Browse content similar to 20/02/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to The One Show with Matt Baker. | :00:14. | :00:16. | |
Nowhere else will you see a non-league side play | :00:17. | :00:28. | |
the 12-time winners - and with just under | :00:29. | :00:30. | |
an hour to kick off - we'll catch up with Matt Allwright | :00:31. | :00:33. | |
at the Sutton ground as they prepare for tonight's epic David and Goliath | :00:34. | :00:36. | |
They are just warming up. Just in case. | :00:37. | :00:45. | |
For anyone who's more into a funky riff than footy - | :00:46. | :00:48. | |
we'll also be travelling back to 1986 to explore the making | :00:49. | :00:51. | |
of the extraordinarily successful album Brothers In Arms | :00:52. | :00:52. | |
And tonight's guests are soon to be tapping up a storm on the West End. | :00:53. | :01:05. | |
It's Amanda Holden and Tracy Ann Oberman. | :01:06. | :01:17. | |
Accompanied by the Palmerstone Stage School. CHEERING | :01:18. | :01:37. | |
Give us the full routine. Sit yourself down. Thank you to all of | :01:38. | :01:46. | |
our lovely amateur tap dancers. Now, this has come from the amateur side | :01:47. | :01:50. | |
of things because of the play Stepping Out which you are going to | :01:51. | :02:03. | |
being. Now, tell others what is a Suzi Q and what is a cramp role? | :02:04. | :02:11. | |
Well, we don't know. It goes around like this. I like a cramp role. It | :02:12. | :02:19. | |
is like a horse. Initially, I was calling it a crab roll. For ages. | :02:20. | :02:27. | |
When we are doing it, we make it up. Because of our brains in our mid to | :02:28. | :02:32. | |
late 40s. It's complicated. I don't really know the proper names for | :02:33. | :02:38. | |
everything. We make up stories. We say we are the Canadian Mounties. | :02:39. | :02:48. | |
Style it out. It was just about the defeat at first but now in the West | :02:49. | :02:53. | |
End, there is all hands and sticks and things. We will talk about it | :02:54. | :03:01. | |
all later. According to a recent survey, 47% of people would like to | :03:02. | :03:06. | |
change careers. What if you could get the job of your dreams and you | :03:07. | :03:10. | |
didn't have to start at the very bottom. Alex Riley is on the case. | :03:11. | :03:17. | |
Would you like a new career? Anybody fancy a career change. I'm helping | :03:18. | :03:21. | |
the police with their recruitment drive. High level of integrity? | :03:22. | :03:25. | |
Tough decision-making under pressure. Yes. Team leader with | :03:26. | :03:36. | |
focus and vision. They are not looking for young PCs to plot the | :03:37. | :03:41. | |
beat. They want experienced professional leaders. A few years | :03:42. | :03:44. | |
more experience and they would bite your hand up. They go in as | :03:45. | :03:57. | |
inspectors. 45 grand. Not to be sniffed at. You can now join the | :03:58. | :04:03. | |
police force at a senior level without working up from constable. | :04:04. | :04:07. | |
They are hoping it will breathe new life and ideas into the fours and | :04:08. | :04:12. | |
challenge the status quo. Critics believe it could be elitist and | :04:13. | :04:16. | |
caused dissent among the ranks. The programme launched in 2014 to | :04:17. | :04:21. | |
attract exceptional people with transferable skills in management | :04:22. | :04:26. | |
and leadership. If you are successful, you could end up like | :04:27. | :04:29. | |
Mark who is four months into training to be an inspector for West | :04:30. | :04:34. | |
Yorkshire Police. You have got the uniform but what is your career | :04:35. | :04:38. | |
background? I worked in health and fitness for a number of years. I was | :04:39. | :04:43. | |
a health club manager and personal trainer. I joined the highways | :04:44. | :04:49. | |
