1979: The Tubes had changed a little since their emergence as eminence grises of glam hard rock, by now TV-obsessed post-ironic new wave produced by Todd Rundgren. No wonder the audience have no idea what to make of it. TOTP's slow attempt to get attuned to heavy metal continues with Judas Priest and a leftover Christmas decoration. Max Webster and band have "come over water" and yet Max still chose those clothes. The new wave representation comes from XTC and Legs & Co providing as many interpretation of the little black dress as possible for Blondie.
1984: Womack & Womack in front of an illuminated Dulux chart.
2002: This first clip will need some explanation, and shows a lot of how Pops got it wrong around this time. When the Hives played Main Offender live they'd stop stock still at the end of the last proper chorus for about twenty seconds - here's an example from a US MTV gig. So they do the same on Pops... and the whole audience does likewise without explanation, or even many shots of the band to actually illustrate what's happening. If you didn't know, which is likely it looks like they've decided to get the audience to do it for no reason. (Which is true, of course). Hundred Reasons and The Cooper Temple Clause keep the pop wolves at bay but pop's not doing well from this week either, represented by the novelty of Nigel & Marvin - but that's only one bloke! And what are all the strips of cloth about? - Bellefire providing the answer to the Corrs/Westlife crossover nobody requested and the complete cut-and-shut pop-opera attempt of Russell Watson and Faye Tozer. Those who saw Cleo Laine on TOTP77 a couple of shows ago and thought punk would sweep MOR away, be careful what you wish for.