Browse content similar to 02/08/2011. Check below for episodes and series from the same categories and more!
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Hello and welcome to The One Show with Matt Baker and Alex Jones. | :00:20. | :00:24. | |
Tonight's guest has worshipped at the altar of comedy for years but | :00:24. | :00:31. | |
has transformed himself into a rock god. It is Justin Lee Collins. | :00:31. | :00:41. | |
:00:41. | :00:41. | ||
I've got coffee, it is black, no milk. Great accessories as well. | :00:42. | :00:47. | |
have gone Skull crazy, look at the belt. It is all to get into the | :00:47. | :00:52. | |
part? It is just an affectation. I am not rock'n'roll. I don't drink | :00:52. | :00:57. | |
any more, I am eating the easily, my diet is so full of fibre, I am | :00:57. | :01:03. | |
never off the toilet, it is ridiculous. He lovely. We will talk | :01:03. | :01:10. | |
to you about your brand new rock career. Also joining us, the former | :01:10. | :01:17. | |
boss of MI5, Dame Stella Rimington. She will be revealing how she was | :01:17. | :01:26. | |
recruited into Her Majesty's Secret We realise it is MI6 that James | :01:26. | :01:32. | |
Bond was from, we thought it was worth playing the music. These | :01:32. | :01:35. | |
lanterns have become fashionable at parties, weddings and family | :01:35. | :01:39. | |
celebrations. There is no doubt they light up the sky in a | :01:39. | :01:43. | |
spectacular way, but they could have a darker and potentially more | :01:43. | :01:47. | |
dangerous side. The early hours in Luton. CCTV | :01:47. | :01:51. | |
footage shows a paper lantern floating over a car park. Carried | :01:51. | :01:55. | |
by the breeze, it becomes lodged under a car bumper. Within minutes, | :01:55. | :02:01. | |
a shocking scene unfolds. Soon, the car is well and truly alight. The | :02:01. | :02:05. | |
firefighters bring it under control but the car is a wreck. And this | :02:05. | :02:11. | |
isn't a one-off. In Bury, another car was written off. One Show | :02:11. | :02:14. | |
viewer Jacqueline Webb suspected arson. An investigator and revealed | :02:14. | :02:20. | |
it was a lantern. -- investigation. And Kyle Jones was badly injured by | :02:20. | :02:24. | |
hot wax falling from a lantern, released at a family party. These | :02:24. | :02:29. | |
things are causing quite some controversy. The coastguard blame | :02:29. | :02:32. | |
them on hundreds of false call-outs. The Civil Aviation Authority say do | :02:32. | :02:36. | |
not use them near airports. The National Farmers' Union want an | :02:36. | :02:40. | |
outright ban after numerous reports of animals dying after eating them. | :02:40. | :02:45. | |
There is a fuel cell which you like. The air heats up, and they rise up | :02:46. | :02:53. | |
into the night time Sky -- which The image of lanterns is a powerful | :02:53. | :03:03. | |
:03:03. | :03:04. | ||
one. ITV used them in a Channel by ITV is here in Trowbridge, a | :03:04. | :03:10. | |
Chinese lantern drifted across to this house. -- here in Trowbridge. | :03:10. | :03:14. | |
The whole family was still asleep. The lantern was still light and | :03:14. | :03:19. | |
landed on a park built extension to the rear of the property, next to | :03:19. | :03:26. | |
where two young children were asleep. We had gone to bed on a | :03:26. | :03:30. | |
Saturday night. The next thing I knew, one of the neighbours was | :03:30. | :03:37. | |
banging on the door. St to get out, because the house was on fire. -- | :03:37. | :03:41. | |
saying to get out. It is only when I took the children to the garden | :03:41. | :03:46. | |
that we could see the flames are commanded was quite scary, | :03:46. | :03:50. | |
particularly because where the fire was was next to where Amelia had | :03:50. | :03:55. | |
been asleep. The fire brigade found a damaged Chinese lantern on the | :03:55. | :04:00. | |
roof. We were very lucky, because I have two lovely children, and I | :04:00. | :04:04. | |
think things could have been very different. Firefighter Glyn Moody | :04:04. | :04:08. | |
was there on the night and is the investigating officer. Without the | :04:08. | :04:12. | |
