:00:25. > :00:43.Hello and welcome to The One Show with me, Angela Scanlon.
:00:44. > :00:45.My fabulous co-host for tonight - Ore Oduba.
:00:46. > :00:50.And the vivacious violin virtuoso that is Lindsey Stirling.
:00:51. > :00:59.Lindsey has conquered the States, conquered the internet,
:01:00. > :01:02.and we're going to be finding out how she did it a little later.
:01:03. > :01:04.But first, let's meet tonight's other guests.
:01:05. > :01:06.Between them, they've starred in "Slumdog Millionaire",
:01:07. > :01:09."Rogue One", "Line of Duty", "Rise of the Planet of the Apes"
:01:10. > :01:16.and now Sky Atlantic's new drama "Guerrilla".
:01:17. > :01:18.So, Lindsey, give 'em some big, epic walk-on music please.
:01:19. > :01:31.LINDSEY PLAYS 'LOVE'S JUST A FEELING'
:01:32. > :01:45.Thank you for being here! Welcome, welcome! One double! It is great to
:01:46. > :01:51.see you. Lovely, right? Amazing, great entrance! We did it a couple
:01:52. > :01:54.of times to make sure we did it perfectly.
:01:55. > :02:00.Your new drama, Guerrilla, is set in 1970s London.
:02:01. > :02:11.You did not mess around, Daniel. You were very inspired. Quite a dashing
:02:12. > :02:17.tash, is that the real deal? I look like my dad back in the day. I grew
:02:18. > :02:23.the facial hair. It is a shame it has gone. It is ticklish. If you
:02:24. > :02:27.have the withdrawal symptom, this is one I made for you. That is what I
:02:28. > :02:36.should have done, I did not have the growing for real! He is back! It
:02:37. > :02:39.works well on you. If only! Freida, you did not dramatically change your
:02:40. > :02:45.appearance, thankfully. You did not have to grow a beard, it was not in
:02:46. > :02:51.the contract. Was it true in an earlier job that you played a
:02:52. > :02:57.Teletubby? An earlier job when I was 16. Which one? Let me clear that up.
:02:58. > :03:04.Some people think I was a real Teletubby on the show, but no, I
:03:05. > :03:08.played Laa-Laa as an entertainer at parties for children. We have all
:03:09. > :03:13.got to begin somewhere. Your dramatic performances began there. I
:03:14. > :03:18.am very proud of it. I am still hoping for that role one day! We
:03:19. > :03:20.will chat more to Freida and Daniel about the new series Guerrilla about
:03:21. > :03:28.racial tensions in 1970s London. And whilst making it,
:03:29. > :03:30.they were lucky enough to have advice from someone
:03:31. > :03:32.who was at the very centre of the Black Rights
:03:33. > :03:34.movement in Britain. That man was broadcaster,
:03:35. > :03:36.writer and civil rights activist Darcus Howe,
:03:37. > :03:38.who sadly died earlier this Here's Farrukh Dhondy,
:03:39. > :03:41.Darcus's closest friend, with his memories of
:03:42. > :04:00.a truly inspirational figure. This is to take on the
:04:01. > :04:05.responsibility of the city appeals. I know Darcus Howe, hate to use the
:04:06. > :04:09.past tense, for many years. He was a dear friend. I first met him in
:04:10. > :04:13.Marble Arch. Darcus was selling the newspaper they ran, he said two was,
:04:14. > :04:20.would you buy a copy? My friend bought a copy. I said, I will share
:04:21. > :04:25.his. He said, will you share the same jail sentence? We thought, that
:04:26. > :04:33.is tough talk! We had no idea at the time that he would become a leader
:04:34. > :04:37.of the black struggle in Britain. In 1969, Darcus worked at a Notting
:04:38. > :04:40.Hill restaurant which was a hub for the West Indies community. Its
:04:41. > :04:48.popularity prompted numerous futile raids by the locus -- local police.
