Browse content similar to 13/09/2011. Check below for episodes and series from the same categories and more!
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Hello and welcome to The One Show with Matt Baker. And Alex Jones. | :00:18. | :00:22. | |
Our guest tonight was once the most famous choirboy in the country. | :00:22. | :00:26. | |
we have asked some of the Trinity Boys' Choir to come in and help us | :00:26. | :00:36. | |
:00:36. | :00:40. | ||
introduce him. Who is it? Thank you so much for that! They | :00:40. | :00:45. | |
are my personal quiet now. They follow me everywhere I go. We could | :00:45. | :00:53. | |
do and Alex Jennings song as well - - and Alex Jones song. So you are | :00:54. | :00:58. | |
here to talk about the 50th anniversary of Songs Of Praise. But | :00:58. | :01:04. | |
you call it karaoke. In tis the world's largest karaoke, watched by | :01:04. | :01:08. | |
30 million people worldwide. You get the words, and you can sing | :01:08. | :01:12. | |
along. My grandparents call it Sunday karaoke. Most people have a | :01:12. | :01:16. | |
go when they see the words. used to sing those hymns in | :01:16. | :01:19. | |
assembly. Even if you are not Christian, you watch it and sing | :01:19. | :01:25. | |
along. Are you a fan of karaoke? Are I have done it once on holiday | :01:26. | :01:31. | |
when I was 19. And a girl came up to me and said, you have got a | :01:31. | :01:35. | |
really good voice, he should be a professional. But you are not as | :01:35. | :01:41. | |
good as Marti Pellow. As we have got Aled and the Trinity Boys' | :01:41. | :01:46. | |
Choir here, we want to see pictures of you and your choir. So send us | :01:46. | :01:54. | |
your choir photos. Make sure we know which one is using the picture. | :01:55. | :01:59. | |
Many who suffer violence at the hands of their partners later | :01:59. | :02:02. | |
discover that they have previously committed similar crimes. Anita | :02:02. | :02:06. | |
Rani looks at a controversial proposal which could change that, | :02:06. | :02:09. | |
and meet a policeman who says women should be able to ask police if | :02:09. | :02:13. | |
they new boyfriend has a criminal record. | :02:13. | :02:16. | |
I am not someone you would ever expect to be on the receiving end | :02:16. | :02:21. | |
of domestic violence, and neither, probably, are you. But imagine for | :02:21. | :02:24. | |
one second that you have met someone new and it is all going | :02:24. | :02:28. | |
well, and then you start to have doubts. Are they being too intense, | :02:28. | :02:34. | |
a bit controlling? Possibly even aggressive? When aspects of your | :02:34. | :02:37. | |
new partner's behaviour begin to raise concern, should women have | :02:37. | :02:42. | |
the right to know if they have a history of domestic abuse? This man | :02:42. | :02:48. | |
believes they should. It would give the ladies of this country another | :02:48. | :02:53. | |
layer of protection if they are informed that their partner has a | :02:53. | :02:57. | |
history of violence. Michael Brown's daughter Claire was | :02:57. | :03:01. | |
murdered by a man who had already assaulted five other women. Should | :03:01. | :03:09. | |
she have been told about his history? To find out that he had | :03:09. | :03:11. | |
already had three Moller station orders against three other ladies | :03:11. | :03:16. | |
and had also done six months of breaking one of those orders and | :03:16. | :03:20. | |
had followed one young lady from Manchester up to Newcastle after | :03:20. | :03:26. | |
she had changed her name and appearance, he took the wind out | :03:26. | :03:30. | |
and held this young lady at knifepoint for eight hours. He got | :03:30. | :03:33. | |
three and a half years for that. You are not supposed to bury your | :03:33. | :03:43. | |
:03:43. | :03:44. | ||
children. It just left a hole. Still does. Michael wants to give | :03:44. | :03:48. | |
the police the power to tell people that their new partner has a | :03:48. | :03:53. | |
history of domestic abuse. Known as Clare's Law, it has received | :03:53. | :03:57. | |
support from the most senior police officer responsible for combating | :03:57. | :04:02. | |
domestic violence at a national level. There are two ways it would | :04:02. | :04:05. | |
work. People can approach the police and say, I have a new | :04:05. | :04:09. | |
partner or I am about to have a new partner. I am bringing somebody | :04:09. | :04:13. | |
