DON'T STOP TILL YOU GET ENOUGHDance/performance number 184 by Legs & Co _____________________________________________________________
Performed byMichael Jacksonreaching number 3 in the UK charts _____________________________________________________________
Original broadcast date11/10/79Duration of dance/performance 2.42 mins _____________________________________________________________
Dancers--Gill, Lulu, Patti, Pauline, Rosie, Sue
The Legs & Co attendance register so far after 184 dances
A link to the dance https://www.youtube.com/watch?v=4qcZPKIMwEk _____________________________________________________________
The hugely successful Michael Jackson album `Off The Wall` provided Legs & Co with three songs to dance to on TOTPs and this is the first of them. Once again for 1979 the black and white theme to the routine is highly evident, with the girls in black dresses (with a huge split up the front) and the superimposed white studio effect, which i must say works rather well (although i dont think it was ever used again). The performance contains a whole array of varying dance moves. Plenty of slow grinding of the hips, bunny hops, high kicks. Did we even have a near lower leg collision at 1.43 on the link provided, or am i once again seeing things ? Talking about seeing things, im not totally sure what the caution sign on Sue's left knee is all about. All sorts of connotations come to mind !
DOTD. Im going with my girl of the year, the irrepressible and pleasing `Pauline` who stars in this for me. I loved the way she completely nailed the move pictured below.
Rating--Its a enjoyable way to spend 2 and a half minutes, with each of the dancers having a good day. The girls all look sexy but this somehow doesn't make it to the max. Im at `9.25 out of 10`.
Dancing in a white void with no visible audience, this is like a video beamed in from another place. Maybe America. Away we go with Rosie standing askance as if waiting for a green light till she can enter proceedings. The song rattles along relentlessly like a good 'un, leading by example. As do the girls, optimized in highest visibility in their knock-out dresses in three varieties with matching shoes. Patti's little solo and that look grab me as much as you'd expect. Sue provides the defining snap-shot showing off her warning triangle; not a round order, she's far too nice to get bossy. Something of Jacko's enraptured habit of looking up into the middle distance when Pauline comes to the front, I think. There's some nifty entering and exiting the action zone, including Lulu and Rosie's bunny-hopping Morris girls! Manifold combos (as touched on in Ryan's screen-caps) over a wide variety of time allocations keeps us almost as on our toes as the girls. Perhaps that's why I'm not as taken with the final third as I feel I should be. It becomes less arresting when it settles down with no close-ups and fewer distinguishable moments, although it's good stuff a few minor synchronization issues notwithstanding. A further quibble and just a perception but occasionally a few of the moves in this late stage seem a bit slow for the song. The paired departure is lovely, ending with Gill and Lulu facing-off like friendly rivals for, er, Dancer of the Day. Sorry girls but I got it down to between Sue and Pauline, with Pauline emerging as my choice.
For a song that changed the face of modern music, Legs and Co keep up with the force and indeed don't stop delighting throughout this energetic routine that I can't really get enough. I love the black dresses with the white background, all the dancers looks stunning, and that extended take at the end is well-executed, and what a cute ending...
There are one or two slip ups and mistimings (oh, Gill), but overall, this is worthy of high praise - but not quite a 10. 9.5 from me.
DotD: I feel bad for breaking a potential Pauline clean sweep, but for me, everyone is a real contender - and this time I'm going for Lulu, as like on so many routines in 1979, her smile and joy as she dances is so captivating.
A superb dance routine from start to finish.I love the open sequence with Rosie looking at the monitor then almost bursting when it's time for her to go.There are so many great dance moves in this i think Flick out-did herself.Even the starkness of the set works so well in forcing the viewer to watch the dancers - not that we need encouragement but such a set offers no distractions.I wonder if Sue's caution sign is an in-joke in reference to rehearsal collisions.10/10
Great song, great outfits, great dance, great performances, and to hell with the Highway Code!
Another close call for Dotd but this week it is Pauline who just edges it with the routine another 10 for me.
I agree, fantastic song and great Dance. The whiteness overwhelms me a little but the matching shoes, belts, earrings and nether garments under those split black dresses contrast very well indeed. May I also mention that I really really like the fascinating one-sided hair-do Patti is sporting. There are some really lovely moves and performances by the ladies here and I do like the orange team in the ladies doubles but it's the totally exuberant and openly off-limits Sue who catches my DotD vote this time. I can't quite hit a nine dart finish here even though it's darn close so how about 9.5/10
Ps I must also compliment our Host on his Marvellously Massive Montage
Some Dancers who gave a good time, broke all the rules, played all the fools, yeah yeah yeah they blew our minds
Legs & Co., again they're really pushing out the envelope, for making a dance routine as risqué as they can conceivably get away with for a family orientated programme.
There's plenty of 'leg work' happening, stockings in high heels, & sensual air kicking, I wonder what Mary Whitehouse thought at the time.
There's also an all white background, that draws attention to the ladies, & that makes it all the more daring.
