Browse content similar to 01/11/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to
The One Show with Alex Jones... | 0:00:17 | 0:00:19 | |
and Amol Rajan. | 0:00:19 | 0:00:21 | |
As always, tonight's show promises
to be a true rollercoaster ride. | 0:00:21 | 0:00:28 | |
If you're a horse, literally. | 0:00:28 | 0:00:32 | |
We'll explain that later. | 0:00:32 | 0:00:36 | |
So who better to have on the sofa
than two quiz show veterans who must | 0:00:36 | 0:00:40 | |
know a little about a lot by now,
plus the man who wrote a book | 0:00:40 | 0:00:44 | |
called, 'The History of the World'. | 0:00:44 | 0:00:45 | |
You'd assume he knows a few things! | 0:00:45 | 0:00:47 | |
Please welcome Liza Tarbuck,
Victoria Coren Mitchell | 0:00:47 | 0:00:49 | |
and Andrew Marr! | 0:00:49 | 0:00:49 | |
CHEERING AND APPLAUSE
Welcome all. This is how we're going | 0:00:49 | 0:00:54 | |
to start. On Onl Connect you
introduce the contestants with a | 0:00:54 | 0:01:00 | |
quirky fact. We will do it with you
three. If you start Victoria. You | 0:01:00 | 0:01:05 | |
never want to be that quirky on Only
Connect. I once won a rosette for | 0:01:05 | 0:01:12 | |
Best Sponge Cake at the Clacton Arts
Festival. That would be my thing. | 0:01:12 | 0:01:18 | |
It's really bizarre. It's not what
you would expect, it's not bizarre. | 0:01:18 | 0:01:22 | |
What about you, Liza? I once built a
two roomed pygmy hut out of bamboo. | 0:01:22 | 0:01:29 | |
That is more bizarre. Why? Why
wouldn't you, come on? To do | 0:01:29 | 0:01:39 | |
prehistoric living in my own back
garden. I'm interested in that. We | 0:01:39 | 0:01:43 | |
would like to see a picture? I could
redo it. Great. Andrew. Well, it is | 0:01:43 | 0:01:49 | |
alleged that the Queen mistook me
for Vladimir Putin or vice versa | 0:01:49 | 0:01:53 | |
when he was over here on a state
visit. They were in that open coach | 0:01:53 | 0:01:57 | |
going up Bird Cage Walk, they were
chatting through an interpreter and | 0:01:57 | 0:02:03 | |
someone at the Palace said, what
were you talking about? She said, "I | 0:02:03 | 0:02:08 | |
can't quite remember, I was trying
to remind myself this is the Russian | 0:02:08 | 0:02:12 | |
President and not that chappie from
the BBC.". Let's check this out. I | 0:02:12 | 0:02:18 | |
can see it. There's a bit. No! I've
got slightly less blood stained | 0:02:18 | 0:02:24 | |
record! Yeah. Never worked for the
KGB as far as we know. | 0:02:24 | 0:02:32 | |
Later on we'll be getting all arty,
as not only will we get a look | 0:02:32 | 0:02:36 | |
at Andrew's latest masterpieces,
but our resident artist, Adebanji, | 0:02:36 | 0:02:38 | |
has been out to capture
the perfect Autumn scene before | 0:02:38 | 0:02:40 | |
all the leaves are gone. | 0:02:40 | 0:02:41 | |
He'll be revealing
his painting later. | 0:02:41 | 0:02:43 | |
We'd like your help too,
at the moment our Autumn gallery | 0:02:43 | 0:02:45 | |
is empty and we need you to fill it. | 0:02:45 | 0:02:50 | |
From beautiful Autumn landscapes,
to the kids playing in mountains | 0:02:50 | 0:02:53 | |
of leaves, send us your best Autumn
photos, drawings and paintings | 0:02:53 | 0:02:55 | |
and the stories behind them
| 0:02:55 | 0:03:00 | |
This has been a week of high stakes
for Britain's bookies | 0:03:00 | 0:03:03 | |
as they anxiously awaited news
of a Government crackdown on key | 0:03:03 | 0:03:05 | |
parts of their business. | 0:03:05 | 0:03:07 | |
That report came out yesterday
and it left open a major loophole | 0:03:07 | 0:03:09 | |
in the law that lets children see
gambling ads at all | 0:03:09 | 0:03:12 | |
hours of the day. | 0:03:12 | 0:03:13 | |
Here's Clare McDonnell with more. | 0:03:13 | 0:03:19 | |
Oi! All Almost half of right.
Premier League teams are now | 0:03:19 | 0:03:25 | |
sponsored by a bookies. Stoke City
is even owned by one. Whilst adverts | 0:03:25 | 0:03:31 | |
promoting sports betting aren't
shown before the 9.00pm watershed, | 0:03:31 | 0:03:35 | |
there's one exception - live sport.
Sglp which means on match days young | 0:03:35 | 0:03:40 | |
people are being bombarded by
gambling ads. This is 5 Live. As a | 0:03:40 | 0:03:47 | |
journalist with a football mad
family I'm concerned about the | 0:03:47 | 0:03:51 | |
influence gambling firms might be
having on our children, and it's not | 0:03:51 | 0:03:54 | |
just me. It does bother me. Yeah. In
an ideal world we wouldn't be | 0:03:54 | 0:03:59 | |
sponsored by Bet 365. I don't think
children growing up associate Bet | 0:03:59 | 0:04:07 | |
365 with gambling you but with Stoke
City Football Club. 888 has fallen | 0:04:07 | 0:04:15 | |
short of the law, they were fined
almost £8 million for failing to | 0:04:15 | 0:04:19 | |
protect vulnerable customers. Do
young football fans and their | 0:04:19 | 0:04:24 | |
parents realise how many ads they
are exposed to and what impact that | 0:04:24 | 0:04:28 | |
might be having on them? This is all
about live sport. So these families | 0:04:28 | 0:04:36 | |
have agreed to take part in a One
Show test. They will watch today's | 0:04:36 | 0:04:41 | |
big match. Our researchers will be
counting up the ads during the | 0:04:41 | 0:04:47 | |
commercial breaks. Marketing expert
Robin Carey will conduct a simple | 0:04:47 | 0:04:52 | |
post-match test to find out what
effect those ads are having on the | 0:04:52 | 0:04:57 | |
kids. Betting companies like to be
associated with heroic activities. | 0:04:57 | 0:05:00 | |
If you see a hero associated with a
betting company, it's more likely | 0:05:00 | 0:05:05 | |
you will be influenced to bet. We
live in a society with betting shops | 0:05:05 | 0:05:09 | |
on every high street. How is this
any different from what is around us | 0:05:09 | 0:05:14 | |
already? Because we have a room of
children who would not be allowed to | 0:05:14 | 0:05:19 | |
bet in a betting shop, who are being
influenced by key messages, making | 0:05:19 | 0:05:28 | |
young minds exposed to these from an
early age. So when they are able and | 0:05:28 | 0:05:32 | |
old enough to bet they will know the
brands. This is about long-term | 0:05:32 | 0:05:36 | |
brand development. It's not just the
ads during the commercial breaks. | 0:05:36 | 0:05:42 | |
From players' shirt to pitch-side
hoardings and stadiums the betting | 0:05:42 | 0:05:47 | |
brands are everywhere. It's a good
one tonight, the top six all | 0:05:47 | 0:05:50 | |
feature. We analysed this week's
edition of Match of the Day, which | 0:05:50 | 0:05:55 | |
of course has no commercial ad
breaks and found that even then, | 0:05:55 | 0:05:59 | |
during the 84 minute broadcast, a
gambling logo appeared on screen 271 | 0:05:59 | 0:06:04 | |
times. So what does the gambling
industry have to say for itself? It | 0:06:04 | 0:06:09 | |
may have been the case a few years
ago that all of this may have led to | 0:06:09 | 0:06:13 | |
an increase in child gambling and
children's interest in gambling. | 0:06:13 | 0:06:17 | |
Gambling has been normalised in our
society for some time. We have had | 0:06:17 | 0:06:22 | |
casinos and betting shops legalised
since the 60s the National Lottery | 0:06:22 | 0:06:26 | |
changed the whole game. It's hard to
think children wouldn't be exposed | 0:06:26 | 0:06:30 | |
the key is to see when they see
gambling they don't have access. | 0:06:30 | 0:06:36 | |
It's full-time the guys are happy
with the result, did they notice the | 0:06:36 | 0:06:42 | |
number of ads shown through the
breaks. There were during that | 0:06:42 | 0:06:45 | |
football match nine betting adverts.
Nine different betting companies in | 0:06:45 | 0:06:49 | |
those adverts. It means one in six
of every advert you watched was for | 0:06:49 | 0:06:54 | |
a betting company. Time for Robin's
test. I would like you to put in one | 0:06:54 | 0:07:00 | |
word how did it make you feel when
you saw those betting ads? Right, | 0:07:00 | 0:07:06 | |
guys. Let us see what you wrote
down. Hold them up, turn them round | 0:07:06 | 0:07:10 | |
what did you have. Intrigued.