into my household. Is there anything I need to know that | :04:13. | :04:18. | |
affects my safety? The other way is the right to know, where, from | :04:18. | :04:22. | |
police data, we can tell that someone has a long history of | :04:22. | :04:26. | |
abusing a number of partners. We should be in a position to consider | :04:27. | :04:30. | |
disclosing that information to the next new partner. Could Clare's Law | :04:30. | :04:35. | |
really work? Do we want the state knocking on our door, telling us | :04:35. | :04:39. | |
what is what? There are problems in my relationship, shouldn't I be the | :04:39. | :04:43. | |
one who works it out? If it gets violent, I could always leave. | :04:43. | :04:48. | |
too long, we have been reacting to domestic abuse, hoping that some | :04:48. | :04:52. | |
victim will come forward. I want to see a more proactive approach. I | :04:52. | :04:56. | |
think Clare's Law could reduce the number of cases we have to deal | :04:56. | :05:00. | |
with. In every case, there is the potential for homicide. So could | :05:00. | :05:05. | |
Clare's Law help reduce homicide in this country? I think it could. | :05:05. | :05:09. | |
Knowing something about the past of the perpetrator takes the guilt of | :05:09. | :05:16. | |
the victim. It is not me that is at fault, it is him or her. Lucy Reid | :05:16. | :05:20. | |
is a barrister who specialises in domestic violence cases. She is not | :05:20. | :05:25. | |
convinced the Clare's Law is practical. There are many | :05:25. | :05:29. | |
perpetrators of domestic violence who have managed to avoid having | :05:29. | :05:33. | |
any convictions. So if a woman were to ask the police for a check on | :05:33. | :05:39. | |
her partner, it could come up clear. But it might not mean she is safe. | :05:39. | :05:43. | |
But what if I were in an abusive relationship, and then I found out | :05:43. | :05:46. | |
that the guy had a history of violence and the police knew about | :05:46. | :05:53. | |
it, but they didn't tell me? How would I feel? We did a lot of | :05:53. | :05:57. | |
research. We found the 25,000 serial perpetrators of domestic | :05:57. | :06:02. | |
abuse. We found one case where a guy had seven different apartments | :06:02. | :06:06. | |
being abused by him over three years. So we think where we have | :06:06. | :06:10. | |
information that is compelling, we should make that known to people. | :06:11. | :06:14. | |
But Lucy Reid says it would take considerable police resources to | :06:14. | :06:19. | |
keep tabs on all potential perpetrators. But the police to be | :06:19. | :06:24. | |
able to seek out women and warn them of a potential risk, they need | :06:24. | :06:28. | |
to firstly know where the perpetrator is in order to identify | :06:28. | :06:31. | |
that he has formed a new relationship. Brian Moore says in | :06:31. | :06:35. | |
his force, they have already started to do that. In my own force | :06:35. | :06:42. | |
area, we had over 126 individuals who had assaulted multiple partners. | :06:42. | :06:46. | |
A serial perpetrator will continue to offend against partners unless | :06:46. | :06:51. | |
they are stopped. My force is trying to get ahead of the curve | :06:51. | :06:55. | |
and work to try and track these people. Do we have the power to do | :06:55. | :07:02. | |
this? No. That is why I want the law clarified. Had I known what he | :07:02. | :07:07. | |
was capable of, I would have had her out in a heartbeat. If my | :07:07. | :07:12. | |
daughter had known, she would have been away from there so fast, it | :07:12. | :07:19. | |
would have made her eyes water. Anita is here. Chief Constable | :07:19. | :07:23. | |
Brian Moore obviously supports the law. He wants to be able to give | :07:23. | :07:27. | |
women the right to ask and the right to know. He also wants to | :07:27. | :07:31. | |
give police the power to be able to warn women in advance when they are | :07:31. | :07:35. | |
in relationships with serial domestic abusers, which would mean | :07:35. | :07:40. | |
the police would be able to have the power to track these seriously | :07:40. | :07:46. | |
violent abusers, which he says they are already doing in Wiltshire. He | :07:46. | :07:52. | |
wants to make policing proactive rather than reactive. That is | :07:52. | :07:56. | |
because he says women in these horrible relationships, it is | :07:56. | :07:59. | |
difficult for them to come forward because they are vulnerable and | :07:59. | :08:03. | |
