Browse content similar to 11/04/2012. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Why don't we introduce him ourselves? It is Nicky Campbell. | :00:43. | :00:47. | |
You have got the best researchers in the world on this programme. | :00:47. | :00:51. | |
They haven't let us down. In the early 80s, when you were doing your | :00:51. | :01:00. | |
radio, this is what you looked like. # Nicky Campbell! Look at the | :01:00. | :01:07. | |
earring as well. This is character assassination. What is the key to a | :01:07. | :01:11. | |
good jingle? Not what you heard, I would say. I thought it was all | :01:11. | :01:17. | |
right. Short and to the point, it is a skill that the best people do | :01:17. | :01:21. | |
well. Putting something into 30 seconds. It is a real skill, and I | :01:21. | :01:27. | |
wish I had it. We wish we had it, too. We had a go. We are not | :01:27. | :01:32. | |
confident about this, but see what do you think. | :01:32. | :01:42. | |
:01:42. | :01:49. | ||
# It is time for The One Show with Last night saw the premiere of | :01:49. | :01:56. | |
Robin Gibb's latest musical project, a requiem written for the 1517 | :01:56. | :02:00. | |
souls that perished on the Titanic. Robin was too ill to attend but a | :02:00. | :02:04. | |
few weeks ago, he managed to leave his hospital bed to tell The One | :02:04. | :02:10. | |
Show why the Titanic mean so much to him. | :02:10. | :02:16. | |
# It's a tragedy. The Bee Gees have sold millions of | :02:16. | :02:20. | |
records during their long and glittering career, and the soaring | :02:20. | :02:29. | |
harmonies make up one of the most recognisable sounds in pop music. | :02:29. | :02:34. | |
# Staying alive, staying alive. Robin de Beer Co wrote the | :02:34. | :02:40. | |
momentous Bee Gees songs, but more recently -- Robin Gibb co-wrote the | :02:40. | :02:46. | |
Bee Gees songs but he has been recording alongside his son, RJ, | :02:46. | :02:49. | |
for his first classical piece and he has called it Titanic Requiem. | :02:49. | :02:54. | |
Titanic Requiem is a full classical work, written for a choir and | :02:54. | :02:57. | |
orchestra to perform, and it tells the story of the ship's tragic | :02:57. | :03:02. | |
journey. Where did this project start? I began to get interested in | :03:02. | :03:07. | |
Titanic when I was about 16. I have always been fascinated with it | :03:07. | :03:11. | |
since then. My grandmother came home when she was 13. Saw her | :03:11. | :03:16. | |
mother crying in the kitchen. She said that beautiful ship had just | :03:16. | :03:24. | |
sunk. She remembered that vividly. Among their Titanic artefacts is a | :03:24. | :03:28. | |
telegram received by the sister ship, the Olympic, just a day after | :03:28. | :03:37. | |
the tragedy. Received as follows. Turn back now, everything OK, we | :03:37. | :03:42. | |
have 800 aboard. This is the original Marconi ground from 16th | :03:42. | :03:49. | |
April. From a ship having picked up survivors. Yes. A passion for the | :03:49. | :03:54. | |
story of the Titanic led Father and Son into the studio, where they | :03:54. | :03:58. | |
wrote their requiem. Each of the 15 tracks covers a different stage of | :03:58. | :04:03. | |
the ship's final journey. Some people may not know what a requiem | :04:03. | :04:10. | |
is, could you explain. Some people have their own version of that mass, | :04:10. | :04:15. | |
the mass is the same but it could take on different music. It will | :04:15. | :04:23. | |
take on different music. Haydn had his own mass, Brahms, Mozart. | :04:23. | :04:27. | |
Having composed their requiem, Robin and RJ went into the studio | :04:27. | :04:31. | |
last year for a series of recording sessions with the Royal | :04:31. | :04:35. | |
Philharmonic Orchestra. Had you worked together before? We have | :04:35. | :04:38. | |
collaborated on things, but never an album. How does that dynamic | :04:38. | :04:48. | |
:04:48. | :04:56. | ||
work? We work like clockwork. Literally painting the emotions | :04:56. | :05:00. | |
through music, is it different to writing a pop song? Is there a | :05:00. | :05:05. | |
