Browse content similar to 03/10/2012. Check below for episodes and series from the same categories and more!
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Hello and welcome to the One Show with a newly recovered Matt Baker. | :00:27. | :00:30. | |
Tonight, Angela Ripon investigates the e-mail scammers who targeted | :00:30. | :00:35. | |
her and her friends. We'll give a big hand to Kenny Everett and | :00:35. | :00:39. | |
talking to his ex-wife and meeting Oliver who stars as Kenny in a | :00:39. | :00:49. | |
brilliant new drama. We are joined by two music legends. One of them | :00:49. | :00:56. | |
arrived earlier today in this. It's always hard to park this thing. | :00:56. | :01:06. | |
:01:06. | :01:06. | ||
Good job. Beautiful landing. Good job. He is the genius behind Mr | :01:06. | :01:16. | |
:01:16. | :01:17. | ||
Blue Sky, The Electric Light Orchestra's Jeff Lynne. Our other | :01:17. | :01:22. | |
guest, he has a few fans in the audience. Can you spot them? It's | :01:22. | :01:27. | |
difficult. I'm sure you've guessed it, it's the maestro of the musical, | :01:27. | :01:37. | |
:01:37. | :01:41. | ||
Lord Andrew Lloyd Webber. APPLAUSE | :01:41. | :01:46. | |
We saw you last night with Gary Barlow and Gareth Malone and the | :01:46. | :01:50. | |
military wives. Nice to hear it again. Was it a late night? It was | :01:50. | :01:55. | |
because we did an aftershow party at home and a few of the artists | :01:55. | :01:59. | |
did come around and we did sort of uncork the odd bottle and we did | :01:59. | :02:04. | |
have a bit of fun, but it was great, because it's great to see so many | :02:04. | :02:14. | |
young performers coming through. Nicola and Milos. I loved working | :02:14. | :02:18. | |
with all of them, but I'm getting too old. What time did you fannish | :02:18. | :02:25. | |
up this morning? What time is it now? About 2am. Were you all | :02:25. | :02:30. | |
sitting around at yours? Sort of. Sometimes musicians make a bit of | :02:30. | :02:36. | |
music and it's always good fun. missed out on a good night. Andrew, | :02:36. | :02:42. | |
we have our own performance coming up later. Carrie is in Liverpool, | :02:42. | :02:44. | |
hoping to inspire people who haven't played an instrument in | :02:44. | :02:52. | |
years to pick them up again. If you've got a guitar, flute, cello, | :02:52. | :02:56. | |
triangle flugelhorn or any other instrument, get it from the atic | :02:56. | :03:01. | |
and take a picture of it and send it to us. As the Labour Party | :03:01. | :03:04. | |
Conference draws to a close, it emerged yesterday that whilst David | :03:04. | :03:10. | |
Cameron does it once a week, Ed Balls hasn't done it for ten years. | :03:10. | :03:16. | |
We are talking datenight, treating a loved one to a night out, just | :03:16. | :03:18. | |
the two. It seems Ed believes spending time home with the kids | :03:18. | :03:23. | |
instead of taking out the wife makes his marriage stronger, but | :03:23. | :03:30. | |
Anita doesn't agree. Ten years and are you having a right laugh? | :03:30. | :03:34. | |
Whatever happened to keeping the flame alive? Are the people of | :03:34. | :03:38. | |
Great Britain romantic or not? I'm going to find out and hopefully | :03:38. | :03:43. | |
rerindle a few relationships -- rekindle a few relationships along | :03:43. | :03:50. | |
the way. October, pick a night and say, "I'm going on a date ". Do you | :03:50. | :03:56. | |
go on date nights? What are they? Not very often. I can't remember | :03:56. | :04:01. | |
our last date. There we go. You have to stick to this. Lovely. Even | :04:01. | :04:04. | |
though you've been married for 57 years, when was the last time the | :04:05. | :04:11. | |
two of you went on a date? Last Saturday. Date night with your lady | :04:11. | :04:15. | |
love, getting dressed up, romantic meal. Really nice evening or | :04:15. | :04:21. | |
football in the pub with the lads? Football. Oh, come on! It would | :04:21. | :04:25. | |
have to be a Friday or Saturday. you regular go on date nights? When | :04:26. | :04:31. | |
was the last one? Saying that, I can't remember. 18 couples have | :04:31. | :04:35. | |
officially committed to date night this month, so maybe romance isn't | :04:35. | :04:44. | |
dead after all. Such a good idea. Do you have have one? You know, | :04:44. | :04:48. | |
it's hard with young kids, that's the thing, because you have to | :04:49. | :04:53. | |
arrange the babysitter. You have to make a point to go out. Andrew you | :04:53. | :04:57. | |
were saying watching that romance is high on your agenda? Very high, | :04:57. | :05:05. | |
because I'm taking my gorgeous wife away to majashing ka after the show | :05:05. | :05:08. | |
-- Majorca tonight after the show. Sadly, the clubs are closed at this | :05:08. | :05:13. | |
time of year. You know what we loving doing, is getting a chance, | :05:13. | :05:17. | |
because it's not that often with life and she has a huge | :05:17. | :05:20. | |
professional life breeding horses and all of that, but what we love | :05:20. | :05:24. | |
doing is just going to a great restaurant and that's the best | :05:24. | :05:34. | |
:05:34. | :05:37. | ||
thing to do. Seeing a musical? maybe. Which musical would you | :05:37. | :05:41. | |
suggest would be the most romantic of your musicals? It's so difficult | :05:41. | :05:48. | |
with all the masks here, I have to say Phantom. I was hoping you would | :05:48. | :05:54. | |
say what restaurant? What restaurant? I probably shouldn't | :05:54. | :06:00. | |
plug anything. The cafe is very nice. Very romantic when I came in. | :06:00. | :06:03. | |
Last week we launched a brand new part of the show, helping out | :06:03. | :06:07. | |
anyone with a great local cause and Lucy kicked it off by finding | :06:07. | :06:11. | |
volunteers to befriend elderly people in Cardiff and take them for | :06:11. | :06:15. | |
a date sort of. We didn't think it would happen. Thank you to everyone | :06:15. | :06:19. | |
who did come out and said they would give up their time. We had a | :06:19. | :06:24. | |
lovely response. This week we are moving to Liverpool and Carrie has | :06:24. | :06:28. | |
a musical challenge. With her help can the city's lapsed musicians | :06:28. | :06:38. | |
:06:38. | :06:41. | ||
rediscover their talent and love of music? Your challenge is to inspire | :06:41. | :06:48. | |
those who haven't played a musical instrument in years. Those you | :06:48. | :06:56. | |
inspire must be ready to perform as a band the ELO song Living Thing. | :06:56. | :07:01. | |
You are joking, aren't you? John is a Liverpool cultural champion and | :07:01. | :07:05. | |
the man I have to thank for this challenge. I came up with an idea | :07:05. | :07:09. | |