neighbours noticing that the time they did, I think two or three | :04:12. | :04:16. | |
hours later, we had the potential for this to have been a fatal fire | :04:16. | :04:19. | |
with three occupants in the house. The Chief Fire Officers' | :04:19. | :04:22. | |
Association is calling for a government review of the sale and | :04:22. | :04:27. | |
use of Sky lanterns. They say a ban should be looked at seriously, | :04:27. | :04:30. | |
although they recognise there is a balance to be considered, they | :04:30. | :04:39. | |
argue the safety issues outweigh other considerations. Glastonbury. | :04:39. | :04:43. | |
Such are Michael Eavis's concerns about the lanterns, he has banned | :04:43. | :04:46. | |
them from the festival. As people are still sticking them in, he is | :04:46. | :04:49. | |
working with Devon and Somerset Fire Service to minimise the danger | :04:50. | :04:54. | |
they pose. Remnants of lanterns have already killed some of his | :04:54. | :04:57. | |
livestock and the potential danger to people is frightening. I have | :04:57. | :05:03. | |
thousands of tents, 180,000 people or living in tents. Imagine if they | :05:03. | :05:08. | |
catch fire, with the wind going, the fire goes from one turned to | :05:08. | :05:11. | |
another, you have a huge problem. They should be banned, like they | :05:11. | :05:15. | |
are in Germany and Australia, because they are real menace. | :05:15. | :05:20. | |
is no doubt about it, these lanterns look stunning in the night | :05:20. | :05:23. | |
sky. The manufacturers, along with Trading Standards, saying if you | :05:23. | :05:27. | |
are going to use them, follow the safety instructions and then they | :05:27. | :05:30. | |
are safe. With so many stories emerging about how things have gone | :05:30. | :05:35. | |
wrong, it makes you wonder, is now the time that we put the lights out | :05:35. | :05:41. | |
on these lanterns? Justin, you have had a run-in with | :05:41. | :05:46. | |
these Chinese lanterns? I have. Two or three years ago, no one really | :05:46. | :05:53. | |
knew what these things were. It is true. They are pretty new. I know | :05:53. | :05:58. | |
they probably go back hundreds of years in China, but they have not | :05:58. | :06:02. | |
been commonplace in this country until about two or three years ago. | :06:02. | :06:09. | |
We had a garden party in the summer. All my family were there. At about | :06:09. | :06:14. | |
midnight, there were about eight of us left. Me and my cousin of | :06:14. | :06:22. | |
Mavis... That is true... She will be watching. And her now husband, | :06:22. | :06:27. | |
Andy, and to be fair, we had all had a drink, and it was quite late. | :06:27. | :06:32. | |
I swear, I look up into the night sky, and there, hovering above | :06:32. | :06:38. | |
Clifton Suspension Bridge is what I thought, at the time, to be about | :06:38. | :06:45. | |
eight UFOs. I am looking and pointing like a caveman, and I said, | :06:45. | :06:54. | |
look, can you see? We are all stood there, agog, looking at these eight | :06:54. | :06:57. | |
unidentified flying objects flying in formation. But then they slowly | :06:57. | :07:02. | |
changed, and clearly, they burn out and disappear. But I think at the | :07:02. | :07:06. | |
time, that they have just flown off at breakneck speed. The following | :07:06. | :07:14. | |
day, the front page of the Bristol Evening Post was Chinese lanterns. | :07:14. | :07:19. | |
And William Bones is to thank for that. You are here from | :07:19. | :07:22. | |
Resuscitation Council UK, it is important to say that yours were | :07:22. | :07:30. | |
not the one featured in the film -- you are here from Sky Orb Lanterns. | :07:30. | :07:35. | |
It was a great film. It highlights that the Chinese lanterns, the Sky | :07:35. | :07:39. | |
Orbs should be used in a responsible way. If you follow the | :07:39. | :07:43. | |
safety advice on the packaging, it is going to be fine. You say that | :07:43. | :07:46. | |
yours are safer than others that are out there. Yours is this red | :07:46. | :07:51. | |
one. Let's start with the white one, why are they not safe? The first | :07:51. | :07:58. | |
