Browse content similar to 27/02/2012. Check below for episodes and series from the same categories and more!
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Hello and welcome to the programme. Our guest tonight has done some of | 0:00:13 | 0:00:17 | |
rock and roll's most memorable songs of all time. There was the | 0:00:17 | 0:00:22 | |
legendary Bat Out Of Hell, I Would Do Anything For Love, and of course, | 0:00:22 | 0:00:30 | |
what was the other one? Well, two out of three ain't bad, Matt. It's | 0:00:30 | 0:00:40 | |
Meat Loaf! Go on, mate. You know, you took the words right out of my | 0:00:40 | 0:00:46 | |
mouth. Brilliant. For crying out loud, can't you get it right? It is | 0:00:46 | 0:00:53 | |
nice to see you. Nice to see you, too, and he is in his jumper. I | 0:00:53 | 0:00:58 | |
don't know why they call them sweaters. And you're co-existing. | 0:00:58 | 0:01:04 | |
Yes, thank you for helping me remember that. I made this jacket | 0:01:04 | 0:01:12 | |
for the album called Co-exist. And the kids will like it, too. | 0:01:12 | 0:01:16 | |
Speaking of glitz and glamour, it was the Oscars last night, and | 0:01:16 | 0:01:26 | |
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there's a lot of controversy of course about what happened when | 0:01:28 | 0:01:34 | |
Sasha Baron Cohen spilt these Ashes, I don't know whether you have seen | 0:01:34 | 0:01:44 | |
0:01:44 | 0:01:52 | ||
this. I'm sure he would not have been happy with that, I do not | 0:01:52 | 0:02:02 | |
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think he would have been happy. did look very bothered. Knowing | 0:02:03 | 0:02:08 | |
Ryan, that would not have gone down very well. When I left, they were | 0:02:08 | 0:02:15 | |
saying that they were not going to allow him to come to the Oscars, | 0:02:15 | 0:02:22 | |
Sasha, and if he wanted to come, he could not come dressed as the | 0:02:22 | 0:02:27 | |
dictator. I guess they had to give in to it, and once he did that, | 0:02:27 | 0:02:36 | |
that was it. He got a lot more promo out of that than he would | 0:02:36 | 0:02:42 | |
have done if he had come dressed in a tuxedo. Lots of famous people of | 0:02:42 | 0:02:45 | |
course had a chance to thank their family and friends in front of | 0:02:45 | 0:02:51 | |
millions last night. But we thought, why should they be the only ones? | 0:02:51 | 0:02:56 | |
If you have anybody want to thank, for any reason at all, send us the | 0:02:56 | 0:03:02 | |
details and we will read some of them out at the end of the show. | 0:03:02 | 0:03:06 | |
get us into the thanking mood, we sent Lucy Siegle all the way to | 0:03:06 | 0:03:10 | |
Hollywood. Do we have a budget for Hollywood? No, it is a lot cheaper | 0:03:10 | 0:03:16 | |
than you might think. Here we go. When they asked me to report from | 0:03:16 | 0:03:20 | |
Hollywood on the red carpet, naturally, I was flattered, and I | 0:03:20 | 0:03:24 | |
jumped at the chance. However, Hollywood near Birmingham was not | 0:03:24 | 0:03:34 | |
0:03:34 | 0:03:35 | ||
what I had in mind. You look magnificent. These are my Saturday | 0:03:35 | 0:03:40 | |
scruffy clothes, actually. You're looking fabulous, who are you | 0:03:40 | 0:03:48 | |
wearing? You must be pretty busy... You're not the actor Tom Hanks. | 0:03:48 | 0:03:54 | |
I'm Tom Hanks from Birmingham, I'm a mechanic. Tom Hanks has obviously | 0:03:54 | 0:04:00 | |
won many awards - have you won anything? I did a bit of cycle | 0:04:00 | 0:04:04 | |
racing a few years ago, I have won the British Championship five times, | 0:04:04 | 0:04:10 | |
and also the Isle of Man TT. This is quite impressive. What awards | 0:04:10 | 0:04:20 | |
have you won? Five star excellence award for best tribute in Hollywood. | 0:04:20 | 0:04:25 | |
I wrote an essay about Martians taking over Birmingham. There's one | 0:04:25 | 0:04:29 | |
category which I don't think the academy has recognised, the best | 0:04:29 | 0:04:35 | |
