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00:04:25What was it all about?
00:05:12This is my generation, baby
00:05:33People try to put us down
00:05:36Just because we can get around
00:05:51You're only supposed to blow the bloody doors off
00:05:55Britain in the 1950s was stable, conventional, predictable and dull
00:06:01But that's the way our parents liked it
00:06:03My generation demanded a new beginning
00:06:14Call out the instigators
00:06:18Because there's something in the air
00:06:24We've got to get together sooner or later
00:06:29Because the revolution's here
00:06:34And you know it's right
00:06:37And you know that it's right
00:06:48We have got to get it together
00:06:54We have got to get it together now
00:07:03I wasn't always Michael Caine
00:07:05I was born Maurice Joseph Micklewhite
00:07:09My mother was a charlady, cleaner
00:07:11And my father was a Billingsgate fish market porter
00:07:15I was expected to follow in his footsteps
00:07:18But I hated the smell of fish
00:07:22Maurice Micklewhite, are you?
00:07:24Yes, I am
00:07:25No
00:07:26Oh, my God, aren't you like your father?
00:07:29Because I didn't think anybody would be left down here
00:07:33Your mother and I were very good friends
00:07:35Yes, you were
00:07:35And your dear old father
00:07:37Yeah
00:07:38The times that we used to pick up old Mrs. Fulton
00:07:41Yeah
00:07:43You remember those times, don't you, boy?
00:07:47As an English child grows
00:07:48He becomes aware he has already been assigned a place
00:07:52In a large game
00:07:53A system as intricate and elaborate as a maze
00:07:56A maze of tradition
00:07:59Outmoted rules about who should succeed
00:08:02In the eyes of the establishment
00:08:05Discipline is indispensable to a progressive and mature society
00:08:10Given discipline in the home and school
00:08:13In college and at the workbench
00:08:16The foundations for happiness are well established
00:08:19Part of the city
00:08:21Where the sun refused to shine
00:08:26People tell me there ain't no use in trying
00:08:30One, two, three, four, three, four
00:08:34Now, my girl, you're so young and pretty
00:08:38And one thing I know is true
00:08:42If you're dead before your time is due, I know
00:08:49Watch my daddy in bed at times
00:08:53My dad was just an East End lad
00:08:54My mum wanted something better for us
00:08:57He's been working and slaving his life away
00:09:01Oh, yes, I know
00:09:03My dad was a very talented musician
00:09:05But he had to go out and work
00:09:07He's been working so hard
00:09:09As I'm sure your parents did
00:09:11They did, yeah
00:09:11So all his dreams about becoming a musician
00:09:14Went out the window
00:09:15Yeah, yeah, yeah, yeah
00:09:20We gotta get out of this place
00:09:24If it's the last thing we ever do
00:09:27We gotta get out of this place
00:09:31Girl, there's a better life for me and you
00:09:37Leave me, baby
00:09:39I know it, baby
00:09:41You know it, too
00:09:46As a kid, me and my friends spent as much time as possible in the cinema
00:09:51But the films we saw had nothing to do with our lives
00:09:56No heroes we could relate to
00:10:01From the way they talked, I thought all the actors were dukes and duchesses
00:10:04Pure satin
00:10:06Satin? Lace, actually
00:10:08No, Major, I meant your voice
00:10:11I'm so desperately in love with you
00:10:13Well, do you really think you are?
00:10:15I can't eat your sleep for thinking of it
00:10:16No, Mr. Gore Brown, my new boss
00:10:18I do, I do
00:10:18Sir Henry Hazelry
00:10:19I've made it after him
00:10:20Oh, welcome to the toughest way of earning a living in this so-called civilised world, Mr. Gore Brown
00:10:29Not that my East End mates were going to see a brief encounter
00:10:32But for some reason, I stole it
00:10:35It was a love story about a middle-aged couple
00:10:39And it was funny
00:10:41I love you
00:10:42I love you
00:10:43You love me, too
00:10:44I love you, too
00:10:45Yes, I don't want to pretend anything either to you or to anyone else
00:10:49What did she say?
00:10:51And the other one says, she says, I love you
00:10:54Shut up
00:10:55I look down on him because I am upper-class
00:11:00I look up to him because he is upper-class
00:11:03But I look down on him because he is lower-class
00:11:08I am middle-class
00:11:13I know my place
00:11:18We were supposed to respect our betters
00:11:21The knobs, the tops, the people who had all the power
00:11:24The establishment, as we knew them
00:11:27The changing of the guard is part of our tradition
00:11:30But now we find it's been applied to us
00:11:33We were all brought up to be servants
00:11:36I mean, we were never going to be the masters
00:11:38And no-one can afford
00:11:40A chauffeur doing roads
00:11:42If we ever get invited to the palace
00:11:45Then we'll go there by bus
00:11:49Lady Lewisham, what do you think about our teenagers?
00:11:52I think they're splendid
00:11:53And I'm delighted you've asked me that question
00:11:56Because I sometimes think they get rather a raw deal
00:11:58This was the first generation that had
00:12:01The potential to make a mark at the time
00:12:06But the older generation
00:12:08Still clung to the days
00:12:10When Britain ruled over half the civilised world
00:12:15We will rise like lions and get our empire back
00:12:18The bloody great British empire
00:12:21That your bloody labour rubbish give away to
00:12:24To the people it belonged to
00:12:29Whether we like it or not
00:12:31The wind of change is blowing through this country
00:12:37We don't need generals anymore
00:12:40There isn't a war going on
00:12:41I wasn't prepared to follow any of the principles
00:12:45Morals
00:12:47Outlooks on life
00:12:47Of what I laughingly call
00:12:50My betters
00:12:52Which is what I was actually taught at school
00:12:54I was taught all about my betters
00:12:55I never understood who my betters
00:12:58Were supposed to be
00:13:00I've never seen any of my betters
00:13:03I've seen a lot of my equals
00:13:06But I've still never seen any of my betters
00:13:09For my generation
00:13:11The Labour government coming in in 45
00:13:13Yeah
00:13:14The health service
00:13:15Yeah
00:13:15The change of diet
00:13:17The change of health care
00:13:18Yeah
00:13:19And good education for everybody
00:13:21I think that set the 60s up
00:13:23I mean you got a very good education too
00:13:26Yeah, yeah
00:13:26We didn't have to pay for education
00:13:29I loved it
00:13:30And I was very glad to go to a grammar school
00:13:32I did
00:13:33Did you?
00:13:34Grammar school boys
00:13:35Come on
00:13:36Give it up for grammar school
00:13:37Yeah
00:13:38Well I always say to people
00:13:39You know I got this real posh education for nothing
00:13:42I always wanted to be an actress
00:13:45And my father said
00:13:46No, no, you can't be an actress
00:13:47It's terrible
00:13:48It's a terrible profession
00:13:50And I want you to go to a secretarial school
00:13:52And find a good man
00:13:53Get married and have a nice life
00:13:56There was this kind of science teacher when I was about 12
00:13:59He showed me how to develop film
00:14:02So I used to go down my mum's cellar
00:14:03I used to nick the chemicals from school
00:14:06And process film from my mother's brownie
00:14:10To see if I could photograph birds
00:14:12Birds?
00:14:13Oh, it's quite interesting in ornithology
00:14:15Oh, I thought
00:14:15Sorry, I'll mistake that
00:14:17No, no
00:14:18Okay, I'll get it now
00:14:19Yeah
00:14:22When I saw Elvis it did something to me
00:14:24And it wasn't just the song
00:14:26And it wasn't just the fact that nobody was talking about it
00:14:29But there was something animalistic
00:14:32For the first time in my life
00:14:34I'd seen someone that was free
00:14:38Completely and utterly free
00:14:40And I thought, I've got to do that
00:14:41I've got to be
00:14:42That's what I want to be
00:14:44Yeah
00:14:44I'd be so lonely
00:14:45I'd be so lonely
00:14:47Gonna die
00:14:49Well, the Bob's tears keep flowing
00:14:52We're dear's place dressed in black
00:14:55And I've got to be so lonely
00:14:58I've got to be so lonely
00:14:59And I've got to be so lonely
00:15:00And I've got to be so lonely
00:15:11And I've got to die
00:15:15because my flies were undone, but I was hooked.
00:15:21You know, when he was working, he was always miles away, you know,
00:15:25dreaming what he was going to be and what he wasn't going to be,
00:15:27and we used to think it was a bit, you know, cranky.
00:15:30We used to think it was going up case, let's face it.