different process? No, there are only eight notes you can work with. | :05:05. | :05:07. | |
The difference is getting them in the right order and not everybody | :05:07. | :05:11. | |
does, other rice everybody would be having a successful composing | :05:11. | :05:16. | |
career -- otherwise. The difference is if you have got a knack of | :05:17. | :05:24. | |
knowing something, RJ I discovered early on had it, you just know | :05:24. | :05:29. | |
early on that it works. We write to the melody. When you write a pop | :05:29. | :05:34. | |
song, you write to the melody first. When you have an orchestra, you put | :05:34. | :05:39. | |
the orchestra down before the vocal. Describe the feeling the first time | :05:39. | :05:43. | |
you heard the Royal Philharmonic Orchestra strike up your writing. | :05:43. | :05:53. | |
:05:53. | :06:02. | ||
To hear it come to fruition, it was One of the most contemporary | :06:02. | :06:05. | |
sounding pieces of music is Don't Cry Alone, which she did the vocal | :06:05. | :06:15. | |
:06:15. | :06:20. | ||
four. It was spontaneous. -- which I just sent to what I hear, which | :06:20. | :06:25. | |
is the way I have always composed. We want people to remember that | :06:25. | :06:29. | |
this is not just striving to be a beautiful piece of work, it is | :06:29. | :06:39. | |
:06:39. | :06:46. | ||
remembrance for the 1517 people who A huge thank-you to Robin and RJ | :06:46. | :06:50. | |
for making that film for us, and all of our thoughts are with the | :06:50. | :06:55. | |
Gibb family at this difficult time. You were saying you visited Robin's | :06:55. | :06:59. | |
house during a Radio 1 Special many years ago. That is right, he is a | :06:59. | :07:02. | |
wonderful man and the three brothers have such a great bond. | :07:02. | :07:07. | |
This was one of the greatest privileges I ever had, to go over | :07:07. | :07:13. | |
to Miami Beach and do a special in the Radio 1 days. They live right | :07:13. | :07:18. | |
on the shoreline and all of these boats went past. The boats were | :07:18. | :07:22. | |
saying, on your right, it is where their Bee Gees lives. And all of | :07:22. | :07:26. | |
the brothers would run out and wave. Because they really care about | :07:26. | :07:30. | |
their fans and they never lost that. Talking of families, your latest | :07:30. | :07:36. | |
series, Long Lost Family, is back. Why do you think it struck such a | :07:36. | :07:40. | |
chord with viewers? With Davina, Thursday night. It just resonates | :07:40. | :07:45. | |
with people. It is about longing, it is about family. It is just | :07:45. | :07:51. | |
about love as well. Some of the stories, the people we have | :07:51. | :07:55. | |
reunited, astonishing stories. We watched the first episode the other | :07:55. | :08:02. | |
night, me and my wife. She is still in recovery. We watched it earlier. | :08:02. | :08:05. | |
You meet some incredible people who have remarkable stories. What have | :08:05. | :08:11. | |
been some of the highlights? have done quite a lot of mothers | :08:11. | :08:15. | |
from mother-and-baby homes in the 60s, when attitudes and values were | :08:15. | :08:19. | |
very different, society was very different. To have a mother in | :08:19. | :08:24. | |
front of you talk about the smell of a baby, something she has never | :08:24. | :08:29. | |
forgotten... The smell is such a powerful time machine. She just | :08:29. | :08:36. | |
shut her eyes, and she was just back there with her baby. And after | :08:36. | :08:42. | |
that, decades of anguish, to be able to say, we have found him and | :08:42. | :08:48. | |
he wants to meet you, and here is his photograph, it is one of the | :08:48. | :08:54. | |
greatest... To be there at that moment is extraordinary. Absolutely. | :08:54. | :08:59. | |
Here, we can see Fabia, one of the ladies in the first episode and she | :08:59. | :09:03. | |
is reading a letter from Mark, the first correspondents there have | :09:03. | :09:11. | |
been between them. It is very emotional. Dear Fabia. This has not | :09:11. | :09:15. | |