agency for several years. I thought this was my dream career. I could | :04:50. | :04:54. | |
combine being a police officer with all my experience and skills. And | :04:55. | :04:58. | |
you can go in with the pips on the shoulder and the special cap. It's | :04:59. | :05:04. | |
important to get a special grounding in policing. We are not let loose | :05:05. | :05:10. | |
without experience. Nicola Dale heads the programme. She goes | :05:11. | :05:13. | |
through applications and decides who to train up. What is the thinking | :05:14. | :05:21. | |
behind this scheme? We have so much talent. Seeing things differently | :05:22. | :05:26. | |
from a different perspective. We put the right person through a robust | :05:27. | :05:31. | |
training programme. It is not about coming in and running a murder or a | :05:32. | :05:36. | |
kidnap five minutes later. I've heard it's cost over half ?1 million | :05:37. | :05:39. | |
and the amount of people that have made it into policing is only eight. | :05:40. | :05:49. | |
This isn't about the people. Is it value for money? Yes. It is because | :05:50. | :05:57. | |
it is changing policing. The rewards of coming through the scheme are | :05:58. | :06:01. | |
there to be had. Elizabeth Chapple was a tax and HR consultant. Now she | :06:02. | :06:08. | |
is police superintendent for neighbourhoods and royal Parks where | :06:09. | :06:12. | |
amongst others she's involved in security for changing of the guard. | :06:13. | :06:16. | |
Transferable skills I brought in from other roles were around | :06:17. | :06:20. | |
inspiring other people to do their best and using negotiation and | :06:21. | :06:25. | |
diplomacy skills. I need to work very closely with the Royal | :06:26. | :06:28. | |
household and members of the public to keep people safe. If you go in | :06:29. | :06:34. | |
the middle, see them come out both ways. I now very much look forward | :06:35. | :06:40. | |
to coming to work everyday. I work a bit harder as well. The scheme has | :06:41. | :06:46. | |
come in for criticism as well. As well as concerns about cost, Ken | :06:47. | :06:51. | |
Marsh of the police officers Federation believes that police | :06:52. | :06:55. | |
officers need to work their way through the ranks. My members are | :06:56. | :07:00. | |
not keen on this at all. They feel that people coming into not | :07:01. | :07:04. | |
understand the basics of policing. It is a die-hard years in the | :07:05. | :07:07. | |
younger ranks that give you the skills to be a senior officer, I | :07:08. | :07:12. | |
believe. They have experience of managing people and taking risks and | :07:13. | :07:17. | |
dealing with curveballs in different walks of life. Most of all, they | :07:18. | :07:22. | |
have a different perspective. Whether it be a high risk missing | :07:23. | :07:26. | |
person investigation, they may see something different that others | :07:27. | :07:31. | |
don't see. That makes us better at our job. With my background in | :07:32. | :07:39. | |
documentaries, research and poster sales, I feel I might have what it | :07:40. | :07:45. | |
takes. I think you will see that I have the right stuff. Interests? | :07:46. | :07:50. | |
Solving crimes. Absolutely. We might need to teach you to IM. But I will | :07:51. | :08:02. | |
give it some thought. -- to iron. I don't have high hopes for Alex. If | :08:03. | :08:07. | |
you are interested, get your application in by 10th of March. 47% | :08:08. | :08:16. | |
of workers are considering a change of career. With as are some who have | :08:17. | :08:22. | |
made the leap. Damien, 20 years ago you were a baker. I should get that | :08:23. | :08:28. | |
sign for my dressing room! Turn it around and show what you have | :08:29. | :08:35. | |
become. I wasn't expecting that. What transferable skills have you | :08:36. | :08:41. | |
