Browse content similar to 08/03/2016. 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 lovely Matt Baker. And | :00:18. | :00:24. | |
because Alex is somewhere out at sea approaching Falmouth, tonight I am | :00:25. | :00:28. | |
joined by my very first TV co-presenter, I can't believe it, it | :00:29. | :00:31. | |
is Konnie Huq! CHEERING. This is an absolute joy to | :00:32. | :00:39. | |
me. And thank you per showing me the ropes, it reminds me of a day way | :00:40. | :00:44. | |
back in the last millennium, I think it was 1999 and a freshfaced young | :00:45. | :00:48. | |
lad was given his very first Blue Peter badge. On it goes. I have | :00:49. | :00:56. | |
still got that shirt. What about the badge? You haven't changed a bit. | :00:57. | :01:01. | |
You certainly have. I have got a little bit wider but you are the | :01:02. | :01:05. | |
same. Tonight's guest hasn't been on the One Show the quite a few years | :01:06. | :01:08. | |
and we thought we had done something wrong but now we know the truth. How | :01:09. | :01:15. | |
does it feel to be chopped? You are a little bit late, Mr chop, you have | :01:16. | :01:22. | |
had your chips. That is precisely why I didn't let you go to the One | :01:23. | :01:25. | |
Show. But that has all changed because it | :01:26. | :01:28. | |
is time to welcome back the lovely Rebecca Front! | :01:29. | :01:32. | |
APPLAUSE. We love it when we get a name check | :01:33. | :01:36. | |
on other programmes, that was the The Thick Of It and you have just | :01:37. | :01:41. | |
been reunited with Peter Capaldi. This wary Malcolm Tucker. He didn't | :01:42. | :01:48. | |
swear on Doctor Who. I had a feeling he wouldn't, in real life, Peter | :01:49. | :01:53. | |
doesn't particularly swear, it was just the character. So he could take | :01:54. | :01:58. | |
everything out in his character. Yes, it must be incredibly healthy | :01:59. | :02:01. | |
to get it all out of your system and then you can get chilled and | :02:02. | :02:04. | |
relaxed. Does that pork chop follow you everywhere you go? I am really | :02:05. | :02:10. | |
glad it doesn't, because I am a vegetarian and it would be quite | :02:11. | :02:13. | |
offensive. It would be offensive if it was to turn up. It would be | :02:14. | :02:22. | |
embarrassing! Oh, dear. Listen, this week, it is all about our Hell on | :02:23. | :02:27. | |
High Seas challenge. It might pop up again later... The Hell on High Seas | :02:28. | :02:32. | |
challenge, have you been watching this, Rebecca? My goodness, yes, | :02:33. | :02:36. | |
sort of like that... Terrifying, rather them than me. I felt awful | :02:37. | :02:41. | |
when we said goodbye to them, knowing they had the whole night to | :02:42. | :02:45. | |
go through, for hours on, four hours of. And you can't sleep. We are | :02:46. | :02:55. | |
about to catch up with Ore, Hal, Alex and Angelica and Doon. Can you | :02:56. | :02:57. | |
remind us how to donate? To donate ?5, text | :02:58. | :03:00. | |
the word HELP to 70005. To donate ?10, text | :03:01. | :03:02. | |
the word HELP to 70010. Text messages will cost | :03:03. | :03:05. | |
your donation plus your standard network message | :03:06. | :03:07. | |
charge and all your donation | :03:08. | :03:08. | |
will go to Sport Relief. You must be 16 or over and please | :03:09. | :03:12. | |
ask the bill payer's permission. For full terms and conditions - | :03:13. | :03:15. | |
or to donate any amount you want To be generous! Shall we see how | :03:16. | :03:31. | |
they are getting on? Alex, it is over to you. | :03:32. | :03:36. | |
Our first hours at sea heading south. The calm before the storm and | :03:37. | :03:45. | |
an escort of dolphins. With an on-board musical accompaniment. | :03:46. | :03:55. | |
SHE SINGS. At the moment, Doon is trying to | :03:56. | :03:58. | |
attract the dolphins. They were there a minute ago and now they have | :03:59. | :04:02. | |
gone. They heard something they thought was attractive and I think | :04:03. | :04:05. | |