been an uneasy night as an easy letter to write, the emotions are - | :09:15. | :09:24. | |
- this has not been an easy letter I hope to start putting the pieces | :09:24. | :09:32. | |
back together. Until then, I remain sincerely yours, Mark. Nicky, last | :09:32. | :09:35. | |
time you on, you told us you had met up with your birth mother and | :09:35. | :09:39. | |
father, you understand what feelings these people are going | :09:39. | :09:42. | |
through. Do you feel like you are intruding a bit with the cameras | :09:42. | :09:47. | |
and all of that there? They are such a wonderful team who do it. | :09:47. | :09:55. | |
They do it with such a sense of respect as well. Obviously, these | :09:55. | :10:00. | |
people are self-selecting, they want to do this. The structure, | :10:00. | :10:04. | |
their hands are held all along and the structure is really reassuring | :10:04. | :10:09. | |
and comforting for them. Everyone at the end of it is in a better | :10:09. | :10:14. | |
place, because questions answered. When I met my birth mother, it was | :10:14. | :10:19. | |
the most terrifying moment of my life. It is a stranger who looks | :10:19. | :10:25. | |
like me, the most powerful thing. I didn't have any help. I was kind of | :10:25. | :10:33. | |
all alone and it was difficult. Providing that help has been great | :10:33. | :10:40. | |
for people. MAC -- she says, I am looking at a stranger but feel like | :10:40. | :10:46. | |
I have known him all my life. a rugby coach at my old school. | :10:46. | :10:50. | |
What is great about him, he is a strong guy, a tough man, but | :10:50. | :10:55. | |
underneath, we are all little babies at heart. A very powerful | :10:55. | :11:00. | |
Series. Long Lost Family begins tomorrow night at 9pm on ITV1. | :11:00. | :11:04. | |
radio phone-in is a British institution, which allows anyone | :11:04. | :11:08. | |
with an opinion, and a phone, the chance to have their five minutes | :11:08. | :11:12. | |
of fame on the nation's airwaves. But where did it come from, and | :11:12. | :11:17. | |
would Alex Riley be able to host one without any training? Caller, | :11:17. | :11:22. | |
you are on the air. We talked to Felixstowe dock workers about the | :11:22. | :11:27. | |
takeover. Greece, Rangers, in financial trouble, what about you. | :11:27. | :11:32. | |
You are talking about black girls and their attitude to white gulls? | :11:32. | :11:38. | |
You are an absolute disgrace. radio phone-in, the perfect place | :11:38. | :11:42. | |
to hear people talk about life, death or even just football. They | :11:42. | :11:46. | |
offer the perfect platform for discussing the issues of the day, | :11:46. | :11:54. | |
or for sharing your pain with the It only really took off in the UK | :11:54. | :11:59. | |
after the early 70s, when the BBC's monopoly of radio broadcasting | :11:59. | :12:02. | |
ended and the new independent stations, such as LBC, embraced the | :12:02. | :12:08. | |
new form. The radio phone-in was the first ever reality broadcasting, | :12:08. | :12:13. | |
because it gave you an insight into ordinary people. We used to do | :12:14. | :12:17. | |
phone-ins because of needle time. Every time you played a record, you | :12:18. | :12:23. | |
had to pay quite a large chunk of money. Then they realised, that the | :12:23. | :12:27. | |
talk part of the programmes is actually what the audience wanted. | :12:27. | :12:31. | |
It can't be that difficult to get British people to phone a radio | :12:31. | :12:35. | |
station and have a right good moan. But how does the presenter turn | :12:35. | :12:39. | |
that into an entertaining piece of radio? I suppose there is only one | :12:39. | :12:47. | |
way to find out. Pete Price is something of a | :12:47. | :12:53. | |
Liverpool talk radio legend. Every night we get the radiance -- the | :12:53. | :12:58. | |
idiots. When we had a psychic on, we had 19,000 people in two hours | :12:58. | :13:02. | |
trying to get on. Are you trying to provoke people, are you a shock | :13:02. | :13:06. | |