thing about it, the actual balloon itself will burn. If you flick back | :07:58. | :08:03. | |
to the clip, the balloon that came down on the car was already a light. | :08:03. | :08:09. | |
Ours won't do that because it is a flame retardant balloon. The next | :08:09. | :08:12. | |
thing is, the fuel cell, if you look at the White one, that is | :08:12. | :08:17. | |
separate. You have to attach that to the wire frame, which is going | :08:17. | :08:22. | |
to mean it is prone to fall off. That is made from wax, which we saw | :08:22. | :08:28. | |
on the child's face. Yes, or something similar to it. On the Sky | :08:28. | :08:33. | |
Orbs balloon, it is a solid sell, made from cardboard and cotton. It | :08:33. | :08:38. | |
is already attached securely to the balloon, so it is not going to fall | :08:38. | :08:42. | |
off. The only time that will come down is when it has burned out. | :08:42. | :08:45. | |
They have been banned in Australia and Germany so there is obviously a | :08:45. | :08:50. | |
reason for it. Quite right. In Australia, it is a tinder dry | :08:50. | :08:54. | |
country a lot of the time. Actually, the ban has been lifted in Germany, | :08:54. | :08:58. | |
that happened in January. instructions say you should not | :08:58. | :09:03. | |
like them and let them go if the wind is more than five mph, but to | :09:03. | :09:06. | |
the average person, how do you know when the wind is over five miles | :09:06. | :09:13. | |
per hour? Most people can walk at 5 mph, Justin can probably warble at | :09:13. | :09:18. | |
three, with a drink. If you let go a normal balloon, if you can look | :09:18. | :09:23. | |
after it, fine. If you can't catch it, don't do it. The leaves blowing | :09:23. | :09:31. | |
in the trees will give you a good idea. Thank you. It is date two of | :09:31. | :09:35. | |
our series looking at Britain's biggest wildlife rescue hospitals. | :09:35. | :09:43. | |
This film's Features herons, haemorrhoid cream and baby shrews. | :09:43. | :09:47. | |
What I love about Iggy winkles is the animals seem to love it here, | :09:47. | :09:53. | |
even the wild ones. This is the outside ashtray, and nesting inside | :09:53. | :10:03. | |
here are blue tits. Amazing. But not all wildlife adapt so well to | :10:03. | :10:07. | |
living alongside humans. I am on a call-out with Les, to a heron that | :10:08. | :10:14. | |
has got himself into a tangle looking for food. Poor chap. The | :10:14. | :10:19. | |
net was covering the whole of the pond, to try to keep the Heron off. | :10:19. | :10:24. | |
They will poke your eyes out. heron is extremely distressed, so | :10:24. | :10:31. | |
we need to work quickly. Am I allowed to go in? Yes, go on. | :10:31. | :10:36. | |
about your neck. The Heron's neck can reach a third of a metre, and | :10:36. | :10:40. | |
with fish in a garden pond easy to catch, it is a common hunting | :10:40. | :10:48. | |
ground. Is this a common thing? is. What you do with the parents, | :10:48. | :10:54. | |
hold the head, tucked in under the arm, bring his legs up, he is | :10:54. | :11:00. | |
soaking wet. It looks like the wing is injured, so he is taken back to | :11:00. | :11:06. | |
the hospital, where vet can it assess the extent of the damage. | :11:06. | :11:11. | |
The biggest danger is that it cuts off the blood supply, and the wing | :11:11. | :11:14. | |
below that can die off. We will give drugs to increase the blood | :11:14. | :11:20. | |
flow to the tip of the wing, and that is about all we can do. | :11:20. | :11:25. | |
cream Joe is applying is usually used for a very different problem. | :11:25. | :11:31. | |
Haemorrhoid cream, his idea was that? I think it is one of the | :11:31. | :11:35. | |
ticket winkles innovations. When we started all of this, nobody had | :11:35. | :11:39. | |
dealt with wildlife. You get this injury to the wing tips quite often. | :11:39. | :11:43. | |
It helps to get the blood circulating, haemorrhoid cream. We | :11:44. | :11:48. | |
use it quite a lot. Luckily, the wing is a broken, but if the blood | :11:48. | :11:52. | |
