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Hello! Welcome to The One Show. Well, it may be Friday 13th but we | :00:41. | :00:49. | |
are hoping that the guest presenter tonight has had enough bad luck for | :00:50. | :00:55. | |
one day. Everybody, it is king of The Chase it is Bradley Walsh. Are | :00:56. | :01:00. | |
you feeling lucky tonight? I am, the fact that I am working with you, | :01:01. | :01:03. | |
Alex. That's a good start. The right thing | :01:04. | :01:09. | |
to say. Joining us in the studio, me may have gone deep undercorp for his | :01:10. | :01:13. | |
new serious but tonight we have the real, Adrian Lester. | :01:14. | :01:17. | |
Nice to see you. Welcome, Adrian, nice to see you. | :01:18. | :01:23. | |
You must be pleased after winning the Premiership last weekend... | :01:24. | :01:29. | |
Sorry, wrong Leicester! I was wondering where you were going with | :01:30. | :01:34. | |
that? Are you superstitious? No, I am not but many actors are. | :01:35. | :01:40. | |
You are not allowed to whistle? No, not at all, as the sailors operated | :01:41. | :01:46. | |
the rigging, fanned you whistled back stage, you may drop something | :01:47. | :01:50. | |
or hurt an actor. A Scottish plane... Yes, that | :01:51. | :01:58. | |
instead of Mmmm, yeah. So, you don't do it, over the three | :01:59. | :02:06. | |
drains, saluting magpie, all of that? Are you superstitious? Yeah, I | :02:07. | :02:13. | |
am superstitious. I always salute a magpie. It is | :02:14. | :02:18. | |
easy, just do it. Has one magpie saluted you back? No! | :02:19. | :02:24. | |
Well, some are more superstitious than others but we all have fingers | :02:25. | :02:28. | |
crossed that our musician can take on the challenge we have set him. | :02:29. | :02:39. | |
Please, welcome Beardyman! You know one thing I have noticed about | :02:40. | :02:46. | |
Beardyman, he does not have a beard. Can we call you Shaving | :02:47. | :02:58. | |
Jon Platt travelled from the Isle of Wight to London for the hearing. Did | :02:59. | :04:28. | |
he get permission to go from the school? Who knows? Here's Nick | :04:29. | :04:35. | |
Wallis. Businessmen Jon Platt is preparing for what could be his most | :04:36. | :04:42. | |
expensive business trip ever. Find ?120 for taking his seven-year-old | :04:43. | :04:46. | |
daughter out of school to go on holiday, you refused to pay? And | :04:47. | :04:51. | |
locked in a legal battle not of my choosing. He's travelling from his | :04:52. | :04:54. | |
home on the Isle of Wight to the High Court in London to fight it. If | :04:55. | :04:59. | |
the decision goes against him, he could face court costs of more than | :05:00. | :05:03. | |
?20,000. If I lose, I will suck it up. | :05:04. | :05:08. | |
Jon Platt's troubles began when he took a family holiday to Florida in | :05:09. | :05:13. | |
term time. They will get a great experience. | :05:14. | :05:18. | |
Have quality family time. Going back to school happy and motivated. | :05:19. | :05:24. | |
If there is a child out of class, it is unsettling, the child comes back | :05:25. | :05:28. | |
to the class, talking about the holiday, the parents see it as | :05:29. | :05:34. | |
unfair? In the last few months, I have been inundated with messages | :05:35. | :05:38. | |
from teachers and head teachers with a different view. They think it is | :05:39. | :05:42. | |
valuable for children to go on holidays. | :05:43. | :05:46. | |
But many disagree. Jon Platt admits he is stubborn. He | :05:47. | :05:52. | |
is adamant that the law only needs to attend school regularly. Which | :05:53. | :05:57. | |
his daughter does. The Isle of Wight council doesn't agree and wants the | :05:58. | :06:01. | |
decision clarified. This decision is important for every | :06:02. | :06:04. | |
parent in England. It's the morning of the court case. | :06:05. | :06:08. | |
An hour to go, how are you feeling? Apprehensive. Looking forward to get | :06:09. | :06:12. | |
