1 00:00:05,782 --> 00:00:10,887 ♪ ♪ 2 00:00:11,287 --> 00:00:14,323 ROB: Welcome to the 80's Greatest Hits, 3 00:00:14,390 --> 00:00:15,825 a decade that's celebrated appearance, 4 00:00:15,892 --> 00:00:19,295 projecting an image and selling yourself. 5 00:00:20,530 --> 00:00:23,332 ROB (off-screen): We're counting down ten classic commercials 6 00:00:23,399 --> 00:00:25,968 from one classic decade. 7 00:00:26,636 --> 00:00:28,371 MICK: I want my MTV. 8 00:00:29,038 --> 00:00:30,406 ROB (off-screen): When we weren't being sold products, 9 00:00:30,473 --> 00:00:32,875 we were being sold ourselves. 10 00:00:32,942 --> 00:00:36,879 DMC: The commercials of the 80s psychologically connected 11 00:00:36,946 --> 00:00:38,514 with the audience. 12 00:00:38,848 --> 00:00:40,316 ROB (off-screen): With images that defined the decade for 13 00:00:40,383 --> 00:00:42,952 better and for worse. 14 00:00:43,019 --> 00:00:45,655 BROOKE: You wanna know what becomes between me and my Calvins? 15 00:00:45,721 --> 00:00:47,123 JON: Talk about a sexual innuendo. 16 00:00:47,190 --> 00:00:49,459 ROB (off-screen): TV commercials sold us the 80s. 17 00:00:49,525 --> 00:00:51,360 CLARA: Hey, where's the beef? 18 00:00:51,427 --> 00:00:53,896 ROB (off-screen): And, we still buy into their messages today. 19 00:00:53,963 --> 00:00:56,299 KATIE: "Just Do It." What a great phrase. 20 00:00:56,365 --> 00:00:59,302 ROB (off-screen): But, which one was the best of the best? 21 00:01:00,703 --> 00:01:04,574 (theme music plays) 22 00:01:04,807 --> 00:01:06,142 ROB: So, where do we start? 23 00:01:06,209 --> 00:01:08,945 How about our fast talking number ten? 24 00:01:11,848 --> 00:01:13,116 JOHN: Okay, you understand I need to be in New York on Monday, 25 00:01:13,182 --> 00:01:14,117 LA on Tuesday, New York on Wednesday, 26 00:01:14,183 --> 00:01:15,151 LA on Thursday, New York on Friday. Got it. 27 00:01:15,218 --> 00:01:16,919 WOMAN (over phone): Got it. JOHN: Got it. 28 00:01:16,986 --> 00:01:18,588 I taught myself when I was 12 how to do the fast talking. 29 00:01:18,654 --> 00:01:21,624 Pretty much, told to shut up for 15 years. 30 00:01:21,691 --> 00:01:24,460 NARRATOR: John Moschitta's motormouth was tailor made for 31 00:01:24,527 --> 00:01:28,064 a decade consumed with a need for speed, 32 00:01:28,131 --> 00:01:31,334 and it was American big business that led the race. 33 00:01:31,400 --> 00:01:35,004 ROBERT: You had the fax machine coming into offices. 34 00:01:35,071 --> 00:01:39,175 You had computers coming into offices for the first time, 35 00:01:39,442 --> 00:01:42,445 and so, the pace of business was accelerating. 36 00:01:43,846 --> 00:01:46,082 NARRATOR: Ex-Vietnam military pilot, 37 00:01:46,149 --> 00:01:50,453 Fred Smith, takes the hint, and sets up a fast airborne 38 00:01:50,520 --> 00:01:52,455 delivery service. 39 00:01:52,522 --> 00:01:55,324 But, speed comes at a cost, and, 40 00:01:55,391 --> 00:01:57,960 in this case, at a loss. 41 00:01:58,027 --> 00:02:00,463 FREDERICK: In the first couple of years of operation, 42 00:02:00,530 --> 00:02:03,866 we lost a total of $29 million. 43 00:02:04,333 --> 00:02:05,835 NARRATOR: With his business on the line, 44 00:02:05,902 --> 00:02:08,871 Fred Smith needs to get his point across. 45 00:02:08,938 --> 00:02:11,374 You snooze, you lose. 46 00:02:11,440 --> 00:02:15,044 Enter, John Moschitta, who's record breaking motormouth 47 00:02:15,111 --> 00:02:17,647 delivers a major wake up call. 48 00:02:17,713 --> 00:02:19,415 TV PRESENTER: Get set... 49 00:02:19,482 --> 00:02:20,616 Talk. 50 00:02:20,683 --> 00:02:21,584 JOHN: Friend, either you're closing your eyes to a situation 51 00:02:21,651 --> 00:02:22,618 you do not wish to acknowledge. 52 00:02:22,685 --> 00:02:23,653 Or you are not aware of the caliber of disaster indicated 53 00:02:23,719 --> 00:02:25,254 By the presence of a pool table in your community 54 00:02:25,321 --> 00:02:26,489 One fine night they leave the pool hall, heading for the dance at the armory, 55 00:02:26,556 --> 00:02:28,124 libertine men and scarlet women and rag-time shameless music 56 00:02:28,191 --> 00:02:29,492 that'll grab your son, your daughter, with the arms of a jungle animal instinct. 57 00:02:29,559 --> 00:02:31,194 Mass-staria. Friends, the idle brain is the devil's playground. Trouble. 58 00:02:31,260 --> 00:02:32,995 (applause) 59 00:02:33,062 --> 00:02:36,465 Within four days of that show airing I was booked on every major talk show. 60 00:02:36,532 --> 00:02:41,737 (applause) 61 00:02:43,172 --> 00:02:45,174 NARRATOR: To harness John's talent, 62 00:02:45,241 --> 00:02:48,978 FedEx's ad agency hires superstar commercial director, 63 00:02:49,045 --> 00:02:52,481 Joe Sedelmaier, a star director who's used to 64 00:02:52,548 --> 00:02:55,017 doing things his way. 65 00:02:55,084 --> 00:02:57,320 JOE: (bleep) that's good. 66 00:02:57,386 --> 00:02:59,488 JOHN: He was not all that anxious to work with me, 67 00:02:59,555 --> 00:03:00,957 and they were, kind of, making him do it, 68 00:03:01,023 --> 00:03:03,459 and the original concept for the commercial only had me 69 00:03:03,526 --> 00:03:05,361 saying stuff like, "Thanks for taking this meeting", 70 00:03:05,428 --> 00:03:08,764 and so, I thought, well, this is not gonna be very funny, 71 00:03:08,831 --> 00:03:10,366 and I got there and I said, 72 00:03:10,433 --> 00:03:11,534 "You know, I was thinking about it. 73 00:03:11,601 --> 00:03:13,302 I'd like to talk to you about the script", 74 00:03:13,369 --> 00:03:14,837 and, all of a sudden, you could hear, 75 00:03:14,904 --> 00:03:17,840 like, a pin drop, and he said, 76 00:03:17,907 --> 00:03:19,775 "Oh, really, what would you like to say?" 77 00:03:19,842 --> 00:03:21,744 And so I said, "I thought I should say something like, 78 00:03:21,811 --> 00:03:22,979 oh, wonderful, wonderful wonderful..." 79 00:03:23,045 --> 00:03:25,314 And, in conclusion, Jim, Bill, Bob, Col, Fred, Abel and Ted... 80 00:03:25,381 --> 00:03:26,515 "Business is business. 81 00:03:26,582 --> 00:03:27,617 In order to get something done, we've gotta do something..." 82 00:03:27,683 --> 00:03:28,651 In order to do something, we've gotta get to work. 83 00:03:28,718 --> 00:03:30,486 "So, let's get to work. Thanks for taking this meeting." 84 00:03:30,553 --> 00:03:32,955 And, he looked at me and says, "You know, I think that will work better." 85 00:03:33,022 --> 00:03:33,923 (laughs) 86 00:03:33,990 --> 00:03:35,124 Got it. 87 00:03:36,859 --> 00:03:40,229 ROBERT: The theme of the commercial was what FedEx did. 88 00:03:40,296 --> 00:03:42,698 It was fast. 89 00:03:42,832 --> 00:03:44,033 WOMAN: Can you wait 15 seconds? 90 00:03:44,100 --> 00:03:45,268 MAN: I'll wait 15 seconds. 91 00:03:45,334 --> 00:03:48,504 BRYAN: It was comedy that we hadn't seen before, you know? 92 00:03:48,571 --> 00:03:49,472 JOHN: Congratulations on your deal in Denver, Dave. 93 00:03:49,538 --> 00:03:50,606 I'm putting you down to deal with Dallas. 94 00:03:50,673 --> 00:03:51,774 Dawn, do we have a deal? It's a deal. We have a deal. 95 00:03:51,841 --> 00:03:53,175 I've gotta go. I've got a call coming in." 96 00:03:53,242 --> 00:03:54,977 BRYAN: Like, this guys is really doing that. 97 00:03:55,044 --> 00:03:57,013 Like, it's not some special effects. 98 00:03:57,079 --> 00:03:59,248 KATIE: It was actually a stroke of genius. 99 00:03:59,315 --> 00:04:00,383 JOHN: Dawn, I'm putting you down to deal with Dick. 100 00:04:00,449 --> 00:04:01,617 Dick, what's the deal with the deal? Are we dealing? 101 00:04:01,684 --> 00:04:02,785 KEVIN: And, in school, people would try to imitate him and 102 00:04:02,852 --> 00:04:06,022 talk real fast, and sprain their tongue in the process. 103 00:04:06,088 --> 00:04:06,956 JOHN: You did a bang up job. 104 00:04:07,023 --> 00:04:08,157 I'm putting you in charge of Pittsburgh. 105 00:04:08,224 --> 00:04:09,258 I know it's perfect, Peter, what's why I picked Pittsburgh. 106 00:04:09,325 --> 00:04:10,493 Pittsburgh is perfect. Peter, may I call you Pete? 107 00:04:10,559 --> 00:04:11,761 PETER: Call me Pete. 108 00:04:11,827 --> 00:04:14,897 NARRATOR: FedEx's ad is a huge success, 109 00:04:14,964 --> 00:04:18,801 and makes them a metaphor for the high speed of 80s business. 110 00:04:18,868 --> 00:04:19,769 JOHN: Congratulations. Welcome aboard. 