Top of the Pops 29 August 1985

Reviewed by Chris Arnsby. Janice Long: “Hi thank you for joining us. Welcome to a very, very live edition of Top of the Pops. We're standing here right now, aren't we?” John Peel: “That's right. We can say really controversial things like bottom and they can't do anything about it.” Janice Long: “How controversial. He just wants to be in the newspapers. At eighteen this week, it's Mai Tai and this is Body And Soul.”
[18] Mai Tai: Body & Soul. Next week Top of the Pops is on the move again. The programme started 1985 in a 40 minute slot pinballing between 6.55pm, 7.20pm, and as late as 7.50pm when Paul Daniels wanted to play Odd One Out. Michael Grade dragged BBC1 kicking and screaming into the future (ie Wogan three times a week) with his February channel revamp and Top of the Pops briefly nestled between Eastenders and Tomorrow's World at 7.30pm. In April Top of the Pops
and Tomorrow's World swapped places. A clever bod in Programme Planning worked out that shaving five minutes from the end of Tomorrow's World and starting Top of the Pops at 7.55pm created a variable length slot which could be telescoped from 30-40 minutes; depending on how much future news Tomorrow's World had to cover, and if you sneakily delayed the 8.30pm programme to just past the half hour. And that's how the schedule stayed until the autumn leaves start to fall.



Declan McKenna- Zeros album review

 Sometimes what you need in life is a large helping of music influenced by various decades filtered through the modern viewpoint of someone generations younger than the legends of old.  Welcome to `Zeros`, the second album from Declan McKenna an artist who defies expectations and adds a bit of fizz to 2020. This is far more than homage, instead he has taken some of the sounds from the early Seventies and moulded them into something else. It does sound both timeless and very Now. When it’s at its very best- as on the awesome `Be An Astronaut` or `Beautiful Faces` or `The Key to Life on Earth` - it is every bit the equal of those he is inspired by. So to amend an old Bowie ad – there’s Old Music, there’s New Music and there’s Declan McKenna. 



Midsomer Murders- Shot At Dawn

A sure fire way of knowing whether a Midsomer Murders episode is going to be enjoyable is if you can imagine its key characters in a sitcom. A splendidly playful episode that deals with a serious issue in macabre manner, `Shot at Dawn` opened series 11 and definitely fulfils that criteria. It features a couple of old troopers in the form of George Cole and Donald Sinden in what was one of the final roles for both of them playing, well, old troopers whose military families have been at war for ninety years. 


Tenet review

I saw a trailer for Tenet, the latest headscratcher from director Christopher Nolan, earlier this year since which we’ve had the You Know What and suddenly it feels much more a film suitable for 2020 than it did back then. It’s tricky to review without giving away the glue that holds it together so all I’m saying before the break is that it likely fulfils expectations both for those who enjoy the filmmaker’s world and those who don’t. So if you were baffled by Inception, irritated by Intersteller or put off by his Dark Knight trilogy he hasn’t radically altered course this time. If you loved them then this is exactly for you. Course there is a risk he may become this generation’s Tim Burton replaying earlier successes ad infinitum but it’s not happened yet. Tenet is a wildly ambitious, satisfyingly told knotty tale and if you’ve seen it or want to know more, click below….

Spoilers past this point


Top of the Pops August 1985 mega-post!

All reviewed by Chris Arnsby
Mike Read: “Hello. [to Mike Smith] You've just got time to change... too late.” Mike Smith: “Thank you very much. Thank you very much indeed. What has got style?” Mike Read: “Peter Powell?” Mike Smith: “No, no, no, come on. What has got style? What's got good looks?” Mike Read: “Steve Wright?” Mike Smith: “No, no, no, what has got a record in the charts at the moment?” Mike Read: “Me? No.” Mike Smith: “No... with all those things welcome Five Star.”
[18] Five Star: Let Me Be The One. The new Top of the Pops title sequence is rubbish. It's just rainbow colour bars and a piercing electronic tone. No, actually this episode (downloaded from Tutankhamun's tomb https://mega.nz/folder/h0snQACa#uiNNqosfbdrfzODHsE1clw ) is digitised straight from the BBC master tape; first we get two minutes of VT colour bars, then the countdown clock (generated on a BBC Micro to judge by the chunky pixels), and finally the real title sequence. I wonder how this escaped from the archives? It's a night of two Mike's, and an exercise in clashing host styles. Mike Smith wants to be silly, and Mike Read doesn't (or can't). Or maybe I'm being unfair as I find myself liking Smith more than Read. This is the last time the two Mikes host Top of the Pops together although they both stick around for a few more years. Mike Smith would present his final show in early 1988, and Mike Read could be seen until February 1989.
Regardless. Here's Five Star. Drilled to parade ground perfection and fully coordinated in movement and clothing. They're dressed in soft versions of American Football shoulder pads, with a numeral 5 on the front in a different colour for each person. This is how the Mighty Morphin Power Rangers would look if they formed a pop group in their spare time. It's a tribute to branding, before branding was a thing.  


Troye Sivan- In A Dream EP review

If you’ve not heard of or heard Troye Sivan then now is the time. He’s already been around a while releasing two albums and he also has history as both an actor and YouTuber. Born in South Africa, raised in Australia and till lockdown resident of the US, he’s hardly a new artist except to the likes of me way off the zeitgeist these days! The great thing about that though is that sometimes you discover someone and there’s a lot of music to listen to. `In A Dream`, released last week, showcases six songs that take regret, sadness or reflection but channel those emotions in interesting ways. It’s won serious critical attention in places where someone like him could be ignored and that’s an indication that this music is seriously good. In fact its some of the best new music I’ve heard this year.


Top of the Pops 25 July 1985

Reviewed by Chris Arnsby. Dixie Peach: “We've got a fabulous show. We've got people on like Trans X, Feargal Sharkey, and Madonna. But we're gonna kick off right now with something to get you into that holiday mood. Here is Arrow with Long Time.”
[36] Arrow: Long Time. The start of tonight's episode of Top of the Pops has been slashed by the BBC4 Psycho-style editor. There are a couple of clues; Gary Davies is rendered oddly mute throughout Dixie Peach's introduction (although I'm fine with an overall reduction in the Davies word count); Dixie Peach's speech fades in abruptly after the audience cheer; and here's the real smoking gun, the font's all wrong on the hosts caption. It's not properly bolded and the drop-shadow isn't strong enough. It's obviously Bring Your Child to Work Day in the BBC4 Caption Faking Department.


