I Get A Kick Out Of You _________________________________________________________________________________
Performed byGary Shearstonand reaching number 7 in the UK charts _________________________________________________________________________________
Original broadcast date11/10/1974Duration of dance - 3.15 mins _________________________________________________________________________________
Dancers: Babs, Cherry, Dee Dee, Ruth, Sue _________________________________________________________________________________
A link to the dance:
"I Get A Kick Out Of You" was written by Cole Porter and first sung by Ethel Merman in the 1934 Broadway musical 'Anything Goes'. Some of the prominent performers who covered it were Frank Sinatra and Ella Fitzgerald. One of the verses has always been highly controversial:
Some get a kick from cocaine
I'm sure that if
I took even one sniff
That would bore me terrifically, too
Yet, I get a kick out of you
The first line of this verse has been subject to miscellaneous changes. The earliest variation for the 1936 movie version was:
Some like the perfume in Spain
Other substitutions include:
Some like the whiff of Guerlain or
Some like the bop-type refrain.
Amazingly, when Australian singer and songwriter Gary Shearston released his version of the song in 1974, he used the original 'cocaine' reference and wasn't even banned on the radio or the TV. The single became a surprise hit for Shearston, who had been a leading figure of the folk music revival of the 1960s. Wikipedia describes his interpretation of "I Get A Kick Out Of You" as 'deadpan' - spot-on if you ask me.
When the song entered the UK Top 30 at No. 14, Shearston - for some reason - wasn't available (although he already lived in the UK). Instead, Pan's People danced to the record with a routine that was obviously inspired by the great Busby Berkeley. We have to thank the late Grant Watkins for saving this otherwise wiped performance on a "BBC Demonstration Tape". This is currently the most watched clip on our YouTube channel.
Why of all things Flick chose white lacey undies and stockings/suspenders for this dance is unknown to me. But, honestly, who cares. The performance is truly a feast for the eyes (if you can ignore the inserted clip), proving once and for all that arts and lingerie are not necessarily incompatible antagonisms. True art speaks for itself, that's why I won't waste many words about this dance. Let me just say that I love it. For me it ranks up there among Pan's People's absolute best. Even if Ruth is a bit neglected here.
10 / 10
DotD: Not an easy decision but I will choose 'Babs' the beautiful!
Although I find Gary Shearston's Australian drawl on this version of "I Get a Kick Out of You" quite irritating, if it meant that it was deemed interesting enough to break into the UK top 10, in turn meaning that one week Pan's People ended up dancing to this wearing stockings and suspenders, then Gary I am truly thankful!
Flick took the title of this song and translated it into legs, legs and more legs - legs in silhouette, legs kicking, legs in unison, legs in the air! It wasn't choreographed in the normal sense of a dance routine but certainly choreographed in the separate elements of a multi-layered performance that I imagine required a fair amount of studio time as well editing.
Various video techniques, including the classic feedback effect of pointing a camera at a screen displaying the same picture (leaving a trail of movement), all give a very interesting visual result as well as effectively increasing the troupe to 8 members in places! (Ruth is strangely absent from some middle sections of the performance). As if visual effects weren't enough, our ladies are dressed (almost!) in sexy white lingerie which must have been a sure fire winner both then and now. I can't quite give it top marks due to some of the movements being quite repetitive... nevertheless a worthy 9/10 with DotD Babs.
We are so lucky to have this Dance and my replacement for Vin's controversial line is:
Some celebrate Public Domain
Anyway this excessively languid song and leggy performance is quite hypnotic with an appropriate blend of sauciness and style. There are some lovely moments including the "breezy leg trees" scene. Interesting that the style suits the 3 "originals" the best in my estimation with Sue a close 4th but Cherry in distant 5th place and this is a very unfamiliar order for me in mid-70s Pans People. I think this is partly down to the rather severe hairstyles and the slower dancing involved. My choice for DotD is Dee Dee and I love that fine strand fringe thing she has going on (there's probably a better name for this but who knows?) As for a mark I think this deserves 8.5/10 for its faithful Berkeleyesque adherence and the opportunity to see these lovely ladies all their whiteness.
Some Dancers who gave a good time, broke all the rules, played all the fools, yeah yeah yeah they blew our minds
When discussing this routine some months ago with Sue, if I recall correctly, she mentioned it involved three versions being filmed and then edited together. One with the trellising in the background, the other two in front of a blank screen. However, as time was, as always, in short supply, all had to be crammed into the same afternoon and evening.
As a rule I'm not a great fan of the 'halround' effect (or whatever is the actual spelling for that term) but I can make an exception in this instance! And all those legs are quite mesmerising, so it a 9.75 for the dance with Suspenders Sue my Dotd.
Flick does get a "kick" out of devising some interesting literal dance routines, & this one is no exception, it's another of those to "chillax" to, with a gentle backing track, interpereted by a ballet dance theme, with the mandatory kicking in the air, & latterly the semaphore signals made by using there legs, is an amusing element, it has to be stated.
The background projected images of the dancers, as well as having them actually on the stage does make things look moderately chaotic, at times, but all in all, this is a great performance.