acceptance speech, and I am going to recognise it now. Firstly, I am | 0:04:35 | 0:04:37 | |
just going to pack my girlfriend for being such an understanding | 0:04:37 | 0:04:43 | |
partner. I would like to thank all my pets, my mum, my brother, my | 0:04:43 | 0:04:46 | |
teammates. My husband, for producing the best fish and chips | 0:04:46 | 0:04:49 | |
in Hollywood. I am quite nervous having all of these people looking | 0:04:49 | 0:04:54 | |
at me up on stage. I would like to thank our local butcher, who gives | 0:04:54 | 0:05:00 | |
him regular meat. His name was not Richard, it is not rigid, actually, | 0:05:00 | 0:05:05 | |
but he is a fantastic bloke, and I have not divorced him yet, after | 0:05:05 | 0:05:11 | |
nearly 50 years. So, I had gathered the nominees together, but who will | 0:05:11 | 0:05:16 | |
win this coveted category? The winner of the best acceptance | 0:05:16 | 0:05:26 | |
0:05:26 | 0:05:27 | ||
speech is Nicky. Well done. And I would like to thank the residents | 0:05:27 | 0:05:34 | |
of Hollywood near Birmingham and all those people... There you have | 0:05:34 | 0:05:42 | |
it, emotional scenes from just outside Birmingham. Why do you | 0:05:42 | 0:05:48 | |
think she got upset at the fiddle player? Maybe she just doesn't like | 0:05:48 | 0:05:53 | |
it. Anyway, we were thinking about the first award that you ever got. | 0:05:53 | 0:05:59 | |
Yes, it was for football. And it was presented to me by a | 0:05:59 | 0:06:03 | |
quarterback who played for the US Cowboys, by the name of Don | 0:06:03 | 0:06:11 | |
Meredith, who eventually went on to be one of the Monday night football | 0:06:11 | 0:06:15 | |
presenters, and all of that when right over your head, but anyway... | 0:06:15 | 0:06:21 | |
He gave me the first award, which was a football award, and the only | 0:06:21 | 0:06:25 | |
person I thanked was him, for handing it to me. Thank you, very | 0:06:25 | 0:06:31 | |
much, and I left, that was it. Short and snappy. Yes, right to the | 0:06:31 | 0:06:37 | |
point. Now, we do like a powerful rock song, and you're the king of | 0:06:37 | 0:06:41 | |
writing those songs, so what would you say are the key ingredients to | 0:06:41 | 0:06:48 | |
make good, powerful rock song? you have to believe in what you're | 0:06:48 | 0:06:56 | |
writing about, you have to commit to it completely. You have to | 0:06:56 | 0:07:01 | |
believe it, in other words, you cannot just sit here and figure out, | 0:07:01 | 0:07:07 | |
OK, I'm writing the word son, what rhymes with son? You cannot just do | 0:07:07 | 0:07:13 | |
that, the words have to flow, there has to be passion, it has to come | 0:07:13 | 0:07:18 | |
from your heart. Too many writers go to the rhyming dictionary and | 0:07:18 | 0:07:28 | |
try to find words which rhyme, but it never works. There are lots of | 0:07:28 | 0:07:33 | |
examples of these passionate songs on your new album, Hell In A | 0:07:33 | 0:07:43 | |
0:07:43 | 0:07:44 | ||
Handbasket. Let's have a bit of one of the singles from that album. | 0:07:44 | 0:07:45 | |
Somebody's got to stand in the storm. | 0:07:45 | 0:07:55 | |
0:07:55 | 0:07:56 | ||
# Somebody's got to stand... # Somebody's got to stand in the | 0:07:56 | 0:07:58 | |
storm. # Somebody's got to stand in the | 0:07:58 | 0:08:08 | |
0:08:08 | 0:08:10 | ||
storm. It is track after track of really good ones. That's one of the | 0:08:10 | 0:08:16 | |
new ones, that was a video we did in Sydney, Australia, and I am | 0:08:16 | 0:08:21 | |
making myself crazy by watching that, going, why don't you turn and | 0:08:21 | 0:08:25 | |
look at the audience? It was really the third time we had ever done | 0:08:25 | 0:08:29 | |
that song, so I was just sitting and watching him, to make sure I | 0:08:29 | 0:08:36 | |
have got the words right. And finally at the end, I do turn and | 0:08:36 | 0:08:45 | |
look at the audience. Littlejohn comes in right after that with a | 0:08:46 | 0:08:50 | |