Top of the Pops 18 July 1985

Reviewed by Chris Arnsby. Peter Powell: “Hello, welcome to Top of the Pops! Good evening to you!” Mike Smith: “Let's not hang about. Forty minutes of the latest chart tunes. We start off at number thirteen with Simply Red and Money's Too Tight, and Mick is going to sing live. Aren't you Mick? [13] Simply Red: Money's Too Tight (To Mention). This episode of Top of the Pops comes from Smaug's horde at https://mega.nz/folder/h0snQACa#uiNNqosfbdrfzODHsE1clw Excitingly, it's an off-air recording which means the recording starts with a nostalgic blast. A glimpse of the (then brand-new) BBC1 computer generated globe. Even more exciting, this is a 40 minute edition of Top of the Pops . We haven't had one of those for a while. (Not since 03/01/1985 according to BBC Genome). Let's hope they use those extra 10 minutes wisely. What celestial conjunction has caused this change to the schedule? The Little and Large Show has come to an end. Don't worry, it's not permanent. They'll be back next year. And the year after that. And after that. And again for a couple more years. Meanwhile, once Eastenders finishes at 7.30pm, Top of the Pops and Tomorrow's World luxuriate and spread themselves out across the evening.First up is a 40 minute Tomorrow's World. It's the 1985 Prince of Wales Award for Industrial Innovation and Production, from Highgrove House in Gloucestershire. Then comes Top of the Pops, and then... Points Of View ? What? But that's a Wednesday night programme. What celestial conjunction, etc, has untimely ripped Points Of View from its usual slot. A Party Political Broadcast by the Labour Party. Oh no.
Speaking of Labour, here's Simply Red. Another band I can't watch properly because of passage of time. However, attempting to put aside years of accumulated prejudice, how do they do on 18 July 1985? Well, I don't much like Mick Hucknall's grey slacks.


Review round up- Q magazine, TikTok, The Durrells Series 1

Q Magazine publishes its final issue this month ending 34 years of music coverage, a victim of the pandemic lockdown which made it impossible to sell the last few issues though it had falling readership even before this happened. In some ways, Q was like the Top of the Pops of magazines showcasing whatever was popular.  While it never had the bite of the old style weekly music press it made itself an indispensable successor as those papers fell away one by one.  It was less inclined to push new artists onto success as the weekly papers had done, rather it watched established acts develop. With excellent access even to the most elusive stars they were able to remain across the pop axis with aplomb adopting a breezy but often forensic approach that both informed and entertained. They even got an interview with Prince once, albeit one in which the interviewer was not allowed to take notes. 


Top of the Pops 11 July 1985

Reviewed by Chris Arnsby.Janice Long & John Peel: “Hi! It's Top of the Pops!” Janice Long: “Have we got a show for you?” John Peel: “Have we got a show for you?” Janice Long: “And it is live!” John Peel: “And it is live!” Janice Long: “And they are The Conway Brothers!” John Peel:”Which one's Russ?”
[18] The Conway Brothers: Turn It Up. Top of the Pops used Turn It Up as the backing track for the host introductions on the 27/06/1985 edition. The mix of disco pew-pew effects and frantic Rawk guitar was irritating, until the introduction to Ben (a charity single raising money for seriously ill children) at which point it veered into inappropriate but that was an out of context clip. The high concept of the song appears to be a parade of people (neighbour knocking on door, old lady, etc) who you'd normally associate with asking for a record to turned down, instead (and this is the clever bit) asking for the music to be turned up. Except the stream of inspiration ran dry after neighbour and old lady, and that's your lot. Let's repeat the chorus until the end of the single. 


Ad Break#20 Magnum, SEAT and, erm, the UK

Magnum- “True to pleasure” 
Last year on this blog we looked at the new Ruby chocolate and now it has made its biggest foray into the confectionary world with the new Magnum Ruby ice cream. The advert certainly portrays it as a luxury item so much so that it has its own shop which serves one customer at a time. This is not social distancing however, this ad was made before the lockdown, and is simply to illustrate just how exclusive a taste this ice cream is. The ad shows a young woman – played by South African model and actress ChloĆ© Hirschman - drawn into an ornately appointed shop that looks like a cross between a casino and a bank. Greeted by a smartly dressed doorman she is shown the creation process which seems to involve a lot of models looking at the ice cream inside glass containers or handling chunks of ruby chocolate with tweezers as if they are valuable fossils. This is probably not how it’s actually made.



So. The pandemic is not over by any means but we are starting to venture outside for a while at least and it seems an appropriate time to summarise the fifteen (is it?) weeks we’ve spent inside. Well mostly inside. In some ways for me it wasn’t hugely different as some of the things people were moaning about not being able to do- go to events, go on holiday, spend hours socialising – have been unavailable to me for the past five years due to my ongoing caring responsibilities as well as working full time. So forgive me if I can’t get too concerned for people wringing their hands about not being able to take a holiday “this year”. Plus I could shop and you soon got used to the queues. What did take me by surprise though was how much I had beforehand. If I thought my life was restricted before then this was something else.


Top of the Pops 20 & 27 June 1985

Reviewed by Chris Arnsby. Janice Long: “Hello, may I be the first to bid you a fond welcome to Top of the Pops.” Gary Davies: “Er, in other words Janice is basically saying, hi how you doing? What's on the show tonight Jan?” Janice Long: “Well we've got Harold Whatis..er.” Gary Davies: “ Faltermeyer.” Janice Long: “Yeah, we've got China...err.” Gary Davies: “Crisis.”Janice Long: “And we've got Mai......”Gary Davies: “Tai.”Janice Long: “And we've got Sting as well and a fine bunch of young upstanding men first.” Gary Davies: “In other words to get us underway here are the Fine Young Cannibals.”

