Browse content similar to 14/06/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to the One Show with Alex Jones. | :00:17. | :00:19. | |
Tonight we're going back to school - so pay attention at the back. | :00:20. | :00:26. | |
Let us talk you though tonight's time table. | :00:27. | :00:32. | |
We have double drama with Mr Adil Ray and Miss Sunetra Sarker, | :00:33. | :00:35. | |
the stars of the new school based series, Ackley Bridge. | :00:36. | :00:43. | |
Music master Mr Gareth Malone will be waxing lyrical | :00:44. | :00:45. | |
about his new singing show, Pitch Battle. | :00:46. | :00:50. | |
And, when it comes to art, we could all learn a lesson | :00:51. | :00:53. | |
from the artist behind The Singing Butler, Jack Vettriano. | :00:54. | :00:57. | |
Tonight his latest subject, Billy Connolly, will be telling us | :00:58. | :01:01. | |
And here they all are present and correct - | :01:02. | :01:08. | |
Adil Ray, Sunetra Sarker and Gareth Malone! | :01:09. | :01:10. | |
Hello. You got the memo co-ordinating beautifully like a | :01:11. | :01:24. | |
choir. Denim choir. Very good. Gareth you have been a teacher. Your | :01:25. | :01:28. | |
wife is teacher? Very good teacher. She's watching. What does he she | :01:29. | :01:33. | |
teach in English in a secondary school in London. I aspire to be as | :01:34. | :01:39. | |
God a disciplinarian as her. I don't think I will make it. . What did | :01:40. | :01:43. | |
they think of your teaching technique of using beat boxing? It | :01:44. | :01:47. | |
was through talking to her, getting to the left... Years ago I went into | :01:48. | :01:56. | |
a school and it wasn't working. Hello, we will do beat Bocking in | :01:57. | :02:01. | |
and made choir cooler. From there you can work out. I learnt to beat | :02:02. | :02:06. | |
box, too. We have to ask, come on. You have to beat box for us, come | :02:07. | :02:15. | |
on. That's it. Please don't make me do any more. | :02:16. | :02:19. | |
APPLAUSE I'm sorry I asked. So am I. That was | :02:20. | :02:23. | |
not rears hadded, ladies and gentlemen. As we've mentioned, we | :02:24. | :02:27. | |
will be joined later by Jack Vettriano. | :02:28. | :02:33. | |
of three artists who've recently painted a portrait of | :02:34. | :02:36. | |
Billy Connolly to celebrate the Big Yin's 75th birthday. | :02:37. | :02:38. | |
All three portraits have now been supersized into huge murals and put | :02:39. | :02:41. | |
on the side of buildings in Billy's native Glasgow. | :02:42. | :02:45. | |
Tonight we've sent a roving One Show cameraman to race around the city | :02:46. | :02:48. | |
Here's the route he's going to follow and, hopefully, | :02:49. | :02:54. | |
he should be somewhere near Barrowland Park right now, | :02:55. | :02:56. | |
This is the portrait by Rachel Maclean. Part-time performer and | :02:57. | :03:10. | |
part-time film-maker. There it is. This mural is a large printed photo | :03:11. | :03:15. | |
of a portrait she took of Billy. The outfit references some | :03:16. | :03:24. | |
of Billy's famous jokes. Lots of detail there. The detail is | :03:25. | :03:45. | |
a bicycle parked out of a bum. R what do you three think? That's my | :03:46. | :03:51. | |
house. It doesn't look like Billy Connolly. It looks like Leonardo | :03:52. | :03:55. | |
DiCaprio. While our Connolly-cam | :03:56. | :04:00. | |
hunts out the next mural, let's head to Yorkshire and a food | :04:01. | :04:02. | |
fight that's starting to heat up. What seems like a simple | :04:03. | :04:06. | |
and effective scheme to combat food waste has now put it's creator head | :04:07. | :04:08. | |
to head with Trading Standards. This is Adam Smith, he runs the Real | :04:09. | :04:18. | |
Junk Food Project in Leeds they distribute unused food. It's in | :04:19. | :04:24. | |
danger of being shut down. This particular area of work, this is | :04:25. | :04:31. | |
your share house. This was the world's first waste supermarket. | :04:32. | :04:34. | |
It's a network of people who come together to fight food waste or | :04:35. | :04:40. | |
abolish unnecessary amounts of food wasted that is perfectly edible for | :04:41. | :04:45. | |
food consumption. We get it from wholesalers and supermarkets and we | :04:46. | :04:48. | |
have relationships with some of the biggest retailers in the country. | :04:49. | :04:52. | |
The industry is classing it as waste, but it's fit for human | :04:53. | :04:56. | |
consumption. We are highlighting what we can do with this waste food. | :04:57. | :05:00. | |
He is sure it's fit for human con surpgs he is providing it it to | :05:01. | :05:07. | |
schools. Hunger was a barrier to learning here at school. Children | :05:08. | :05:12. | |
were coming here hungry. We were committed to do something about it. | :05:13. | :05:18. | |
Working with Adam and the project we found surplus food and feed it to | :05:19. | :05:21. | |
our children. Adam supplies nine calf yays around Leeds. Not been | :05:22. | :05:25. | |
working recently because of my health. To have somewhere to come | :05:26. | :05:33. | |
and take things home for my boy is helpful. You both work here. If | :05:34. | :05:38. | |
something has a use by date on it, what would you do with that? If it | :05:39. | :05:42. | |
looks all right to use, we will use it. If it's not all right to use we | :05:43. | :05:47. | |