Forced. And attracted. Intrigued. | 0:07:10 | 0:07:16 | |
Why did you put that? Because I
didn't really know what betting was. | 0:07:16 | 0:07:22 | |
It made me like think about what it
actually means and how you use it. | 0:07:22 | 0:07:28 | |
It seems like they really want you
to start betting. It attracted me to | 0:07:28 | 0:07:34 | |
see how much money you could win.
Australia and Belgium have announced | 0:07:34 | 0:07:41 | |
plans to ban ads during live sport.
A review of the gambling sector has | 0:07:41 | 0:07:46 | |
been published but there is no ban
on adverts. The Government says new | 0:07:46 | 0:07:51 | |
advertising guidelines will be drawn
up and betting firms will fund a £7 | 0:07:51 | 0:07:56 | |
billion responsible ad campaign.
When the fun stops, stop. Is that | 0:07:56 | 0:08:01 | |
enough to reassure worried parents
like me? Far too many. Obviously, at | 0:08:01 | 0:08:04 | |
this age, the kids don't realise,
but two years down-the-line they are | 0:08:04 | 0:08:08 | |
going to pick up on and they will be
betting themselves. Linking gambling | 0:08:08 | 0:08:12 | |
with sports. I look at sports for
young people as something to enjoy. | 0:08:12 | 0:08:18 | |
Lucy is here with more. We asked the
Government why they didn't ban ads | 0:08:18 | 0:08:22 | |
around live sports, what did they
say? Yes. Hot off the press from the | 0:08:22 | 0:08:28 | |
press. They said the number of
gambling adverts has been in decline | 0:08:28 | 0:08:34 | |
since 2013 seen by children. Any
sponsorship deals involving gambling | 0:08:34 | 0:08:40 | |
firms musting "socially responsible"
and never target the children. There | 0:08:40 | 0:08:43 | |
are organisations such as the
Advertising Standards Authority who | 0:08:43 | 0:08:47 | |
can take action against companies,
betting firms, that don't comply | 0:08:47 | 0:08:50 | |
with the rules. That was their
message. Most people are worried | 0:08:50 | 0:08:56 | |
about children. Seeing these adverts
online. What are they doing | 0:08:56 | 0:08:59 | |
specifically then to protect them?
There is something to be worried | 0:08:59 | 0:09:03 | |
about here. If you think that
450,000 children are gambling in | 0:09:03 | 0:09:08 | |
England and Wales each week,
according to statistics from the | 0:09:08 | 0:09:13 | |
Gambling Commission, 6% of
11-15-year-olds have gambled online | 0:09:13 | 0:09:18 | |
using their parents account and 3%
used their own money. We have are | 0:09:18 | 0:09:22 | |
seeing the shift on to online and
smartphones which children have. | 0:09:22 | 0:09:28 | |
Organisations including the
Advertising Standards Authority have | 0:09:28 | 0:09:30 | |
written to betting firms to remind
them that gambling ads likely to | 0:09:30 | 0:09:34 | |
appeal to kids online must have
checks. Debit and credit cards have | 0:09:34 | 0:09:38 | |
to be used to see them, infect.
Announced yesterday £7 million pot | 0:09:38 | 0:09:45 | |
funded by the gambling industry to
pay for responsible gambling | 0:09:45 | 0:09:49 | |
adverts. Right. Will it be enough,
we don't know? I covered it for the | 0:09:49 | 0:09:54 | |
news yesterday, one of the big areas
this report looked at was fixed odd | 0:09:54 | 0:09:58 | |
betting terminals, the slot machines
in high street bookies. You are a | 0:09:58 | 0:10:04 | |
former poker champion a game of
skill. Where do you stand on the | 0:10:04 | 0:10:07 | |
idea - one of Britain's most famous
gamblers, where do you stand on the | 0:10:07 | 0:10:13 | |
addictive stuff? They have caused
terrible, terrible unhappiness and | 0:10:13 | 0:10:18 | |
damage and social break down and one
thing I don't want to leave without | 0:10:18 | 0:10:21 | |
saying. There is talk of reducing
the maximum bet. The threshold. They | 0:10:21 | 0:10:28 | |
reduce it between £2 and £50. If
it's £50 it's a stitch-up. Reducing | 0:10:28 | 0:10:33 | |
it to £50 changes absolutely nothing
at all. It's £2 or £5, it's a start. | 0:10:33 | 0:10:38 | |
Problem is, there is a terrible
sickness going on. The internet is | 0:10:38 | 0:10:41 | |
the problem, like with everything.
The internet has ruined everything. | 0:10:41 | 0:10:46 | |
The high street, grocery shops,
bookshops, Post Offices, human | 0:10:46 | 0:10:51 | |
conversation. It's all ruined. You
can order clothes straight to your | 0:10:51 | 0:10:56 | |
door within 24-hours. You look
terrible - not you. Betting shops | 0:10:56 | 0:11:00 | |
are the same. I like betting shops.
I think the relationship between | 0:11:00 | 0:11:05 | |
sports and gambling is an old and
traditional one. You stick something | 0:11:05 | 0:11:08 | |
on a horse, that's OK. Betting shops
cannot compete with the internet. | 0:11:08 | 0:11:12 | |
They cannot. They are all under
threat and going under. They are | 0:11:12 | 0:11:17 | |
keeping themselves afloat with fix
odds betting terminals. They are | 0:11:17 | 0:11:20 | |
terrible. You go into the shop,
people are standing there thumbing | 0:11:20 | 0:11:24 | |
the money in. There is no joy. It's
thelet way the betting shops can | 0:11:24 | 0:11:29 | |
compete with the internet. It will
be regulation of the internet. They | 0:11:29 | 0:11:32 | |
are in areas which have lots of
poverty and employment. Are you a | 0:11:32 | 0:11:37 | |
gambler by heart? My grandparents
were into horseracing. I spent my | 0:11:37 | 0:11:44 | |
entire pocket money on a single
outside house. Parcel Post, romped | 0:11:44 | 0:11:50 | |
in at 20-1, made a lot of money. My
dad said, "never again" I never | 0:11:50 | 0:11:56 | |
have. I have been scared of
gambling. I've an addictive | 0:11:56 | 0:11:59 | |
personality. I could be drawn into
gambling easily. I agree with | 0:11:59 | 0:12:03 | |
Victoria, I think those machines are
really, are really dangerous. It's | 0:12:03 | 0:12:07 | |
an addiction along with heroin or
alcohol or whatever. It's a serious | 0:12:07 | 0:12:10 | |
addiction. These people are really
need help. They don't need the | 0:12:10 | 0:12:14 | |
machines in high streets all around
the country. That is why the | 0:12:14 | 0:12:17 | |
government is doing this. You had a
happy gamble experience, you wonned | 0:12:17 | 0:12:20 | |
and then you stopped. I stopped when
I was a boy. Quit while you are | 0:12:20 | 0:12:25 | |
ahead. Thank you, Lucy. | 0:12:25 | 0:12:35 | |
Racehorses are taken out by riders
to build up their strength and get | 0:13:00 | 0:13:03 | |
them fit enough for racing. | 0:13:03 | 0:13:06 | |
But this traditional method could be
about to change. With this system. | 0:13:09 | 0:13:20 | |
£20 million construction. The
designers believe it will | 0:13:20 | 0:13:24 | |
revuationise the way young
racehorses are trained. It is an | 0:13:24 | 0:13:31 | |
incredible piece of engineering.
It's like a human roller-coaster | 0:13:31 | 0:13:34 | |
ride. My concern is for the horses'
safety with them being so young. | 0:13:34 | 0:13:40 | |
Mrit As the muscles and bones of
young racehorses are still | 0:13:40 | 0:13:43 | |
developing if injured in training
they may never fully recover. | 0:13:43 | 0:13:46 | |
Cutting short any future racing
career. Dr Robert Curtice has worked | 0:13:46 | 0:13:54 | |
in bio medical engineering for three
decades and helped to develop this | 0:13:54 | 0:13:57 | |
system. Why was this machine built
in the first place? Rather than | 0:13:57 | 0:14:03 | |
weight a horse with rider and
saddle. If you gently work a horse, | 0:14:03 | 0:14:07 | |
it gives it time for growth, muscles
to mature, the bones to mature. At | 0:14:07 | 0:14:14 | |
the end you end up with a stronger,
fitter animal. These are young | 0:14:14 | 0:14:17 | |
horses going in there. How can you
ensure they are always going to be | 0:14:17 | 0:14:21 | |
kept safety? There are huge safety
features. You have the emergency | 0:14:21 | 0:14:25 | |
stop. You have reharness release.