:04:49. > :04:53.Darcus's notoriety or his career as a public figure began when he was
:04:54. > :04:57.engaged in a protest against police harassment of the building behind
:04:58. > :05:06.me, which was at the time the Mangrove restaurant.
:05:07. > :05:10.What I want is a concerted, determined attempt to prevent any
:05:11. > :05:16.infringement on our rights. Some arrests were made, including that of
:05:17. > :05:20.Darcus Howe who went to court and defended himself against charges of
:05:21. > :05:27.affray and conspiracy and assault on police and all sorts of things. The
:05:28. > :05:29.Mangrove Nine trial drew a lot of attention and too many to the
:05:30. > :05:36.charisma and intellect of Darcus Howe and left a lasting impression
:05:37. > :05:42.of a young Diane Abbott, today Shadow secretary. I had heard of
:05:43. > :05:46.Darcus Howe before the trial and I had heard of the Mangrove Nine
:05:47. > :05:49.because it was the most important movement of the time. I went to the
:05:50. > :05:55.trial and I saw him for the first time and he was a very charismatic
:05:56. > :05:58.figure. Sometimes I felt like I was listening to a black preacher in a
:05:59. > :06:03.black Church, rather than a defendant in an Old Bailey trial.
:06:04. > :06:08.You have to say my power is not only the power to defend myself in court,
:06:09. > :06:13.but the power of the population to defend itself by taking a collective
:06:14. > :06:16.action against the power structure of this country.
:06:17. > :06:23.The amazing thing about it is they were talking about police
:06:24. > :06:28.retaliated. Darcus defended himself and he won, and it had a seismic
:06:29. > :06:35.effect. From then on, Darcus was at the epicentre of black politics. In
:06:36. > :06:39.1973, Darcus was editor of a pioneering political magazine called
:06:40. > :06:46.race today and he moved the offices to the centre of the black movement.
:06:47. > :06:52.In Brixton. It is all completely transformed. Darcus would have his
:06:53. > :06:56.desk there against the walls with no glass, we would sit around when we
:06:57. > :07:00.were talking and we would just discuss things for the next issue.
:07:01. > :07:05.And usually about activation and what action one was going to take.
:07:06. > :07:12.It was a dynamic, active collective and not just a magazine collective.
:07:13. > :07:15.In 1981, a house fire in South London killed 13 younger black
:07:16. > :07:19.people and many believed it was a racially motivated attack and
:07:20. > :07:25.accused the police of lacking urgency in their investigation. For
:07:26. > :07:30.Acra one, the new crossfire and him being called in to read the protest
:07:31. > :07:34.against the police inactivity over the causes of the fire was possibly
:07:35. > :07:42.his last street fighting movement -- Darcus. Despite his controversial
:07:43. > :07:45.profile, Darcus made the move into television in the early 1980s and an
:07:46. > :07:52.impressive career in broadcasting followed. It has not been a good
:07:53. > :07:56.week for black men, certainly not for me. His hellish vision career
:07:57. > :08:02.expanded his profile and it also changed his stance to an extent that
:08:03. > :08:06.his television career. This was an instrument to which the message
:08:07. > :08:15.could be transmitted to the entire country and he did it very
:08:16. > :08:19.successfully. Notting Hill, these streets, Brixton will always remind
:08:20. > :08:24.me of my dear departed friend. Hang in there, brother!
:08:25. > :08:26.Thank you to Farrukh, and our thoughts go out
:08:27. > :08:38.Freida, both Darcus and Farrukh were consultants on Guerrilla.