hip hop number. I combined rock with country with hip hop, which | 0:08:50 | 0:08:58 | |
nobody has ever done before. Why do you call it Hell In A Handbasket? | 0:08:58 | 0:09:02 | |
Because I have been saying that for the last six or seven years. It is | 0:09:02 | 0:09:07 | |
all about me, me, me, everybody wants a handout, nobody wants to | 0:09:07 | 0:09:13 | |
work, everybody wants something for free. We have lost our humanity, we | 0:09:13 | 0:09:23 | |
0:09:23 | 0:09:26 | ||
have lost our compassion for people. And the Internet has bred... It | 0:09:26 | 0:09:31 | |
happened today in America with the school shooting. I believe that is | 0:09:31 | 0:09:40 | |
from the Internet, the Internet has bred this hatred from people, | 0:09:40 | 0:09:46 | |
because people can hide behind User Names and write the most terrible | 0:09:46 | 0:09:51 | |
things in the world, and it gives people angst, and it builds up | 0:09:51 | 0:09:57 | |
until people explode and do things they should not do. And it is wrong. | 0:09:57 | 0:10:03 | |
Nobody is telling us the truth. this one is coming from the heart. | 0:10:03 | 0:10:09 | |
Yes, it is the first album that I have done through my eyes. We loved | 0:10:09 | 0:10:14 | |
it, especially the first track. lot of it is a confessional. It is | 0:10:14 | 0:10:23 | |
like I have gone to the priest and said, here I am. It is really great. | 0:10:23 | 0:10:28 | |
I'm glad you like it because I like it as well. On we go, a good head | 0:10:28 | 0:10:35 | |
teacher can make or break a school, but they are in short supply. | 0:10:35 | 0:10:39 | |
Gloria Hunniford has been to Ipswich to see what can be done to | 0:10:39 | 0:10:43 | |
get a right people applying for that job. We all remember our head | 0:10:43 | 0:10:47 | |
teachers, they were the tyrants, the people we most feared. Well, | 0:10:47 | 0:10:51 | |
not any more, apparently. Many schools are truly struggling to | 0:10:51 | 0:10:56 | |
find the right person for that job. So, as a nation, why is it that we | 0:10:56 | 0:11:02 | |
are losing our heads? The average wage for a head teacher is �55,000 | 0:11:02 | 0:11:08 | |
a year, for roughly 55 hours a week. Yet there are still vacancies or | 0:11:08 | 0:11:15 | |
around the country. These students at this primary school in Ipswich | 0:11:15 | 0:11:20 | |
have taken matters into their own hands. Dear possible future head | 0:11:20 | 0:11:25 | |
teacher, thanks for looking into the job... They are working hard to | 0:11:25 | 0:11:28 | |
make sure they get the right person for the job. Not only did they help | 0:11:28 | 0:11:36 | |
to write such as -- to write the job description, but they're | 0:11:36 | 0:11:39 | |
helping with the interviews as well. They should have a good sense of | 0:11:39 | 0:11:48 | |
humour, they should be fair with us, and they should listen to us. | 0:11:48 | 0:11:53 | |
you have a really good head teacher, hopefully it will get you a really | 0:11:53 | 0:12:00 | |
good job, and then you will get paid lots of money. Last year, 36% | 0:12:00 | 0:12:06 | |
of primary and 19% of secondary head teachers' posts were reported | 0:12:06 | 0:12:11 | |
unfilled after an advertisement. The National Association of head | 0:12:11 | 0:12:13 | |
teachers that people are not applying for the job, and they say | 0:12:13 | 0:12:18 | |
that as a result, we could be heading towards a crisis. I find it | 0:12:18 | 0:12:21 | |
hard to understand why teachers are not aiming towards being a head | 0:12:21 | 0:12:26 | |
teacher, why do you think this is happening? It is of course a | 0:12:26 | 0:12:31 | |
concern. There are two main reasons, firstly, many head teachers are | 0:12:31 | 0:12:34 | |
close to retirement, about a third of them are within five years, and | 0:12:34 | 0:12:40 | |
secondly, deputy heads and assistant head teachers are looking | 0:12:40 | 0:12:44 | |
at it, seeing the risks and the pressure, and wondering if it is | 0:12:44 | 0:12:48 | |
