Browse content similar to 19/02/2014. Check below for episodes and series from the same categories and more!
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Hello and welcome to the One Show with Gabby Logan. And Matt Baker. I | :00:17. | :00:24. | |
haven't been here for a while. Can you tell me a bit about where | :00:25. | :00:30. | |
tonight is going to start? Sorry, I haven't a clue! Stop it! From Sorry | :00:31. | :00:42. | |
I Haven't A Clue, welcome to Barry Cryer, Tim Brooke-Taylor, Jeremy | :00:43. | :00:49. | |
Hardy and Graeme Garden. I felt like I was a Radio 4 announcer! The show | :00:50. | :00:56. | |
has been blogging for over 40 years. All right! It is incredibly | :00:57. | :01:03. | |
popular. Can anyone of you begin to describe the madness and what the | :01:04. | :01:09. | |
show is all about? The original idea was to do a comedy show without a | :01:10. | :01:13. | |
prescription. Basically, get people to do silly things, set as if it was | :01:14. | :01:18. | |
a game show. It was a parody of panel games as they used to be 40 | :01:19. | :01:23. | |
years ago. The Radio Times says it is the antidote to panel games. 40 | :01:24. | :01:27. | |
years later, it is kind of the template for panel games now. We'll | :01:28. | :01:32. | |
be talking about that point a little bit later. The man who also features | :01:33. | :01:39. | |
in the programme is your pianist, Colin Sell. Frankly, Colin usually | :01:40. | :01:45. | |
never gets a edgeways. Poor Colin! Tonight, we are going to give Colin | :01:46. | :01:54. | |
aid for use. -- a voice. He hasn't got a voice. He hasn't got a | :01:55. | :02:01. | |
microphone or anything. It would seem the microphone is in vain. He | :02:02. | :02:13. | |
doesn't like it. He spoke! He's never been the same since he found | :02:14. | :02:19. | |
the lid opens. They will be doing most of the talking throughout the | :02:20. | :02:23. | |
evening about their new tour. It will feature all of the old | :02:24. | :02:27. | |
favourites, such as the Uxbridge English Dictionary, in which the | :02:28. | :02:30. | |
team come up with new definitions for current words. To get you into | :02:31. | :02:37. | |
that home, we'd like to put you to the test now. We will kick off with | :02:38. | :02:44. | |
Jeremy was pandemonium. It's a musical instrument that won't breed | :02:45. | :02:55. | |
in captivity. OK. Barry, go for it. Binge. Where Sean Connery puts his | :02:56. | :03:07. | |
rubbish. Graeme, definite. Its street slang for hard of hearing. | :03:08. | :03:15. | |
Finish us off with Arsenal. The whole body. Think about it. | :03:16. | :03:27. | |
Brilliant! Or just an underperforming football team. If | :03:28. | :03:30. | |
you can do any better at home, we'd like to hear from you. Come up with | :03:31. | :03:36. | |
definitions for the following words. Macaroon. Parsnip. And finally, | :03:37. | :03:52. | |
deduce. That got some reaction. E-mail us at the usual address, | :03:53. | :03:57. | |
[email protected]. We will be doubt the best later. Put your name | :03:58. | :04:01. | |
on and where you are from. The honesty of the public has been | :04:02. | :04:05. | |
called into question this week, with the news that WH Smith is scrapping | :04:06. | :04:08. | |
some of it so called honesty box is scrapping some of it so called | :04:09. | :04:11. | |
honesty boxes at stations and airports. Phil Tufnell has more | :04:12. | :04:14. | |
faith in people and was prepared to put his money where his mouth is. | :04:15. | :04:19. | |
Everybody loves and honesty box but apparently sometimes for the wrong | :04:20. | :04:23. | |
reasons. So we've come to Bromley to set up our very own honesty box, | :04:24. | :04:28. | |
full of umbrellas, to see what happens. Let the experiment begin! | :04:29. | :04:34. | |
We've got one. He's had a look, no. A bit like fly fishing, just running | :04:35. | :04:45. | |
the old fly across the fish's knows. Come on, someone take a bite. | :04:46. | :04:53. | |
Someone has gone in there. I think they've put the money in the job. | :04:54. | :04:59. | |
Let's have a word with them. Did you put your money in? We put a pound in | :05:00. | :05:05. | |