feel trapped. There are lots of statistics to back up that it takes | :08:03. | :08:07. | |
them a long time to come to the police. So he wants to provide an | :08:07. | :08:11. | |
environment where the police can step in if they feel a woman is in | :08:11. | :08:16. | |
danger of being abused severely. man obviously also affected by | :08:16. | :08:21. | |
domestic violence. Would this law help them as well? Potentially. It | :08:21. | :08:25. | |
is still in discussion. One in six men have suffered some form of | :08:25. | :08:35. | |
domestic violence at some point in their lives. So we will say, | :08:35. | :08:40. | |
depending what discussions come out of it. | :08:40. | :08:45. | |
A Aled is here to celebrate the 50th anniversary of Songs Of Praise. | :08:45. | :08:50. | |
Is that why I am here? Like all good things, it started in Wales. | :08:50. | :08:54. | |
In 1961, the first ever programme came from the Tabernacle Welsh | :08:54. | :08:59. | |
Baptist Gedge in Cardiff. Since then, it has grown into a TV | :08:59. | :09:03. | |
institution. Gyles Brandreth takes a look at why it has lasted an | :09:03. | :09:08. | |
amazing half-a-century. I have had a letter from BBC | :09:08. | :09:12. | |
religious programmes, a chap called Tristan Campbell. He says he wants | :09:12. | :09:21. | |
to film Songs Of Praise here at St Barnabas. Heaven preserve us! | :09:21. | :09:27. | |
50 years old. 50 years of prayers. 50 years of hymns, and more hymns. | :09:27. | :09:33. | |
Oh, yes, and even more hymns. And suspiciously full congregations. | :09:33. | :09:39. | |
Its cameras have visited more than 1800 locations since 1961, from | :09:39. | :09:45. | |
mighty cathedrals to a humble chapels. Hat shops will be | :09:45. | :09:48. | |
eternally grateful. People would say that a switch on for the hymns, | :09:48. | :09:52. | |
but what they remember most after the programme has finished are the | :09:52. | :09:58. | |
people who speak so generously in between those hymns. So Arms Of | :09:58. | :10:01. | |
Praise has opened its welcoming doors to many recognisable faces. | :10:01. | :10:06. | |
Charlotte Church, Cliff Richard, Tom Jones, Dolly Parton. Dolly | :10:06. | :10:12. | |
Parton? # Hello, God. If we are still on | :10:12. | :10:17. | |
singing terms, can you help me? My mother told me never to wear | :10:17. | :10:21. | |
anything I would not wear in church. That is why I have not stepped in | :10:21. | :10:25. | |
church in 40 years! But no matter who performs on it, the values that | :10:25. | :10:32. | |
have underpinned the show remain constant. On the fourth day of | :10:32. | :10:38. | |
Alamein, they kept shelling us and shelling us and then suddenly, a | :10:38. | :10:44. | |
shell blew a wind from his neck to his bottom. I had this man in my | :10:44. | :10:54. | |
arms. God gave me the strength. After all these years, it still | :10:54. | :11:00. | |
affects me. And it can always be relied on to capture the public | :11:00. | :11:05. | |
mood in times of national tragedy. This morning, we woke to the tragic | :11:06. | :11:11. | |
news of the death of Diana, Princess of Wales. We staged a live | :11:11. | :11:16. | |
outside broadcast from St Paul's Cathedral that evening. During that | :11:16. | :11:20. | |
programme, by Anna's body arrived in the plane. And someone very wise | :11:20. | :11:25. | |
at the top of the BBC must have made the decision to stay with the | :11:25. | :11:32. | |
music coming from St Paul's Cathedral during our programme. | :11:32. | :11:36. | |
Songs Of Praise, there is a place for solemnity. And yes, there is a | :11:36. | :11:41. | |
place for silliness, too. A lot of people who would not be seen dead | :11:41. | :11:47. | |
talking to a priest will always come and talk to a parrot! You are | :11:47. | :11:50. | |
dressed as a clown, but you are actually a real Reverend? And a | :11:50. | :11:56. | |
real clown! A warm welcome, on a very cold day in winter. Over 200 | :11:56. | :12:01. | |
different presenters have fronted this show. None loomed larger than | :12:01. | :12:10. | |
Sir Harry caecum. It is a place of barbed-wire and locked doors. These | :12:10. | :12:15. | |
cells are home, not so sweet home, for every prisoner until his | :12:15. | :12:20. | |
sentence is served. It has been in our homes over half a century, with | :12:20. | :12:24. | |
an audience peaking at 11 million. To be honest, I have not watched | :12:24. | :12:28. | |
every episode religiously. I am waiting for the box-set. For now, | :12:28. | :12:34. | |