will put it in the compost bin. We won't feed anybody else it if we | :05:48. | :05:52. | |
won't eat it ourselves. Trading Standards have been unhappy about | :05:53. | :05:57. | |
you supplying some food that is past its used by date. What exactly | :05:58. | :06:00. | |
happened? Basically, they found food in our fridge that had gone past its | :06:01. | :06:05. | |
use by date. They weren't happy with it. 400 items. There is no proof to | :06:06. | :06:10. | |
say we were going to supply the general public, it was in the public | :06:11. | :06:14. | |
domain. Why? We were going to consume it ourselves or use it | :06:15. | :06:19. | |
ourselves. Is there any of that food in there now? No. We told Trading | :06:20. | :06:27. | |
Standards we will no longer make any food past its used by date in the | :06:28. | :06:32. | |
public domain. Is that past its used by date? Use by date has | :06:33. | :06:36. | |
legislation. It is about the safety of food. If you think of raw | :06:37. | :06:40. | |
chicken. If you eat that food past its used by date there is a chance | :06:41. | :06:45. | |
you can become sick. Do the customers of the project worry the | :06:46. | :06:49. | |
food isn't safe? No. It doesn't bother me. It's a waste of time. It | :06:50. | :06:55. | |
doesn't suddenly just go bad, does it? Fresh fruit. Often it doesn't | :06:56. | :07:00. | |
have a date on it. You go to a market stall there is no date labels | :07:01. | :07:05. | |
on a market stall. Give it a squeeze. You can look at it and you | :07:06. | :07:10. | |
can tell. We would be concerned we have a robust risk assessment and | :07:11. | :07:14. | |
proprocedures in place all the time we have been doing this nobody has | :07:15. | :07:21. | |
been poorly. Even though Adam is saying he wants to challenge how | :07:22. | :07:26. | |
food is labelled. The trouble with Can Trading Standards they are | :07:27. | :07:29. | |
putting it at risk? They have the power to shut down the operations. | :07:30. | :07:35. | |
Sainsbury's and Marks and Spencers who will not supply us with any | :07:36. | :07:38. | |
donations of food. If we are going to be prosecuted because of a use by | :07:39. | :07:44. | |
date why do we have these dates causing unnecessary waste and | :07:45. | :07:49. | |
costing a problem cost wise and stopping us getting the food to as | :07:50. | :07:53. | |
many people as possible. Trading Standards say they are unable to | :07:54. | :07:57. | |
comment on specific details it's an ongoing investigation. Andy has his | :07:58. | :08:02. | |
resolution meeting with Trading Standards on the 30th June. We will | :08:03. | :08:04. | |
see what happens. We will incompetent deed. We will keep you | :08:05. | :08:12. | |
updated. Are you sticklers for sell by dates on food? I don't know. I'm | :08:13. | :08:18. | |
not. A week is all right after sell by. Milk becomes yoghurt. I can't | :08:19. | :08:28. | |
sniff milk. Matthew is my personal milk sniffer. Smell my milk! Yes. | :08:29. | :08:34. | |
It's lovely that you have a purpose. It has turned into Mrs Brown's Boys. | :08:35. | :08:40. | |
She can't drink a cup of tea without me having smelt it. That's an | :08:41. | :08:43. | |
insight. Let's talk about Pitch Battle. A big show starting this | :08:44. | :08:47. | |
Saturday. How do you want to sum this up, Gareth? It's a fantastic | :08:48. | :08:53. | |
Saturday night style shiny celebration of all the kind of | :08:54. | :08:58. | |
wonderful different genres of singing groups out there in this | :08:59. | :09:01. | |
musical country. We have so much talent here. You in the past have | :09:02. | :09:06. | |
criticised shows like X Factor. Have I? Yeah, you have. We have quotes, | :09:07. | :09:13. | |
Gareth Malone. All right. How would you describe this one in terms of | :09:14. | :09:20. | |
how it is different? X Factor and The Voice is about finding artists | :09:21. | :09:24. | |
to sell records or a pro ticket to the public. This is, like the series | :09:25. | :09:31. | |
I did before, great groups who are entertaining. There is no record | :09:32. | :09:34. | |
contract at the end of it. There is a cash prize. A big cash prize? | :09:35. | :09:43. | |
?50,000. We have some of the contestants who have spent the | :09:44. | :09:47. | |
?50,000. The major difference for me it's a show that is about the | :09:48. | :09:54. | |
musical skill. All the panel are singers or performers or have a | :09:55. | :09:59. | |
choral background. We are there to pick out the nitty-gritty like on | :10:00. | :10:08. | |
Strictly, that is not a rumba. What is the concept of the competition? | :10:09. | :10:13. | |
We start with six groups. By the end you have one. They can be from any | :10:14. | :10:20. | |
musical genre. One versus another and we bring it down in a series of | :10:21. | :10:24. | |
Riff Offs. They are the dramatic heart of the whole thing. They can | :10:25. | :10:29. | |
be on a theme. It can be love or it could be hate or anything. Each, if | :10:30. | :10:36. | |
you have seen the Pitch Perfect Movies. We love. Great fun. There is | :10:37. | :10:42. | |
a swim in a disused swimming pool. One group sings a song and then the | :10:43. | :10:46. | |
other group sings a song. They battle. The lovely key less is my | :10:47. | :10:52. | |