the right job for them. You cannot actually open a school without | 0:12:48 | 0:12:52 | |
somebody taking the responsibility as a head teacher. So, this could | 0:12:52 | 0:12:56 | |
have a big impact on the standard of education in this country? | 0:12:56 | 0:12:59 | |
we will not be able to turn schools around without strong head teachers. | 0:12:59 | 0:13:04 | |
We need to get the best people in, not just anybody. We must be | 0:13:04 | 0:13:08 | |
demanding of them, and they must be ready for pressure. This lady knows | 0:13:08 | 0:13:13 | |
only too well what it is like. She is the head teacher at a school in | 0:13:13 | 0:13:18 | |
Suffolk, and another school, three miles up the road. She splits her | 0:13:18 | 0:13:22 | |
time equally between the two, meaning that she needs to be in two | 0:13:22 | 0:13:27 | |
places at once, with twice as many children to look after, and twice | 0:13:27 | 0:13:32 | |
as many parents to please. I have not experienced anything like it | 0:13:32 | 0:13:36 | |
before, but there is no reason why it should not work. I had my | 0:13:36 | 0:13:40 | |
reservations, but for us, it is a real benefit, because we get the | 0:13:40 | 0:13:44 | |
experience of an excellent head teacher, who has been at another | 0:13:44 | 0:13:47 | |
school in the local area. She has got a really good track record, | 0:13:47 | 0:13:51 | |
which have now is really important. I have specific days to be at each | 0:13:51 | 0:13:55 | |
school, and I will start at about 8 o'clock most mornings, meeting up | 0:13:55 | 0:13:59 | |
with my staff, looking at the day ahead. The day with the children | 0:13:59 | 0:14:05 | |
runs until 3 o'clock, but I'm quite often hear a few hours after that. | 0:14:05 | 0:14:11 | |
How can you do it at both schools? The main thing is that I am not two | 0:14:11 | 0:14:15 | |
head teachers, I have a strategic role, and I have superb deputy | 0:14:15 | 0:14:20 | |
heads in both schools, to make it manageable for me. Is there ever a | 0:14:21 | 0:14:25 | |
situation where a emergency arises? We have not as yet, but we are only | 0:14:25 | 0:14:29 | |
a few miles up the road, so it would not be a big issue if I had | 0:14:29 | 0:14:34 | |
to come over very quickly. suppose many sceptics would say, | 0:14:34 | 0:14:37 | |
the education authorities are doing well out of you, getting two for | 0:14:37 | 0:14:42 | |
the price of one. Maybe, but I feel I have done quite well with it as | 0:14:42 | 0:14:47 | |
well. It suits me, it is a solution for our Local Schools which is | 0:14:47 | 0:14:57 | |
working well. No regrets? Non- at The department for education say | 0:14:57 | 0:15:02 | |
that the vacancies have remained low and stable. That there are | 0:15:02 | 0:15:08 | |
currently 207 vacancies over 20,000 state schools. Cricks say it does | 0:15:08 | 0:15:12 | |
not reflect the department tis acting as head teachers. The | 0:15:12 | 0:15:16 | |
department of education is working hard to bring through the next | 0:15:16 | 0:15:20 | |
generation of teaching heads. But training takes time, concern is | 0:15:20 | 0:15:25 | |
growing that the gap will be too wide to fill. In the meantime, | 0:15:25 | 0:15:28 | |
heads like Karen have their work cut out for them. | 0:15:28 | 0:15:34 | |
Indeed, we have one of the country's most famous Deputy Head | 0:15:34 | 0:15:38 | |
teachers here, who last year had his ever move filmed for Channel 4. | 0:15:38 | 0:15:44 | |
When I speak to you, I expect you to look at me and speak to me | 0:15:44 | 0:15:50 | |
properly. You are failing to pass GCSEs at a standard you are able to | 0:15:50 | 0:15:57 | |
pass them at. You are not respecting people properly, not | 0:15:57 | 0:16:03 | |
respecting people properly and not enabling your success. Take your | 0:16:03 | 0:16:07 | |
hants out of your pockets while talking to me. Well, that told her. | 0:16:07 | 0:16:15 | |