00:15:33To be honest, I was happy just to make a few quid
00:15:37being an actor in repertory, playing in drafty theatres,
00:15:41living in drafty rooms.
00:15:44I never thought that I would be famous. Ever.
00:15:49Now one man and his ale, what he wants is what he wants is...
00:15:55Watney's pale.
00:15:56What we want is Watney's!
00:15:58You've got a long way to go.
00:16:01Don't become too good too early.
00:16:09So I was in repert doing a play up in Liverpool,
00:16:12and we used to go out and have coffee and sandwiches at lunchtime
00:16:15at this coffee bar.
00:16:17And it was always smothered in girls.
00:16:19That's going to get you down there.
00:16:20Yeah.
00:16:22That was us, yeah.
00:16:33Yeah.
00:16:49To get in, you had to kind of bluff a bit.
00:16:52It was officially a blues club.
00:16:54We didn't know any blues.
00:16:56It was all rock and roll.
00:16:58We were getting notes from the guy.
00:17:00This is not blues.
00:17:02Anyway, we bluffed it.
00:17:06I mean, I had my guitar and Mick Jagger had his in London
00:17:09and Eric Burden was up in Newcastle.
00:17:12We were all going through the same changes at once
00:17:14and you could make it without college and education
00:17:18and all those things, you know.
00:17:21Never tell you about Ooboo-Boo
00:17:25Baby, sorry to go
00:17:29Yeah, Ooboo-Boo
00:17:33Baby, I'm in the mood
00:17:37Baby, I won't stop trying
00:17:39And I can't let it go
00:17:41In your mind
00:17:44Of course, being very poor,
00:17:46there was no way I was going to be able to buy a guitar.
00:17:48How did you start?
00:17:49But you've got to get musical instruments.
00:17:51Yes, I went out and bought some wood, like so many of our guys did.
00:17:54We all went out and made our first guitars.
00:17:56Made them?
00:17:57We made them, yeah.
00:17:58We made them.
00:17:59And they weren't very good
00:18:00and they didn't last very long.
00:18:02But all you needed to do was to have something that made a noise.
00:18:06Really?
00:18:06And if you learn three chords, you can play many, many songs.
00:18:24In your mind
00:18:26You might be broke
00:18:28But it was cheap
00:18:29And you lived within two miles of Bucketham Palace.
00:18:33Oh, that was a great time.
00:18:35We all used to just go around London in our cars
00:18:38and meet each other and talk about music.
00:18:40And we were very close to the Stones.
00:18:42I spent a lot of time with Brian and Mick
00:18:45and I admired them, you know.
00:18:46I dug them the first time I saw them in Richmond.
00:18:51And you know we wrote the first number one.
00:18:54Wait a minute, when was that?
00:18:55So one day me and John were in Charing Cross Road
00:18:58because that was where all the guitar shops were.
00:19:01Yeah, I remember that, yeah.
00:19:01And we used to go down, that was like our mecca.
00:19:03Yeah.
00:19:03And we were coming out of a shop one day
00:19:06and we saw this taxi with Rolling Stones
00:19:08and he'd go, hey!
00:19:09So we got in and we're talking
00:19:11and they said, yeah, we've got a record,
00:19:12come and try a deco, you know.
00:19:14Great.
00:19:14And Mick said, trouble is we haven't got a song.
00:19:17And I go, drrrrrr.
00:19:18Yeah.
00:19:19I go, well, we've got one.
00:19:20I said, that suit you, great.
00:19:22Well, I want to be your lover, baby.
00:19:24I want to be your lover, baby.
00:19:31I want to be your man.
00:19:33Tell me that you love me, baby.
00:19:37Tell me you understand.
00:19:39Tell me that you love me.
00:19:50I don't know.
00:19:51I don't know.
00:19:51How do you compare it with the Beatles?
00:19:53I don't compare it at all.
00:19:55There's no point.
00:19:56Well, let's get right down to the brass tacks.
00:19:57Do you think you're better than they are?
00:19:59At what?
00:20:00You know, it's not the same group.
00:20:02It was part of a movement, because while we were still up in Liverpool we were seeing
00:20:08people like you, Albert Finney, Courtney, who were ordinary working class boys who talked
00:20:15with regional accents.
00:20:16I've only clocked you, that's all.
00:20:18You're crafty Arthur from the Basin.
00:20:21You shouldn't worry too much, sir.
00:20:22We can always shut down a reactor.
00:20:24Yes.
00:20:25Pity if we had to, though.
00:20:27Don't let the bastards ground you down, that's one thing I've learned.
00:20:32Ordinary lads, you know, and they were now making it.
00:20:34You were expected to sort of talk blush, and we didn't, or couldn't, and didn't want to.
00:20:41My real name was Maurice Micklewhite, which is a bit of a mouthful for an actor, so I changed
00:20:46it to Michael White.
00:20:48Then I came to London, and every night I used to go to Leicester Square in a phone booth,
00:20:54and call my agent to see if there was any work.
00:20:56And one night she said, I've got a job for you, it's on television.
00:21:00She said, and you've got to join Equity, the trade union.
00:21:03So I said, okay, I'll join it.
00:21:04She said, but you've got to change your name.
00:21:06She said, because there's another Michael White already in Equity, so I want the name
00:21:11now.
00:21:11She said, obviously you can keep the name Michael, but I want another surname.
00:21:14So I looked around Leicester Square at the cinemas, and there was my favourite actor,
00:21:19Humphrey Bogart, in the Cain Mutiny.
00:21:21And I thought, this is fantastic.
00:21:23So I said, Michael Caine.
00:21:25She said, how do you spell it?
00:21:26I said, C-A-I-N-E.
00:21:28And that's how I became Michael Caine.
00:21:30If I'd have gone to the cinema next door, I would have been Michael 101 Dalmatians.
00:21:37Music in this country was very watery and weak and not really worth talking about.
00:21:40Then all of a sudden, you know, the kids in England were thinking for themselves, you
00:21:45know, they were beginning to sort of build up their own ideas about fashion and build up
00:21:50their own ideas about music.
00:22:46I really don't care whether they think we're a load of jobs or not.
00:22:49It doesn't worry me.
00:22:51Because maybe I am.
00:22:52I don't really care.
00:22:53I'm just what I am.
00:22:54I can't get no satisfaction.
00:23:03I can't get no satisfaction.
00:23:30It was like slaughter in a beast.
00:23:33The thing used to howl, it used to scream, it was doing all kinds of noises that we could only
00:23:38do by smashing.
00:23:40We were living through that period of the Cold War where we were at the Cuban crisis.
00:23:46We had three minutes to live. You just did everything now.
00:24:1020 years ago, it was music, it was melody, you wanted to dance to it.
00:24:16This is London calling the British Empire.
00:24:19This is the BBC Life Program. Here is the 10 o'clock.
00:24:22Ladies and gentlemen, workers' paper.
00:24:28This is the BBC Home and Forces Program. Here is the news.
00:24:40When I was a kid, the bloke who read the news on the BBC, he wore an evening suit.
00:24:46And that was on the radio.
00:24:50And that attitude still existed among the stiffs who ran the place.
00:24:54They didn't want us to be exposed to the evils of the pop music,
00:24:59the Beatles, the Rolling Stones, the Who.
00:25:03But whenever the old guard told us what we couldn't do, we always found a way to do it.
00:25:35This is Radio Caroline.
00:25:37Three and a half miles off the coast of London.
00:25:40The last free radio station in the world.
00:25:46Good morning. This is Radio Caroline broadcasting on 259 meters in the medium wave.
00:25:51And a welcome to the show you with the Admiral, Robbie Dale, through until 9 this evening.
00:25:55Remember, of course, it's 259.
00:25:58312! 312!
00:26:04312!
00:26:09All broadcasting ultimately is responsible to the government, the representatives of the government.
00:26:15Now, these people are not. They are a law unto themselves.
00:26:19They are, in fact, pirates. The word is a correct one.
00:26:23They are pirates. They are, in fact, outdoors.
00:26:26The new animal comes into a group of animals that are already together.
00:26:32The other animals will attack it because they don't know it and they're afraid of it.
00:26:36The pirates are a ministry, and I don't believe at all that the public wouldn't support action to enforce the
00:26:42law.
00:26:43We broadcast 24 hours a day to Britain, France, Holland, and many other European countries.
00:26:49We fight for freedom, and we will fight until we are physically put down.
00:27:06The old rule book was being torn up and thrown away.
