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Hello, and welcome to The One Show
with Angela Scanlon... | 0:00:16 | 0:00:18 | |
And Matt Baker. | 0:00:18 | 0:00:21 | |
Our guest tonight is a Mancunian
maestro with the midas touch - | 0:00:21 | 0:00:25 | |
every single album he has released
in a career spanning three decades - | 0:00:25 | 0:00:28 | |
has gone to number one. | 0:00:28 | 0:00:31 | |
No need for anger, just
let's take a look back... | 0:00:31 | 0:00:35 | |
# I'm a rock and roll star
# So Sally can wait | 0:00:41 | 0:00:47 | |
# She knows it's too late as she's
walking on by | 0:00:47 | 0:00:55 | |
# Little By Little
# Gave you everything you ever | 0:00:55 | 0:00:59 | |
dream.
# She fell | 0:00:59 | 0:01:01 | |
# And I spell # | 0:01:01 | 0:01:11 | |
He doesn't need an introduction...
Here he is anyway... It is Noel | 0:01:16 | 0:01:20 | |
Gallagher everyone! | 0:01:20 | 0:01:25 | |
Welcome Noel - congratulations
are in order as you have set a UK | 0:01:25 | 0:01:29 | |
record - you are officially
the first artist to score | 0:01:29 | 0:01:34 | |
ten consecutive number
one studio albums. | 0:01:34 | 0:01:36 | |
Looking at this picture we were
trying to decide how you feel here? | 0:01:36 | 0:01:40 | |
LAUGHTER
That is me looking overwhelmed! We | 0:01:40 | 0:01:49 | |
were not aware of the record until a
couple of days before the people | 0:01:49 | 0:01:54 | |
from the chart company phoned up and
asked for a quote. It was ten number | 0:01:54 | 0:02:00 | |
ones in a row. I don't like to make
a big deal out of it but I like to | 0:02:00 | 0:02:04 | |
make a really big deal out of it!
Everything I do at the moment, I get | 0:02:04 | 0:02:09 | |
people to mention it! Well, I think
it is fabulous! | 0:02:09 | 0:02:12 | |
The final 2018 inductees
for the Rock and Roll Hall of Fame | 0:02:12 | 0:02:15 | |
have just been revealed, | 0:02:15 | 0:02:16 | |
they include Bon Jovi,
The Cars, Dire Straits, | 0:02:16 | 0:02:21 | |
The Moody Blues and Nina Simone. | 0:02:21 | 0:02:25 | |
To be eligible the acts must have | 0:02:25 | 0:02:27 | |
released their first single or album
at least 25 years prior to the year | 0:02:27 | 0:02:30 | |
of nomination. | 0:02:30 | 0:02:31 | |
We did some maths... | 0:02:31 | 0:02:34 | |
Definitely Maybe, your
debut album with Oasis | 0:02:34 | 0:02:36 | |
was released in 1994,
and will be eligible | 0:02:36 | 0:02:44 | |
for induction in 2019... | 0:02:44 | 0:02:46 | |
You might have to reform, would you
do it? I would do it... Would you? | 0:02:46 | 0:02:53 | |
You would have two, to accept it? I
guess you would have two, yes. | 0:02:53 | 0:02:58 | |
That's if you accept it... Would
you? I am going to say... No. Well, | 0:02:58 | 0:03:10 | |
there was a hesitation... Your
instincts said yes. Shall we say | 0:03:10 | 0:03:14 | |
yes? Do it again and I will say yes!