in there. Hoping it goes well. Let's go. | :06:13. | :06:20. | |
This shows how much of a nerve Jon's case touched. 80,000 parents were | :06:21. | :06:26. | |
fined for pupil absence, including Jackie Turner, who took her | :06:27. | :06:29. | |
daughter, backpacking for three weeks. Paying ?600 in fines and | :06:30. | :06:35. | |
court costs. But no-one has gone this far to fight the fines. | :06:36. | :06:41. | |
There are intense legal arguments going on in there. But it boiling | :06:42. | :06:49. | |
down to one thing: If Jon wins, thousands of parents in England will | :06:50. | :06:53. | |
be able to take their children on holiday during term time without | :06:54. | :06:57. | |
fear of prosecution. Results time, it is victory for Jon | :06:58. | :07:00. | |
Platt, he should not have been fined. | :07:01. | :07:05. | |
Absolutely I'm delighted with the outcome of the case, as will | :07:06. | :07:08. | |
hundreds of thousands of parents across England. We have lived with a | :07:09. | :07:14. | |
situation where taking a kids on a family holiday, amounted to a | :07:15. | :07:18. | |
criminal offence across the country. I have to do something with The One | :07:19. | :07:22. | |
Show... I think that the law is perfect. I think there is nothing | :07:23. | :07:26. | |
wrong with the law. The law doesn't need to be changed. The law is | :07:27. | :07:31. | |
clear. If your kids go to school regularly, you can take them on | :07:32. | :07:35. | |
holiday in term time. The Government is to look at the law | :07:36. | :07:41. | |
but adds that the attendance at school is nonnegotiable. | :07:42. | :07:46. | |
Thank you very much to Jon. The ruling only applies in England. In | :07:47. | :07:50. | |
Northern Ireland, parents are not fined for taking children on holiday | :07:51. | :07:54. | |
in term time. In Wales they can go on holiday for up to ten days with | :07:55. | :08:02. | |
the head's permission. In Scotland, term time counterpart | :08:03. | :08:04. | |
as holidays. It is up to the council to decide on | :08:05. | :08:09. | |
their sanctions. The lady that took her child | :08:10. | :08:13. | |
backpacking, you you are able to learn more... Yes, depending on | :08:14. | :08:18. | |
where the holiday is. There is an argument for it. | :08:19. | :08:23. | |
If you are travelling around Adrian, you are going to have fun. Adrian, | :08:24. | :08:28. | |
you have a couple of girls have you taken them out of school to go on | :08:29. | :08:33. | |
holiday? A couple of times but in primary school. Secary school it is | :08:34. | :08:37. | |
a different ball game. It is more serious. There was a point where we | :08:38. | :08:42. | |
took the kids out of school for a week but my eldest attended school | :08:43. | :08:46. | |
in New York, which is where we were. We were working away from home. | :08:47. | :08:50. | |
What an experience for her. Yes. Last time you were here, | :08:51. | :08:57. | |
Adrian, you were about to start in a stage play called Red Velvet, | :08:58. | :09:00. | |
telling how much you loved being in theatre. So Undercover is an | :09:01. | :09:05. | |
exception for you? It is. It is the only time I have had the complexity | :09:06. | :09:10. | |
of role that I normally find on stage, on screen. The character of | :09:11. | :09:17. | |
Nick, the emotional weight of the piece, my scenes with Sophie and so | :09:18. | :09:22. | |
on. Whether he is lying or telling the truth, all of that stuff. I | :09:23. | :09:26. | |
normally only get to play that kind of character on stage. | :09:27. | :09:31. | |
Well, we have an exclusive look at a clip from the last episode on | :09:32. | :09:35. | |
Sunday. Let's have a look. You need someone at the heart of the | :09:36. | :09:39. | |
story on the inside, gathering all of the evidence. You... I am on your | :09:40. | :09:57. | |
side. I can work for you now. They trust you. All you have to do is... | :09:58. | :10:10. | |
