Browse content similar to 10/05/2013. Check below for episodes and series from the same categories and more!
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Friday One Show with Miss Jones and Mr Evans. We have gone all tried and | :00:26. | :00:30. | |
prejudice this evening as we find out why many screen adaptations are | :00:30. | :00:37. | |
wrong. It is also a universal truth that the case in point is all to do | :00:37. | :00:44. | |
with TV sofas and shows, and us needing guests. As he is receiving | :00:44. | :00:48. | |
the BAFTAs highest honour this weekend, he will pass muster. Very | :00:48. | :00:58. | |
:00:58. | :01:17. | ||
close have you come to looking like this in your career? Many sketches. | :01:17. | :01:25. | |
Tell us about a few. George the first, I think. And is it the heat, | :01:25. | :01:29. | |
or is it the desperate, the difficulty that it takes to achieve | :01:29. | :01:36. | |
a comfort break? I am never quite sure in those. Had the fly been | :01:36. | :01:44. | |
invented? I am trussed up for at least half an hour. I hope you will | :01:44. | :01:51. | |
last. I am fine, this is easy. We are going to create a Pride And | :01:51. | :01:57. | |
Prejudice themed ball. How is your dancing? Would you like to join in? | :01:57. | :02:02. | |
That kind of dancing was drummed out of me when I was young. I used to go | :02:02. | :02:05. | |
to a dance teacher, had it was like being arrested and taken into | :02:05. | :02:13. | |
custody. I do occasional things on my own. I dance in the bath. | :02:13. | :02:17. | |
look so cool and casual. Tell us quickly what is going on this | :02:17. | :02:24. | |
weekend. Well, I have been awarded a fellowship, BAFTA. I do not know | :02:24. | :02:29. | |
quite what it means. I will become a jolly good fellow of BAFTA. It is | :02:29. | :02:34. | |
very nice. They show lots of your staff and they say, you can die now. | :02:34. | :02:39. | |
That is the interview done excavation mark in Michael's | :02:40. | :02:44. | |
travels, he has been to some in hospitable places but one of the | :02:44. | :02:49. | |
most deadly is here in the UK. Dilger put on his wellies to see how | :02:49. | :02:57. | |
we are trying to fix it. The River Earth on in mid Wales is a | :02:57. | :03:02. | |
major tributary of the River Wye, one of Britain's's most spectacular | :03:02. | :03:05. | |
areas of outstanding natural beauty and a designated site of special | :03:05. | :03:10. | |
scientific interest. It is picture perfect, but all is not quite what | :03:10. | :03:18. | |
it seems. Streams like this are usually brimming with life. If I | :03:18. | :03:23. | |
disturb the bottom, I should catch all manner of invertebrates, like | :03:23. | :03:27. | |
aquatic insects and crustacea. But just looking inside here, it is | :03:27. | :03:30. | |
completely empty, which means to all intents and purposes, this | :03:30. | :03:35. | |
watercourse is biologically dead. The problem lies in the quality of | :03:35. | :03:41. | |
the water itself. And it is something Stephen has been | :03:41. | :03:44. | |
monitoring and trying to control for the last ten years. What is the | :03:44. | :03:51. | |
problem? Acidity. The effect is to kill off virtually all life in the | :03:51. | :03:56. | |
stream. Very little can survive in a pH lower than five. What are we | :03:56. | :04:04. | |
talking here? 4.2. Many hundreds of thousands of times more acidic than | :04:04. | :04:11. | |
pure water. Getting close to lemon juice or vinegar. Astonishing! The | :04:11. | :04:14. | |
acidification comes from the combined effects of acid rain and | :04:14. | :04:19. | |
the draining of natural wetlands to make way for commercial forestry. | :04:19. | :04:22. | |
This used to be a huge bulk but it has been trained just for the | :04:22. | :04:29. | |
purpose of granting more trees. you lose the wetland, you lose a | :04:29. | :04:31. | |
giant natural sponge that filters rainwater back into the river | :04:32. | :04:37. | |
system. The water rushes off at a great speed and reaches the river at | :04:37. | :04:42. | |
no time at all, carrying with it very low pH acidity, which in turn | :04:42. | :04:48. | |
kills off all of the life we would expect to find in rivers. Row native | :04:48. | :04:50. | |