Would you reform? Absolutely, I | 0:03:14 | 0:03:22 | |
would be thrilled! Ready and
waiting, you heard it here first! | 0:03:22 | 0:03:28 | |
You are flying high at the moment,
we will be talking more about that | 0:03:28 | 0:03:34 | |
in a moment. | 0:03:34 | 0:03:34 | |
What's in a name? | 0:03:34 | 0:03:40 | |
My name is derived from the Greek
word "angelos" meaning | 0:03:40 | 0:03:43 | |
"messenger of the gods". | 0:03:43 | 0:03:44 | |
But it's now being used
in a whole new way - | 0:03:44 | 0:03:47 | |
as Kate McIntyre explains. | 0:03:47 | 0:03:47 | |
It is a situation that is all too
familiar for many of us. You are on | 0:03:47 | 0:03:51 | |
a date or at a party and you feel
unsafe, hassled or threatened by | 0:03:51 | 0:03:54 | |
someone. With Christmas
get-togethers in full swing, | 0:03:54 | 0:03:57 | |
situations like this can come up
more often than usual. Have you ever | 0:03:57 | 0:04:01 | |
been at a work party or you have
been on a date or something and felt | 0:04:01 | 0:04:08 | |
uncomfortable? Yes, sometimes I've
had to be rude so I get them to | 0:04:08 | 0:04:11 | |
understand that I don't want do with
them. I just want a nice time on my | 0:04:11 | 0:04:15 | |
own. Harassment can be something
like a comment, up to someone not | 0:04:15 | 0:04:22 | |
leaving you alone on a night out.
When jingle Bells turned to warning | 0:04:22 | 0:04:26 | |
bells, what can you do? Excuse me,
can I speak to Angela? Of course, | 0:04:26 | 0:04:32 | |
she's out the back. Do you want to
see her? I'm not asking for a | 0:04:32 | 0:04:37 | |
friend, "?Angela is a code word.
When the bar staff hear someone | 0:04:37 | 0:04:43 | |
asking for Angela, they know to
help. The scheme started here in | 0:04:43 | 0:04:48 | |
Lincolnshire, and Hayley came up
with the idea. If you are feeling | 0:04:48 | 0:04:51 | |
uncomfortable and you are feeling
vulnerable, you need help or you | 0:04:51 | 0:04:55 | |
need to get out this situation, you
go up to the bar and you say, is | 0:04:55 | 0:05:00 | |
Angela there? Immediately the bar
staff know what you mean, they will | 0:05:00 | 0:05:03 | |
take you to the staff room or an
emergency exit or to the toilets, | 0:05:03 | 0:05:07 | |
and give you some time to establish
what you want to do. Whether it is | 0:05:07 | 0:05:16 | |
called a friend or get a taxi called
for you, or exit the building | 0:05:16 | 0:05:18 | |
without being seen. Ask for Angela
has recently been taken up by bars, | 0:05:18 | 0:05:22 | |
cafes and pubs nationwide. Places
part of the scheme are recognisable | 0:05:22 | 0:05:25 | |
by these posters. It isn't only
women who Have to ask for Angela, | 0:05:25 | 0:05:31 | |
men use this scheme as well. You've
asked for Angela yourself? I was on | 0:05:31 | 0:05:37 | |
a night out, and a gentleman came
and sat next to me, he came along | 0:05:37 | 0:05:43 | |
and got closer, I walked away. Next
minute, his hands are around my | 0:05:43 | 0:05:48 | |
waist and I felt so uncomfortable, I
asked one of the bar staff for | 0:05:48 | 0:05:55 | |
Angela. The next minute, all of the
bar staff were there to pull me out | 0:05:55 | 0:06:00 | |
away, made sure the guy was away
from me. They spoke to him, they | 0:06:00 | 0:06:05 | |
kept me inside until I felt safe. Is
the best thing that you can do. So, | 0:06:05 | 0:06:10 | |
what do people out on the town
tonight think of Ask for Angela? As | 0:06:10 | 0:06:16 | |
the father of three daughters, it's
fantastic to have Angela sat in the | 0:06:16 | 0:06:21 | |
corner. Would you consciously choose
a bar in the scheme? If I was going | 0:06:21 | 0:06:25 | |
on a date with a stranger, I would.