co-judge and superstar judge and we Sid sit there and say - I didn't | :10:53. | :10:57. | |
like it or we like it and chose one. Let's look at one of the Riff Offs. | :10:58. | :11:05. | |
It's not in a swimming pool by way. # I know that I let you down | :11:06. | :11:15. | |
# Is it to late I'm sorry now? # Don't need anybody else | :11:16. | :11:18. | |
# I can't help myself # I don't need anybody else | :11:19. | :11:30. | |
# Saviour of the universe # Too sexy for this song... # | :11:31. | :11:38. | |
APPLAUSE You are like this Gareth. Loving it. | :11:39. | :11:43. | |
That says to me you are a supportive judge? Yeah, I am. When I like | :11:44. | :11:47. | |
something I'm happy to say. I get excited. I get up on the table at | :11:48. | :11:52. | |
one point in this series. I enjoy. It it's what I love. Amateurs and | :11:53. | :11:57. | |
professionals and people who live and breathe singing. Joyious. You | :11:58. | :12:02. | |
mentioned Kelis? Yes. A Ron doom pairing. No. Other than her | :12:03. | :12:06. | |
milkshake what does she bring to the yard? Very good. She brought this | :12:07. | :12:12. | |
boy to the yard. She's great. I think most people will know her from | :12:13. | :12:20. | |
that songs quite R She was in choirs, Harlem Girls Choir. She's a | :12:21. | :12:25. | |
proper musician. What is her milkshake like? It tastes great! | :12:26. | :12:30. | |
Can't possibly comment. Don't go back there I will have to start | :12:31. | :12:35. | |
smelling it before long. You are the milk expert. We have a Pitch Battle | :12:36. | :12:41. | |
exclusive later when two of the groups in the show will battle it | :12:42. | :12:47. | |
out in a Riff Off. We have them here. Are you ready for this? | :12:48. | :12:53. | |
# Yes we are # YEEESSS! ... # | :12:54. | :12:57. | |
Wow! APPLAUSE | :12:58. | :13:06. | |
Before all that, let's go back to Glasgow. | :13:07. | :13:16. | |
been on the hunt for the three massive Billy Connelly murals. | :13:17. | :13:20. | |
We've already seen one and now he should be at the site | :13:21. | :13:22. | |
of the second which is on the corner of Osborne Street and Old Wynd, | :13:23. | :13:26. | |
Are you there? Yes, he's there. He's panning on to something. John Byrne | :13:27. | :13:29. | |
is the artist. That's nice. John Byrne has been friends | :13:30. | :13:38. | |
with Billy for many years and this is not the first time | :13:39. | :13:40. | |
he has painted him. When Billy was in a band | :13:41. | :13:43. | |
called The Humblebums, Their relationship has gone on for a | :13:44. | :13:48. | |
long time. Mugshot style. I like this one. What do we think? I like | :13:49. | :13:53. | |
it a lot. Billy looks like Billy Connolly. He's quite cross. Played | :13:54. | :14:04. | |
with the fact it's his 75th birthday and initials. Has he been an | :14:05. | :14:09. | |
influence to you, Adil? Fantasticing actor. Phenomenal. We will get on to | :14:10. | :14:13. | |
your acting shortly. Sorry. Don't worry, sit tight everyone. Two | :14:14. | :14:19. | |
down, one to go. I may be biased, but we're | :14:20. | :14:27. | |
saving the best until last because the final mural is based | :14:28. | :14:30. | |
on Jack Vettriano's portrait of Billy, and we'll be chatting | :14:31. | :14:32. | |
to the artist himself very soon. But what does his | :14:33. | :14:35. | |
portrait look like? Well, let's find out | :14:36. | :14:37. | |
because this is what happened It's hard to believe I know, but I | :14:38. | :14:50. | |
turn 75 this year. So I'm coming home for a birthday treat. Sensation | :14:51. | :14:57. | |
seekers welcome to the show. To meet one of my favourite artistes who has | :14:58. | :15:01. | |
offered to immortalise little old me. Jack Vettriano's one of the most | :15:02. | :15:07. | |
successful artists around. His most popular painting, The Singing | :15:08. | :15:10. | |
Butler, is one of the world's bestselling prints. Billy. Nice to | :15:11. | :15:16. | |
see you, man. You, too. I don't know what this guy looks like iech | :15:17. | :15:19. | |
couldn't pick him out of a police line-up. It's will havely to meet | :15:20. | :15:24. | |
you. You too, you too. Jack doesn't usually do portraits. | :15:25. | :15:27. | |
He has decided to make an exception for yours truly. I've followed your | :15:28. | :15:31. | |
career. That first time on park kinson, I could see you visibly, | :15:32. | :15:37. | |
sort of, trem bling. You were very nervous. It was so endearing. You | :15:38. | :15:43. | |
are the King in Scotland, the Big Yin. What does it mean? The big one. | :15:44. | :15:47. | |
The big one, I see! I finished that show and I flew back | :15:48. | :16:01. | |
to Glasgow and I was coming through the airport and the airport started | :16:02. | :16:02. | |
to applaud. I thought, I have done something | :16:03. | :16:10. | |
here. To step into the limelight is weird. It is astonishing, Billy. I | :16:11. | :16:16. | |
still get nervous because I think I don't belong here, this is not my | :16:17. | :16:20. | |
patch. Well, I am very proud to be painted by you. Well, I am very | :16:21. | :16:26. | |
flattered to hear that. I just hope I do it justice. I feel as though I | :16:27. | :16:30. | |
should be standing on the beach with a tide going out. And a bowler hat? | :16:31. | :16:36. | |