each. What do you think about honesty boxes, are you honest? We | :05:06. | :05:10. | |
are, but as we walked away we thought someone would make the money | :05:11. | :05:14. | |
out of the pot. We feel good that we've been honest, and now we are on | :05:15. | :05:21. | |
TV for it. We've got some more takers. | :05:22. | :05:27. | |
Where rain. Got one. Do you think honesty boxes are a good thing? | :05:28. | :05:37. | |
Guess, if there's enough people to be honest. As a nation, do you think | :05:38. | :05:44. | |
we are quite honest? The majority of people. It's OK with umbrellas, | :05:45. | :05:51. | |
perhaps not diamonds all jewellery! Someone has pinched a brolly, we are | :05:52. | :05:56. | |
two quid short. Would you leave your balloons with a little box? I | :05:57. | :06:02. | |
couldn't do that. Would they be gone? I think they are going for it. | :06:03. | :06:06. | |
I'm not quite sure what happened there but I think someone put some | :06:07. | :06:11. | |
money in the jar and didn't take an umbrella. He thought it was a | :06:12. | :06:15. | |
charity box. Yes. I didn't think I was going to get an umbrella out of | :06:16. | :06:21. | |
it. We owe you an umbrella. You've given us the money, so I'm going to | :06:22. | :06:26. | |
get you your umbrella. Let's have a little count up. We should have 20 | :06:27. | :06:37. | |
quid here. Two, three, 18, ?19.20. Minus the ?1.50 from the chap who | :06:38. | :06:43. | |
didn't take a brolly and he thought was a charity box, we are about | :06:44. | :06:47. | |
three or four quid light. It's quite a good effort, we're quite an honest | :06:48. | :06:52. | |
nation. I'm a big fan of the honesty box. Can any of you be trusted with | :06:53. | :06:57. | |
an honesty box, have you used one? I collect them. | :06:58. | :07:04. | |
I have them outside my shows. If you thought it was funny, put a coin in | :07:05. | :07:13. | |
here. It rarely rattles. I thought it was like a swear box. If you say, | :07:14. | :07:19. | |
you do look fat in that, then you have to put a quid in. You have to | :07:20. | :07:26. | |
put a little bit more in if you haven't got change. I put more in. | :07:27. | :07:34. | |
We are stupid! You and Graeme were the original founders. How did it | :07:35. | :07:41. | |
come about? It came about because Tim and I were involved in a radio | :07:42. | :07:47. | |
show, which was called, I'm sorry, I'll Read that again. It was a | :07:48. | :07:56. | |
sketch show. There is an eclectic mix of age and our audience this | :07:57. | :08:01. | |
evening. Some of them aren't going to last the winter! It's badly paid | :08:02. | :08:07. | |
and you have to write more to fill the half-hour. This was a way round | :08:08. | :08:13. | |
it. Bill Oddie and I were writing the radio series, we got work on | :08:14. | :08:17. | |
television as well. We thought, we don't have time to write the radio, | :08:18. | :08:22. | |
so why don't we do it without a prescription? The way to do would be | :08:23. | :08:26. | |
to base it on a panel game but have ludicrous games and hopefully the | :08:27. | :08:29. | |
funny people will write their scripts as they go along. The | :08:30. | :08:32. | |
original series had John Cleese, Bill Oddie, me, Tim in it, John | :08:33. | :08:40. | |
dropped out. Led the way for the likes of Mock The Week and Have I | :08:41. | :08:44. | |
Got News For You. In what ways do you think your show has influenced | :08:45. | :08:48. | |
the modern panel show as we know it? Wii I think it has a very well | :08:49. | :08:55. | |
thought out chaos. It's at its best when it's falling apart. We don't | :08:56. | :08:58. | |
know what each other is going to come up with. No formula really. | :08:59. | :09:06. | |
What I like is none of us are trying to outdo the others, we are just | :09:07. | :09:10. | |
trying to keep the ball is in the air. That's one of the things that | :09:11. | :09:14. | |
attracts over 2 million people a week to the show. It's incredible | :09:15. | :09:19. | |
for that longevity, to have that faithful audience that will come and | :09:20. | :09:22. | |