isn't reaching the wing-tip, he could still lose it. The next | :11:52. | :11:56. | |
couple of days are crucial, and we will find out how he is getting on | :11:56. | :12:00. | |
late in the week. As soon as one animal has been treated, more | :12:00. | :12:05. | |
arrive, and next up, a batch of new bonds that were dug up on a | :12:05. | :12:13. | |
construction site. What is in the pot? 10 baby shrews. Oh, my word. | :12:13. | :12:17. | |
Shrews, like them more cousins, have a voracious appetite, so | :12:17. | :12:21. | |
having been separated from their mother for while, these guys will | :12:21. | :12:31. | |
:12:31. | :12:32. | ||
They will probably be needed fed every hour, and through the night. | :12:32. | :12:37. | |
They have very high metabolisms and need food constantly. How do you | :12:37. | :12:43. | |
feed a baby is true? I ask that, but look what we have got here -- a | :12:43. | :12:48. | |
baby Shrew. You can use a paint brush, or we have these, which have | :12:48. | :12:58. | |
:12:58. | :12:58. | ||
a very fine tip. The cotton buds is to help to toilet them. They should | :12:58. | :13:02. | |
be eating solids in a week and then they will be out on their staple | :13:02. | :13:07. | |
diet of insects. For now, they are dependent on us. I think I have got | :13:07. | :13:12. | |
my work cut out today, I am going to be here a while. Right, open | :13:12. | :13:19. | |
wide. Hopefully, I won't be here all night, because tomorrow we meet | :13:19. | :13:23. | |
an old friend, and his new friends, and release baby hairs back into | :13:23. | :13:29. | |
the wild. Wonderful. We will let you know if | :13:29. | :13:34. | |
the haemorrhoid cream has worked. Justin, you're watching very | :13:34. | :13:39. | |
closely for reasons that will remain nameless. It was the size of | :13:39. | :13:48. | |
a squash ball. OK... We move on to the new musical. Rock of Ages. It | :13:48. | :13:53. | |
was on Broadway, wasn't it? It has been a big hit on Broadway and I | :13:53. | :13:57. | |
saw it on Broadway. I went a couple of months ago. I was sent the | :13:57. | :14:01. | |
script and I had the Broadway cast seedy, but you need to go and see | :14:01. | :14:11. | |
:14:11. | :14:12. | ||
it. Is it the same show? -- cast CD. Yes, references need to be changed. | :14:12. | :14:17. | |
The American references were too fast food references -- restaurants | :14:17. | :14:21. | |
that we won't get. Essentially it is the same. They are making it | :14:21. | :14:28. | |
into a film. Tom Cruise is in the film. There he is. Looking very | :14:28. | :14:33. | |
thin. Alec Baldwin plays the part you are going to play for the yes, | :14:33. | :14:40. | |
he plays Dennis, the nightclub owner. Everything is set in the 80s. | :14:40. | :14:43. | |
He owns the Birgen nightclub and they are trying to take his club | :14:43. | :14:52. | |
Are you miffed that you have missed out on the chance of getting in the | :14:52. | :14:57. | |
film? Yes. I mean, I love Alec Baldwin, but I could do the film. | :14:57. | :15:07. | |
:15:07. | :15:07. | ||
There could be a Rock Of Ages two. I could be like Maxwell in Greece. | :15:07. | :15:14. | |
You started rehearsals today today Yesterday was the first day I met | :15:14. | :15:17. | |
the company. We introduced ourselves, what part | :15:17. | :15:22. | |
you are doing and we did a read- through. I got very excited about | :15:22. | :15:25. | |
the read-through. You hear about people getting together on film and | :15:25. | :15:29. | |
they sit together and have a read- through. We did the read-through | :15:30. | :15:34. | |
yesterday. Today, it was leotards on and let's get dancing. | :15:34. | :15:38. | |
You say you have never done it before, but you were in Chicago. It | :15:38. | :15:43. | |
was a spin-off of a television series you did? It was about three | :15:43. | :15:50. | |
years ago and I auditioned for Chicago. They gave me the part for | :15:50. | :15:54. | |
two day, she days in two days. It was a shorter run than what I'm | :15:54. | :15:58. | |
doing now. Well, we have got a clip. | :15:58. | :16:08. | |
:16:08. | :16:17. | ||
Have you? Yes. Never even know. | :16:17. | :16:21. | |