[15] Fine Young Cannibals: Johnny Come Home. I remember the Fine Young Cannibals first time round but I don't recall them making much of an impression on me. This was clearly a mistake judging by this barnstorming performance of a very good song. I think Janice Long sums it up best when she shapes her words carefully like clay in the hands of a master potter and reveals “I think Roland Gift's voice is just...like...brilliant.” Despite all this praise, there is no way to describe whatever the hell it is the bass-player thinks he's doing. And he looks stupid doing it. Fred Wright is still on Lighting duties this week but Michael Hurll has had a word. The purple studio lighting has been dialled back from last week's visual cortex burning levels to a less strident shade of magenta. Week two of the new main set, for those keeping track, and someone has found the button that makes the neon tubes flash on and off. There's also a new addition, a row of round white lights that flash on and off to no obvious pattern. If you translate the flashes into Morse code they spell out “help I'm being held prisoner in the BBC lighting department,” but that's probably a coincidence.


When your friends are in a band...

Subjectivity about music is one of the great things about discussions with friends. Whether it’s the crazy who’ll shout “Chooooooooooon” each time a dance banger is mentioned or dusty audio academics discussing the merits of obscure King Crimson tracks, we rarely hold back when it comes to expressing our opinions about music and of course we are always right. However what happens when friends of yours start to write music, record it and give you a copy. Or start playing live and want you to go. Do we then continue to maintain subjectivity in the same way we might normally? Course not! Instead we resort to obfuscation or vagueness unless of course your friend’s music really is amazing. And what are the chances of that happening? Besides do they expect unadulterated praise? Wouldn’t they prefer you to say, “You know what, Jez, it’s a crock of ##**!!” Actually they probably wouldn’t.

"It went really well, mate"


The Boy Who Won The Pools

Unusual Sunday kids TV serial from 1983 remains elusive- but you can read the book.
Before the National Lottery was invented there were the Football Pools (actually I think they’re still going). This was a palaver that involved densely printed forms listing all the scheduled football matches across four Divisions and Scotland from which you’d select about 12 and predict which would be a score draw or something. Anyway some people used to take this very, very seriously studying form and previous matches whereas others would randomly put crosses in squares knowing next to nothing about football. Either approach was as likely to win you a cash prize. Pools entrants would then sit glued to the football results as they came in on the `teleprinter` to see if they’d scooped a fortune. Writer Gerard McDonald used the Pools as the basis for a book later adapted into a 10 part Sunday afternoon tv series shown in 1983 whose title explains exactly what it was about- The Boy Who Won The Pools. In this case 16 year old Rodney Baverstock was the lucky recipient of £758,000 (and 27p) courtesy of his Aunt. As money is now something like three and a bit more times the value it was in 1983 this would be like winning about two and a quarter million now.


Top of the Pops 13 June 1985

Reviewed by Chris Arnsby. Mike Read: “Welcome to Britain's best loved serial, Top of the Soaps. You've seen him on Radio 1, for the first ever time on television a natural life-sized effigy of Dixie Peach.” Dixie Peach: “Thanks Mike. I've been laying in the sun in anticipation for this big event. Tonight I'm going to kick off with Scritti Politti, Word Girl.”

[8] Scritti Politti: The Word Girl . The Top of the Pops studio has been refurbished. The walls around the main stage used to be fitted with neon tubes that flashed in basic geometric shapes; circles, triangles, and squares (alright settle down Pythagoras). The new neon shapes are more complicated and don't flash quite as much. The effect is to increase the overall light levels and form a more definite boundary to the set. The higher light levels make it easier to spot the hosts sneaking off when their introduction is complete. They used to escape from the main set through a secret gap in the scenery by the neon Top of the Pops logo. The redesign has given them a proper set of stairs with a Health and Safety approved handrail. 


The Personal History of David Copperfield review

This charming film is not entirely what you might expect from Armando Iannucci whose reputation was made with dark comedic satire. Yet he has breathed life into this venerable tale giving it a contemporary spin only inasmuch as to show how identifiable a story it actually is. If for some reason you had no idea this was based on a book you might think it was penned recently as there’s nothing here that smells musty or old. Quite the contrary in fact- this adaptation is as fresh and enjoyable as run on the Yarmouth beach which provides one of its locales. But don’t accuse the director- who also co-writes with Simon Blackwell - of going soft as there is always a harder edge where Dickens is concerned.


Top of the Pops 23 May & 6 June 1985

Reviewed by Chris Arnsby. 23 May 1985: Mike Read: “More exciting than Dynasty, more fabulous than Dallas, even better than Eastenders.” Steve Wright: “It's true!!” Mike Read: “Top of the Pops.” Steve Wright: “Top of the Pops!! And here we're going to start with Go West and Call Me!!”
[17] Go West: Call Me. Go West's Wikipedia page claims the band only has two members, lead singer Peter Cox and Richard Drummie, guitar and backing vocals. This must be a bone of contention for all the other people on stage performing Call Me. I only discovered the non-person status of the drummer, guitar player, second keyboard/guitar player, and backing singer because of an unfortunate moment just after the first chorus when the backing singer forgets how to dance. She's doing fine and then the rhythm just abandons her and she is left staring at her malfunctioning feet for a moment before getting back into the groove. Maybe it's best that she is not named by Wikipedia but using an impersonal pronoun feels rude and reminds me of my nan asking “who's she, the cat's mother?”
Go West- Call Me (or I'll kick your cat)


What to do about Liverpool's shameful history?

The headlines of the past few weeks made me think about my home town Liverpool which played a significant part in slavery in the past. In fact the city’s wealth and expansion was built on it. There were more slave ships running in and out of Liverpool in the late 1700s than there were either in London or Bristol. So is it now time for the city to follow the lead elsewhere and remove evidence  of those people responsible?  Or should we continue to acknowledge it as an example of wrong doing.