go throughout time, people are going to grow into the show. People grow | :09:23. | :09:32. | |
into Radio 4. Arthur Smith did a gig near where I live and he pointed out | :09:33. | :09:36. | |
some young ones in the audience and said, do you listen to Radio 4? This | :09:37. | :09:40. | |
young guy said, no. He said, you will all stop We were talking about | :09:41. | :09:45. | |
the environment that people like to sit in when they are listening to | :09:46. | :09:49. | |
your show and what kind of mood it puts them in. From Bromley, we've | :09:50. | :09:55. | |
got Janet in the audience. Just tell us what situation you are in when | :09:56. | :10:00. | |
you are listening to the lads. It seems like a long time now. We've | :10:01. | :10:06. | |
been going to something called practical philosophy, where we have | :10:07. | :10:10. | |
a meditation group. But on our way from Chislehurst, Bromley, near | :10:11. | :10:14. | |
where we live, to Croydon, to get to our group, we always have your show | :10:15. | :10:18. | |
on. We can be in absolute stitches when we get there. We park, and then | :10:19. | :10:25. | |
when we go in its all gone and we meditate. Puts them in perfect state | :10:26. | :10:33. | |
for the meditation. A lot of people listening to the show have to have | :10:34. | :10:39. | |
counselling! We've already had some people with Uxbridge dictionary | :10:40. | :10:45. | |
definitions coming in. Steve e-mailed us, did use, what you get | :10:46. | :10:59. | |
when you squeeze de oranges. Anne Clough said it is dad's vasectomy. | :11:00. | :11:08. | |
That is going to raise quite a few questions from our younger viewers. | :11:09. | :11:17. | |
Golfing one is forebear. You wouldn't want an average vasectomy, | :11:18. | :11:24. | |
pick the best. This tour, is that similar to what we would hear on the | :11:25. | :11:31. | |
radio? Very similar. We do two halves like you do in the theatre, | :11:32. | :11:36. | |
we almost pretend they are two recordings. Is it recorded? It's | :11:37. | :11:44. | |
not. Does that mean you can be a bit more risque? We are naked. Is that | :11:45. | :11:51. | |
not usually the case on radio? With compliance these days you can't be | :11:52. | :11:54. | |
naked. They've cracked down hard on that. Have you got rock 'n' roll | :11:55. | :12:11. | |
riders? Werther's Originals. It's a visual feast, it's a spectacular. To | :12:12. | :12:18. | |
be honest, you don't really know what is going to happen on these | :12:19. | :12:23. | |
evenings. You can get tickets to see it, they are on sale at the moment. | :12:24. | :12:27. | |
The next stop is Newcastle on Tuesday. You will have to wear your | :12:28. | :12:37. | |
blinker. You are nicking their gags. You can get arrested for that these | :12:38. | :12:42. | |
days. Gull next week we've got Jerry Springer on the show, but did you | :12:43. | :12:45. | |
know that Jerry Springer was actually born in a London | :12:46. | :12:49. | |
Underground station. It's not Mornington Crescent. Born or | :12:50. | :12:59. | |
conceived? He was born. Conceived at turn's green. We would love to hear | :13:00. | :13:04. | |
from you if you were born in a very unusual place, definitely not a | :13:05. | :13:09. | |
hospital or house. Tell us your stories at the usual e-mail address, | :13:10. | :13:13. | |
[email protected]. Any unusual birth stories from you. At any of | :13:14. | :13:18. | |
you got one to contribute? I was born in Aberdeen. Just to confirm, | :13:19. | :13:29. | |
we are not joking about this. We do seriously want your birth stories. | :13:30. | :13:32. | |
There's not a huge amount of science in the marking system in Sorry I | :13:33. | :13:41. | |
Haven't A Clue. In that there's not much of a marking system. But an | :13:42. | :13:45. | |
awful lot of thought went into how another game was scored, years, in | :13:46. | :13:52. | |
fact. Which evil wizard invented this infuriated thing? You aim for | :13:53. | :13:59. | |
20 and what do you get? One. The numbers are cleverly arranged all | :14:00. | :14:02. | |
over the door dash back the dart board to reduce your chance of | :14:03. | :14:06. | |
getting a high score. But who was the wretched man who came up with | :14:07. | :14:11. | |