Hit that note, I never thought I would get that note because singing | :16:22. | :16:28. | |
in that musical theatre style which we are not not doing on Rock Of | :16:28. | :16:32. | |
Ages, but for Chicago it is that musical theatre thing. I didn't | :16:32. | :16:36. | |
think I could hit the big, long, clean notes. I remember the first | :16:36. | :16:41. | |
time I rehearsed that song, my frame of reference is Tom Jones. | :16:41. | :16:44. | |
Whereas the note you hear on that clip is big and long and clean | :16:44. | :16:53. | |
which is what it should be, initially I was going # No # | :16:53. | :17:02. | |
People were going, "Don't do Tom Jones.". You have got the moves. We | :17:02. | :17:09. | |
have a special camera. This is you rocking in slow-mo. Action! | :17:09. | :17:14. | |
That's normal speed. And this is you in a slow-mo. | :17:14. | :17:18. | |
like a hair advert. I love that. | :17:19. | :17:24. | |
Smell my hair. Look at it! It smells nice! | :17:24. | :17:28. | |
I love it. We will put that on a DVD for you. | :17:28. | :17:31. | |
Thank you. You have a fine head of hair, but | :17:31. | :17:35. | |
it wasn't always the case, was it? We have a picture of you without! | :17:35. | :17:42. | |
That's me at M&S! Short hair with a flower attached. | :17:42. | :17:47. | |
I had patchy highlights. My mum had this thing about me having | :17:47. | :17:54. | |
highlights. When I was a baby I was blond. My mum loved me blond. When | :17:54. | :17:59. | |
I got to 16 my mum made me have those awful highlights, the patchy | :17:59. | :18:03. | |
highlights and everybody at M&S, "What is going on with your hair?" | :18:04. | :18:08. | |
To be fair I still get that to this day. | :18:08. | :18:15. | |
You go dark in Rock Of Ages. It opens on 31st all. | :18:15. | :18:20. | |
We will be talking to Dame Stella Rimington who became the highest | :18:20. | :18:24. | |
ranking female intelligence officer ever. | :18:24. | :18:29. | |
Ruth Goodman looks at a woman who made the ultimate sacrifice during | :18:29. | :18:35. | |
In 1940, Europe was under German rule. The fight needed to be taken | :18:35. | :18:41. | |
behind enemy lines with a sabotage campaign. In London's Baker Street, | :18:41. | :18:44. | |
a shadowy organisation called the Special Operations Executive was | :18:45. | :18:49. | |
set up to do just that. More than 100 of their aghtsz were killed. -- | :18:49. | :18:56. | |
acts were killed. Many women amongst them. The main figure is on | :18:56. | :19:00. | |
the memorial in London. But it is another female spy I'm interested | :19:00. | :19:08. | |
in. There is no memorial, but her story is one of the most fas | :19:08. | :19:18. | |
:19:18. | :19:22. | ||
fascinating -- fascinating. This was set-up which Winston | :19:22. | :19:25. | |
Churchill to help sabotage the Germans and help the French | :19:25. | :19:33. | |
resistance. They are luxury flats now, but I got a look inside. | :19:33. | :19:37. | |
walls would have been covered with maps of Paris and the agents would | :19:37. | :19:47. | |
:19:47. | :19:48. | ||
be familiarising themselves with it. As the family lived in Paris until | :19:48. | :19:54. | |
they led to London on the outbreak of war. | :19:54. | :19:58. | |
She believed in non violence, but she was opposed to halfs happening | :19:58. | :20:02. | |
and -- what was happening and what was going on. She decided to be | :20:02. | :20:05. | |
involved. She joined the Women's Auxiliary | :20:05. | :20:10. | |
Airforce, but was soon identified as an ideal recruit for SOE. | :20:10. | :20:16. | |
She spoke fluent French. She knew the area well and she was a trained | :20:16. | :20:19. | |
radio operator. The recruiting officer just saw her and knew she | :20:19. | :20:24. | |
was right for the job. He told her, "You will be sent as an agent to | :20:24. | :20:27. | |
France. You won't be in uniform. There is no protection. If you are | :20:27. | :20:33. | |
caught, you will be shot. Will you take the job?" She said yes. | :20:33. | :20:39. | |
Agents were given rigorous training. If they had a filling which is not | :20:39. | :20:43. | |