we have scared them off. SHE SINGS.. | :04:06. | :04:11. | |
They are all around us, it is absolutely phenomenally exciting. | :04:12. | :04:17. | |
And while the rest of the crew enjoy the wildlife, I am given an | :04:18. | :04:21. | |
important job, or perhaps it is just an excuse to get me out of the way. | :04:22. | :04:25. | |
So all of them then there have sent me up here, up the read more or the | :04:26. | :04:30. | |
hoist as it is known, to look for wind. This is an actual thing, who | :04:31. | :04:36. | |
knew? You get a great view of the ocean, because you are so so high, | :04:37. | :04:41. | |
and you can look for ripples on the surface to determine which direction | :04:42. | :04:47. | |
the wind is coming from. The skipper has more reliable ways to judge the | :04:48. | :04:51. | |
weather and he is concerned about an oncoming storm and how we can | :04:52. | :04:55. | |
outpace it. Bear with us, this could get technical. We have a complex | :04:56. | :04:59. | |
weather situation, what we call a second very low pressure, springing | :05:00. | :05:03. | |
up and because it is not informed yet, there are a lot of question | :05:04. | :05:06. | |
marks as to where exactly it will be centred, which will mean Gale force | :05:07. | :05:10. | |
winds at the Irish Sea, right where we are. Our challenge is to out run | :05:11. | :05:21. | |
it and get out of the Irish Sea, round Land's End, into the English | :05:22. | :05:24. | |
Channel, and then we need to wait for another 24 hours to see how the | :05:25. | :05:27. | |
weather unfolds. As we pick up speed towards Land's End, the weather | :05:28. | :05:29. | |
suddenly takes a downturn, almost capsizing us. It might be a taste of | :05:30. | :05:41. | |
things to come. The crew seem to be suddenly shouting and telling them | :05:42. | :05:44. | |
all to get up on deck and then the sale was in the water. -- the sail. | :05:45. | :05:56. | |
When the boat went 180 degrees, I literally thought we would go. It | :05:57. | :06:01. | |
did a big 180 degrees shift and went from four knots to 30 knots. It | :06:02. | :06:09. | |
completely overpower issue. It was a real heart in mouth moment. | :06:10. | :06:19. | |
I feel seasick just watching that. A few days' training, really, but I | :06:20. | :06:21. | |
don't think anything can prepare you for that, to be fair. You know Doon, | :06:22. | :06:28. | |
don't you, quite well? I think Doon, of all the people I know, is the | :06:29. | :06:32. | |
best person to be doing that. She is a really strong swimmer, I hope she | :06:33. | :06:36. | |
won't need to be, but she has won the channel, in fact and she is kind | :06:37. | :06:42. | |
of quite intrepid -- she has swum the Channel. There she is looking | :06:43. | :06:48. | |
gung ho. She has that kind of spirit, she will be great. So this | :06:49. | :06:52. | |
is something that doesn't appeal to you at all? I can barely swim, I can | :06:53. | :06:57. | |
just about hold my own in the shallow end of a swimming pool but I | :06:58. | :07:02. | |
couldn't do that. And I get seasick. On a cross-channel ferry, I am a | :07:03. | :07:05. | |
nightmare, so that just looks like it would be awful. We understand | :07:06. | :07:10. | |
there has been quite a bit of seasickness already. Nearly all of | :07:11. | :07:15. | |
them! Before Alex said sale, she went out to Bangladesh to make some | :07:16. | :07:18. | |
films to give you an idea of where the money you donate will go -- set | :07:19. | :07:24. | |
sail. This is a country close to your heart. My homeland where my | :07:25. | :07:27. | |
parents are from and I have lots of family there and it is an incredibly | :07:28. | :07:31. | |
densely populated country, and extremely poor, so I know only too | :07:32. | :07:35. | |
well how important it is for your money to go there and the projects | :07:36. | :07:40. | |
your donation fund, both here in the UK and abroad, really will change so | :07:41. | :07:41. | |
many lives. Dhaka, Bangladesh. One of the most | :07:42. | :07:52. | |