Yes, and a Butler. Jack works from photographs and he has been watching | :16:37. | :16:41. | |
an old series I made back in the 1990s to inspire him, World Tour of | :16:42. | :16:43. | |
Scotland. We are near John O'Groats. In | :16:44. | :16:50. | |
tropical Scotland! Waterfalls go up instead of down, look! | :16:51. | :16:54. | |
This was the first sequence I saw and I thought, I really like this. | :16:55. | :17:01. | |
And that, I think, is the image. It is great, there is a lot of life in | :17:02. | :17:05. | |
it with the water going through my hair. This is a bit of a challenge. | :17:06. | :17:12. | |
Trying to let people see that. The biggest challenge is finding where | :17:13. | :17:19. | |
to put the umbrella! It has been a real pleasure to meet you and more | :17:20. | :17:24. | |
than that, it has been an inspiration to paint job portrait. | :17:25. | :17:29. | |
Thank you very much. Now, get on with it! Right! That is me up the | :17:30. | :17:35. | |
road while the master gets to work. It is terrifying! It really is. | :17:36. | :17:41. | |
There is nothing scientific about that, I just start at the bottom and | :17:42. | :17:46. | |
I work up. His hair is difficult to do. I am now working on a Scottish | :17:47. | :17:55. | |
sky, trying to make it quite sort of stormy looking. | :17:56. | :18:05. | |
Do you think you will like it? It is a year since we met and I have | :18:06. | :18:14. | |
come to Glasgow's famous Kelvingrove Museum to see the portrait Jack has | :18:15. | :18:19. | |
created for my birthday. As I live and breathe, Jack Vettriano! Lovely | :18:20. | :18:26. | |
to see you. Enough of the chat, show me the work. Oh, my God! Oh, it is | :18:27. | :18:36. | |
great! You have got it. I remember the day so well. I remember the cold | :18:37. | :18:42. | |
and the wind, you have got the power of that day. The title is Dr | :18:43. | :18:48. | |
Connolly, I presume? Which I thought was all right. OK with that? I am so | :18:49. | :18:56. | |
pleased you like it. I do, I love it. Yes, I think you have passed | :18:57. | :19:01. | |
your audition, Jack Vettriano, it will let you do another painting. | :19:02. | :19:08. | |
Thank you. We are now joined by Jack Vettriano | :19:09. | :19:13. | |
and we are so lucky to have a lovely and warm film and a lovely insight | :19:14. | :19:17. | |
into yourself and Billy and you grew up with Billy? Yes, I first heard it | :19:18. | :19:24. | |
Billy Connolly album when I was 20. I could not believe this quality of | :19:25. | :19:31. | |
humour. Which was right out of the shipyards. I had been listening to | :19:32. | :19:36. | |
Bob Monkhouse and God bless you if you there, I don't mean you any | :19:37. | :19:42. | |
harm, but you understand? That sort of stand-up comedy, one joke at a | :19:43. | :19:50. | |
time. Billy is an astonishing observer of just the tiniest things | :19:51. | :19:56. | |
in life. And it just makes him... We will never see his like again, of | :19:57. | :20:01. | |
that, I am sure. This opportunity came to you at a time that was not | :20:02. | :20:06. | |
the best time for you because you had had a shoulder injury. Yes, I | :20:07. | :20:10. | |
dislocated my shoulder. Because I have not had any problems with my | :20:11. | :20:16. | |
body before, I just thought it would heal itself. I did not think it | :20:17. | :20:23. | |
needed physio. And time went on and time went on, and it just was not | :20:24. | :20:28. | |
working. And I got a call from the BBC to say, we would like to | :20:29. | :20:33. | |
Commission you to do a portrait. And I thought, this has to be done. Had | :20:34. | :20:39. | |
you been doing much painting? No, I had not. I had a physio session one | :20:40. | :20:45. | |
morning and after the physio left, I thought, I am going to do this now. | :20:46. | :20:51. | |
I always do a small study so I did the small study. I thought, you have | :20:52. | :20:55. | |
not lost it! Thank goodness! We saw the finished | :20:56. | :21:02. | |
article in a film, it is behind you. You did look quite nervous at the | :21:03. | :21:07. | |
end when Billy came to see it. What was that experience like and how | :21:08. | :21:13. | |
will you feeling? Well, I really paint portraits. And so therefore, | :21:14. | :21:22. | |
what I do paint, I put it up on a wall and it is for sale and you like | :21:23. | :21:28. | |
it or you do not. When it is a portrait, it is entirely different. | :21:29. | :21:31. | |
You are desperate that the sitter loves it. I can imagine. I will not | :21:32. | :21:39. | |
say too much, but nerves did play a big part that day! Well, the | :21:40. | :21:44. | |
paintings that you have, they are so iconic. Going back to the beginning, | :21:45. | :21:50. | |
where did you love of painting, from and where you from a family of | :21:51. | :21:57. | |
artists? Well, my grandfather, my Italian grandfather, he used to love | :21:58. | :22:03. | |
betting on horses and in those days, it was not computerised. You would | :22:04. | :22:07. | |
go on and get a small white sheet of paper and you would put your horses | :22:08. | :22:13. | |
in it. He used to bring back stacks of them, every ten seconds. I | :22:14. | :22:24. | |
learned how to speed up a bit. And then it lapsed a bit and when I was | :22:25. | :22:29. | |