It is Educating Essex ex's Stephen Drew! I don't think that was bad. | 0:16:15 | 0:16:20 | |
You did not yell or scold. You were talking to her straight ahead. I | 0:16:20 | 0:16:26 | |
hear you want to be a headteacher? A headteacher, yes. | 0:16:26 | 0:16:30 | |
I will ask a few questions to see if you qualify. | 0:16:30 | 0:16:39 | |
Interviewed by loaf loaf loaf?! don't mess around on The One Show. | 0:16:39 | 0:16:44 | |
How do you describe your teaching style? Clear, simple, fair. | 0:16:44 | 0:16:51 | |
Great. I was caught in the parking lot in my 1958 car making out with | 0:16:51 | 0:16:55 | |
my girlfriend, how would you have dealt with me? I would have seen | 0:16:55 | 0:16:59 | |
that as something that your parents deal with. We might leave you in | 0:16:59 | 0:17:04 | |
the car, your parents come in, and see if your parents want to have a | 0:17:04 | 0:17:10 | |
chat through the window. . Yes, but I want you to know that | 0:17:10 | 0:17:16 | |
I was the best kes kisser in the seventh grade. Why did you not | 0:17:16 | 0:17:21 | |
apply for this job earlier? I felt that I was ready to apply this time. | 0:17:21 | 0:17:27 | |
That is a good clip, there. What qualities do you have that | 0:17:27 | 0:17:32 | |
make you a great headteacher? think I'm calm, patient, clear, | 0:17:32 | 0:17:36 | |
forward-looking, I think that I understand what people need. I | 0:17:36 | 0:17:40 | |
believe in high standards. OK, Hell In A Handbasket comes out | 0:17:40 | 0:17:48 | |
today, are you going to buy it? Without a shadow of a doubt! | 0:17:48 | 0:17:57 | |
more? School uniforms, yes or no? Yes! Yes! OK. They should be the | 0:17:57 | 0:18:04 | |
girls in short halter tops, the boys, gym shorts with muscle shorts, | 0:18:04 | 0:18:09 | |
unless you look like me, in that case, armour. | 0:18:09 | 0:18:13 | |
I think that I will get the job ahead of you. | 0:18:13 | 0:18:18 | |
Stephen Drew, on a serious note, what is the thing that puts them | 0:18:18 | 0:18:23 | |
off wanting to be a headteacher? think that many people in my | 0:18:23 | 0:18:29 | |
position want to be a headteacher. Then they get to where I am, and | 0:18:29 | 0:18:34 | |
maybe the headteacher looks tired, then they reach a stop, a block. | 0:18:34 | 0:18:38 | |
There are lots that want to be a headteacher, but there are those | 0:18:38 | 0:18:42 | |
who think is just a step too far. They see so much in the news, so | 0:18:42 | 0:18:45 | |
much from the Government saying that the head teachers are not | 0:18:45 | 0:18:48 | |
doing a great job. So they feel talked down to. | 0:18:48 | 0:18:53 | |
How do you enthuse people? I think you have to say you know why you | 0:18:53 | 0:18:57 | |
came to teaching. There are great head teachers out there. You know | 0:18:57 | 0:19:02 | |
you can make a difference. Be inspired. Look at what the National | 0:19:02 | 0:19:06 | |
College are doing. Believe in what you want to do. Believe in what you | 0:19:06 | 0:19:11 | |
are doing. To know this is what you want to do, to inspire young people. | 0:19:11 | 0:19:15 | |
Whatever is being said out there by people who don't fully understand | 0:19:15 | 0:19:20 | |
education, by talking schools down. I cut past that. I believe that I | 0:19:20 | 0:19:26 | |
want to do it, I'm a passionate advocate for teaching, I want to do | 0:19:26 | 0:19:34 | |
Yes! My mother was a teacher, she would have agreed 100%. Teachers | 0:19:34 | 0:19:37 | |
teaching with are the most important people in the world. They | 0:19:37 | 0:19:43 | |
are the ones that educate the young. That's what we need right now. It | 0:19:43 | 0:19:47 | |
is better education. Thank you very much. | 0:19:47 | 0:19:55 | |
Give me five! Now, Arthur Smith may be a self-declared grumpy old man, | 0:19:55 | 0:20:02 | |
but there are a few things that make him happy. A bunny rabbit. A | 0:20:02 | 0:20:05 | |
fireplace and a lovely bedtime story. Tonight he is off to the | 0:20:05 | 0:20:12 | |