it? The legend is his name was Brian Gamblin, and he dream did up in | :14:12. | :14:16. | |
1896. I have come to bury in Lancashire, because that is where | :14:17. | :14:21. | |
I'm told he's from. Berry are so proud of their famous son they've | :14:22. | :14:25. | |
even said it in flowers, 5000 of them, topped with three giant darts. | :14:26. | :14:31. | |
This display won a national award in 2009. But they are bragging about | :14:32. | :14:34. | |
someone they know very little about. They know he was a carpenter. Beyond | :14:35. | :14:41. | |
that, nothing. I thought the library archives would tell us more. They've | :14:42. | :14:45. | |
given me all the back issues of the local paper for the whole of 1896, | :14:46. | :14:49. | |
when the dartboard was supposed to have been invented. Guess what I'm | :14:50. | :15:00. | |
of the words Gamlin and dartboard do not appear. Perhaps its descendants | :15:01. | :15:07. | |
are still here. No. Who ever he was, darts took off as a national | :15:08. | :15:11. | |
sport in the 1920s. The day championship games on TV draw huge | :15:12. | :15:15. | |
audiences. It's reckoned that 7 million of us play regularly. And | :15:16. | :15:20. | |
it's become a world sport, played in 60 countries. Bullseye has even | :15:21. | :15:25. | |
entered the language in Mongolia. Most people take the jumble of | :15:26. | :15:29. | |
numbers for granted, but statisticians save the layout is | :15:30. | :15:33. | |
close on perfect to punish inaccuracy. Look at the penalties if | :15:34. | :15:37. | |
you missed the high numbers. Missed 20 and you get five or one. The 17 | :15:38. | :15:43. | |
sits between three and two. Professor David Percy says they | :15:44. | :15:46. | |
could have been configured in millions of ways. | :15:47. | :15:52. | |
There we are. This sector can take 20 numbers. This one can take 19 | :15:53. | :16:02. | |
numbers. THAT can be 18 and so on. Multiply those together to get 20 | :16:03. | :16:07. | |
factorial... What about the people who have made a living out of it? | :16:08. | :16:15. | |
This must be the place. King of Darts, Bobby George, please. One of | :16:16. | :16:20. | |
our best-known internationals, the king, says the secret to good darts | :16:21. | :16:24. | |
is not hitting the target, but also knowing the hundreds of number | :16:25. | :16:29. | |
combinations by heart. Let's see the master in action. He is showing me | :16:30. | :16:34. | |
501 where you count back to zero but have to end on a double on the outer | :16:35. | :16:38. | |
ring. When he misses, he knows instantly how to recover. You have | :16:39. | :16:44. | |
61 left, treble 15, double 8. If you hit the 15, leaves you 46. You have | :16:45. | :16:54. | |
10 or a a 6 there. If you hit the 10, double 18. You don't see the | :16:55. | :16:59. | |
numbers. They come out. If there is anything the king doesn't know about | :17:00. | :17:04. | |
the board, meet Dr Darts. He is the only person in the world to hold a | :17:05. | :17:09. | |
PhD in darts. Determined to find out more about Gamblin, he's spent weeks | :17:10. | :17:16. | |
ploughing through the death records for the whole of Lancashire. Guess | :17:17. | :17:21. | |
what? I could find nothing. So, in the end, I made the natural | :17:22. | :17:25. | |
assumption that the man didn't exist. So, if he didn't exist, who | :17:26. | :17:32. | |
was the genius behind our dartboard? I think it was a guy called Thomas | :17:33. | :17:39. | |
Buckle. He lived in Yorkshire. I found he became a dartboard maker in | :17:40. | :17:45. | |
the trade directories, so there was more to sustain the Buckle story. | :17:46. | :17:50. | |
You had the family context. You had the evidence through the record | :17:51. | :17:53. | |
office, through the trade directory, that this man existed. Your money is | :17:54. | :18:01. | |
on him? My money's on Bucking. -- Buckle. Best not to mention that | :18:02. | :18:09. | |
scurrilous notion in these parts. Brian Gamblin may have been from | :18:10. | :18:14. | |
Bury and may have vented the dartboard, but it was Bury St | :18:15. | :18:19. | |