111 00:04:19,835 --> 00:04:22,038 NARRATOR: And, that FedEx guy? 112 00:04:22,104 --> 00:04:24,874 He becomes an enduring 80's star. 113 00:04:24,940 --> 00:04:26,575 PETER: Yeah, didn't you do an interview with that 114 00:04:26,642 --> 00:04:28,144 fast-talking FedEx guy? 115 00:04:28,210 --> 00:04:30,746 LOIS: Yeah, I ended up dating him for three months. 116 00:04:30,813 --> 00:04:31,714 JOHN: That's a beautiful shade of lipstick. 117 00:04:31,781 --> 00:04:33,015 I bet you enjoy the music of Men at Work. 118 00:04:33,082 --> 00:04:34,283 You're incredibly foxy, take off your shirt, take off your pants. 119 00:04:34,350 --> 00:04:35,284 Wow, what a body. That feels good. 120 00:04:35,351 --> 00:04:37,620 I'll give you a call. You'd better get tested. 121 00:04:39,889 --> 00:04:42,158 ROB: So, how did we make our charts? 122 00:04:42,224 --> 00:04:44,427 ROB (off-screen): We recruited a panel of experts who ranked 123 00:04:44,493 --> 00:04:47,897 our top ten commercials based on their wow factor... 124 00:04:47,963 --> 00:04:51,534 their importance of time, and their impact today. 125 00:04:53,302 --> 00:04:56,172 ROB: Our panel's number nine, a product that revolves around 126 00:04:56,238 --> 00:04:59,709 hair, but, no, it's not the beloved 80s mullet, 127 00:04:59,775 --> 00:05:02,511 may it rest in peace. 128 00:05:06,882 --> 00:05:10,353 NARRATOR: In the 70's men went back to nature 129 00:05:10,419 --> 00:05:13,422 letting it all hang and grow out, 130 00:05:13,489 --> 00:05:17,026 but, in the 80s, as business became slick and cool, 131 00:05:17,093 --> 00:05:20,196 so too did men's faces. 132 00:05:20,262 --> 00:05:23,232 And razor company, Gillette, jump on that clean cut 133 00:05:23,299 --> 00:05:27,136 bandwagon with a series of iconic TV spots. 134 00:05:27,970 --> 00:05:32,274 JEREMY: That Gillette commercial is like 17 movies. 135 00:05:32,742 --> 00:05:37,279 BRIAN: First real cinematic, thematic commercial we'd ever really seen. 136 00:05:37,780 --> 00:05:40,716 NARRATOR: Gillette gambles $80 million on a full 137 00:05:40,783 --> 00:05:44,787 Hollywood makeover, making mini movies celebrating 138 00:05:44,854 --> 00:05:49,625 clean shaven dudes on the front lines of a grooming revolution. 139 00:05:49,692 --> 00:05:52,862 But, no revolution is complete without its own anthem. 140 00:05:52,928 --> 00:05:55,398 ♪ Oh oh oh Gillette ♪ 141 00:05:55,464 --> 00:05:59,735 ♪ The best a man can get ♪ 142 00:05:59,802 --> 00:06:01,937 ♪ Oh, Gillette, now ♪ 143 00:06:02,004 --> 00:06:03,873 ♪ Oh, the best I say, ♪ 144 00:06:03,939 --> 00:06:06,175 ♪ the best the man can get ♪ 145 00:06:06,242 --> 00:06:08,778 ♪ For all a man can be ♪ 146 00:06:08,844 --> 00:06:10,913 KATIE: The jingle was absolutely irresistible. 147 00:06:10,980 --> 00:06:12,281 Fun to sing along with Gillette. 148 00:06:12,348 --> 00:06:13,482 ♪ Gillette ♪ 149 00:06:13,549 --> 00:06:14,750 MAN (off-screen): The best a man can get. 150 00:06:14,817 --> 00:06:16,786 ♪ The best a man can get ♪ 151 00:06:16,852 --> 00:06:17,787 REGINALD: The best a man can get, 152 00:06:17,853 --> 00:06:20,389 it was, essentially, a love song to men. 153 00:06:20,456 --> 00:06:24,760 KATIE: It was written by a proper singer songwriter, Jake Holmes. 154 00:06:24,827 --> 00:06:27,396 He actually wrote for Frank Sinatra. 155 00:06:27,463 --> 00:06:30,132 He also wrote "Dazed and Confused", 156 00:06:30,199 --> 00:06:33,402 which was later made popular by Led Zeppelin. 157 00:06:33,469 --> 00:06:35,838 BRYAN: That was the heyday of the epic jingle. 158 00:06:35,905 --> 00:06:39,175 MAN (off-screen): Gillette is changing the face of shaving. 159 00:06:40,109 --> 00:06:42,578 NARRATOR: Gillette's gamble helps make clean shaven the 160 00:06:42,645 --> 00:06:46,315 look of the late 80's male, whatever their age. 161 00:06:47,283 --> 00:06:48,984 KEVIN: I'm in good shape. 162 00:06:49,051 --> 00:06:51,120 (screams) 163 00:06:51,187 --> 00:06:53,522 JEREMY: They definitely put full throttle, 164 00:06:53,589 --> 00:06:57,460 the whole idea of men looking good, 165 00:06:57,526 --> 00:07:00,729 and you need to take care of yourself to look good. 166 00:07:02,331 --> 00:07:05,067 ROB: At number eight, this 80's commercial was so genius 167 00:07:05,134 --> 00:07:09,171 that, in the 90's, we made a parody of it in Wayne's World. 168 00:07:20,783 --> 00:07:25,020 WAYNE: Pardon me. Do you have any Grey Poupon? 169 00:07:26,422 --> 00:07:28,757 (laughs) 170 00:07:30,159 --> 00:07:34,730 NARRATOR: Young, urban professional or yuppie. 171 00:07:34,797 --> 00:07:37,500 Now, that wasn't an 80's catchphrase. 172 00:07:37,566 --> 00:07:40,069 For many, that was an assignment, 173 00:07:40,135 --> 00:07:44,406 with homework that could be found inside this tiny glass jar. 174 00:07:44,473 --> 00:07:46,475 LONI: Like, first of all, what is Grey Poupon? 175 00:07:46,542 --> 00:07:48,844 ROBERT: Grey Poupon was an unknown product. 176 00:07:53,282 --> 00:07:55,518 NARRATOR: Looking to make inroads into the US market, 177 00:07:55,584 --> 00:07:59,321 Grey Poupon cast their eye on the growing yuppie trend for 178 00:07:59,388 --> 00:08:01,857 culinary sophistication. 179 00:08:01,924 --> 00:08:04,493 The trouble is, for most people, 180 00:08:04,560 --> 00:08:07,830 mustard still means hot dogs on street corners. 181 00:08:08,464 --> 00:08:11,834 Grey Poupon need ad man, Stephan Kaplan, 182 00:08:11,901 --> 00:08:15,538 to come up with a commercial that can sell old world class 183 00:08:15,604 --> 00:08:17,873 to a new mass market. 184 00:08:18,807 --> 00:08:20,376 STEPHEN: It was myself and my writing partner, 185 00:08:20,442 --> 00:08:24,947 Larry Elegant, sitting around with the jar of mustard between us, 186 00:08:25,014 --> 00:08:26,649 and the first thing that Larry said was, 187 00:08:26,715 --> 00:08:28,751 "What can we do with a Rolls Royce?" 188 00:08:28,817 --> 00:08:31,020 KANE: Thought we might have a picnic tomorrow, Susan. 189 00:08:31,086 --> 00:08:33,789 STEPHEN: I remember a scene in Citizen Kane, 190 00:08:33,856 --> 00:08:37,693 and their idea of a picnic was to have these amazingly rich 191 00:08:37,760 --> 00:08:40,663 cars follow each other out to the picnic area. 192 00:08:40,729 --> 00:08:43,032 That triggered a thought in my mind that to, 193 00:08:43,098 --> 00:08:47,036 literally, have another Rolls pull up and ask for a jar of 194 00:08:47,102 --> 00:08:50,639 Grey Poupon as if they were asking for a cup of sugar. 195 00:08:50,906 --> 00:08:51,774 MAN: Pardon me? 196 00:08:51,840 --> 00:08:53,208 Would you have any Grey Poupon? 197 00:08:53,275 --> 00:08:54,376 MAN: But, of course. 198 00:08:54,443 --> 00:08:56,679 MAN (off-screen): Grey Poupon. It even has wine. 199 00:08:58,280 --> 00:09:00,950 NARRATOR: Stephen Kaplan knew he was taking a big risk. 200 00:09:01,016 --> 00:09:04,286 If he got it wrong, he could alienate both ends of the 201 00:09:04,353 --> 00:09:06,755 market simultaneously. 202 00:09:06,822 --> 00:09:09,525 But Stephen managed to bowl right down the proverbial 203 00:09:09,592 --> 00:09:14,196 middle lane by serving up two of the key 80's ad 204 00:09:14,263 --> 00:09:17,266 food groups, aspiration and humor. 205 00:09:18,367 --> 00:09:20,869 ROBERT: Personal refinement and accomplishment, 206 00:09:20,936 --> 00:09:23,572 for the price of a jar of mustard. 207 00:09:23,639 --> 00:09:27,810 It elevated a condiment to something that was indicative 208 00:09:27,876 --> 00:09:30,512 of your status in life. 209 00:09:30,579 --> 00:09:33,349 BRYAN: They elevated it but it didn't take itself too seriously. 210 00:09:34,984 --> 00:09:37,119 LONI: It's just something that you instantly remember the 211 00:09:37,186 --> 00:09:40,055 minute you say, "Grey Poupon", you think of those two men in 212 00:09:40,122 --> 00:09:42,992 the car passing that. 213 00:09:43,826 --> 00:09:45,728 JEN: It was like the Downton Abbey of 80's commercials. 214 00:09:45,794 --> 00:09:48,831 It then became something that you would say to the point 215 00:09:48,897 --> 00:09:51,834 that you would annoy everyone if you wanted mustard or 216 00:09:51,900 --> 00:09:53,035 any kind of condiment. 217 00:09:53,102 --> 00:09:54,903 "Do you have any Grey Poupon?" 218 00:09:55,237 --> 00:09:57,306 NARRATOR: When the ad is tested in Seattle, 219 00:09:57,373 --> 00:10:00,576 sales increase by 100%. 220 00:10:00,643 --> 00:10:03,746 Somehow, they managed to capture the 80's lightning of 221 00:10:03,812 --> 00:10:06,849 class into a tiny jar. 222 00:10:06,915 --> 00:10:11,687 LONI: I was, like, if I eat that, that'll make me rich. 223 00:10:12,888 --> 00:10:15,491 ROBERT: I bugged my mother to buy Grey Poupon for us, 224 00:10:15,557 --> 00:10:18,027 and it was considered sophisticated. 