from breaking into station managing? Always dealing with people. It is | :08:42. | :08:45. | |
good to deal with people in the station. Also, I worked shifts as a | :08:46. | :08:54. | |
baker. That's transferable. Why did you want to change so much? I hated | :08:55. | :09:00. | |
my job. I fell out of love with being a baker. It was all about the | :09:01. | :09:06. | |
money. Not about the pride. Now, I just love coming to work. Do you | :09:07. | :09:17. | |
turn up with a view cakes? Oh, yes. Now, you trained as a lawyer. What | :09:18. | :09:26. | |
do you do now? I am actually more of a high end cake maker. As a lawyer, | :09:27. | :09:31. | |
I didn't enjoy what you are doing. When you look at the law from | :09:32. | :09:35. | |
outside, it looks more glamorous. When you are sleeping under your | :09:36. | :09:39. | |
desk and working through the night it is far from cameras. I knew that | :09:40. | :09:44. | |
I wanted to have a family and a fulfilling social life as well. It | :09:45. | :09:51. | |
is all about work life balance, isn't it? Absolutely. As long as you | :09:52. | :09:57. | |
have a financial buffer and the back-up plan, it is something that | :09:58. | :10:02. | |
you should try and do. As a mother, you can't put a price on the time I | :10:03. | :10:06. | |
have had with my son. Jason's sign now. Now you are... An architect. | :10:07. | :10:18. | |
What advice do you have for changing career? Think of the thing you like | :10:19. | :10:25. | |
doing most and make that your career. It doesn't feel like work. | :10:26. | :10:31. | |
For me it was drawing. If I could win the lottery, I would be drawing. | :10:32. | :10:39. | |
A part-time gardener, a driver and an IT sales person could be part of | :10:40. | :10:47. | |
changing career. On this programme, Robbie Savage and Gareth Southgate | :10:48. | :10:55. | |
drew the balls that meant that non-league Sutton will be facing | :10:56. | :10:58. | |
Arsenal. Matt is therefore the hottest ticket in town. The teams | :10:59. | :11:06. | |
are just about to come out. A few subdued Arsenal fans. Only 750 | :11:07. | :11:13. | |
tickets. Arrest of it is just about Sutton United FC. Having seen | :11:14. | :11:20. | |
Lincoln dump Burnley out of the cup, there is a belief that they can do | :11:21. | :11:26. | |
it tonight. I think you get the picture. They are rather excited. | :11:27. | :11:30. | |
They're in mind, once the cameras have gone... Thank you so much! | :11:31. | :11:37. | |
There are still the people that keep the club going day after day. People | :11:38. | :11:44. | |
like Wayne and Wendy, substitute goalkeeper and she runs the catering | :11:45. | :11:48. | |
business. They took me on a tour today. Let's have a look inside | :11:49. | :11:54. | |
Wendy and Wayne's world. I expected to come in here and find absolute | :11:55. | :12:00. | |
chaos. It's not at all. You have things very much under control. No | :12:01. | :12:07. | |
effing and getting in my kitchen. I have a motto. No drama. I love to be | :12:08. | :12:13. | |
about it. I'm a feeder. I love looking after the boys. This is | :12:14. | :12:19. | |
where Arsenal will be tonight. The ensuite is in there. Just three | :12:20. | :12:27. | |
finals. Let's have a look in the showers. Oh my goodness. For showers | :12:28. | :12:35. | |
between them. Hopefully, the pump is working. There we go. We've got a | :12:36. | :12:45. | |
bit of a dribble for Alexis Sanchez. And its ice cold. The home changing | :12:46. | :12:51. | |
room is luxurious. This is the way to go. This is the rider for the | :12:52. | :13:00. | |
boys. The bag of sweets. Turkish delight. Jaffa cakes. Has this been | :13:01. | :13:07. | |
designed by nutritionists? This is what the lads are used to. It is | :13:08. | :13:13. | |
what they want. These are the names to conjure with tonight. Warner. | :13:14. | :13:20. | |