00:27:10It was happening in my profession, too.
00:27:12I was up for a big film to play a Cockney Corporal.
00:27:17And I had to go to the audition, and I didn't have a phone at that time.
00:27:22And when I got to the audition, the director said, I'm terribly sorry.
00:27:25He said, we couldn't get in touch with you. We've cast that part already.
00:27:29You know, so I was turned down, but I've been turned down so many times it didn't matter.
00:27:32And the room was very long, which was fortunate for my movie career,
00:27:36because by the time I got to the door, the director said, come back a minute, come here.
00:27:41Now, I was very slim, six foot two, long blonde hair.
00:27:44He said, you sort of look like an officer type, you know?
00:27:50So I said, thank you. He said, can you do a posh accent?
00:27:55I said, I have been in rep for nine years. I can do any accent you want.
00:28:02I was very nervous, I remember. I remember Si Enfield, when he did the first take, said, cut halfway through
00:28:09the very first take.
00:28:10And he said, Michael, your voice has gone up about three octaves.
00:28:14And my voice was up here with nerves, and they could hardly record it.
00:28:18And we had to start again, and then I brought my voice down.
00:28:20But what had happened was, is everybody had come out because they were sure this Cockney couldn't speak like that.
00:28:25Who said you could use my men?
00:28:29They were sitting around on their backsides doing nothing.
00:28:34Rather you asked first, old boy.
00:28:36That's how I got a starring role in a movie for the first time.
00:28:40The thing is, if that director hadn't been an American but had been a British director, through no malice or
00:28:48no fault of his own, he would never have cast this Cockney boy as an officer.
00:28:55Not in a million years.
00:28:58That's how strong the class system was in England back then.
00:29:23And suddenly, people realised that the working class wasn't as thick as it looked.
00:29:28And it had talent. There were very talented people.
00:29:33It was a revolution.
00:29:38And I don't agree with anything that they do.
00:29:41Young people are like they are because our society is throwing up this sort of problem.
00:29:47I think the whole thing is all of untrustworthy.
00:29:51I just thought there was more of us than there was of them.
00:29:54You know, that never occurred to me.
00:30:00It seems to me that a good time is much easier had by you all now than ever before.
00:30:14Any one thing that is preached by our people in particular is that you do what you want to do
00:30:18when you want.
00:30:21This isn't the first generation that's questioned the moral values of the last generation.
00:30:34You know, on recent trips to London, you don't see any people older than 25 or 30.
00:30:40It's as though they locked them up somewhere.
00:30:42I think they've all moved out and left it to the teenagers in London, as far as I can see.
00:30:46As far as I can see, it's all young people the whole time now.
00:30:50Taste no longer comes down from the rich.
00:30:52It often rises from the young.
00:30:54Many of them from the working class.
00:30:56They now seem the pace setters.
00:30:58They set the taste.
00:31:01In fact, the whole strength of this came from the young themselves.
00:31:04They knew what they wanted.
00:31:05They didn't want to imitate sort of Countess Bigel's age.
00:31:09You know, they had their own ideas.
00:31:10I looked at the cover of Time magazine and I read this article just talking about what was going on
00:31:17in London,
00:31:18the nightclubs, the restaurants, the clothes.
00:31:21And I thought, how do I get to London, you know, like tomorrow?
00:31:25You know, when people say the Beatles made swing in the 60s, they didn't.
00:31:30London made the Beatles.
00:31:32Never before had so many young people lived away from home.
00:31:37Their parents began to worry about it.
00:31:40If their kids went to art school, they would have worried even more.
00:31:44I don't know whether they'd learned anything about painting,
00:31:47but they certainly had the prettiest girls and the best parties.
00:31:51The pop art scene began to transform the face of London.
00:31:57People said it's a dull grey world or everything's black and white post-war.
00:32:02Even though people said that, it was literally true.
00:32:05Everything was dull and grey, you know, and we wanted colour.
00:32:07We wanted to introduce colour into London.
00:32:09If we could have got concrete, coloured cement, we'd have used it.
00:32:13The world of pop art, the world of the popular imagination,
00:32:17the world of film stars, the twist.
00:32:21Art schools were the centre of everything.
00:32:23But they provoked so much excitement and interest.
00:32:26And we didn't even know you could have art students.
00:32:29It was wonderful thinking you could use anything.
00:32:32Paintings based on a packet of tea, just because the packets of tea were there.
00:32:38And I used to write on the paintings then.
00:32:42A lot of graffiti.
00:32:44Some of it I remember finding in the toilets in Earls Court tube station.
00:32:51I often take the moment before something has actually happened
00:32:55and you don't know if it's going to be terrible or it might be very funny.
00:32:59The sort of stuff that I'm doing is absolute ephemera.
00:33:03It's, I do it today and I want to forget about it by midnight,
00:33:08so I'm on something else.
00:33:09And this is how I see, you know, if anything is pop, it's pop for a minute.
00:33:18It's much easier for a girl to drift into trouble in London.
00:33:23The streets themselves, it's true, are clear,
00:33:27but there are more temptations, it's more easy for anybody
00:33:32who wants to exploit a girl to sweep her underground.
00:33:36I just happened to be there, that's all.
00:33:38That's a Bob Dylan line.
00:33:42They said, would you like to come to a party in London?
00:33:45And I said, oh, I've never been to a party in London.
00:33:49Pretty girl with a lot of very pretty friends.
00:33:52My friends were gorgeous, you know.
00:33:54We all went to this convent and we were fabulous looking.
00:33:57And my God, the role model was the Virgin Mary.
00:33:59Yeah, exactly.
00:34:00That's what made convent girls so sexy.
00:34:04And hard to get, yeah.
00:34:07Don't know about that.
00:34:08The Rolling Stones are there, and Millie, and the Crystal,
00:34:11and all these people.
00:34:13And I was looking very shabby.
00:34:16Very, very, so shabby it was awful.
00:34:19Or stood there.
00:34:21And then people started whispering and sort of saying, you know.
00:34:24Being very embarrassing for me.
00:34:26And they came up and said to the person I was with,
00:34:28and can she sing?
00:34:30Andrew Oldham, you were the person
00:34:32who discovered Marianne faithful at that party.
00:34:34Is it literally possible to go to a party,
00:34:37pick out someone with no evident talents,
00:34:39and make a star of her?
00:34:41Uh, yes.
00:34:43How?
00:34:44Um, I think the first thing is you have to be drunk.
00:34:47He had an instinct, I think.
00:34:49Yes, yeah.
00:34:49That's what Andrew, I was very good at that.
00:34:51And he guided you through?
00:34:52He guided me through nothing.
00:34:54Really?
00:34:54He knew whatever it was I had, he could market it.
00:34:58He just saw what he always called a commercial face.
00:35:02Which you did, yeah, yeah.
00:35:04I mean, you were so pretty obvious.
00:35:05If you can see that perspective.
00:35:06Yeah.
00:35:07I can't see it myself.
00:35:08Take my word for it.
00:35:09Okay.
00:35:12I fell in love with Mick.
00:35:13Mick was young, rich, and a rock star.
00:35:17Barely the same.
00:35:18Yeah.
00:35:18Probably you had your moments too,
00:35:20though you took your work very seriously.
00:35:21I did indeed.
00:35:22It was a whole team of very, very naughty boys.
00:35:27Yeah, well, we couldn't help it.
00:35:30Where I grew up, it was a bit like Sicily,
00:35:33in terms of morals and sex.
00:35:36If you kissed a girl, a brother would come round with a shotgun and say,
00:35:39you've got to get married.
00:35:40Well, all that went out of the window.
00:35:45Women also were something of voyeurs.
00:35:47They also liked the look of men.
00:35:49Given the pill, that was the only contraceptives that actually worked,
00:35:52a woman could then really be in charge of her own life.
00:35:55It's smaller than an aspirin tablet, and it is commonly and widely called the pill.
00:36:00A revolution is on the way.
00:36:02All over the country, young girls are sprouting, shouting and shaking.
00:36:06And if they terrify me, they mean to.
00:36:09I wanted to run and jump and dance and go on at night straight away to a nightclub and dance.
00:36:16A friend of mine said he was going to take me to the best disco in the whole world.
00:36:21It was at the top of a very high building, just behind Leicester Square, in a club called The Ad
00:36:27-Lib.
00:36:29And I'm looking round to see what sort of people we've got here.
00:36:33On the dance floor, every single rolling stone and every single beetle.
00:36:38And I thought, boy, this must be the best.