crowded cities on the planet. Living here isn't easy. And living here | :07:53. | :07:59. | |
with a disability, well, that's a whole different story. I am coming | :08:00. | :08:04. | |
to the outskirts to meet a boy who lives here with his parents. Shuman | :08:05. | :08:12. | |
has a muscle wasting disease which means he cannot walk or move his | :08:13. | :08:21. | |
hands properly. How old are you? 12. 12? Shuman's condition and the | :08:22. | :08:25. | |
amount of personal care he needs have put his family under terrible | :08:26. | :08:28. | |
strain. Thank you so much for letting us | :08:29. | :08:31. | |
into your home this morning. Can you tell me a bit about your son and | :08:32. | :08:34. | |
when you first noticed his disability? | :08:35. | :08:39. | |
TRANSLATION: We noticed from the age of two that Shuman was ill, but he | :08:40. | :08:43. | |
could walk. But after the age of five, when he got typhoid, it made | :08:44. | :08:47. | |
him weaker and within a few years, he couldn't walk at all. | :08:48. | :08:54. | |
TRANSLATION: Being a mother, I feel sorry I can't do more. It makes me | :08:55. | :08:59. | |
cry. He is my beloved son and I sometimes ask him for forgiveness | :09:00. | :09:04. | |
because I just can't help him more. For the next six years, Shuman's | :09:05. | :09:08. | |
childhood pretty much came to a halt, with his father at work and | :09:09. | :09:11. | |
his mother unable to physically carry him to school. | :09:12. | :09:18. | |
Let me just to show you the room where Shuman spent six long years. | :09:19. | :09:23. | |
It is just in this room here, no interaction whatsoever, no friends, | :09:24. | :09:28. | |
no schoolwork to distract him, just four very, very bare walls to | :09:29. | :09:33. | |
Sderot. The loneliness must have been utterly overwhelming -- to | :09:34. | :09:40. | |
stare at. TRANSLATION: We are so sad thinking | :09:41. | :09:43. | |
what will happen when we die, as we won't be there, so who will take | :09:44. | :09:52. | |
care of him? I am so old, I cannot work now and I don't have enough | :09:53. | :09:56. | |
money to take Shuman abroad for better treatment, so I am asking for | :09:57. | :10:01. | |
help. We are so poor. We live in a slump, we don't have a house. I fear | :10:02. | :10:13. | |
what future is waiting for Shuman. Seeing Sadik like this, really | :10:14. | :10:20. | |
upset, it is so hard. It is hard anyway but they just don't have the | :10:21. | :10:23. | |
facilities to help in anyway and these poor people are left feeling | :10:24. | :10:28. | |
like they haven't done well as for him when they have given them all | :10:29. | :10:34. | |
they can, really. Now Shuman has got his childhood | :10:35. | :10:40. | |
back. Six months ago, a Sport Relief funded project heard about him and | :10:41. | :10:44. | |
offered much-needed physiotherapy and then something which would | :10:45. | :10:47. | |
really transform his life. A wheelchair. | :10:48. | :10:51. | |
Well here comes Dad with the wheelchair. | :10:52. | :10:56. | |
It is so simple, having a wheelchair means that his parents can take him | :10:57. | :11:00. | |
around without having to physically carry him. | :11:01. | :11:08. | |
TRANSLATION: After having the wheelchair, Shuman is smiling and is | :11:09. | :11:10. | |
starting to go out in the afternoon and play with his friends. The | :11:11. | :11:15. | |
project is also providing board games to help develop strength in | :11:16. | :11:20. | |
his hands. It has opened his world. It has brought friends here to play | :11:21. | :11:23. | |
with him, so instead of lying in a dark, dingy room in there, he is | :11:24. | :11:29. | |
outside, making friends, he is interacting, his world has grown. It | :11:30. | :11:32. | |
has completely changed things for him. | :11:33. | :11:35. | |
What is the best thing would you think, about having this wheelchair? | :11:36. | :11:43. | |
It is school. Going to school. And how does the wheelchair make you | :11:44. | :11:50. | |