Fitchett. Gomez. Collins. Tabs. Those are the names that will go | :13:21. | :13:30. | |
down in history. CHANTING What are they going to do if they | :13:31. | :13:37. | |
actually score? Talk me through it. Your prediction? 1-0, Sutton. Megan, | :13:38. | :13:49. | |
how about you? 1-1 and back to the Emirates. So you get a replay and | :13:50. | :13:58. | |
all the money and a brand-new stand. The BBC has to be impartial. We are | :13:59. | :14:03. | |
half Arsenal and have Sutton. That is me. Come on such an X macro, | :14:04. | :14:15. | |
Sutton! He looks like he's having a great time. Are you into football? | :14:16. | :14:23. | |
I'm an ever toning. I love this. It's like a movie. My family are all | :14:24. | :14:34. | |
Man U. Bit of a divide there. I like Newcastle because of the kit. I also | :14:35. | :14:41. | |
like Norwich. Ten days to go before the West End. Stop it. I got of the | :14:42. | :14:48. | |
plane from a little break with my family and counting the days, Fred | :14:49. | :14:53. | |
Brie is really short. This time next week, we open. The 1st of March, we | :14:54. | :14:59. | |
start previews. -- February is really short. Stepping Out, what is | :15:00. | :15:11. | |
it about? It's about a group of women and one man who want to do tap | :15:12. | :15:17. | |
dancing. Every evening in a church hall in 1983. You were watching the | :15:18. | :15:21. | |
film and thought it would be brilliant? They made a movie with | :15:22. | :15:27. | |
Liza Minnelli and Julie Walters and I watched it with the kids. I had a | :15:28. | :15:33. | |
feeling that it was a play. The play is much better than the film. I | :15:34. | :15:38. | |
bought it on a well-known Internet shopping site and... I was good | :15:39. | :15:46. | |
then, wasn't I? Very good. I sent them out to my friends and said, | :15:47. | :15:52. | |
pick a part. Everybody picked apart. We went to the Theatre Royal in Bath | :15:53. | :15:57. | |
and pitch did. With my agent. You've been on a sell-out tour. Do you now | :15:58. | :16:02. | |
have two pretend that you can't tap dance? We still can't. You know that | :16:03. | :16:17. | |
series, Faking It? I'd never danced a step in my life. Maria who is | :16:18. | :16:23. | |
directing, she is a great actress, she said to us, don't go on diets | :16:24. | :16:30. | |
and don't get any better at tap. Eat loads and be rubbish at dancing. | :16:31. | :16:35. | |
That's brilliant. Bring your pets in on Saturday. We've all got little | :16:36. | :16:43. | |
girls, all the same age between ten and downwards. They've all been with | :16:44. | :16:46. | |
us on tour and backstage at the theatre and it's been great. We are | :16:47. | :16:52. | |
all such good friends. Some of us before. It's just been a real joy. | :16:53. | :16:59. | |
Your characters, you play vera and you are Maxine. How did your | :17:00. | :17:06. | |
characters differ? Maxine is a bit of a duo, she's on her second | :17:07. | :17:11. | |
marriage. She's a bit like Del boy. She think she's fantastic. Maybe a | :17:12. | :17:17. | |
little bit dirty, shut the kind of thing. Whereas Vera... My children | :17:18. | :17:25. | |
have been to see this thing! My house is very clean, very organised | :17:26. | :17:32. | |
by Kenya the teacher? No, Tamsin Outhwaite. Tamsin is the most | :17:33. | :17:36. | |
incredible dancer. She can't have for real. She plays the tap dancing | :17:37. | :17:43. | |
teacher. Whereas Vera is very OCD and very tidy. She wears marigolds | :17:44. | :17:48. | |
all the time. She says things that should probably shouldn't say. A lot | :17:49. | :17:52. | |
like me, really. She says stuff out loud. What is so lovely is to go | :17:53. | :17:58. | |
into a cast full of women and one man. It's when in this business you | :17:59. | :18:05. | |
are a female led by a female director. There's a short of that. | :18:06. | :18:09. | |