:08:39. > :08:45.It would have been a shock to everybody when Darcus passed away
:08:46. > :08:48.but they were both instrumental to this series. Absolutely, both of
:08:49. > :08:54.them and the work they did is something we want to honour in
:08:55. > :08:58.Guerrilla. It is the 1970s revolution in the UK which was not
:08:59. > :09:02.radicalised and violent, but we wanted to do a what if you take with
:09:03. > :09:08.Guerrilla. But the historical facts we are talking about, they are all
:09:09. > :09:13.real and it is not made up. They are historical facts in terms of the
:09:14. > :09:20.Black Power movement and the desk, and Farrukh Dhondy was my speed
:09:21. > :09:24.calling consultant. Any time I had a query or a question, I said, they
:09:25. > :09:31.need and I need to verify something and he was always available. And his
:09:32. > :09:37.book London Company, which I highly recommend for more information on
:09:38. > :09:42.this movement. And it was fictional, your re-imagination. Daniel, your
:09:43. > :09:46.character was part of this lack power desk as part of the police
:09:47. > :09:52.force which was a real part of the intelligence at the time -- Black
:09:53. > :09:56.Power Desk. What was it like about finding out about that? It was such
:09:57. > :10:00.a secretive thing and not a lot of people know about it, but it was
:10:01. > :10:06.established by the Home Office in the 1960s to monitor and to quash
:10:07. > :10:10.any black activism. That itself blew my mind and that was the starting
:10:11. > :10:16.point for John Ridley to create these amazing scripts. Guerrilla is
:10:17. > :10:22.hard-hitting and controversial but we do not shy away from the tough
:10:23. > :10:27.subject matter. And it makes it compelling viewing. It really does.
:10:28. > :10:32.As you mentioned, it is quite hard-hitting and it is a
:10:33. > :10:36.reimagining, it is his interpretation of what it might have
:10:37. > :10:41.been if islands had been at the core of this movement.
:10:42. > :10:45.Yes, that is correct. There are a lot of parallels you can draw to the
:10:46. > :10:49.Black Panther movement in the United States. One of the things that I
:10:50. > :10:54.learned through this and people would be interested to know is that
:10:55. > :10:59.in the 1960s and 1970s, Martin Luther King and Muhammad Ali gave
:11:00. > :11:02.lectures here in England, in London about the Black Panther movement in
:11:03. > :11:08.the United States. And you are at the centre of the
:11:09. > :11:12.story and your character, your boyfriend Marcus played by the
:11:13. > :11:17.wonderful Babou Ceesay and here you try to convince him a more radical
:11:18. > :11:23.approach is needed. What? You and I are drifting apart.
:11:24. > :11:30.How is this about our relationship? We have to show it! By behaving like
:11:31. > :11:34.criminals? They are the criminals, they've picked us up and they killed
:11:35. > :11:40.joy and there is nothing we can do, we have to take the fight... You
:11:41. > :11:47.cannot do that from prison! You are not afraid present, are you?
:11:48. > :11:53.We talked about how John Ridley has reimagined this time and for both of
:11:54. > :11:59.you, Freida, was it a concern for you that such a sensitive period was
:12:00. > :12:05.brought to life and tweaked? Well, not really. First, it is a
:12:06. > :12:09.television show and we are telling a story and we take pride in being
:12:10. > :12:14.storytellers and do it the best we can. In the hope that people do not
:12:15. > :12:21.take it always is rich elite they would like to take it. It is
:12:22. > :12:27.thought-provoking, I guess. It is not a historical documentary.
:12:28. > :12:33.Yes, we want to provide food for thought and that was not the concern
:12:34. > :12:36.and once I met Farrukh Dhondy and Darcus Howe and I learned about the
:12:37. > :12:42.movement, the concern was pushed to one side, if there was any.
:12:43. > :12:49.And working with Idris Elba was a massive part of the appeal? Three
:12:50. > :12:56.macro was acting in it and was the Executive producer. -- Idris Elba.
:12:57. > :13:02.When he jumped on board, it he persuaded to transfer the story from
:13:03. > :13:06.America to 1970s London. As actors, we were hooked as soon as we read
:13:07. > :13:10.the script because the writing is so impeccable. What John Ridley really
:13:11. > :13:16.gives the characters, he fleshes them out individual -- individually,
:13:17. > :13:19.the underground activists, the police characters and the political
:13:20. > :13:24.characters running through it, they all have strengths and weaknesses,
:13:25. > :13:28.they are three-dimensional and that lives that of the page. It is meaty!