feel? Very happy. Shuman now intends an inclusive school, thanks to the | :11:51. | :11:55. | |
help of Sport Relief. Which has also helped provide a wheelchair ramp to | :11:56. | :11:58. | |
give better access for him and other children like him. It is fantastic | :11:59. | :12:07. | |
news that Shuman is now in school, but the reality is, life is really | :12:08. | :12:11. | |
tough for families with a disabled child, wherever you are in the | :12:12. | :12:15. | |
world. But here, it is virtually impossible. You can help children | :12:16. | :12:19. | |
like Shuman and his friends here. To donate ?5, text the world HELP TO | :12:20. | :12:43. | |
70005. OR TO DONATE ?10, to 70010. In a country of such poverty, it is | :12:44. | :12:47. | |
so difficult to transform any way of life, so your money is so important. | :12:48. | :12:52. | |
And thank you to anyone who has donated so far. We are going to try | :12:53. | :12:57. | |
and go live to the Dong Feng. Alex, I don't know if you can hear me | :12:58. | :13:00. | |
clearly but we have wonderful news, we have been told that our wonderful | :13:01. | :13:04. | |
One Show viewers have already raised, after just one day, don't | :13:05. | :13:15. | |
forget, a staggering 350 4,000, 820 -- 354,000 pounds for Sport Relief. | :13:16. | :13:28. | |
I love you all so much! Team, ?354,810 already raised by the One | :13:29. | :13:32. | |
Show viewers! Thank you, we are so grateful. And listening to Shuman's | :13:33. | :13:36. | |
story in Bangladesh took me right back and reminded me exactly why we | :13:37. | :13:40. | |
are doing all this. It has been a very dramatic 24 hours, you saw the | :13:41. | :13:45. | |
weather deteriorated last night, but the night did bring its own | :13:46. | :13:50. | |
troubles, things we weren't expecting. Rebecca, you mentioned | :13:51. | :13:58. | |
seasickness and Hal unfortunately suffered badly, didn't you? I did, | :13:59. | :14:02. | |
and I'm not someone who normally suffers from it. It is like we are | :14:03. | :14:06. | |
on a roller-coaster that never stops, it is constantly going and | :14:07. | :14:09. | |
you feel totally debilitated. I was on my ship and just ended up staring | :14:10. | :14:15. | |
at the Ocean, holding a string of... Just looking at the sea, you have to | :14:16. | :14:20. | |
get your bearings. I was shocked, helicopter came right to wave at us | :14:21. | :14:23. | |
and at that point in the morning, I thought I want to jump in and be | :14:24. | :14:26. | |
rescued by them and go with them. It is really that things are trying to | :14:27. | :14:30. | |
stay with it. It has got better there and we have gone through it | :14:31. | :14:34. | |
but we will be facing yet again. I think we all felt like jumping in | :14:35. | :14:39. | |
and letting the helicopter rescuers. Ore, talk us through the four hour | :14:40. | :14:43. | |
on, for our off shifts through the night, which has been a real | :14:44. | :14:48. | |
struggle. It gets really hard, we have seen in the day when the boat | :14:49. | :14:52. | |
gets to a 45 degrees angle, it is extreme enough and we can handle it | :14:53. | :14:56. | |
appear but down there, trying to get your sleep, even the most simple of | :14:57. | :15:00. | |
tasks become impossible. The bunks then there are like the bunk beds in | :15:01. | :15:05. | |
a goal's house, they are tiny and you are clattering about trying to | :15:06. | :15:08. | |
put your clothes on and we have a lot of kit to keep a safe and keep | :15:09. | :15:14. | |
you warm and adjust is debilitating, but credit to you guys, you do all | :15:15. | :15:17. | |
of that for nine months a year, I don't know how you do it. They are | :15:18. | :15:20. | |
motoring on and that is what we are going to do. And one of the scary | :15:21. | :15:24. | |
thing is that does happen in the night is when the boat keels over | :15:25. | :15:28. | |
very suddenly. We experienced this on board last night, Doon was | :15:29. | :15:32. | |
absolutely petrified. Can you explain to the audience, give them a | :15:33. | :15:33. | |