22, a girl bought me a box of watercolours and I started to paint. | :22:30. | :22:36. | |
But not too seriously. And I think what the amateur artist as I was has | :22:37. | :22:43. | |
to do is, they have to do something that gives them a quick result. So I | :22:44. | :22:48. | |
did not have any ideas of my own, so I used a copy. And you name them, I | :22:49. | :22:54. | |
have copied them. It is a bit like alchemy. You pick up things from | :22:55. | :23:05. | |
Manet and you put them in a pot and you stir it and what comes out is | :23:06. | :23:15. | |
me. Jack Vettriano! You said it! And I then had to find a style that was | :23:16. | :23:23. | |
recognisably mine. They are so recognisably yours now, that is the | :23:24. | :23:27. | |
amazing thing. Especially The Singing Butler. I had it on my wall | :23:28. | :23:33. | |
at university. I would have signed it for you! It would have been worth | :23:34. | :23:38. | |
so much, I would not have to be here! You would have put it straight | :23:39. | :23:48. | |
on eBay! No. Yes! No. It is the most popular print in the world? They | :23:49. | :23:55. | |
tell me that. Why? My view is quite simplistic. It is just a fantasy. If | :23:56. | :24:07. | |
you are living in Grimsby and it is a cold and wet Tuesday afternoon and | :24:08. | :24:11. | |
that is on your wall, you might be carried away with it. You might | :24:12. | :24:19. | |
think, oh, dear. But I have several film scripts sent to me about The | :24:20. | :24:26. | |
Singing Butler and two were quite reasonable. The third one, the | :24:27. | :24:32. | |
Butler is a sex maniac. Let loose. We cannot discuss that! We can talk | :24:33. | :24:38. | |
about your wonderful piece of work which is now on a wall in Glasgow. | :24:39. | :24:44. | |
We will see if our Connolly camera has made it to the third mural, your | :24:45. | :24:50. | |
mural. We will go live to a beer garden and Dixon Street. A beer | :24:51. | :24:56. | |
garden? That is appropriate! It is incredible, the story. The location | :24:57. | :25:03. | |
is suited to the water background of Jack's painting as it faces the | :25:04. | :25:09. | |
River Clyde. The owner of the building the Hootenaney Pub was so | :25:10. | :25:12. | |
keen to have the painting that he bought the adjacent plot of land and | :25:13. | :25:15. | |
he has turned it into a beer garden and the locals call it Billy's beer | :25:16. | :25:22. | |
garden. I just hope they give me free life membership! I think it is | :25:23. | :25:28. | |
a definite, you are in. Lovely to meet you. You as well, thank you | :25:29. | :25:32. | |
very much. APPLAUSE. | :25:33. | :25:34. | |
If you want to see more of Jack's encounter with the Big Yin, | :25:35. | :25:38. | |
you can watch Billy Connolly: Portrait of a Lifetime | :25:39. | :25:42. | |
tonight at 9:00pm on BBC Scotland and on the iPlayer. | :25:43. | :25:45. | |
Soon, Sunetra and Adil will be telling us about all the aggro | :25:46. | :25:51. | |
kicking off at Ackley Bridge, the Yorkshire school at the centre | :25:52. | :25:54. | |
But no matter how exciting it gets, it might be hard to match the drama | :25:55. | :25:58. | |
that took place at a school in Stepney, in London, 46 years ago. | :25:59. | :26:01. | |
Here's punk poet John Cooper Clarke with a story of striking | :26:02. | :26:04. | |
In 1971, 900 secondary school pupils flooded out of the school in | :26:05. | :26:13. | |
Stepney. It was not home time when they walked out, they were on | :26:14. | :26:18. | |
strike. The schoolkids strike made national news but I want to know | :26:19. | :26:22. | |
what made them swap pencils for the picket line. 46 years later, former | :26:23. | :26:29. | |
pupil Sharon, Ramona and Tim have returned to the school to tell me | :26:30. | :26:32. | |
more. I loved the school, every minute of it, I loved being here. | :26:33. | :26:38. | |
We'll could not wait to go to English. What was your teacher like? | :26:39. | :26:46. | |
Unbelievable. The school's radical 27-year-old English teacher Chris | :26:47. | :26:49. | |
Searle believed in the power of teaching poetry to children. Even | :26:50. | :26:53. | |
though a lot of people see feelings is rather indulging, I think every | :26:54. | :27:01. | |
child wants to be noticed. Poetry gives them the chance. I live in old | :27:02. | :27:08. | |
flats with a fire escape. Brick Lane is a horrible place. I am in some | :27:09. | :27:12. | |
otherworldly thinking of things not real. These poems by his students | :27:13. | :27:16. | |
were part of an anthology crisp published in 1971 without the | :27:17. | :27:20. | |
permission of the school. He was sacked as a result but his pupils | :27:21. | :27:23. | |
were having none of this. Today, The One Show is bringing Chris back to | :27:24. | :27:29. | |
school for the first time in over 40 years. Lovely to see you! What were | :27:30. | :27:36. | |
your poetry lessons like? We used to go for a lot of walks and I asked | :27:37. | :27:40. | |
them to imagine what was going on in the heads of the people. Timmy wrote | :27:41. | :27:47. | |
this very short poem. I go to the park to look at the view. | :27:48. | :27:53. | |
I see lots of people, maybe they are lonely, too. | :27:54. | :27:58. | |
I get on a bus, there is such a lot of force. | :27:59. | :28:02. | |