The split group matching belts and shoes (red & blue) the split skirts, a fantastic song (when Jackson was good), stark visuals that make the six stand out, love the aerial views....top notch stuff, even the bizarre hazardous sign on Sue's knee (could be a injoke as Sue kept clouting the other person with her knee on the group pass, perhaps)
DOTD (dribbling over the dancers): naturally the splendid Pauline
What is truly great about this dance is how all of Legs & Co are presented as fine young women. Not as sexpots to drool over (thought they are foxy) or partaking in some kind of demeaning silliness (and yet it is a good humoured performance.) There is a classiness to it that elevates the participants to being given their due respect. I am proud for them to be seen this way. It is what they deserve as individuals and what we deserve too. At moments such as this I see Legs & Co as the Nation’s Dancers. They help to give us a national soul, an identity, to be justly proud.
At the start off Rosie is elegantly awaiting her call to the dance. What a class act she is just by standing there. It is the Debutante Rosie of Let ‘em In and Hotel California. Her Serene Ladyship !
The clothing is splendid with black split skirts, coloured waistbands that match the shoes and the uncommonly long linear earrings worn.
On repeated viewings though there are two items in the presentation that become irritating. The whitish backdrop does not contribute anything to truly enhance the dance. Legs’ by being dressed predominately in black lack a sense of Heavenly purity as for instance in 'Spirits Having Flown' which uses a similar backdrop I think, or is colourful enough to put some warmth into the proceedings., to add impact; just characterless.
MJ’s singing is too reliant on his squeal noises and really he sings like a wuss, to a throwaway lyric and a track that has no solid melody. Good danceable rhythm though, so would have been better as an instrumental version for Legs’ to strut and high-kick too. Like the one shoulder up, one shoulder down movement and other bits and pieces of dance movement that I struggle to portray in words.
PattiforPM mentioned Patti’s brushed over at one side hairstyle and I agree it suits Patti wonderfully. They all are having a good hair day; even Lulu’s sprawling frizziness is kept in check this time.
Legs & Co look the part, being smartly attired and dance to a synchronised choreography and so do come across as dance team-mates. Which is what gave Pans’ such an impact with the viewer. Though by now Flick breaks up this into team ups of two’s and three’s with a fleeting solo moment for Patti & Pauline and Sue maybe. Flick relenting finally to allow the whole troupe to put on a spectacle of unified dancing which has a liveliness that is still fresh and modern in style. A genuine maturing of Flick’s craft to be seen here I’d say. No artsy pretentiousness with dancers in abandoned isolation on plinths; dancing as if in competition against one another. Flick has found a way to progress her choreography to being reflective of an up-to-date style whilst retaining the virtues that a communal feel to the performance gives to the viewer.
This looks like one of those heavenly dances where the dancers' joy permeates the TV screen. Speaking of heaven, perhaps that's what the place looks like, on the other side of those pearly gates monitored by angels dancing to The Stylistics. Great start with Rosie revving up, ready for take-off, high-heeled bunny-hops, a short and severe sequence with Patti and a groin-wincing kick from Sue (perhaps that was the reason for the warning sign on her bare left leg). Best moment of all is the virtually constant sequence from the sign on Sue's leg to the pairing-off conclusion. It's a shame that Pauline's matching belt and heels aren't purple to match the patch she's currently going through, as reflected in accumalated DOTD's. Although one of the dancers misses a move or two, there's no subsequent profanity to lip-read this time around and is more or less eradicated by the overall enjoyment and quality of another '79 smash.
DOTD: Miss Dimples
Hmm. Well now that Andee has kindly supplied us with the lyrics, this song makes less sense to me than when I thought Jacko was singing about a trip to the Post Office!
However it is a very good song and another terrific dance routine from Legs & Co. I wasn't sure about the whiteness of the stage and surrounds at first, but there is no doubt that it does put everyone into sharp focus, and with the moves they are making that is no bad thing.
It is going to have to be another 10 out of 10 as I really enjoy this one, and for the 3rd week running I find myself voting for Pauline as DOTD.
The next routine by our ladies, as to be another high score for me. We have the ladies dancing to the classic Micheal Jackson track. We have a total white set, with the ladies wearing black split dresses. The only colour in this monochromic set. Is the coloured belts and shoes. The routine is a fast and flowing dance through out. With the ladies going in and out of the shot. And some nice solos by the ladies. We also have a nice finish to this routine, with the ladies coming toward the camera in two.
Now it come to the Dotd, well this come from the moment. When the camera close in on one the dancers knee.That showed " ! " mark in a triangle. The camera went up to our goddess of dance Sue smiling face. Then she does a nice solo in the routine. So she is my Dotd.
Very funky MJ tune, one which would help usher him towards 80s megastardom no doubt, not overplayed and one that offers a taster of his vocal stylings to come. For the routine Legs and Co disappear into the Matrix, there is no set, only a complete white space, a neat effect, contrasting with the black dresses which makes them stand out. Some interesting camera techniques are used particularly with Rosie's side on close up at the start before she joins the action, and generally the great range of distances that are used often several in the same shot, and finally the group dance section filmed from a higher angle, all good stuff. The dancing has a great pace about it, very varied with a good deal of running in and out of shot, kicks, hops etc, and I liked Paulines little MJ style solo.
Scoring this was easy, great tune, great routine with a fab Pauline solo thrown in, what more could I want? With that full on white background I was expecting Kenny Everett to walk on in his mime character and draw a door for the girls to walk through, now that would've been something.