Snowpiercer (film) review

Imagine the worst train journey ever and you’ve got Snowpiercer. This 2013 film has generated new interest lately partly due to director Bong Joon-ho winning a handful of  Oscars for his latest feature Parasite and also because a tv series is in the works. Somehow the original release of the film passed me by and I can’t remember it getting a massive publicity drive at the time. In some respects it is a typical post- apocalyptic movie- grim, unrelenting and painted in muted tones. In fact it is one of those films you start watching and then think- am I really going to stick with this for two hours? Well do stick with it because, while not perfect, Snowpiercer is an imaginatively presented thrill ride packed with claustrophobic action and not without strands of thoughtfulness.


Top of the Pops 9 & 16 May 1985

2 eps for 1 reviewed by Chris Arnsby. 9 May: Janice Long: “Hello. Welcome to a live Top of the Pops. I'm auntie Janice.” John Peel: “And I'm uncle John. And we're going to play you some songs from the hit parade. Aren't we Janice?” Janice Long: “They're smashing, like The Style Council and Walls Come Tumbling Down.”
[13] The Style Council: Walls Come Tumbling Down. “You don't have to take this crap!” Tone it down a bit Paul. Knock off the casual swearing or we'll lose the audience. Or maybe that's the plan. BBC2 is showing The Moonraker (1958) against Top of the Pops. Perhaps the schedulers are hoping casual viewers will switch over, thinking it to be Moonraker (1979). (John- I’d have thought the opposite would be true!)


Spaced Series 2 review

From the TWU Archive Pods, part 2 of this 2004 appreciation of Spaced. Words- Sean Alexander. Episode 1: Back 
In which Daisy returns from Asia to find changes at homeand the interest of two familiar agents. 
Between series one and two of Spaced, an important cultural change took place.  A generation of fans raised on the original Star Wars trilogy had - like Simon Pegg himself - seen The Phantom Menace and decided, once and all, that George Lucas was just a great fake who’d got lucky three times. Actually, two great cultural changes had taken place: The Matrix, released the same summer as The Phantom Menace, had become the most successful and influential piece of pop-culture since Star Wars. So into this cultural miasma arrives the second series of Spaced.  And it’s hard not to dissociate these changes in nerd culture from the resultant opening half-hour of the show’s sophomore year.  There’s no denying it’s back with a bang: refreshed, revitalised and freshly engorged by the ever-expanding media landscape on which its original success was hewn.  Spaced no longer just makes do with cannibalising every film and TV show going; it now has its own cultural heritage to draw on.  Not bad for a show only one year old!  What’s so good about ‘Back’ is how easily it slips into the old routine - with even a voice-over refreshing for first-time viewers - without seeming staid as a result.  Into this is mixed a poignant discourse on the fear and isolation of losing touch with one’s domestic familiarity.  Daisy, absent for six months, returns to a world familiar yet strange on her return from the far east, not least of which is her replacement in Tim’s immediate sphere by new flatmate Mike.  That the episode ends with things - largely - back to normal is as much a relief to the watching viewer as it is to Daisy herself.


Top of the Pops 2 May 1985

Reviewed by Chris Arnsby. Richard Skinner: “What a show we've got for you. We've got Chris Rea, New Model Army, U2, Paul as well, and you.” Mike Smith: “And a lot of noisy people as well. Seven new chart entries this week for you. So lots to come tonight, plus this lot, first time since Christmas 1983. Would I tell a lie? Welcome Eurythmics.” [25] Eurythmics: Would I Lie To You? Eurythmics. You know Eurythmics right? Two of them. A dour lady and bloke who always wears sunglasses indoors. Lots of parping synthesisers and attitude. Well this week Eurythmics have been replaced by the pod people. Everyone is smiling. No one is wearing sunglasses. There are about 4000 people on stage. It's hard to get an exact count because the studio's all smokey and atmospheric, and everyone keeps moving around and... what's the word I don't associate with Eurythmics? Dancing... that's it everyone keeps dancing and being all happy.
I'm possibly overstating how much of a change of direction this is for Eurythmics but it comes as a surprise when you compare it to their last single, Sex Crime (1984).


Spaced Series 1 review

From the TWU archives, Sean Alexander looks at the series Spaced. First published in the print zine in (gasp) 2004. 
British TV comedy experienced something of a renaissance in the late Nineties.  Reeves and Mortimer, Alan Partridge and The League of Gentleman have all left a rich legacy for future historians to analyse and deconstruct in years to come.  But arguably even the overwhelming success of ‘modern’ sitcom The Office papers over today’s comedies’ credentials for inheriting the classic sitcom mantle.  Because the nineties were when sitcoms grew up, becoming more comedy drama than broad situational farces.  The evidence of The Vicar of Dibley’s sole inclusion underlines this.  While comedy, by nature, has always run a fine line between the funny and the sad, modern shows like Little Britain and Nighty Night are continuing the nineties trend for tragic comedy.  However, there was one sitcom made in the past five years that did uphold the cosy traditions of halcyon days.  With a twist.  It depicted an eclectic group of friends and their struggles to find happiness and meaning in an increasingly hostile world.  But it added a post-modern, pop-culturally obsessive and occasionally surreal style to its familiar template.
Its name? Spaced. It ran on Channel 4 for two series between 1999 and 2001.  Written by comedians Simon Pegg (previously best known for the slightly dark and twisted sketch show Big Train) and Jessica Stevenson (hitherto the downtrodden - and eternally weight-conscious - Cheryl in The Royle Family) it tells the story of twenty-somethings Tim Bisley and Daisy Steiner’s attempts to find purpose and fulfilment in the occasionally scary world of pre-Millennium North London.  Posing as a ‘professional’ couple, they are joined in their illicit co-habitation by a variety of colourful housemates.  There is their landlady, Marsha, a woman for whom the pursuit of the opposite sex is matched only by her capacity for a bottle of red or three.  Downstairs is tortured artist Brian, forever carrying the pain - and the paint - of his endeavours on his sinewy torso.  Elsewhere, Mike is Tim’s gun-loving, ex-territorial army best friend, as likely to bring some small arms to any house party as any beverage.  While Daisy’s best friend, Twist - with her lisping voice and day-glo ensembles - is as terminally vacuous as she is self-absorbed.