jock? I am not, I have an opinion. I will not stand any garbage. | :13:06. | :13:11. | |
Tonight, he is going to let me take over his show to see what it is | :13:11. | :13:15. | |
like to be the man on the other end of the phone. The in the moment, a | :13:15. | :13:19. | |
co-presenter from the BBC. Hello. You are not talking yet! I am | :13:19. | :13:24. | |
beginning to wonder what I let myself in for. What are they | :13:24. | :13:30. | |
phoning about? Hillsborough, and care for the elderly. Your next | :13:30. | :13:35. | |
call is travel. Patients being so thirsty that they drank water from | :13:35. | :13:39. | |
flower vases. From my personal experience, I know that when it | :13:39. | :13:43. | |
comes to geriatric care, a lot of patients are not given the kind of | :13:43. | :13:48. | |
care that they need. Quite a tricky call to start with. | :13:48. | :13:54. | |
Be it is the day football changed for ever for lots of people. A | :13:54. | :13:57. | |
apparently the Titanic was the largest moving man-made object on | :13:57. | :14:03. | |
earth. I want to speak about that gentleman. Abreu hands it? | :14:03. | :14:13. | |
should have been thrown out with his prove. Oh! Put their neck. | :14:13. | :14:23. | |
:14:23. | :14:29. | ||
They think I am totally stupid. And you are touching these buttons. | :14:29. | :14:33. | |
very sensitive, these buttons. A lot of people are saying A-levels | :14:33. | :14:38. | |
are too hard. You have to focus on the A levels you are studying on | :14:38. | :14:43. | |
right now. Best of luck with it. Goodbye. That was so intense. I am | :14:43. | :14:47. | |
absolutely drained and Pete has another two-and-a-half hours to go. | :14:47. | :14:57. | |
:14:57. | :15:01. | ||
I am going to go home now and lie He did all right! You do get | :15:01. | :15:04. | |
drained. It shows the adrenalin was working and he was getting into it. | :15:04. | :15:08. | |
He was doing a late night one. Is there much difference between a | :15:08. | :15:13. | |
morning phone-in and the late one? Which do you prefer? For they both | :15:13. | :15:17. | |
have an intimacy. For five years I did a late night show on Radio One | :15:17. | :15:21. | |
with music and interviews and people on the phone. We used to | :15:21. | :15:27. | |
smoke in those days. In the studio? Yes. Simon Bates had an ashtray | :15:27. | :15:32. | |
with his own cigars. The desks clamp and a microphone and it was | :15:32. | :15:37. | |
dark outside. For a fog of smoke. It felt like you were Clint | :15:37. | :15:42. | |
Eastwood or something! Is it right that you used to ring into local | :15:42. | :15:46. | |
radio station and put on different voices? You really have done it... | :15:46. | :15:50. | |
When I was a kid I used to call my local radio station. There's a rich | :15:50. | :15:59. | |
irony about what I'd do now. what sort of voices? You put one on | :15:59. | :16:06. | |
for Sheila Fogarty. Yes, her last show. A very bolshie guest. Built | :16:06. | :16:12. | |
on dreams of transatlantic travel, the Bristol Brabazon was one of the | :16:12. | :16:16. | |
largest aircraft of its day. As the villagers of Charlton found out, | :16:16. | :16:26. | |
:16:26. | :16:27. | ||
It was one of the biggest aircraft on earth, a transatlantic jumbo | :16:27. | :16:32. | |
years ahead of its time. To house it, the hangar, the biggest the | :16:32. | :16:38. | |
world had ever seen, was built in 1946. In order to get this giant to | :16:38. | :16:42. | |
fly, a village was razed to the ground. This is the story of the | :16:42. | :16:47. | |
Bristol Brabazon. Nearly all of Bristol took advantage of this | :16:47. | :16:49. | |
invitation in the hope they would see the world's largest airliner | :16:49. | :16:55. | |
take the air. September 1949, the official maiden flight of the | :16:55. | :16:58. | |
Bristol Brabazon, Britain's great hope for non-stop transatlantic | :16:59. | :17:04. | |
travel. It was exciting for myself and all of the ground crew. After | :17:04. | :17:09. | |
all these years, this magnificent aircraft would take to the sky. | :17:09. | :17:15. | |