It sounds like you had a right time at rehearsals. If you would like to | :18:10. | :18:13. | |
see everybody up on stage and you can see Tracy-Ann and Amanda at the | :18:14. | :18:16. | |
vaudeville Theatre from March the 1st in a Stepping Out. Tickets are | :18:17. | :18:22. | |
available now. I'm sure you'll recognise this sound. A bit of Dire | :18:23. | :18:29. | |
Straits for you, Money For Nothing. It is more than just a classic to | :18:30. | :18:34. | |
Eddie Tartu. It changed the way we listen to music. -- classic to air | :18:35. | :18:41. | |
guitar to. In 1986, Dire Straits' album | :18:42. | :18:44. | |
Brothers In Arms than ten weeks of the number one spot and is the album | :18:45. | :18:49. | |
credited with making BCD mainstream. Although compact discs were launched | :18:50. | :18:57. | |
in 1982, initial sales were poor because this new technology was | :18:58. | :19:02. | |
expensive to buy and there were very few titles available. The Dire | :19:03. | :19:05. | |
Straits decided to record their fifth album digitally to target the | :19:06. | :19:14. | |
CD market. Gennaro is the communications director for the | :19:15. | :19:18. | |
British Phonographic Industry. They were looking to get people to switch | :19:19. | :19:23. | |
from cassette to viable. This shiny new format was the future and this | :19:24. | :19:26. | |
was the album that help to achieve that transition. People had more | :19:27. | :19:30. | |
money in their pocket. We have the yuppie generation so associated with | :19:31. | :19:34. | |
Thatcherism looking for aspirational products to buy into. And to | :19:35. | :19:38. | |
demonstrate their growing wealth. All of these things were seemingly | :19:39. | :19:42. | |
coming together and this was the catalyst for it. It became the | :19:43. | :19:46. | |
poster album for what was to come. But it wasn't just the crisp sound | :19:47. | :19:50. | |
reproduction that made the album a success will stop it was the music. | :19:51. | :19:55. | |
There's a signature sound on one of the riffs in particular that | :19:56. | :19:59. | |
captured the public's imagination. The track was Money For Nothing. | :20:00. | :20:03. | |
Part of its energy comes from the unique way it sounds. To my ear, | :20:04. | :20:08. | |
it's got a slightly raw edge, as if it's been recorded in a small space. | :20:09. | :20:14. | |
Dire Straits's keyboard player is Guy Fletcher. At his recording | :20:15. | :20:18. | |
studio B will attempt to replicate the classic sound just for The One | :20:19. | :20:24. | |
Show. Neal was the sound recorder for Dire Straits. | :20:25. | :20:27. | |
Neal, do you have any theories as to why do you have that special sound? | :20:28. | :20:33. | |
Even a monkey gets lucky sometimes! The truth is, the night before the | :20:34. | :20:37. | |
recording session Neal has and how was setting the microphones in | :20:38. | :20:40. | |
place. But overnight one of them loosened from its stand. Wire to my | :20:41. | :20:47. | |
horror, the microphone was pointing at the floor. Be herded and said, | :20:48. | :20:53. | |
don't touch it! It unexpectedly produced a boxy sound and loved. | :20:54. | :20:57. | |
Trying to reproduce that sound is virtually impossible. But along with | :20:58. | :21:05. | |
this microphone malfunction, the song's distinctiveness came from the | :21:06. | :21:09. | |
way the guitar was played. John Illsley is the bass player. | :21:10. | :21:12. | |
Everybody's interpretation to that sound is different. Every guitarist | :21:13. | :21:18. | |
knows the lake, but they can't get it absolutely the way it is. My son | :21:19. | :21:23. | |
is a guitar player. Max was backstage one time at a gig and he | :21:24. | :21:27. | |
asked Marco he played that bit. Mark said, here is what it is. Basically, | :21:28. | :21:37. | |