let's leave the last word to my favourite, Dame Thora Hird. Bye bye | :12:34. | :12:42. | |
for now. And God bless you. Brilliant excerpts in that film. | :12:42. | :12:46. | |
The new programme is celebrating the show's 50th anniversary. As | :12:46. | :12:53. | |
soon as that music starts, it is Yorkshire pudding and my mum's mash. | :12:53. | :12:57. | |
You have the Voice Of An Angel! me, it is a cup of tea and a piece | :12:57. | :13:06. | |
of cake. For me, it is a job. saw you at a very young age in that | :13:06. | :13:12. | |
film. Yes, I did not realise I had been involved with it for so long. | :13:12. | :13:16. | |
I have been presenting it properly since 2000, but I did it a few | :13:16. | :13:23. | |
times prior to that. You were telling us your first glass of wine | :13:23. | :13:26. | |
was shaped -- shared with Harry? was a professional. When he stood | :13:26. | :13:32. | |
up to do a piece to camera, he would have a special pair of | :13:32. | :13:35. | |
trousers with no creases in them. I had my first glass of wine at about | :13:35. | :13:45. | |
16 or 17 in Rome with Harry. What is your best memory? There have | :13:45. | :13:48. | |
been so many. I really enjoyed the Remembrance programme I did from | :13:48. | :13:57. | |
the Falklands, because I had never been there before. It was moving. | :13:57. | :14:02. | |
It was minus 19, pretty cold. I did not build a snowman, before you say | :14:02. | :14:07. | |
anything. They must be delighted to have such an incredible chorister, | :14:07. | :14:17. | |
:14:17. | :14:40. | ||
even if you are a bit forgetful at That is brilliant. They have first | :14:40. | :14:47. | |
time Songs of Praise has ever been on Auntie's bloomers. A lovely | :14:47. | :14:54. | |
leather jacket. The Church always looks really full with a massive | :14:54. | :14:59. | |
congregation. Everyone has great hair. The is it because they are on | :14:59. | :15:03. | |
the telly? I couldn't possibly comment. They are more full because | :15:03. | :15:07. | |
of the TV but most members of the congregation are members of that | :15:07. | :15:13. | |
church, but maybe they don't go every Sunday. The hairdresser it | :15:13. | :15:17. | |
does well when Songs of Praise comes to town. Hazard put pressure | :15:17. | :15:24. | |
on your faith at all? I don't go to church on a Sunday because I am on | :15:24. | :15:29. | |
Radio 2. I don't think you have to go to church every week to be a | :15:29. | :15:33. | |
Christian. You show me a perfect Christian and I will show you a | :15:33. | :15:38. | |
liar. I have tried to live my life with Christian values, don't always | :15:38. | :15:48. | |
succeed but I drive. There are loads of things going on. Yes, | :15:48. | :15:52. | |
there is a service coming from Cardiff this Sunday, Pam Rhodes is | :15:52. | :15:58. | |
presenting that. That is the music they had on that programme in 1961. | :15:58. | :16:02. | |
The second want the following week is me looking back at 50 years of | :16:02. | :16:09. | |
the best stories and music. Then an hour-long second on the 22nd from | :16:09. | :16:16. | |
Alexandra Palace, with Catherine Jenkins, Beverley Knight, 7000 | :16:16. | :16:21. | |
people. It will be good. There will be another aunties bloomers for you | :16:21. | :16:30. | |
to play in another few years probably! Back to the next | :16:30. | :16:40. | |
:16:40. | :17:02. | ||
generation of Alan -- young The English countryside is | :17:02. | :17:06. | |
beautiful. Very green, very pleasant and wonderful place to | :17:06. | :17:10. | |
spend some time, but when we are sauntering in the countryside there | :17:10. | :17:14. | |
is something lurking in the background - the electricity pile | :17:14. | :17:22. | |
on. Of course, they have always not been with us. Before the 1920s, | :17:22. | :17:27. | |
electricity was a very local affair. Originally when we started using | :17:27. | :17:35. | |
electricity there were local generators, but as are used to the | :17:35. | :17:41. | |
-- our use of electricity increased, we needed for these. We needed | :17:41. | :17:45. | |
something that was safe and structurally sound, something that | :17:45. | :17:51. | |
would end your and it met that brief. It was designed in 1928 and | :17:51. | :17:56. | |
I think it is run a successful. It is like Wade, strong. You can see | :17:56. | :18:02. | |
this guy behind them because it is a lacy design. Pylons don't talk | :18:02. | :18:06. | |