conifers collect acid on their needles, which ends up washing into | :04:50. | :04:58. | |
the rivers, exacerbating the problem. Left untouched, the acidity | :04:58. | :05:05. | |
has an effect. No birds, mammals or frogs. It is a big trouble so | :05:05. | :05:10. | |
Stephen and his team are tackling it in a big way. This does not look | :05:10. | :05:13. | |
like your average conservation tool, but it is leading the charge in a | :05:14. | :05:19. | |
pioneering project to save these rivers. The team have gone back to | :05:19. | :05:22. | |
their chemistry books and have come up with a devastatingly simple | :05:22. | :05:28. | |
solution. This is the antidote to the bad effects of acid rain. | :05:28. | :05:37. | |
is it? Calcium carbonate, a mixture of sand and powder. Hopefully, it | :05:37. | :05:46. | |
should neutralise. Exact me, that is what we are aiming to achieve. | :05:46. | :05:49. | |
year for a decade they have dumped tonnes of this into the river system | :05:49. | :05:54. | |
to neutralise its acidity. You put it down on the river does the hard | :05:54. | :05:59. | |
work. It permeates every nook and cranny, I suppose. It gets under the | :05:59. | :06:06. | |
stones and that is what keeps most of it in the river system. We are at | :06:06. | :06:11. | |
the junction of two streams. One has been treated with lime and the other | :06:11. | :06:16. | |
has not. I have the indicator solution. If I take some up, the one | :06:16. | :06:22. | |
that is alkali should stay blue. If it is acid, it should go green. And | :06:22. | :06:25. | |
that is definitively green. Conclusive proof that the treatment | :06:25. | :06:30. | |
is working. Over the last ten years, more than 1000 tonnes of lime have | :06:30. | :06:36. | |
gone into these streams, breathing new life into 40 miles of waterways. | :06:36. | :06:40. | |
I am a few miles downstream, and when this project began, this | :06:40. | :06:44. | |
stretch of river was so acidic that nothing could live here at all. This | :06:45. | :06:50. | |
is much more like it. This is teeming with life. There are so many | :06:50. | :06:55. | |
aquatic insects here. This is just astonishing. And it is not just | :06:55. | :07:00. | |
creepy crawlies thriving. Wild salmon are once more finding their | :07:00. | :07:03. | |
way, swimming upstream each autumn to spawn in parts of the river that | :07:03. | :07:08. | |
have not seen fish for nearly 40 years. It is such a thrill to know | :07:09. | :07:13. | |
that salmon are repopulating this river, and that such an unusual | :07:13. | :07:17. | |
conservation project is working so well. Who would have thought that a | :07:17. | :07:21. | |
pile of old limestone gravel would have such an amazing impact on | :07:21. | :07:28. | |
wildlife? Thank you. Michael, you have | :07:28. | :07:34. | |
travelled all over the shop in your time. The counter, behind the | :07:34. | :07:39. | |
counter! What is the most polluted place you have visited gesture | :07:40. | :07:45. | |
marked Ireland a place in the desert in Mauritania which was a huge iron | :07:45. | :07:49. | |
ore mine in the middle of the fairly pristine Sahara Desert. It comes out | :07:49. | :07:55. | |
of nowhere and it is just filthy. There is dust in the Sahara anyway. | :07:55. | :07:59. | |
There is the iron ore dust blowing as well. And a lot of the people, | :07:59. | :08:05. | |
especially young kids, come to this city to find work and they can't, | :08:05. | :08:11. | |
and they stand around. I have never seen such a sad group of people as | :08:11. | :08:16. | |
in this place, right in the middle of nowhere. It is pretty grim. | :08:16. | :08:23. | |
could look at the audience for BAFTA on Sunday night! Let us know how | :08:23. | :08:29. | |
they compare. I will not look at them. The lights will block them | :08:29. | :08:36. | |
out. They are my family anyway. Eight p.m. On BBC One you have the | :08:37. | :08:40. | |
film and TV BAFTAs. You are up for the fellowship. You are just going | :08:40. | :08:47. | |
to get it, it is a deal. Whether you like it or not, you get it. What | :08:47. | :08:54. | |
does it mean to BAFTA, and what does it mean to you? I am told it is | :08:54. | :08:57. | |
