All language subtitles for ZUBIZARETA 2003

There's something almost empathic
as well as cathartic about it.

We feel like the singer
and everybody involved with

the record is expressing
what we're feeling.

And therefore making it bearable
and almost sort of noble,

and almost noble.

We want to feel that our heartbreak
isn't just completely insignificant.

Which it usually is.

And so we come to the top three
of the world's richest songs.

And the next one is a real
classic of song-writer's art,

composed by an
American husband-and-wife team.

And there's a really interesting
tale behind this one.

Two different versions by
two different artists,

vying for the top of the UK charts.

This then, is our number three.

But, baby, baby, l know it

You've lost that lovin' feeling

Whoa, that lovin' feeling

You've lost that lovin' feelin'
Now it's gone, gone, gone...

We've had a fair few ballads
in our countdown so far.

But this is the big one, the
Mount Everest of heartbreak songs.

You've Lost That Lovin' Feelin'
was probably one of the greatest

combinations of song, production and
artist, that l think we'd ever had.

l think so too.

And it was everything coming
together that made

the song as successful as it was.

Mann and Weil worked in New York's
Brill Building,

along with Leiber and Stoller who

wrote our number six
richest song, Stand By Me.

But to write this song,
Mann and Weil were flown out to LA

by legendary producer, Phil Spector.

We were in California,
and staying at the Chateau Marmont,

rented a piano,
we had our dog with us.

We wrote most of the song and
then we got stuck on the bridge

and we called Phil and, Phil said,

''Come on over.
We'll finish it together.''

And he came up with that
bridge part.

The idea of doing the Hang On Sloopy
bit. # Bum, dum, dum, dum. #

That was his concept.

Baby, baby, l get down on
My knees for you...

And to do that call and response
thing... Right, right.

..was very fresh
for a pop song. Yeah.

Baby Baby

Baby Baby...

Spector got a third of the
songwriting royalties

for Lovin' Feelin', but his
contributions weren't always

welcome at the time.

l didn't know how to
end the chorus,

and this is going to sound funny.
And he said...

''Gone, gone, gone,
woah, woah, woah,''

which was his...
He contributed that to the chorus,

and it sounds ridiculous,
but the truth is, it worked.

And she felt, after that, any song
that has whoa, whoa, whoa, in it...

THEY LAUGH

Whoa, whoa...

Phil said, ''This is going to be
a very big song for all of us.''

l said, ''Phil, any song with whoa,
whoa, whoa, in it, can't be big,

''or important.''

You know, l was
kind of a Broadway star,

and, l just thought, once he threw in
whoa, whoa, whoa, and Barry liked it,

and nobody would listen to me,
that, you know, it could have...

That's why we never listened
to anything more.

That's right, it was the end of
my credibility.

There's no welcome look...

Spector was right.

The record hit number one
in the US charts.

This song, like Yesterday, also has
a strong connection to Liverpool.

Because in the UK, someone else had
already recorded it.

Singers were often given, you know,
big hits, records that had been big

hits in America, and they recorded
those and sometimes did quite

a good job with them and sometimes
didn't do quite such a good job.

You're trying hard
not to show it...

Cilla Black sang a home-grown
version of Mann and Weil's song.

Baby, l know it

You've lost that
lovin' feelin'...

They just don't have the
sort of cavernous majesty that

Spector's Wall of Sound
productions do.

Whoa, that lovin' feelin'

You've lost that lovin' feelin'
Now it's gone, gone, gone...

Maybe not. But in the mid-'60s,

Cilla Black was a big star in
Britain. The chart for 24th January

1965 found her version at number 12,
with Spector's lagging behind at 20.

The only way to fight back was to

bring the Righteous Brothers
to Britain.

From memory, l got on
the phone and said,

''Phil, if you want your record to
happen you've got to send them over.''

Baby, baby

l'll get down on my knees
for you...

ln the '60s, radio play was the key
to chart success.

And Cilla's manager, Brian Epstein,

appeared to have
the broadcasters on his side.

lt wasn't so easy on the BBC
with the Righteous Brothers

because one of the DJs on the
Light Programme in those days

was a former comedian.

l called him up and asked him
if he'd play the record and he

was quite adamant that he wouldn't
even play this record in his toilet.

Cilla was number three
in the charts.

Brian Epstein bumped into
Tony Hall at a party.

''You don't stand a hope in hell,''
said Epstein.

''Don't be so sure,'' said Tony Hall.

Andrew Loog Oldham,
The Stones' manager,

then took out a full-page advert
in the Melody Maker.