Trust me. APPLAUSE. | :10:11. | :10:19. | |
You mentioned Sophie, you work incredible yes well together on this | :10:20. | :10:23. | |
but you were at college together weren't you? Yes. | :10:24. | :10:25. | |
Was it weird playing husband and wife? It was strange. Sophie was the | :10:26. | :10:33. | |
year below me at RADA, she was the same year as my wife. I got to know | :10:34. | :10:40. | |
her at RADA and others in her year, so to work with her all of these | :10:41. | :10:46. | |
years later is good. Peter Mofatt writes a lot of crime | :10:47. | :10:51. | |
stuff. Did he use past cases of people going undercover? Oh, yes, | :10:52. | :10:57. | |
yes. He was fired up to write this drama because of what he had read in | :10:58. | :11:02. | |
the #234u7 and what he had seen in documentaries. Peter is vocal about | :11:03. | :11:06. | |
it. It made him angry that the police would take the liberty of | :11:07. | :11:11. | |
abusing the power that they had by putting people undercover and having | :11:12. | :11:14. | |
them marry the people that they were spying on. Having children with | :11:15. | :11:19. | |
people, and not telling them the truth, not tell them who they were. | :11:20. | :11:23. | |
And then disappear when the assignment came to an end. To invent | :11:24. | :11:28. | |
a dead or dying relative or mental health problems in order to get | :11:29. | :11:31. | |
extracted and get away from the situation. | :11:32. | :11:35. | |
What was your approach to play a character like this? Did you do | :11:36. | :11:40. | |
research and spend time with people undercover in real life? No, I | :11:41. | :11:44. | |
didn't spend time with anybody. I did a lot of reading. For the way | :11:45. | :11:49. | |
that the drama works, I concentrated on Nick as a father. The emotional | :11:50. | :11:55. | |
weight of what my Charles Kennedy goes through is from the | :11:56. | :12:02. | |
relationship with his weight and children -- the emotional weight of | :12:03. | :12:09. | |
what my character does. Have you watched yourself back | :12:10. | :12:12. | |
having been directed in stuff like this and thought you could have done | :12:13. | :12:17. | |
it better? All the time! All the time! Well, the wait is finally over | :12:18. | :12:24. | |
on Sunday when the final episode of Undercover is on BBC One at 9.00pm. | :12:25. | :12:29. | |
If you missed the series, the DVD is out next week. | :12:30. | :12:32. | |
Good plug. Beardyman is over there making our | :12:33. | :12:36. | |
exclusive track using sounds from the show tonight. How are you | :12:37. | :12:41. | |
getting on? Very well, thank you. I'm good but you have a lot on your | :12:42. | :12:50. | |
plate? Do you need any more sounds? Whatever you want to give me. | :12:51. | :12:55. | |
I will count you down. 3, 2, 1, hit it. | :12:56. | :13:03. | |
MUSIC: BEAT BOX. | :13:04. | :13:07. | |
Oh, Adrian, hello. That is good. Brilliant. Not as good as him! That | :13:08. | :13:13. | |
was great. It was better than mine. | :13:14. | :13:25. | |
Do yours! See... One of the techniques that Beardyman is using | :13:26. | :13:29. | |
is backmasking. Back scratching is good... No, no, | :13:30. | :13:35. | |
back masking. Here is Richard Mainwaring to explain. | :13:36. | :13:41. | |
50 years after being released, Beatles album, Revolve eris as fresh | :13:42. | :13:46. | |
as ever. The group's 7th album marked a new direction. And the fans | :13:47. | :13:52. | |
loved it. There were tracks including | :13:53. | :13:58. | |
favourites like Yellow Submarine, Eleanor Rigby and Taxman. But I'm | :13:59. | :14:03. | |
interested in some of the songs from the 1966 recording session, the ones | :14:04. | :14:08. | |
that used back masking. Back masking is the tech technique | :14:09. | :14:15. | |
of recording an instrument or vocal backwards. It is all over Revolver. | :14:16. | :14:25. | |
It produces an ethey areal sound. Evident on the vocals at the end of | :14:26. | :14:34. | |