When I heard of it, I thought it was | 0:06:25 | 0:06:30 | |
amazing. I think it's a benefit. I
think it's good that we have that in | 0:06:30 | 0:06:36 | |
place. I just feel that it's sad to
be in place. Worst comes to worst, | 0:06:36 | 0:06:41 | |
you can ask for help about making a
big deal. Uncomfortable situations | 0:06:41 | 0:06:46 | |
on a night out can never be
eradicated completely. But with | 0:06:46 | 0:06:50 | |
schemes like this, Angels this
Christmas could come in the form of | 0:06:50 | 0:06:54 | |
a friend behind the bar named
Angela... | 0:06:54 | 0:06:59 | |
STUDIO: This came as news to me. I
had never heard of it. I hadn't | 0:06:59 | 0:07:04 | |
heard of it until you told me about
it. And your daughter is about aged | 0:07:04 | 0:07:10 | |
18 now? There she is. All of this
stuff will be on the radar for you | 0:07:10 | 0:07:16 | |
as a dad. It's a good thing. It's
open... Imagine, the clubs I would | 0:07:16 | 0:07:24 | |
go to, there are taxi ranks outside.
Imagine jumping the queue? You just | 0:07:24 | 0:07:32 | |
say, Angela. You get a niqab and go | 0:07:32 | 0:07:34 | |
suggesting people | 0:07:34 | 0:07:34 | |
-- you get in a taxi and you go
home. I'm not suggesting that people | 0:07:38 | 0:07:42 | |
do that! Elton John has said that
your new album is the happiest thing | 0:07:42 | 0:07:47 | |
he's ever listen to. And he would
no! Was that the intention to make a | 0:07:47 | 0:07:57 | |
joyous record? I didn't know what I
would get out of it going into it, I | 0:07:57 | 0:08:01 | |
was in the studio but the backing
tracks suggested things that were | 0:08:01 | 0:08:06 | |
quite upbeat and uplifting. It's
difficult to achieve in music, to | 0:08:06 | 0:08:12 | |
get some kind of joy into a song. It
is very easy to pick up a guitar and | 0:08:12 | 0:08:18 | |
watch the news, and write about
things going on in the news. It is | 0:08:18 | 0:08:23 | |
difficult to write about the
universal truths of happiness and | 0:08:23 | 0:08:26 | |
love. Especially in that climate. So
it was something that you were | 0:08:26 | 0:08:30 | |
trying to do? Have you been working
on it for a long time to nail that | 0:08:30 | 0:08:35 | |
concept? No... When I am writing a
song I would always try and put some | 0:08:35 | 0:08:39 | |
kind of hope in it. Even if the song
lends itself to being sad, I would | 0:08:39 | 0:08:44 | |
always try and round it off
lyrically with some hope or joy in | 0:08:44 | 0:08:47 | |
it but it is difficult to do. Happy
songs can be slightly banal, and you | 0:08:47 | 0:08:59 | |
do not do it often. If you could do
it all of the time it would be | 0:08:59 | 0:09:05 | |
great, but... Umm, I managed to do
it though! You nailed it! Now, Holy | 0:09:05 | 0:09:12 | |
Mountain... That is banal! It's one
of your favourite pieces of music | 0:09:12 | 0:09:15 | |
ever? The flip thing is a sample of
a record from the 1970s and my | 0:09:15 | 0:09:21 | |
producer said, what you think of
this? -- the flute thing. I said, | 0:09:21 | 0:09:27 | |
it's possibly the most annoying
thing I've ever heard in my entire | 0:09:27 | 0:09:31 | |
life... It's going to be a hit! He
said, will we get a song out of it | 0:09:31 | 0:09:35 | |
written what I said, if it hits me!