225 00:10:18,093 --> 00:10:21,096 REGINALD: My mother fiercely led our family from 226 00:10:21,163 --> 00:10:23,332 working class to lower middle class. 227 00:10:23,399 --> 00:10:27,302 That was her mission, and all I had to do was say, 228 00:10:27,369 --> 00:10:29,638 "Rich people eat that mustard, Mamma", 229 00:10:29,705 --> 00:10:30,706 it was on the list. 230 00:10:30,773 --> 00:10:32,441 (laughs) 231 00:10:33,976 --> 00:10:36,211 NARRATOR: Soon, many mammas put their wallets where 232 00:10:36,278 --> 00:10:39,848 their son's mouths were, which helped lock Grey Poupon down 233 00:10:39,915 --> 00:10:41,617 as our number eight. 234 00:10:41,684 --> 00:10:44,119 But, seven more commercials are in bound. 235 00:10:44,186 --> 00:10:47,623 For instance, a dog in a sex scandal. 236 00:10:47,690 --> 00:10:49,458 Really? 237 00:10:54,863 --> 00:10:57,066 ROB: Now, there are bad business decisions and there 238 00:10:57,132 --> 00:11:01,503 are ba-ad business decisions. 239 00:11:01,570 --> 00:11:07,743 New Coke was terrible, but it was a great opportunity for an iconic 80s character, 240 00:11:07,810 --> 00:11:11,547 a fusion of special effects and an out of work actor. 241 00:11:11,613 --> 00:11:14,016 Our number seven. 242 00:11:18,053 --> 00:11:20,456 NARRATOR: The 80s was marked by growing tensions between 243 00:11:20,522 --> 00:11:25,194 two superpowers, both dedicated to each other's obliteration. 244 00:11:26,895 --> 00:11:29,531 BROKAW: What is heating up is the cola war between Coke and 245 00:11:29,598 --> 00:11:32,601 Pepsi for dominance of the soft drink business. 246 00:11:32,668 --> 00:11:33,736 JEREMY: The cola wars. 247 00:11:33,802 --> 00:11:36,271 I mean, there was no way around it. 248 00:11:36,338 --> 00:11:37,840 That was a big deal. 249 00:11:37,906 --> 00:11:40,342 Who cares about the Berlin Wall falling down? 250 00:11:40,409 --> 00:11:43,312 It's about Coke versus Pepsi. 251 00:11:44,313 --> 00:11:46,648 NARRATOR: The two cola giants are in a bitter fight for 252 00:11:46,715 --> 00:11:48,550 America's taste buds. 253 00:11:48,617 --> 00:11:51,887 After blind taste tests indicate that 80s cola fans 254 00:11:51,954 --> 00:11:54,423 increasingly prefer sweeter drinks, 255 00:11:54,490 --> 00:11:57,493 Coca Cola goes for the nuclear option. 256 00:11:57,559 --> 00:12:01,363 They change Coke's revered recipe to be more like Pepsi's 257 00:12:01,430 --> 00:12:03,031 sweeter flavor. 258 00:12:03,098 --> 00:12:06,702 They call it, New Coke, and match the theme by enlisting 259 00:12:06,769 --> 00:12:09,772 a revolutionary flag bearer for the brand. 260 00:12:10,172 --> 00:12:13,742 MAX: Max, Max Cornelius Headroom here, 261 00:12:13,809 --> 00:12:16,111 and I'm looking for some atmosphere. 262 00:12:16,912 --> 00:12:21,383 DMC: Max Headroom was a huge star in the 80s, like, a star. 263 00:12:21,450 --> 00:12:24,820 JEREMY: I was obsessed with Max Headroom. 264 00:12:24,887 --> 00:12:28,123 - M,M,M,M, - Max, - H,H,Headroom, - Headroom. 265 00:12:28,190 --> 00:12:29,958 MAX: Max. Max Headroom. 266 00:12:31,193 --> 00:12:34,029 NARRATOR: Max first materializes in a cyber punk 267 00:12:34,096 --> 00:12:36,932 TV film made for British television. 268 00:12:36,999 --> 00:12:40,135 Then, he gets his own spinoff TV series. 269 00:12:40,202 --> 00:12:41,937 MAX: I was created because there was a gap in the 270 00:12:42,004 --> 00:12:43,272 entertainment market for something, 271 00:12:43,338 --> 00:12:45,908 I suppose you could call, swagger. 272 00:12:45,974 --> 00:12:48,577 NARRATOR: Cinemax runs Max's shows in America, 273 00:12:48,644 --> 00:12:51,914 and he quickly gains cult status as the smart talking 274 00:12:51,980 --> 00:12:55,217 computer generated face of the future. 275 00:12:55,284 --> 00:12:57,953 DMC: So, I guess, Coke figured, 276 00:12:58,020 --> 00:13:00,355 if anybody could sell new Coke to the public, 277 00:13:00,422 --> 00:13:02,224 it could be Max Headroom. 278 00:13:02,291 --> 00:13:03,592 MAX: The network where two's coming in, 279 00:13:03,659 --> 00:13:05,060 three's an audience. 280 00:13:05,127 --> 00:13:06,962 NARRATOR: Coke believed that they've backed a winner in 281 00:13:07,029 --> 00:13:08,831 attracting the youth market. 282 00:13:08,897 --> 00:13:11,166 They double down by hiring Ridley Scott, 283 00:13:11,233 --> 00:13:14,169 an A list director whose movie, Blade Runner, 284 00:13:14,236 --> 00:13:17,973 gave a starring role to artificial humans called replicants. 285 00:13:19,374 --> 00:13:20,776 RACHAEL: Mr Deckard, Dr Eldon Tyrell. 286 00:13:20,843 --> 00:13:22,644 RICK: I don't get it, Tyrell. 287 00:13:22,711 --> 00:13:25,948 JOE: Commerce is our goal, here at Tyrell. 288 00:13:26,014 --> 00:13:28,450 More human than human is our motto. 289 00:13:28,817 --> 00:13:30,085 - MAX: M,M,M, - Max Headroom. 290 00:13:30,152 --> 00:13:31,186 Hi. 291 00:13:31,253 --> 00:13:32,154 BOY: Hi. 292 00:13:32,221 --> 00:13:33,188 MAX: Ah, our new... 293 00:13:33,255 --> 00:13:34,923 NARRATOR: But, Ridley soon discovers that 294 00:13:34,990 --> 00:13:38,327 there's more to the mighty Max than meets the eye. 295 00:13:38,393 --> 00:13:40,329 MAX: OK. It's great. 296 00:13:40,395 --> 00:13:41,897 RIDLEY: He seemed to be a bio mechanoid. 297 00:13:41,964 --> 00:13:44,533 I said, "I think it's extraordinary. 298 00:13:44,600 --> 00:13:47,269 Who is this man, machine?" 299 00:13:47,336 --> 00:13:49,171 He said, "Well, actually, he's just outside." 300 00:13:49,238 --> 00:13:51,640 So, they brought him in and there he was. 301 00:13:52,274 --> 00:13:56,578 NARRATOR: Like Ridley, most people assumed Max was a 302 00:13:56,645 --> 00:13:58,714 computer generated replicant. 303 00:13:58,780 --> 00:14:02,718 But, in fact, he was brought to life by actor, Matt Frewer. 304 00:14:03,151 --> 00:14:04,887 MATT: I would say Max is charming. 305 00:14:04,953 --> 00:14:05,787 He's goofy. 306 00:14:05,854 --> 00:14:07,589 He's very slick, very good at his job. 307 00:14:07,656 --> 00:14:09,625 He stutters a lot when he gets fussed. 308 00:14:09,691 --> 00:14:11,159 MAX: Live and live and direct. 309 00:14:11,226 --> 00:14:13,562 MATT: On the whole, I would say he's a fairly 310 00:14:13,629 --> 00:14:15,831 disconcerting prospect. 311 00:14:15,898 --> 00:14:17,633 NARRATOR: Adding to the disconcerting vibe, 312 00:14:17,699 --> 00:14:22,704 is Max's unusual face, now enhanced by old school cosmetics. 313 00:14:23,105 --> 00:14:25,374 MATT: There's a lot of prosthetics rubber makeup involved. 314 00:14:25,440 --> 00:14:28,277 It's a very grueling make up session. 315 00:14:28,343 --> 00:14:31,246 HUMPHREYS: This is a piece of Max Headroom. 316 00:14:31,313 --> 00:14:35,284 It's just foam latex, not silicone like they use these days. 317 00:14:35,350 --> 00:14:39,321 It would have fitted on something like this. 318 00:14:40,956 --> 00:14:43,292 I was getting people ringing me up saying, 319 00:14:43,358 --> 00:14:44,993 "You're gonna be out of business soon because look at 320 00:14:45,060 --> 00:14:46,995 these computer graphics that we've..." 321 00:14:47,062 --> 00:14:47,930 (laughs) 322 00:14:47,996 --> 00:14:49,731 MAX: T, T, tune into Network 23. 323 00:14:49,798 --> 00:14:51,400 RIDLEY: But, actually, he could do that stuff. 324 00:14:51,466 --> 00:14:54,236 He could sit here and computer generate like it was a, 325 00:14:54,303 --> 00:14:56,071 he could act it out. 326 00:14:56,138 --> 00:14:57,773 HUMPHREYS: It looked, in the studio, 327 00:14:57,839 --> 00:15:00,842 like he was in a different dimension to ourselves. 328 00:15:00,909 --> 00:15:02,611 It looked like something else. 329 00:15:02,678 --> 00:15:05,047 KID: I like him. MAX: Join the club. 330 00:15:05,647 --> 00:15:07,115 NARRATOR: Here's where the good news, 331 00:15:07,182 --> 00:15:09,685 bad news part of the Coke wars comes in. 332 00:15:09,751 --> 00:15:10,919 Good news. 333 00:15:10,986 --> 00:15:14,923 In market testing 76% of American youth can identify 334 00:15:14,990 --> 00:15:17,025 Max from the commercial. 335 00:15:17,092 --> 00:15:18,827 But, bad news. 336 00:15:18,894 --> 00:15:23,498 That same 76% don't like the new sweeter flavor. 337 00:15:23,565 --> 00:15:25,434 WOMAN: I hate the new coke. 338 00:15:25,500 --> 00:15:27,836 ROBERT: New Coke was a colossal mistake. 