This is all open. They are attached | 0:14:25 | 0:14:32 | |
by these clips. Yes. OK. There's
also a handler here who can give | 0:14:32 | 0:14:38 | |
them encouragement, check for any | 0:14:38 | 0:14:39 | |
Over a circuit of three quarters of
the mile horses can taken from a | 0:14:44 | 0:14:48 | |
walk to a trot to canter. This
former cavalry officer has taken the | 0:14:48 | 0:14:54 | |
reins of operating the system. From
his cabin, he goes around with the | 0:14:54 | 0:14:58 | |
horses and can control the speed
they go and monitor each and every | 0:14:58 | 0:15:03 | |
one. They look very relaxed at the
moment, but what would happen if one | 0:15:03 | 0:15:07 | |
was unhappy or distressed or even
sell over? If we saw something is | 0:15:07 | 0:15:12 | |
wrong with one of them, we stopped
the train at, we take out the horse, | 0:15:12 | 0:15:19 | |
the horse goes back to the yard and
we continue. The system isn't | 0:15:19 | 0:15:24 | |
designed to see how fast a horse can
run. It's down to the horses to | 0:15:24 | 0:15:30 | |
determine the maximum speed. A
maximum of 25 miles an hour... So we | 0:15:30 | 0:15:42 | |
never go faster than 35 miles an
hour. White matter if successful, | 0:15:42 | 0:15:46 | |
what could the system mean for the
men and women who'd train young | 0:15:46 | 0:15:51 | |
horses the traditional way? Just
down the road in Lambourn Jamie | 0:15:51 | 0:15:55 | |
Osborne has seen this new technology
in action. Do you think this system | 0:15:55 | 0:16:01 | |
will take away jobs for your staff?
No, I don't. I think generally there | 0:16:01 | 0:16:08 | |
is a short of riders within the
industry anyhow, so anything that | 0:16:08 | 0:16:13 | |
can enable us to exercise horses
without a rider is of benefit. What | 0:16:13 | 0:16:18 | |
does the racehorse world make of it?
I think generally horsey people are | 0:16:18 | 0:16:23 | |
slow to adopt something new and it
probably appears slightly unnatural | 0:16:23 | 0:16:27 | |
to seek a horse in one of those pods
cantering around the | 0:16:27 | 0:16:41 | |
track but I think it is a safe way
of exercising horses. As the | 0:16:50 | 0:16:53 | |
well-being of young horses is really
important, I prefer a more natural | 0:16:53 | 0:16:55 | |
way of training, however the
racehorse world has a different | 0:16:55 | 0:16:57 | |
approach, so maybe this could be a
safer way to start young racing | 0:16:57 | 0:16:59 | |
horses, to build up their strength
before starting their life on the | 0:16:59 | 0:17:02 | |
racetrack. I have seen everything
now! I wanted to see the loop the | 0:17:02 | 0:17:05 | |
loop bit. And taken photo of
themselves. There are only two | 0:17:05 | 0:17:07 | |
quizzes on telly when people go get!
If they get the answer, University | 0:17:07 | 0:17:10 | |
Challenge and Only Connect.
University Challenge is question and | 0:17:10 | 0:17:16 | |
answer, Only Connect slightly
different. In 13 series, is that | 0:17:16 | 0:17:19 | |
anyone who hasn't seen it? In case
there are some people, give us a | 0:17:19 | 0:17:23 | |
little summary. The heart of it is
what's the connection between | 0:17:23 | 0:17:30 | |
apparently random things. We live in
a post-truth age, is any answer | 0:17:30 | 0:17:35 | |
correct any more? I feel, shows will
get longer and longer. It's old | 0:17:35 | 0:17:40 | |
news. Only Connect is fresh and
up-to-the-minute, you find the | 0:17:40 | 0:17:43 | |
connections between things and the
teams have to convince me they are | 0:17:43 | 0:17:46 | |
right stop or I watch a lot and I
had no idea what's going on. I try | 0:17:46 | 0:17:50 | |
very hard to make sense of it. You
described it, in this new book is | 0:17:50 | 0:17:57 | |
having a nervous disorder and
wearing orthopaedic shoes. The show | 0:17:57 | 0:18:02 | |
does that. What does it mean? We
don't aim to be the most grammar | 0:18:02 | 0:18:07 | |
show on television but we have our
own kind of cool. I think the | 0:18:07 | 0:18:12 | |
experience for most of our viewers,
and it will be repeated in our quiz | 0:18:12 | 0:18:16 | |
book because it mimics the
difficulty level of the series, you | 0:18:16 | 0:18:21 | |
watch the first episodes and you
join in, play along and think, what | 0:18:21 | 0:18:24 | |
does connect the Queen and a
hatstand? The middle of the series | 0:18:24 | 0:18:28 | |
gets a bit more difficult and you
get one right, at the end you are | 0:18:28 | 0:18:34 | |
watching the contestants in awe,
like watching a horse on a | 0:18:34 | 0:18:36 | |
roller-coaster. When I watch it on
television, I can't get it right | 0:18:36 | 0:18:40 | |
either, and I was there when we
recorded it. Who are these people? | 0:18:40 | 0:18:45 | |
What sort of person makes a good
contestant on Only Connect? A clever | 0:18:45 | 0:18:50 | |
one, presumably! It's not so much
about being clever as having the | 0:18:50 | 0:18:54 | |
right sort of mind, balancing and
intellectual curiosity about the | 0:18:54 | 0:19:00 | |
world. You have to notice things. We
once had famously a really brilliant | 0:19:00 | 0:19:05 | |
team of people. They knew absolutely
everything. And we had a group of | 0:19:05 | 0:19:10 | |
four things, what connects Malik,
pain... I can remember, they were | 0:19:10 | 0:19:18 | |
thinking, and they philosophers,
great playwrights...? They had no | 0:19:18 | 0:19:24 | |
idea, they were simply the members
of One Direction. The perfect sort | 0:19:24 | 0:19:32 | |
of person is interested in
everything. You called weedy, | 0:19:32 | 0:19:38 | |
awkward, unconventional. These
compliments from the! No higher | 0:19:38 | 0:19:43 | |
compliment I can pay. It's different
from the sort of television where | 0:19:43 | 0:19:48 | |
everyone is, they have a fate tan,
hair and nails. I have those things, | 0:19:48 | 0:19:54 | |
but our teams, they come along and
their priorities are different. | 0:19:54 | 0:19:57 | |
They've chosen a nice jumper, if
it's not clean, that's not what's | 0:19:57 | 0:20:02 | |
important! They're clever,
brilliant, interesting, have | 0:20:02 | 0:20:05 | |
eclectic taste and they are the
future of the planet. Lets see if | 0:20:05 | 0:20:09 | |
they have chosen a nice jumper for
tonight because lots of them are in | 0:20:09 | 0:20:13 | |
our audience. Where are you? I
thought it was you lot. I thought | 0:20:13 | 0:20:17 | |
they were suspicious. Do you think
that is fair, we'd eat, | 0:20:17 | 0:20:24 | |
unconventional? When I have it at
home, I freeze it at the wall and | 0:20:24 | 0:20:30 | |
give myself a little longer but it
is enjoyable. I'd like to say, some | 0:20:30 | 0:20:38 | |
of our quizzers are in the audience
but I hope they would agree, a key | 0:20:38 | 0:20:42 | |
thing about our show is the teams
are absolutely in on the joke. I am | 0:20:42 | 0:20:46 | |
not the sort of quiz show host who
comes in, sees them for the first | 0:20:46 | 0:20:51 | |
time, asks them a question and then
sneers at them. We are all on the | 0:20:51 | 0:20:55 | |
same side. It's a bit like I'm sorry
I haven't a clue. They used to be | 0:20:55 | 0:21:01 | |
very rude about the teams but they
know I love and admire them. I don't | 0:21:01 | 0:21:07 | |
believe you. I'd seen evidence,
apart from what you said in the last | 0:21:07 | 0:21:10 | |
five minutes, you are quite a brutal
quiz show host. Typically brutal to | 0:21:10 | 0:21:14 | |
the people you know pretty well.
Here's an example chosen completely | 0:21:14 | 0:21:17 | |
at random. Comedian, writer and one
half of Mitchell and Webb, David | 0:21:17 | 0:21:25 | |
Mitchell is known for living a
sexless existence... He was happier | 0:21:25 | 0:21:33 | |
when he was single. What did it do
for your marriage, public surely | 0:21:33 | 0:21:38 | |
shaming your husband like that?
Doesn't he look handsome... No one | 0:21:38 | 0:21:42 | |
wants to hear that! They love it,
they love the brutality. If David | 0:21:42 | 0:21:46 | |
didn't like that kind of thing he
would have married someone else. He | 0:21:46 | 0:21:50 | |
is brilliant. On that episode he
came on a charity special and to | 0:21:50 | 0:21:56 | |
this day he said he didn't get an
answer about spoonerisms. You can | 0:21:56 | 0:22:02 | |
everything in the world but your
mind doesn't go to the right place. | 0:22:02 | 0:22:08 | |
He still wakes up in the night
shouting with horror. It might be | 0:22:08 | 0:22:12 | |
for other reasons... We're going to
play some Only Connect throughout | 0:22:12 | 0:22:16 | |
the course of the evening. The idea
is its relatively simple and that | 0:22:16 | 0:22:19 | |
through each round at least one of
you should get the answer. Does that | 0:22:19 | 0:22:23 | |
make sense? We will see. It will
become clear. What connects these | 0:22:23 | 0:22:29 | |
people... It's a game, you have to
say next each time you want the next | 0:22:29 | 0:22:32 | |
clue. | 0:22:32 | 0:22:42 | |
Here is the first one. This is Jimmy
Tarbuck. What comes to mind? | 0:22:45 | 0:22:48 | |
Anything? Where is he? On that
screen over there. Do you want the | 0:22:48 | 0:22:50 | |
next clue? Had to make a connection.