Let's have a listen? Please do! | 0:09:35 | 0:09:42 | |
# She fell, she fell
# Right under my spell | 0:09:42 | 0:09:50 | |
# She danced right into my hands
# Come on! | 0:09:50 | 0:10:00 | |
# If you feel the need
# I said you've got to sing to me | 0:10:00 | 0:10:04 | |
# | 0:10:04 | 0:10:06 | |
It is an earworm. You mentioned your
producer, and how you built this | 0:10:13 | 0:10:17 | |
record was different to what you've
done in the past. Different to being | 0:10:17 | 0:10:22 | |
alongside them in the studio... What
I've done in my career, I will sit | 0:10:22 | 0:10:26 | |
at home for a year before I write a
record, I go to the studio and we | 0:10:26 | 0:10:33 | |
pick out the best songs. That's
where you go, you aim for it and do | 0:10:33 | 0:10:37 | |
your best. My producer, David
Holmes, hello, David, wherever you | 0:10:37 | 0:10:42 | |
are... In Northern Ireland. He said,
let's write it in the studio. The | 0:10:42 | 0:10:48 | |
main difference was whenever I did
anything is starting to remotely | 0:10:48 | 0:10:52 | |
sound like a Oasis, he said, you've
done all of that. Let's try | 0:10:52 | 0:10:57 | |
something more annoying! And it
ended up sounding quite different. | 0:10:57 | 0:11:05 | |
As a songwriter, you lapse into lazy
habits. Eugene on the things that | 0:11:05 | 0:11:10 | |
you are known for. But, you need
pushing sometimes. Pushing in a | 0:11:10 | 0:11:15 | |
different direction. And for you,
playing live is the Holy Grail, | 0:11:15 | 0:11:20 | |
really. That's the payoff. It is
literally the payoff these days! | 0:11:20 | 0:11:24 | |
LAUGHTER
Do you think about that payoff while | 0:11:24 | 0:11:31 | |
you are writing? Umm... I would
generally treat the three things | 0:11:31 | 0:11:38 | |
right, recording and playing live,
and while I am writing, you write | 0:11:38 | 0:11:43 | |
the best that you can. In the
studio, you are trying to get out in | 0:11:43 | 0:11:48 | |
the speaker is what you've got in
your head. But on tour, that's when | 0:11:48 | 0:11:54 | |
you know how good your songs are,
you place them against other songs | 0:11:54 | 0:11:58 | |
in your career and how good they
are. How they will stand up. You see | 0:11:58 | 0:12:03 | |
what people react the best two. The
first few weeks on tour can be | 0:12:03 | 0:12:07 | |
pretty... Not difficult, but you are
working out what will work best in a | 0:12:07 | 0:12:12 | |
sat. But you only get to know them
after six or seven weeks. -- best on | 0:12:12 | 0:12:17 | |
a set. For you it is about the
audience, how competitive would you | 0:12:17 | 0:12:22 | |
say you are with your music these
days? Back in the 1990s, their worst | 0:12:22 | 0:12:28 | |
good conflict between Oasis and
Blur, in Britpop. These days, being | 0:12:28 | 0:12:32 | |
knocked off the top spot by Sam
Smith and Ed Sheeran is... I've | 0:12:32 | 0:12:40 | |
tried to goad Sam Smith into a war
of words but unfortunately people | 0:12:40 | 0:12:44 | |
these days are too nice! I will get
him, him and Harry Styles! Does it | 0:12:44 | 0:12:49 | |
annoy you, the clean cut? I tell you
what they have got, I was at radio | 0:12:49 | 0:12:56 | |
one the other we can Sam Smith was
there. A lovely lad. He had a bigger | 0:12:56 | 0:13:01 | |
entourage than the Pope! There were
about 60 people with him. I thought, | 0:13:01 | 0:13:07 | |
good God! I was there on my own! As
you have done today. The current | 0:13:07 | 0:13:14 | |
crop of pop stars... Yeah, they are
a bit clean cut and a bit nice. But | 0:13:14 | 0:13:22 | |
in the 1990s, that was a bloodbath,
man! His eyes lighting up as he says | 0:13:22 | 0:13:29 | |
"Bloodbath"! One Direction got to
11. Who Built The Moon is out now. | 0:13:29 | 0:13:52 | |
Blood services around the UK have
released what they want for | 0:13:52 | 0:13:55 | |
Christmas and that is more donors. | 0:13:55 | 0:13:58 | |
To be honest it's the same
thing they've been asking | 0:13:58 | 0:14:00 | |
for since transfusions began nearly
a hundred years ago - | 0:14:00 | 0:14:02 | |
here's Natasha Raskin
on the original blood drives. | 0:14:02 | 0:14:04 | |
John Cartland would leave in the
dead of night in Edinburgh and drive | 0:14:04 | 0:14:07 | |
his father's car quickly through the
streets but this was not joyriding. | 0:14:07 | 0:14:09 | |
This was a matter of life and death.
In the early days of the Scottish | 0:14:09 | 0:14:14 | |
National blood transfusion service.