Rain, recorded in the same session. -- etheral sound. | :14:35. | :14:39. | |
There is a debate as to who came up with it John Lennon says he took a | :14:40. | :14:46. | |
tape home, played it a little worse for wear, and played it backwards. | :14:47. | :14:53. | |
And loved the sound. George Martin, an expert on sound effects said | :14:54. | :14:57. | |
there was a space there. He thought of flipping the tape over. He put it | :14:58. | :15:03. | |
in, John Lennon loved it. Was it John, George? We will never know. | :15:04. | :15:10. | |
But how does it work in the studio? Take I'm Only Sleeping. It has lots | :15:11. | :15:14. | |
of tracks laid over each other. Then you have to figure out the backwards | :15:15. | :15:20. | |
melody. You have to capture the other worldly sound that playing | :15:21. | :15:24. | |
something backwards produces. So you have to put everything you recorded | :15:25. | :15:29. | |
together, listen to it backwards and try to find the impro-isation to | :15:30. | :15:32. | |
match. The solo on I'm Only Sleeping, that | :15:33. | :15:40. | |
is a composed backwards solo. George Harrison, instead of playing | :15:41. | :15:44. | |
randomly, and saying it sounds nice, he chose it in a line but backwards. | :15:45. | :15:49. | |
That is a difficult process. That is a six or a seven-hour session. The | :15:50. | :15:54. | |
chief engineer said it was a long day. My take is that it is pleased | :15:55. | :15:59. | |
that George Harrison took the time. We got a beautiful piece of music. | :16:00. | :16:02. | |
This is what I recorded... AND this is what it sounds like | :16:03. | :16:14. | |
reversed... # When I'm in the middle of a dream | :16:15. | :16:23. | |
# Stay in bed... Not bad. The Beatles didn't have the original | :16:24. | :16:28. | |
idea for this. Thomas Edison, inventor of the phonograph, found | :16:29. | :16:32. | |
that rotating a cylinder backwards made a still melodious suite and | :16:33. | :16:38. | |
novel sound. Before that, Mozart is the composer attributed to a mirror | :16:39. | :16:46. | |
duet where the tee Micha since -- two musicians play the same piece of | :16:47. | :16:50. | |
music, but one of them plays it upside down and backwards. The light | :16:51. | :16:56. | |
full. The Beatles popularised this backwards technique, and now there | :16:57. | :17:00. | |
is a multitude of examples in modern music. Backmasking has been used in | :17:01. | :17:05. | |
many different ways in the last 50 years since Revolver. The Who, The | :17:06. | :17:12. | |
Rolling Stones, Jimi Hendrix. The Stone Roses tried to evoke the | :17:13. | :17:17. | |
psychedelic feel the Beatles presented. We happy song Waterfall, | :17:18. | :17:25. | |
and then Don't Stop, which is Waterfall flipped over. US rock band | :17:26. | :17:32. | |
Tool has been plagued by censorship with people looking for dark | :17:33. | :17:35. | |
messages in their lyrics. They pulled a fast one on the song | :17:36. | :17:40. | |
Intention. They used backmasking and it sounded quite demotic. It says, | :17:41. | :17:48. | |
work hard, stay in school. It's something that isn't exactly what | :17:49. | :17:53. | |
the sensors would be looking for. As with so much of modern music, you | :17:54. | :17:58. | |
have to go backwards to the greats before you can go forwards. Thank | :17:59. | :18:01. | |
you to Mozart, Edison and the Beatles. STUDIO: And thank you | :18:02. | :18:10. | |
Richard. Lucy is with us now for some backchat these so-called | :18:11. | :18:14. | |
subliminal messages, they have caused a storm in the past. | :18:15. | :18:19. | |
Goodness, yes. Through the 70s, progressive rock and the heavy metal | :18:20. | :18:25. | |
era, right into the 90s, it kind of caused a moral panic in parts of the | :18:26. | :18:31. | |
US. And social groups, particularly the Christian right were looking for | :18:32. | :18:37. | |