to get the older generation back into playing the instrument that | :07:09. | :07:13. | |
they loved when they were a kid and we can basically just discover the | :07:13. | :07:20. | |
music we love when we first started playing. We'll be the new ELO, | :07:20. | :07:23. | |
Extraordinary Liverpool Oldies. John, there's you and me and on | :07:24. | :07:28. | |
this stage in 36 hours we have to have a band. Yeah. This is Eric's | :07:28. | :07:33. | |
and Liverpool. We can well do it. Easy. Easy, I'm glad he's confident. | :07:33. | :07:40. | |
I'll need the help of local radio to get the message out. Carrie | :07:40. | :07:44. | |
Grant joins me live. Come down between two and five today to | :07:44. | :07:51. | |
Liverpool One. I have a fine array of instruments. I just need someone | :07:51. | :08:01. | |
:08:01. | :08:06. | ||
to play them. The will's there, but the memory's gone. Are you around | :08:06. | :08:09. | |
on Wednesday? I'm not around Wednesday night. I go to Portugal | :08:09. | :08:13. | |
on holiday on Wednesday. With little success getting the right | :08:13. | :08:16. | |
people to audition, I'm grateful for a bit of help from someone who | :08:17. | :08:22. | |
heard me on the radio. How are you, kid? It's Ricky Tomlinson to the | :08:22. | :08:32. | |
:08:32. | :08:34. | ||
rescue. Can you play ELO? Who? My arst rse. -- cars. | :08:34. | :08:38. | |
# I'm getting married to dear old Anne | :08:38. | :08:43. | |
# She was a girl # And the only girl that he ever | :08:43. | :08:52. | |
had... # Definitely a yes. It's up to you and it's a yes or a no. | :08:52. | :08:57. | |
We have drawn a crowd, but we need the right demographic of people. Do | :08:57. | :09:03. | |
you play a musical instrument at all? No. No. I used it play when I | :09:03. | :09:08. | |
was a child. Yeah. What did you play? Piano. Would you be | :09:08. | :09:16. | |
interested? No. Strawberry, blackberry, any berry, you like | :09:16. | :09:21. | |
Chuck berry. Are you available? # When I was just a little girl | :09:21. | :09:31. | |
:09:31. | :09:35. | ||
# I asked my mother what shall I be... # Anybody else want to join | :09:35. | :09:42. | |
# Whatever will be # The future's not ours to see... # | :09:42. | :09:48. | |
I have no idea who will turn up. Introducing Karl, whose guitar has | :09:48. | :09:51. | |
been in the wardrobe for 20 years. Jamie who hung up his eight years | :09:51. | :09:57. | |
ago. And dreeia, who hasn't performed -- Andrea, who hasn't | :09:57. | :10:01. | |
performed since the school quie and Paul who is blowing the flute for | :10:01. | :10:04. | |
the first -- choir and Paul who is blowing the flute for the first | :10:04. | :10:12. | |
time in 25 years. Derek and his two kids and Patrick whose guitar has | :10:12. | :10:18. | |
been gathering dust for ten years. With a combined total of 115 years | :10:18. | :10:21. | |
without performing and just four hours of practice, what on earth is | :10:22. | :10:31. | |
:10:32. | :10:36. | ||
this going to sound like? How are rehearsals going so far then? | :10:36. | :10:39. | |
as you heard, I've literally had to scour the whole of Liverpool to | :10:39. | :10:43. | |
find my supergroup, but I think I've managed it. As you saw, how | :10:43. | :10:53. | |
:10:53. | :10:53. | ||
long has it been, Karl? 20 years. How are you feeling? Nervous. | :10:53. | :10:57. | |
Apparently this isn't your first time here? No, we played here over | :10:57. | :11:01. | |
30 years ago. I worked out it's probably preinternet, so that shows | :11:01. | :11:05. | |
you how long it was. You were in the resident band here? We used to | :11:05. | :11:12. | |
play every Thursday night. Tell me where your guitar was 24 hours ago? | :11:12. | :11:16. | |
It was in a dark recess of a cupboard behind the vacuum cleaner. | :11:16. | :11:22. | |
Gathering dust, but not in the right place. Andrea, singing for me | :11:22. | :11:28. | |
tonight. When did you last sing? years ago. Years ago. How are you | :11:29. | :11:33. | |
feeling now? Really nervous. First live gig in years and it's in front | :11:33. | :11:38. | |
of five million people. We'll see you later. Wow. That's quite a big | :11:39. | :11:43. | |
ask, isn't it? It is. I used to play the French horn and I used to | :11:43. | :11:49. | |
play the violin. When I was three I was on the cover of Nursery World. | :11:49. | :11:53. | |
Luckily my violin I can't find and more luckily my French horn is | :11:53. | :11:56. | |
nowhere to be discovered on the planet. I don't think I can really | :11:56. | :12:00. | |
join in the club with great enthusiasm. We can't even tempt | :12:00. | :12:03. | |
you? You know, I did think maybe when I was looking at that, I | :12:03. | :12:10. | |
should try to find it again, but I'm not sure. I tell you one thing, | :12:10. | :12:15. | |
when I was a kid, about 18, my father was very famous composer and | :12:15. | :12:19. | |
I was asked to go and judge the school music competition. I had | :12:19. | :12:23. | |
just written Joseph and all of that and he got it wrong, it was not me | :12:23. | :12:29. | |
they wanted, they wanted my father, so suddenly I'm in front of these | :12:29. | :12:33. | |
18-year-old schoolgirls all judging their music competition and I rang | :12:33. | :12:43. | |
:12:43. | :12:45. | ||
dad and I said what words should I use. He said words like ombusure. | :12:45. | :12:49. | |
We'll move on to Jesus Christ Superstar. It's in Cardiff and then | :12:49. | :12:54. | |
Birmingham. Yeah. Touring all over. We've added four more dates. | :12:54. | :13:00. | |
Wembley and Manchester again now on Sunday. Fantastic. It's gone to | :13:00. | :13:05. | |
arenas? No, no. What it was was a rock show and it was conceived as a | :13:05. | :13:09. | |
rock album and in this country the album wasn't a big hit to start | :13:09. | :13:13. | |
with. It went to America and it was a huge hit and then done in arenas | :13:13. | :13:18. | |
around America and I've wanted to bring it back to Britain, 41 years | :13:18. | :13:25. | |
later, and it's now in the arein thats. Last time -- arenas. Last | :13:25. | :13:29. | |
time you were on you were talking about it. How has it turned out? | :13:29. | :13:34. | |
More than I could have hoped. It's fantastic. Just seeing it. 12,000 | :13:34. | :13:37. | |
people in Manchester. They are all loving it. There must have been | :13:37. | :13:41. | |
challenges that you come up against with the Biggar reign naz? Tricky | :13:41. | :13:51. | |
:13:51. | :13:52. | ||
spots? -- big arenas? Tricky spots? Sometimes the sound isn't quite | :13:52. | :13:57. | |
right on the first night. Two or three nights in O2, fantastic. We | :13:57. | :14:00. | |