In the 1920s and 1930s, blood | 0:14:14 | 0:14:20 | |
transfusion was in its infancy and
the UK's first blood donor service, | 0:14:20 | 0:14:23 | |
run by the British Red Cross in
London, only started in 1921. This | 0:14:23 | 0:14:28 | |
is a typical piece of apparatus from
the 1920s - 30s. The donor and the | 0:14:28 | 0:14:34 | |
patient would have been in very
close proximity. You had a line | 0:14:34 | 0:14:38 | |
going into the donor and a line
going into the patient. You would | 0:14:38 | 0:14:42 | |
take the blood from the donor and
inject it into the patient. It was | 0:14:42 | 0:14:49 | |
quite an intimidating procedure so
blood donors were quite scarce. | 0:14:49 | 0:14:53 | |
Edinburgh dentist Jack clock blend
wanted | 0:14:53 | 0:14:55 | |
-- Jack Copeland wanted to change
that. I've come back to where he | 0:14:59 | 0:15:04 | |
lived and worked. A friend told him
that his wife had died, and she | 0:15:04 | 0:15:08 | |
could have been saved with a blood
transfusion. Jack decided to start | 0:15:08 | 0:15:13 | |
his own blood donation register. He
would ferry blood donors to the | 0:15:13 | 0:15:18 | |
hospital but within months, the
service got so busy that his dental | 0:15:18 | 0:15:21 | |
practice began to suffer... It was
getting too much, he called on my | 0:15:21 | 0:15:28 | |
teenage father, can you take on the
night-time calls coming he said? | 0:15:28 | 0:15:33 | |
Hello? Every night, John would take
calls from doctors needing blood. It | 0:15:33 | 0:15:38 | |
was his responsibility to drive the
donor to and from hospital in his | 0:15:38 | 0:15:41 | |
father's car. He was only 13 years
old and clearly underage! So, did | 0:15:41 | 0:15:48 | |
the authorities turn a blind eye?
The Lord Protestant Edinburgh was a | 0:15:48 | 0:15:53 | |
supporter of the blood transfusion,
and so I think the police knew what | 0:15:53 | 0:15:59 | |
was going on! In truth, John | 0:15:59 | 0:16:01 | |
Copeland style, we've got our own
1930s Lanchester and we are going to | 0:16:04 | 0:16:09 | |
look at his father's destinations...
The Royal Infirmary, the Hospital | 0:16:09 | 0:16:15 | |
for sick children, and private
hospitals in streets like Moray | 0:16:15 | 0:16:19 | |
Place. People wrote to your
grandfather and father, letters of | 0:16:19 | 0:16:23 | |
thanks. If it was an emergency
situation, and it did not always | 0:16:23 | 0:16:28 | |
turn out as you would hope... I
regret that the great human effort | 0:16:28 | 0:16:35 | |
was in vain. "I Have lost my
comforter, councillor. Everything in | 0:16:35 | 0:16:39 | |
the world to me but I pray to God
that you, you will have health and | 0:16:39 | 0:16:44 | |
strength to carry on your good work
in the interests of humanity". Very | 0:16:44 | 0:16:49 | |
touching. So sad. It was really
selfless work. But worth it for the | 0:16:49 | 0:16:55 | |
lives these transfusion saved.
I wish to thank you very sincerely | 0:16:55 | 0:16:59 | |
on behalf of my brother, from Ward
three of the Royal Infirmary, for | 0:16:59 | 0:17:06 | |
your real kindness in coming forward
to give him a blood transfusion. | 0:17:06 | 0:17:10 | |
We feel very grateful to you indeed.
That is wonderful. Jack Copland | 0:17:10 | 0:17:18 | |
Centre himself into fundraising and
publicising the service. By 1936 he | 0:17:18 | 0:17:23 | |
had a list of 350 blood donors and
helped to create the Edinburgh blood | 0:17:23 | 0:17:29 | |
transfusion service. By 1939, with
the advent of the blood bank, cars | 0:17:29 | 0:17:35 | |
were transporting donor's blood
instead of people themselves. But | 0:17:35 | 0:17:39 | |
speed was still of the essence. Last
year, nearly 31,000 people in | 0:17:39 | 0:17:45 | |
Scotland were helped with red cell
blood transfusions. The principle is | 0:17:45 | 0:17:50 | |
still the same, we are still 24/7,
365 days a year on call. We are so | 0:17:50 | 0:17:58 | |
grateful to Jack, realising how
important blood was in future. What | 0:17:58 | 0:18:01 | |
would John have made of this fast
car with blue lights? He would have | 0:18:01 | 0:18:06 | |
been writing there, and up the road!