Edmunds! I can hear people screaming at the telly now in Lancashire! | :18:20. | :18:23. | |
Believe whatever you want to. We have been inundated with all these | :18:24. | :18:28. | |
people coming in with the Uxbridge English Dictionary words. What about | :18:29. | :18:31. | |
this one - deduce. A stammering tennis umpire. Good lad! Patricia | :18:32. | :18:39. | |
has gone along with the golfing theme on parsnip. Golfer's haircut. | :18:40. | :18:43. | |
Very good. Music plays a big part in the show. Colin is here. Let's have | :18:44. | :18:48. | |
another round of applause for Colin. APPLAUSE | :18:49. | :18:53. | |
Barry, can you explain? Title is self-explanatory. One song to the | :18:54. | :18:58. | |
tune of another? It is self-explanatory. That is what it | :18:59. | :19:01. | |
says on the tin! A particularly favourite of mine is My Old Man's A | :19:02. | :19:08. | |
Dustbin to the tune of Heartbreak Hotel. We have another gem coming up | :19:09. | :19:17. | |
now - One Tune To Another. It is one of the better ones. What is it? | :19:18. | :19:25. | |
Tim's solo! It's Girlfriend in a Coma to Tiptoe Through The Tulips. | :19:26. | :19:36. | |
Oh! Let's have a go then. # Girlfriend in a coma | :19:37. | :19:39. | |
# I know I know # That it's serious | :19:40. | :19:41. | |
# So girlfriend # In the coma | :19:42. | :19:46. | |
# I know. # I know | :19:47. | :19:49. | |
# It's really serious # There were times when | :19:50. | :19:52. | |
# I could have murdered her # But you know | :19:53. | :19:54. | |
# I hate anything # To happen to her. | :19:55. | :20:00. | |
# Do you # Really think she'll pull through | :20:01. | :20:05. | |
# Do you # Really think she'll pull through | :20:06. | :20:09. | |
# Oh # Girlfriend | :20:10. | :20:11. | |
# In the coma # I know I know | :20:12. | :20:13. | |
# Yes, it's serious # Yes, it's | :20:14. | :20:28. | |
# Oh my. # Let's keep on that musical theme. | :20:29. | :20:33. | |
Karaoke-Cokey. Audience, you have been issued with kazoos. Please | :20:34. | :20:38. | |
insert them carefully and correctly. And what will happen is you will | :20:39. | :20:42. | |
play a tune which will be displayed to you using the digital laser | :20:43. | :20:46. | |
display board provided by the BBC and we will try and guess what you | :20:47. | :20:51. | |
are playing. We have no idea and we will guess and if we get it right, | :20:52. | :20:58. | |
we will press the buzzer. A genuine, antique BBC buzzer. This is amazing. | :20:59. | :21:05. | |
You win nothing at all! You can play along at home. Tonight, we are | :21:06. | :21:10. | |
honoured to be joined by one of the world record-breaking kazoo team. | :21:11. | :21:16. | |
Who would that be? ME! Brilliant. High-five. Let's do this. Take it | :21:17. | :21:18. | |
away, Colin. You have to buzz! That's three | :21:19. | :21:43. | |
buzzes. Supercalifragilisticexpialidocious! | :21:44. | :21:50. | |
Well done to all of our kazoo players. We are going to go live to | :21:51. | :21:57. | |
a special guest to intro our next film. You are on, Morph! Do the | :21:58. | :22:02. | |
link. Do the link! My father was Tony Hart, TV artist | :22:03. | :22:25. | |
and children's presenter. And he presented and drew on children's | :22:26. | :22:30. | |
programmes for almost 50 years during his career. The programme I | :22:31. | :22:36. | |
remember best of all was Vision On. The music is very evocative. Not | :22:37. | :22:44. | |
just of my childhood, but many childhoods because Pa was drawing | :22:45. | :22:48. | |
for so long on TV. I'm not going to ice a cake. What I'm going to do is | :22:49. | :22:56. | |
going to be completely inedible. My father would find art in it somehow | :22:57. | :23:00. | |
or he would use it to create drawings or pictures, useful | :23:01. | :23:04. | |
implements from the kitchen did have a habit of disappearing. Many of | :23:05. | :23:07. | |
these things would turn up in the studio covered in paint. After | :23:08. | :23:11. | |
breakfast, usually the Sunday morning when we would have a boiled | :23:12. | :23:14. | |
egg, when your egg was finished, you would turn the shell upside-down and | :23:15. | :23:20. | |