was the man responsible for towing the plane onto the runway. Because | :17:15. | :17:18. | |
of the size of the aircraft, we had big ground crew walking because it | :17:18. | :17:25. | |
has so far away. I had to go at walking pace. This was probably the | :17:25. | :17:29. | |
dramatic moment. With the expected crowds watching from here, at about | :17:29. | :17:35. | |
10am, the pilot revved the eight engines, the beast droned down the | :17:35. | :17:45. | |
:17:45. | :17:52. | ||
Transatlantic air travel was taking But as yet, no aircraft could fly | :17:52. | :17:57. | |
non-stop from London to New York without refuelling. Britain and | :17:57. | :18:00. | |
America were he to head in the race and the man in charge of our bid | :18:00. | :18:08. | |
was the pilot, Lord Brabazon. myself won a prize of �1,000 for | :18:08. | :18:11. | |
flying a mile on an all-English machine. In 1909 he made the | :18:11. | :18:16. | |
history books as the first person in the country to fly a mile. But | :18:16. | :18:21. | |
it was another first that he was just as proud of. The old adage, | :18:21. | :18:26. | |
pigs might fly. I took the first little follow-up. He didn't like | :18:26. | :18:31. | |
it! It was only fitting that the airport that bore his name was to | :18:31. | :18:35. | |
be more luxurious and larger than anything the Americans could offer. | :18:35. | :18:38. | |
For sleeping compartments, a rare saloon with the cinema screen and | :18:38. | :18:48. | |
:18:48. | :18:49. | ||
But not everyone was celebrating. June was just eight when the | :18:49. | :18:53. | |
Brabazon made its fame -- maiden flight. My parents would not take | :18:53. | :19:00. | |
me, I was desperate to go. They wouldn't go. Why not? Probably too | :19:00. | :19:05. | |
upset. The sheer size of the Brabazon meant that the runway had | :19:05. | :19:11. | |
to be extended. Straight through the nearby village of Charlton. 17 | :19:11. | :19:16. | |
acres were seized, up to 40 families forced out. June's family | :19:16. | :19:19. | |
home was bulldozed to the ground and her way of life destroyed to | :19:19. | :19:25. | |
make way for the mighty Brabazon. remember going around saying | :19:25. | :19:30. | |
goodbye to all of the places I laughed as a child. I really loved | :19:30. | :19:35. | |
the orchard we used to play in. I loved that. He the villagers had | :19:35. | :19:38. | |
sacrificed their homes for transatlantic progress. But the | :19:38. | :19:43. | |
Brabazon would only ever use the runway for test flights. This | :19:43. | :19:49. | |
prototype was a financial disaster. The design but luxury before Speed | :19:49. | :19:53. | |
said. Not one was sold. Smaller planes could carry more passengers | :19:53. | :19:57. | |
can travel faster. The great Brabazon was doomed because it was | :19:57. | :20:03. | |
just that, too great. In the next three years, of the Brabazon made | :20:03. | :20:06. | |
163 flights around Britain. It crossed the Channel to Paris, but | :20:06. | :20:11. | |
it never crossed the Atlantic. In July 1953, for the government | :20:11. | :20:17. | |
announced it was to scrap the plane. This is one of the few surviving | :20:17. | :20:24. | |
pieces of her. Britain had lost the transatlantic race at the cost of | :20:24. | :20:28. | |
nearly �125 million in today's money. But it wasn't completely | :20:28. | :20:33. | |
wasted. Other aircraft designs built on the experiences of the | :20:33. | :20:37. | |
Brabazon and within a decade, aircraft like the Britannia had | :20:37. | :20:43. | |
finally crossed the Atlantic. is here. We saw the Britannia | :20:43. | :20:49. | |
taxiing to the runway. Where did she land? That was the first plane | :20:49. | :20:53. | |
to fly non-stop over 5,000 miles from Britain to the west coast of | :20:53. | :21:00. | |
Canada. That was a great aircraft. Then we have the Comet as well. | :21:00. | :21:04. | |
That was in a way the world's first really modern passenger aircraft | :21:04. | :21:09. | |
except that it had metal fatigue and a couple of times it evaporated | :21:09. | :21:15. | |