were back there again and we are now in Wembley. Because you are | :14:00. | :14:05. | |
hopping from one to another every other night. It's a great, new | :14:05. | :14:10. | |
world to me, because unlike the one we did in America was literally | :14:10. | :14:14. | |
touring, this is a full production and there are ten trucks and before | :14:14. | :14:17. | |
you get off stage literally you have to get off quickly because | :14:17. | :14:21. | |
there is someone taking it away before you get off it. It's great. | :14:21. | :14:25. | |
We have got a fabulous cast. It's been great and a real rock band and | :14:25. | :14:32. | |
it's live. That's the thing. It's not on track or a mimed show. This | :14:32. | :14:37. | |
is it. 60 performers live. story is up-to-date and modern | :14:37. | :14:40. | |
twists? We haven't changed anything to do with the musical or the | :14:40. | :14:46. | |
lyrics or words, but it's staged as if it's today. I don't want to give | :14:46. | :14:49. | |
away what happens when Chris Moyles, if you haven't seen it, comes on | :14:49. | :14:53. | |
stage, but it's very much today and the whole thing is staged very much | :14:53. | :14:56. | |
in the context of what is going on in the Far East and around the | :14:56. | :15:04. | |
world. Speaking of Chris, he left Radio 1 and how is he getting on? | :15:04. | :15:10. | |
He's found a rather good new nearby for himself. -- niche for himself. | :15:10. | :15:15. | |
He's terrific and funny. It's our bit of luck that he has left Radio | :15:15. | :15:19. | |
1, because he's able to give his all to this. He's great. We'll have | :15:19. | :15:27. | |
to go and see it. You will. We'll come. Away from music, you are | :15:27. | :15:31. | |
judging the Heritage Angel Awards? I was working with guys on | :15:31. | :15:34. | |
Countryfile who were stone Masons who have made the shortlist. How | :15:34. | :15:39. | |
did you get into that for those who haven't heard? Architecture is my | :15:39. | :15:42. | |
great love and art and anything really to do with the arts in | :15:42. | :15:47. | |
general, so I have the foundation from everything for young people | :15:47. | :15:51. | |
coming into music and trying to plug the gaps with the funding gaps | :15:51. | :15:56. | |
at the moment. We also, one of the things I'm passionate about is | :15:56. | :16:00. | |
supporting people who have got the projects which never get recognised. | :16:00. | :16:06. | |
It's the second year. Clare Balding is hosting it. It's about people | :16:06. | :16:10. | |
who without any kind of Government funding, or just through | :16:10. | :16:15. | |
communities restore a building of importance. It doesn't have to be a | :16:15. | :16:19. | |
famous church, but an industrial building, or a station. It can be | :16:19. | :16:23. | |
anything you like, but I just think it's important that we recognise | :16:23. | :16:28. | |
people who are doing something off their own initiative and without | :16:28. | :16:38. | |
:16:38. | :16:43. | ||
We've all done it. Someone takes an unflattering photo of you and | :16:43. | :16:46. | |
you've insisted they delete or destroy it. But what happens if | :16:46. | :16:50. | |
someone paints a bad portrait of you and then unveils it to the | :16:50. | :16:53. | |
Nation at the Houses of Parliament? How do you delete that? Well Gyles | :16:53. | :16:55. | |
has discovered how one of Britian's greatest prime-ministers managed it. | :16:55. | :17:01. | |
And Winston Churchill, conquering hero of World War II, with his own | :17:01. | :17:06. | |
faltering bulldog spirit he led Britain's stand against tyranny. | :17:06. | :17:10. | |
You can say never before in the history of the Prime Minister, has | :17:10. | :17:14. | |
the country been so indebted to one man but towards the end of his | :17:14. | :17:18. | |
career, was Dymchurch will became embroiled in a curious incident, | :17:18. | :17:24. | |
one that was hushed up in high places -- Winston Churchill became. | :17:24. | :17:29. | |
In 1954, parliament decided to honour Churchill for a portrait for | :17:29. | :17:34. | |
his 80th birthday. The privilege of painting him went to Graham | :17:34. | :17:39. | |
Sutherland, interviewed here at the time. He was a most considerate | :17:40. | :17:46. | |
sitter but I sometimes had two minutes or sometimes an hour. | :17:46. | :17:56. | |
:17:56. | :17:56. | ||
is your method of working? In paint all the time? No, I do drawings of | :17:56. | :18:00. | |
him. Those preliminary drawings are locked away at the National | :18:00. | :18:05. | |
Portrait Gallery in London. He in this box there is the greatest | :18:05. | :18:10. | |
surviving sketch for the final painting, done from life. It is an | :18:10. | :18:16. | |
old man looking down on this rather intimidated younger artist. It is | :18:16. | :18:19. | |
undeniably powerful but I don't think you would describe it as | :18:19. | :18:25. | |
heroic. It is the picture of a wounded animal. You see all kinds | :18:25. | :18:29. | |
of rubbings and abrasions, Graham Sutherland grappling with this | :18:29. | :18:35. | |
image. This is the saviour of the Western world. Wouldn't you have | :18:35. | :18:39. | |
expected him Crick -- to produce at painting that flattered? But he was | :18:39. | :18:48. | |
a modern artist, he said "and paint as A-C". I ask you to accept this | :18:48. | :18:57. | |
portrait. -- "I paint as I see it". The painting was unveiled, but | :18:57. | :19:03. | |
Churchill seemed unimpressed. remarkable example of modern art. | :19:03. | :19:10. | |
LAUGHTER. And here we have a mock up of the finished picture in | :19:10. | :19:16. | |
colour. This is a portrait that the nation would have seemed. What was | :19:16. | :19:21. | |
Churchill's view? He was absolutely appalled, he absolutely hated it. | :19:21. | :19:26. | |
He said, it makes me look half- witted, which I ain't. He hated the | :19:26. | :19:32. | |
way it made him look old. I think he was deeply wounded by it, and it | :19:32. | :19:36. | |
was not how he saw himself, which was that Churchill that was loved | :19:36. | :19:46. | |
:19:46. | :19:46. | ||
by the nation and loved of a nation. What was his wife's reaction? -- | :19:46. | :19:50. | |
she was intrigued at the beginning but by the end she changed her tune | :19:50. | :19:53. | |
and thought it portrayed him as a monster. | :19:53. | :19:56. | |
There was an assumption that the portrait would hang at Westminster | :19:57. | :20:02. | |
after his death, but it didn't. all becomes a bit mysterious and | :20:02. | :20:07. | |
effectively, the pit to disappear, and nobody knew anything about it - | :20:08. | :20:13. | |
- the picture disappeared. In 1978, Lady Churchill died and the truth | :20:13. | :20:18. | |