But I bet there is lonely people amongst all of us. | :28:03. | :28:07. | |
Sitting outside in a Church ground next to their school, the kids | :28:08. | :28:12. | |
reduced a bounty of words and Chris was convinced they should be | :28:13. | :28:16. | |
published, but the school governors disagreed. Any idea why? It was | :28:17. | :28:21. | |
poetry with a critical edge. That it was also poetry in the language and | :28:22. | :28:28. | |
the imagery of the young people themselves. And I think in a way, | :28:29. | :28:33. | |
that was a threat to these governors. Chris did publish them | :28:34. | :28:39. | |
and was told not to come back next term. Word quickly reached the kids. | :28:40. | :28:45. | |
One of the older girls came round with a flyer saying, we on strike | :28:46. | :28:49. | |
tomorrow and it is organised by the time we left at three o'clock. When | :28:50. | :28:53. | |
you showed up for work that morning, what did you think when you saw this | :28:54. | :28:58. | |
happening? Well, it was one of the moments that changed my life, | :28:59. | :29:03. | |
really, I could hear them singing, roll out the barrels! | :29:04. | :29:08. | |
# Oh, are sailing... Give Chris a chance. The strike lasted a couple | :29:09. | :29:16. | |
of days but national media coverage but unilateral calls for Chris to be | :29:17. | :29:19. | |
reinstated and after an eight-month fight, he finally was. Poetry is | :29:20. | :29:26. | |
still a thriving discipline at Sir John Cass Foundation Redcoat | :29:27. | :29:28. | |
School and I have invited 14-year-old poets along with their | :29:29. | :29:32. | |
teacher Amy Huygens to create a new polling -- a new poem about Stepney | :29:33. | :29:37. | |
with everybody contributing two lines. The kids study a diverse | :29:38. | :29:42. | |
range of poetry and spoken word artists like yourself. Who would | :29:43. | :29:50. | |
that be? There ain't nobody like me! So how do our Stepney Words sound? | :29:51. | :29:57. | |
Back in Stepney after 46 years. Came back home all alone, parents | :29:58. | :30:02. | |
gone. Being home carries me through the | :30:03. | :30:04. | |
night. I is that tell different stories see | :30:05. | :30:10. | |
the same sunrises. A rich jewels sparkling in | :30:11. | :30:14. | |
excellence. Children in Stepney, your lives blow with the River | :30:15. | :30:20. | |
Thames, the future in your flames. You got a result, it is a new way of | :30:21. | :30:25. | |
writing poetry. Everybody got really involved, enthusiastically. As a | :30:26. | :30:30. | |
community, the morals have stayed the same over time. You have got a | :30:31. | :30:32. | |
good poem out of it. The full version of that poem is on | :30:33. | :30:40. | |
our website. That brings us to Ackley Bridge. The second episode on | :30:41. | :30:46. | |
tonight. Sunetra give us an idea of the premise if anybody missed the | :30:47. | :30:52. | |
first episode. Previously on. It's a drama about two schools, an Asian | :30:53. | :30:57. | |
and predominantly white school coming together, merging as one. It | :30:58. | :31:00. | |
was the first day of school last week. Two girls live next door to | :31:01. | :31:06. | |
each other, Asian and white, they have been best friends since they | :31:07. | :31:10. | |
were little, they now go to school and it causes differences in how | :31:11. | :31:14. | |
their friendship works. It's between the two girls and how they have been | :31:15. | :31:18. | |
mixings and the cultures. The teachers and the sponsor of the | :31:19. | :31:23. | |
school funding it. Dinner lady. A lot of good intentions. Community | :31:24. | :31:28. | |
coming together. The connections between community, the clashes the | :31:29. | :31:33. | |
misunderstandings sometimes. I think it's really contemporary and | :31:34. | :31:37. | |
something new we haven't seen on TV. It's a new topic. It's complietly | :31:38. | :31:42. | |
new it's your first serious acting role, isn't it? First time I've done | :31:43. | :31:48. | |
anything without the beard, hat and accent. It's very different. Doing a | :31:49. | :31:53. | |
sitcom, the first time I did any acting, you can play it big in front | :31:54. | :32:01. | |
of a studio audience. Working with Sunetra and Jo and Liz was great for | :32:02. | :32:05. | |
me. Doing this kind of thing is not acting. It's been a challenge for | :32:06. | :32:10. | |
me. I really enjoyed it. How was your approach different then? When | :32:11. | :32:14. | |
you are acting in comedy you are playing it for laughs but being | :32:15. | :32:19. | |
serious in that role as well to make sure it's riepth. How does it | :32:20. | :32:25. | |
compare? When I play Citizen Khan once the costume goes on you are a | :32:26. | :32:29. | |
big character. It's a totally different character. With this you | :32:30. | :32:33. | |
are finding bits of yourself in it as well. Trying to connect with the | :32:34. | :32:39. | |
character you are playing. This character was the sponsor of the | :32:40. | :32:43. | |
Academy. The local boy who has done well and has put most of his money | :32:44. | :32:48. | |
into the Academy. Trying to be an honourable father and businessman in | :32:49. | :32:50. | |
town, he's not. We will find out in tonight's | :32:51. | :32:53. | |
episode. On Channel 4 at 8.00pm. Nicely done. | :32:54. | :32:59. | |