their main tribute award. I think it means you have spent a long time in | :08:57. | :09:00. | |
television and have done stuff that people remember and people consider | :09:00. | :09:05. | |
of value. To me, it makes me feel that all those years doing silly | :09:05. | :09:09. | |
things, which I thoroughly enjoyed, they have added up to something. | :09:09. | :09:13. | |
Someone has looked back and said that as a body of work. And that is | :09:13. | :09:18. | |
encouraging. In return, there will be great expectations about the | :09:18. | :09:23. | |
speech you will deliver. Have you thought about this gesture marked | :09:23. | :09:33. | |
:09:33. | :09:35. | ||
yes. I have gone through many drafts. Give us the beginning or the | :09:35. | :09:45. | |
:09:45. | :09:47. | ||
end. Thank you. Thank you.Is that working so far? Have they given you | :09:48. | :09:53. | |
a guide on time. Row have they given new -- I hope the audience are like | :09:53. | :10:03. | |
:10:03. | :10:04. | ||
that. I think they have said it is two or three minutes, but it might | :10:04. | :10:14. | |
:10:14. | :10:15. | ||
be 23. Is that all you get? For a lifetime? That is enough. I will say | :10:15. | :10:21. | |
my name and my shoe size and get off. My phone number. It is right at | :10:21. | :10:27. | |
the end. Everyone is very excited and they want to get to the meal. | :10:27. | :10:31. | |
How do they tip you the wink? Do they say, we will give it to you if | :10:31. | :10:37. | |
you turn up? Do you discuss with your wife, call your friends? | :10:37. | :10:41. | |
just said, you have got it. They send you a letter, actually, like | :10:41. | :10:48. | |
exam results. It says after at the top and says you have been awarded | :10:48. | :10:57. | |
the Fellowship. -- it says BAFTA. Who is going to give it to you? | :10:57. | :11:03. | |
is somebody I know. We are going with Terry Jones. There is going to | :11:03. | :11:06. | |
be a Michael Palin montage, so because we are here, we would like | :11:06. | :11:10. | |
to see one of your classic clips but we only have time for one, so which | :11:11. | :11:20. | |
:11:21. | :11:33. | ||
one would you like? Dead parrot? No-macro. Argument? No. Cheese shop? | :11:33. | :11:43. | |
:11:43. | :11:43. | ||
Yes. One of my favourites. Smoked Austrian? You do have some | :11:43. | :11:53. | |
:11:53. | :11:53. | ||
cheese? Yes, it is a cheese shop, so. We have... I am keen to guess. | :11:53. | :12:03. | |
:12:03. | :12:03. | ||
Wensleydale? Yes, sir.I will have some of that. I thought you were | :12:03. | :12:08. | |
referring to me, Mr Wensleydale. it true that when you first heard | :12:08. | :12:12. | |
about that sketch, and you still cannot get through it again without | :12:12. | :12:19. | |
laughing if you have to do it live? I have never done it without | :12:19. | :12:22. | |
cracking up, usually towards the end. At the back there are two city | :12:22. | :12:27. | |
gents playing music. After a few minutes, John turns and says, will | :12:27. | :12:35. | |
you shut up! It usually gets me by that time. But John and I crack each | :12:35. | :12:45. | |
:12:45. | :12:46. | ||
other up all the time. It could be John giving him the award. Yes. | :12:46. | :12:53. | |
That is Sunday at eight o'clock on BBC One. Jay is here for Friday. | :12:53. | :12:57. | |
Tonight, I am investigating how the cutlery with which you eat is a | :12:57. | :13:01. | |
matter of taste. For great tasting food, we expect | :13:01. | :13:05. | |
the ingredients and how we cook them to make a difference, but is there | :13:05. | :13:09. | |
something else we should be paying attention to? Knives, forks and | :13:09. | :13:14. | |
spoons do not just get food into our mouths, but influence how it feels | :13:14. | :13:20. | |
and even how it tastes. This doctor is a materials expert who has | :13:20. | :13:25. | |
studied the way cutlery affect the taste of our food. We are used to | :13:25. | :13:29. | |
thinking of stainless steel as not having much of a taste but it still | :13:29. | :13:33. | |
produces a metallic taste in the mouth. Stainless steel does not | :13:34. | :13:38. | |
tarnish or rust, so why would it affect the way food tastes? To find | :13:38. | :13:44. | |