in the air. It got overtaken by the Boeing. It was a great aircraft in | :21:15. | :21:19. | |
many ways. It went on to have a long career, but it had a key | :21:19. | :21:23. | |
design fault with metal fatigue. That is when Boeing stole the show | :21:23. | :21:28. | |
and went on to be the biggest name. But all of these companies are now | :21:28. | :21:34. | |
part of the Airbus team that make the huge A380. Britain is leading | :21:34. | :21:38. | |
the world again in air travel. Crossing the Atlantic by air | :21:38. | :21:43. | |
started in the 1920s. Yes, everybody forgets. These big | :21:43. | :21:48. | |
Zeppelins. They were crossing the Atlantic. There was one called the | :21:48. | :21:52. | |
100 that went from Britain to Canada. The Germans set the pace | :21:52. | :21:57. | |
initially, this was the 101 after that picture was taken, it crashed | :21:57. | :22:02. | |
on to a hillside in France. They crossed the Atlantic in three-and- | :22:02. | :22:07. | |
a-half days. Talking about Titanic this week... Are not safe on there. | :22:07. | :22:11. | |
The Hindenburg crashed and that was the end of the Zeppelin's, but they | :22:11. | :22:15. | |
are coming back. The US Army has started to use them. Can you | :22:15. | :22:21. | |
imagine setting out in the 1920s? No good way of getting across the | :22:21. | :22:26. | |
Atlantic in the 1920s. Are you one of those people who worry about how | :22:26. | :22:32. | |
safe your bank details are online? Yes. He's paranoid. This is Marty | :22:32. | :22:37. | |
Jopson to help put yours and mine minds at rest. | :22:37. | :22:41. | |
The need to protect a or personal information has never been more | :22:41. | :22:45. | |
important. With millions and millions of transactions taking | :22:45. | :22:48. | |
place every day on the internet, just what is keeping our financial | :22:48. | :22:54. | |
details safe? You just trust it. But maybe you shouldn't. It doesn't | :22:54. | :23:01. | |
feel safe enough. I don't know how my bank details are secured. | :23:01. | :23:05. | |
Surprisingly, it is all done with prime numbers. Your computer | :23:05. | :23:10. | |
automatically uses them whenever you shop or bank online. Fees are | :23:10. | :23:14. | |
numbers you can only divide by themselves or by one. First | :23:15. | :23:18. | |
understood thousands of years ago, they were long thought to have no | :23:18. | :23:24. | |
practical use. But that changed in the late 60s and 70s. We realised | :23:24. | :23:28. | |
that you could do something really useful with them. A quirky code- | :23:28. | :23:32. | |
breaker called James Ellis was working at the government | :23:32. | :23:37. | |
communications headquarters in Cheltenham. He was wrestling with | :23:37. | :23:41. | |
how the military could safely exchange secret messages. | :23:41. | :23:44. | |
Traditionally, it is always the sender of the message that creates | :23:44. | :23:50. | |
these codes. But Ellis's radical approach was to turn this on its | :23:50. | :23:53. | |
head and get the receiver of the message to create these codes | :23:53. | :23:59. | |
instead. It sounds counter intuitive, but here is how it works. | :23:59. | :24:03. | |
The principle is that a securely receive a secret message, I need | :24:03. | :24:08. | |
something like a padlock that only I know the combination to. I then | :24:08. | :24:12. | |
distribute a whole load of identical padlocks that are opened | :24:12. | :24:18. | |
with the exact same code. Somebody sending me a secret message then | :24:18. | :24:24. | |
uses one of these to locket in a secure box. -- lock it. Only I can | :24:24. | :24:34. | |
now open this box because only I This principle works with padlocks | :24:34. | :24:38. | |
and combinations, but Ellis could not work out how to achieve this in | :24:38. | :24:43. | |
the electronic world. Incredibly easy way to scrambler message had | :24:43. | :24:48. | |
to be found that would be impossible to a unscramble unless | :24:48. | :24:53. | |
you had a unique piece of information. The best minds at GCHQ | :24:53. | :24:58. | |