:13:29. > :13:32.It is great. "Guerrilla" begins next Thursday
:13:33. > :13:47.and will be available as a box-set Our chef Ricky has taken odds up to
:13:48. > :13:49.the next letter, age, but we might -- but we like a shake-up.
:13:50. > :13:51.We're onto the letter 'I', so we've sent Matt Allwright
:13:52. > :13:54.to Ilkley, in West Yorkshire, with the task of finding out
:13:55. > :13:58.We've dropped him there with no food, nowhere to stay,
:13:59. > :14:01.and no clue what he's doing, so he'll have to rely on the locals
:14:02. > :14:07.I am on the road for the A-Z of towns that make Britain great and is
:14:08. > :14:11.today we are looking at the I, a Spa town in Yorkshire, Ilkley. And what
:14:12. > :14:16.better way to get to know the town dump chatting to the locals? I am
:14:17. > :14:21.Matt, how are you? Which we just landing in Ilkley and trying to find
:14:22. > :14:27.out what we should do here? Look around the shops and the tea rooms.
:14:28. > :14:34.Betty's and various others. What do I find in Betty's? Delicious food
:14:35. > :14:39.and cakes and a TV presenter! Everybody talks about Betty's, we
:14:40. > :14:45.need to go, we need to eat some cake,. In the 21st century, there is
:14:46. > :14:50.a key. One of Betty's signature cakes is the famous that Rascal and
:14:51. > :14:55.it even has a face. It is between a rock cake and a scone. Scone is a
:14:56. > :15:00.lot softer with a more dense texture and it is great if you heat it up
:15:01. > :15:07.with butter, it is perfect. It looks a little bit tired, but he is trying
:15:08. > :15:11.to smile. He has a nice smile. So friendly, I will eat him, now.
:15:12. > :15:13.Buttery, fruity, delicious. I think it is time to get to know the locals
:15:14. > :15:28.are going. Oh, no, it is stuck! I'm halfway through a fat Rascal.
:15:29. > :15:45.I'll save the rest for later. Where else do I need to go? Go to the Cow
:15:46. > :15:49.and Calf. You can scramble on the rock. What's good for men like me?
:15:50. > :15:59.Amor is best. This is where we should come, the Cow and Calf. One
:16:00. > :16:07.of the rocks look -- looks like a cow, one like a calf. Legend has it
:16:08. > :16:12.these rocks were split by a giant, fleeing his angry wife. The best
:16:13. > :16:17.viewing town. Time for food. Let's try this joint, friends of harm.
:16:18. > :16:27.What on earth could they serve? The ideal way to eat our parma is to
:16:28. > :16:33.have it at body temperature. Hang it off your wrist. I'll hang it off my
:16:34. > :16:40.wrist, it's a bit like being Lady Gaga. We can do you Parma ham dress.
:16:41. > :16:48.That's up to temperature. Now it's going in. Wonderful. Right, it's
:16:49. > :16:57.getting late. I need to find a place to stay. Hello. Hello, good evening.
:16:58. > :17:03.Have you got any rooms? I'm sorry, we are full. Full house here, but it
:17:04. > :17:07.pays to be prepared when you are with The One Show. It looks like
:17:08. > :17:14.tonight I'll be spending in the van. A new day. A Sunday market? In
:17:15. > :17:22.Ilkley? And Sunshine! What are the chances? And here, it's all about
:17:23. > :17:36.the best international food, but all given a real Yorkshire twist. What
:17:37. > :17:41.is Yorkshire nduja? It's a soft, spreadable salami. Look at that! You
:17:42. > :17:46.can literally use it in anything, spice up your Chile, on pasta, on
:17:47. > :17:51.pizza. I think this is where it's going. I'm going for the nduja.