taste of how that feels? You are sitting at the side, clipped | :15:34. | :15:44. | |
on and suddenly the boat keels to an angle and you brace your feet. It is | :15:45. | :15:51. | |
pretty rough. You look down at big waves. Suddenly three of the | :15:52. | :15:55. | |
normally incredibly calm crew started shouting and seemed worried | :15:56. | :16:00. | |
about something. Something was stuck in the rudder and they think it | :16:01. | :16:05. | |
might have been a large tuna fish or something. I thought the boat would | :16:06. | :16:11. | |
go over. I thought, I am tied on, where is my nice? I had visions of | :16:12. | :16:15. | |
cutting myself free under the boat. At night, there are crashes and you | :16:16. | :16:23. | |
do not sleep because you are afraid of going so fast. It is an extremely | :16:24. | :16:29. | |
dangerous challenge. I wanted to come to you, Suzi. We are running | :16:30. | :16:36. | |
out of time. The weather is awful. Tell us what the crew have been | :16:37. | :16:43. | |
saying. 15 nots but we expect a force ten gale. So anywhere between | :16:44. | :16:52. | |
35, 14 nots. Changing cells when we have to, busy night ahead, really | :16:53. | :17:01. | |
uncomfortable. -- knots. We will not be able to make it to North Shields | :17:02. | :17:06. | |
because the weather has been unpredictable. We will finish in | :17:07. | :17:10. | |
London on Friday night, fingers crossed. We have a long night ahead | :17:11. | :17:17. | |
that thank you to you for your support and we will speak again | :17:18. | :17:23. | |
tomorrow. Goodbye. APPLAUSE. | :17:24. | :17:33. | |
There we are. That is just one night. From somewhere approaching | :17:34. | :17:41. | |
Falmouth, to Sunday night and Rebecca, you are in a new drama, | :17:42. | :17:45. | |
Doctor Thorne. I feel like a lightweight! Doctor Thorne. It is in | :17:46. | :17:53. | |
three parts. Everybody hoped it would be a new Downton and be | :17:54. | :18:00. | |
because it is by Julian Fellowes but because it is from the Anthony | :18:01. | :18:05. | |
Trollope novel, it cannot go on for ever. It is finite because it is | :18:06. | :18:10. | |
based on a not particularly long novel and three parts is all we can | :18:11. | :18:16. | |
do. Your character is Lady Arabella Gresham and her family have fallen | :18:17. | :18:21. | |
on hard times. She wants her son to marry into money. Is she a hero or | :18:22. | :18:27. | |
villain, greedy or thinking of the family? She's not greedy, she is not | :18:28. | :18:32. | |
a hero. She is thinking of the family and is a difficult situation, | :18:33. | :18:38. | |
because her husband has gambled away money. He seems not to have | :18:39. | :18:45. | |
registered what he has done, the magnitude. She is in a situation... | :18:46. | :18:51. | |
She is a proper aristocrat and I think he is not. She has status in | :18:52. | :18:56. | |
mind and money in mind and the estate is about to disappear. The | :18:57. | :19:01. | |
only hope of saving that is for her son to marry money, which is a | :19:02. | :19:06. | |
horrible situation. I would like to think I would never expect my kids | :19:07. | :19:11. | |
to marry someone they do not love. They are breathing sighs of relief! | :19:12. | :19:18. | |
Ishii and enjoyable character to play -- is she? She is manipulative. | :19:19. | :19:25. | |
I played a character in a similar situation in War and Peace. She is | :19:26. | :19:34. | |
an operator. Like a natural politician in War and Peace. She | :19:35. | :19:37. | |
knows how to work the room and get the best from people but Lady | :19:38. | :19:42. | |
Arabella does not. She tries to be manipulative, but she is not good at | :19:43. | :19:46. | |
it and she thinks she can work her way around Doctor Thorne, but she is | :19:47. | :19:52. | |
rubbish at it. Julian Fellowes is very good. We are all hooked. As we | :19:53. | :19:58. | |
armour about to see, Lady Arabella goes head-to-head with Tom | :19:59. | :20:04. | |