subliminal messaging especially in heavy-metal albums. Some states came | :18:38. | :18:41. | |
quite close to legislating against it. Albums would have had to have | :18:42. | :18:44. | |
stickers on the front cover is saying it contains subliminal | :18:45. | :18:51. | |
messaging. In Arkansas and California. And in Arkansas it | :18:52. | :18:59. | |
almost became law. Until one senator refused. It was Bill Clinton. | :19:00. | :19:08. | |
Backwards, that's Notlinc. Tell us about Judas Priest. In 1985 two men | :19:09. | :19:17. | |
entered into a suicide pact. One of them shot himself, and the other | :19:18. | :19:26. | |
into a coma but recovered. They said that they had been influenced by | :19:27. | :19:31. | |
Judas Priest album. The family brought a lawsuit against Judas | :19:32. | :19:36. | |
Priest and in 1990 we had a bizarre and surreal situation where Judas | :19:37. | :19:39. | |
Priest went to court in Nevada wearing suits rather than their | :19:40. | :19:44. | |
customary black leather, and expert witnesses and the judge literally | :19:45. | :19:47. | |
listened to their back catalogue forward and backward. At one point | :19:48. | :19:52. | |
Rob Halford had to sing a cappella in the dock. The band wanted to show | :19:53. | :19:56. | |
how ridiculous it was and an expert witness said he could see subliminal | :19:57. | :20:03. | |
messaging in everything from the Sistine Chapel to Ritz crackers. If | :20:04. | :20:10. | |
somebody tells you you can hear something in music played backwards, | :20:11. | :20:14. | |
you usually can. This one is from the B-52s. We can play forward | :20:15. | :20:18. | |
first. MUSIC: Detour Through | :20:19. | :20:24. | |
Your Mind by The B52's. And we play it backwards. | :20:25. | :20:36. | |
# Playing your rapid backwards, watch out. You might ruin your | :20:37. | :20:47. | |
needle. This was deliberate. It was intentional and a joke, a take off | :20:48. | :20:51. | |
of the whole subliminal messaging thing that is quite ridiculous. You | :20:52. | :20:57. | |
might ruin your needle, for younger viewers, that means on your record | :20:58. | :20:58. | |
player. Thank you! Now, what would a dog go | :20:59. | :21:03. | |
to watch at the flicks? We've been coming up with dog | :21:04. | :21:05. | |
film puns all afternoon. There is a dog cinema in Barking! | :21:06. | :21:10. | |
Nice. I like this one. MUSIC: Misirlou by Dick | :21:11. | :21:19. | |
Dale and The Deltones. MUSIC: Jurassic Park | :21:20. | :21:23. | |
Theme by John Williams. MUSIC: Love Me Like You Do | :21:24. | :21:28. | |
by Ellie Goulding. My personal favourite, 50 Shades of | :21:29. | :21:42. | |
Greyhound. A sad. In his flat with no furniture. | :21:43. | :21:45. | |
The reason we've been doing this is because Alex Riley has been | :21:46. | :21:48. | |
to a very unusual cinema, that's opening its doors | :21:49. | :21:50. | |
One adult and one dog these. A dog taking the leading role in a film is | :21:51. | :22:05. | |
nothing new, Lassie, Snoopy and Beethoven are major stars in a own | :22:06. | :22:12. | |
right. What is new to London's west end is a cinema showing films for | :22:13. | :22:19. | |
dogs and their humans. Let's get some biscuits. OK Barley, let's see | :22:20. | :22:26. | |
what the fuss is about. Daniel Andree is the cinema manager, he's | :22:27. | :22:29. | |
on the left. What have you got planned? We have more than 50 dogs | :22:30. | :22:33. | |
coming to watch a movie. What happens when 50 dogs get together, | :22:34. | :22:38. | |
when two dogs come together they start biting and jumping on each | :22:39. | :22:44. | |
other. We allocate an hour for the dogs to introduce themselves to each | :22:45. | :22:48. | |
other. My dog can get very excited but as soon as she smells their | :22:49. | :22:54. | |
bottom, she is fine. This is a scary bit, you might want to look away. | :22:55. | :23:01. | |
DRAMATIC MUSIC We know dogs are great but they have | :23:02. | :23:05. | |