right, it would be replaced with a gold plug as they did in the | :20:43. | :20:47. | |
Continent. Everything is checked out. Of course, there is the cover | :20:47. | :20:51. | |
stories. They go with their cover stories so that nothing is left to | :20:51. | :20:57. | |
chance. Nour was given the codename | :20:57. | :21:02. | |
Madeline. Her mission was to be a radio operator in Paris. | :21:02. | :21:07. | |
It was one of the most dangerous jobs. Life expectancy for radio | :21:07. | :21:10. | |
operators was just six weeks. They were the links between London | :21:10. | :21:13. | |
and France. Without the wireless messages, the RAF don't know where | :21:13. | :21:19. | |
to send the supplies. Without the wireless operator, the leader can't | :21:19. | :21:26. | |
be instructed as to to where to attack and where not to attack. | :21:26. | :21:31. | |
Sending messages was a long winded process with equipment that was | :21:31. | :21:37. | |
tricky to use and the Gestapo were always on the hunt for radio | :21:37. | :21:41. | |
operators in Paris. However well trained you are, every | :21:41. | :21:44. | |
moment is a test. When she arrived, she was going to work for one of | :21:44. | :21:47. | |
the biggest networks going. Tragically, within days of her | :21:47. | :21:50. | |
arriving, the Germans penetrated the network, crippling the | :21:50. | :21:55. | |
organisation and leaving her exposed and really this means that | :21:55. | :21:58. | |
her job is more vital because London needs to know what is | :21:58. | :22:01. | |
happening and she is the person who was able to send the messages back. | :22:01. | :22:05. | |
No matter how important she was, her bosses thought it was too | :22:05. | :22:10. | |
dangerous for her to continue. She was told to return to London. She | :22:10. | :22:15. | |
refused and carried on transmitting. She was now the only radio operator | :22:15. | :22:21. | |
left in Paris. She was to pay for her bravery when she was captured. | :22:21. | :22:29. | |
. Noor made repeated attacks to leave the Gestapo. | :22:29. | :22:35. | |
She was labelled as a highly dangerous prisoner. Noor had it | :22:35. | :22:41. | |
worse. It was tortured, beaten and kicked and finally gunned at the | :22:41. | :22:45. | |
the become of her head and she was shot, but her spirit remained and | :22:45. | :22:55. | |
:22:55. | :22:56. | ||
she went down saying, "liberty.". Noor was given the George Cross. | :22:56. | :23:02. | |
Noor's efforts are typical of agents to risked their lives and | :23:02. | :23:07. | |
according to the General, it played a considerable part in the complete | :23:07. | :23:14. | |
and final victory over Hitler's Stella joined us here. Is that the | :23:14. | :23:22. | |
first time you heard Noor's story? There were a lot of women. They | :23:22. | :23:25. | |
recruited women because they thought they wouldn't be noticed, | :23:25. | :23:28. | |
but in her case, she was noticed and quickly too. | :23:28. | :23:34. | |
How were you drafted in to the Secret Service? It sounds | :23:34. | :23:40. | |
intriguing? Well, I was recruited in the late 1960s. You had to wait | :23:40. | :23:42. | |
for somebody to tap you on the shoulder. | :23:42. | :23:47. | |
Really? What were you doing at the time? I was the wife of a British | :23:47. | :23:52. | |
diplomat and I was doing what diplomats wives did which was | :23:52. | :23:58. | |
running coffee mornings when somebody sideled up to me and said, | :23:58. | :24:06. | |
"Do you want to be a spy?" Or something like that anyway! | :24:06. | :24:07. | |
LAUGHTER Wasn't in the first instance they | :24:07. | :24:10. | |
said do you want to be a typist? offered me a job as a part-time | :24:10. | :24:14. | |
clerk typist in a small office that MI5 had in New Delhi and and that's | :24:14. | :24:18. | |
what I did. I didn't know anything about MI5 and I found that's what I | :24:18. | :24:25. | |
joined. I was there typing his reports back to London. When we | :24:25. | :24:29. | |
left India, I thought this looks like an exciting job. I applied for | :24:29. | :24:33. | |
a full-time job and I discovered I joined a service that was really | :24:33. | :24:37. | |