That is Sir Roger Moore. They both | 0:22:50 | 0:22:53 | |
have a restaurant on the Keynes
Road. Good guess, anything else? Got | 0:22:53 | 0:22:56 | |
a hurry you. No idea at all. I'm
terrible at this show! Next clue, | 0:22:56 | 0:23:01 | |
Des O'Connor. Jimmy Tarbuck, Sir
Roger Moore, has O'Connor. What | 0:23:01 | 0:23:10 | |
connects these men? Generation game?
I would like to deconstruct this, so | 0:23:10 | 0:23:18 | |
many things can these people. Give
us the answer. Hosted quiz shows? | 0:23:18 | 0:23:24 | |
They were all compared that the
Saturday night Palladium. If I was | 0:23:24 | 0:23:30 | |
on the show and said they all hosted
quiz shows. Technically you would be | 0:23:30 | 0:23:36 | |
right. And they are all men! There's
a surprise! You will like the next | 0:23:36 | 0:23:42 | |
round. | 0:23:42 | 0:23:44 | |
Being part of a family
means having to cope | 0:23:45 | 0:23:47 | |
with whatever life throws at you,
and the Bertie family - | 0:23:47 | 0:23:50 | |
and their son Alex -
have certainly had to do that. | 0:23:50 | 0:23:52 | |
Here's how they've spent the past
few years getting to know each | 0:23:52 | 0:23:55 | |
other all over again. | 0:23:55 | 0:23:56 | |
My name's Alex, 21, I do graphic
design I like video games, pugs and | 0:23:56 | 0:24:02 | |
I sleep with my socks on. I live in
Dorset with my dad Paul, my mum | 0:24:02 | 0:24:06 | |
Michelle and sister Hollie. As a
teenager I was really uncomfortable | 0:24:06 | 0:24:10 | |
with my body. I was bullied pretty
badly at school and it made me | 0:24:10 | 0:24:14 | |
really unhappy. They picked on me
because I was different. I haven't | 0:24:14 | 0:24:17 | |
always been called Alex. As a child,
I had a different name. I was born | 0:24:17 | 0:24:24 | |
female. And when I hit puberty, I
was developing breasts and my period | 0:24:24 | 0:24:30 | |
started and it wasn't a good time. I
realised I was meant to be a boy. At | 0:24:30 | 0:24:35 | |
first I didn't know there was a name
for what I was experiencing, so I | 0:24:35 | 0:24:40 | |
reached out to professionals. They
explained that I might be a boy | 0:24:40 | 0:24:44 | |
trapped in a girl's body. To be
honest, from then on it completely | 0:24:44 | 0:24:49 | |
clicked, that was | 0:24:49 | 0:25:00 | |
exactly how I felt. When Alex was
probably about 13, we started to | 0:25:02 | 0:25:04 | |
notice that he stayed in his room
for long periods of time, wouldn't | 0:25:04 | 0:25:07 | |
eat and we couldn't work out why he
was so unhappy. Alex's bullying at | 0:25:07 | 0:25:10 | |
school was down to him looking like
a boy. He wanted to dress like a boy | 0:25:10 | 0:25:13 | |
and do the things boys want to do.
He had very, very long blonde hair. | 0:25:13 | 0:25:16 | |
He wanted to get it cut, so
begrudgingly we said yeah, yeah, | 0:25:16 | 0:25:20 | |
have it cut. After the cut, I felt
amazing. It was the first time I | 0:25:20 | 0:25:25 | |
looked in the mirror and saw myself.
People saw me as the girl with the | 0:25:25 | 0:25:30 | |
boy haircut but I was happy being a
boy. I started blogging on YouTube. | 0:25:30 | 0:25:36 | |
I'll be honest, I was very much not
happy about it, he was leaving | 0:25:36 | 0:25:39 | |
himself open and exposed to
everything cascading from this. You | 0:25:39 | 0:25:44 | |
know, it does hurt seeing beauty and
everyone else by yourself. Some of | 0:25:44 | 0:25:49 | |
those videos break my heart. I've
seen a few, I sit and cry. I find it | 0:25:49 | 0:25:54 | |
really difficult to be myself with
my family pretty much. Stupid child! | 0:25:54 | 0:26:02 | |
He looks so unhappy, doesn't he? You
hear the break in his voice all the | 0:26:02 | 0:26:07 | |
time in the early years. You can
almost see in his face how he's | 0:26:07 | 0:26:12 | |
suffering inside. Living with the
pain. The questioning of my gender | 0:26:12 | 0:26:18 | |
phase took a long time for me to get
comfortable, thinking of myself in | 0:26:18 | 0:26:22 | |
that way and looking to the future
and seeing myself as a man. But when | 0:26:22 | 0:26:26 | |
I finally accepted that, I decided
to come out to my parents. I just | 0:26:26 | 0:26:31 | |
remember being terrified. I have
felt like that as long as I | 0:26:31 | 0:26:35 | |
remember. I came out last week. My
mum's reaction was really | 0:26:35 | 0:26:39 | |
surprising. She was so lovely and
she actually said she kind of in a | 0:26:39 | 0:26:43 | |
way already knew. My dad, however,
we didn't really speak about it for | 0:26:43 | 0:26:48 | |
a very long time. At this point I'd
actually decided on a new name for | 0:26:48 | 0:26:52 | |
myself. I want to be Alex Bertie, I
want to be their son. I'm | 0:26:52 | 0:27:00 | |
transgender, I don't need help, I
need to understand and -- and for | 0:27:00 | 0:27:04 | |
who I am. Oooh! That was the start
of the lot of change. They saw me at | 0:27:04 | 0:27:12 | |
my lowest and started to appreciate
how vital having hormones and | 0:27:12 | 0:27:15 | |
getting surgery was for me. For a
very long time my parents did not | 0:27:15 | 0:27:19 | |
use the right name, they did not use
the right pronouns, it was a very | 0:27:19 | 0:27:24 | |
slow process. That was the biggest
process for me, I've always said she | 0:27:24 | 0:27:28 | |
and used the birth name. The 13 or
14 years. I've said one name, and | 0:27:28 | 0:27:33 | |
then all of a sudden, I found it a
bit difficult. It was more of a | 0:27:33 | 0:27:37 | |
habit than anything else.
In the beginning I was very angry. I | 0:27:37 | 0:27:42 | |
was full of resentment, but over
time I did gain an understanding of | 0:27:42 | 0:27:45 | |
yeah, this must be really difficult,
they've know me as this their whole | 0:27:45 | 0:27:49 | |
lives. My parents actually got
married about eight months ago. I | 0:27:49 | 0:27:53 | |
just popped the question one day, I
thought it was about time. | 0:27:53 | 0:27:58 | |
Amazingly, my dad asked me if I
wanted to be his best man, which was | 0:27:58 | 0:28:01 | |
crazy. He was here the person I
wanted to be my best man. They wore | 0:28:01 | 0:28:07 | |
a suit and tails which was cool. I
walked in and saw the more standing | 0:28:07 | 0:28:11 | |
there and thought, oh my god! Yeah,
very proud. | 0:28:11 | 0:28:16 | |
My parents are absolutely wonderful
now. I couldn't ask for better | 0:28:16 | 0:28:19 | |
family. I finally feel like the man
I was supposed to be. I finally feel | 0:28:19 | 0:28:23 | |
like me. | 0:28:23 | 0:28:25 | |
And Alex is here, along with mum
Michelle and sister Hollie. | 0:28:25 | 0:28:28 | |
Let's give them a massive welcome.