emerged, which was that she had had the picture destroyed. She had | :20:18. | :20:23. | |
given instructions for it to be taken out. One theory is that the | :20:23. | :20:28. | |
picture was chopped up and burnt on the lawn at Chartwell. The other | :20:28. | :20:34. | |
was that it met an equally grisly end in her boiler. You have got | :20:34. | :20:37. | |
portraits by Graham Sutherland, obviously a very distinguished | :20:37. | :20:44. | |
painter. What would the value of this had been? �100,000. It is like | :20:44. | :20:48. | |
in the Antiques Roadshow! But it was burnt in the garden! We are | :20:48. | :20:54. | |
talking many hundreds of thousands now, if not more than 1 million. It | :20:54. | :21:00. | |
is artistic vandalism. That is how the artist saw it, he said it was | :21:00. | :21:05. | |
vandalism and he was distraught. We have lost a vital link with one of | :21:05. | :21:11. | |
the great statesmen of the age. seems that Graham Sutherland's | :21:11. | :21:16. | |
painting was a very unwelcome gift, so who am I to bring it back from | :21:16. | :21:19. | |
oblivion? Perhaps the best thing to do is what Winston Churchill | :21:19. | :21:25. | |
himself would have wanted, which is to consign it to the dustbin of | :21:25. | :21:30. | |
history. The portrait is a remarkable example of modern art. | :21:31. | :21:38. | |
LAUGHTER. If that is what the saviour of the | :21:38. | :21:42. | |
country from the Second World War wanted, that is what should happen! | :21:42. | :21:48. | |
Can you put it in the dustbin of history? No. There are too many | :21:48. | :21:54. | |
stories of great paintings. One was caught "Moses in the bulrushes". It | :21:54. | :21:58. | |
was cat out of the frame and somebody bought it for the frame | :21:58. | :22:04. | |
for 200 quid and it was thrown in a skip. The person it found it. It | :22:04. | :22:13. | |
was unknown. It was sold in Sotheby's in New York two news ago | :22:13. | :22:23. | |
for �38 million. No! A what would you have done with this picture? | :22:23. | :22:30. | |
This is a portrait of George V by Charles Sims, 1873. He was a | :22:30. | :22:35. | |
landscape painter and also a painter of portraits. This was done | :22:35. | :22:40. | |
in 1924. Picking only Esat four times for it and he did it, he said | :22:40. | :22:46. | |
it should be burnt -- picking only sacked four times for it. He has | :22:46. | :22:53. | |
got better legs than me! That is the point! These are not his legs! | :22:53. | :22:58. | |
The artist only got a few sessions so he concentrated on the face, and | :22:58. | :23:03. | |
the legs belong to an art student! Charles Sims got one of his | :23:03. | :23:09. | |
students to pose. Why was the keen posing with his legs like this? | :23:09. | :23:17. | |
is the night of the Garter, he is showing off the garter... What he | :23:17. | :23:23. | |
not auditioning for an Ivor Novello at? We do not know what happened to | :23:23. | :23:29. | |
be portrayed. The artist sadly committed suicide himself in 1928. | :23:29. | :23:38. | |
There is a new painting of the Queen. It is displayed in Canberra | :23:38. | :23:43. | |
this week in Australia. What do you think? The artist did not get many | :23:43. | :23:47. | |
sessions with her Majesty, and therefore he put it in Westminster | :23:47. | :23:53. | |
Abbey. Do you like it? I think the idea of putting it in Westminster | :23:53. | :23:59. | |
Abbey is extremely moving, the spot where she was crowned. And on that | :23:59. | :24:04. | |
fantastic pavement, which they have just restored. I think it is rather | :24:04. | :24:08. | |
striking. It is obviously not a modern painting. Have you been | :24:08. | :24:18. | |
painted? Yes. Were you happy with it? Yes, I must say. Rolf Harris?! | :24:18. | :24:25. | |
LAUGHTER. Rolf Harris is actually very good! I know. Have we got time | :24:25. | :24:35. | |
:24:35. | :24:36. | ||
for a quiz? No! Next time! OK. Give us one quickly. What is the origin | :24:36. | :24:41. | |
of the expression blue-arsed fly? Prince Philip's first came up with | :24:41. | :24:46. | |
it in 1970s. The Oxford English Dictionary want to know the origin | :24:46. | :24:51. | |
of the phrase, it can't have been Prince Philip. I say Australia in | :24:51. | :24:58. | |
the 1940s. What is your guests in one word? No. We need your help! If | :24:58. | :25:06. | |
you have a clue of where that Now, a cautionary tale. You might | :25:06. | :25:09. | |
think a consumer journalist would be the last person you would want | :25:09. | :25:12. | |
to defraud but it seems even Angela Rippon isn't immune to scammers. | :25:12. | :25:16. | |
They should know, you don't rip off Rippon and expect to get away with | :25:16. | :25:23. | |
This message is coming to you... The hotel manager will not let us | :25:24. | :25:30. | |
leave... We got mugged by gunmen in Madrid... Imagine your e-mail | :25:30. | :25:33. | |
account and your name was being used by scammers to try to steal | :25:33. | :25:39. | |
money from your friends. That is what happened to me in August, when | :25:39. | :25:45. | |
everyone in my e-mail address book got a message saying I was in | :25:45. | :25:50. | |
trouble and needed money. Nobody send any money. But not everybody | :25:50. | :25:55. | |
is that lucky. Martin received an e-mail which appeared to be from | :25:55. | :26:02. | |
his friend. He was immediately concerned and he rushed to her help. | :26:02. | :26:09. | |
I saw this e-mail so I looked at it and it was an e-mail from Annette | :26:09. | :26:13. | |
which said, unfortunately I have had to rush to Kuala Lumpur and I | :26:13. | :26:20. | |
have been mugged and I need �1,500.20 secured a flight. And I | :26:20. | :26:27. | |
believed it, yes. I got the money together -- �1,500 in order to | :26:27. | :26:34. | |
secure a flight. Martin sent �1,500 but did not call a net because he | :26:34. | :26:38. | |
thought she was in Kuala Lumpur without her phone. Two days later | :26:38. | :26:43. | |
he discovered she had been at home all along. He tried to get the | :26:43. | :26:48. | |
money back. But it was too late. the thousands of hoax e-mails sent | :26:48. | :26:53. | |
every day, it only takes a small percentage to respond for the money | :26:53. | :26:58. | |
to clock up to an estimated �1.4 billion that is lost to online | :26:58. | :27:03. | |
scams in the UK every year. The question is what can you do if you | :27:03. | :27:08. | |
are targeted by the hackers? Might e-mail was breached, and my | :27:08. | :27:14. | |
internet provider helped me sort it out. David Slater worked on my case. | :27:14. | :27:19. | |
It turns out I inadvertently helped them to obtain my password by | :27:19. | :27:24. | |