00:36:42Well, I feel so good, everything is gonna happen.
00:36:46Better make it easy, cause the fix is all bad.
00:36:49Been a hard day, and I answer what to do.
00:36:53Baby, baby, baby, what'll happen to you?
00:36:55And I'm so glad we made it.
00:36:59So glad we made it.
00:37:01You got it.
00:37:03Give me some love.
00:37:04Give me some love.
00:37:06Give me some love.
00:37:08Give me some love.
00:37:09Give me some love.
00:37:11I met Albert Finney.
00:37:13I met Michael Caine.
00:37:15I met Sean Connery.
00:37:17Steve Wynwood, or Johnny Hendricks.
00:37:19Brian Judds.
00:37:20John Levin was there.
00:37:22I met Julie Christie there.
00:37:23That was insane.
00:37:26And they were all mates, weren't they?
00:37:28Yeah.
00:37:28It was all mates.
00:37:29I told Nuria how to twist at the Ad-Lib.
00:37:31Yeah, yeah.
00:37:32And he was very stiff.
00:37:33I mean, he could do all that Swaddle Lake shit, but he couldn't do the twist.
00:37:42We didn't have cell phones in those days.
00:37:46We didn't text each other.
00:37:48We talked to each other face to face.
00:37:50And that's what bred creativity, because people could meet each other and exchange ideas.
00:37:57And anyone with talent could be a part of it.
00:38:11We started shopping at King's Road called Bazaar.
00:38:15It just hit the spot from the first day.
00:38:19What was that then?
00:38:20Was that because of the mini skirt?
00:38:21Because I made the skirts much shorter than anyone had seen at that time.
00:38:26They were provocative, you know.
00:38:29Well, I can't say that I particularly approve of some of the stars, particularly of the more outre ones,
00:38:35but I do appreciate the expression of, what shall I say, the exuberance of affluent youth.
00:38:41City gents, on their way to work, used to bash on the window and shout,
00:38:45disgusting, outrageous.
00:38:47They should not be allowed, nor rest in here.
00:38:49I'd have thought they'd have been sitting outside watching.
00:38:53I had the shortest skirts ever.
00:38:56So short, I had knickers made to match my skirts.
00:38:59Yeah, micro mini.
00:39:00They were like a belt.
00:39:01One day in the 60s, my mother said to me, she said,
00:39:05I keep reading and hearing about all these mini skirts.
00:39:08She said, I've never seen a girl in a mini skirt.
00:39:11I said, well, I'll show you.
00:39:13I said, so what I did is I took her to King's Road in Chelsea on a Saturday afternoon.
00:39:18And we got out of the car and, of course, almost immediately, there's a young girl in a mini skirt.
00:39:24I turned to my mother and I said, well, Mum, what do you think?
00:39:29And she said, if it's not for sale, you shouldn't put it in the window.
00:39:35That about sums her up.
00:39:39Oh, well, the fabrics are made flat and women are round.
00:39:43And there's this terrible problem of putting the two together, you know,
00:39:46which is why I want to make round clothes with no seams so that we can be rounder and smoother
00:39:53than we are.
00:39:56The whole young London thing was happening in a big way.
00:40:02And I was working with Mary Quant and she was working with us.
00:40:07I was doing her show.
00:40:08She was doing ours.
00:40:09And we were developing this whole thing, in a sense, together.
00:40:13I was walking down Bond Street and there was this stunning photograph of a girl with her hair cut short.
00:40:22And it said, Vidal Dessun.
00:40:23And I went up the steps and right at the top, there was a kind of kitchen.
00:40:28Vidal was cutting hair.
00:40:31Cuts.
00:40:33Great noise, that scissor.
00:40:35And he had choppy hair and it was flying everywhere.
00:40:38He was such a show off, if you remember.
00:40:40Yeah, I know him well, yeah.
00:40:43Do you remember when we were open one week in 108?
00:40:46Right.
00:40:47And in those days, when we first opened, we used to write our name in script
00:40:52because we thought it was very chic and it was going to look marvellous, you know.
00:40:58And the postman, you couldn't tell.
00:41:00You couldn't tell whether the Fs were Ls or Ss.
00:41:02You couldn't tell what they were.
00:41:04Do you remember this, Bob?
00:41:04That's right, right, right.
00:41:05The postman came up with a first letter and he walked up three flights of stairs
00:41:10and he opened the door and he brought Cockney, looked around and said,
00:41:13Here, which one of you lots, Fith Alpha Foon?
00:41:33It was cut almost like a fabric and it was treated like a texture.
00:41:37And it was free and alive.
00:41:40And so he did the hair and I did the other pieces.
00:41:44Feel when I dance with you.
00:41:47Feel when I dance with you.
00:41:50We move like the sea.
00:41:55You, you're all I want to know.
00:42:01I feel free.
00:42:07I feel free.
00:42:12I feel free.
00:42:15I feel free.
00:42:16I can walk down the street, there's no one there.
00:42:18Though the pavement's a one huge crowd.
00:42:21I can drive down the road, my eyes don't see.
00:42:24But my mind wants to cry out loud.
00:42:30Very often, when somebody's had one of our haircuts, they come back again.
00:42:36And in two weeks' time, you can change their shoes and their skirts are a little shorter.
00:42:41And within six months, their whole look has changed.
00:42:43I think the point of clothes for women should be one, that you'll notice.
00:42:50Two, that you look sexy.
00:42:53And three, that you feel good.
00:42:55I can't see that we wear them to keep warm.
00:42:59I can walk down the street, there's no one there.
00:43:02Though the pavement's a one huge crowd.
00:43:04I can drive down the road, my eyes don't see.
00:43:07Though my mind wants to cry out loud.
00:43:10Though my mind wants to cry out loud.
00:43:14Dawn's floor is like the sea.
00:43:19Ceiling is the sky.
00:43:23You're the sun, and as you shine on me.
00:43:29I feel free.
00:43:35I feel free.
00:43:41I feel free.
00:43:43I feel free.
00:43:44I feel free.
00:44:09To differentiate between the sexes, and this could be a matter of considerable inconvenience.
00:44:13I think they're absolutely atrocious.
00:44:15I like men to look like men.
00:44:18Why not for a man?
00:44:19Why not?
00:44:20Why not for a man?
00:44:21Why not for a man?
00:44:22Why not for a man?
00:44:23Any colours go together.
00:44:25That's beautiful.
00:44:26What's wrong with that?
00:44:29Our parents didn't have much sex before marriage.
00:44:32A lot of them didn't have a lot of sex after marriage.
00:44:35And by the time they made a bit of money, it was too late to enjoy it.
00:44:39It can't have been easy for them to see us having so much more fun than they ever thought possible.
00:44:51David?
00:44:53You up there?
00:44:56Nice.
00:44:56Good girl.
00:44:57Good.
00:44:58That's good.
00:44:59Oh dear.
00:45:01That's good.
00:45:02Good.
00:45:18There's very much influence also by the photographers at the time.
00:45:21The new, I suppose, typically young Cockney photographers that were happening and were our great friends.
00:45:27And I'm sure we sort of bounced ideas off each other.
00:45:30It's the easiest thing in the world to be a photographer.
00:45:33All you have to be is a bit rude.
00:45:34Grow your hair long and wear a leather jacket and buy a Pentax and you're a photographer because there's no
00:45:38union.
00:45:39The winsome David Bailey.
00:45:41Hello there, this is Marvis.
00:45:43Open your mouth, Marvis.
00:45:45David was famous for a saying, David Bailey makes love daily.
00:45:50He wore vest, jeans, Cuban heels and had a cheese sandwich for lunch.
00:45:55And he photographed the most beautiful women in the world.
00:45:58Lucky Becca.
00:46:00Bailey was extremely attractive.
00:46:03And every woman in the world seemed to want to have a little bit of him.
00:46:07Well, a particular bit of him.
00:46:10Just stand on your leg to the palm, face it.
00:46:20He came to New York to collect me, to take me to London.
00:46:25Completely fell in love with him within about five minutes.
00:46:28It was pathetic.
00:46:29He sort of rang the doorbell in my house.
00:46:32My mother came to the door.
00:46:34And as soon as she saw it was Bailey, she tried to slam the door in his face.
00:46:38He said, don't worry about it, love.
00:46:40It could have been worse.
00:46:41It could have been a rolling stone.
00:46:43That was it.
00:46:44I grabbed my suitcase and I was gone.
00:46:46Stay like that.