CHEERING AND APPLAUSE | 0:28:28 | 0:28:34 | |
Are you OK, Michelle? Yes. Watching
that, listening to the lovely things | 0:28:37 | 0:28:44 | |
Alex said. Did you ever think you
would be talking so publicly, in | 0:28:44 | 0:28:50 | |
front of millions of people, about
your experience? Definitely not, I'm | 0:28:50 | 0:28:55 | |
a complete introvert, social
outcast, whatever you call it. This | 0:28:55 | 0:28:58 | |
isn't me and it's only since
figuring out my gender I've been | 0:28:58 | 0:29:01 | |
comfortable. I'm just so proud of
who I am and everything I've done. I | 0:29:01 | 0:29:06 | |
have to say, you don't come across
as particularly shy. You come across | 0:29:06 | 0:29:10 | |
as someone very composed, tattooed
on your arms, slightly surprising to | 0:29:10 | 0:29:16 | |
hear you describe yourself as an
introvert. Definitely not. You have | 0:29:16 | 0:29:21 | |
been through a lot. It was mentioned
in the film Michelle, how you and | 0:29:21 | 0:29:24 | |
your husband had very different
reactions initially. How do you as a | 0:29:24 | 0:29:29 | |
married couple, who were married
then, but how do you have a couple, | 0:29:29 | 0:29:34 | |
parents, reconcile that and find a
way of dealing with it? | 0:29:34 | 0:29:39 | |
We spent a lot of time talking to
each other, talking to Alex, talking | 0:29:39 | 0:29:43 | |
to Hollie. Everybody has their own
opinions on different things and | 0:29:43 | 0:29:47 | |
different visions for the future for
their children. Luckily, Paul and I | 0:29:47 | 0:29:52 | |
have a firm belief that we want our
children to do well for themselves, | 0:29:52 | 0:29:57 | |
be happy within themselves, work
hard, be compassionate and caring to | 0:29:57 | 0:30:01 | |
other people, have respect for
themselves and other people. That is | 0:30:01 | 0:30:08 | |
the more ales we have. If you don't
understand those boundaries we are | 0:30:08 | 0:30:13 | |
flexible on things. You can find a
way. Alex hasn't done anything | 0:30:13 | 0:30:19 | |
wrong. He is being himself. Paul and
I spoke about how we would handle | 0:30:19 | 0:30:24 | |
different situations, for example,
changing name, operations, you know, | 0:30:24 | 0:30:27 | |
how we are going to deal with that.
We decided that we need to support | 0:30:27 | 0:30:32 | |
Alex in that. It's clear you are a
strong and remarkable family, | 0:30:32 | 0:30:35 | |
talking to you. You are 15 Hollie,
how did you find the change from | 0:30:35 | 0:30:39 | |
having a sister to a brother? I was
so happy that he was so proud of | 0:30:39 | 0:30:47 | |
himself at certain times. It was
very confusing at first because I | 0:30:47 | 0:30:52 | |
was very young at the time.
I got angry when people used to | 0:30:52 | 0:30:55 | |
comment on things about Alex to
myself. But overall I'm really proud | 0:30:55 | 0:30:59 | |
of him. I'm sure he's proud of you,
too. You carried on doing the | 0:30:59 | 0:31:04 | |
videos.
You have written a book, it's out | 0:31:04 | 0:31:07 | |
tomorrow. A brilliant title
Transmission: My Quest to a Beard. | 0:31:07 | 0:31:13 | |
How do you hope that the book is
going to help others maybe in the | 0:31:13 | 0:31:18 | |
same situation? I hope they read it
and gain something from it. It's so | 0:31:18 | 0:31:26 | |
hard to find information out there
and I hope it's genuine and | 0:31:26 | 0:31:29 | |
everything they need. I hope it
helps parents and families. Teachers | 0:31:29 | 0:31:35 | |
can get something from it. Yeah.
It's an insight - we're a normal, | 0:31:35 | 0:31:41 | |
every day working family. It's an
insight to one person and their | 0:31:41 | 0:31:49 | |
family's journey. It's a very long
Some people say journey. Children | 0:31:49 | 0:31:53 | |
can't understand this stuff when
they are at the age Alex was at when | 0:31:53 | 0:31:58 | |
he confronted these issues. What
would you say to parents who are | 0:31:58 | 0:32:01 | |
going through the same things. What
is your advice? My advice is to | 0:32:01 | 0:32:06 | |
listen and talk. It isn't about
sitting down and having the | 0:32:06 | 0:32:10 | |
conversation, it's about the
arguments, the door slammingened and | 0:32:10 | 0:32:13 | |
the walking off, the fights and
listen and understanding why they | 0:32:13 | 0:32:17 | |
are feeling that way. They won't
turn around and say - I'm trans, | 0:32:17 | 0:32:21 | |
getter. It they will be confused.
They may come out at Lees been. Or | 0:32:21 | 0:32:28 | |
not sure about what clothes to wear.
I don't want to wear those clothes. | 0:32:28 | 0:32:32 | |
Have you to pinpoint the little bits
and just chip away at it together. | 0:32:32 | 0:32:37 | |
You have been an on amazing journey.
Congratulations on the book. Let's | 0:32:37 | 0:32:43 | |
have a round of applause.
APPLAUSE | 0:32:43 | 0:32:47 | |
Thank you so much for coming in. We
would like to thank everybody who | 0:32:47 | 0:32:54 | |
has given us support, our family,
friends and our colleagues. | 0:32:54 | 0:32:57 | |
Everybody. We are all touched. I'm
sure they are all watching tonight. | 0:32:57 | 0:33:01 | |
Two of our guests are married to the
same man. Maybe he you were ahead of | 0:33:08 | 0:33:13 | |
your time trying to invent the
musical. You are probably right, | 0:33:13 | 0:33:16 | |
wife. It was fun for a night. People
gathering together, waving their | 0:33:16 | 0:33:22 | |
arms in the air. Having a joyful
night out. What's wrong with that? I | 0:33:22 | 0:33:28 | |
hope London will be full of theatres
and they'll all have musicals in | 0:33:28 | 0:33:32 | |
them. It's a joyful dream. Or a
living nightmare! | 0:33:32 | 0:33:39 | |
Go
APPLAUSE | 0:33:40 | 0:33:43 | |
How much research did you do before
playing Anne Hathaway? It's a cent I | 0:33:49 | 0:33:59 | |
find interesting. As a woman in the
15th century you didn't stop. In | 0:33:59 | 0:34:03 | |
many ways I can take care of things
like action. You can't take care of | 0:34:03 | 0:34:07 | |
the words because they were already
written for you. Within all of that | 0:34:07 | 0:34:11 | |
I can make sure I'm busy doing
things that would need to be done | 0:34:11 | 0:34:15 | |
running a household of a minimum
seven. Basically, you have no help, | 0:34:15 | 0:34:19 | |
do you? Or she doesn't. No, poor
cow! Her brain must be a wreck. Like | 0:34:19 | 0:34:25 | |
in your book. There is a bit of
everything. Yeah. Your new book, I | 0:34:25 | 0:34:31 | |
An Distracted by Everything. Have
you got a copy of the book. In a | 0:34:31 | 0:34:35 | |
second. It's on the floor, they tell
us. I can see it. I will have to go | 0:34:35 | 0:34:39 | |
and get this. | 0:34:39 | 0:34:42 | |
I'm coming back this way so as not
to crawl over the furniture. Thank | 0:34:45 | 0:34:49 | |
you. This is an annual for
grown-ups. Yes, it is. It has all | 0:34:49 | 0:34:53 | |
sorts of things in it. It's harded
to know where to begin to describe | 0:34:53 | 0:34:58 | |
it. When I was younger I was a fan
of the annual once you did the | 0:34:58 | 0:35:05 | |
puzzles and learnt something new or
did a bit of crafting you could put | 0:35:05 | 0:35:08 | |
the book away and come back to it
and everything looked different or | 0:35:08 | 0:35:11 | |
you couldn't remember. I kind of
wanted a book that when you opened | 0:35:11 | 0:35:15 | |
it, you kept having to do that with
it. So you never finish it. It's | 0:35:15 | 0:35:20 | |
about using your mind. There's not
computer links or anything like that | 0:35:20 | 0:35:24 | |
in it. It's completely bonkers
though. In a good way? A page that | 0:35:24 | 0:35:31 | |
caught my attention. I used to be a
Trekkie, I with us. | 0:35:31 | 0:35:36 | |
With aed Star Trek - then you have
this dress up. You have naked | 0:35:36 | 0:35:45 | |
picture of William - It's a Dress Up
Doll. It would be Kofi Annanual. | 0:35:45 | 0:35:53 | |
What is this madness? You can create
his outfit. Oh. That has been done | 0:35:53 | 0:36:09 | |
by a woman I've known for five. As a
Monty Python person, possibly as a | 0:36:09 | 0:36:15 | |
Only Connect person, I find it quite
hard to fit into somebody's idea of | 0:36:15 | 0:36:19 | |
what I should be. As a consequence
I've written that book to display | 0:36:19 | 0:36:25 | |
the things I'm interested in and
hopefully hook you into it as well. | 0:36:25 | 0:36:28 | |
It says what you love and you
encourage the reader - It's funny. | 0:36:28 | 0:36:35 | |
Nice to have an activity book as an
adult. Move on. I saw it a second | 0:36:35 | 0:36:43 | |
ago. How can I describe it, it's
Bary Merry. A recipe - Delicious | 0:36:43 | 0:36:54 | |
looking recipe, I'm sure you will
agree. Hang on a minute. Here's one | 0:36:54 | 0:37:00 | |
we made earlier. That is thanks to
my sister who Dame came up with the | 0:37:00 | 0:37:11 | |
idea. She is a cracking cook my
sister. She wanted to make a cake | 0:37:11 | 0:37:15 | |
without baking it that somebody said
- we will be round in 20 minutes. I | 0:37:15 | 0:37:20 | |
will do that. Wind back a second.
