pops
0:41:52 > 0:41:53in a new direction...
0:41:53 > 0:41:55# Follow me... #
0:41:55 > 0:41:57..of mildly chaotic spontaneity.
0:42:01 > 0:42:03You've got to have a good time because it could all end tomorrow.
0:42:03 > 0:42:06We're in the middle of a nuclear holocaust, maybe.
0:42:06 > 0:42:08We've got to go down swinging.
0:42:17 > 0:42:19- REPORTER:- Russians are already modernising
0:42:19 > 0:42:22their short-range nuclear weapons in Eastern Europe,
0:42:22 > 0:42:24and the experts reckon they may speed this up
0:42:24 > 0:42:27as soon as any new American missiles arrive.
0:42:28 > 0:42:33The threat of nuclear war had intensified across Europe by 1984.
0:42:34 > 0:42:36Nowhere was that felt more than in Berlin.
0:42:38 > 0:42:41I think the feeling in Berlin at the time
0:42:41 > 0:42:43was like dancing on the volcano.
0:42:46 > 0:42:49But out of that volcano floated an idea for a song.
0:42:51 > 0:42:54Carlo Karges, the guitar player,
0:42:54 > 0:42:56showed me the lyrics.
0:42:56 > 0:42:5899 Luftballons
0:42:58 > 0:43:01# Hast du etwas Zeit fur mich
0:43:01 > 0:43:04# Dann singe ich ein Lied fur dich
0:43:04 > 0:43:07# Von 99 Luftballons
0:43:07 > 0:43:11# Auf ihrem Weg zum Horizont... #
0:43:11 > 0:43:13I read the lyrics and I was, like,
0:43:13 > 0:43:15blown away in the same second
0:43:15 > 0:43:18because it was so goose-bumping.
0:43:18 > 0:43:20# 99 Luftballons... #
0:43:20 > 0:43:23'And then Carlo played the riff.'
0:43:23 > 0:43:25- SHE SINGS 99 LUFTBALLONS RIFF - And I was,
0:43:25 > 0:43:27like, "You're kidding me! What's going on here?"
0:43:31 > 0:43:34And then when we came to the rehearsal studio, I said,
0:43:34 > 0:43:37"I have this great new melody and I have this great new part
0:43:37 > 0:43:40"but I don't know how should we put this together?"
0:43:40 > 0:43:42And then our drummer, Wolff, he said, "I just do
0:43:42 > 0:43:44"ta-da-da-da ta-da-da-da. Wam!"
0:43:44 > 0:43:48And I said, "Yeah, actually, that works."
0:43:54 > 0:43:57Suddenly, it became number one in Germany.
0:43:57 > 0:43:59It then took off across Europe,
0:43:59 > 0:44:02as a result of it being number one in Germany, but not in the UK.
0:44:02 > 0:44:05Traditionally, foreign-language singles
0:44:05 > 0:44:07were very, very difficult to promote.
0:44:08 > 0:44:12Back in 1983, Top Of The Pops included the song
0:44:12 > 0:44:15in one of their odd forays into the European charts.
0:44:16 > 0:44:21At number two, 99 Luftballons, whatever they may be. That's Nena.
0:44:21 > 0:44:23# Fliegerstaffel hinterher
0:44:23 > 0:44:25# Alarm zu geben, wenn es so war... #
0:44:25 > 0:44:28As it was so successful in Europe,
0:44:28 > 0:44:31we asked the publishers to come up with an English-language version.
0:44:31 > 0:44:34# 99 red balloons
0:44:34 > 0:44:36# Floating in the summer sky
0:44:36 > 0:44:38# Panic bells, it's red alert
0:44:38 > 0:44:41# There's something here from somewhere else
0:44:41 > 0:44:42# The war machine... #
0:44:42 > 0:44:44And, as if by magic,
0:44:44 > 0:44:47the English version rocketed up the charts to number one.
0:44:47 > 0:44:50And that's when the controversy began.
0:44:50 > 0:44:52# 99 red balloons go by.
0:44:52 > 0:44:56We were three weeks number one and I think one of the newspapers
0:44:56 > 0:45:00wrote, "Biggest attack on Britain since the V2."
0:45:00 > 0:45:02And we had all this kind of press.
0:45:02 > 0:45:05Which was related to my armpits.
0:45:05 > 0:45:07That also, yeah.
0:45:10 > 0:45:11Ah, those armpits.
0:45:14 > 0:45:17The great British public was fixated, it seemed,
0:45:17 > 0:45:21on Nena's unshaven armpits - as glimpsed in the song's video.