it's finger picking. There is so much more! A lot of it | :21:38. | :21:45. | |
is a rhythmic thing. So using your phone. It's kind of like chicken | :21:46. | :21:50. | |
picking. Really old, kind of like blues. | :21:51. | :21:53. | |
As the guys we got the mics and their equipment as closely as they | :21:54. | :21:57. | |
can to the original setup, there goes the Mike pointing towards the | :21:58. | :22:01. | |
floor, I get ready for a once in a lifetime jam. | :22:02. | :22:12. | |
Money For Nothing RIFF Money For Nothing combines rock distortion, | :22:13. | :22:23. | |
finger picking and a really catchy folk. | :22:24. | :22:26. | |
But like all great music, there was an indefinable magic at the time of | :22:27. | :22:29. | |
its recording. That's what makes Money For Nothing a classic. | :22:30. | :22:38. | |
Got all of the microphones pointing at the flowing here! You can hear | :22:39. | :22:43. | |
the difference in the sound. BBC Music one to celebrate your local | :22:44. | :22:47. | |
legends by putting up blue plaques for BBC Music Day. Like this one | :22:48. | :22:52. | |
here. That of a cobbled version! It's not exactly like this. We want | :22:53. | :22:56. | |
your nominations for buildings and places that are played in major part | :22:57. | :23:06. | |
in music venues. -- music heritage. You can nominate until midnight on | :23:07. | :23:08. | |
Sunday and then all of the announcement we made on June be | :23:09. | :23:16. | |
first. Amanda, auditions are being made for Britain's got talent. This | :23:17. | :23:21. | |
year we have always been saying that little Britain's got talent. The | :23:22. | :23:26. | |
children have been amazing. We have pressed our golden buzzer. And every | :23:27. | :23:33. | |
single child... Should I say this? I'm rubbish at keeping secrets! | :23:34. | :23:37. | |
Could you give us the theme of one act that you would like to see go as | :23:38. | :23:42. | |
far as possible. I would like a comedian to win. You heard it here | :23:43. | :23:47. | |
first. Island dancers, I love singers, I love variety. But I would | :23:48. | :23:51. | |
really like a stand-up comic or somebody funny to win. Tracy-Ann, as | :23:52. | :23:56. | |
soon as Stepping Out finishes, is it right you will be stepping back onto | :23:57. | :24:00. | |
the stage in Fiddler on the Roof? Yes. We're going to be doing Fiddler | :24:01. | :24:09. | |
on the Roof for Daniel Evans's first run at Chichester. When will that | :24:10. | :24:13. | |
start? About four days later. Crazy girl. At the end of July! Good luck | :24:14. | :24:25. | |
with that. If I was a rich man and Money For Nothing, it's all tying | :24:26. | :24:27. | |
in. With temperatures reaching a balmy | :24:28. | :24:37. | |
18 degrees today, it was nice today, hotter than Dubai. It was freezing | :24:38. | :24:43. | |
in Dubai! Freezing! Sorry to interrupt! This is the thing. There | :24:44. | :24:48. | |
is talk that spring is just around the corner. When the bees do start | :24:49. | :24:52. | |
to buzz, after you have watched this, you will know why. Here is | :24:53. | :24:55. | |
Patrick. Flowers are among the most beautiful | :24:56. | :24:59. | |
things in the natural world. But from a plant's perspective, they | :25:00. | :25:04. | |
have a practical function. Flowers are a plant's means of reproduction. | :25:05. | :25:09. | |
Their purpose is to attract insects and other animals who then spread | :25:10. | :25:12. | |
the plant's pollen onto other flowers. It takes energy for plans | :25:13. | :25:19. | |
to make pollen. So it's in their interest to waste as little as | :25:20. | :25:23. | |
possible. The most efficient pollinators are bees. Because they | :25:24. | :25:28. | |
are rather messy foragers. While gathering pollen to take back to | :25:29. | :25:32. | |
their hive, they spread a good deal from flower to flower. To maximise | :25:33. | :25:36. | |