:17:52. > :17:55.Where next? This stall's preserves are made from the leftover
:17:56. > :17:59.ingredients from local cafes. I like something with spice. A spicy
:18:00. > :18:06.chutney, do you have that for me? The Piccadilly? I'm going to take a
:18:07. > :18:17.jar home. Is there any anywhere that sells cheese? Opposite. A fresh go
:18:18. > :18:24.code? That's so smooth. So it seems Ilkley has it all, the food, the
:18:25. > :18:29.people, even the music. # One, two, three, four
:18:30. > :18:34.# Yet! #. New line-macro heat lays the ukelele
:18:35. > :18:41.impeccably, but the way he balances meet on his wrist, second to none.
:18:42. > :18:44.Now, time to introduce you to an amazing musician. She's gone from
:18:45. > :18:49.America's Got Talent to sell-out tours and billions of use online.
:18:50. > :18:58.For those of you who don't know her, here's a smorgasbord.
:18:59. > :19:27.I like to play dress up. Dancing, violin, usually two disciplines that
:19:28. > :19:30.are hard enough to master individually, never mind mashing
:19:31. > :19:36.them together and mastering them. Where did it come about? When I was
:19:37. > :19:40.a little tiny girl, I begged for violin lessons and dance lessons
:19:41. > :19:44.simultaneously. My parents had hardly any money at all, so they
:19:45. > :19:49.said you can pick one. I picked the violin, played since I was six. When
:19:50. > :19:54.I was in my early 20s I decided let's go back and try that dancing
:19:55. > :19:58.thing. I took myself to dance and decided to fuse the two together.
:19:59. > :20:05.You've worked with John Legend, Celine Dion, Miss Piggy.
:20:06. > :20:09.LAUGHTER It all started with America's Got
:20:10. > :20:12.Talent, here's the moment the famously polite and an opinionated
:20:13. > :20:16.Piers Morgan had some criticisms for you. There were times in there when
:20:17. > :20:21.it was OK, and there were times when it sounded like a bunch of rats
:20:22. > :20:24.being strangled. Seriously. That bad.
:20:25. > :20:27.BOOING You are not untalented, but you are
:20:28. > :20:31.not good enough, I don't think, to get away with flying through the air
:20:32. > :20:38.and trying to play the violin at the same time. That's what I learned
:20:39. > :20:43.tonight. All right, thank you. OK. He doesn't sit on the fence! You
:20:44. > :20:48.held yourself very well. I was holding back so many tears at that
:20:49. > :20:51.moment. I was so embarrassed. Everyone I knew was watching. I
:20:52. > :21:01.found out 11 million people have tuned in that night. Talk about
:21:02. > :21:07.having your dreams smashed. You got a little Twitter exchange between
:21:08. > :21:14.yourself and Piers. This was you, putting after Tweet took Piers
:21:15. > :21:19.talking about your world tour, your Hammersmith Apollo show in London.
:21:20. > :21:26.Hit me back, if you want to come. I can get you a seat. Piers being so
:21:27. > :21:32.wonderfully gracious, said he couldn't come, but you are shining
:21:33. > :21:38.example of someone who listens to my advice and became a huge star.
:21:39. > :21:45.Cheeky, that one. A huge star, he knows you are, well done to you.
:21:46. > :21:51.Thank you. I owe a lot to Piers Morgan because he humiliated me but
:21:52. > :21:55.once I overcame the situation, it gave me so much motivation. That man
:21:56. > :21:59.is evil. I will show him I can do this! I worked really hard to do so,
:22:00. > :22:10.so thank you. APPLAUSE
:22:11. > :22:14.Electronic elements, something that got our Dom thinking. He's hoping a
:22:15. > :22:25.new bit of tech can improve his musical skills and if this is
:22:26. > :22:30.anything to go by... # And I was born... #.
:22:31. > :22:34.He's a good sport, but is going to need all the help he can get. I've
:22:35. > :22:38.got to be honest, when The One Show asks me to present a film about
:22:39. > :22:44.musical instruments, I was stumped. Because when it comes to music, I
:22:45. > :22:52.can't even whistle. See? I'm not joking. But inside this case is an
:22:53. > :22:59.instrument with a difference. Now, I know what you're thinking. Dominic,
:23:00. > :23:06.needs a check up from the neck up but on these tablets are apps that
:23:07. > :23:14.claim to turn me into a musical maestro. So instead of forking out
:23:15. > :23:18.?150 on a guitar from a shop like this, I could beat quids in
:23:19. > :23:22.downloading a ?2 app to your tablet or phone. But can it really compete
:23:23. > :23:28.with a traditional instrument? I think they're really good. Why?