339 00:15:30,572 --> 00:15:34,743 It is taught in business schools to this day as 340 00:15:34,810 --> 00:15:37,713 the way to introduce a flop. 341 00:15:38,947 --> 00:15:41,216 NARRATOR: Coke retires Max in 1988, 342 00:15:41,283 --> 00:15:43,352 and his alter ego, Matt Frewer, 343 00:15:43,418 --> 00:15:47,889 trades in his prosthetics for the quieter life of a character actor. 344 00:15:49,191 --> 00:15:51,026 MAX: No. Catch me now. 345 00:15:51,093 --> 00:15:54,596 MATT: I don't have a laptop, and I actually live out in the woods now. 346 00:15:54,896 --> 00:15:56,298 MAX: Thanks to Max Headroom, who, 347 00:15:56,365 --> 00:15:58,867 basically, told us all to go digital. 348 00:15:59,401 --> 00:16:01,036 NARRATOR: 20 years later, an older, 349 00:16:01,103 --> 00:16:04,406 if not wiser Max comes out of retirement, 350 00:16:04,473 --> 00:16:07,042 starring in a British spot promoting the switch from 351 00:16:07,109 --> 00:16:09,378 analog TV to digital. 352 00:16:10,212 --> 00:16:13,782 Max truly remains in his own head space. 353 00:16:13,849 --> 00:16:15,784 MAX: No, not the face. 354 00:16:17,386 --> 00:16:20,622 ROB: Some days I kinda miss the fruity bouquet of New Coke. 355 00:16:20,689 --> 00:16:23,825 But, one beverage which is very much still around brings 356 00:16:23,892 --> 00:16:26,661 us to our next contender in the commercials hit parade. 357 00:16:26,728 --> 00:16:30,399 The drink may still be here, but it's iconic 80s spokesman 358 00:16:30,465 --> 00:16:33,068 has passed into commercial legend. 359 00:16:36,471 --> 00:16:38,340 ♪ Oh Oh Oh ♪ ♪ 360 00:16:38,407 --> 00:16:40,909 WOMAN: Look, here he comes. 361 00:16:41,276 --> 00:16:44,312 ♪ There's a super party animal ♪ 362 00:16:44,379 --> 00:16:46,181 ♪ His name is Spuds Mackenzie ♪ 363 00:16:46,248 --> 00:16:47,716 NARRATOR: By the late 80s, young women are drinking more 364 00:16:47,783 --> 00:16:51,420 beer than ever before, and Budweiser spies the perfect 365 00:16:51,486 --> 00:16:54,656 opportunity to sell their new light calorie beer to 366 00:16:54,723 --> 00:16:56,992 young people of both genders. 367 00:16:57,059 --> 00:16:58,293 MAN (off-screen): Party animal. 368 00:16:58,360 --> 00:17:00,295 WOMAN: That's Spuds, he is the party. 369 00:17:00,362 --> 00:17:03,565 NARRATOR: As they redefine the phrase, party animal. 370 00:17:03,632 --> 00:17:06,802 Hey, it's the 80s. 371 00:17:07,702 --> 00:17:09,104 CRISTELA: A dog knows how to party. 372 00:17:09,171 --> 00:17:12,441 I look at a dog and I'm, like, I need to hang out with that guy. 373 00:17:13,975 --> 00:17:15,744 JEN: It looks like an SNL sketch, and it's not. 374 00:17:15,811 --> 00:17:18,713 Like, it's an actual, legitimate commercial. 375 00:17:18,780 --> 00:17:20,348 MAN (off-screen): He's Spuds McKenzie, 376 00:17:20,415 --> 00:17:22,884 one party loving happening dude. 377 00:17:22,951 --> 00:17:24,119 NARRATOR: And, to turn a cheap, 378 00:17:24,186 --> 00:17:27,222 low cal beer into a symbol of fun loving 80s youth and 379 00:17:27,289 --> 00:17:31,059 success, they give it an ironic makeover by borrowing 380 00:17:31,126 --> 00:17:33,929 the very loud voice of Robin Leach, 381 00:17:33,995 --> 00:17:36,798 the host of Lifestyles of the Rich and Famous. 382 00:17:36,865 --> 00:17:38,066 MAN (off-screen): It's just the life. 383 00:17:38,133 --> 00:17:39,801 WOMAN: So, go, Spuds, go. 384 00:17:39,868 --> 00:17:42,003 WOMAN: Spuds gives motion to the ocean. 385 00:17:42,070 --> 00:17:43,905 BRYAN: Spuds Mackenzie just said, 386 00:17:43,972 --> 00:17:46,741 "We're not taking this whole thing seriously." 387 00:17:46,808 --> 00:17:50,645 KEVIN: I think it's, like, a self awareness with a sense of irony. 388 00:17:50,712 --> 00:17:53,482 It goes down a bit smoother for the consumer. 389 00:17:53,849 --> 00:17:56,551 NARRATOR: Within weeks, Spuds makes the talk show rounds. 390 00:17:57,252 --> 00:17:58,553 MAN: You're a major star, Spuds. 391 00:17:58,620 --> 00:17:59,855 You've been around the world. 392 00:17:59,921 --> 00:18:01,690 (laughs) 393 00:18:01,756 --> 00:18:03,391 MAN: You've gone everywhere. 394 00:18:03,458 --> 00:18:05,127 What does it all smell like to you, Spuds? 395 00:18:05,193 --> 00:18:07,362 (laughs) 396 00:18:08,697 --> 00:18:11,133 NARRATOR: His canine star was rising, 397 00:18:11,199 --> 00:18:12,968 but then, at the height of his fame, 398 00:18:13,034 --> 00:18:17,305 he's hit by, yes, a career near ending scandal. 399 00:18:17,372 --> 00:18:19,808 Say it ain't so, Spuds? 400 00:18:24,613 --> 00:18:27,949 NARRATOR: In 1987 Spuds McKenzie is the high rolling 401 00:18:28,016 --> 00:18:30,318 brand ambassador for Bud Light, 402 00:18:30,385 --> 00:18:33,221 but, like so many iconic superstars, 403 00:18:33,288 --> 00:18:36,224 Spuds is discovered living a double life. 404 00:18:37,092 --> 00:18:38,994 CRISTELA: Wait a minute. Hold on. 405 00:18:39,060 --> 00:18:40,495 Wait a minute. 406 00:18:40,562 --> 00:18:41,897 KATIE: Gender bender. 407 00:18:41,963 --> 00:18:46,201 He was a she, and it turned out that Spuds was really a girl dog. 408 00:18:47,802 --> 00:18:50,305 CRISTELA: Like, you just told me that Spuds was a girl? 409 00:18:50,372 --> 00:18:53,542 It's like you just told me that we really didn't land on the moon. 410 00:19:00,582 --> 00:19:03,952 NARRATOR: Spuds, AKA Evie, rides out the scandal, 411 00:19:04,019 --> 00:19:05,687 but that was small potatoes 412 00:19:05,754 --> 00:19:08,623 compared to Spuds' next fall from grace. 413 00:19:09,491 --> 00:19:11,259 CRISTELA: Kids can't drink, but, guess what? 414 00:19:11,326 --> 00:19:13,128 They love stuffed animals. 415 00:19:13,195 --> 00:19:17,065 STROM: To put these toys, advertising beer on them, 416 00:19:17,132 --> 00:19:19,668 is absolutely against the public interest. 417 00:19:19,734 --> 00:19:21,636 LARRY: Marketing may have gone one step too far where 418 00:19:21,703 --> 00:19:25,540 a nine, ten, 11 year old, was collecting merchandise for 419 00:19:25,607 --> 00:19:27,475 things related to beer and cigarettes, 420 00:19:27,542 --> 00:19:30,478 might be a little too early for that. 421 00:19:31,112 --> 00:19:33,281 NARRATOR: Politics and pressure groups turn a parody 422 00:19:33,348 --> 00:19:35,350 pooch into a scapegoat. 423 00:19:35,417 --> 00:19:38,687 And, by the end of the '80s, Spuds becomes an early victim 424 00:19:38,753 --> 00:19:41,489 of what we now call, cancel culture. 425 00:19:41,556 --> 00:19:45,794 He, or she, is put into the doghouse, permanently. 426 00:19:48,029 --> 00:19:51,233 ROB: So, Spud's, Fast Talking Guy and Max Headroom, 427 00:19:51,299 --> 00:19:54,336 were all memorable characters who defined the products that 428 00:19:54,402 --> 00:19:55,570 they pitched. 429 00:19:55,637 --> 00:19:58,373 But there's another way commercials get inside your brain, 430 00:19:58,440 --> 00:20:00,875 and that's through catchphrase. 431 00:20:00,942 --> 00:20:04,279 Number five features one that, try as we might, 432 00:20:04,346 --> 00:20:07,616 us '80s survivors will never forget. 433 00:20:11,720 --> 00:20:12,754 CLARA: Where's the beef? 434 00:20:12,821 --> 00:20:13,755 JOHN: Where's the beef? 435 00:20:13,822 --> 00:20:15,957 TIFFANI: I remember saying that slogan. 436 00:20:16,024 --> 00:20:19,394 JON: Where's the beef? She was a cranky lady. 437 00:20:19,461 --> 00:20:22,097 NARRATOR: Now the '80s were supposed to be all about 438 00:20:22,163 --> 00:20:24,699 living the dream and living it large, 439 00:20:24,766 --> 00:20:28,470 but in reality, that dream was mostly a fantasy unless, 440 00:20:28,536 --> 00:20:31,840 of course, your name was, Clara Peller. 441 00:20:31,906 --> 00:20:33,408 JOHN: She worked in a nail salon, 442 00:20:33,475 --> 00:20:35,844 and she was just one of those faces. 443 00:20:36,278 --> 00:20:38,713 NARRATOR: Clara is propelled to instant celebrity when she 444 00:20:38,780 --> 00:20:42,384 stars in an ad spot for, Wendy's Bigger Burger. 445 00:20:43,051 --> 00:20:45,920 ROBERT: Wendy's understood what made Wendy's different. 446 00:20:45,987 --> 00:20:50,659 If you come to Wendy's, you'll get more beef in your burger. 447 00:20:50,725 --> 00:20:53,028 WOMAN: It certainly is a big bun. 448 00:20:53,094 --> 00:20:54,696 WOMAN 2: It's a very big bun. 449 00:20:54,763 --> 00:20:56,231 WOMAN: Big fluffy bun. 450 00:20:56,298 --> 00:20:58,166 BRONSON: They gave her the competitor's burger and 451 00:20:58,233 --> 00:21:02,804 she said in this unexpectedly deep, gruff voice. 