Slade In Flame review

Viewed from this distance the success of Slade in the early Seventies seems unlikely yet a series of hit singles, several of which topped the UK charts, made them the period’s top homegrown pop act. Unlike their peers they never tried to be cool or distant, in fact their appeal was partly based on likeability. They were four ordinary blokes from the Midlands whose catchy, if repetitive songs, struck a chord. They saw their chance and donned glam rock sequins with enthusiasm even if their stage wear sometimes looked like it was run up the previous night on a sewing machine. By 1975 however their appeal was waning and they would subsequently make one of the classic UK pop star errors by going off to try and make it big in the United States at the expense of their established British audience. Before that though they made a film. 


Top of the Pops 25 April 1985

Reviewed by Chris Arnsby. Mike Read: “Hi, and welcome to Top of the Pops with Gary and myself. USA for Africa are on tonight, and the RAH Band, David Grant, Jaki Graham, and also Phil Collins.” Gary Davies: “In fact if you want to know how to get 17 hits in 33 minutes just stick around. To get us underway a song that's gone up 17 places to number 7 in the charts this week. Bronski Beat and Marc Almond, I Feel Love.”
[7] Bronski Beat & Marc Almond: I Feel Love.17 hits in 33 minutes? Yes, it turns out Top of the Pops has been given extra time. When Only Fools And Horses finished, Top of the Pops and Tomorrow's World swapped places on Thursday. Now Tomorrow's World has lost five minutes and is scheduled from 7.30-7.55pm, and Top of the Pops slots in between that and repeats of The Lenny Henry Show at 8.30pm.
I Feel Love is a study in contrasting performance styles.  Jimmy Somerville is a natural on stage. He dances like a club veteran and looks at home and completely unselfconscious. Marc Almond looks more awkward, and dances like... well, like me. Fair play to Marc. He's doing his best but he's got the wry self-conscious smirk of a man out of his element. Clearly he would rather be back in suburbia writing poetry about how ghastly it is to live in the suffocating bourgeois embrace of the provinces where no one understands him, and all his real talents go unappreciated. Marc Almond is wearing a small gold star pinned to his blazer lapel. Is it his badge for mathematical excellence? This is an oddly structured song with two false endings, put there to frustrate any DJ with the temerity to play the song on the radio. The first one shifts abruptly from I Feel Love to Johnny Remember Me. The pair continue to sing as Lighting Director Fred Wright uses this moment to cut the main studio lights leaving the stage lit by a spotlight, against a backdrop of neon tubes. The studio lights are then slowly raised again as the song builds. It looks great. Both false endings get big cheers from the studio audience.


Licence to Drive (1988) review

You could probably fashion a film around most things provided you can create some form of excitement and interest. So if the obtaining of a driving licence may seem too trivial a topic to turn into an interesting film Licence to Drive proves otherwise.  A lively narrative manages to explore every option this subject might suggest while also sticking to the tried and tested tropes of the US high school movie. The first half in particular - as sixteen year old Les Anderson takes his test and things go wrong - is incident packed and amusing in a sort of Eighties way. Apparently John Hughes was initially attached to the movie though it eventually enabled Greg Beeman, nowadays a well- known American TV producer, to make his feature film debut. 



Nougat!? Even the name is tricky. Is it pronounced “noo-gaa” or “noo-gatt”? It is a substance that can be difficult to make ending up either too soft or, more likely, too hard. Some nougat resembles the sort of material used on white washed walls and can have a similar consistency. Yet it endures, one of those foods that people generally love or loathe like Marmite or sprouts.  Still if you can’t manage to chew or even cut it, nougat can make a handy table leveller if you’ve an uneven floor.


Ad Break#19 Lockdown Adverts

As the UK lockdown is now in its sixth week, an increasing number of adverts are acknowledging the time we’re living through. That multi screened view we're familiar with from social media or Skype is now becoming a go-to look for ads many of which have segments filmed from people’s homes. These adverts all look of the moment and when an older one shows people in close proximity or in a restaurant they suddenly seem weird now. Its amazing how quickly we’ve become familiar with the so called `New Normal`. One ad claims to be the first ever made entirely in private homes. Debuting last week, the latest spot from Voxi – the wing of Vodaphone aimed at younger customers- features a teenager showing how you can stay connected during this unprecedented situation. Called `Stay Connected, Stay Endless` the advert was shot entirely on a Samsung Galaxy S20 phone using its 4K front and rear cameras as well as the device’s internal microphone all of which provided “high quality footage and manageable file sizes”. The teenager is seen taking part in a various social media trends such as baking, hosting an online quiz and going on a virtual date. It has the energy of a hyperactive YouTube vlog, slick but without losing that homemade feel. 


Top of the Pops 28 Mar 1985

Reviewed by Chris Arnsby. Out of the blue a mystery commenter put this link https://mega.nz/folder/h0snQACa#uiNNqosfbdrfzODHsE1clw under the Top of the Pops for 14/03/1985. I think the appropriate expression is; cripes! Or possibly, “My God. It's full of [pop] stars.” Opening that folder makes me feel like Dave Bowman going beyond the infinite, but I'm holding off  on evolving into a big space baby; although I do feel a sixth finger coming on. In summary, thanks mystery commenter. Mind you, I'd better pick up the pace. In the real world it's 19th April, and I haven't even put the dinner on yet. Peter Powell: “[in media res, as all the cool kids say]...the biggest party in Britain! It's Top of the Pops!” Mike Smith: “yes we have a line-up to beat all line-ups tonight. We have Alison Moyet, Tears for Fears, and joining us from their sell out tour, the highest new entry this week on the charts, welcome Frankie Goes to Hollywood.” 
[5] Frankie Goes to Hollywood: Welcome To The Pleasuredome. Top of the Pops has rules; no band back two weeks in a row unless they are number one; feature the highest climber; and no singles going down the chart. Less obvious restrictions include the one keeping members of the production team out of shot as much as possible (which results in camera operators scuttling around and crouching in a way the frequently makes my back ache in sympathy). One other “rule” I've noticed is that presenters are paired so one is “senior” (don't worry, I'll stop doing “this” in a minute). John Peel gets top billing with Janice Long. Mike Read trumps Steve Wright. Simon Bates is first out of... whoever is unfortunate enough to be in the same studio as Simon Bates.
How does that work tonight? Logically Peter Powell should be the senior host. He's been doing this since 1977. Except that Mike Smith is Mr 1985. The man of the moment. He's hosting 16 shows this year; compared to Peter Powell's 14. The only reason Mike Smith doesn't present even more is that he's spread all over the BBC -Live Aid, Breakfast Time, Children's Royal Variety Performance, The Noel Edmonds Late Late Breakfast Show, he even gets a go at hosting the Radio 1 Breakfast Show when Mike Read goes off for a few weeks at the end of June (and he'll take it over in 1986). So, who's senior out of this pair? Will it be a partnership of equals, or egos at ten paces?
Meanwhile, here's Frankie. The band of 1984. It's an understated performance by their standards. Holly Johnson looks like a top-heavy egg timer in a black uniform that flares wildly at the shoulders, is pulled in tight at the waist and then flares again into jodhpurs; plus peaked-cap, and gold braiding and piping. The rest of the band are sensibly dressed in black long-legged singlets. This produces a good laugh at the start of the performance as the camera pulls back across the stage. We see the band looking like they are all about to warm up for a drama class, before we catch sight of Holly Johnson dressed as the generalissimo of a particularly unstable dictatorship.