many popularity polls but they did bring power to the masses and that | :18:06. | :18:10. | |
is what inspired some unlikely fans. They weren't in the large | :18:10. | :18:14. | |
industrial cities, but here in the heart of intellectual English | :18:14. | :18:19. | |
thinking. The University of Oxford. This library holds the papers of a | :18:19. | :18:25. | |
group of poets who were partial to a pylon. Valentine Cunningham is | :18:25. | :18:30. | |
Professor of English language and literature. Aren't poets usually | :18:31. | :18:35. | |
interested in trees and fields? this lot, they were obsessed with | :18:35. | :18:40. | |
modernity. They wanted to write about the modern world, | :18:40. | :18:50. | |
:18:50. | :18:50. | ||
industrialism and so on. They were particularly interested in | :18:50. | :18:59. | |
industrial modernism. Perhaps this was the most famous poem of the | :18:59. | :19:09. | |
:19:09. | :19:18. | ||
1930s, called The Pylons. The pile on swerve a sign of a happy arrival | :19:18. | :19:23. | |
of modernity. What comes across and holds up in a poem like that is | :19:23. | :19:28. | |
this kind of genuine democratic, and it was of course socialist, | :19:28. | :19:33. | |
feeling that her at last something was being done for ordinary people. | :19:33. | :19:37. | |
Love it or hate it, the current design has been around for more | :19:37. | :19:42. | |
than 70 years. There are thousands of them and their numbers are about | :19:42. | :19:46. | |
to increase because we are aiming to reduce our reliance on fossil | :19:46. | :19:51. | |
fuels. That means more electricity, but coming from different sources | :19:51. | :19:57. | |
such as wind farms. They need new prions to carry the electricity. | :19:57. | :20:01. | |
These could be radically different from the old ones if someone can | :20:01. | :20:05. | |
come up with a better design in a competition for engineers, | :20:05. | :20:12. | |
architects and students. In Iceland they had the most stunning designs, | :20:12. | :20:16. | |
which was men striding across the landscape. Why change such a | :20:16. | :20:21. | |
successful design? Because technology has changed, things have | :20:21. | :20:25. | |
moved on over the years. There maybe new materials and more | :20:25. | :20:31. | |
elegant designs. The best six designs will be on display in the | :20:31. | :20:35. | |
Victoria and Albert Museum and the public will be invited to comment. | :20:35. | :20:39. | |
It is a design classic which has stood the test of time, but if some | :20:39. | :20:43. | |
bright spark comes up with a good idea the British landscape could | :20:43. | :20:52. | |
change forever. Still in his pylon costume, it is | :20:52. | :20:59. | |
filled. How do you feel to be our new pylon expert? Very proud. | :20:59. | :21:03. | |
disaster be one of the weirdest competitions going. What happens | :21:03. | :21:10. | |
next? The shortlisted designs are announced in the morning and will | :21:10. | :21:15. | |
be displayed in the Victoria and Albert Museum with the winner | :21:15. | :21:18. | |
announced in October. The winner will be considered by the National | :21:18. | :21:24. | |
Grid, that is all. It is not definite. But they have got a | :21:24. | :21:28. | |
chance, so good luck to them. other countries they have come up | :21:28. | :21:35. | |
with some beauties. In Italy, this is in production. It is a beauty, | :21:35. | :21:41. | |
nice clean lines. It is meant to be the shoot of a plant. This is in | :21:41. | :21:49. | |
Norway, that was a one-off pylon. It might be dangerous, people | :21:49. | :21:58. | |
walking into the mirror as they go along. The runner-up was a reindeer. | :21:58. | :22:07. | |
We have had a go at designing our own, and you kind of went with the | :22:07. | :22:13. | |
reindeer, didn't you. It looks like I have been copying, but I haven't. | :22:14. | :22:23. | |
:22:24. | :22:24. | ||
Would that be a real sheep? I went for... Predictable, disco balls on | :22:24. | :22:34. | |
:22:34. | :22:37. | ||
top. Add a bit of glamour to the roads. A singing pylon! And, as you | :22:37. | :22:42. | |
say, very predictable. A cricket bat. Next you'll be saying there is | :22:42. | :22:47. | |
a pylon appreciation Society. is a website you can go to and get | :22:47. | :22:52. | |
pictures of them from all over the world, and another website which | :22:52. | :23:00. | |
has a pylon of the month award. This one is in Oxfordshire. I can | :23:00. | :23:10. | |