00:46:47And bring this, slowly bring this hand down.
00:46:50More, more, more.
00:46:52And put it there.
00:46:53Go on.
00:46:54No, lower down on your thigh, whatever it's called.
00:46:56Good.
00:46:57That's good.
00:46:57And look at me like that.
00:46:58Don't twist away.
00:46:59Just keep where you are.
00:47:01Good.
00:47:01There.
00:47:02That's lovely.
00:47:03Good, Angel.
00:47:04Here.
00:47:05And it's nearly right if that hand was nicer.
00:47:07To the public, the camera doesn't lie.
00:47:09And therefore, the best photographer is the biggest liar.
00:47:13There certainly is a school of English photographers.
00:47:17I call them the black trinity of Duffy, Donovan and Bailey.
00:47:23Keep your legs.
00:47:24Swing your arms away from your body.
00:47:27Move your legs out.
00:47:29Come up, come up, come up, come up, come up.
00:47:32What one's trying to do is to try and make her look beautiful.
00:47:34If you don't do that, then you lose out.
00:47:38And she loses out, then it's a bore.
00:47:41I think there is an actual pleasure in making someone look beautiful.
00:47:46Duffy's great to work with, because he's...
00:47:49You go in there, and sort of three hours later,
00:47:51when you've finished all the bottles of wine that are lying around,
00:47:54you know...
00:47:56They sort of talked about everything,
00:47:57listened to a hundred records of old war songs.
00:48:02Somebody arrives with a sort of handful of clothes, you know.
00:48:06Out come all the paper flowers.
00:48:09And he's standing there with a camera, and you have to go on talking.
00:48:12He makes you sing, you know.
00:48:15He won't take the shot, and he gets bolshed.
00:48:18Not taking the picture unless you sing.
00:48:19Go on, sing.
00:48:20So you have to sing, stand there singing in the studio.
00:48:23It's great.
00:48:23It's all the pictures of these sort of dodgy birds.
00:48:25It's teeth showing.
00:48:27But they're natural.
00:48:28I wanna perform the most.
00:48:30It's long but it's hard.
00:48:36So you're like.
00:48:37As you know what?
00:48:43Yeah.
00:48:44You really got me known.
00:48:46You got me so I can't sleep at night.
00:48:50Yeah.
00:48:51You really got me out.
00:48:53You got me so I don't know what I'm doing.
00:49:07If women are attractive, it doesn't matter what they're wearing.
00:49:11They tell you packaging, like wrapping up soap or something.
00:49:15It's not any more complicated than that. It's nicely wrapped.
00:49:18You look. If it's not, you don't bother.
00:49:27You see, don't ever set me free. I always want to be by your side.
00:49:34Girl, you really got me now. You got me so I can't sleep at night.
00:49:41Yeah, you really got me now. You got me so I don't know what I'm doing there.
00:49:48Oh yeah, you really got me now. You got me so I can't sleep at night.
00:49:53You really got me now. You really got me now. You really got me now.
00:50:03An ideal woman. Well, that's sort of difficult because I think every woman's sort of my ideal woman.
00:50:10I mean, they're all lovely. Some are just lovelier than others.
00:50:15Which brings us to Jane Shrubton. Yeah.
00:50:19Well, no one told me about her
00:50:23The way she lied
00:50:27Well, no one told me about her
00:50:30How many people cried
00:50:32Past the studio and there was Duffy photographing this girl.
00:50:34He put up a blue background, sky blue background.
00:50:37She had these incredible blue eyes.
00:50:40Well, no one told me about her
00:50:44What could I do?
00:50:45When I looked at her, I could see through to the background.
00:50:49And I said, who's that?
00:50:51He said, oh, it's just a girl I booked.
00:50:53He said, do you like her?
00:50:54I said, yeah.
00:50:55He said, oh, she's too posh for you, mate.
00:50:58I said, oh, we'll see about that.
00:50:59You're probably right.
00:51:00So I booked her.
00:51:03Then I sort of fell in love with her, really.
00:51:06You did, didn't you?
00:51:06Yeah.
00:51:07Being with him is an influence, you know.
00:51:09And then he began to influence my movement and my dress.
00:51:12And then when he'd get around the set, you know, he'd put me into shape, you know.
00:51:15And he'd encourage certain expressions.
00:51:17Then I began to feel something inside which I didn't know existed.
00:51:20That's what I do after every day for about three years.
00:51:22Well, let me tell you about the way she loved
00:51:24The way she acted
00:51:25The colour of her
00:51:27Her voice was soft and cold
00:51:29Her eyes were clear and bright
00:51:31But she's not there
00:51:34Vogue wouldn't publish the pictures in the beginning.
00:51:37Well, of people.
00:51:38Of my pictures, yeah.
00:51:39They always wanted a tree in the background or an armchair.
00:51:43If I got Jean Shrimpton, why do I want a palm tree in the background?
00:51:46There was even models in the 60s Vogue wouldn't use
00:51:48because they said, oh, can't possibly use her.
00:51:51You listen to her accent.
00:51:52But she'll go on until the fashions change
00:51:56or else some other star will suddenly come along and take her place.
00:52:04But you were the first obviously Cockney young lady to become a model.
00:52:10Yeah.
00:52:10I mean, we heard you talk.
00:52:12I mean, mostly you didn't hear models speak, you know.
00:52:15But then you did.
00:52:16I mean, there was a whole personality.
00:52:18And they've never shut me up.
00:52:21I was at school and I wanted to be a mother, you know,
00:52:25because I was thin and that.
00:52:28And people said you ought to try it.
00:52:30And I thought it would be, you know, very glamorous and all lovely clothes
00:52:35and very easy, you know, not much to do and lots of money.
00:52:39But it's not really.
00:52:40I mean, it's very hard work.
00:52:42If you go out on location in the winter in a bathing suit
00:52:46or a little summer dress, it's blooming freezing.
00:52:50Bit more set.
00:52:51Perfect.
00:52:52Perfect.
00:52:53Marvellous.
00:52:53Twiggy's success was phenomenal.
00:52:55It went far beyond just being a model.
00:52:57In less than a year, her name, her look, her brand had conquered the world.
00:53:03Do you feel out of place as a success
00:53:06because you started from ordinary working class beginnings?
00:53:11No.
00:53:12No.
00:53:12Why should I?
00:53:13And the Beatles broke down the barriers, you know, the class barrier and all that.
00:53:17I don't think it really matters what class of family you come from.
00:53:21You're good enough in your job.
00:53:23You know, you make it anyway.
00:53:25She's happened because of all that rubbish about swinging London.
00:53:30Yeah, I think she's a lovely model.
00:53:32Super.
00:53:33I mean, she's money in the bank photographer.
00:53:35It's a hard world to get a break in
00:53:39All the good things have been taken
00:53:43But, girl, there are ways to make certain things pay
00:53:47Though I'm dressed in these reds, I'll wear sable someday
00:53:53What are your views on serious matters?
00:53:57That what?
00:53:58I don't know. Who's your favourite philosopher?
00:54:02I haven't got one. I don't know any.
00:54:05Who's yours?
00:54:06Oh, I, you know, I like them all.
00:54:09Who?
00:54:10All your basic philosophers.
00:54:13Just all of them.
00:54:14I don't know their names though, what are their names?
00:54:17Oh, uh, didn't you just a host of Newton?
00:54:20Remember, it's my life, and I do what I want
00:54:24It's my mind, and I think what I want
00:54:28Show me I'm wrong
00:54:31England, where it all began
00:54:34England, where it all began
00:54:52Short a time of six weeks ago, we were here selling coats
00:54:55And here you are, you see Twiggy
00:54:58Something that's being produced in its tens and tens of thousands
00:55:01Just too fantastic an operation
00:55:04Don't you think?
00:55:05Have you seen all the places we've sold to?
00:55:08We've got one in Hong Kong
00:55:11Today these youngsters have got a know-how
00:55:14You know?
00:55:16And that's something that you can't take away from them
00:55:18Here come the nights
00:55:21Looking so good
00:55:22It makes me feel like no one else could
00:55:27I used to save my pocket money up
00:55:29And every Saturday, we'd run down the road
00:55:32And we'd buy something at Beaver
00:55:34Because it was just, like, amazing
00:55:37Here come the nights
00:55:39Here come the nights
00:55:43Here come the nights
00:55:43Here come the nights
00:55:46Here come the nights
00:55:49Here come the nights
00:55:50Here come the nights
00:55:52Here come the nights
00:55:52Anybody over 30 would never dare go in there
00:55:55They used to just stay outside
00:55:58And if clothes were being done for girls
00:56:01It was done by a woman
00:56:02Excuse me
00:56:03It was done by a whole load of men
00:56:06In suits
00:56:08As a tourist attraction
00:56:10We were number two
00:56:11After the Tower of London
00:56:14And Buckingham Palace was number three
00:56:16I think that's terribly funny, isn't it?