out, I am joining the dinner ladies of Westminster Academy. We are going | :13:45. | :13:50. | |
to sample three dishes. Tomato soup, a Thai curry and fruit salad. To try | :13:50. | :13:54. | |
them, we are given three different metal spoons. First, stainless | :13:54. | :14:02. | |
steel. How does that taste? Like tomato soup. I was going to say the | :14:02. | :14:12. | |
:14:12. | :14:12. | ||
same. Into the Thai green curry. Spicy! White macro but then we tried | :14:13. | :14:21. | |
the fruit salad. You get a little bit of a metallic taste. Yes. | :14:21. | :14:26. | |
you introduce certain foods, it heightens that taste. It is acidic | :14:26. | :14:30. | |
food that causes the problem. The acid strips a tiny bit of metal of | :14:30. | :14:33. | |
the cutlery and into our mouths. With stainless steel, the effect is | :14:33. | :14:41. | |
mild, but it can be a lot worse. Our next spoon is made of copper. | :14:41. | :14:46. | |
can taste is the aftertaste of the spoon. Like putting money in my | :14:46. | :14:52. | |
mouth. No mistaking the taste. Copper is more reactive and | :14:52. | :14:58. | |
stainless steel. Chefs cook in copper pans. Yes, that they are | :14:58. | :15:03. | |
lined because the copper is reactive. But eating tomato soup of | :15:03. | :15:10. | |
a copper spoon brings a surprising response. It tastes sweeter. That is | :15:10. | :15:14. | |
one of the results we found, things eat off a copper spoon can taste | :15:14. | :15:18. | |
sweeter. In the tomato soup, there is spice which increases the | :15:18. | :15:23. | |
sweetness with the copper. research has found this effect | :15:23. | :15:27. | |
happens with less acidic food containing herbs and spices, and | :15:27. | :15:30. | |
there is another metal that can improve flavours even more | :15:30. | :15:40. | |
:15:40. | :15:43. | ||
This is better than stainless steel. What is going on with this gold | :15:43. | :15:48. | |
spoon? Gold is not reacting in the environment of your mouth. We are | :15:48. | :15:53. | |
tasting the food as it really is. Maybe for the first time. Really, if | :15:53. | :15:57. | |
you want to find out the true taste of things, you need to save up and | :15:57. | :16:02. | |
get a whole set of these? Zoe is working with restaurants to see how | :16:02. | :16:07. | |
gold can bring out subtle flavours and how reactive metals like copper | :16:07. | :16:13. | |
and zinc can enhance sweetness. For us at home though, stainless steel | :16:13. | :16:18. | |
is still our best bet for cutlery. Zoe has one fine final taste test | :16:18. | :16:24. | |
for us. She gives us two bowls of chilly con Carney. Can we taste any | :16:24. | :16:30. | |
difference? The first one has got a tangyish taste to it than this one. | :16:30. | :16:35. | |
Bit of a difference from the first one to the second one, more | :16:35. | :16:42. | |
metallic. It's not how it is eaten, it's how it is cooked. The first one | :16:42. | :16:46. | |
was stirred with a stainless steel spoon. The second one was stirred | :16:46. | :16:50. | |
with a normal wooden spoon. wooden spoon a good thing to cook | :16:50. | :16:58. | |
with? Yes. Especially if the food is acidic. Stainless steel might not be | :16:58. | :17:02. | |
the most reactive metal, leave it long enough in a hot pan you will | :17:02. | :17:08. | |
notice a metallic taste. Stick to wooden spoons for cooking and keep | :17:08. | :17:13. | |
stainless steel for eating, unless you can afford gold of course! Gold! | :17:13. | :17:21. | |
Gold! Jay is here minus Pride and Prejudice and outfit, but you have | :17:21. | :17:27. | |
brought dishes. I have sideburns. They are real. We have a gold spoon | :17:27. | :17:37. | |
:17:37. | :17:38. | ||
for you. Gold spoons and a BAFTA?We have parmesan ice-cream. What is | :17:38. | :17:42. | |
wrong with that? Try it. Tell us what you think. Tell us about the | :17:42. | :17:49. | |
Heston link? We think that savoury ice-creams is a modern thing, it was | :17:49. | :17:55. | |
going on in Regency times this is the sort of thing you would eat late | :17:55. | :18:05. | |
:18:05. | :18:08. | ||
during one of your parties when you needed a refresher. Alex doesn't | :18:08. | :18:14. | |