Hollander's Doctor Thorne. I am very fond of Beatrix, I'd like | :20:05. | :20:13. | |
their friendship. I -- and suppose it should lead to renewed | :20:14. | :20:18. | |
familiarity between Frank and Mary? If you should put a stop to their | :20:19. | :20:23. | |
intimacy, tell Frank, not me, and cease your persecution of merit. | :20:24. | :20:30. | |
Persecution! Issue persecuted when I have received her as my own | :20:31. | :20:37. | |
daughter? You forget yourself. Good day, Doctor Thorne. APPLAUSE. | :20:38. | :20:48. | |
I like that term, a good way to end an argument. Good day and then just | :20:49. | :20:54. | |
walk off. I will try that next argument. The locations looks | :20:55. | :20:59. | |
stunning. Many people convinced there is some CGI. I saw something | :21:00. | :21:06. | |
on Twitter with people saying it was Astroturf. But not so, they are | :21:07. | :21:11. | |
National Trust properties. What makes it look unfamiliar is the sun | :21:12. | :21:19. | |
was shining. We have to comment on the sound, which is good. There have | :21:20. | :21:23. | |
been dramas which have had the rough end of the stick as far as sound is | :21:24. | :21:29. | |
concerned, but I was impressed. There were only a few parts we had | :21:30. | :21:34. | |
to re-record, because the dresses are authentic and they are rustling. | :21:35. | :21:39. | |
A few times, we would turn and swish. Good data you! And and | :21:40. | :21:46. | |
petticoats revolve! -- good day to you. Doctor Thorne continues on | :21:47. | :21:55. | |
Sunday at 9pm on ITV. Compelling viewing. It has been said that swing | :21:56. | :22:02. | |
like this was the music that saw Britain through the Blitz. Everybody | :22:03. | :22:09. | |
is toe-tapping in the studio. 75 years ago to today, in the midst of | :22:10. | :22:14. | |
bombing, the music temporarily came to a tragic end. Here is Cerys | :22:15. | :22:18. | |
Matthews. This record is by a British pop star | :22:19. | :22:25. | |
you have probably never heard of. It is Ken "Snakehips" Johnson, a band | :22:26. | :22:30. | |
leader in the 30s and 40s. He would probably be a household name today | :22:31. | :22:33. | |
had it not been for a moment of deadly misfortune. | :22:34. | :22:42. | |
Born in British Guiana, he was sent to Britain to be schools but became | :22:43. | :22:48. | |
intoxicated with jazz and won the nickname Snakehips with his wild | :22:49. | :22:52. | |
dancing and at the age of 26 he fronted the West Indian Orchestra, | :22:53. | :22:59. | |
Britain's only all swing band. I am heading the London's West End with a | :23:00. | :23:04. | |
jazz writer. It must have been exciting to see them because there | :23:05. | :23:08. | |
was a hunger for the American sound. And they were voted number one band | :23:09. | :23:13. | |
by the leading music magazine at the time and the fact he was a great | :23:14. | :23:18. | |
dancer in did him to audiences. They were on the radio a lot. He said | :23:19. | :23:24. | |
famously, I will make London swing, or die trying. By the start of the | :23:25. | :23:29. | |
Second World War Snakehips had a residency at the cafe de Paris, one | :23:30. | :23:36. | |
of the few clubs to stay open in the Blitz. 75 years later, it is still | :23:37. | :23:41. | |
going. If you wanted to forget the war you would want to come here. It | :23:42. | :23:46. | |
was considered to be the safest club in London because it is 20 feet | :23:47. | :23:50. | |
underground, and you would think you would not be in harm's way with arms | :23:51. | :23:58. | |
dropping. It would seem impregnable. Dance, jive, party as the bombs came | :23:59. | :24:07. | |
down. Do these Snakehips. But on the 8th of March, 1941, against | :24:08. | :24:12. | |
expectations, the reality of war broke through. The band was on the | :24:13. | :24:22. | |
stage. They were going into a number called "Oh, Johnny, Oh, Johnny". Why | :24:23. | :24:28. | |
incredible chance two bombs came crashing through the building into | :24:29. | :24:35. | |
the cellar. You can see from the pictures how the Cafe de Paris was | :24:36. | :24:39. | |