452 00:21:03,204 --> 00:21:04,606 CLARA: Where's the beef? 453 00:21:04,673 --> 00:21:06,574 MAN (off-screen): Some hamburger places give you a lot less beef 454 00:21:06,641 --> 00:21:07,676 and a lot of bun. 455 00:21:07,742 --> 00:21:09,644 JOHN: Since Clara was practically deaf, 456 00:21:09,711 --> 00:21:11,579 when it was time for her to talk they had someone laying 457 00:21:11,646 --> 00:21:13,415 on the floor that would pull on her leg and, 458 00:21:13,481 --> 00:21:14,949 when they'd pull on her leg she'd go, 459 00:21:15,016 --> 00:21:16,518 "Where's the beef?" 460 00:21:16,584 --> 00:21:19,854 NARRATOR: And three words and one little old lady conquered America. 461 00:21:19,921 --> 00:21:21,923 TIFFANI: Where's the beef was huge. 462 00:21:21,990 --> 00:21:24,492 LONI: I could just remember going into my Wendy's going, 463 00:21:24,559 --> 00:21:26,494 "Where's that beef?" 464 00:21:27,629 --> 00:21:30,432 NARRATOR: The spot helps the company take a much bigger bite 465 00:21:30,498 --> 00:21:33,134 from the $15 billion burger business. 466 00:21:33,702 --> 00:21:37,372 Over two years, their sales increase by a third. 467 00:21:40,342 --> 00:21:42,043 MAN: It's become a universal one liner. 468 00:21:42,110 --> 00:21:44,245 CLARA: Where's the beef? 469 00:21:45,280 --> 00:21:47,816 NARRATOR: And that universal one-liner is soon weaponized 470 00:21:47,882 --> 00:21:50,652 by wannabe President, Walter Mondale, 471 00:21:50,719 --> 00:21:54,155 as he faces off with Gary Hart for the Democratic nomination 472 00:21:54,222 --> 00:21:57,592 in the 1984 race for the White House. 473 00:21:57,659 --> 00:21:59,027 WALTER: When I hear your new ideas, 474 00:21:59,094 --> 00:22:02,163 I'm reminded of that ad, Where's the beef? 475 00:22:06,501 --> 00:22:08,837 NARRATOR: Walter Mondale ends up using the catchphrase 476 00:22:08,903 --> 00:22:10,505 almost as often as Clara. 477 00:22:10,572 --> 00:22:12,006 WALTER: Where's the beef? 478 00:22:12,073 --> 00:22:14,743 Where's the beef? 479 00:22:14,809 --> 00:22:17,479 NARRATOR: But strangely, the catchphrase isn't powerful enough 480 00:22:17,545 --> 00:22:19,647 to unseat the invincible Reagan, 481 00:22:19,714 --> 00:22:22,917 and, when Clara tries to run out the clock on her 482 00:22:22,984 --> 00:22:26,755 15 minutes of fame, by endorsing Prego pasta sauce. 483 00:22:26,821 --> 00:22:28,957 CLARA: I found it. 484 00:22:29,023 --> 00:22:32,560 NARRATOR: Wendy's takes their beef out by cancelling her contract. 485 00:22:32,627 --> 00:22:34,729 But Clara gets the last laugh. 486 00:22:35,196 --> 00:22:36,564 CLARA: Where's the bags? 487 00:22:36,631 --> 00:22:37,799 MAN: Right here, ma'am. 488 00:22:37,866 --> 00:22:40,602 NARRATOR: With a host of cameo roles in movies and TV, 489 00:22:40,668 --> 00:22:42,237 as well as public appearances 490 00:22:42,303 --> 00:22:44,873 with the likes of New York's mayor. 491 00:22:44,939 --> 00:22:47,108 REPORTER: Clara Peller, the 4 foot 10, 492 00:22:47,175 --> 00:22:49,210 silver haired little lady with the big voice, 493 00:22:49,277 --> 00:22:51,780 made a courtesy call on Major Koch at City Hall. 494 00:22:51,846 --> 00:22:54,949 NARRATOR: And pioneers a by now familiar path, 495 00:22:55,016 --> 00:22:58,653 of cashing in on her celebrity status until the day she dies. 496 00:22:58,720 --> 00:23:00,889 CLARA: Where's the beef? 497 00:23:01,556 --> 00:23:03,758 ROBERT: A very memorable character and a very funny line 498 00:23:03,825 --> 00:23:06,461 it just made it one of the best ads ever. 499 00:23:09,097 --> 00:23:11,199 NARRATOR: Wendy's meaty "Where's the Beef?" Campaign, 500 00:23:11,266 --> 00:23:13,802 muscles its way to number five in our charts, 501 00:23:13,868 --> 00:23:15,537 by transcending from catchphrase, 502 00:23:15,603 --> 00:23:17,672 to part of our language. 503 00:23:18,573 --> 00:23:22,744 But, there were some '80s ads that many would rather forget entirely.. 504 00:23:23,144 --> 00:23:25,747 BROOKE: Do you wanna know what comes between me and my Calvin's? 505 00:23:31,886 --> 00:23:33,855 ROB: The competition is getting fierce, 506 00:23:33,922 --> 00:23:36,658 as we move into the top four, but, so far, 507 00:23:36,724 --> 00:23:40,028 we've left out one vital component of '80s advertising 508 00:23:40,094 --> 00:23:42,230 that has aged very badly. 509 00:23:42,497 --> 00:23:45,467 In short, sex sells. 510 00:23:49,237 --> 00:23:52,507 NARRATOR: The '60s may have introduced the idea of free love, 511 00:23:52,574 --> 00:23:55,510 but the '80s did their best to cash in on it. 512 00:23:56,077 --> 00:23:58,813 KATIE: Once we got into the '80s there was a new awareness 513 00:23:58,880 --> 00:24:01,249 that nothing sells like sex. 514 00:24:01,316 --> 00:24:03,985 NARRATOR: And '80s advertisers went for that sell in ways 515 00:24:04,052 --> 00:24:06,120 that raised eyebrows then, 516 00:24:06,187 --> 00:24:09,357 but would cause jaws to drop today. 517 00:24:13,495 --> 00:24:16,965 LONI: It was just crazy what was happening in the '80s, 518 00:24:17,031 --> 00:24:20,435 as far as when it comes to commercials and women and how 519 00:24:20,502 --> 00:24:24,472 they were being sexualized and objectified so much. 520 00:24:25,473 --> 00:24:27,308 TONY: There's stuff happening ten years ago that wouldn't 521 00:24:27,375 --> 00:24:30,445 fly today but, but especially in the '80s. 522 00:24:30,812 --> 00:24:32,881 JASON: The '80s was this time when people realized that you 523 00:24:32,947 --> 00:24:35,884 could be provocative and you could be controversial in a 524 00:24:35,950 --> 00:24:39,153 way that could launch you as a brand. 525 00:24:41,456 --> 00:24:45,393 NARRATOR: And no-one was more controversial than Calvin Klein. 526 00:24:45,460 --> 00:24:47,629 CALVIN: Does sex sell? Absolutely it sells. 527 00:24:47,695 --> 00:24:50,164 We still like sex. 528 00:24:51,199 --> 00:24:54,202 NARRATOR: In 1980, the fashion guru had a new range of 529 00:24:54,269 --> 00:24:56,404 skin tight jeans to promote. 530 00:24:57,305 --> 00:24:59,240 For maximum impact and buzz, 531 00:24:59,307 --> 00:25:02,310 he signs model and movie star, Brooke Shields. 532 00:25:03,311 --> 00:25:05,914 KATIE: She had already had pretty much, 533 00:25:05,980 --> 00:25:10,919 a lifetime career as a, a child model and actress. 534 00:25:11,386 --> 00:25:14,556 Very controversially, she started when she was 12 in, 535 00:25:14,622 --> 00:25:17,659 Pretty Baby, about a child prostitute. 536 00:25:18,426 --> 00:25:20,528 MAN (off-screen): This is Brooke Shields, 537 00:25:20,595 --> 00:25:23,164 breathtaking in her screen debut, 538 00:25:23,231 --> 00:25:27,001 constantly changing, always surprising. 539 00:25:27,869 --> 00:25:29,737 Like the image of an adult world, 540 00:25:29,804 --> 00:25:33,207 reflected in a child's eye. 541 00:25:34,542 --> 00:25:36,144 NARRATOR: When Klein takes her on, 542 00:25:36,210 --> 00:25:38,846 Brooke Shields is just 15 years old, 543 00:25:38,913 --> 00:25:41,916 but that doesn't stop him from creating an ad campaign that 544 00:25:41,983 --> 00:25:44,352 overtly sexualizes her. 545 00:25:44,419 --> 00:25:51,059 (whistling) 546 00:25:51,125 --> 00:25:55,730 KATIE: The camera is just crawling up her long, long, long legs. 547 00:25:55,797 --> 00:26:00,568 (whistling) 548 00:26:00,635 --> 00:26:02,437 JASON: It was really shocking, my mother said, you know, 549 00:26:02,503 --> 00:26:05,206 "Turn the channel, don't watch that." 550 00:26:05,640 --> 00:26:07,542 KATIE: The fact that she was 15 years old, 551 00:26:07,609 --> 00:26:11,012 that made people's heads explode. 552 00:26:11,746 --> 00:26:14,616 NARRATOR: Now, it wasn't only the pictures that detonated, 553 00:26:14,682 --> 00:26:16,851 Klein's collaborator, Doon Arbus, 554 00:26:16,918 --> 00:26:20,855 came up with a tagline that was true cultural dynamite. 555 00:26:21,155 --> 00:26:23,725 BROOKE: You wanna know what comes between me and my Calvin's? 556 00:26:23,791 --> 00:26:25,660 Nothing. 557 00:26:25,727 --> 00:26:27,795 MAN (off-screen): Calvin Klein jeans. 558 00:26:27,862 --> 00:26:30,932 LONI: I'm, like, girl, you going commando? 559 00:26:30,999 --> 00:26:33,134 Really? 560 00:26:34,535 --> 00:26:39,907 TIFFANI: It definitely was way too risqué for a 15 year old girl. 561 00:26:40,441 --> 00:26:43,911 ROBERT: Greasy, with a whiff of scandal and I would argue, 562 00:26:43,978 --> 00:26:47,582 that's probably exactly what Calvin Klein wanted it to be. 563 00:26:48,950 --> 00:26:50,451 CALVIN: I will take chances with, 564 00:26:50,518 --> 00:26:54,255 with advertising and I will maybe sometimes, 565 00:26:54,322 --> 00:26:58,326 step beyond what is considered to be good taste. 