''This'', it said,
''is Spector's greatest production,''

''the last word in tomorrow's
sound today,

''exposing the overall mediocrity
of the music industry.''

ln America, you don't read
the trade papers,

as a buyer or as the record public.

They don't read the trade.
Here, they do.

Here you have a limited
number of stations.

Of course, you can reach a very
vast audience quickly.

England was very kind to me,
really, they were.

You know, it's a big part of, kind
of, how Phil Spector became

hip was that he was really
embraced here by the cool bands

and the cool sort of string-pullers
and behind-the-scenes managers.

The week after we went to number one
and, again from memory, l think Cilla

just did a dive and disappeared
without a trace, bless her heart.

Bring back that lovin' feelin'

Whoa, that lovin' feelin'...

For Mann and Weil, of course,
the Cilla chart battle simply meant

they were on double royalties.

And You've Lost That Lovin' Feelin'
went on to become the most performed

song of the 20th century.

Overall, we reckon that this song
has made nearly -O20.5m in royalties.

Look at this house! You could call
this house the house

that Lovin' Feelin' built. Cos l
think there's been 250 versions.

The house that bum-ba-bum-ba-bum
built.

And whoa, whoa, whoa.

And whoa, whoa, whoa.
We should get a doorbell that goes...

Whoa, whoa, whoa, yeah.

Bring back that lovin' feelin'...

This little studio is a piece of
rock and roll history.

Some extraordinary records have
been made in this room.

Buggles, Video Killed The
Radio Star, recorded here.

The Clash, London Calling,
recorded here.

Queen, Bohemian Rhapsody,
recorded here.

Now, there may be lots of you
expecting Queen

and Bohemian Rhapsody to
make the top ten.

lndeed, there might be a lot of
you who thought it would be

number one. So what are the amazing
songs that failed to make our list?

# Goodbye, Norma Jean... #

What about Elton John's
Candle ln The Wind,

which shifted an
amazing 33 million units?

lf you remember at the time, it was

so many millions of copies of
that single were just rushing out

of the stores, they couldn't
print them fast enough.

l was slightly surprised not
to see that in the list.

But, l guess the reason for
that is because a song to get into

your top ten would have had to have
had not just record sales,

but have been used in all
sorts of other ways, as well.

And perhaps that is one of
those songs that is so closely

associated with one event that it
hasn't been used to that extent.

l mean, the obvious absence would be
any Beatles records

other than Yesterday.

That would, l
think, surprise most people.

There's a fire starting in
my heart...

l guess, l mean, Adele would be
the other one, of course.

But that is so new that
only time will tell.

l expect those songs to
have longevity.

By February 2012,
Rolling ln The Deep

had sold over 7 million
copies in the USA alone.

The highest-ever selling
digital single by a female artist.

Our countdown has revealed
the magic ingredients

that make a song truly rich.

Huge sales and downloads,
numerous cover versions,

constant radio airplay
in countless countries.

The scars of your love
remind me...

And to introduce it to
a whole new audience,

an appearance in major movie or a
TV ad campaign helps things along.

Adele's Rolling ln The Deep has
already had several cover versions.

And who knows?

lf we continue to pay for
the music we consume,

in ten or 20 years' time,

that song, too, may
become one of the world's richest.

Played it, you played it
You played it to the beat.

And so we come to our number
two richest song.

And it is one of the
classics of popular music.

No question about that.

lt was written in 1940 by one
of the 20th century's greatest

and most prolific songwriters.

Any idea what it is yet?

Well, this lavish special effect
sequence might give you a clue.

l'm dreaming of a white Christmas

Just like the ones l used
to know...

lrving Berlin is one of a handful of
great 20th-century songwriters

who wrote his own words and music.

Somebody was asked, ''Where's lrving
Berlin's place in American music?''

And the answer was,
''He lS American music.''

And White Christmas is the daddy,
the big boss, of festive tunes.

For decades it was the
top-selling record of all time,

Bing Crosby's version of it was the

top-selling single
recorded song of all time.

A Merry Christmas, everybody.
And good night.

When you think of accumulative
sales of sheet music,

all its various, you know, untold
hundreds and thousands of recordings

in God knows how many languages,
you know, it was a monster.

Bing Crosby's version of that song
has sold 50 million copies.

lt was number one in the
USA in 1942.

And '45. And '46.

..Listen, and children...

But eventually, he had
to re-record it

because the master tape had been
used so many times it

eventually fell apart. And so many
people have recorded this immortal

song, that its total sales have now

amassed a staggering
100 million units.

l know that, was it last Christmas
that Lady Gaga recorded it?

l'm dreaming of
a white snowman...

l thought it was great.