a tendency to go to the toilet where ever they are. We have the seat | :23:06. | :23:11. | |
covers, and the cleaning team are ready, and after the screening the | :23:12. | :23:15. | |
screen is completely cleaned and flea treated. We have a person | :23:16. | :23:25. | |
giving a massage to the dogs. How long can a dog concentrate on a film | :23:26. | :23:31. | |
for? My dog will sleep through them, she is only interested for ten | :23:32. | :23:33. | |
minutes will stop unless there are other dogs on screen. This popcorn | :23:34. | :23:40. | |
is delicious. I'm going to get some more. See you in a minute. | :23:41. | :23:51. | |
He loves the cinema! He can't have been before. She likes animal films, | :23:52. | :24:02. | |
Lassie. What happens when Lassie comes on the screen? She goes up to | :24:03. | :24:06. | |
the screen and has a look. This is the cinema, I'm not sure they would | :24:07. | :24:10. | |
be happy with that. It's great for him to come to the cinema and be | :24:11. | :24:16. | |
with me. If Barley was a serial Barker then I wouldn't even think | :24:17. | :24:21. | |
about winning into an event like this. It's something you can do | :24:22. | :24:27. | |
together as a family. Exactly. Enjoy the show. This dog friendly | :24:28. | :24:38. | |
screening of Laurie Anderson's Heart of a Dog is part of a series of | :24:39. | :24:45. | |
films celebrating the relationship people have with their four-legged | :24:46. | :24:49. | |
friends. It's a film constructed as a car large of you sick and | :24:50. | :24:57. | |
animation. Hope these dogs like it. I don't believe it, I've seen this | :24:58. | :24:59. | |
one before! They seem to love it. I would love | :25:00. | :25:15. | |
to take my Jack Russell. The time is nearly come for Beardyman's one The | :25:16. | :25:25. | |
One Show remix. What are you doing in Edinburgh this year? It's Friday | :25:26. | :25:37. | |
the 13th. BEATBOXING. CREEPY LAUGHING. That's amazing. Wow. Does | :25:38. | :25:49. | |
it have time to go wrong? It never goes wrong! Where did your name | :25:50. | :25:55. | |
Beardyman come from? I used to have a beard. I wish it was more exciting | :25:56. | :26:02. | |
than that. You have this equipment here, it's the... Beardytron. It's | :26:03. | :26:16. | |
what everyone who saw me called it. Nobody has ever done this on live | :26:17. | :26:21. | |
television before. It's madness. If it doesn't work, blame me, blame the | :26:22. | :26:24. | |
technology. And it's Friday the 13th. No superstitions it, you will | :26:25. | :26:31. | |
be fine. We can have a listen. Take it away. | :26:32. | :26:42. | |
# Nearly 50 years after it was first released, the Beatles album revolver | :26:43. | :26:54. | |
tastes as fresh... As ever. Fresh. But I'm interested in... Dogs. | :26:55. | :27:01. | |
BEATBOXING. WHAT ABOUT THIS ONE THEN... SECTIONS | :27:02. | :27:16. | |
OF THE ONE SHOW THEME JUNE. Let's go Barley, let's get some | :27:17. | :27:47. | |
biscuits! APPLAUSE | :27:48. | :28:03. | |
Beardyman, everyone. Sensational. You look properly impressed. I want | :28:04. | :28:10. | |
it all at home to play with. He might give you a go, who knows. | :28:11. | :28:14. | |
Now, before we go - yesterday we showed some | :28:15. | :28:16. | |
photos of unidentified First World War British soldiers | :28:17. | :28:18. | |
and your response so far has been fantastic - | :28:19. | :28:20. | |
the entire catalogue of almost 1500 pictures are now | :28:21. | :28:22. | |
identify anyone please go to our website for details. | :28:23. | :28:28. | |
That's all we've got time for tonight. | :28:29. | :28:31. | |
Thank you to Adrian for joining us, and remember the final explosive | :28:32. | :28:35. | |
episode of Undercover is on BBC One at 9pm on Sunday. | :28:36. | :28:38. | |
Thanks to Bradley - I'll be back with Matt on Monday | :28:39. | :28:46. | |
when X-Man James McAvoy will be here - see you then. | :28:47. | :28:52. |