like any thing. I don't like cheese ice-cream. We are eating with the | :18:14. | :18:21. | |
wrong spoons. They are in the cheap seats. Oh, my spoon is gone! I lost | :18:21. | :18:27. | |
my spoon! Terrible, have you lost it. In Pride and Prejudice they | :18:27. | :18:36. | |
would have drunk rum punch? They would. It is made with lemon grneata | :18:36. | :18:43. | |
it has champagne and rum. What do you think of that? Why hasn't it got | :18:43. | :18:53. | |
:18:53. | :18:55. | ||
parmesan? It ran out. Not for me, I'm afraid... You are so smug.I'm | :18:55. | :19:01. | |
desperate. Anything but smug. would drink this at the end of the | :19:01. | :19:08. | |
party to freshen things up. That would get things going. Early cheers | :19:08. | :19:18. | |
:19:18. | :19:18. | ||
to Michael's BAFTA. Tonight, a new documentary on BBC Two puts to the | :19:18. | :19:22. | |
test years of assumptions about what pivotal moments in Pride and | :19:22. | :19:25. | |
Prejudice really looked like. Experts from all over the country | :19:25. | :19:29. | |
were brought together to put on a ball worthy of the real Mr Darcy | :19:29. | :19:38. | |
lipself. Everything that happens, all the romances, a lot of the | :19:38. | :19:42. | |
misunderstandings start at the ball. In a way, Jane Austen is making | :19:42. | :19:46. | |
fictional use of something which must have been in a case in a small | :19:46. | :19:50. | |
town, this is simply the biggest event of the year. It's the moment | :19:50. | :19:57. | |
that lights the blue touch paper. I love it when we play those short | :19:57. | :20:06. | |
films? Art historian Alastair Sooke presents Having a Ball. . Welcome. | :20:06. | :20:10. | |
Good to be here. What are the main misconceptions about that era? I | :20:10. | :20:14. | |
think that we, all of us, don't quite understand Pride and Prejudice | :20:14. | :20:20. | |
as we could. Tonight, we are doing what we think is a groundbreaking | :20:20. | :20:27. | |
experiment, it has never been done, we are restaging the ball thrown by | :20:27. | :20:34. | |
Mr Bingley, we are paying attention to detail. We can then understand | :20:34. | :20:40. | |
the texture, what they smelt like and sounded like which modern | :20:40. | :20:43. | |
readers of the novel don't know about. That is lost on us because | :20:43. | :20:49. | |
Austen doesn't include this stuff in the book. She writes with quite a | :20:49. | :20:53. | |
terse precision. We tried to reconstruct all the detail that is | :20:53. | :20:58. | |
missing which she assumes people will get. She was getting on with | :20:58. | :21:02. | |
the plot leaving us 200 years later to imagine what was going on. We are | :21:02. | :21:08. | |
getting it wrong. It was quite raunchy? It was. You think of the | :21:08. | :21:13. | |
costume dramas. Everything seems elegant. Women floating around | :21:13. | :21:19. | |
ballrooms. Perfect recipe- I say, Michael! It was much more. It was | :21:19. | :21:23. | |
animal spirits, robust, it was quite vigorous. We have the Danners in the | :21:23. | :21:29. | |
studio. It was sexy. Add rum punch to the mixture. Are you saying, live | :21:29. | :21:33. | |
on BBC One, ahead of your big show tonight on BBC Two the recreation of | :21:33. | :21:37. | |
how it would have been from your piecing together from different | :21:37. | :21:41. | |
experts from over the country and world and different books you have | :21:41. | :21:51. | |
read it's more Carry On than the BBC Drama department? It was fun. It was | :21:51. | :21:57. | |
sweaty. It was quite raunchy. Strictly Come Dancing. More Sid | :21:57. | :22:07. | |
:22:07. | :22:15. | ||
James than Hugh Boneefeild. Our ex- Star has been in training this | :22:15. | :22:19. | |
afternoon, not that she needed it, obviously, it all stays with you, | :22:19. | :22:25. | |
never leaves you. Yes. It still could go very wrong. Thank you to a | :22:25. | :22:30. | |
Brit called John Shaw at least the music will be in tune. An orchestra | :22:30. | :22:34. | |
tunes up, it's part of the excitement and anticipation of the | :22:34. | :22:40. | |
performance to come. There is a humble device without which | :22:40. | :22:45. | |
musicians risk being totally out of tune, and it's this, the tuning | :22:45. | :22:50. | |