male dominated in those days. The women women had their own career | :24:37. | :24:40. | |
structure and we were limited really to working with the papers | :24:40. | :24:44. | |
and you know doing the clerking and stuff and the men went out and did | :24:44. | :24:48. | |
the sharp end work. How did you rise to the top? Well, | :24:48. | :24:53. | |
during the 70s, it was the 70s by the time I started. Women's lib | :24:53. | :24:56. | |
came along and there were women like me with degrees and such like | :24:56. | :25:02. | |
and we started to say, "Hang on, why can't we do the sharp end work | :25:02. | :25:05. | |
like the men?" Our bosses puffed their pipes and scratched their | :25:05. | :25:08. | |
heads and they didn't have a good answer. Some of us were allowed to | :25:08. | :25:14. | |
try our hand at the intelligence gathering work so we went on from | :25:14. | :25:19. | |
strength to strength. Now women are doing all the work of the service | :25:20. | :25:26. | |
and and equally with the men. "Girl power". | :25:26. | :25:29. | |
Providing variety. You have drawn on your experiences | :25:29. | :25:34. | |
to write a series of books. The character Liz Carlisle and you have | :25:34. | :25:39. | |
a new book out, haven't you? It is out this month and it is the sixth | :25:39. | :25:43. | |
in the series and Liz Carlisle is in all of them. Liz Carlisle is a | :25:43. | :25:50. | |
modern MI5 officer. She didn't didn't join by being tapped on the | :25:50. | :25:54. | |
shouder and saw what jobs there are and she applied on the website. She | :25:54. | :25:58. | |
joined a service where men and women are equal. She leads a small | :25:58. | :26:02. | |
team of people who go out and solve some of the problems, you know, | :26:02. | :26:04. | |
that face the intelligence services now. | :26:04. | :26:09. | |
Did you always know that you were going to put the stories down and | :26:09. | :26:12. | |
you wanted to write books? Well, it is something I wanted to do. I used | :26:12. | :26:19. | |
to think about writing thrillers. I have always been a thriller reader. | :26:19. | :26:29. | |
So when when five or six years I left, the first thing I wrote was | :26:29. | :26:34. | |
my my autobiography and and then I decided to have a go at the novels | :26:34. | :26:38. | |
and I have been having a go since. Stella, given your intelligence | :26:38. | :26:45. | |
training, we we wondered who out of you and Justin would be the best of | :26:45. | :26:52. | |
spotting an imposter in a group of people. We have a challenge. | :26:52. | :27:02. | |
:27:02. | :27:02. | ||
We would like you both to play rock god or mock god? | :27:02. | :27:07. | |
Among the crew of rockers there is a proper legend who appeared on Top | :27:07. | :27:17. | |
:27:17. | :27:21. | ||
of the Pops. Right, here they are, we have Rock Climber. Rock on Tommy. | :27:21. | :27:26. | |
Any ideas? Any thoughts, Stella? I'm going for Rocky Road. | :27:26. | :27:33. | |
We are looking for Steve Dawson. Justin, what do you think of number | :27:33. | :27:39. | |
one? I've met Saxon. The most | :27:39. | :27:42. | |
interesting fact, the most interesting, I mean Saxon are a | :27:42. | :27:46. | |
great band, but one of the many interesting facts about Saxon is | :27:46. | :27:54. | |
they were the main inspiration for Spinal cap tap. That's right. | :27:54. | :28:04. | |
:28:04. | :28:06. | ||
I worked with Saxon once. I met Saxon. | :28:06. | :28:09. | |
You are saying not number one then. I met the base player. Bearing in | :28:09. | :28:12. | |
mind Saxon, Spinal Tap were based on Saxon and I met the base player | :28:12. | :28:16. | |
on a shoot and it was 10am and a young runner came up to me and said, | :28:16. | :28:22. | |
"Guys can I get you a drink?" The base player from Saxon said, "Can I | :28:22. | :28:28. | |
have a beer?". We are going to have to push you. It is number three. | :28:28. | :28:34. | |
Is that the one I chose? Number three. | :28:34. | :28:38. | |
I'm wrong. I'm wrong. Three, I'm wrong. | :28:38. | :28:48. | |
:28:48. | :28:49. | ||
Can the real rock god step forward, please? | :28:49. | :28:54. |