0:45:22 > 0:45:24We had a live gig...
0:45:24 > 0:45:27- Where was it? - Royal Theatre, Drury Lane.- Yeah.
0:45:27 > 0:45:30But, actually, there was, set up in the audience,
0:45:30 > 0:45:32they had a big banner that says,
0:45:32 > 0:45:34"Nena, we love your armpits."
0:45:34 > 0:45:37- Yeah!- And we said, "Is it...?" - And I was like, "What's going on?"
0:45:37 > 0:45:40- I was asking everybody, "What does it mean?"- What does it mean?
0:45:40 > 0:45:42"What does it mean?"
0:45:47 > 0:45:50This controversy wasn't lost on Michael Hurll,
0:45:50 > 0:45:53but if he hoped Nena would flash her pits on Top Of The Pops
0:45:53 > 0:45:55he was to be disappointed.
0:45:57 > 0:46:00The band came in and, unfortunately for Michael Hurll
0:46:00 > 0:46:03who was interested in a certain lady's armpits,
0:46:03 > 0:46:04she was totally covered up.
0:46:06 > 0:46:09Undeterred, for its third week at the top,
0:46:09 > 0:46:14Michael Hurll chose to screen the original German language video,
0:46:14 > 0:46:16hairy armpits and all.
0:46:18 > 0:46:19Which is how Neunundneunzig Luftballons
0:46:19 > 0:46:22became the first foreign-language song
0:46:22 > 0:46:25to be played as a number one record on Top Of The Pops.
0:46:27 > 0:46:28So, with the armpits,
0:46:28 > 0:46:32we kind of brought the German version into English television.
0:46:32 > 0:46:35- It was all meant to be. - It was meant to be.
0:46:35 > 0:46:37OK, Steve. Thanks, mate.
0:46:37 > 0:46:40Right, where's it gone? And cue track.
0:46:44 > 0:46:47Songs like 99 Red Balloons, with a message,
0:46:47 > 0:46:49were proving popular in 1984.
0:46:49 > 0:46:51And Michael Hurll had no problem
0:46:51 > 0:46:53with featuring them on Top Of The Pops.
0:46:53 > 0:46:56# And take your pride
0:46:56 > 0:46:58# Innocent people walking by
0:46:58 > 0:47:00# No time to smile before they die
0:47:00 > 0:47:04# Don't call that justice... #
0:47:04 > 0:47:07Whether it's Bananarama protesting the political situation
0:47:07 > 0:47:09in Northern Ireland...
0:47:09 > 0:47:11# War, war is stupid
0:47:11 > 0:47:12# And people are stupid... #
0:47:12 > 0:47:15..or culture club stating the obvious.
0:47:15 > 0:47:17# In some strange quarters
0:47:17 > 0:47:18# War, war is stupid
0:47:18 > 0:47:21# And people are stupid
0:47:21 > 0:47:25# And I heard them banging on hearts and fingers
0:47:25 > 0:47:26# War! #
0:47:28 > 0:47:32But one song in 1984 combined a direct political plea
0:47:32 > 0:47:35with a ludicrously catchy tune and rhythm.
0:47:37 > 0:47:39# Free
0:47:39 > 0:47:42# Nelson Mandela... #
0:47:42 > 0:47:45Like everyone else, I'd never heard of Nelson Mandela,
0:47:45 > 0:47:49so I went up to this concert and, you know,
0:47:49 > 0:47:50it was celebrating his birthday.
0:47:50 > 0:47:55They had a lot of leaflets about him and, obviously, I read up about him
0:47:55 > 0:47:57and found out a lot more about him,
0:47:57 > 0:48:00and that's where I got the idea to put these lyrics to this tune
0:48:00 > 0:48:02that I'd already been working on.
0:48:03 > 0:48:06Jerry had an idea for the chorus...
0:48:06 > 0:48:10# Free Nelson Mandela... #
0:48:10 > 0:48:14That's what he came in with. And so we started working on it from there.
0:48:14 > 0:48:18# Free... #
0:48:18 > 0:48:20It had a very simple melody.
0:48:20 > 0:48:23I mean, if I can sing it then just about anybody can sing it.
0:48:23 > 0:48:26# 21 years in captivity
0:48:26 > 0:48:30# Shoes too small to fit his feet
0:48:30 > 0:48:34# Are you so blind that you cannot see?
0:48:34 > 0:48:38# Are you so deaf that you cannot hear his plea?
0:48:38 > 0:48:43# Free Nelson Mandela... #
0:48:44 > 0:48:46For the recording session,
0:48:46 > 0:48:49Jerry Dammers assembled a collective of like-minded musicians.