Dream A Little Dream (1989) review

“They gave each other a smile with a future in it.” 
There are good films, bad films, strange films and challenging films.  Dream A Little Dream manages to be all of these. Released in 1989 it is a mixture of comedy, musical and fantasy it is almost impossible to bracket into a genre. It is a fascinating example of a late Eighties movie aimed at younger viewers yet unlikely to engage them due to narrative ambitions above its station. The film was essentially built for teen stars Corey Feldman and Corey Haim who’d already starred together in the actually rather good Licence to Drive and had also appeared in cult classic The Lost Boys. Their images were plastered across teen magazines in the US though in the UK they were virtually unknown. The film also tried to tap into the then weirdly prevalent trend for movies in which young and old swap bodies by way of some fantasy mumbo jumbo though even then it is an atypical example of this sub- genre.


Top of the Pops 14 Mar 1985

Reviewed by Chris Arnsby. Mike Smith: “Good evening. We have a great crowd in here tonight and some fabulous tunes. Welcome to Top of the Pops.” Gary Davies: “And making their debut on the show tonight with a great song called We Close Our Eyes, Go West.”

[16] Go West: We Close Our Eyes. I'm still on my YouTube adventure so this episode has more sources than HP. We start our journey with a file called Top of the Pops 14/3/85 p1.Excitingly, this starts with the (then) brand new BBC1 computer generated globe and the continuity announcer “Rodney's aspirations to become a rock star receive a fatal blow from brother Del in Only Fools and Horses which is why he's not appearing in Top of the Pops, introduced this evening by Mike Smith and Gary Davies”. Top of the Pops 14/3/85 p1 cuts out as Go West start singing. Disappointingly the only other copy of this performance was uploaded 10 years ago and the picture quality is blockier than a Lego set. It's recorded from an edition of TOTP2 so assorted POP FACTs start popping up on the screen. Thus we learn that “Birthday boy Peter Cox is 42 on Tuesday.” How does that work? Is always going to be 42 next Tuesday? And “The band didn't take their name from the Village People. And have nothing to do with cowboys” Who knew, everyone in Go West suffered from pistolpetaphobia.
Go West- We Close Our Eyes (except when its snowing)


Skins Season Two

From the TWU archive vortex; first published in 2008.

Skins became one of 2007’s television talking points, surrounded by controversy, some manufactured, most of it based on inaccurate assumptions but it became a series television heads had an opinion about. The arguments ran roughly thus: it was a groundbreaking show that showed teen life today as it really is or it was pretentious, patronising and anyway teens didn’t watch, they preferred Hollydale. The truth probably lay somewhere in the middle - Skins’s first season, for all the fuss, was actually quite traditionally morally grounded and extremely well made with exactly the same care you’d expect from a period drama which in a way it is! Just that the period is this decade. Anecdotally teens do watch it in as much as teens watch any telly at all. The idea that it showed urban life as it is today is of course nonsense; no television programme ever could, but it could be said to show what life is like for a mixed bunch of Bristol based teens at least. And compared to the one note teen characters soap operas seem to offer, it is at least an attempt to identify to some extent with what is going on, particularly as most of the writers of the series are only in their 20s. Anyway, the problem with being a talking point is that expectations are ramped up for what comes next and this can affect the programme makers themselves. In other words, it’s the Difficult Second Series Syndrome. How do you top what’s made you a talking point in the first place?


Space 1999- The Testament of Arkadia

A thoughtful, sombre episode concludes this first season ably demonstrating all of the show’s strengths (and weaknesses)in stylish fashion.  It is as portentous as you like yet also oddly intriguing dealing with big issues of life and destiny when an alien planet appears to cause the half Moon to stop in space and start to lose power. The Alphans have no choice but to try and find out how and why this is happening and their expedition makes some shocking discoveries. Presented with occasional voiceovers from Koenig `The Testament of Arkadia` is a fitting finale even if it declines to explain itself fully. Koenig professes to like a mystery so this is what we have.


Top of the Pops 7 Mar 1985

These are unprecedented times and we must all “adopt, adapt, improve” (in the words of the Round Table Society). With that in mind we're going back through the mists of time, courtesy of a Youtube channel called Top Of The Pops- 80s who have just uploaded a 1985 edition of Top of the Pops which was spurned by my digital box for no good reason.

Reviewed by Chris Arnsby. John Peel, “Hello we're the westenders and welcome to another Top of the Pops. It's a rather special Top of the Pops actually because it's Shakin' Stevens fiftieth birthday” Janice Long, “No. You've got it wrong. It's his fiftieth appearance on Top of the Pops. And it's Shakin' Stevens, well done mate, at number 15 Breaking Up My Heart.”