draw a face on it. That's something that goes on in our family to this | :23:21. | :23:31. | |
very day. E When my father came out of the Army, he studied art. From | :23:32. | :23:35. | |
there, he went to London. He went to a party and he met a producer who | :23:36. | :23:40. | |
was looking for an artist who could draw quickly for a programme called | :23:41. | :23:45. | |
Saturday Special. Pa drew on a paper napkin and the producer said, | :23:46. | :23:49. | |
"You're hired! " My father was involved with quite a number of | :23:50. | :23:53. | |
programmes. He designed the Blue Peter ship. I was most aware of Pa's | :23:54. | :23:59. | |
popularity by the reaction of my school mates and I would say my | :24:00. | :24:04. | |
father is Tony Hart, the artist on TV. And they wouldn't believe me. So | :24:05. | :24:09. | |
I would have to ask him to come and pick-me-up from school so I could | :24:10. | :24:13. | |
show him and say, "There, it is true, he is my Dad! " There were so | :24:14. | :24:18. | |
many inserts that went into Vision On. Quite a lot of them were filmed | :24:19. | :24:22. | |
at the house. If I was at home, that was hugely exciting - loved it. | :24:23. | :24:27. | |
There was one occasion when I had to help and it was brilliant. This | :24:28. | :24:36. | |
place is very important to my father because it was founded by two young | :24:37. | :24:41. | |
men who created a company called Aardman Animations after one of the | :24:42. | :24:44. | |
characters they created which was used in Vision On. They of course | :24:45. | :24:48. | |
went on to produce Wallace and Gromit and they have gone on from | :24:49. | :24:52. | |
strength to strength. When Vision On came to an end, my father's producer | :24:53. | :25:00. | |
said the format is lovely but we need something alongside you, not | :25:01. | :25:07. | |
someone, but something. Morph, do you think that is a good idea? From | :25:08. | :25:11. | |
then on, my father's name was synonymous with Morph. | :25:12. | :25:19. | |
We're making a Morph. Always! For me, it is almost like a nervous | :25:20. | :25:27. | |
habit. Many people always assume that it was Pa who invented Morph. | :25:28. | :25:31. | |
Does this upset you at all? Not at all. Not at all, no. Oh. A Tony | :25:32. | :25:43. | |
Morph! For you. Thank you so much. He once said when somebody asked | :25:44. | :25:47. | |
him, you should never work with children or animals, or plasticine. | :25:48. | :25:51. | |
Yes. Pa continued to work right up to | :25:52. | :26:03. | |
2000. After my mother died, which was a tremendous shock, he had had | :26:04. | :26:08. | |
several small strokes and that resulted in the loss of the use of | :26:09. | :26:13. | |
his right hand which meant, of course, he could no longer draw. He | :26:14. | :26:18. | |
was in hospital and then I woke up in the early hours of the morning, I | :26:19. | :26:22. | |
could hear the phone doing a strange beep which meant there was a message | :26:23. | :26:25. | |
left and it was the hospital to say he had gone. All the people who, | :26:26. | :26:31. | |
even today they will come and find me and say, "I'm an art teacher, I'm | :26:32. | :26:38. | |
an illustrator and I am this thing because of your Dad." That is just | :26:39. | :26:42. | |
the most wonderful legacy he could possibly have left. Well, he was a | :26:43. | :26:50. | |
real inspiration for me. Isn't the family resemblance striking. | :26:51. | :26:58. | |
Following a campaign, Aardman Animations are to release 15 Morph | :26:59. | :27:05. | |
animations to be shown in the summer. | :27:06. | :27:10. | |
Owen is part of the Tap Attack attack. How come we are so good at | :27:11. | :27:15. | |
this? We work together and it is such a close family. The | :27:16. | :27:18. | |
choreographers are great. This routine was choreographed... We are | :27:19. | :27:23. | |
going to see a bit. So get ready to do it. | :27:24. | :27:27. | |
It will be brilliant. To all of our guests tonight, you can see I'm | :27:28. | :27:31. | |
Sorry I Haven't A Clue on tour right now. We are going to leave you with | :27:32. | :27:32. | |
Tap Attack. Take it away, guys! | :27:33. | :27:36. |