566 00:26:58,993 --> 00:27:01,562 NARRATOR: And while Klein delighted in being a provocateur, 567 00:27:01,629 --> 00:27:06,034 his young star also got dragged into the growing scandal. 568 00:27:06,100 --> 00:27:07,502 BROOKE: The commercial sold jeans, 569 00:27:07,568 --> 00:27:09,470 and when I made the commercials I had no idea 570 00:27:09,537 --> 00:27:13,241 that the controversy would be as it was. 571 00:27:13,875 --> 00:27:17,278 ROBERT: It was a highly suggestive ad with an underage actress, 572 00:27:17,345 --> 00:27:20,448 and CBS and ABC were not happy at all. 573 00:27:20,515 --> 00:27:22,717 REPORTER: "What comes between me and my Calvin's?" 574 00:27:22,784 --> 00:27:24,352 Well, if you didn't see it, you won't be seeing it on 575 00:27:24,419 --> 00:27:25,987 some television stations. 576 00:27:26,054 --> 00:27:27,288 The CBS network and Channel seven, 577 00:27:27,355 --> 00:27:29,057 here in New York, say they won't show the ad because they 578 00:27:29,123 --> 00:27:31,392 don't like the answer to that question. 579 00:27:31,459 --> 00:27:33,928 ROBERT: They banned the ad outright. 580 00:27:34,762 --> 00:27:36,831 Was he happy that his ad was banned? 581 00:27:36,898 --> 00:27:39,400 My guess is, probably. 582 00:27:40,268 --> 00:27:42,737 NARRATOR: Despite the ban, or perhaps because of it, 583 00:27:42,804 --> 00:27:46,641 Calvin Klein sells 400,000 pairs of jeans a week 584 00:27:46,708 --> 00:27:49,544 throughout the next year. 585 00:27:49,610 --> 00:27:51,512 ROBERT: Scarcity creates desire. 586 00:27:51,579 --> 00:27:53,681 When the Calvin Klein ad was banned, 587 00:27:53,748 --> 00:27:56,951 it just created an enormous amount of curiosity for 588 00:27:57,018 --> 00:27:59,487 what the ad was. 589 00:28:00,555 --> 00:28:01,923 TIFFANI: It's definitely something I know my mother 590 00:28:01,989 --> 00:28:04,358 would not be okay with me doing. 591 00:28:04,425 --> 00:28:07,195 And I think it brought a huge conversation up, 592 00:28:07,261 --> 00:28:10,431 especially during that time, about what's right and what's 593 00:28:10,498 --> 00:28:13,034 not right, possibly, for that age. 594 00:28:16,270 --> 00:28:18,306 NARRATOR: Today, our number four would probably get 595 00:28:18,372 --> 00:28:20,775 someone fired for just suggesting it, 596 00:28:20,842 --> 00:28:23,144 and the catchphrase behind our number three, 597 00:28:23,211 --> 00:28:26,848 also had a twisted past that almost nobody knew about, 598 00:28:26,914 --> 00:28:28,916 until now that is. 599 00:28:32,186 --> 00:28:34,789 ROB: Well now we're down to a Budweiser Clydesdale horse race, 600 00:28:34,856 --> 00:28:35,957 remember those guys? 601 00:28:36,023 --> 00:28:40,661 The last three spots that our panel had a very hard time ranking. 602 00:28:40,728 --> 00:28:42,396 You'll see why. 603 00:28:42,463 --> 00:28:44,599 Number three has all the moving parts; 604 00:28:44,665 --> 00:28:49,003 zeitgeisty brand, incredible production values and yeah, 605 00:28:49,070 --> 00:28:51,005 the ultimate catchphrase. 606 00:28:57,378 --> 00:29:01,682 NARRATOR: In the '80s, it's not just Coke and Pepsi who are at war; 607 00:29:01,749 --> 00:29:04,685 in 1988, a new conflict breaks out for the 608 00:29:04,752 --> 00:29:08,189 hearts, minds and feet of American consumers. 609 00:29:09,223 --> 00:29:12,393 MAN: It has become the sneaker wars. 610 00:29:15,196 --> 00:29:17,465 NARRATOR: Boldly channeling the can-do attitude of the 611 00:29:17,532 --> 00:29:21,435 Reagan era, Nike comes up with a catchphrase that goes far 612 00:29:21,502 --> 00:29:23,471 beyond the world of sneakers, 613 00:29:23,538 --> 00:29:26,040 to become an era defining mantra. 614 00:29:27,341 --> 00:29:28,810 WOMAN: Just do it. 615 00:29:29,076 --> 00:29:33,014 Just do it. 616 00:29:33,781 --> 00:29:38,252 ROBERT: What they needed was a tagline that would appeal to 617 00:29:38,319 --> 00:29:41,289 jocks and to athletes, to soccer moms, 618 00:29:41,355 --> 00:29:44,192 high school kids, anybody. 619 00:29:44,258 --> 00:29:45,793 BOY: Just do it. 620 00:29:47,728 --> 00:29:49,197 KATIE: Just do it, what a great phrase. 621 00:29:49,263 --> 00:29:50,731 It's so positive. 622 00:29:50,798 --> 00:29:55,036 BRYAN: An anthem that we all can live by and a very simple line. 623 00:29:56,737 --> 00:30:01,709 ROBERT: It's one of the most famous taglines in history. 624 00:30:01,776 --> 00:30:03,578 BOY: Just do it. 625 00:30:03,644 --> 00:30:06,447 LONI: Like 30 seconds of inspiration, you know? 626 00:30:06,514 --> 00:30:07,648 Just do it. 627 00:30:07,715 --> 00:30:09,884 BRYAN: Like, how did they create that? 628 00:30:09,951 --> 00:30:12,553 Like, how did that happen? 629 00:30:13,688 --> 00:30:15,389 NARRATOR: Now, be careful what you ask for, 630 00:30:15,456 --> 00:30:17,558 because the phrase, "just do it" 631 00:30:17,625 --> 00:30:20,127 emerged from a very dark place. 632 00:30:21,329 --> 00:30:24,765 KATIE: The inspiration for it came from the killer, 633 00:30:24,832 --> 00:30:27,668 Gary Gilmore, who was on death row, 634 00:30:27,735 --> 00:30:31,572 just before he was about to be killed by firing squad; 635 00:30:32,073 --> 00:30:35,142 his last words were, "Let's do it." 636 00:30:35,209 --> 00:30:38,946 And, for some reason, it stuck in the ad writer's mind. 637 00:30:40,781 --> 00:30:43,851 NARRATOR: Nike hit home their new catchphrase with another 638 00:30:43,918 --> 00:30:46,053 stroke of genius. 639 00:30:46,120 --> 00:30:49,757 Over a series of ad spots, they champion inclusivity and 640 00:30:49,824 --> 00:30:54,128 diversity in a way never before seen in the go-getter '80s. 641 00:30:55,830 --> 00:30:56,864 GIRL: I like to feel hyper. 642 00:30:56,931 --> 00:30:58,132 BOY: Do it. 643 00:30:58,199 --> 00:31:00,268 NARRATOR: Their most memorable star is an athlete 644 00:31:00,334 --> 00:31:03,604 from an age group long overlooked by Nike's rivals. 645 00:31:04,605 --> 00:31:07,608 WALT: I run 17 miles every morning. 646 00:31:09,977 --> 00:31:12,713 ROBERT: An athletic wear company, prior to Nike, 647 00:31:12,780 --> 00:31:16,817 hadn't bothered to reach out to older Americans, 648 00:31:16,884 --> 00:31:19,553 or differently abled Americans. 649 00:31:21,055 --> 00:31:23,524 WALT: People ask me how I keep my teeth from chattering in 650 00:31:23,591 --> 00:31:26,460 the wintertime. 651 00:31:26,827 --> 00:31:29,096 I leave 'em in my locker. 652 00:31:30,364 --> 00:31:32,667 JASON: It was the idea that didn't matter if you were an old man, 653 00:31:32,733 --> 00:31:34,135 it doesn't matter if you're a child, 654 00:31:34,201 --> 00:31:35,803 that anybody can wear Nike. 655 00:31:35,870 --> 00:31:37,939 It didn't matter if you were an athlete or not. 656 00:31:38,439 --> 00:31:41,943 NARRATOR: Nike's inclusive campaign is a runaway success, 657 00:31:42,009 --> 00:31:43,678 and Walter Stack? 658 00:31:43,744 --> 00:31:45,446 He kept on running. 659 00:31:45,513 --> 00:31:48,049 By the time of his death in 1995, 660 00:31:48,115 --> 00:31:52,920 he's estimated to have run a total of 62,000 miles. 661 00:31:53,955 --> 00:31:55,790 How's that for just doing it? 662 00:31:58,559 --> 00:32:00,161 ROB: It's rare that you can remember where you were the 663 00:32:00,227 --> 00:32:02,296 first time you saw a commercial, 664 00:32:02,363 --> 00:32:05,166 but I bet you can remember our number two. 665 00:32:05,232 --> 00:32:07,735 I can pretty much guess you were sitting on your couch, 666 00:32:07,802 --> 00:32:11,138 surrounded by unhealthy snack items and an alcoholic beverage 667 00:32:11,205 --> 00:32:14,842 and I bet it was on a Sunday in January, 668 00:32:14,909 --> 00:32:16,844 when this masterpiece happened. 669 00:32:21,515 --> 00:32:24,151 MAN (off-screen): The day we celebrate the first glorious 670 00:32:24,218 --> 00:32:27,588 anniversary of the information purification. 671 00:32:28,055 --> 00:32:31,425 NARRATOR: It's 1984, no-one has even thought of the iPod, 672 00:32:31,492 --> 00:32:34,328 or the iPhone, or really, the I anything. 673 00:32:34,395 --> 00:32:36,964 And Apple is almost broke. 674 00:32:37,031 --> 00:32:39,867 An also-ran facing big competition. 