0:48:52 > 0:48:56Elvis Costello was brought in, Dave Wakeling,
0:48:56 > 0:48:58Lynval Golding from The Specials.
0:48:58 > 0:49:02That idea of getting a lot of different people together
0:49:02 > 0:49:03on one record, you know,
0:49:03 > 0:49:08I don't think there'd been many examples, if any, of that.
0:49:08 > 0:49:11# Free
0:49:11 > 0:49:14# Nelson Mandela... #
0:49:14 > 0:49:16In 1984, protesting against the injustices
0:49:16 > 0:49:19of the South African apartheid system
0:49:19 > 0:49:22was an increasingly popular cause in Britain.
0:49:22 > 0:49:25CROWD CHANTS
0:49:25 > 0:49:28But the BBC had to be seen to tread a careful line
0:49:28 > 0:49:32when it came to overtly political sentiments.
0:49:32 > 0:49:35The infectious groove of Free Nelson Mandela, however,
0:49:35 > 0:49:39meant no radio station could resist it.
0:49:39 > 0:49:43If more people had known who Nelson Mandela was
0:49:43 > 0:49:45it might never have got played on BBC,
0:49:45 > 0:49:47because I don't think people, at first, realised
0:49:47 > 0:49:49what we were singing about.
0:49:49 > 0:49:51So, it's like a sort of Trojan horse.
0:49:56 > 0:50:00When the single charted, Top Of The Pops couldn't resist it either.
0:50:02 > 0:50:05# Pleaded the causes of the ANC
0:50:05 > 0:50:09# Only one man in a large army
0:50:09 > 0:50:12# Are you so blind that you cannot see?
0:50:12 > 0:50:17# Are you so deaf that you cannot hear his pleas?
0:50:17 > 0:50:18# Free... #
0:50:18 > 0:50:21When you go on Top Of The Pops, you give a big performance, you know,
0:50:21 > 0:50:23you do the very best you can,
0:50:23 > 0:50:26but it didn't mean that it was going to do really well.
0:50:26 > 0:50:30But when we were on the second time, it was a bit more...triumphant.
0:50:30 > 0:50:32# I'm begging you
0:50:32 > 0:50:33# Free... #
0:50:33 > 0:50:36I remember the balloons. I thought, "How wonderful,
0:50:36 > 0:50:39"Nelson would be so happy in his cell
0:50:39 > 0:50:43"to know that Top Of The Pops had provided balloons."
0:50:44 > 0:50:49- # Free Nelson Mandela - Free him, free him... #
0:50:49 > 0:50:54,The success of Free Nelson Mandela and the momentum it added to
0:50:54 > 0:50:55the anti-apartheid movement,
0:50:55 > 0:50:58was proof that if musicians pulled together
0:50:58 > 0:50:59they could make a difference.
0:51:03 > 0:51:06In terms of spreading far and wide
0:51:06 > 0:51:08the notion of who Nelson Mandela was,
0:51:08 > 0:51:13and reminding people that apartheid was still happening
0:51:13 > 0:51:16and that people were still suffering, I think, yes,
0:51:16 > 0:51:18very much, it made a difference in that respect.
0:51:20 > 0:51:24It actually achieved more than The Specials, dare I say it.
0:51:24 > 0:51:28And, I think, probably, Bob Geldof was aware of the record.
0:51:28 > 0:51:30I'll have one of those, please.
0:51:30 > 0:51:32So I think it had a bit of a knock-on effect,
0:51:32 > 0:51:36that idea of people coming together on one record for a cause, you know?
0:51:36 > 0:51:39I was just watching that Ethiopian thing,
0:51:39 > 0:51:42I think this is gross after coming out after seeing that.
0:51:42 > 0:51:44- Oh, yeah.- I'm serious.
0:51:45 > 0:51:48- MICHAEL BUERK: - 'Dawn, and as the sun breaks through
0:51:48 > 0:51:51'the piercing chill of night on the plane outside Korem,
0:51:51 > 0:51:53'it lights up a biblical famine,
0:51:53 > 0:51:55'now, in the 20th century.'
0:51:55 > 0:52:01No-one who saw Michael Buerk's report from Ethiopia in October 1984
0:52:01 > 0:52:03would ever forget it.
0:52:05 > 0:52:07Here was a humanitarian cause
0:52:07 > 0:52:11that would bring together the pop world on an unprecedented scale.