responding to an e-mail I thought was from BT. They send phishing e- | :27:24. | :27:30. | |
mails, fraudulent e-mails, asking you to respond to it and click on a | :27:30. | :27:34. | |
link to look into your account. If you receive one, to not respond to | :27:34. | :27:41. | |
it. A wish I had known that before. But that is how the scammers could | :27:41. | :27:45. | |
ask my contacts for money. If you are someone who receives an e-mail | :27:45. | :27:51. | |
like this, what should they do? not panic. Look at the e-mail and | :27:51. | :27:56. | |
the format. Normally there will be spelling mistakes, the grammar will | :27:56. | :28:02. | |
not be correct throughout, take the time to investigate rather than | :28:02. | :28:07. | |
blindly sending money out. In the e-mail that my friends received, | :28:07. | :28:11. | |
there was a telephone number to call for further information. I | :28:11. | :28:15. | |
will phone it now have to see what happens and you might be on the end | :28:15. | :28:22. | |
of the line. The number has a London dialling code. Hello? | :28:23. | :28:30. | |
Hallowed? Discourse sounds like it is being redirected to a mobile -- | :28:30. | :28:34. | |
the phone calls salons. It could be anywhere! | :28:34. | :28:38. | |
I have received an e-mail from somebody's saying they need help | :28:38. | :28:48. | |
:28:48. | :29:06. | ||
urgently. Where do I have to send I have caught the scamming in the | :29:06. | :29:09. | |
act. How is he going to explain this? | :29:09. | :29:14. | |
Can I tell you that I am with the BBC and I have been recording this | :29:14. | :29:18. | |
phone-call. I believe you are trying to get money through a scam, | :29:18. | :29:23. | |
that this person is not in trouble because this person is me, that you | :29:23. | :29:28. | |
are a fraud start... He has put the phone down. Surprise | :29:28. | :29:35. | |
surprise. The UK's crime unit has received more than 1,000 reports of | :29:35. | :29:40. | |
scams like this so far this year. The police told Martin his loss was | :29:40. | :29:44. | |
too insignificant to investigate and he never got his money back. | :29:44. | :29:49. | |
What have you learnt from this? Never respond to an e-mail like | :29:50. | :29:57. | |
that again. Basically I don't look at the computer at all! My wife | :29:57. | :30:02. | |
just tells me where the e-mails off. Unfortunately, these scams will | :30:02. | :30:06. | |
keep on coming and the scammers get more and more devious. It is up to | :30:06. | :30:13. | |
all of us to be more alert, to be aware, and to beef up our security. | :30:13. | :30:16. | |
That is certainly what I am going to do. | :30:16. | :30:21. | |
Unfortunatley that type of email scam isn't the only one around. | :30:21. | :30:24. | |
Let's go straight to the scam experts at Watchdog, where Chris | :30:24. | :30:29. | |
Hollins is getting ready for tonight's show. Chris? Nice to see | :30:29. | :30:34. | |
you. Who else is phishing? There is a long running scam where | :30:34. | :30:39. | |
fraudsters claiming to be Revenue and Customs e-mailed to say you are | :30:39. | :30:42. | |
due a tax refund and you should send over your bank details in | :30:42. | :30:47. | |
order to claim. If you get an e- mail like Bass, ignore it. The | :30:47. | :30:52. | |
taxman would never contact you like that. Scammers from the Student | :30:52. | :30:56. | |
Loans Company, e-mailing you for personal information. A legitimate | :30:56. | :31:01. | |
one would never do that. It is really easy to fall for it. It | :31:01. | :31:08. | |
happened to me in the first week I worked for watchdog. Just be | :31:08. | :31:11. | |
vigilant. It is extremely difficult to get your money back. What else | :31:11. | :31:17. | |
is coming up on the show? We are going to ask what the record | :31:17. | :31:22. | |
downpours means for the victims insurance wise. They are facing | :31:22. | :31:26. | |
massive hikes in their premiums even though there is minimal chance | :31:26. | :31:30. | |
of them getting flooded themselves. Chris that barely fill half the | :31:30. | :31:37. | |
packet, and Odeon cinemas causing grief for fans. We will be on at | :31:37. | :31:47. | |
:31:47. | :31:54. | ||
Also tonight, on BBC Four, there's a fantastic new drama called Best | :31:54. | :31:58. | |
Possible Taste: The Kenny Everett Story, all about the life of one of | :31:58. | :32:04. | |
the craziest comedy geniuses this country has produced. Here is | :32:04. | :32:11. | |
Oliver as Kenny Everett taking on some of his most memorable | :32:11. | :32:17. | |
characters. Welcome kids to this spleen-venting drama of... | :32:17. | :32:22. | |
Revealing information. Looking for an education. Out rageous | :32:22. | :32:28. | |
entertainment. Sexy Hot Gossip. What a show. How when it can not be, | :32:28. | :32:31. | |
the central character and the star of the show just happens toe me! | :32:31. | :32:40. | |
APPLAUSE Here is Oliver and Kenny's ex-wife. | :32:40. | :32:45. | |
Welcome to you both. Oliver, it's just incredible, the transformation. | :32:45. | :32:49. | |
Thank you. How did you get under his skin? Well, it's a strange one, | :32:49. | :32:53. | |
because when you are playing a real person it's different to building a | :32:53. | :32:57. | |
character, so you are kind of getting to know an actual person | :32:57. | :33:01. | |
and obviously you start off by looking at all the clips and | :33:01. | :33:04. | |
listening to his interviews and with someone like Kenny you have | :33:04. | :33:11. | |
the character to tackle, but the real thing was to find him, the | :33:11. | :33:14. | |
Kenny - becausely throughout 90 minutes there are all the | :33:14. | :33:21. | |
characters and a lot more of him being him so that's when meeting | :33:21. | :33:26. | |
Lee came in handy. You were married to him for 12 years. 14 years. | :33:26. | :33:32. | |
of people said that it was a sham of a marriage, but when you watch | :33:32. | :33:36. | |
the fit many it's so clear actually that you were completely in love? | :33:36. | :33:40. | |
Absolutely. We were blown away by it, but I think the trouble was I | :33:40. | :33:45. | |
covered for him at the end. When he came out I stuck around to cover | :33:45. | :33:50. | |
for him and so that's when the sham marriage came in. Was it quite hard, | :33:50. | :33:55. | |
this process, or did you find it Kath that are tick? It was horrible. | :33:55. | :34:01. | |
I went to watch him filming and I ended up being rushed into hospital | :34:01. | :34:06. | |
in the middle of the night. My heart was going. It was all the | :34:06. | :34:10. | |
emotion. Was that the scene then when Kenny and yourself get | :34:10. | :34:18. | |