Lake District in search of all three. | 0:20:12 | 0:20:16 | |
Tonight I'm expecting to sleep sweetly. I'm staying in the house | 0:20:16 | 0:20:21 | |
where some of the world's favourite bedtime stories were written. Once | 0:20:21 | 0:20:28 | |
upon a time, there were three little kittens... This is Hilltop, | 0:20:28 | 0:20:32 | |
the Lake District home of Beatrix Potter, the author and illustrator | 0:20:32 | 0:20:41 | |
of Peter Rabbit and Tom Kitten and many more. | 0:20:41 | 0:20:45 | |
Beatrix Potter first visited the Lake District on family holidays | 0:20:45 | 0:20:50 | |
with her parents and completely fell in love with the place. | 0:20:50 | 0:20:53 | |
Her writing career began with letters written from the Lake | 0:20:53 | 0:20:57 | |
District holidays, illustrated with her beautiful sketches and sent to | 0:20:57 | 0:21:03 | |
the children of family friends. She used some of these later in her | 0:21:03 | 0:21:07 | |
first book, which she fought hard to get published. It was an | 0:21:07 | 0:21:13 | |
immediate success. Its with called the Tale of Peter Rabbit. Peter, | 0:21:13 | 0:21:18 | |
who was very naughty, ran straight away to Mr McGregor's garden and | 0:21:19 | 0:21:26 | |
squeezed under the gate! But her parents did not approve of her | 0:21:26 | 0:21:31 | |
enterprise. Beet Rick came from a wealthy | 0:21:31 | 0:21:37 | |
background, a well to do family. Her father was a barrister. She was | 0:21:37 | 0:21:42 | |
brought up was would-be fit a Victorian je gentleman's daughter. | 0:21:42 | 0:21:49 | |
Daughters of respectable families did not go into trade. Things | 0:21:49 | 0:21:59 | |
became frosty when beet Rick grew close to her publisher, Norman. | 0:21:59 | 0:22:05 | |
Breet rix did not -- became close to Norman, but her parents did not | 0:22:05 | 0:22:09 | |
like Norman at all. They wanted her to look after them | 0:22:09 | 0:22:12 | |
in old age. The parents finally agreed to the | 0:22:12 | 0:22:17 | |
marriage, but sadly he died before it could take place, but book sales | 0:22:17 | 0:22:26 | |
from a small inheritance meant that beet Rick could wrifplt | 0:22:26 | 0:22:30 | |
This is -- write. This is where she wrote, writing at | 0:22:30 | 0:22:37 | |
her desk here, gazing out of the window for inspiration. It sounds | 0:22:37 | 0:22:42 | |
romantic, but actually, Beatrix was a canny woman. She was one of the | 0:22:42 | 0:22:47 | |
first writers to recognise the possibilities of merchandise. That | 0:22:47 | 0:22:50 | |
finally earned her the independence she craved. Allowing her to | 0:22:50 | 0:22:56 | |
finances a developing passion for farming and conservation and | 0:22:56 | 0:23:00 | |
settling into local life finding love again. | 0:23:00 | 0:23:08 | |
She started to work with William Healis. The local land agent. They | 0:23:08 | 0:23:16 | |
became friendly, when he proposed she accepted. They married late, he | 0:23:16 | 0:23:24 | |
was 47, she was 42, but they enjoyed 30 years together. | 0:23:24 | 0:23:27 | |
I'm sleeping downstairs tonight. Beatrix would have spent a lot of | 0:23:27 | 0:23:32 | |
time in this house. She loved animals, but she was a | 0:23:32 | 0:23:36 | |
farmer, and would not have been adverse to a touch of lamb hotpot | 0:23:36 | 0:23:41 | |
for her supper. Some of the walls were four feet thick, there used to | 0:23:41 | 0:23:46 | |
be queer noises inside of them, as if there might be a little secret | 0:23:46 | 0:23:52 | |
staircase. This is a dark, cold old house. I hope any scratchings that | 0:23:52 | 0:24:00 | |
I hear are from benign friends of Samuel Whiskers. | 0:24:00 | 0:24:06 | |
That was not the warmest night I have ever spent. I did have a | 0:24:06 | 0:24:12 | |
nightmare involving a plp McGregor, but I realise what a remarkable | 0:24:12 | 0:24:17 | |
woman Beatrix Potter was. She led a restricted life in many ways, tied | 0:24:17 | 0:24:23 | |
to her parents and old farbgsd. Yet through sheer ambition and | 0:24:23 | 0:24:29 | |