00:56:23I told you before to be careful where you put your legs
00:56:26I was only trying to be helpful
00:56:28I could help myself
00:56:32Hello?
00:56:34They never make these cars big enough, do they?
00:56:38Well, you all settled in?
00:56:40Right, we can begin
00:56:41My name is...
00:56:43Alfie
00:56:44When I became an actor
00:56:45I didn't see myself like playing Hamlet or King Lear
00:56:49All I wanted was a chance to get a true Cockney character
00:56:53On the big screen
00:56:55And I got the chance to do it
00:56:59There is a little bit of Alfie in everybody
00:57:01And people saw things in themselves
00:57:03Even if it was something they didn't like
00:57:04Right?
00:57:05I found a lot of things in Alfie
00:57:08Especially as, say, I am a bachelor
00:57:11How do you want me?
00:57:13How do I want you?
00:57:14Well, I've got two positions
00:57:15Straight up or sideways
00:57:16Depending on your nationality
00:57:18I'll tell you what, I'll have you against the ships
00:57:20All right, I've always been partial to the Navy
00:57:25You look a real treat there, you do
00:57:26But you see, of course, you can't play Alfie and be Alfie at the same time
00:57:30Because playing those parts, it takes up too much of your time
00:57:33You have to go to bed early
00:57:34I don't think I went out with one girl the whole time I was making Alfie
00:57:39I did when I was finished
00:57:43We used to call girls, I know it's very male chauvinist
00:57:46And I'm sorry, ladies, I don't do it anymore
00:57:47We used to call girls birds
00:57:49Or in rhyming slang, Richards, which is Richard the birds
00:57:53Coffee, love
00:57:55And my flatmate was very much a ladies' man
00:57:58He had all the Richards
00:57:59So our flat became like an airport
00:58:01The birds came flying through there
00:58:03And I became a sort of flight controller
00:58:06Bringing them in and getting them out safely
00:58:07And so no one saw each other and all that
00:58:12I was living with my then girlfriend, Jane Asher
00:58:15Who I made Alfie, and I met you on the set
00:58:18Because you used to come on the set for lunch
00:58:20You did Alfie with her, yeah
00:58:22And so I was staying at Jane's and going out with her
00:58:25I had a piano, I was living up at the top of the house
00:58:28And I had a little piano in there
00:58:30So they, John might write one on his own
00:58:32I might write one on her own
00:58:33And so that started to happen
00:58:34But we'd always bring it back to each other
00:58:36And finish it together
00:58:39We thought after following Buddy Holly records
00:58:42And seeing how they were made through playing them
00:58:46Oh, maybe we can write this, you know
00:58:48Maybe instead of singing Going Back to Alabama
00:58:51We can sing something about Liverpool, you know
00:58:54So it was just after we'd learnt
00:58:56You know, oh you do this and you do this
00:58:59And how to make the music
00:59:00We thought, oh, we'll write about ourselves, you know
00:59:02Of course the first efforts were more dumb or childish than the later efforts
00:59:09We'd sit down to write
00:59:10And I think we wrote just short of 300 songs together over the period
00:59:16And whenever we had a writing session
00:59:19Always come up with these songs every time
00:59:21We'd never left the session going, we'll finish it tomorrow
00:59:25All these songs just came out of me, you know
00:59:28I didn't sit down to think I'm going to write about this, that or the other
00:59:32They all came out, you know
00:59:33Like all the best work anybody's ever does, you know
00:59:36No sense of competition or anything
00:59:38Oh no, there was a big sense of competition
00:59:41Oh there was, oh yeah
00:59:41Really?
00:59:42Oh yeah
00:59:43Come on
00:59:44Young guys
00:59:45Yeah
00:59:45Both writers
00:59:47No, it was great, it was really good for us
00:59:49And you know, John would say later
00:59:50He'd say, bloody hell
00:59:51You know, you'd hear one of my songs
00:59:53You're bloody hell
00:59:53I've got to write a better one
00:59:55It was like a nuisance
00:59:57Yeah
00:59:57And then I'd hear one of his
00:59:58Oh, bollocks
01:00:00A taxi driver the other day had some sheet music of a Mozart thing
01:00:05And I said, what's that?
01:00:07And he said, oh
01:00:09That's the high class stuff, you won't like that
01:00:11He said, no, no, you won't like that
01:00:12And I said, well what is it?
01:00:14He said, oh no, you won't like it
01:00:16You know, it's high class that
01:00:17It's very high, high brow
01:00:20And that kind of way, I always used to think of it
01:00:22I used to think, well you know, that is, that's very clever, all that stuff
01:00:25And it isn't, you know, it's just exactly what's going on in pop at the moment
01:00:30Pop music is the classical music of now
01:00:33All of a sudden, there was a bunch of people in London
01:00:36Who were considered the most interesting and glamorous people on the planet
01:00:41And when people became famous in Britain, they had one thought in mind
01:00:46America
01:00:46And they took the party across the pond
01:00:50And the British invasion didn't just include bands
01:00:52It was writers, designers, artists, actors like myself
01:01:00Let me take you down
01:01:02Cause I'm going to
01:01:05Here they come
01:01:05Strawberry fields
01:01:10Nothing is real
01:01:14Nothing to get hung about
01:01:19Strawberry fields forever
01:01:23Living
01:01:24Living is easy with eyes closed
01:01:30Misunderstanding all you see
01:01:34It's getting hard to be someone, but it all works out
01:01:39It doesn't matter much to me
01:01:45Let me take you down
01:01:48Let me take you down
01:01:48Let me take you down
01:01:49Cause I'm going to
01:01:50Strawberry fields
01:01:55Nothing is real
01:01:58Nothing to get hung about
01:02:02Strawberry fields forever
01:02:05The people that started the English invasion
01:02:08The effect here in the United States
01:02:10Phenomenal
01:02:10No one I think is in my tree
01:02:15I mean it must be high or low
01:02:21That is, you can't, you know
01:02:23Tune in, but it's alright
01:02:26That is, I think it's not too bad
01:02:31Let me take you down
01:02:33Let me take you down
01:02:34Let me take you down
01:02:34Cause I'm going to
01:02:37Strawberry fields
01:02:42Nothing is real
01:02:45And nothing to get hung about
01:02:48Strawberry fields forever
01:02:49And now to be cocky
01:02:51It's right at the top, isn't it?
01:02:53Yeah, it helps a little
01:02:54Yeah, yeah
01:02:55It's not doing me any harm in America
01:02:56No
01:02:58Sometimes think it's me
01:03:01But you know I know
01:03:03And it's a dream
01:03:04His name is Michael Key
01:03:05Michael Key?
01:03:06I think I know I mean
01:03:08Ah yes, but it's all wrong
01:03:11That is, I think I disagree
01:03:16Let me take you down
01:03:19Cause I'm going to
01:03:23Strawberry fields
01:03:36Strawberry fields
01:03:40Strawberry fields
01:03:41Forever
01:03:41I don't know, you know
01:03:42If you can say that war is not good
01:03:44And a few people believe you
01:03:45Then it may be good, I don't know
01:03:46You can't say it too much though
01:03:48That's the trouble
01:03:48It seems a bit silly to be in America
01:03:50And for none of them to mention Vietnam
01:03:52As if nothing is happening
01:03:54And the kids want to be free, man
01:03:56Like, that's where it's ahead
01:03:59Oh, youth is always exciting
01:04:00Well, it's certainly more exciting than it ever was before
01:04:04You can do anything and make it exciting
01:04:07Everything's constantly changing
01:04:09And attitudes are constantly changing
01:04:11Everything is happening
01:04:12Everything is happening all over the world
01:04:18Right over there, there's a little girl running down
01:04:20The famous model just came here from Europe
01:04:21What do you think of her?
01:04:23What do I think of her?