married? It was our wedding. It was John and my wedding, our wedding, | :34:18. | :34:23. | |
but he was best man and they had this bit where they played on him | :34:23. | :34:28. | |
looking very, very upset and I - it did for me. How did this call come | :34:28. | :34:33. | |
about for you? Was it something that you were keen to do or did you | :34:33. | :34:38. | |
have to be persuaded? I turned it down a lot in years passed, but I | :34:38. | :34:42. | |
was approached about two years ago and I liked the idea of what they | :34:42. | :34:47. | |
were doing and the people, so basically I went along with it | :34:47. | :34:54. | |
completely. To me it's repairation to me. -- reparation. What sort of | :34:54. | :35:01. | |
pressure did you feel, Oliver, with Lee there on set? There's different | :35:01. | :35:05. | |
senses because there's a huge pressure from the public, who love | :35:05. | :35:09. | |
him and with the show coming up tonight you've seen how many people | :35:09. | :35:12. | |
have been talking about it, because there's such an affection for him | :35:12. | :35:16. | |
in the public eye, I think. Also, meeting people like Lee and John | :35:16. | :35:21. | |
and his agent, Joe, as well. Suddenly what you are doing becomes | :35:21. | :35:26. | |
- it takes on a much different experience than a normal acting job | :35:26. | :35:30. | |
and you are dealing with real people and their lives and someone | :35:30. | :35:34. | |
who was so important to all the people in his life and it's very | :35:34. | :35:41. | |
good, because it stops all the actory input. You can't be a diva. | :35:41. | :35:45. | |
You have to get on and get it right, because it's so important to so | :35:45. | :35:50. | |
many people. Let's see some real Everett mayhem and Andrew you may | :35:50. | :36:00. | |
:36:00. | :36:06. | ||
recognise somebody in this. Can you play the essential grace and noblt | :36:06. | :36:16. | |
:36:16. | :36:26. | ||
of the swan? -- know built of the swan? -- nobility of the swan? | :36:26. | :36:33. | |
Cretin. No, no. APPLAUSE | :36:33. | :36:39. | |
He still makes you laugh. Always. He was just funny off as well. That | :36:39. | :36:44. | |
was that. Did that hurt mim? It looked to me as if it -- hurt him? | :36:44. | :36:50. | |
It looked to me as if it did. Thank you very much for coming and both | :36:50. | :37:00. | |
of you. Tonight 9pm on BBC Four. As Car, i -- cp arrie is up in | :37:00. | :37:03. | |
Liverpool we have asked for loads of pictures. Andrew, will you read | :37:03. | :37:11. | |
that one out? I hope they don't sound like Kenny. This is from | :37:11. | :37:15. | |
Steve Bridge if Hampshire. "I dug out the old mandolin my grandad had | :37:16. | :37:24. | |
and I would like to play it." He says old. If he wants to play it, | :37:24. | :37:27. | |
there it is. He looks quite confused in the picture.S this | :37:27. | :37:35. | |
Lizzie in Birmingham playing the flute. -- this was after 27 years. | :37:35. | :37:40. | |
Emma from Manchester. She started guitar lessons today, even though | :37:40. | :37:48. | |
she got it two years ago. There we are. Emily has found your violin. | :37:48. | :37:54. | |
Oh, yes. It could well be. Soon we'll chat to the man who can no | :37:54. | :37:59. | |
doubt play all of these, ELO's Jeff Lynne. Earlier this week he was | :37:59. | :38:06. | |
find enough to leg Claire Grogan on his Blue Sky thinking. The year was | :38:06. | :38:09. | |
1977, the king of rock'n'roll was dead and the Queen celebrated her | :38:09. | :38:14. | |
Jubilee and a new wave of music had exploded on to the pop charts. | :38:14. | :38:19. | |
Probably not the best time to release a double album of | :38:19. | :38:27. | |
orchestrated rock, but then ELO, front -- fronted by Jeff Lynne were | :38:27. | :38:31. | |
not followers of fashion. He was playing with The Move and armed | :38:31. | :38:37. | |
with the desire to make their own brand of rock music with a | :38:37. | :38:41. | |
classical sound, ELO was born. Then there was this cover. It's now | :38:41. | :38:47. | |
covered to be one of the landmark albums of the 70s and stayed in the | :38:47. | :38:54. | |
charts for a staggering 108 weeks. # Sun is shining in the sky... # | :38:54. | :39:01. | |
The record's highlight was Concerto for a Rainy Day. The final song was | :39:01. | :39:10. | |
the most recognised ever, my favourite Mr Blue Sky. How on earth | :39:10. | :39:15. | |
did you write this genius song? record company wanted me to do a | :39:15. | :39:21. | |
double album, which was to become Out of the Blue. I went to | :39:21. | :39:25. | |
Switzerland to a little chalet. I was there for two weeks and it was | :39:25. | :39:29. | |
miserable and cloudy and not very nice at all. I couldn't come up | :39:29. | :39:35. | |
with anything, but one day I got up, opened the kaur contains and | :39:35. | :39:39. | |
thought, -- curtains and thought, wow, this is where I am. Green | :39:39. | :39:43. | |
mountains and vistas and blue sky and it was absolutely fabulous, sun | :39:43. | :39:49. | |
shining and it inspired me to come with it. Right away I wrote it. | :39:49. | :39:53. | |
you do it in one big creative burst? I wish I could say. I came | :39:53. | :40:01. | |
up with the verse. I'll try to remember it now. Obviously I hadn't | :40:01. | :40:04. | |
finished the tune yet. # Mr Blue Sky | :40:04. | :40:09. | |
# Please tell us why # You had to hide away for so | :40:09. | :40:14. | |
long... # Although it's the most recognised, it wasn't their most | :40:14. | :40:19. | |
successful, only reaching number 35 in the US charts and six over here. | :40:19. | :40:24. | |
But those chart positions haven't hindered the popularity. It's also | :40:24. | :40:28. | |
become a major hit on social media channels on the net and one of the | :40:28. | :40:33. | |
most covered songs by Joe Public and if you don't leave me, take a | :40:33. | :40:37. | |
look. # Mr Blue sky. | :40:37. | :40:47. | |
:40:47. | :40:53. | ||
# You had to hide away for so long # So long... # It also reached a | :40:53. | :40:57. | |
whole new world audience as it was featured as one of the highlights | :40:57. | :41:01. | |
of this year's London 2012 Olympic ceremonies. There's a lot of | :41:01. | :41:07. | |
elements to the song. Do you have a favourite bit? Have you heard of | :41:07. | :41:13. | |
Sparky Magic Piano? No. It was on long wave. It's like a kid getting | :41:13. | :41:22. | |
a piano lesson. I'm sitting on a piano stool. What do I do now? | :41:22. | :41:27. | |
falls asleep and he dreams that the piano can speak. Was the decoder | :41:27. | :41:32. | |
that did it. While I was making this somebody made a brand new | :41:32. | :41:36. | |