dedication to getting published she created her own life and wealth | 0:24:30 | 0:24:35 | |
which was very modern indeed and left a good legacy. | 0:24:35 | 0:24:40 | |
Leaving this land to the National Trust, but best of all, she led 23 | 0:24:40 | 0:24:44 | |
tales that more than 100 years later are still read and loved by | 0:24:44 | 0:24:50 | |
children all of the -- over the world. | 0:24:50 | 0:24:58 | |
I used to love Peter Rabbit. You have that beautiful landscape. You | 0:24:58 | 0:25:00 | |
can imagine Beatrix Potter Penning way. | 0:25:00 | 0:25:06 | |
Children's stories are unbelievable. I loved Peter Rabbit, but I loved | 0:25:06 | 0:25:13 | |
The Little Train That Could. I have not heard that one? He could | 0:25:13 | 0:25:20 | |
not get up the hill. He kept saying, "I can't get up the hill." The | 0:25:20 | 0:25:25 | |
father train saying, "Yes, you can." The little train kept going, | 0:25:25 | 0:25:30 | |
trying and trying and trying, finally he got to the top of the | 0:25:30 | 0:25:36 | |
hill. So it is the Little Train That Could. | 0:25:36 | 0:25:41 | |
Mate, I'm sure that any kid who has heard that will be trying now. | 0:25:41 | 0:25:44 | |
Meaning that you can do anything you set your mind to. | 0:25:44 | 0:25:48 | |
Now, whether you are setting your mind to writing a new song, where | 0:25:48 | 0:25:53 | |
do you like to do it, then? Is there a special place you like to | 0:25:53 | 0:25:58 | |
write? Yep. I get all of the people that I know together. I tell them | 0:25:58 | 0:26:06 | |
the idea for the song. I tell them you guys go away and then I will | 0:26:06 | 0:26:11 | |
work with them. If I sit in the room with them, I will not record | 0:26:11 | 0:26:16 | |
it. I wait for a while, then I go in and change it all, then I record | 0:26:16 | 0:26:22 | |
it. I can't be in the room, every time I'm in the room with writers | 0:26:22 | 0:26:28 | |
when they start a song, I will never record it. The only exception | 0:26:28 | 0:26:36 | |
is I wrote with an English friend of mine named John Parr. We wrote | 0:26:36 | 0:26:42 | |
Magical together, I sat in the room with John, we wrote Magical. It was | 0:26:42 | 0:26:48 | |
number 14 in the charts in America. So... You have this incredible | 0:26:48 | 0:26:55 | |
energy on stage. Your songs are massive productions. There are | 0:26:55 | 0:27:03 | |
wonderful lyrics, but where do you keep finding the energy? You suffer | 0:27:03 | 0:27:10 | |
badly from asthma? I've been asthmatic since I was a child. | 0:27:10 | 0:27:20 | |
0:27:20 | 0:27:22 | ||
I had asthma so bad in Pittsburgh we got into a song called Loss A | 0:27:22 | 0:27:30 | |
nge loo serbgs r, I fainted. I woke up and said what song are we on, | 0:27:30 | 0:27:35 | |
where are we going to, they were telling me we have to get off the | 0:27:35 | 0:27:39 | |
stage. I told them to start it. They said | 0:27:39 | 0:27:44 | |
no, you have to get off the stage. I got up, I wanted to start the | 0:27:44 | 0:27:48 | |
song. It was not the greatest vocal in the world. | 0:27:48 | 0:27:53 | |
But then we finished the show. My shows are about 20 hours and 20 | 0:27:53 | 0:27:56 | |
minutes long. I bet the audience were thanking | 0:27:56 | 0:27:59 | |
you for that. I was the little train that could! | 0:27:59 | 0:28:04 | |
Yes, you were. Now, we've been asking you to send | 0:28:04 | 0:28:08 | |
in your thank yous. Here we go. You start us off. | 0:28:08 | 0:28:15 | |
I love this one. This is, these are the thank yous, | 0:28:15 | 0:28:22 | |
this is from Amy. She says: Thanks to my cat, Dudley, for being so | 0:28:22 | 0:28:26 | |
cuddly. A good rhyme. | 0:28:26 | 0:28:32 | |
This is nice, this is from Charlotte. She would like to thank | 0:28:32 | 0:28:35 | |
ter sister for being such a brilliant sister. This one is | 0:28:35 | 0:28:43 | |
simple. This is from Steve : Thank you, Sue, for filling in the floor. | 0:28:43 | 0:28:48 |