01:04:24I think she's cute
01:04:25I think she's cute, except she's
01:04:27It's gonna last
01:04:29I don't know, it'll last a couple of weeks
01:04:31Like everything else
01:04:34You think that our next generation is supposed to be taking care of this country
01:04:38They don't take no pride in anything, hardly
01:04:40I think we have to find out who is to blame for it all
01:04:43And they look at me
01:04:45And I happen to have long hair
01:04:47And wear kind of freaky clothes
01:04:48And they really hate me
01:04:50You can look and you see this hatred in their eyes
01:05:04Back home, all was not that is seen
01:05:08The sunshine came softly
01:05:10Through my window today
01:05:14It became clear that there was now a campaign
01:05:17To bring down those
01:05:18The establishment were thinking
01:05:20Were corrupting youth
01:05:22The youth didn't need much corrupting, actually
01:05:25They were corrupting themselves
01:05:27All up and down the country
01:05:28In the new-found freedom
01:05:31Communicating with music
01:05:32And smoking a bit of dope
01:05:34A brain under the influence of marijuana
01:05:37Distorts the sense of space and time
01:05:39Whether it's pills or LSD or cannabis
01:05:43The use of drugs as a central part of youth culture
01:05:46Becomes very important in the last two or three years
01:05:49I only smoked marijuana once
01:05:51And I laughed for five hours
01:05:54I couldn't get a taxi home
01:05:56I had to walk
01:05:59I never smoked marijuana again
01:06:02Honest
01:06:04It was the mods who started it
01:06:06You know, Purple Hearts, Amphetamines, Speed
01:06:10But there was nothing new in that
01:06:12People used to take them into war
01:06:13To stay awake
01:06:14But they used to take one or two tablets
01:06:17The mods took them by the jarfall
01:06:21All I really cared about in those days
01:06:22Was the band being good
01:06:24I started this band
01:06:26And I couldn't take them
01:06:27It used to dry me up
01:06:29So I couldn't sing
01:06:30I thought, these are no good for me
01:06:31I can't sing, there's no point in doing this
01:06:33So I had to be straight
01:06:35We played one gig
01:06:37It was just so bad
01:06:38The band
01:06:40I'd been up for three days
01:06:42And I'd start to take more and more pills
01:06:44The songs are getting faster and faster
01:06:46So I can't get the words in
01:06:48I mean, oh my god
01:06:50Literally, it was so awful
01:06:53I came off the stage in such a terrible temper
01:07:01I've been on pills since I was 15
01:07:03No, since I was 17
01:07:05Since I became a musician
01:07:07The only way to survive in Hamburg
01:07:09To play eight hours a night
01:07:10Was to take pills
01:07:11I've always needed a drug to survive
01:07:14I can't, you know, and the others too
01:07:16But I always had more, you know
01:07:18I always took more pills
01:07:19More of everything
01:07:20Because I'm more crazy
01:07:21Do you rely on drugs to keep you going?
01:07:24No, it just means that
01:07:25You know, there are certain
01:07:27Things which, which
01:07:29Levels of perception which are opened up
01:07:31By certain drugs
01:07:32To many youngsters
01:07:33The glamour drugs are those which produce hallucinations
01:07:36Best known are marijuana and LSD
01:07:39Huxley wrote these two books
01:07:41He wrote Heaven and Hell and Doors of Perception
01:07:44And of the two, people have taken Heaven and Hell
01:07:47As the symbol
01:07:49And they've taken the wrong one
01:07:51Because the one, the really explicit phrase
01:07:55Is doors of perception
01:07:57And that is what drugs are
01:07:59They are the doors
01:08:01They're not anywhere
01:08:02I mean, you don't go anywhere
01:08:04You just see a crack like I'm looking at you
01:08:07That the state that we should be in is perfection
01:08:11And that the reason we're here is to find it
01:08:13Turn off your mind
01:08:16Relax and close downstream
01:08:20It is not dying
01:08:25It is not dying
01:08:29Lay down all thoughts
01:08:32Surrender to the void
01:08:36It is shining
01:08:38It is shining
01:08:42It is shining
01:08:43It is shining
01:08:44That you may see the meaning of within
01:08:51It is shining
01:08:55It is shining
01:09:01It is shining
01:09:03It is shining
01:09:08If you haven't had an LSD, you will win
01:09:11They can take it if they want
01:09:13We can't prevent them
01:09:14But they're really fooling with dynamite
01:09:19It is shining
01:09:20Given us a world we can't handle as it is
01:09:24So we're going to change it
01:09:25Because they have shaped their world
01:09:29Our world
01:09:30Into what it is with guns and bombs
01:09:32It's obvious to our generation that their way doesn't work
01:09:38It hasn't worked, it isn't going to work
01:09:41So a change has to be made
01:09:43And if somebody has to get turned upside down to do it
01:09:48We're all in
01:09:50The people who lived through the LSD experience
01:09:53Went through a complete facet of learning
01:09:55And it's just
01:09:57It must have been done some other way
01:10:00When my father was a kid
01:10:02Maybe they did it by going to war
01:10:04The kids who take LSD aren't going to fight your wars
01:10:07Middle class, middle age, whiskey drinking generals
01:10:11They're not going to join your corporations
01:10:13Middle class, middle age, whiskey drinking
01:10:15Corporation presidents
01:10:17I decided to let the person
01:10:19I decided to keep going
01:10:21You must leave now
01:10:23Take what you need
01:10:25You'll think we'll last
01:10:30But whatever you wish to keep
01:10:33You better grab it fast
01:10:38You understand you're orphaned with his gun
01:10:48Crying like a fire in the sun
01:10:56Look out, baby
01:10:58The same song
01:11:00Come in and move
01:11:01Get him out
01:11:03Bring him down the canal
01:11:04And drown him
01:11:05And drown him
01:11:06That's what you want to do now
01:11:08The highway is for gamblers
01:11:17Better use your sins
01:11:21Take what you have gathered from
01:11:26Coincidence
01:11:30Take what you have gathered from
01:11:38Coincidence
01:11:39Is drawing
01:11:40I haven't got their models
01:11:42And they haven't got mine
01:11:46They've got all these rules for everything
01:11:48Rules of how to live
01:11:49How to paint
01:11:50How to make music
01:11:52And it's just not true anymore
01:11:54The government doesn't exist for us
01:11:56They exist for themselves
01:11:57Soon or later
01:11:58The government is going to find
01:11:59There's something going on
01:12:00That they've got no control over at all
01:12:03They haven't been fucked since Cromwell then
01:12:07Youth thinks itself wise
01:12:09Just as drunk men
01:12:11Think themselves sober
01:12:14Youth knows nothing about anything
01:12:15Except a massive cliché
01:12:17The permissive society is considered
01:12:20By some youngsters
01:12:22To be trendy and with it
01:12:24Personally I consider it condones
01:12:26Moral laxity and promiscuity
01:12:29It leads to uncertainty and instability
01:12:32A soggy mind and mental impoverishment
01:12:35And contains all the disruptive elements
01:12:39Which would tear down the pillars of our society
01:12:43It really is about time we realized
01:12:46That the fault lies in the fact
01:12:48That we have created a permissive society
01:12:51Now the epidemic of drug taking
01:12:54In this country
01:12:56Is now so extensive
01:12:58But many of you
01:13:00Whatever your job
01:13:02Would have come across it
01:13:03We must rid the country
01:13:05Of this insidious disease
01:13:07Of don't care
01:13:14And I was the first to be busted
01:13:23What do you know of this Donovan?
01:13:26I've had him on the special attention list for some time
01:13:29Right
01:13:29That next day
01:13:31When we were let out at four in the morning
01:13:33The phone rang and it was George Harrison
01:13:35And he said
01:13:37Is everything all right?
01:13:38I said
01:13:40Yeah, we're out
01:13:42He said, what you gonna do?
01:13:43I said, we're gonna go away for a while
01:13:46He said, if you want £10,000 by 12 noon
01:13:50I said, no, I'm okay with the money
01:13:53We're gonna go to Scotland until it blows over
01:13:56He said, it'll never blow over Don
01:13:59We'll be next
01:14:01Paul, how often have you taken LSD?
01:14:05About four times
01:14:08And where did you get it from?
01:14:10Oh, you know, I mean
01:14:11If I was to say where I got it from
01:14:12You know, it's illegal and everything
01:14:14It's silly to say that
01:14:15And so I'd rather not say that
01:14:16Don't you believe that this was a matter
01:14:18Which you should have kept private?