I cant say i go a bundle on the song, but the routine makes up for that. I guess that dressing attractive dancers like this will always garner passing interest from non-dance fans, so it comes as no surprise that this particular routine is the most watched on the YT channel.
DOTD. For fans of `Sue` surely another total non-brainer. I really love her slicked back hair and what about that little smile mischievously playing on her face. Pity her solo is interrupted by Henry McGee & Dick Emery, but it doesn't impinge on my enjoyment of her to much.
Oh what a sad song (cue mock weeping), luckily we have Pans People to give it a lift, well by lift i mean send it into the stratosphere in a glorious haze of bubbles, video trickery and stocking clad legs. Some of the sequences are indeed very basic but there are so many of these little parts that together they work to create something unique visually. The short solos are an added bonus and the blue trail effect looks great. A great use of editing and effects, and when Pans People look this good its gotta be 10/10, DOTD Dee Dee.
♥♥♥♥ Cherry, Louise, Patti and Ruth Alliance ♥♥♥♥. If there's a cure for this I don't want it.
In my view, all is not perfect with this routine. I don't really like the song much and I could do without the bubbles as well. I also would have preferred not to have Dick Emery and Ronnie Barker making appearances, although I suspect that their presence will be one of the main reasons why it has achieved the most hits on You Tube. Also, Ruth is strangely neglected. Was she available I wonder for the whole recording. I wouldn't say that the dance sequences were particularly spectacular, but when the whole thing is knitted together it makes for enjoyable viewing and so despite my negative comments above, my score is 8.75 out of 10.
DOTD is Babs
Come on boys and girls! I know this is a smashing routine but you can't all be so spellbound by it as to be unable to reach your keyboards to leave a comment or two!
Also before I forget, during a conversation at the weekend I think it was suggested that at some stage Ruth might have turned an axle or some such. Or that might have been in a different number and I'm getting things mixed up.
This is one of the most memorable dances of 1974. Flick really did a marvellous job with this song and everything was well interpreted. The outfits were absolutely marvellous and the dance was so easy to copy. A big ten out of ten for this and the best dancer is really difficult as they all did well so I will plump for Babs.
Everywhere, wherever you look, manipulation rearing it's head.
Also before I forget, during a conversation at the weekend I think it was suggested that at some stage Ruth might have turned an axle or some such.
Yes this was brought to our attention by Ray, who suggested Ruth sustained a niggle in this. It is odd how little Ruth features in this and i do wonder if the slight knock meant that she sat out most of it. The routine was quite obviously filmed in different sections and then overlayed.
The pulled fetlock to me looks like it happens at 0.52 seconds (and the same scene is repeated at 2.39 mins). Ruth stops doing the high kicks and pulls a bit of a face as though she knows she has tweaked something. What do others think, check it out on the link in the intro post of this thread.
The kick provides the concept, but did Shearston help? You never know. The bubbles are in the champagne, incongruous when the swanky beverage is dismissed in the opening line but not visually unwelcome. As, of course, blizzards of white powder would have been! With no group dancing to speak of and a song that lends itself well to commerce (I assume it indeed has) it's a lot like a lingerie advert. I'm not as beguiled by the saucy aerobics class as most, and the pair of stationary pins look in need of a kick-start. Most of the moves are very basic, one can understand why it wouldn't prove a playground challenge. Put together though it has got charm and aesthetic strength. And I like Sue's heavily blue-ghosted solo, regrettably intruded on for laughter. It's the senior dancers though who make it look easy and exude the most fun. Dee Dee is my DOTD. 7/10
We are so lucky to have this Dance and my replacement for Vin's controversial line is:
Some celebrate Public Domain
One of the best discoveries of the last few years and thankfully it was sent to YMG to put into the public domain when it could quite easily have disappeared into the darkness of the collectors circuit. I believe this is one of the most popular Pan's routines on You Tube which goes to show it was the right thing to do. Although I'm not sure what 2015's enlightened Toyah would think of all those Gusthets (sic). You can see that this had to be done in a very short time because they would surely have reshot the bit where Dee Dee completely lost the plot with her leg waving. A thoroughly watchable routine although not quite up there with the best 9/10.
Dotd: Sultry Sue is Smokin' Hot!
Sandy Borne and Tricia Roberts Appreciation Society
A great routine.There isn't much dancing but that doesn't matter too much.I love the bubbles,the song and of course the stockings.The whole production is very evocative and hints at a decadent lifestyle i wouldn't mind tasting once in a while.10/10
great song ,great dance great costumes and effects ,im so pleased this dance did somehow manage to survive especially as flick once mentioned in an interview that she personally thought this dance worked well ,well it worked well flick for me as well and with that goes a 10
What a lot of people don't notice - and I mentioned this in Derby - is that Ruth strains her back during this one. Check out the chroma-key on the bottom around the fifty second mark - it's repeated around 2.37:- https://www.youtube.com/watch?v=bqm6d3Okw_g
I guess that's why she's not featured in it as much as some of the others.