He would have loved it! Jack Copland | 0:18:06 | 0:18:13 | |
and his young son left a brilliant
legacy to the people of Scotland and | 0:18:13 | 0:18:17 | |
now the Scottish blood transfusion
service on him they with this | 0:18:17 | 0:18:23 | |
building the Jack Copland Centre
building. | 0:18:23 | 0:18:30 | |
They are about 80%, but the Jack
Copland Centre is on track to be | 0:18:30 | 0:18:33 | |
operational by next spring. At this
time of the year, blood donations | 0:18:33 | 0:18:39 | |
drop significantly, so if you can,
do donate over the next few weeks. | 0:18:39 | 0:18:42 | |
The link is on the website of where
and how to donate. Noel, we | 0:18:42 | 0:18:49 | |
understand we are helping you out. I
could have done with some of that in | 0:18:49 | 0:18:53 | |
the 90s! A whole different
conversation. You are getting out of | 0:18:53 | 0:19:00 | |
Christmas shopping by coming here.
It is my least favourite time of the | 0:19:00 | 0:19:05 | |
year. So you are delighted to in
this subtly decorated studio. I told | 0:19:05 | 0:19:11 | |
my wife I was on a TV marathon so I
wouldn't be home until tomorrow. | 0:19:11 | 0:19:16 | |
You're not into the whole gifting
thing? It's just the atmosphere of | 0:19:16 | 0:19:21 | |
Christmas, it winds me up, like the
adverts. Apart from them using my | 0:19:21 | 0:19:26 | |
music and I get paid a fortune. The
one that Martin Freeman is in the | 0:19:26 | 0:19:31 | |
minutes, you know that one... Over
and over... The jingles and walking | 0:19:31 | 0:19:36 | |
through shops. I tell you what
annoys me, glitter. The staff at my | 0:19:36 | 0:19:43 | |
office are having a Christmas party
right now, and it was shaping up to | 0:19:43 | 0:19:48 | |
be, frankly, the saddest Christmas
party ever. I was in the office and | 0:19:48 | 0:19:52 | |
it's covered in glitter. Why indeed!
I've got it on my jeans, I had it on | 0:19:52 | 0:19:58 | |
my nose before. My vision of what it
would be like to meet you is | 0:19:58 | 0:20:04 | |
absolutely bang on. The Grinch, kind
I taught the Grinch or that he | 0:20:04 | 0:20:11 | |
knows. What did you get your mum? I
get the same thing every year. My | 0:20:11 | 0:20:20 | |
wife looks after it all. My mum is
like, thanks for the present. I | 0:20:20 | 0:20:27 | |
assume that Liam doesn't get
anything. He's been benefiting from | 0:20:27 | 0:20:34 | |
my genius for a long time. He'll
have to make do with that again this | 0:20:34 | 0:20:37 | |
year. Quickly, let's have a look of
this photo of you at the recount, | 0:20:37 | 0:20:43 | |
because you don't enjoy football
pundit. Your rat the match between | 0:20:43 | 0:20:47 | |
Man United and Man City. Apparently,
they were all singing Look Back In | 0:20:47 | 0:20:53 | |
Anger. Yes, and Jose Mourinho didn't
like it, did he? That might have | 0:20:53 | 0:21:00 | |
been the best 48 hours ever, to sit
beside Gary Neville, watching him | 0:21:00 | 0:21:03 | |
have a meltdown, and then to kind of
leave the stadium and there had been | 0:21:03 | 0:21:08 | |
a fracas, so to read in the papers
that they were playing Look Back In | 0:21:08 | 0:21:17 | |
Anger at excruciating volume and
wound up Jose Mourinho, the most | 0:21:17 | 0:21:20 | |
hated man in the world, it was just
too much. The best Christmas present | 0:21:20 | 0:21:24 | |
I've ever had! | 0:21:24 | 0:21:27 | |
Nadiya Hussain and Christine Walkden
have spent the last year visiting | 0:21:27 | 0:21:29 | |
the passionate gardeners
of Walsall Road in Birmingham. | 0:21:29 | 0:21:31 | |
They've already seen the allotments
in Spring, Summer and Autumn. | 0:21:31 | 0:21:34 | |
No prizes for guessing what's next. | 0:21:34 | 0:21:42 | |
It's winter, and we are back for our
last visit this year to peas in | 0:21:42 | 0:21:48 | |
Birmingham to check up on our lovely
allotmenteers. Where has the year | 0:21:48 | 0:21:55 | |
gone? It's flown by. We had such
fun. What happens to an allotment? | 0:21:55 | 0:22:01 | |
Does it just go into hibernation?