:23:29. > :23:34.Because it's interactive, its bright. Do you think it's like the
:23:35. > :23:37.real thing? The real old things are still captivating. You are not
:23:38. > :23:40.talking about me, are you? LAUGHTER
:23:41. > :23:46.A couple of those people did try to get a few notes out but how would
:23:47. > :23:50.the apps stand up to a real test? I can feel a One Show challenge coming
:23:51. > :23:53.on. The award-winning Imperial College Symphony Orchestra is made
:23:54. > :23:56.up of science and engineering students and is a renowned as one of
:23:57. > :24:06.the finest university orchestras in Britain. So I've popped along to
:24:07. > :24:10.hear them play the challenging Tchaikovsky's 1812 Of. I've got to
:24:11. > :24:15.say, that sounded amazing, thank you very much. The One Show has set all
:24:16. > :24:20.of your challenge. To replace your traditional instruments with one of
:24:21. > :24:22.these. So that we can see how professional orchestra copes with
:24:23. > :24:27.these apps. We'll find out how they get on later. In the meantime, I
:24:28. > :24:32.want to learn about the science behind apps like these. So who
:24:33. > :24:36.better than music professor and digital innovator Rob Toulson? Apps
:24:37. > :24:40.are much cheaper and more portable. It's easier to play with an app for
:24:41. > :24:45.a few minutes and decide if you want to take up the real instrument. You
:24:46. > :24:49.will not get the feel of the Iain Stewart, it's a different concept?
:24:50. > :24:53.Entirely. The connection between a musician and the instrument is a
:24:54. > :24:58.huge part of the sound generated. How do you think the orchestra will
:24:59. > :25:01.bet on? It's a tough challenge. They will find the apps more difficult to
:25:02. > :25:06.play than the instruments they have been learning for years. But Rob
:25:07. > :25:11.isn't the only sceptic. For the past week our orchestra have been
:25:12. > :25:16.struggling to get to grips with their new instruments. Well, that
:25:17. > :25:22.sounds horrible! It seems a bit ridiculous, may putting up the phone
:25:23. > :25:26.against my chin, pretending to violin. The moment has arrived. This
:25:27. > :25:32.definitely won't be something you've heard before. Probably with good
:25:33. > :25:38.reason. Ladies and gentlemen, for one night only, I give you the
:25:39. > :26:00.digital orchestra performing Tchaikovsky's 1812 Overture.
:26:01. > :26:05.I've got to be honest, standing back now there was no depth, no feeling.
:26:06. > :26:09.It doesn't have a grand year, the gravitas. It's not the real thing.
:26:10. > :26:15.It's not going to replace it, never will. I couldn't coordinate it. Did
:26:16. > :26:22.your phone go flat halfway through? Yes, my cello -- my cello does as
:26:23. > :26:26.well. It's a different sort of flat! Quarrelled Tchaikovsky will be
:26:27. > :26:32.turning in his grave but for the price of a ?2 download it's a lot of
:26:33. > :26:37.fun. Let's have a go at this 1812 Overture lark.
:26:38. > :26:47.APPLAUSE You'll be glad to hear that Lindsey
:26:48. > :26:52.is using the original. That's it for tonight. Thanks to my co-host, Ore
:26:53. > :26:57.Oduba. Thank you to Frida and Daniel. You can see Guerrilla next
:26:58. > :27:00.Thursday. Now, to plate is out with The Arena from her new album, it's
:27:01. > :27:10.Lindsey Stirling. Hello! And a very warm welcome to
:27:11. > :29:34.the 2017 BBC Radio 2 Folk Awards. With performances from Ry Cooder,
:29:35. > :29:38.Al Stewart,