I did that very well. He is not as honourable as we are led to believe. | :33:00. | :33:06. | |
Has a little moment with Jo Joiner's character, Mandy, the head teacher | :33:07. | :33:09. | |
at school. Let's look at your character in action. Here you are. I | :33:10. | :33:13. | |
thought we talked about this. About her. She's my best mate. I aallowed | :33:14. | :33:19. | |
to hang around with who I want. You represent us. We should be sticking | :33:20. | :33:24. | |
together. Because we look a like and believe in the same thing I have to | :33:25. | :33:27. | |
think like you as Are you taking well. It off now? Clearly, I wasn't | :33:28. | :33:33. | |
wearing it for the right reasons. You are embarrassing yourself. Have | :33:34. | :33:36. | |
you not listened to what I said. Don't tell other people how to live | :33:37. | :33:40. | |
their lives isn't that what half the country think we do anyway? | :33:41. | :33:45. | |
APPLAUS You eluded to the cast earlier. | :33:46. | :33:49. | |
There is a lot of real people, if you like, in this Sunetra as well. | :33:50. | :33:54. | |
Is it right producers scoured the street to bolster the cast in We | :33:55. | :33:58. | |
were authentic trying to get the real deal for the schools to be | :33:59. | :34:02. | |
naturalistic with each other. To bring a flavour of the Yorkshire | :34:03. | :34:05. | |
background we wanted the show to look like and sound like. Because | :34:06. | :34:11. | |
they were new to television, they also weren't inhibited, sorry - | :34:12. | :34:15. | |
that's the word. They weren't as nervous say as they might be had | :34:16. | :34:20. | |
they been on television before. When you can get nervous and say wrong | :34:21. | :34:23. | |
things like I have just done then. They were good not knowing what the | :34:24. | :34:31. | |
end product would be like. They were natural, keen and enthusiastic. The | :34:32. | :34:35. | |
director walked around the streets of Bradford looking for young | :34:36. | :34:39. | |
actors. One girl was on the phone to her parent complaining how she had | :34:40. | :34:44. | |
been suspended from school. Penny over heard her on the score saying, | :34:45. | :34:49. | |
it's good you have been suspended you're now going to be an October | :34:50. | :34:53. | |
are. You must have found a pool of new talent doing it that way? Watch | :34:54. | :34:58. | |
this space in ten years time they may be sitting on this sofa telling | :34:59. | :35:03. | |
you how they started. For a whole crew to descend on you for three | :35:04. | :35:07. | |
months as a community, it can feel discomforting. When you are part of | :35:08. | :35:12. | |
it. If you include them. It's about inclusion. That is a good ethic | :35:13. | :35:17. | |
about this show. Shot in a disused schooling. Nobody lost any | :35:18. | :35:21. | |
schooling. They had their tuition on the side. Well, Ackley Bridge is on | :35:22. | :35:29. | |
tonight at 8.00pm on Channel 4. Turn over, 8.00pm Channel 4. | :35:30. | :35:33. | |
Tomorrow you'll be able to vote for the British invention you think | :35:34. | :35:35. | |
is the greatest in a big live show from the Science Museum archives. | :35:36. | :35:39. | |
For the last few days we've been hearing celebrities | :35:40. | :35:41. | |
champion their favourites and tonight it's the turn | :35:42. | :35:43. | |
of Angela Rippon and Nick Knowles to duel it out. | :35:44. | :35:51. | |
This invention is a magic bullet. Bullet. It's made childbirth 35 | :35:52. | :36:04. | |
times safer. It saved 200 million lives. Without it, you would | :36:05. | :36:24. | |
probably be dead. It's antibiotics. I'm advocating antibiotics because | :36:25. | :36:28. | |
of the immense impact they've had on all of us. You, me, in my case, for | :36:29. | :36:33. | |
instance, I developed tuberculosis when I was six. Now without | :36:34. | :36:38. | |
antibiotics, I probably won't be here now. My invention is an unsung | :36:39. | :36:51. | |
hero. Ubiquitous but overlooked. Unloved, but steadfast in its | :36:52. | :36:55. | |
service to us all. Many would argue that man's best friend is the dog. I | :36:56. | :36:58. | |
would argue that humanitarian's best friend is all around us. It's | :36:59. | :37:02. | |
strong, it's dependable and always there to support us. Welcome to the | :37:03. | :37:10. | |
wonderful world of concrete. Concrete is the building block of | :37:11. | :37:15. | |
our civilisation. This stuff builds our schools and our hospitals and | :37:16. | :37:20. | |
all of our major infrastructure. Am tunnel else and railways, bridges | :37:21. | :37:25. | |
and flood defences, docks and airports, power stations even | :37:26. | :37:29. | |
sewers. Some 70% of the world live in concrete homes. Most of the rest | :37:30. | :37:35. | |
of us have concrete foundations. The result is the most used man made | :37:36. | :37:44. | |
material on earth. Tommy is here. Back by popular demand. Yes. | :37:45. | :37:47. | |
Yesterday we called you Technical Tommy. We are still calling you | :37:48. | :37:53. | |
Technical Tommy. My new name. We have a prey for you. Look at this. | :37:54. | :37:58. | |
That is me, Technical Tommy. The question is - who | :37:59. | :38:03. | |
invented the T-shirt? We haven't got time to get into that. It wasn't | :38:04. | :38:06. | |