coder and we got the prototype and we started messing with it all day | :41:36. | :41:42. | |
and it sounded like it had asthma and there was an electric voice. | :41:42. | :41:52. | |
:41:52. | :42:00. | ||
Magic. Do it again for us. # Mr Blue Sky... # Can you just | :42:00. | :42:08. | |
clarify that the very last bit of the coder everybody thinks it's | :42:08. | :42:12. | |
blue sky? It actually says, please turn me over, because that was the | :42:12. | :42:19. | |
end of that side of the album. one ever did. They just pressed | :42:19. | :42:29. | |
:42:29. | :42:37. | ||
repeat. Jeff Lynne is here. APPLAUSE | :42:37. | :42:44. | |
They love you. Like Andrew revisiting Jesus Christ, revisited | :42:44. | :42:48. | |
some old work and recorded them all again. Why did you choose to do | :42:48. | :42:55. | |
that? Because every time I hear one on the radio, the old ones, I think | :42:55. | :43:00. | |
it doesn't sound right and I think it was better than that. What I did | :43:00. | :43:06. | |
was I attempted to do Mr Blue Sky again to make it a little more | :43:06. | :43:10. | |
punchy and have more clarity and I'm a much better producer, because | :43:10. | :43:16. | |
I've had 30 years more experience than I had then, so it was like I | :43:16. | :43:24. | |
just had to do it. I was compelled to do it and I played it to my | :43:24. | :43:27. | |
manager Craig and he said it sounded much better and he said do | :43:27. | :43:32. | |
nothing one. I did Evil Woman and that sounded way better and | :43:32. | :43:37. | |
punchier. It's in my own studio now so I have total control, which is | :43:37. | :43:39. | |
something I like and total separation so I can regard it. I | :43:39. | :43:44. | |
play all the instruments myself, which I love to do. How many and | :43:44. | :43:48. | |
the range as well? It's not just strings, but the drums and guitars, | :43:48. | :43:53. | |
the whole lot? Drums, base guitar, piano and guitar and backing vocals. | :43:53. | :43:57. | |
All that stuff. But that's all the most fun you can ever have, because | :43:57. | :44:03. | |
I love being in the studio doing that kind of thing. It's funny that | :44:03. | :44:07. | |
you mention control there. In this brilliant documentary that is going | :44:07. | :44:11. | |
on on BBC Four, lots of people say you were a bit of a control freak. | :44:11. | :44:19. | |
Do you see that? I am in music. Not in real life. I'm very easy going | :44:19. | :44:28. | |
actually. So there! Can rerelate to that, Andrew? Well, you see, | :44:28. | :44:32. | |
funnily enough because I'm really a composer and not a performer I | :44:32. | :44:38. | |
didn't want to change Superstar at all, because the actual way it was | :44:38. | :44:42. | |
played I wanted to reproduce that exactly, although the production is | :44:42. | :44:44. | |
different. But I understand, you are coming from a completely | :44:44. | :44:48. | |
different way than I do. I just thought that's a piece I wrote when | :44:48. | :44:57. | |
I was 21 years old. I want to leave it there. All I'm changing is the | :44:57. | :45:00. | |
technical aspect. The facilities like you have now, for instance, 30 | :45:00. | :45:07. | |
years on, or 34 years on, is another great, big advantage for me | :45:07. | :45:13. | |
as a record producer. I produced all the ELO records anyway, the old | :45:13. | :45:23. | |
:45:23. | :46:03. | ||
You have got another album out as well. Yes, it is called long-wave | :46:03. | :46:09. | |
and I am more proud of this than anything I have ever done. Are they | :46:09. | :46:19. | |
covers? No, I have done my own versions of these great songs, | :46:19. | :46:24. | |
these beautiful old songs that I used to hear when I was a kick | :46:24. | :46:30. | |
before I took up the guitar. I never knew how they went -- when I | :46:30. | :46:36. | |
was a child. I had to dig deep. don't read music? You just play it | :46:36. | :46:43. | |
by ear. It is much easier than reading music. There is a great bit | :46:43. | :46:48. | |
in it documentary got all these little gaps where you can put your | :46:48. | :46:58. | |
:46:58. | :47:02. | ||
naughty bits him! Let's listen to # Have mercy #. | :47:02. | :47:12. | |
:47:12. | :47:13. | ||
# Have mercy on me #. # Have mercy #. | :47:13. | :47:23. | |
:47:23. | :47:25. | ||
# Have mercy on me #. Is it true that you can record in | :47:25. | :47:33. | |
every room? Yes. I have a really big studio, which is almost as big | :47:33. | :47:41. | |
as Abbey Road, which is fantastic. It is a very soft sound, it has a | :47:41. | :47:46. | |
beautiful ambience. I love the Wagle furniture is arranged as well. | :47:46. | :47:53. | |
Jeff, you have influenced many fans over the years. We have three here | :47:53. | :47:58. | |
but only one of them have changed their name in your honour. Can you | :47:58. | :48:06. | |
spot which one? Is it number one? am such a fan of ELO that in 1987 I | :48:06. | :48:15. | |
changed my name to Jeff Lynne. such a fan, that last year I | :48:15. | :48:23. | |
changed my name to Mr Blue Sky. What about number three? I am such | :48:23. | :48:32. | |
a fan of below that in 1990, I changed my name to Eric Light | :48:32. | :48:41. | |
Orchestra. I like that one! I would imagine it would be Mr Blue Sky. | :48:41. | :48:51. | |
:48:51. | :48:54. | ||
elite? Let's find out. -- really! It is Mr Blue Sky! Take your | :48:54. | :49:03. | |
driving licence out just to prove it. Brilliant. We haven't got time | :49:03. | :49:13. | |
for the police tell us why bit, but he has a Mrs blue-sky as well! | :49:13. | :49:23. | |
:49:23. | :49:24. | ||
Lovely! There is one butterfly that has eluded Mike Dilger for the last | :49:25. | :49:29. | |
20 years. We sent him out to ticket office list. | :49:29. | :49:35. | |
Some might call me a wildlife geek and I suppose it is true. My | :49:36. | :49:39. | |
earliest childhood memory is catching small tortoiseshell | :49:40. | :49:44. | |
butterflies in a net and when I was 25, my parents bought me this | :49:44. | :49:51. | |
butterfly book. In it are Britain's 56 of England's mainland resident | :49:51. | :49:57. | |
butterflies. I have seen 55 of them. The chequered skipper is the only | :49:57. | :50:02. | |
one I have not seen. My mission is to track down that butterfly and | :50:02. | :50:09. | |
complete the set. Even footage of them is elusive. The only shots we | :50:09. | :50:18. | |
could find in the BBC archives were Now one of the rarest butterflies | :50:18. | :50:24. | |
in Britain, this is not going to be an easy challenge. I am starting my | :50:24. | :50:29. | |
hunt at Glasgow Museum, where I can see one but not quite in the way I | :50:29. | :50:38. | |