[15] Shakin' Stevens: Breaking Up My Heart. I've written before (ie, I can't remember when) about my surprise at the long chart shadow cast by Shakin' Stevens. In my memory he was always an early 80s phenomenon but here he is striding into the second half of the eighties like a denim-trousered colossus. The song is not vintage fifties pastiche Shaky, in fact it sounds like a Cliff Richards cast-off, but it is more upbeat than his previous single Teardrops. It's good to have back a more upbeat and mobile Shakin' Stevens back in the studio. He remembers to do the thing with his legs where he drops to his knees and springs back up, and he also gets bonus points for his comedy collapse at the end. Shakin' Stevens’ first Top of the Pops appearance came all the way back in the long ago time of 22/02/1980 when he appeared performing Hot Dog, sandwiched between Rainbow (All My Loving) and Blondie (Atomic).


Ad Break#18 Fashion, Success and Phones

Argos - “I’m holding a duck” 
One of the things about lockdown is that more people might see some of the great adverts around plus you at least have to watch five seconds of them on YouTube. In fact the inspiration for this  irregular feature is that I realised the ideas and cleverness that go into ads often outshines the programmes they are in between. Here’s a case in point- a surreal Argos ad that pushes their established `so good you can wear it` concept to absurd new heights. Fronted by model and actress Suki Waterhouse it takes the company’s already established theme of ` so stylish you can wear it` to even more surreal places by taking the rise out of pretentious fashion ads. 


Skins Season One

Lockdown archive! As we're all spending more time at home during the lockdown- and because everyone's doing this - I thought I'd post some archive material from the vast vaults of This Way Up (it's an enormous golden pyramid in the garden) starting with this review of the iconic first season of Skins from 2007. Wonder what happened to this cast then.....

On the criminally overlooked third Thrills album, there’s a line “I harbour doubts I didn’t live my youth with sufficient recklessness” and you’ll probably feel the same after watching a few minutes of the fascinating series Skins. Before you clock a second though, it’s worth checking out Maxxie miming to the Chipmunks song on Youtube because it’s funny and because it reminds us that this is a series about teenagers enjoying themselves in whatever weird way that teenagers do. Don’t expect to understand why, just laugh because there’s an askew enjoyment to be had from seeing a modern character dancing to such an ancient cutesy song from decades back. Its only one of a series of internet treats lurking for fans hooked on the TV show- the most notable of these is the ten minute “digger party” episode that’s positively surreal. It’s a good preparation for a show which will climax with- yes- a song. 
 Launched first on the minority channel E4 before getting a repeat on proper Channel 4 and now available on DVD (series 2 starts soon on E4 if you’re one of the 27 people who has subscribed to it), Skins is one of those once-in-a decade telly shows about young people that gets Mrs Putey from Basingstoke irritated and critics rhapsodising about how it’s speaking to the young generation. Cleverly trailered with exactly the sort of crazy party that parents will shiver their timbers about, the show seems designed to upset anyone older than 16 while simultaneously giving the under 16s their own show. It bothers me that they watch Hollyoaks which is a plastic, gift wrapped portrait of adolescence which I refuse to believe mirrors anyone’s experience except for well off thritysomethings with wine bars and lofts and designer furniture. As they say in the fab Corsa adverts, Come On!!


Space 1999- Mission of the Darians & Dragon's Domain

Mission of the Darians

An episode that treads in well worn tv sci-fi footsteps, Johnny Byrne’s story paces to a slow reveal meaning its heavy going for the watcher. The Alphans encounter a huge city in space emitting an emergency call for help. Inside the vast place the mission crew variously discover two separate scenarios. As Koenig and Bergman chat to Joan Collins and learn of a race on a centuries long mission to find a new planet, Helena encounters the somewhat larger, hairier and sacrifice types who inhabit level 7. You can sort of see what’s coming though Byrne laces his script with some nasty incidents. These level seveners, led by a hysterically hammy Aubrey Morris in eye popping splendour, fillet out mutants and put them in a box that kills them with noise. Judging from the looks of the tribe that noise is Black Sabbath at maximum decibels. 


Top of the Pops 21 Mar 1985

Top of the Pops 07/03/1985


Top of the Pops cleared out a lot of the old presenters in 1984. Tommy Vance was shown the door. Andy Peebles left with head held high and feet held higher, in this position he was thrown out (© Spike Milligan). Also off were the two forbidden hosts J**** S*****  and D*v* L** Tr*v*s. Unfortunately this doesn't mean that 1985 magically becomes the year when BBC4 can show every episode of Top of the Pops with a clear conscience because 1985 is also the year that Mike Smith becomes the BBC's Mr Ubiquity. He's on Breakfast Time, he presents a show called Friday People, and another one called Speak Out (an international link-up between teenagers in Britain and other parts of the world), he hosts The 1985 Royal Tournament and Live Aid, and he also becomes the main host of Top of the Pops; presenting 16 of the 52 editions of Top of the Pops. He also withdrew permission for the BBC to repeat his editions of Top of the Pops, before his death in 2014.
On top of missing one third of the 1985 repeats, my digital box has thrown a wobbly. The next edition of Top of the Pops it has recorded is 11/04/1985. This is plainly unacceptable given that the last one I wrote up was 21/02/1985. Still, nil desperandum and all that. It's time to use my initiative, and see what's available via other sources**YouTube. (John- Can we actually get on with it now please?)(FX: TOP OF THE POPS THEME RESUMES] 
Top of the Pops 21/03/1985. Reviewed by Chris Arnsby. 
Steve Wright: “Hello, good evening, and welcome to another Top of the Pops!! Tonight you can see Sarah Brightman!! You can see Loose Ends!!  And!! You can see some of Prince's greatest speeches!! Mike Read: “I love you. You're so enthusiastic. Kicking off tonight's Top of the Pops we have Nik Kershaw, just about to embark on a world tour. This is Wide Boy.”