had struggled to find an answer to this for years until a young | :24:58. | :25:01. | |
mathematician named Clifford Cocks joined them. Fresh out of | :25:01. | :25:06. | |
university, he was an expert in number theory and when the worlds | :25:06. | :25:08. | |
of pure mathematics and secret communications collided, and answer | :25:08. | :25:13. | |
was found. His solution was that the code and scramble a secret | :25:13. | :25:17. | |
message should be made up of two prime numbers which were multiplied | :25:17. | :25:21. | |
together created a coat that scrambled that in the first place. | :25:21. | :25:26. | |
It feels almost too simple. But it is the perfect way to do it. This | :25:26. | :25:30. | |
number was made by multiplying together two different prime | :25:30. | :25:36. | |
numbers. Easy. But before you have is this number, and you want a | :25:36. | :25:40. | |
workout what those two original prime numbers are, that is really | :25:40. | :25:46. | |
hard. There's no equation or shortcut for doing this so I have | :25:46. | :25:50. | |
to go through a list of prime numbers and try to discover the | :25:50. | :26:00. | |
:26:00. | :26:03. | ||
ones that work. I've done it! 1069, 2393. Computers today would have no | :26:04. | :26:08. | |
problem with the seven digit figure, but the prime numbers being used to | :26:08. | :26:11. | |
scramble into their messages like banking details Ojo enormous. | :26:11. | :26:16. | |
Luckily for us, when we perform internet transactions, they are | :26:16. | :26:19. | |
created by computers so we don't have to admit is completely normal | :26:19. | :26:26. | |
for them to be more than 300 digits long. A typical PC would take maybe | :26:26. | :26:30. | |
2 million years to control of the numbers required to crack the code. | :26:30. | :26:34. | |
Internet shopping is completely safe? The information as it is | :26:34. | :26:39. | |
travelling over the internet is certainly safe. It is the end | :26:39. | :26:43. | |
points that are vulnerable. internet transactions are safe. But | :26:43. | :26:47. | |
it is when your information is stored on a computer, and scrambled, | :26:47. | :26:52. | |
that it is vulnerable to hackers getting at it directly. Ellis and | :26:52. | :26:56. | |
Cox's pioneering work should have been what revolutionise internet | :26:56. | :26:59. | |
commerce, but because they worked for the government it remained | :26:59. | :27:03. | |
secret until recently. Four years after their breakthrough, though, a | :27:03. | :27:07. | |
group of Americans independently came up with the exact same | :27:07. | :27:12. | |
solution. It was their work that eventually led to the secure | :27:12. | :27:17. | |
internet shopping we all use today. I'm not sure I still trusted! | :27:17. | :27:24. | |
leave your card lying around. He will crack it. Nicky, another of | :27:24. | :27:28. | |
the shows you present is the Big Questions on BBC One on Sunday | :27:28. | :27:31. | |
mornings -- Sunday mornings. Settling some of the huge moral | :27:31. | :27:36. | |
debates. We would love to get involved in a big debate, but we | :27:36. | :27:43. | |
don't have time. We thought we would ask you this more questions. | :27:43. | :27:53. | |
:27:53. | :27:53. | ||
-- the small questions. Did you do that jingle? Es. Very talented. We | :27:53. | :27:58. | |
will start with the issue of right to life. Is it ever acceptable to | :27:58. | :28:04. | |
kill a wasp? I try not to. I take a Buddhist approach to it, I try not | :28:04. | :28:10. | |
to kill a living creature if I can avoid it. Do you waft? Aspired in | :28:10. | :28:16. | |
the bath and I will take it out. do that. Domestic issues. This is | :28:16. | :28:24. | |
tough. How often should you change your bedsheets? Good one! I think | :28:25. | :28:34. | |
:28:35. | :28:35. | ||
once a year whether you need to or not. Come on! Once a week. | :28:35. | :28:37. | |
there ever a justification for licking a yoghurt lid publicly? | :28:37. | :28:46. | |
Yes! Finally, this is a culture one. Is moving 5 Live to Salford a | :28:46. | :28:50. |