Where do you get the ideas for this | 0:37:20 | 0:37:25 | |
stuff? When is it going through your
mind? Welcome to my world. Your | 0:37:25 | 0:37:31 | |
brain is a mad That sounds negative
place. . My brain is fantastic and | 0:37:31 | 0:37:36 | |
gorgeous. The cakes you come up
with. I blame my sister for that | 0:37:36 | 0:37:41 | |
one. Victoria Andalcio rue what
distracts your mind mostly. In | 0:37:41 | 0:37:48 | |
Liza's shoes, you are writing this
book, what would be in it, Andrew? | 0:37:48 | 0:37:51 | |
Is I'm boring, like the rest of the
country, I'm distracted by my phone | 0:37:51 | 0:37:56 | |
the whole time, little peeps and
news flashes and this a and that. We | 0:37:56 | 0:38:00 | |
lost a Cabinet Minister tonight, for
instance. Apparently. The first | 0:38:00 | 0:38:03 | |
victim of that scandal going on. I
won't go further in case I'm wrong! | 0:38:03 | 0:38:13 | |
I'm reading a book, I think all of
us are being distracted too much. I | 0:38:13 | 0:38:18 | |
agree with Victoria that the
internet has destroyed almost | 0:38:18 | 0:38:23 | |
everything about our civilise - You
are addicted to your phone. I am. | 0:38:23 | 0:38:30 | |
The intro to you is you on your
phone. Absolutely. I'm in paces | 0:38:30 | 0:38:36 | |
after that amazing young man who
came on. What an incredible person. | 0:38:36 | 0:38:40 | |
You were crying. It was trivial and
pointless, I can't tell you. What | 0:38:40 | 0:38:44 | |
will distract me is why I've never
thought to turn a swiss roll into a | 0:38:44 | 0:38:52 | |
dog. I'm thrilled to realise how
easy it is to stick chocolate on to | 0:38:52 | 0:38:57 | |
things. It thrilled me that. We will
all be trying it. You will be a foot | 0:38:57 | 0:39:02 | |
fool not. To I would like to turn a
dog into a swiss roll. Would that be | 0:39:02 | 0:39:10 | |
unethical? It would. Where do I
look. I'm an old woman. It's | 0:39:10 | 0:39:16 | |
Andrew's round. There is a picture
of... You. Do you recognise him? | 0:39:16 | 0:39:25 | |
That's definitely me. Go Very
handsome. Sir Elton John. Is there a | 0:39:25 | 0:39:32 | |
piano connection, are a pianist? I'm
not. Do you spend £100,000 on | 0:39:32 | 0:39:38 | |
flowers. I don't. Do you know
Bernie. I know where you you are | 0:39:38 | 0:39:45 | |
going. Yellow Brick I had the road.
Yellow Brick Road when it first came | 0:39:45 | 0:39:51 | |
out. The next one, Bono. Andrew can
you tell the connection? The G20, | 0:39:51 | 0:39:59 | |
it's the African campaign where I
interviewed both Elton John and Bono | 0:39:59 | 0:40:04 | |
about their involvement in Africa.
You show off. That's a fantastic | 0:40:04 | 0:40:08 | |
answer, but it's wrong! It's a
better answer. It's a true answer. | 0:40:08 | 0:40:14 | |
This is the last one. Amol. We have
all edited the Independent. That's | 0:40:14 | 0:40:21 | |
it. You actually got it. I was
standing oen the shoulders of giant. | 0:40:21 | 0:40:29 | |
You were so competing in the Fleet
Street days you would dismantel a | 0:40:29 | 0:40:33 | |
phone - No, this is fake news. Come
on? Is False news. It's Donald Trump | 0:40:33 | 0:40:39 | |
false news. This is for younger are
people watching. In the days before | 0:40:39 | 0:40:44 | |
mobile phones existed we had things
called telephone boxes. When you | 0:40:44 | 0:40:47 | |
were a young reporter going out to
cover a crime or a murder or | 0:40:47 | 0:40:50 | |
whatever, one of the things you had
to do is to ensure you got the | 0:40:50 | 0:40:53 | |
information back to your newspaper
office before your rivals did. So at | 0:40:53 | 0:40:59 | |
journalism training school we were
given screw drivers and told how to | 0:40:59 | 0:41:05 | |
remove the voice box so you could
use them. We could vandalise all the | 0:41:05 | 0:41:09 | |
public phones. Go into the pub and
play the publican to put an Out of | 0:41:09 | 0:41:17 | |
Order sign on his phone. We
shouldn't be promoting this. I never | 0:41:17 | 0:41:21 | |
did it myself. Shortly afterwards
the mobile phone arrived. So it was | 0:41:21 | 0:41:27 | |
completely pointless. | 0:41:27 | 0:41:28 | |
From gambling to another
habit that sees plenty | 0:41:35 | 0:41:36 | |
of money going up in smoke. | 0:41:36 | 0:41:38 | |
Despite health experts
being divided on its safety, | 0:41:38 | 0:41:40 | |
vaping is big business,
something Matt Allwright found | 0:41:40 | 0:41:42 | |
out at Europe's biggest
vaping expo in Birmingham. | 0:41:42 | 0:41:46 | |
No
vaping expo in Birmingham. | 0:41:46 | 0:41:46 | |
No vaping
vaping expo in Birmingham. | 0:41:46 | 0:41:46 | |
No vaping here,
vaping expo in Birmingham. | 0:41:46 | 0:41:46 | |
No vaping here, nothing
vaping expo in Birmingham. | 0:41:46 | 0:41:46 | |
No vaping here, nothing but
vaping expo in Birmingham. | 0:41:46 | 0:41:46 | |
No vaping here, nothing but raining
vaping expo in Birmingham. | 0:41:46 | 0:41:47 | |
No vaping here, nothing but raining
here. I'm at the NEC in Birmingham | 0:41:47 | 0:41:50 | |
for vaping expo 2017. In here,
vaping is very much allowed and very | 0:41:50 | 0:41:54 | |
much on the up. It's why I've come
to check how this industry intends | 0:41:54 | 0:42:00 | |
to make more money from these. I've
not been in in a smoking environment | 0:42:00 | 0:42:07 | |
indoors since about 2006, I'd say.
This is very different to your | 0:42:07 | 0:42:11 | |
old-style pub because I'm being hit
by different smells coming in. | 0:42:11 | 0:42:17 | |
Butter scotch. Candy floss. It's all
around us. Wipe out, lush. All | 0:42:17 | 0:42:26 | |
associated with Cornwall. Last year
it was about ice-creams and | 0:42:26 | 0:42:30 | |
doughnuts. It goes in patterns and
waves. The world's first rain | 0:42:30 | 0:42:38 | |
jukebox. 20 different flavours, you
can rye try them by pressing a | 0:42:38 | 0:42:42 | |
button. Nice. A whole new industry
is taking off, it's still in its | 0:42:42 | 0:42:50 | |
infancy and what you are seeing here
is a raining goldrush. These are nic | 0:42:50 | 0:42:57 | |
salts. Short for nicotine salts.
They are nicotine 2.0. This is | 0:42:57 | 0:43:05 | |
really targeted for the cigarette
smoker to help him get off the | 0:43:05 | 0:43:09 | |
cigarettes. Others are concerned
that all these colours, flavours and | 0:43:09 | 0:43:13 | |
branding will draw non-spoke smokers
into the scene, leading to nicotine | 0:43:13 | 0:43:21 | |
addiction. You won't hear that here.
There is a community around vaping. | 0:43:21 | 0:43:24 | |
Some people who just started feel a
little bit, you know, outside. They | 0:43:24 | 0:43:30 | |
are welcoming. The community is open
to everybody. We have a common | 0:43:30 | 0:43:34 | |
interest, we quit smoking, now we
rain. It started out as a way to | 0:43:34 | 0:43:38 | |
stop smoking is it as complex as
this? No, if you are in a smoking | 0:43:38 | 0:43:48 | |
area o outside somewhere else and
they are vaping. Talk to them you | 0:43:48 | 0:43:52 | |
ask them about their gries device
what liquids they are using. People | 0:43:52 | 0:43:57 | |
feel they can socialise with other
rainers. It seems like people are | 0:43:57 | 0:44:01 | |
going to great lengths to
differentiate themselves from one | 0:44:01 | 0:44:06 | |
brand, favour from another. This
local entrepreneur hopes to hit the | 0:44:06 | 0:44:10 | |
big time, I'm a little confused.
Explain to me the link between | 0:44:10 | 0:44:15 | |
Dinnerladies, the name of your
company, and vaping, I don't get it? | 0:44:15 | 0:44:21 | |
We went down the nostalgic route. If
you think about the dinner lady you | 0:44:21 | 0:44:25 | |
instantly - it puts a smile on your
face. We wanted something | 0:44:25 | 0:44:30 | |
interactive, fun, vibrant, dynamic.