0:52:12 > 0:52:14Bob wanted to do something
0:52:14 > 0:52:17but didn't feel that he was in a position to do it,
0:52:17 > 0:52:19and they asked if I would help out - we met up a couple of days later
0:52:19 > 0:52:21and came up with the basic concept,
0:52:21 > 0:52:24the idea of, you know, putting together a Christmas song.
0:52:25 > 0:52:29# It's Christmastime
0:52:29 > 0:52:32# There's no need to be afraid
0:52:33 > 0:52:37# At Christmastime... #
0:52:37 > 0:52:40I was told that Bob Geldof wants to speak to me,
0:52:40 > 0:52:45and he filled me in, basically, on what he'd seen on TV,
0:52:45 > 0:52:47And he asked me if I was up for doing it,
0:52:47 > 0:52:49and we said, "We'll make time."
0:52:49 > 0:52:51# There's a world outside your window... #
0:52:51 > 0:52:53With no time for egos,
0:52:53 > 0:52:57the class of '84 pulled out all the stops -
0:52:57 > 0:53:00and one performance in particular stood out.
0:53:02 > 0:53:05I'd been aware of U2, right, but I'd never really seen them.
0:53:05 > 0:53:08And when he comes in with that line -
0:53:08 > 0:53:11"Thank God..." -
0:53:11 > 0:53:13the hairs on the back of your neck stand up.
0:53:13 > 0:53:16# Well, tonight thank God it's them
0:53:16 > 0:53:19# Instead of you... #
0:53:19 > 0:53:23Bono, of course, just decided at that split second
0:53:23 > 0:53:26to just move it up a gear and jump up the octave,
0:53:26 > 0:53:30which was just magnificent and it kind of made the record.
0:53:30 > 0:53:34# The greatest gift they'll get this year is life... #
0:53:34 > 0:53:36A little over a week after being recorded,
0:53:36 > 0:53:40the Band Aid single was mixed, pressed and in the shops.
0:53:40 > 0:53:42But even before its release,
0:53:42 > 0:53:46Top Of The Pops was playing its part in supporting the cause.
0:53:46 > 0:53:49# Blessings of Babylon... #
0:53:49 > 0:53:52Bob Geldof's got a cardboard box with him
0:53:52 > 0:53:55and it's full of T-shirts and he just says,
0:53:55 > 0:53:57"Look, we're trying to get everybody
0:53:57 > 0:54:01"to wear these Feed The World T-shirts. You up for it?"
0:54:01 > 0:54:04I said, "Yeah, no problem at all."
0:54:06 > 0:54:09Well, it looked better than the snood, Nick.
0:54:09 > 0:54:13Bob Geldof had little trouble persuading the acts to wear them.
0:54:15 > 0:54:17But not everything went so smoothly.
0:54:18 > 0:54:20Under Top Of The Pops rules,
0:54:20 > 0:54:23no record could be played on the show until it had charted,
0:54:23 > 0:54:25not even a charity one.
0:54:27 > 0:54:29So, BBC One controller Michael Grade
0:54:29 > 0:54:32shifted the Thursday schedule by five minutes
0:54:32 > 0:54:34to create a spot before Top Of The Pops
0:54:34 > 0:54:38to show the Band Aid video for the very first time.
0:54:38 > 0:54:41And it was introduced by our very own superstar.
0:54:42 > 0:54:45It would be wonderful if you could all buy copies of this record
0:54:45 > 0:54:48over the next period through Christmas.
0:54:48 > 0:54:50If you can't afford them, club together with somebody else
0:54:50 > 0:54:54to buy a copy, you know that the money will go to the Ethiopians.
0:54:54 > 0:54:57Thank you.
0:54:57 > 0:54:59# The power of love... #
0:54:59 > 0:55:00With the power of love,
0:55:00 > 0:55:02Frankie Goes To Hollywood became
0:55:02 > 0:55:04the first band since Gerry And The Pacemakers
0:55:04 > 0:55:08to see their first three singles go to number one.
0:55:08 > 0:55:10But it didn't make it to Christmas.
0:55:10 > 0:55:13# Last Christmas I gave you my heart... #
0:55:13 > 0:55:16And, Wham!'s Last Christmas would, for many,
0:55:16 > 0:55:18have made the ultimate festive number one
0:55:18 > 0:55:22rather than becoming the highest selling single in UK history
0:55:22 > 0:55:24not to reach the top spot.
0:55:24 > 0:55:26# I give it to someone special... #
0:55:26 > 0:55:30Three cheers for Britain's bestselling record this week,
0:55:30 > 0:55:32and also the fastest selling record ever.
0:55:32 > 0:55:36It's Band Aid and Do They Know It's Christmas? Until next week.