I’m working from home, or WFH as people call it. Wfhuh. I managed to sneak in the decision before lockdown because in the end if the world is ending there’s no better place to be. Or even if the world is only temporarily stopping. That will be this year’s definition in history forever won’t it-  2020- The Year the World Stopped. You may or may not know that I’m a part time carer for my mum so am here with her (well she’s not literally sitting next to me at this moment) which is sometimes nice and sometimes irritating. I suppose there are other people whom I’d like to be here now too but that would make the house rather crowded and break these new laws of lockdown. Incidentally Boris did not use the word `lockdown` at all.  Of course what I am trying to say is that should I have this virus it would almost inevitably pass to my mum as well. So every day is also a risk for her despite me being a carer. Don’t the ironies just pile up at times like this? Course I may not have the virus, no symptoms yet so fingers crossed. If I don’t get it we’ll just get on each other’s nerves every day which is a more than acceptable substitute for the virus I’d say. Somehow your priorities do change at times like this.



Yesterday morning as I was walking past the increasingly small number of fellow pedestrians headed for work, the song `Everybody Hurts` was playing through the speakers of the adjacent shopping centre. The song swirled quite loudly around us and I had a sudden filmic moment. I imagined people stopping and acknowledging each other aware that hugging was out of the question due to social distancing but at least everyone understanding we were all in it together, a powerful moment of empathy in the midst of a crisis. Perhaps everyone sang together. It didn’t happen, instead we all just carried on walking our separate ways. Obviously I do not have the power of Richard Curtis.



Soon we will be able to watch the world without us being in it. There are only a handful of things most of us live through that could be called world altering and the coronavirus scenario is one of those. For once it seems like the more extreme tabloid headlines of recent weeks such as `Virus Mayhem` are actually not too wide of the mark. I’ve kept having to re-write this post due to unfolding events as matters escalate so it may well be out of date when you’re read it but I just wanted to record what its like at this time, at this moment.


Space 1999 - Space Brain & The Infernal Machine

Space Brain
An opening montage of various crew members completing jigsaws of all things should be a warning that this is going to be an unconventional episode. From its schlocky pulp sci-fi title in there is nothing subtle about `Space Brain`. The puzzles incidentally are meant to be symbolic of the puzzle to come. The latest threat to Moonbase Alpha comes via strange patterns on the screens and then the disappearance of an Eagle investigating their source- a huge entity sitting in space. It appears to be trying to communicate with them and when this doesn’t work takes over an astronaut called Kelly via whom it talks to Computer. I still feel Computer should have an actual name rather than everyone just calling it “Computer”. What about Carl? Anyhow what transpires is a decently poised adventure in which it becomes apparent that the so called `space brain` is trying to survive what will be a collision with the Moon by any means it can. The one problem with the episode, atypically for this series, are the special effects. 


The Greatest Dancer / Dancing On Ice

When I tell some people I watch these shows they look disapprovingly as it somehow they’re not interesting or cool enough when of course dancing is the coolest thing ever. I don’t dance (don’t ask me), well not now, but back in the day I cut a rug sometimes. It had to be a very special piece of music that would make me though. Both these series reached their latest final at the weekend and both pulled surprise winners out of the hat because of that modern thing they share. However much the experts or judges can influence the progress of acts to the Final when it comes to the last week it is the viewers who have the power. I hardly need to tell you that once things are thrown open to the general public you get some unexpected results!


Top of the Pops 21 Feb 1985

Reviewed by Chris Arnsby. Mike Read: “Hello, another great edition of Top of the Pops lined up for you tonight. Bruno Brookes and myself have escaped from Radio 1, just for the night.” Bruno Brookes: “Right, and we're going to get going with Howard Jones at number 6, and Things Can Only Get Better!”

[6] Howard Jones: Things Can Only Get Better. Tonight's episode of Top of the Pops went out at 7.30pm, between episode two of Eastenders ('That baby don't come into this house. Either you get rid of it, or I get rid of you'.) and Happy Returns the first episode of series four of Only Fools And Horses. Howard Jones is back with his ever-growing entourage. We're up to eight people now; a guitarist, three backing singers, a three-piece brass section, and drummer Trevor Morais who is unfashionably hirsute for 1985. There's lot of placeholder “whoa, whoa, whoa, whoa, whoa, whoa,” lyrics in this song but just as they are getting repetitive a surprise guest appears. Charlie Chaplin, who looks good and moves well for someone who died in 1977.
It's actually Dancing Jed, who you may remember from 1983 and New Song, the Howard Jones debut single. He does a creditable impression of Charlie Chaplin and capers well. I can't actually work out why he's here but, why not? Maybe the Three Stooges will appear later to liven up I Know Him So Well. Dancing Jed takes Howard Jones' entourage up to nine. I hate to think what his band on-costs are like.


Space 1999- The Last Enemy & The Troubled Spirit

The Last Enemy
As the Alphans check out two planets separated from each other by a Sun, one of them launches a mega battleship which cuts out Alpha’s defences and communications easily leaving them defenceless. However in an unexpected turn it is using the passing Moon to launch a surprise attack on its neighbour. We get an early glimpse into the Bethan planet which resembles nothing less than a chic 70s sitting room with white leather sofas and colourful adornments. It soon becomes clear that all the inhabitants of the planet are female something of an undermining of the traditional warrior type this and other series regularly show. The original idea for the story was apparently a literal battle of the sexes but thankfully this is all but excised from the final episode with no acknowledgment of the divide remaining in the finished production, This makes the production look somewhat forward thinking with Dione dressed more like a biker than in any floaty long dress of the sort most female aliens the Alphans met normally sported.


The Extra Day!

How will you spend 2020’s Extra Day on Saturday? Leap years have to happen every four years (with the exception of centurial years like 2000) otherwise we’d lose six hours per annum and eventually end up with no time at all! Well, not literally of course. This addition ensures the Gregorian calendar remains in alignment with Earth’s revolutions around the Sun and was originally the idea of Julius Caesar.  So we have this extra day of 29 February though presumably it could be any day and you could have a June 31st or July 32nd. People whose birthday is on 29 February usually celebrate in the intervening non Leap Years either on 28 February or 1 March. And they endlessly think that saying they're only 8 or something is funny. It’s a bit odd we call this a Leap Year as it has an extra day in it rather than one day less but the name refers to the fact that other events `leap` over a day.