fork. John Shaw was a trumpeter, when he split his lip and couldn't | :22:50. | :22:55. | |
play any more, he took up the loot. The instrument was hard to tune. He | :22:55. | :23:00. | |
fashion a device from steel to assist him, inventing the first ever | :23:00. | :23:06. | |
tuning fork. How does it work? we strike the tuning fork, it | :23:06. | :23:10. | |
vibrates, often hundreds of times per second. These vibrations | :23:10. | :23:18. | |
determine the pitch we hear. If I strike it, it's vibrating 523 times | :23:19. | :23:23. | |
per second which gives us C. What makes the steel tuning fork | :23:24. | :23:29. | |
revolutionary? When we strike any object and allow it to vibrate, we | :23:29. | :23:34. | |
often have multiple vibrations occurring stim taniously. Here is a | :23:34. | :23:40. | |
computer representation of a cymbol being struck. There is not one | :23:40. | :23:44. | |
frequency, there are lots and lots of frequencies. The same | :23:44. | :23:48. | |
representation of a tuning fork you can see something remarkably | :23:48. | :23:53. | |
different. Makes it special is the clean tone? Exactly.What did it | :23:53. | :23:57. | |
mean for musicians? Before tuning forks an instrument like a violin | :23:57. | :24:04. | |
had to tune with an instrument with a fixed pitch, perhaps a trumpet. No | :24:04. | :24:09. | |
trumpet, well then you are left guessing, times with rather | :24:09. | :24:19. | |
:24:19. | :24:27. | ||
displeasing results. The tuning fork brought unity. Musicians embraced | :24:27. | :24:33. | |
this new invention, including, it is said, the great 18th century | :24:33. | :24:38. | |
composer, Handel. The story goes that is he gave one of his tuning | :24:38. | :24:42. | |
forks to the hospital in 167 51 following a performance of the | :24:42. | :24:52. | |
:24:52. | :24:53. | ||
Massiah. Today, a very special package is on its way to me. -- | :24:53. | :24:59. | |
1751. This is the fork, I'm excited to be holding it. This is Handel, | :24:59. | :25:04. | |
cool, contemporary, embracing modern technology. I have been given | :25:04. | :25:14. | |
:25:14. | :25:17. | ||
permission to sound it. Beautiful. Has this device changed since the | :25:17. | :25:27. | |
days of Handel? This company have been making them since 1846. It's | :25:27. | :25:34. | |
the same shape, same style and made with the same materials. They create | :25:34. | :25:44. | |
:25:44. | :25:44. | ||
a frequency. For the first time across the world, musicians were | :25:44. | :25:51. | |
tuning to the same pitch. In honour of this simple but ingenious | :25:51. | :25:55. | |
invention we will try something unique. The Sheffield Chamber | :25:55. | :25:59. | |
Orchestra is attempting to perform a special piece of music, for one | :25:59. | :26:04. | |
night only, they are the One Show forkestra. Time for me to slip into | :26:04. | :26:14. | |
:26:14. | :26:51. | ||
brilliant. So at 9. 00pm tonight BBC Two are recreating Pride and | :26:51. | :26:53. | |
Prejudice Netherfield Ball as it most likely would have been. Stuart | :26:53. | :26:57. | |
Marsden is the dancemaster. We have been practicing a dance. This has | :26:58. | :27:02. | |
never been seen on television before, has it? Absolutely not. We | :27:02. | :27:07. | |
researched the music from Jane Austen personal collection. | :27:07. | :27:11. | |
Beautifully written by hand that she played on her piano. We found the | :27:11. | :27:20. | |
dance instructions from her niece's Lady Command beyond from her own | :27:20. | :27:27. | |
niece's she stayed with her in 1805. The dancemaster played a pivotal | :27:27. | :27:37. | |
role? He did.Why? He was a match maker. It was Regency speedating. If | :27:37. | :27:40. | |
you fancied someone on the other side of the room. You couldn't go up | :27:40. | :27:45. | |
to them directly you had to talk to the dancemaster. See if any of that | :27:45. | :27:55. | |
:27:55. | :27:55. | ||
Apology for the loss of subtitles for 44 seconds | :27:55. | :28:40. | |
got right down to it. There is another one which was a saucy French | :28:40. | :28:45. | |
gig that tried many different partners. Thank you to the dancers | :28:45. | :28:52. |