No, digging, weeding, cutting back, | 0:22:01 | 0:22:09 | |
fruit trees, greenhouse, picking
Brussels sprouts for Christmas Day. | 0:22:09 | 0:22:13 | |
Last time we were here, we saw a
selection of juicy Asian vegetables, | 0:22:13 | 0:22:17 | |
including this whopper. I've not
seen one that big in my life! And | 0:22:17 | 0:22:23 | |
Christine tried to teach me a thing
or two about the quality of the | 0:22:23 | 0:22:26 | |
soil. You've got good hand cream.
No, I haven't! You can smell the | 0:22:26 | 0:22:36 | |
earth. Is the Earth living up to its
promise? We got some parsnips. The | 0:22:36 | 0:22:43 | |
bigger the crown, theoretically, the
more leaves, the bigger the | 0:22:43 | 0:22:48 | |
parsnips. Look at that! That
enormous! The best thing is, when | 0:22:48 | 0:22:58 | |
they are frosted, the carbohydrate
toasters sugar and feels we doubled | 0:22:58 | 0:23:01 | |
windy big these? January. I planted
over 50 and I've probably got about | 0:23:01 | 0:23:09 | |
half. If you sold them later, you
would get a higher percentage. What | 0:23:09 | 0:23:15 | |
tips would you give me for growing
parsnips? Plant them in March. What | 0:23:15 | 0:23:26 | |
are we up to today? We are sitting
in the freezing cold! We are going | 0:23:26 | 0:23:30 | |
to cook that parsnip with an
aromatic, spicy, curry flavoured | 0:23:30 | 0:23:35 | |
soup. What would you like me to do?
This big parsnip leads greeting. | 0:23:35 | 0:23:43 | |
Some garlic... Into the hot oil, we
put garlic, onion, chilli flakes, | 0:23:43 | 0:23:47 | |
curry powder and turmeric. In a good
peeler. You are very good. In dopey | 0:23:47 | 0:23:58 | |
peelings, mix it all up, add water
and let it simmer. -- in go the | 0:23:58 | 0:24:07 | |
peelings. It's taken 11 months to
get this parsnip. We are going to | 0:24:07 | 0:24:10 | |
honour it and cook it long and slow
and let it take its time. OK. I | 0:24:10 | 0:24:20 | |
think allotment are romantic. There
was something Sarina and calm. | 0:24:20 | 0:24:29 | |
Caring, loving, romantic.
Relationships bring this place | 0:24:29 | 0:24:34 | |
together and when newcomer Elaine
inherited a shed, her neighbours | 0:24:34 | 0:24:37 | |
were happy to help. It was lovely to
see these wonderful people appearing | 0:24:37 | 0:24:44 | |
in saying, let's sort it, and
pushing it. I was amazed. I think | 0:24:44 | 0:24:50 | |
allotment are romantic. Really? I
can sit here and dreamy romance in | 0:24:50 | 0:24:59 | |
my shed but there's nothing
happening here. It's boring, I'm | 0:24:59 | 0:25:01 | |
afraid. But from the land of
bromance, Colin is planting a bit of | 0:25:01 | 0:25:11 | |
Sicily. -- the land of romance. How
do you grow Mediterranean vegetables | 0:25:11 | 0:25:15 | |
in this climate? If you keep working
hard, you achieve the fruit of it. | 0:25:15 | 0:25:21 | |
There are so many things here. We
are in a city so you don't get the | 0:25:21 | 0:25:28 | |
extremes of weather, and you get
some protection from the heat. The | 0:25:28 | 0:25:34 | |
plant is modified. But we are not
feeling that he'd today. Time for | 0:25:34 | 0:25:37 | |
the soup. Super! Really sweet. Shall
we share it? No, we'll have it. | 0:25:37 | 0:25:49 | |
Served with a dollop of York and
some parsley, what is John's | 0:25:49 | 0:25:53 | |
verdict? -- A dollop of yoghurt.