Even the way we do our boooths, you | 0:44:30 | 0:44:35 | |
don't stand behind a counter, it's
engage with us. Why did you get | 0:44:35 | 0:44:39 | |
involved in this industry in the
first place? In any new industry | 0:44:39 | 0:44:42 | |
there will be opportunities. It was
fragmented. It still is. At the same | 0:44:42 | 0:44:47 | |
time, raining is a phenomenon and
you know it's there to compete with | 0:44:47 | 0:44:52 | |
big tobacco. You can't help noticing
there are lots of small producers | 0:44:52 | 0:44:57 | |
and manufacturers out there trying
to make a name for themselves. What | 0:44:57 | 0:45:00 | |
will happen next? Sadly, I feel a
time will come when this vape cult | 0:45:00 | 0:45:07 | |
following is going to slowly come to
a halt and it's just going to open | 0:45:07 | 0:45:12 | |
up to the mass-market. Brands like
Dinner Lady are aiming and gearing | 0:45:12 | 0:45:16 | |
for that particular market. | 0:45:16 | 0:45:17 | |
Nice. You've been vaping too much!
It sounds like I've been vaping, I | 0:45:20 | 0:45:30 | |
haven't. Are you all right? I will
have some water. Andrew, a former | 0:45:30 | 0:45:36 | |
smoker, what do you think? 40 years
ago since I've had a cigarette. I'm | 0:45:36 | 0:45:41 | |
a very old man! Vaping, as I
understand it, vaping is an | 0:45:41 | 0:45:47 | |
alternative to cigarettes which
doesn't have the same health | 0:45:47 | 0:45:51 | |
disaster cigarettes does, so if it
attracts people away from smoking it | 0:45:51 | 0:45:54 | |
is an entirely good thing. For
myself, I won't be entirely infused | 0:45:54 | 0:45:59 | |
until I have a mutton pie flavoured
vape. We are sitting in an | 0:45:59 | 0:46:03 | |
exhibition of your paintings.
Fantastic looking works. Is it fair | 0:46:03 | 0:46:09 | |
to say, you had a stroke, lots of
people know about, did your style of | 0:46:09 | 0:46:14 | |
painting change fundamentally after
the stroke? Completely. Before the | 0:46:14 | 0:46:18 | |
stroke I would go out and do
traditional landscapes outside with | 0:46:18 | 0:46:24 | |
an easel. Beautiful work. I would
trudge up the hill with the easel | 0:46:24 | 0:46:28 | |
and paint. Because I am
semi-paralysed on the left-hand | 0:46:28 | 0:46:31 | |
side, I can't do that any more. If
the wind comes and blows the campus | 0:46:31 | 0:46:36 | |
over, I'm scuppered. I have to paint
inside. I'm not interested in doing | 0:46:36 | 0:46:40 | |
nudes all roses go -- so it led me
to doing abstract, of stuff in a | 0:46:40 | 0:46:47 | |
completely different way. You have a
lovely book out, A Short Book About | 0:46:47 | 0:46:53 | |
Painting. You almost called it hard
not to paint. It's all about | 0:46:53 | 0:46:58 | |
embracing the failures as an artist.
Absolutely. If you go into an art | 0:46:58 | 0:47:02 | |
gallery and you see all these
paintings people have produced, you | 0:47:02 | 0:47:05 | |
have a sense they were always going
to be like that and that is not what | 0:47:05 | 0:47:08 | |
painting feels like. For most
painters, you start off, you make | 0:47:08 | 0:47:12 | |
mistakes, you try to correct the
mistake. The mistake is more hideous | 0:47:12 | 0:47:16 | |
and on and on it goes until things
fall into place finally. It is | 0:47:16 | 0:47:21 | |
mistake after mistake after mistake.
I haven't read a book about that | 0:47:21 | 0:47:24 | |
title I would like to write book
which honestly shows how a painting | 0:47:24 | 0:47:31 | |
is created. I've got lots of
examples in the book of paintings | 0:47:31 | 0:47:33 | |
that went wrong and how... And then
came good. What does it mean for a | 0:47:33 | 0:47:39 | |
painting to go wrong and then come
good? That's what it was about. You | 0:47:39 | 0:47:43 | |
wanted to be an artist, Liza? I knew
where I wanted to go but might | 0:47:43 | 0:47:48 | |
sister chose to do it so I did
drama. She went to Chelsea and I | 0:47:48 | 0:47:52 | |
went to RADA. Do you still paint?
Yes, I paint and draw. I did a lot | 0:47:52 | 0:47:59 | |
of illustrations in my book. Those?
The three illustrations. The big | 0:47:59 | 0:48:07 | |
ones! Blimey, leave it to the pros.
Are you offended you have Liza's | 0:48:07 | 0:48:13 | |
book and Andropov MacBook but not
the Only Connect book? Is it for an | 0:48:13 | 0:48:19 | |
away the best? -- and Andrew's book.
You talk about why a painter | 0:48:19 | 0:48:23 | |
shouldn't be afraid of a blank
canvas and should embrace it and | 0:48:23 | 0:48:26 | |
that is what other painters have
done through the ages, what do you | 0:48:26 | 0:48:29 | |
mean? If you go to a studio, a great
big blank canvas, what is the first | 0:48:29 | 0:48:35 | |
thing you are going to do? What is
the first mark you are going to | 0:48:35 | 0:48:40 | |
make? Remember, it's probably going
to be a mistake. What's the first | 0:48:40 | 0:48:43 | |
colour? I think a lot of people are
frightened of the blank piece of | 0:48:43 | 0:48:47 | |
paper, the blank canvas. Once you
get going, you're in the mode, you | 0:48:47 | 0:48:50 | |
move forward and is less
frightening. When you first come | 0:48:50 | 0:48:53 | |
in... When I wake up in the morning
I have an idea for a picture and I | 0:48:53 | 0:49:01 | |
try to make it. I have no clear in
my head about what I want to do but | 0:49:01 | 0:49:05 | |
that first moment of taking up a
piece of charcoal or a pencil | 0:49:05 | 0:49:07 | |
awesome colour and putting it on the
campus is scary. Do you listen to | 0:49:07 | 0:49:10 | |
music when you paint? Reed very
really. Often I would listen to it | 0:49:10 | 0:49:14 | |
but I wasn't hearing it. It was a
waste of music! LAUGHTER | 0:49:14 | 0:49:20 | |
I'm interested. You said you changed
your style completely after the | 0:49:20 | 0:49:24 | |
stroke, was it totally practical
about trudging up the hill? Or the | 0:49:24 | 0:49:28 | |
visions of your mind have changed?
No. Well spotted, I was telling a | 0:49:28 | 0:49:33 | |
lie. I have always wanted to paint
this way. Beforehand, like Liza, I | 0:49:33 | 0:49:37 | |
haven't been to art college, I
thought I would be good enough, | 0:49:37 | 0:49:40 | |
people will laugh at me, they won't
sell, they'll be disgraceful. | 0:49:40 | 0:49:44 | |
Therefore I won't do it. But after
the stroke you realise life is | 0:49:44 | 0:49:48 | |
short, you could go at any minute,
what a waste not to paint in the way | 0:49:48 | 0:49:52 | |
you've always wanted to. Exactly do
you have exhibited and and | 0:49:52 | 0:49:56 | |
successfully selling patenting is
which you didn't think he would do | 0:49:56 | 0:50:02 | |
as the editor of the Independent. We
had a lovely show in Liverpool in | 0:50:02 | 0:50:05 | |
the summer and one in Bermondsey.
This one was for the Bermondsey | 0:50:05 | 0:50:09 | |
Shope, a bit sticky. This one
definitely sticky. I didn't like it | 0:50:09 | 0:50:14 | |
when it went up and I thought I'd
repaint it. Remarkable. | 0:50:14 | 0:50:19 | |
Let's play a final
round of Only Connect, | 0:50:19 | 0:50:21 | |
Victoria this one you should be able
to get, as the first name | 0:50:21 | 0:50:24 | |
is, you've guessed it. | 0:50:24 | 0:50:27 | |
Victoria Coren Mitchell. The next
clue... Emily Bronte. They are all | 0:50:27 | 0:50:33 | |
editors of the independent. Not
quite! The next one. That is Agatha | 0:50:33 | 0:50:38 | |
Christie. Next one. JK Rowling.
Quick. Let's see how clever you are. | 0:50:38 | 0:50:48 | |
They'll got lost in North Carolina
with a beaker of Jim. Nearly. All | 0:50:48 | 0:50:54 | |
public fiction under a pseudonym. I
haven't done that. You sort of did, | 0:50:54 | 0:51:01 | |
a short story. Oh yes, I have!
LAUGHTER | 0:51:01 | 0:51:04 | |
I told you I was bad at this game!