British. That's a separate show. Antibiotics? Dr Alexandra Fleming | :38:07. | :38:13. | |
discovered antibiotics. Fay lousily by accident in 1928 in a hospital | :38:14. | :38:17. | |
not far from where we are now. It was developed by two other British | :38:18. | :38:23. | |
people. Howard Flory and Ernst chain. A British invention. Recently | :38:24. | :38:29. | |
this year, in February, they auctioned the petri dish that the | :38:30. | :38:37. | |
original blob of mould was when they first discovered penicillin. It went | :38:38. | :38:44. | |
for ?25,000. It's connected to British life and people are proud of | :38:45. | :38:48. | |
it. The jury is out on concrete, go on? It caused controversy. Concrete | :38:49. | :38:53. | |
is down as part of the show as one of Britain's greatest inventions. We | :38:54. | :38:57. | |
had complaints after Monday's show. I have to do a shout out to Geoff, | :38:58. | :39:02. | |
Linda, Paul, Cliff and Peter who wrote in to say, hang on, concrete | :39:03. | :39:07. | |
is not British. It's Roman. It is. It comes from the Latin word | :39:08. | :39:11. | |
Concetus, which means to grow together. Concrete will feature as | :39:12. | :39:17. | |
part of the show tomorrow it's not a British invention. Cement developed | :39:18. | :39:26. | |
from it is a British I inventioned. Discovered by John Smeaton and | :39:27. | :39:35. | |
developed by Joseph Aspin who is credited for reintroducing concrete | :39:36. | :39:42. | |
to the mainstream in 18 74. What is your favourite invention? The piano. | :39:43. | :39:45. | |
What would life be without a piano auto. Nothing. Any facts? It was | :39:46. | :40:03. | |
invented Byam-Cook an Italian maker. The largest piano is eight foot | :40:04. | :40:08. | |
wide, 156 keys as opposed to the usual 88. A big piano. Big hands you | :40:09. | :40:14. | |
needed to play that. Thank you. Favourite inventions you two? For me | :40:15. | :40:21. | |
it's the egg timer. I've got this egg... Forget the wheel, OK. The egg | :40:22. | :40:26. | |
timer. It goes into the boiling water and it will hum at you when | :40:27. | :40:34. | |
the egg is soft. My egg... It will hum. Killing Me Softly when it's | :40:35. | :40:43. | |
soft and a Hard Day's Night when it's hard. We have run out of time. | :40:44. | :41:00. | |
You can vote for your favourite 8. 30pm. | :41:01. | :41:06. | |
That's all we have time for tonight but we're back tomorrow at 7.00pm | :41:07. | :41:09. | |
A big thank you to Adil Ray and Sunetra Sarker. | :41:10. | :41:13. | |
Ackley Bridge is on tonight, Channel 4 at 8.00pm. | :41:14. | :41:15. | |
Of course Gareth Malone Pitch Battle starts Saturday, 7.30pm, on BBC One. | :41:16. | :41:19. | |
To give you a taste of what to expect here's LMA | :41:20. | :41:22. | |
and Vocal I Sing with a special One show riff-off. | :41:23. | :41:24. | |
# One way or another # I'm going see you | :41:25. | :41:35. | |
# I'm going to need immediate you # One way or another | :41:36. | :41:37. | |
# I'm going to win you # I'm going to get you, get you | :41:38. | :41:41. | |
# One way or another # I'm going to see you | :41:42. | :41:46. | |
# I'm going to meet you # One way or another | :41:47. | :41:49. | |
# I'm going to hold you tight # I want to hold you tight | :41:50. | :41:59. | |
# One way or another # Singular sensation | :42:00. | :42:04. | |
# Every little step she takes # For the girl is second best | :42:05. | :42:12. | |
tonight son measurings oh, give me your attention | :42:13. | :42:24. | |
# Do I really have to mention # She's the one | :42:25. | :42:27. | |
# One love # For the mother's pride | :42:28. | :42:31. | |
# One love for the time's we cried # One love | :42:32. | :42:35. | |
# Got to stay alive # Oh, I will survive | :42:36. | :42:39. | |
# Love me, love me, love me # Hold me, hold me, hold me | :42:40. | :42:44. | |
# Love me, love me # Love me | :42:45. | :42:47. | |
# I will survive # One love | :42:48. | :42:49. | |
# We do believe # One love is all we need | :42:50. | :43:00. | |
# You say I'm crazy # Cos you don't think I know what | :43:01. | :43:08. | |
you've done # But when you call me, baby | :43:09. | :43:16. | |
# I am know I'm not the only one # No, no | :43:17. | :43:28. | |
# I know I'm not the only one # One man | :43:29. | :43:32. | |
# One goal # One vision | :43:33. | :43:36. | |
# One flesh # One true religion | :43:37. | :43:41. | |
# One voice measuring one hope # One real decision | :43:42. | :43:46. | |
# Give me one love # Just give me | :43:47. | :43:50. | |
# One man, one more # One day | :43:51. | :43:55. | |
# Just give me, give me, give me # Fried chicken | :43:56. | :43:58. | |
# You'd better shape-up # You better understand | :43:59. | :44:05. | |
# To my heart I must be true # Love for me and you | :44:06. | :44:09. | |
# You've the one I want # You are the one I want | :44:10. | :44:13. | |
# The one that I want # You are the one I want | :44:14. | :44:16. | |
# Oh-oh, honey # You are the one I want | :44:17. | :44:21. | |
# Oh-oh # The one I need | :44:22. | :44:25. | |
# Oh, yes indeed # You are the one I want! | :44:26. | :44:31. | |
#. CHEERING AND APPLAUSE | :44:32. | :44:38. | |
Hello, I'm Louisa Preston with your 90 second update. | :44:39. | :44:40. | |
At least 12 people have died and 18 are critically ill | :44:41. | :44:43. |