It's lovely. Really nice. Everybody | 0:25:53 | 0:26:02 | |
has been so welcoming and I've had
such an amazing time. I reckon we | 0:26:02 | 0:26:06 | |
should come back. | 0:26:06 | 0:26:10 | |
Will you have asked? Yes! A great
bunch. What a lovely year it's been. | 0:26:10 | 0:26:18 | |
It's been a happy time and they have
always been so helpful and | 0:26:18 | 0:26:21 | |
welcoming. To see them develop and
see the crops they've grown, it's | 0:26:21 | 0:26:26 | |
been fantastic. A real sense of
community board your mum is a big | 0:26:26 | 0:26:31 | |
gardener, isn't she? She gets stuck
in. A very tidy garden. That's the | 0:26:31 | 0:26:38 | |
right thing disabled let's hope
she's going to be proud of you. -- | 0:26:38 | 0:26:45 | |
the right thing to say. We're
putting your knowledge to the test. | 0:26:45 | 0:26:49 | |
We have a plant which has a mention
in one of your songs. Any idea what | 0:26:49 | 0:26:52 | |
it is? You should know what that is,
some trying. Shall we hum it? | 0:26:52 | 0:27:03 | |
THEY HUM THE SONG.
Morning glory. When you said it | 0:27:03 | 0:27:14 | |
began with the letter M, I was
thinking, it can't be the other one, | 0:27:14 | 0:27:17 | |
can it? We've got some gardening
queries from viewers. I think, are | 0:27:17 | 0:27:25 | |
you going to read the first one? The
first one is from lawn, who asks, I | 0:27:25 | 0:27:33 | |
don't know how to prove an apple
tree but over the last six years, it | 0:27:33 | 0:27:37 | |
produces | 0:27:37 | 0:27:40 | |
masses of leaves but no longer
fruit. Can you tell if it is a chip | 0:27:40 | 0:27:47 | |
bearer rather than a spur and, if
you get that right, there is a | 0:27:47 | 0:27:50 | |
speedboat but should she prune it in
winter or summer? No conferring. | 0:27:50 | 0:27:58 | |
Looking at that, it is a shade tree
against a fence and it looks from | 0:27:58 | 0:28:05 | |
the nodules along those low branches
that it is a suburb bearer, so you'd | 0:28:05 | 0:28:09 | |
prune it in the summer and prune
those upright shoots back to the | 0:28:09 | 0:28:13 | |
leaves. That's correct, you win a
speedboat! Diane wants to know if | 0:28:13 | 0:28:21 | |
she can put ash from a log burner
onto the soil. It produces potash, | 0:28:21 | 0:28:28 | |
but it needs to be wood ash and not
Cole ash. Noel, you said you weren't | 0:28:28 | 0:28:37 | |
great at gifting. He is a present
that you can pretend. Your mum loss | 0:28:37 | 0:28:46 | |
a gnome. It's striking. -- your mum
loves. I look like a Geordie | 0:28:46 | 0:28:51 | |
cracker! Here, I look amazing. It's
a collectors item. It's always been | 0:28:51 | 0:29:04 | |
a pair, so you need a pair.
OR TALKING AT ONCE. | 0:29:04 | 0:29:09 | |
Thank you. Noel will be touring next
year with High Flying Birds. Ed | 0:29:09 | 0:29:19 | |
Balls will be here tomorrow along
with music from Elbow, who will be | 0:29:19 | 0:29:23 | |
outside with | 0:29:23 | 0:29:24 |