675 00:32:40,501 --> 00:32:43,170 But Apple boss, Steve Jobs, is a revolutionary who's 676 00:32:43,237 --> 00:32:46,107 convinced his time has come. 677 00:32:46,173 --> 00:32:48,809 STEVE: We've been working on this thing for over two years now 678 00:32:48,876 --> 00:32:50,945 and those of us that have been really close to it 679 00:32:51,012 --> 00:32:53,781 will all tell you, it is insanely great. 680 00:32:53,848 --> 00:32:55,616 The message that we have with Macintosh is, 681 00:32:55,683 --> 00:32:58,185 that it's the computer for the rest of us. 682 00:32:58,486 --> 00:33:00,721 NARRATOR: So convinced is Jobs that his user friendly 683 00:33:00,788 --> 00:33:03,357 computer will be the next big thing, 684 00:33:03,424 --> 00:33:06,660 he manages to convince Apple's corporate board to commission 685 00:33:06,727 --> 00:33:10,664 a commercial that will air only once on national TV, 686 00:33:10,731 --> 00:33:13,367 during Superbowl 18. 687 00:33:13,868 --> 00:33:18,606 ROBERT: In 1984, there were 78 million Americans 688 00:33:18,672 --> 00:33:20,674 that tuned into the Superbowl. 689 00:33:20,741 --> 00:33:23,144 NARRATOR: The ad agency hires one of the best directors 690 00:33:23,210 --> 00:33:26,013 in the business and yep, we've met him before, 691 00:33:26,080 --> 00:33:29,583 Max Headroom's big brother, Ridley Scott. 692 00:33:29,650 --> 00:33:33,154 A man with not one, but two commercials on our hit list. 693 00:33:33,587 --> 00:33:36,791 RIDLEY: The commercial had an opportunity to be epic. 694 00:33:36,857 --> 00:33:40,561 They sent me one sheet of paper referring to George Orwell. 695 00:33:41,162 --> 00:33:44,398 You know, when you get a vision, you go for it. 696 00:33:46,767 --> 00:33:48,569 NARRATOR: The pitch is revolutionary: 697 00:33:48,636 --> 00:33:52,873 break the first rule of advertising, and don't even talk about the product. 698 00:33:53,441 --> 00:33:55,209 RIDLEY: Nothing. Didn't talk about anything. 699 00:33:55,276 --> 00:33:57,778 Didn't mention a computer or anything. 700 00:33:57,845 --> 00:34:00,214 In a way, this was the best form of advertising, 701 00:34:00,281 --> 00:34:03,317 'cause I'm dangling a little jewel, saying 702 00:34:03,384 --> 00:34:05,453 "Guess what this is?" 703 00:34:05,519 --> 00:34:07,855 NARRATOR: They want Scott to blend the dystopian vision of 704 00:34:07,922 --> 00:34:11,325 Bladerunner with the menace of Alien, 705 00:34:11,759 --> 00:34:13,627 but there's one catch: 706 00:34:13,694 --> 00:34:16,263 it has to be shot on a reduced TV budget. 707 00:34:17,264 --> 00:34:20,901 To keep costs down, Scott decides to film it in England, 708 00:34:20,968 --> 00:34:24,772 and hires an inexpensive but toxic bunch of extras: 709 00:34:24,839 --> 00:34:27,074 white supremacists. 710 00:34:27,141 --> 00:34:30,544 RIDLEY: I knew there was a group called National Front. 711 00:34:31,479 --> 00:34:35,616 So we contacted the Bovver Boys Society, 712 00:34:35,683 --> 00:34:38,619 and about 200 turned up with shaved heads looking 713 00:34:38,686 --> 00:34:41,388 the cat's whiskers. 714 00:34:41,822 --> 00:34:44,391 BRYAN: He filled the room with guys that could, like, 715 00:34:44,458 --> 00:34:46,927 completely rip that room down and kill people, right. 716 00:34:46,994 --> 00:34:50,131 The reason being is that he knew when that camera moves over them, 717 00:34:50,197 --> 00:34:53,100 that those faces, you're going to see the details, 718 00:34:53,167 --> 00:34:55,936 in those details you're gonna see there's a threat. 719 00:34:56,937 --> 00:34:59,206 NARRATOR: But Scott and his production team would soon 720 00:34:59,273 --> 00:35:02,109 reap what they had sown, and during the shoot at 721 00:35:02,176 --> 00:35:05,346 Shepperton Studios, life imitates art. 722 00:35:05,679 --> 00:35:07,414 RIDLEY: They got a hold of the first AD, 723 00:35:07,481 --> 00:35:09,283 who had long hair, and they shaved his head 724 00:35:09,350 --> 00:35:11,018 and his testicles at lunchtime. 725 00:35:11,085 --> 00:35:13,387 So, he was hairless and went home. 726 00:35:14,722 --> 00:35:17,791 MAN (off-screen): A garden of pure ideology. 727 00:35:18,492 --> 00:35:22,329 NARRATOR: The commercial channels Orwell's dystopian 1984, 728 00:35:22,396 --> 00:35:25,199 to cast aspersion on Apple's mainstream competitor, 729 00:35:25,266 --> 00:35:28,469 IBM, also known as Big Blue. 730 00:35:29,770 --> 00:35:32,907 STEVE: Will Big Blue dominate the entire computer industry, 731 00:35:32,973 --> 00:35:35,276 the entire information age? 732 00:35:35,342 --> 00:35:37,378 Was George Orwell right? 733 00:35:37,444 --> 00:35:38,479 SETH: All of those other computers, 734 00:35:38,546 --> 00:35:39,813 all those other things out there, 735 00:35:39,880 --> 00:35:42,516 they're just like tools of the conformist. 736 00:35:43,250 --> 00:35:46,887 NARRATOR: And Scott decides to hammer the point home. 737 00:35:46,954 --> 00:35:48,889 RIDLEY: I said, "OK, she's gonna hurl the hammer, 738 00:35:48,956 --> 00:35:51,559 the hammer's gonna hit the screen. 739 00:35:51,625 --> 00:35:54,862 The screen's gonna explode like an atomic explosion. 740 00:35:54,929 --> 00:35:55,963 WOMAN: Argh! 741 00:35:56,030 --> 00:35:58,732 MAN: We shall prevail. 742 00:36:00,167 --> 00:36:03,470 RIDLEY: At that moment, I'm gonna have a lot of buckets of 743 00:36:03,537 --> 00:36:06,574 talcum powder and these big fans, 744 00:36:06,640 --> 00:36:08,776 and I'm gonna blow it all over ya. 745 00:36:08,842 --> 00:36:11,378 I want you all to go, "Bah." 746 00:36:11,445 --> 00:36:13,147 And they went, "Alright." 747 00:36:16,517 --> 00:36:18,786 NARRATOR: It's everything Steve Jobs asked for, 748 00:36:18,852 --> 00:36:20,854 but, and why is this not surprising, 749 00:36:20,921 --> 00:36:23,691 once the Apple board see it, they hate it, 750 00:36:23,757 --> 00:36:26,560 and try to block the commercial from airing. 751 00:36:27,194 --> 00:36:33,667 ROBERT: Steve Jobs liked it so much that, reportedly, he said, 752 00:36:33,734 --> 00:36:37,304 "I'll pay for this myself if the company doesn't want to." 753 00:36:38,472 --> 00:36:40,207 NARRATOR: The board backs down, 754 00:36:40,274 --> 00:36:43,777 and the commercial airs during the Super Bowl of January '84. 755 00:36:44,812 --> 00:36:47,748 MAN: We are one people, with one will, 756 00:36:47,815 --> 00:36:50,584 one resolve, one cause. 757 00:36:50,985 --> 00:36:55,923 ROBERT: That ad embodies the kind of risk taking, the nerviness, 758 00:36:55,990 --> 00:36:59,493 the confidence that we now associate with Steve Jobs. 759 00:37:00,094 --> 00:37:02,096 NARRATOR: Millions watch, entranced, 760 00:37:02,162 --> 00:37:04,965 with no hint about what the product is, 761 00:37:05,032 --> 00:37:07,034 until the very end. 762 00:37:07,101 --> 00:37:10,337 BRIAN: It's one of those that really sort of rocks you back in your seat. 763 00:37:10,404 --> 00:37:12,239 And you've just seen something incredible, 764 00:37:12,306 --> 00:37:14,842 and then they tell you. 765 00:37:16,176 --> 00:37:17,645 MAN (off-screen): On January 24th, 766 00:37:17,711 --> 00:37:20,614 Apple Computer will introduce Macintosh, 767 00:37:20,681 --> 00:37:26,020 and you'll see why 1984 won't be like "1984." 768 00:37:26,620 --> 00:37:28,589 RIDLEY: Buster! 769 00:37:28,656 --> 00:37:31,759 A genius piece of advertising, if I may say so. 770 00:37:33,994 --> 00:37:37,197 NARRATOR: Super Bowl advertisin will never be the same. 771 00:37:37,264 --> 00:37:38,699 After the commercial airs, 772 00:37:38,766 --> 00:37:42,936 Apple sells 72,000 computers in 100 days; 773 00:37:43,003 --> 00:37:46,540 50% more than its most optimistic sales predictions. 774 00:37:46,974 --> 00:37:49,376 And that was only the beginning. 775 00:37:49,443 --> 00:37:53,881 Today, we're all living inside Steve Jobs's I-world. 776 00:37:54,548 --> 00:37:58,085 SETH: The 1984 Macintosh Super Bowl ad is one of the most famous, 777 00:37:58,152 --> 00:38:00,554 the most important, the most influential pieces of advertising 778 00:38:00,621 --> 00:38:03,390 that has ever been and will ever be created. 779 00:38:03,824 --> 00:38:04,825 WOMAN: Argh! 780 00:38:04,892 --> 00:38:08,062 MAN: We shall prevail. 781 00:38:08,729 --> 00:38:10,864 ROB: How is it possible to top that? 782 00:38:10,931 --> 00:38:11,932 (laughs) 783 00:38:11,999 --> 00:38:13,334 I don't think you can. 784 00:38:13,400 --> 00:38:17,204 But our number one does have its own kind of revolution baked in, 785 00:38:17,271 --> 00:38:19,373 as you'll see after the break. 786 00:38:22,576 --> 00:38:25,412 ROB: We've 'Just Did It' and absolutely positively 787 00:38:25,479 --> 00:38:29,917 delivered the beef on nine iconic '80s commercials. 