ripped apart. Absolutely gutted. This one with the guy picking up the | :24:40. | :24:43. | |
skeleton of the double bass that looks like it was cut in half. And | :24:44. | :24:48. | |
this one when you see them picking up debris on the floor. It is the | :24:49. | :24:55. | |
scene of a slaughterhouse. Around 30 died and 18 were injured. Snakehips | :24:56. | :25:00. | |
was killed instantly, but poignantly, his body was not marked | :25:01. | :25:06. | |
and he looked immaculate, he still had a flower in his buttonhole. He | :25:07. | :25:12. | |
was a star and he died looking like a star. It is disturbing. In a place | :25:13. | :25:18. | |
where people innocently enjoyed themselves, dancing, that it should | :25:19. | :25:22. | |
happen here. Nobody thought it would be the Cafe de Paris. I am getting | :25:23. | :25:28. | |
goose bumps being in the venue. I have heard about the tragedy from my | :25:29. | :25:32. | |
mother-in-law, who was here that very night. You are joking! She had | :25:33. | :25:38. | |
to take a train back to loot and left early, thankfully. -- Luton. | :25:39. | :25:48. | |
And this bomb dropped, killing a huge star, it was a huge shock. That | :25:49. | :25:56. | |
is right, it left a void. As a tribute we have invited the jazz | :25:57. | :26:01. | |
salon house band to play the song "Oh, Johnny, Oh, Johnny", the song | :26:02. | :26:04. | |
that Snakehips did not finish that night. And with magic, he is back | :26:05. | :26:10. | |
for a last dance. It looks like his legs are articulated. It is like a | :26:11. | :26:18. | |
surge of energy going through him. He moves so well, you cannot keep | :26:19. | :26:23. | |
your eyes from his legs. How does he move like that? It is a graceful | :26:24. | :26:30. | |
style, very charismatic. 75 years later, it is great to see Snakehips | :26:31. | :26:36. | |
back where he belongs. The Blitz did not break Britain's spirit, but who | :26:37. | :26:41. | |
knows what height Snakehips might have reached had he survived. | :26:42. | :26:50. | |
APPLAUSE. What a mover. What is crazy, the | :26:51. | :26:55. | |
bomb went down the ventilation shaft, and what would be the odds, | :26:56. | :27:00. | |
because they are so deep underground, it is supposedly | :27:01. | :27:04. | |
bombproof? If you are cooking your Sunday dinner at the weekend, tune | :27:05. | :27:11. | |
into Cerys Matthews' show on BBC six music. I enjoyed Kevin's care. | :27:12. | :27:18. | |
Rebecca, we are moving on to motherhood and you have developed a | :27:19. | :27:23. | |
repertoire of on-screen mothers. The embarrassing mum in Grandma's House. | :27:24. | :27:32. | |
To Boris' Machiavellian mother in War and Peace. We have put them on | :27:33. | :27:38. | |
the screen. Good and bad. We want to know what kind of Mum are you. We | :27:39. | :27:52. | |
have had a word with your children, Lee and Tilly. We have been digging | :27:53. | :27:59. | |
deep and the first question was, how tidy is your Mum? Oh, dear. Clothes | :28:00. | :28:09. | |
on the floor? I do not leave clothes on the floor, but I am not tidy in | :28:10. | :28:16. | |
the kitchen. Give us a number out of ten. Five, maybe. Well, interesting | :28:17. | :28:21. | |
because Ollie said eight and Tilly said two and the average was five. | :28:22. | :28:26. | |
That is because Ollie is messy and Tilly is tidy. How embarrassing out | :28:27. | :28:35. | |
of ten? Eight. Nine. What is your overused phrase? Probably something | :28:36. | :28:41. | |
like, I do things like, that is just not appropriate! Things like that. | :28:42. | :28:48. | |
You mean, it is not on! You're guilty pleasure. I cannot believe | :28:49. | :28:54. | |
you watch the Kardashians! That is all for tonight. Tonight, now, it is | :28:55. | :29:02. | |
time to give you the chop. I am sorry! Doctor Thorne continues on | :29:03. | :29:10. | |
Sunday at 9pm. Tomorrow, we will be joined by Zoe Ball and Alexei Sayle. | :29:11. | :29:12. | |
Good night. | :29:13. | :29:13. |