0:55:36 > 0:55:39# Feed the world... #
0:55:39 > 0:55:44Do They Know It's Christmas swept everyone else aside.
0:55:44 > 0:55:48# Feed the world... #
0:55:48 > 0:55:52And Michael Hurll had ambitious plans for the Christmas show.
0:55:55 > 0:55:56APPLAUSE
0:55:56 > 0:55:59For the finale of a momentous year in pop,
0:55:59 > 0:56:03he brought together the greatest gathering of British pop stars
0:56:03 > 0:56:05ever seen on Top Of The Pops
0:56:05 > 0:56:06for the Christmas number one.
0:56:09 > 0:56:13# It's Christmastime
0:56:13 > 0:56:16# There's no need to be afraid... #
0:56:16 > 0:56:19I think they wanted to make a concerted effort
0:56:19 > 0:56:20to get as many people on as possible.
0:56:20 > 0:56:23And it was great, because it was a big show anyway
0:56:23 > 0:56:25so he'd got a lot of the people there.
0:56:25 > 0:56:28# Put your arms around the world... #
0:56:28 > 0:56:31He had this weird thing of the camera pointing at people
0:56:31 > 0:56:33that weren't actually singing the line.
0:56:34 > 0:56:37# But say a prayer
0:56:38 > 0:56:43# Pray for the other ones
0:56:43 > 0:56:47# At Christmastime it's hard
0:56:47 > 0:56:50# But when you're having fun... #
0:56:50 > 0:56:54My favourite was Paul Weller being Bono. That was a nice moment.
0:56:55 > 0:56:59# Well, tonight thank God it's them
0:56:59 > 0:57:03# Instead of you... #
0:57:04 > 0:57:06For a few minutes that Christmas Day,
0:57:06 > 0:57:09a divided Britain forgot its troubles
0:57:09 > 0:57:12and the class of '84 set aside their rivalries
0:57:12 > 0:57:13and came together.
0:57:14 > 0:57:17And Top Of The Pops showed its continued importance
0:57:17 > 0:57:20as a unifying force in British culture.
0:57:22 > 0:57:25There was a sense that we could relax a little bit
0:57:25 > 0:57:27now the record had been made
0:57:27 > 0:57:29and we knew that it was doing its job.
0:57:29 > 0:57:33And, I suppose, that it was Christmas by this point
0:57:33 > 0:57:35and we had a chance to think, you know,
0:57:35 > 0:57:39we've managed to do something great with what we have to offer.
0:57:39 > 0:57:42- # Here's to you - Raise a glass for everyone
0:57:42 > 0:57:46- # Here's to them - Underneath that burning sun
0:57:46 > 0:57:52# Do they know it's Christmastime at all? #
0:57:52 > 0:57:54It was kind of fun, you know?
0:57:54 > 0:57:57Everything up until that point had been really quite po-faced,
0:57:57 > 0:58:00it was quite serious, you know,
0:58:00 > 0:58:04and this was a moment of celebration that we had kind of done this,
0:58:04 > 0:58:05we had pulled this off somehow.
0:58:08 > 0:58:11# Feed the world... #
0:58:11 > 0:58:14Bob Geldof and Midge Ure originally hoped
0:58:14 > 0:58:17to raise £72,000 for Famine Relief with the Band Aid single.
0:58:17 > 0:58:20With over three million copies eventually sold,
0:58:20 > 0:58:24the final figure was £8 million.
0:58:26 > 0:58:30And 1985 saw the Band Aid project grow into Live Aid,
0:58:30 > 0:58:34the biggest televised concert the world had seen.
0:58:36 > 0:58:42Also in 1985, Top Of The Pops saw its first non-white presenter.
0:58:42 > 0:58:43..Dixie Peach.
0:58:43 > 0:58:46Thanks, Mike. I've been laying in the sun in anticipation.
0:58:48 > 0:58:52And producers Stock, Aitken and Waterman commandeered Hi-NRG
0:58:52 > 0:58:54to claim their first number one,
0:58:54 > 0:58:56offering the sound of things to come.
0:58:56 > 0:58:59# You spin me right round, baby Right round
0:58:59 > 0:59:03# Like a record, baby Right round, round, round
0:59:03 > 0:59:07# You spin me right round, baby Right round
0:59:07 > 0:59:08# Like a record, baby
0:59:08 > 0:59:10# Right round
0:59:10 > 0:59:13# You spin me right round, baby Right round... #
0:59:13 > 0:59:16Right, we are off the air - you may have gathered that.
0:59:16 > 0:59:19I hope you have enjoyed yourselves, goodnight.