With a carrot nose
and charcoal eyes...

There are new recordings of
White Christmas and it stays fresh

and l suppose so long as it does,
it's going to be played.

# Oh! Quand j'entends
chanter Noel... #

White Christmas has been translated
into numerous languages

including Hungarian and Japanese.

lncredibly, there's
a version in Swahili.

And in a nod to the writer's Jewish
roots, there's one in Yiddish.

lrving Berlin's irresistible rise

isn't just most song-writers'
fantasy.

lt's the American Dream writ large.

There may be trouble ahead...

He was that penniless, poor immigrant
who arrived at Ellis lsland

from a Shtetl, in far-off Russia,
and was a great, possibly apocryphal

story that when he was
a newspaper boy some bullies,

some thugs threw him in to the East
River where he nearly drowned and

somebody had to jump in to save him
and clutched in his hands were the

three pennies that he had
earned that day.

So he really was
that rags to riches.

He definitely lived the rags part
and then, of course,

he became a great songwriter
and lived the riches.

During his career, lrving Berlin
wrote over 1,000 songs.

As well as White Christmas,
he wrote such greats as Top Hat,

Putting On The Ritz, and There's No
Business Like Show Business.

And when the money began to roll
in through his gift and his graft,

he was as keen to hang on to
it as he had been when he was a kid.

He helped form ASCAP, the American
royalties collection agency,

which laid the foundations of the
royalties system we know today.

Berlin was a very smart business man

and very smart about protecting
the writers' rights.

And also, of course, collecting
royalty, collecting revenue.

He held on to his copyrights
with an iron fist,

he wanted squeeze every last
dime out of them.

Because Berlin had his own
publishing company,

he had much more control over
what his work earned.

But he was also very generous
with some of the royalties.

During World War ll he also
wrote God Bless America.

All the royalties go to the
Girl Scouts of America -

around -O6 million so far.

But that's dwarfed by the money
brought in by White Christmas.

Our research reveals that Berlin's
masterpiece has earned

a staggering -O24 million.

l think he would be very
happy but l don't know whether

he would be very happy about
losing out to number one place.

Like our number ten,
The Christmas Song,

a huge part of White Christmas'
success can be traced to

the USA's involvement in
World War ll.

l ask that the congress declare

a state of war between the United
States and the Japanese Empire.

l'm dreaming of a
white Christmas...

With American
fighting forces overseas,

those American military thousands
of miles from home, heard that song

with the context of wishing they
were home with their own families.

And from the beginning, in a way
that no-one possibly could have

White Christmas became a nurturing
anthem for soldiers

throughout the Allied Forces
all over the world.

White Christmas became the most

requested song on Armed Forces
Radio, listened to over and over

by homesick soldiers.

lt's not just a ''isn't Christmas
so nice and wonderful?'' song.

Nor is it a piece of wartime
propaganda like the deservedly

forgotten You're A Sap, Mr Jap.

There's a longing to Berlin's
song which comes from his own

mixed feelings about
the time of year.

l think that lrvin Berlin brought
to the creation of that song

his own emotion, which
was bitter sweet,

life is joy and sadness
mixed together,

and there is a yearning in
White Christmas,

there is a combination
of melancholy and sweet.

The melancholy part comes from a
tragic event in the Berlin family

that took place on Christmas Day,
1928, over a decade

before the song was written.

My parents had a little boy
and he would have been

maybe two years older than me and
he died on Christmas Day.

He was four weeks old and he died
from what is known as cot death.

And my parents never spoke about
him, they could not speak about him

and l think that, for them, perhaps
particularly my mother, it was very

difficult to celebrate Christmas,
though they never showed it,

but it was a real trauma for them

and so they never
really got over it.

And may all your

Christmases be white...

Our nine songs
so far have taken us

on a bit of a rollercoaster ride.

Amazing writing of music and lyrics,
brilliant songs, financial reward

beyond anybody's dreams and a
hefty dose of tragedy along the way.

So what possibly could the number
one song, the song that has

earned more money globally than any
other possibly have to top that?

Happy birthday, Andrew!
Thanks, guys.

Yes, our number one song has made
significantly more money than

any other on the list and around
it is the saga of legal battles,

money, more money and the rights
being assigned despite no-one

being quite sure what the
origin of the song is.

Brace yourselves, our number one
is Happy Birthday.

Happy birthday to ya...

No, not that one.

Happy birthday, happy birthday...

Or that one, but it's a song no-one
has any difficulty remembering.

Happy birthday to you

Happy birthday to you

Happy birthday, dear Andrew

Happy birthday to you.