This was collected from Peterborough in 1964. In the 1940s, | :50:39. | :50:44. | |
the population started to decline and there were efforts made to | :50:44. | :50:49. | |
conserve it but despite the best efforts, by 1976 it was no more in | :50:49. | :50:53. | |
England. The entire British population of chequered skipper can | :50:54. | :51:00. | |
now only be found within a 35 mile radius of Fort William in Scotland. | :51:00. | :51:08. | |
This population was found in the 1940s by a lieutenant, who was | :51:08. | :51:12. | |
stationed there during the Second World War. This area offers me the | :51:12. | :51:19. | |
only chance of seeing one. Here, a team of conservationists are using | :51:19. | :51:25. | |
Highland cattle to help save his butterfly. They are like cute | :51:25. | :51:29. | |
lawnmowers. In the winter we have them in the lower part of the | :51:29. | :51:33. | |
reserve and it is their trampoline a round and grazing that stops the | :51:33. | :51:37. | |
trees and the vegetation is from getting established, which keeps | :51:37. | :51:41. | |
the conditions suitable for the butterflies. I am here in the | :51:41. | :51:45. | |
middle of the three-week period that they fly, but with a wingspan | :51:45. | :51:50. | |
of three centimetres, they are difficult to spot. Then something | :51:50. | :52:00. | |
:52:00. | :52:00. | ||
The Green hair streak is it could find but not the one I am after | :52:00. | :52:06. | |
today. It has been a really frustrating experience. It is just | :52:06. | :52:12. | |
not hot enough for the butterfly to take to the wings. 30 miles to the | :52:12. | :52:15. | |
south is another area, where the chequered skipper is said to be | :52:16. | :52:23. | |
thriving. Glasgow nature reserve is jilted and has a south-facing slope, | :52:23. | :52:29. | |
meaning it will be a bit warmer. There is something interesting | :52:29. | :52:33. | |
about this location. The reason they are hanging on here is because | :52:33. | :52:38. | |
of the overhead power lines. The strip beneath a pile on is clear | :52:38. | :52:43. | |
that scrub and saplings to protect the overhead wires, producing a | :52:43. | :52:48. | |
habitat perfect for the chequered skipper. Right time, right place, | :52:48. | :52:53. | |
right weather. I have been waiting a long time to see this butterfly. | :52:53. | :53:03. | |
:53:03. | :53:12. | ||
Finally, I catch sight of what I But not for long. A tantalising | :53:12. | :53:16. | |
glimpse! After 20 years of trying to see | :53:16. | :53:21. | |
every mainland British butterfly, I was hoping for a better side in | :53:21. | :53:28. | |
than that. But as the sun comes out, they start appearing all around me. | :53:28. | :53:34. | |
It is my 56 the butterfly it and the last mainland species I need | :53:34. | :53:43. | |
and it is about 12 inches in front With an average adult lifespan of | :53:43. | :53:49. | |
just 10 days, and just a few short weeks, these exquisite butterflies | :53:49. | :53:56. | |
will be gone for another year. I am delighted to eventually catch up | :53:56. | :54:06. | |
:54:06. | :54:16. | ||
with this butterfly. I am one very Have you ever seen him so happy? | :54:16. | :54:23. | |
The lepidopterist needs a new project. I am starting work on a | :54:23. | :54:31. | |
new musical. It is the story of Stephen Ward, who was the great | :54:31. | :54:38. | |
society osteopath, and he was at the centre of the Profumo scandal, | :54:38. | :54:44. | |
but in my view he was wrongly... He committed suicide before his | :54:44. | :54:48. | |
conviction happened, but in my view he was the scapegoat for everything | :54:48. | :54:54. | |
that was going on. I have not got it completely clear but it is a | :54:54. | :54:57. | |
fascinating story and it is just the time when the Beatles were | :54:57. | :55:01. | |
beginning and everything was changing. I find it quite | :55:01. | :55:07. | |
intriguing. How long do you hope before it hits the theatre's? | :55:07. | :55:13. | |
likely to be 18 months. Minimum. By the time you get that a vector and | :55:13. | :55:20. | |
the designer and the story right. - - Get the director and the designer. | :55:20. | :55:26. | |
You work with the Beatles in 1994? They were one of the biggest | :55:26. | :55:34. | |
influences. When I went to do it, I went with George into the studio | :55:34. | :55:40. | |
and there they were, Paul and Ringo, and they had not been in the same | :55:40. | :55:45. | |
room for years and years, and so I get to witness all of their | :55:45. | :55:49. | |
reminiscing, the most marvellous stories, from their mouths as well, | :55:49. | :55:56. | |
and do real ones, not an edited and shut up or anything. We spent five | :55:56. | :56:01. | |
hours doing that before we got round to doing anything else! | :56:01. | :56:05. | |
Speaking of the Beatles, it is time to go back to Liverpool now to see | :56:05. | :56:10. | |
how Carrie is getting on in her challenge to persuade people who | :56:10. | :56:20. | |
:56:20. | :56:20. | ||
have not picked up an instrument in years to have another go. | :56:20. | :56:25. | |
We have got four hours to rehearse and I have to say, that is less | :56:25. | :56:30. | |
than most professionals would get to rehearse. John, it was your | :56:30. | :56:35. | |
ideas so how is it going? They have dusted off their instruments, | :56:35. | :56:45. | |
:56:45. | :56:58. | ||
giving it a go. Let's see how we # Sitting away on the crest of a | :56:58. | :57:08. | |
:57:08. | :57:09. | ||
wave, it's like magic # You, and you Swede desire #. | :57:09. | :57:19. | |
:57:19. | :57:19. | ||
# You took me #. # High and high you, baby #. | :57:19. | :57:29. | |
:57:29. | :57:29. | ||
# It is a Living Thing #. # It is a terrible thing to lose #. | :57:29. | :57:39. | |
:57:39. | :57:40. | ||
# It is eight giving thing #. # What a terrible thing to lose #. | :57:40. | :57:50. | |
:57:50. | :57:53. | ||
# I am taking a dive across the sky # It is a Living Thing #. | :57:53. | :58:03. | |
:58:03. | :58:03. | ||
APPLAUSE As the writer, drum roll. I thought it was great. It is a | :58:03. | :58:07. | |
wonderful idea to get people to pick up their instruments again and | :58:07. | :58:12. | |
that group was really good, and that the singer was great. One Mr | :58:12. | :58:19. | |
Miliband is good. I only spotted one wrong chord. -- and it Carrie | :58:19. | :58:26. | |
is good. We have inspired you to pick up | :58:26. | :58:31. | |
your instruments again! John Eliot is taking up piano lessons again at | :58:31. | :58:38. | |
64. Nice to see that. Next week we will be in Shaftesbury, trying to | :58:38. | :58:48. | |
:58:48. | :58:49. | ||
plot 60,000 snow drop box. That is all for tonight. Good luck, Andrew. | :58:49. | :58:53. |