:23:10. | :23:39. | ||
see why. On we go. Anyway, we need I am in Scotland hunting for a wild | :23:39. | :23:44. | |
thing. She is a bit fruity because she looks like a strawberry. And | :23:44. | :23:50. | |
she has got eight legs. On this estate in Scotland, lying just | :23:50. | :23:57. | |
miles from the infamous Loch Ness, it is home to the strawberry spider. | :23:57. | :24:01. | |
It is originally thought to be confined to south-east England, | :24:01. | :24:05. | |
they were discovered north of the borders in the late 80s in small | :24:05. | :24:11. | |
numbers. Thanks to this local spider enthusiast, an impressive | :24:11. | :24:17. | |
population has recently been found. I have not seen all 640 British | :24:17. | :24:22. | |
spider species but I would love to see the strawberry spider. How did | :24:22. | :24:27. | |
you find your first one? He last summer, it happened to be a mail so | :24:27. | :24:33. | |
not as spectacular as the female. By the time the summer was over, I | :24:33. | :24:41. | |
had found 50. In this one area? but bear in mind they are all over | :24:41. | :24:46. | |
the place. The spite being one of the brightest coloured spiders in | :24:46. | :24:51. | |
the UK, they are masters of hiding themselves from us and their prey. | :24:51. | :24:57. | |
They do this by using a simple virtually folded into a tent-like | :24:57. | :25:06. | |
structure and suspended on a web. George, over here. I assume I have | :25:06. | :25:13. | |
found you won, I am 95% confident. That is amazingly brightly coloured. | :25:13. | :25:23. | |
:25:23. | :25:25. | ||
We had found a male spider, which showed us we were in the right | :25:25. | :25:30. | |
place. In the summer months, males actively search for the females who | :25:30. | :25:35. | |
are safely tucked up inside their abode. It is not long before I hit | :25:35. | :25:45. | |
:25:45. | :25:49. | ||
the jackpot. Reveal all, please. She is quite big. Super. You are | :25:49. | :25:56. | |
right, once you get your eye Ian for the home, the retreat, it is | :25:56. | :26:06. | |
:26:06. | :26:07. | ||
quite obvious. That looks like a strawberry, a very small strawberry. | :26:07. | :26:12. | |
It is amazing to think that, if you were a spider in the open in the | :26:12. | :26:15. | |
Highlands where it rains a lot, having little umbrella retreat is | :26:15. | :26:23. | |
quite a good idea, isn't it? That is what you want. Some were dry. | :26:23. | :26:28. | |
But their retreats have a second purpose as well. Being ambushed | :26:28. | :26:34. | |
predators, the spiders can wait inside the leaf for unsuspecting | :26:34. | :26:39. | |
insects to become entangled in their words. The strands of these | :26:39. | :26:43. | |
words are super-strong and sticky, making them great for catching | :26:43. | :26:49. | |
small insects. The trouble with spider webs is they can be very | :26:49. | :26:53. | |
hard to see but if you fill a sock with cornflour, you simply give it | :26:53. | :27:00. | |
a little pat and particles settle on the web making it easy to see | :27:00. | :27:05. | |
and it does not hurt the spider at all. By following these spiders for | :27:05. | :27:09. | |
the past year, Jane has a much better idea of exactly where to | :27:09. | :27:16. | |
look for them. What does this spider require for its habitat? | :27:16. | :27:22. | |
Where we are, just where we are. Large open spaces, clearings within | :27:22. | :27:27. | |
the woodland. They particularly like this purple more grass which | :27:27. | :27:37. | |
:27:37. | :27:42. | ||
seems to add strength to their words. -- webs. As little is known | :27:42. | :27:46. | |
about this spider's distribution, Jane is continuing her hunt and has | :27:46. | :27:51. | |
already found two more locations in the Scottish Highlands. The Spider | :27:52. | :27:55. | |
might be more common than we thought, we just haven't been | :27:55. | :28:02. | |
looking in the right places. Thanks to you for all of your choir | :28:02. | :28:06. | |
pictures you have been sending in. Gail Ritchie from the Glasgow | :28:06. | :28:12. | |
Gospel Choir, there she is smiling away. Gospel and modern pop music. | :28:12. | :28:19. | |
Card of style ladies barbershop chorus. This is Louise sitting on | :28:19. | :28:23. | |
the floor and she is with the Peterhouse chapel choir from | :28:23. | :28:33. | |
:28:33. | :28:35. | ||
Cambridge. Dan White and his choir, the funky little choir. Thank you | :28:36. | :28:45. | |
:28:46. | :28:50. |