Nice to see people enjoying
themselves, isn't it?

So here's the story behind the song.

Are you sitting comfortably?
Then l'll begin.

Back in the 1890s,
in Louisville, Kentucky,

there were two teachers - sisters
called Patty and Mildred Hill.

Two sweet little old ladies created
a song to sing

to their kindergarten class.

Good morning to you
Good morning to you...

And the children used to sing it at
assembly every morning.

Good morning, good morning
Good morning to you.

And then somewhere along the line it
morphed into Happy Birthday to you.

Happy birthday to you...

No-one knows when it happened or
who came up with the words

but this little ditty
caught on fast.

Happy birthday, your Royal Highness

Happy birthday to you.

Was l surprised it was
at the top of the list?

l suppose so because it's...you
think of it as a novelty song,

it's not really a real song, is it?

lt's this little hook, little
ditty, that everybody knows

but, actually, it's such
an ingrained part

of our popular culture,

not just popular, but from before,
and it will always be there.

Personally, l wish l'd written
that and copyrighted it.

lt started appearing in film and TV
things in the 1930s

where it was uncredited.

One of those was an lrving
Berlin production called
As Thousands Cheer.

And the third Hill sister, Jessica,
heard that and thought,

''Hang on a minute, that sounds a
bit like our tune''

and it went to court and it was
decided in their favour.

Happy Birthday To You did sound like
the Hills sisters' tune

and they were assigned
the copyright.

And since then, every time it's been
used, then copyright has to be paid.

So not just film and TV, but Casio
pays every time it plays on

one of their digital watches.

Cards, candles, and perhaps, most
importantly, musical underwear.

UNDERWEAR PLAYS HAPPY BlRTHDAY

Well, if l was the owner
of the copyright of Happy Birthday,

you know, my teams of lawyers
would be energetically working very,

very hard to make sure that
it didn't slip

out of copyright for whatever
reason, they'd probably be

looking at ways to slightly adapt
the lyrics, y'know.

The publishing rights to
Happy Birthday were bought

in 1988 by one of the world's
largest music publishers,

Warner/Chappell, for a reported
price of 25 million. Lawyers have

reported annual six figure royalty
cheques, split between Warner Group

and the Hill Foundation, set up to
look after the sisters' family.

lf you hear Happy Birthday being
sung in a movie or television show,

the fee for that is about 25,000.

All the authors
of Happy Birthday are dead

and have been dead for many years so
why isn't that song public domain?

lt's because our copyright act was
extended back in the '90s

and Warner/Chappell bought
the publishing catalogue which

artificially, or in fact,
extended the copyright up until 2030.

So we'll be paying for Happy
Birthday for the next 25 years.

Here in the European Union,

it's reported to be under copyright
until the end of 2016.

So if you'll excuse the visual pun,
that means Happy Birthday

keeps bringing in royalties.
Lots and lots and lots of them.

Well, that makes sense.
You know, you own it,

you're letting somebody use it,
well, the people that publish

Happy Birthday own it,
they purchased it,

you know, there's income for
the publishers there's income for

those little ladies or their heirs.

These big entertainment companies,

and all these things are owned by,
lets not forget,

BlG entertainment companies,

which are in turn owned
by BlG financial institutions.

And, you know, this is...their
bottom line is really affected by

whether they can keep these things
in copyright or not.

So just how much has this little
song written by

two schoolteacher sisters
actually made?

Overall, we estimate that the
song has earned

an extraordinary -O30 million.

Happy birthday to you

Happy birthday to you...

A very, very happy birthday indeed.

Happy birthday, dear viewer

Happy birthday to you.

And if it's your birthday today,

we were singing that song
especially for you.

lf it isn't, the
next birthday you have

someone's bound to sing it to you
because Happy Birthday

is the most frequently sung song in
the world, and it's a record breaker!

So what does a writer need to create
one of the world's richest songs?

Well, inspiration certainly,
a good deal of hard work,

and a big slice of luck.

But success for songs has

come different ways
across differing eras.

Throughout the 20th century
the mediums have shifted

from sheet music to radio,
to taking record sales

and CD sales and
synchronized media.

And now with the internet, the music
industry is changing faster than

ever, opening up new frontiers for
songwriters, for better or worse.

But some things seem certain -
there will always be great songs,

there will always be talented
people to write them.

Those great songs will be enjoyed by
people for many, many years to come.

And will earn someone an awful
lot of money for many years to come.

So, perhaps, the most important
lesson from all of this is

get yourself a good lawyer,
strike yourself a very good deal.

Subtitles by Red Bee Media Ltd