Just 17. Yes, I sold them a short | 0:51:04 | 0:51:12 | |
story. What was your pseudonym? I
can't tell you because I still | 0:51:12 | 0:51:17 | |
sometimes use it. I haven't, but I
might get one. I will give you a | 0:51:17 | 0:51:23 | |
clue, it was an anagram of my
opponent name. Victoria Coren | 0:51:23 | 0:51:34 | |
yes, not the Mitchell bit, I wasn't
married at 14. | 0:51:34 | 0:51:38 | |
It's almost time to see
the Autumn gallery you've | 0:51:38 | 0:51:40 | |
all created during the show,
and reveal One Show artist | 0:51:40 | 0:51:43 | |
Adebanji Alade's contribution. | 0:51:43 | 0:51:44 | |
He found inspiration amongst
the trees of Wiltshire to create | 0:51:44 | 0:51:46 | |
a painting of his favourite season. | 0:51:46 | 0:51:51 | |
Orton is the time of the year you
live for as an artist, the vibrant | 0:51:51 | 0:51:57 | |
golden and okra tones of the leaves
reflect the cycle of nature. I love | 0:51:57 | 0:52:03 | |
nothing more than painting outside
at this time of the year. So the One | 0:52:03 | 0:52:09 | |
Show has set me a challenge, to
capture the beauty of autumn on | 0:52:09 | 0:52:17 | |
campus. I've come to Wiltshire, one
of the best places in the country to | 0:52:17 | 0:52:22 | |
witness this seasonal spectacle. The
first thing that really catches my | 0:52:22 | 0:52:27 | |
attention is the tree in front. I
don't see trees is just ordinary | 0:52:27 | 0:52:33 | |
structures in the woods, I just see
them as these kind of weird | 0:52:33 | 0:52:36 | |
monsters. They don't talk, they
don't say anything, but they have | 0:52:36 | 0:52:42 | |
some immense presence. Almost like a
creature just crawls over and then | 0:52:42 | 0:52:47 | |
you have the branches, so everything
seems to come together. Just little | 0:52:47 | 0:52:52 | |
by little, the musicians call it
that, the Harmony, the melody, the | 0:52:52 | 0:53:02 | |
branches, everything connected,
everything will make sense when the | 0:53:02 | 0:53:05 | |
colour comes in but this is what I
call the bare bones. My work is | 0:53:05 | 0:53:09 | |
quite impressionistic and I like to
include people and movement into my | 0:53:09 | 0:53:14 | |
compositions, and right on cue a
winning couple walking through my | 0:53:14 | 0:53:18 | |
frame. Keep going, keep going, keep
going, keep going, keep going. Stop! | 0:53:18 | 0:53:27 | |
It's that little space in between
there... He has a front leg there. | 0:53:27 | 0:53:34 | |
That's it. Brilliant, brilliant,
fantastic. That will do, that will | 0:53:34 | 0:53:39 | |
do, that just gives me a nice good
feel. | 0:53:39 | 0:53:43 | |
This picture is starting to take
shape, but I still want to add more | 0:53:43 | 0:53:48 | |
life to this composition. These
grandparents and their granddaughter | 0:53:48 | 0:53:51 | |
are just what I'm looking for. First
of all I've got her coat in there. | 0:53:51 | 0:53:57 | |
So his feet go up and they plot in
right there. He was pointing, she | 0:53:57 | 0:54:03 | |
was pointing. That's his head and
then the hand's pointed out. That | 0:54:03 | 0:54:08 | |
is, for me, I'm quite happy with the
way that is in the picture. You guys | 0:54:08 | 0:54:13 | |
have done tremendously well. Come
over, come over, let's talk about | 0:54:13 | 0:54:17 | |
this. Why have you come here today?
We live fairly local and when we | 0:54:17 | 0:54:23 | |
babysit, to see the countryside in
the autumn colours, it's a bonus, a | 0:54:23 | 0:54:27 | |
good day out. Brilliant, I'm happy
you've decided to do it today | 0:54:27 | 0:54:32 | |
because it helps my painting so
much. | 0:54:32 | 0:54:35 | |
Basically when I see people passing
by, I think of the composition and I | 0:54:35 | 0:54:39 | |
also think of variety, are you with
me question out when I saw the baby | 0:54:39 | 0:54:43 | |
am thinking, yes, this is about the
cycle of life, just as the trees | 0:54:43 | 0:54:47 | |
have come through the times, I think
she can add something to it. | 0:54:47 | 0:54:52 | |
Now I've placed people into the
scene and I'm ready to turn this | 0:54:52 | 0:54:55 | |
sketch into a beautiful painting, by
adding in a autumn sky, the | 0:54:55 | 0:55:01 | |
reflections on the lake and the
carpet of fallen leaves, my painting | 0:55:01 | 0:55:04 | |
is beginning to take shape. | 0:55:04 | 0:55:08 | |
I've really, really got to the most
interesting part of the day, because | 0:55:14 | 0:55:19 | |
this part is where I can just play
Tic Tac with my autumn colours, like | 0:55:19 | 0:55:26 | |
the one I'm just placing on it now,
which has a little bit of yellowish | 0:55:26 | 0:55:30 | |
brown in it. Some of them have gone
into Orange, some of them have gone | 0:55:30 | 0:55:39 | |
into perfect red. Every colour in
autumn you can get here, this is | 0:55:39 | 0:55:45 | |
autumn at its very best. They're all
the kind of colours you get in | 0:55:45 | 0:55:50 | |
autumn, they just fly through.
But just as I feel I'm making | 0:55:50 | 0:55:54 | |
progress, along comes the autumn
rain. | 0:55:54 | 0:56:01 | |
I've had to come under the shelter
to protect the painting, so every | 0:56:01 | 0:56:05 | |
other thing I'm going to do has to
be done in my studio. But at the | 0:56:05 | 0:56:11 | |
moment, I'm quite pleased that I've
caught the autumn colours. | 0:56:11 | 0:56:15 | |
Fantastic. | 0:56:15 | 0:56:17 | |
And Adebanji is here
with the finished painting - | 0:56:17 | 0:56:19 | |
you've been hard at work
since filming, how | 0:56:19 | 0:56:21 | |
long did it take you? | 0:56:21 | 0:56:23 | |
Are you pleased with the result? I
am. Andrew, would you make of it? | 0:56:23 | 0:56:29 | |
Excellent. There is an exhibition of
French impressionist in London at | 0:56:29 | 0:56:33 | |
the moment and it is a bit like
Pizarro. I want to ask, is it a real | 0:56:33 | 0:56:37 | |
disappointment to go to the studio,
do you like to finish it in front of | 0:56:37 | 0:56:40 | |
what you are painting? I'd have
loved to have finish it there and | 0:56:40 | 0:56:44 | |
then but the rains came and I had to
adjust, that's life. I love your | 0:56:44 | 0:56:49 | |
duck! LAUGHTER
Thank you. | 0:56:49 | 0:56:52 | |
Earlier we asked you to fill our
Autumn gallery with photos, | 0:56:52 | 0:56:57 | |
And the response has been
overwhelming. We put some of them in | 0:56:57 | 0:57:01 | |
the gallery, fantastic. We can look
at some in detail now. Liza and | 0:57:01 | 0:57:04 | |
Victoria have some. This is George,
enjoying the leaves, a fantastic | 0:57:04 | 0:57:13 | |
picture. Sarah took up painting
after 30 years, well done! Inspired | 0:57:13 | 0:57:17 | |
by the fading light on an early
autumn evening. Amazing. Gorgeous. | 0:57:17 | 0:57:25 | |
That one. Kim in Scotland sent us
this photo of the stag. Lock had. | 0:57:25 | 0:57:34 | |
This is from Ted, taken... Bettis
Park this morning, of the local | 0:57:34 | 0:57:44 | |
community clearing up the pathway of
all the leaves. Thank you so much. | 0:57:44 | 0:57:48 | |
Thanks to Liza, Victoria and Andrew. | 0:57:48 | 0:57:52 | |
All their books are out this week,
and Only Connect returns to BBC Two | 0:57:52 | 0:57:55 | |
next Friday at 8.30pm. | 0:57:55 | 0:58:00 | |
I wish I could paint. It would be so
great! You can, you can. How do you | 0:58:00 | 0:58:06 | |
start? Come and see me and I will
show you. For someone who has never | 0:58:06 | 0:58:11 | |
done it before. Start with acrylics,
the easy as pain to use, you, | 0:58:11 | 0:58:16 | |
mistakes, you can make paint on top
of paint on top of paint. Start with | 0:58:16 | 0:58:20 | |
acrylic. Go and get some drawing
lessons. There are lots of places | 0:58:20 | 0:58:24 | |
you can get basic drawing lessons,
learn how to draw. It's quite | 0:58:24 | 0:58:28 | |
difficult but really exciting when
you get into it. What you haven't | 0:58:28 | 0:58:32 | |
seen me draw, embarrassing! Everyone
says it but it's never true. I | 0:58:32 | 0:58:39 | |
believe everyone has it. You did it
as a child on it in there and it | 0:58:39 | 0:58:43 | |
only takes something to bring it
out. Get there, get a pad and a | 0:58:43 | 0:58:47 | |
pencil and do it! CHEERING
Yes, yes. | 0:58:47 | 0:58:52 | |
Tomorrow the amazing voice
of Sam Smith will be | 0:58:52 | 0:58:54 | |
here - see you at 7pm. | 0:58:54 | 0:58:55 | |
Bye-bye. Bye-bye!
CHEERING AND APPLAUSE | 0:58:55 | 0:58:59 | |
CHEERING AND APPLAUSE | 0:58:59 | 0:59:00 |