788 00:38:29,983 --> 00:38:32,886 ROB (off-screen): We've gone from the cutting edge of a shaving campaign, 789 00:38:32,953 --> 00:38:35,656 to a bitter battle for our taste buds, 790 00:38:35,723 --> 00:38:38,125 and the start of a digital revolution. 791 00:38:38,192 --> 00:38:41,128 But who will claim our top spot? 792 00:38:41,795 --> 00:38:42,963 Here's our number one. 793 00:38:43,030 --> 00:38:46,800 An entire TV network, that was actually an immersive, 794 00:38:46,867 --> 00:38:49,770 wildly entertaining ad for its own programming. 795 00:38:53,907 --> 00:38:55,275 MARK: This is it. 796 00:38:55,342 --> 00:38:57,811 Welcome to MTV music television, 797 00:38:57,878 --> 00:39:02,383 the world's first 24-hour stereo video music channel. 798 00:39:05,185 --> 00:39:07,921 NARRATOR: When MTV goes on the air in 1981, 799 00:39:07,988 --> 00:39:10,958 the revolution was indeed televised. 800 00:39:11,024 --> 00:39:14,895 User-friendly videos and user-even-friendlier hosts, 801 00:39:14,962 --> 00:39:17,898 spoke to teenagers in a secret language that would become the 802 00:39:17,965 --> 00:39:20,567 rallying cry for a whole generation, 803 00:39:20,634 --> 00:39:24,905 setting the stage for today's explosion of social media platforms, 804 00:39:24,972 --> 00:39:28,709 from YouTube and Instagram to Snapchat and TikTok. 805 00:39:31,478 --> 00:39:34,248 And this big bang all began with a song. 806 00:39:34,648 --> 00:39:37,985 ♪ Video killed the radio star ♪ 807 00:39:38,051 --> 00:39:39,319 ♪ Video killed the radio star ♪ 808 00:39:39,386 --> 00:39:40,554 DMC: It was a beautiful thing. 809 00:39:40,621 --> 00:39:43,924 It allowed the poor kid in the hood to be touched and 810 00:39:43,991 --> 00:39:46,927 inspired and entertained the same way the little kids 811 00:39:46,994 --> 00:39:48,595 in Beverley Hills were. 812 00:39:48,662 --> 00:39:52,032 LONI: You know, once MTV came with those videos, 813 00:39:52,099 --> 00:39:54,935 'cause we didn't have YouTube, we didn't have Google, 814 00:39:55,002 --> 00:39:56,737 we didn't have videos that you could... 815 00:39:56,804 --> 00:39:59,139 We didn't even have phones back then, OK? 816 00:39:59,206 --> 00:40:03,677 CRISTELA: MTV. I was so obsessed with MTV. 817 00:40:03,744 --> 00:40:07,047 ♪ Video killed the radio star ♪ 818 00:40:07,614 --> 00:40:11,084 DEE: Anybody who was cool was down with MTV, 819 00:40:11,151 --> 00:40:14,822 and you had to have MTV or you wouldn't be cool. 820 00:40:14,888 --> 00:40:17,791 LONI: That's where you got your fashion sense from. 821 00:40:17,858 --> 00:40:20,961 That's where you got your music sense from. 822 00:40:21,228 --> 00:40:24,198 ARMSTRONG (over radio): It's one small step for man. 823 00:40:25,265 --> 00:40:27,167 NARRATOR: But what many forget, 824 00:40:27,234 --> 00:40:31,138 four decades on, was that MTV's success was no sure thing, 825 00:40:31,205 --> 00:40:34,475 and this revolution came very, very close 826 00:40:34,541 --> 00:40:36,577 to not being televised. 827 00:40:38,545 --> 00:40:41,048 BRIAN: When MTV first started in 1981, 828 00:40:41,114 --> 00:40:43,250 a lot of cable providers wouldn't carry it. 829 00:40:44,451 --> 00:40:48,121 KATIE: It seemed like a pretty flimsy idea for an entire 830 00:40:48,188 --> 00:40:51,959 television network to be based on pop music videos. 831 00:40:52,025 --> 00:40:55,295 PRESENTER: The music will continue non-stop on MTV Music Television, 832 00:40:55,362 --> 00:40:58,866 the newest component of your stereo system. 833 00:41:01,702 --> 00:41:05,072 NARRATOR: To survive, MTV needs to persuade more cable companies 834 00:41:05,138 --> 00:41:07,407 to carry their upstart channel. 835 00:41:07,474 --> 00:41:09,710 Their secret weapon is a maverick from the good old 836 00:41:09,776 --> 00:41:11,445 Mad Men days. 837 00:41:11,512 --> 00:41:13,714 His name: George Lois. 838 00:41:13,780 --> 00:41:17,684 And George Lois is a zen master of the catchphrase. 839 00:41:19,152 --> 00:41:22,856 MARK: The guy who wrote I want my Maypo. 840 00:41:24,791 --> 00:41:27,461 CHILD: I want my Maypo. 841 00:41:27,528 --> 00:41:30,163 MARK: They just tailored it, call up your cable company and 842 00:41:30,230 --> 00:41:32,566 say, "I want my MTV" 843 00:41:32,633 --> 00:41:34,067 JEN: The whole idea of I want my MTV, 844 00:41:34,134 --> 00:41:36,637 there were a lot of people who just didn't have access to it. 845 00:41:36,703 --> 00:41:41,808 Turning it into this sort of generational rallying cry was so, so smart 846 00:41:42,309 --> 00:41:45,612 NARRATOR: But MTV knows that a slogan won't be enough, 847 00:41:45,679 --> 00:41:48,415 it needs a heavyweight to land a knockout. 848 00:41:48,482 --> 00:41:53,120 An MTV exec, Les Garland, tries to tempt Mick Jagger into the ring. 849 00:41:53,453 --> 00:41:55,422 MARK: Literally, it was like, "We want to get Mick." 850 00:41:55,489 --> 00:41:58,325 "OK, I'm going to get on a plane and I'm gonna go there and get Mick." 851 00:41:58,392 --> 00:42:02,563 And he was a little hesitant, 852 00:42:02,629 --> 00:42:05,599 but Les Garland is very convincing. 853 00:42:05,666 --> 00:42:08,869 NARRATOR: Money talks, and when Mick Jagger asks for payment, 854 00:42:08,936 --> 00:42:12,239 Garland theatrically reaches for his wallet. 855 00:42:12,306 --> 00:42:13,874 MARK: "Here's a dollar. Come on." 856 00:42:13,941 --> 00:42:15,742 And that was it. Mick loved that. 857 00:42:15,809 --> 00:42:17,611 And once Mick was in, of course other artists would 858 00:42:17,678 --> 00:42:19,012 wanna get involved. 859 00:42:19,079 --> 00:42:22,449 TIFFANI: They got tons of different people to say "I want my MTV" 860 00:42:22,516 --> 00:42:27,220 MARK: We got these incredible artists to shill for us. 861 00:42:28,088 --> 00:42:29,556 MICK: I want my MTV. 862 00:42:29,623 --> 00:42:31,124 BOWIE: I want my MTV. 863 00:42:31,191 --> 00:42:33,260 PAT: I want my MTV. 864 00:42:33,327 --> 00:42:35,596 THE POLICE: I want my MTV. 865 00:42:37,464 --> 00:42:40,734 NARRATOR: MTV has to go for broke in order to not go broke, 866 00:42:40,801 --> 00:42:43,403 and they gamble on a nationwide campaign. 867 00:42:44,037 --> 00:42:48,575 Soon, America's bored youth hears the clarion call. 868 00:42:49,576 --> 00:42:50,844 BRIAN: "It's Uncle Sam. 869 00:42:50,911 --> 00:42:54,581 I want you to call your cable provider and tell them I want my MTV." 870 00:42:54,781 --> 00:42:55,649 Brilliant. 871 00:42:55,716 --> 00:42:57,651 DMC: You wanted your MTV badly. 872 00:42:57,718 --> 00:43:00,420 AMBER: I remember my dad he worked at Pacific Bell. 873 00:43:00,487 --> 00:43:03,657 They would get calls at their cable station and be like, 874 00:43:03,724 --> 00:43:05,859 "I want my MTV." 875 00:43:05,926 --> 00:43:09,329 TIFFANI: I called and said, "I have to have MTV." 876 00:43:09,696 --> 00:43:11,031 DEE: You know, and then their parents would find out later, 877 00:43:11,098 --> 00:43:12,933 "Why did we get this frickin' MTV on here?" 878 00:43:13,000 --> 00:43:14,968 you know, because the kids had made the call. 879 00:43:15,035 --> 00:43:17,638 BOWIE: America, demand your MTV 880 00:43:17,704 --> 00:43:20,173 PETE: I want my MTV 881 00:43:20,440 --> 00:43:22,175 NARRATOR: The impact is irresistible. 882 00:43:22,242 --> 00:43:25,212 One by one the cable companies bow to the pressure. 883 00:43:25,278 --> 00:43:26,613 TIFFANI: I was a kid that loved music, 884 00:43:26,680 --> 00:43:31,818 so to be able to have music on TV was, 885 00:43:31,885 --> 00:43:33,453 like, mind-blowing. 886 00:43:33,520 --> 00:43:35,255 RIC: I want my MTV. 887 00:43:35,322 --> 00:43:38,091 NARRATOR: I want my MTV tops our charts because it truly 888 00:43:38,158 --> 00:43:42,162 empowered '80's youth, not just to buy something, 889 00:43:42,229 --> 00:43:44,698 but to demand something. 890 00:43:44,765 --> 00:43:47,501 KISS: I want my MTV. 891 00:43:47,567 --> 00:43:51,004 CRISTELA: It was this thing that was unlike anything else. 892 00:43:52,305 --> 00:43:54,007 JACKIE: It was like a movement. 893 00:43:54,074 --> 00:43:55,942 People were really pumped, you know. 894 00:43:56,009 --> 00:43:58,178 It would get you excited because something everybody 895 00:43:58,245 --> 00:44:00,347 really wanted and you had to have it. 896 00:44:00,414 --> 00:44:01,748 I loved it. 897 00:44:01,815 --> 00:44:04,451 MAN: I want my MTV, MTV, MTV! 898 00:44:04,985 --> 00:44:07,320 BOWIE: Too much is never enough.