01:14:21I mean, you're spreading this now
01:14:22At this moment
01:14:23This is going into all the homes
01:14:25You know, in Britain
01:14:27And I'd rather it didn't, you know
01:14:29But you're asking me the question
01:14:31You want me to be honest
01:14:32I'll be honest, you know
01:14:33But as a public figure
01:14:35Surely you've got a responsibility
01:14:37To lots and lots of teenagers
01:14:38No, you've got the responsibility
01:14:40You've got the responsibility
01:14:41Not to spread this now
01:14:43You know, I'm quite prepared to keep it
01:14:45As a very personal thing
01:14:47If you will too
01:14:49What I do with things
01:14:50Is I look at examples
01:14:52Of people who do things
01:14:53If I saw somebody
01:14:55Who took drugs
01:14:56Who became more intelligent
01:14:59Nicer, earned more money
01:15:01More handsome
01:15:01A better lover
01:15:03Or got a better physique
01:15:04Through it
01:15:05And he set a good example
01:15:07I would be the first to take drugs
01:15:08And suggest everybody else should
01:15:10But most of the people I know
01:15:11Who've taken drugs
01:15:12Over a period of time
01:15:13See they've gone to wreck and ruin
01:15:14And I don't want to go there
01:15:15I never wanted to talk about drugs in public
01:15:18Because I don't want to influence anybody
01:15:22In anything
01:15:23But if you ask me
01:15:25I guess I have to say
01:15:26Of course I took drugs
01:15:28Like everyone
01:15:30But not because of everyone
01:15:40It came from the FBI to MI5
01:15:43Really?
01:15:44Yes, it's like one of your films, man
01:15:46Sounds like it
01:15:55You know, we say there were 300 people in the 60s
01:15:57And all the people who said they were at the Redlands bus
01:16:00We would have had to have a marquee on the lawn
01:16:04It was basically a party
01:16:06Where good friends got together to take a bit of LSD
01:16:16That was one of my first trips
01:16:18It was a pretty rough experience actually
01:16:20Yeah
01:16:21To have 25 cops walking
01:16:22Is that what happened?
01:16:24Yeah, and I was rather naughty too
01:16:27I'd gone to have a bath
01:16:28And I was in a fur rug
01:16:31And nothing else?
01:16:33And I dropped the fur rug
01:16:35And gave a flash at the stabularity
01:16:38And they were so stunned, you know
01:16:41I was showing off, wasn't I?
01:16:42Yeah, obviously, yeah
01:16:43Yeah
01:16:43And why not? You were young, beautiful
01:16:45I was beautiful, I was naked, I was in a fur rug
01:16:48Hey!
01:16:50And I was naughty and defiant
01:16:53Evidence that an unnamed naked woman
01:16:56Was sitting on a sofa with a rug around her
01:16:59When police raided Keith Richards' house at West Wittering
01:17:03Was given in court today
01:17:05First of all, they don't like young kids with a lot of money
01:17:07You know, they don't like that anyway
01:17:09But as long as you're sort of cool
01:17:11And do your, you know
01:17:12And don't
01:17:16Bother them, you know
01:17:17But we bothered them
01:17:18You know, we bothered them
01:17:21Because of the way we look
01:17:22Because of the way we act
01:17:23Because we never showed any reverence for them whatsoever
01:17:26This is not Golden Gate Park
01:17:29Or Central Park
01:17:31This is Hyde Park in London
01:17:33And these are British hippies
01:17:36Gathered to protest the heavy sentences against two rolling stones
01:17:40Mick Jagger for having four tablets of Benzedrine in his pocket
01:17:45And Keith Richards for allowing his premises to be used for the smoking of marijuana
01:17:52And then I started getting poisonous letters
01:17:58Basically saying, the sooner you die, the better
01:18:02You know, you're a contamination on our island shores
01:18:07And I took all this very much to heart
01:18:09I saw her today at the reception
01:18:16A glass of wine in her hand
01:18:21I knew she was gonna meet her connection
01:18:26And I thought I would die
01:18:28And I almost welcomed it
01:18:29But I started to get into hard drugs
01:18:32And that's what did it
01:18:33You can't always get what you want
01:18:35There was a feeling that something special was over
01:18:39We'd pushed for change
01:18:41And now change
01:18:43Was pushing us
01:18:46You can't always get what you want
01:18:47Maybe, for some of us
01:18:49The party had gone on too long
01:18:51But if you try sometimes
01:18:53Well you might find
01:18:55You get what you need
01:18:58We'd sort of done everything we'd wanted to do
01:19:01We were getting a bit fed up with having to have a group mentality
01:19:04So we were pissing each other off
01:19:07And I went down
01:19:10To the demonstration
01:19:12To get my fair share of abuse
01:19:18Singing words
01:19:19Gonna beg
01:19:20Our frustration
01:19:23If we don't
01:19:25We're gonna blow a 50 amp fuse
01:19:27Sing it to me
01:19:29You can't always get what you want
01:19:34You can't always get what you want
01:19:38You can't always get what you want
01:19:39Although it was a shock that it actually happened
01:19:42Nobody was really that surprised
01:19:45Everybody knows people that
01:19:47You just have that feeling that
01:19:49They're not gonna be
01:19:50They're not gonna be 17 years old ever
01:19:52Not everybody makes it
01:19:59Looking back
01:20:00What strikes me most about the 60s
01:20:03Is that it was a time
01:20:05Maybe the first time
01:20:06When the future was shaped by young people
01:20:09We were utterly convinced that it was our time
01:20:12The best time of our lives
01:20:17Youth is not a time of life
01:20:19It's a state of mind
01:20:21And We'reூ
01:20:28choir
01:20:38so they whoever they are don't stand a chance
01:20:41Because they are't this love
01:20:58Never look back in anger
01:20:59Always look forward in hope
01:21:03And never, ever, ever
01:21:05Dream small
01:21:37And never, ever, ever
01:21:54Sunshine came softly
01:21:56Through my window today
01:22:01Could've tripped out easy
01:22:04But I've changed my way
01:22:09It'll take time, I know it
01:22:12But in a while
01:22:16You're gonna be mine
01:22:18I know it
01:22:20We'll do it in style
01:22:22Cause I've made my mind
01:22:26I'll be all going to my mind
01:22:29I'll tell you right now
01:22:31Any trick in a book
01:22:33And now baby
01:22:34All that I can find
01:22:38Superman or Green Lantern
01:22:40Ain't got
01:22:41Nothing on me
01:22:45I could make like a turtle
01:22:47And die for
01:22:49A puzzle in the sea
01:22:53You can just sit there
01:22:55Thinking
01:22:56On your velvet throne
01:22:58Yes
01:23:00About all the rainbows
01:23:02Say you can
01:23:03Say you can
01:23:04I'll have for your own
01:23:07Cause I've made my mind
01:23:10If you're going to be mine
01:23:13I'll tell you right now
01:23:15Any trick in a book
01:23:17And now baby
01:23:18All that I can find
01:23:23Everybody's hustling
01:23:24Just to
01:23:25Have a little scene
01:23:29When I say we'll be cool
01:23:31I think that
01:23:33You know what I mean
01:23:36We stood on a beach
01:23:38At sunset
01:23:39Do you remember when
01:23:44I know a beach
01:23:46Where baby
01:23:47It never ends
01:23:49When you've made your mind
01:23:53Up forever
01:23:55To be mine
01:23:58I'll pick up your hand
01:24:00And slowly
01:24:01Blow your little mind
01:24:04Cause I've made my mind
01:24:08Up you're going
01:24:10To be mine
01:24:11I'll tell you right now
01:24:13Any trick in a book
01:24:15And now baby
01:24:16All that I can find
01:24:33I'll tell you about
01:24:33All that I can find
01:24:48In the next MO
01:25:03The Superman on Green Lantern ain't got
01:25:07Nothing on me
01:25:10I could make like a turtle
01:25:13And I'd fall
01:25:14You're part in the sea
01:25:16Yeah
01:25:17I gave you
01:25:19You can just sit there
01:25:20While thinking
01:25:21On your velvet throne
01:25:25Pad all the rainbows
01:25:27So you can
01:25:29I'll have for your own
01:25:32When you've made your mind
01:25:35Up forever to be mine
01:25:40I'll pick up your hand
01:25:42And slowly
01:25:43Blow your little mind
01:25:45When you've made your mind
01:25:49Up forever to be mine
01:25:52I'll pick up your hand
01:25:54I'll pick up your hand
01:25:56And slowly
01:25:57I'll blow your little mind
01:26:00Blow your little mind
01:26:03I'll pick up your hand
01:26:05And slowly
01:26:05Don't
01:26:06Jump, jump, jump