their chances of reproducing, sunflowers will only release their | :25:37. | :25:42. | |
pollen when they are vibrated by a bee's bows. It is good buzz | :25:43. | :25:49. | |
pollination, and this doctor has spent -- it is called buzz | :25:50. | :25:52. | |
pollination, and this doctor has spent time studying it at the | :25:53. | :25:55. | |
University of Stirling. I presume these are the plans you have been | :25:56. | :25:59. | |
studying. What is so special about the? They keep their pollen tightly | :26:00. | :26:04. | |
locked and prevent most pollinators from taking their pollen away. I | :26:05. | :26:09. | |
right in saying that there is only a few flowers that are able to be buzz | :26:10. | :26:18. | |
pollinated? In the UK, there are only a few including tomatoes and | :26:19. | :26:24. | |
potatoes. But around the world there are over 15,000 found on every | :26:25. | :26:28. | |
continent. In the UK, it is bumblebees who have mastered the | :26:29. | :26:33. | |
art. Mario Vrancic colleagues have built a special cage so they can | :26:34. | :26:38. | |
observe the behaviour at first hand. -- marry a man and his colleagues. A | :26:39. | :26:44. | |
bumblebee can't vibrated when muscle several hundred times a second and | :26:45. | :26:48. | |
it is these vibrations that creates the sound of the buzz. | :26:49. | :26:52. | |
We have for a slow motion camera to work out how it happens. In this | :26:53. | :26:59. | |
case, in a tomato plants. Slow down to around a tenth of normal speed | :27:00. | :27:03. | |
and we can see exactly what's going on. The bee grasped the flour and | :27:04. | :27:12. | |
vibrates her flight muscles without moving her wings. These | :27:13. | :27:15. | |
high-frequency vibrations shake pollen out of the steam and where | :27:16. | :27:18. | |
it's stored, and the pollen sticks to her body has. She will co-most of | :27:19. | :27:23. | |
this pollen into baskets on her legs. -- she will comb most of this | :27:24. | :27:32. | |
pollen. The picture of the sound is very | :27:33. | :27:37. | |
important. What is also important is the intensity, the strength by | :27:38. | :27:41. | |
putting each vibrates in. The more energetic the process, the more | :27:42. | :27:44. | |
pollen that is released. It practice makes perfect. Mario's | :27:45. | :27:50. | |
latest research shows that although bumblebees will seem to have the | :27:51. | :27:53. | |
know-how to buzz pollinate, they do get better the more they do it. -- | :27:54. | :27:59. | |
although bumblebees instinctively know how to buzz pollinate. They | :28:00. | :28:03. | |
often go for the wrong part of the flour, the petals, or somewhere | :28:04. | :28:08. | |
else. But as they gain experience, they can focus on the correct area | :28:09. | :28:11. | |
and tune the frequency so they get lots pollen out without expending as | :28:12. | :28:16. | |
much energy. As far as I know, this is the first time it has been shown | :28:17. | :28:23. | |
that these can learn to adjust these vibrations. Buzz pollination is | :28:24. | :28:26. | |
crucial to our food process, which is one of the reasons why there has | :28:27. | :28:30. | |
been such concern about the declining number bumblebees in the | :28:31. | :28:35. | |
UK. In recent years, various experiments have taken place to see | :28:36. | :28:38. | |
if a bee's vibrations could be replicated on a commercial scale, | :28:39. | :28:45. | |
but with limited success. So far, nobody has found anything that does | :28:46. | :28:48. | |
the job quite as well as a bumblebee. Which is why it's so | :28:49. | :28:52. | |
important to stem the decline for these little vibrating super heroes. | :28:53. | :28:59. | |
Those are amazing creatures. That sort of got time for tonight. Thanks | :29:00. | :29:04. | |
to our guests, Amanda Holden and Tracy-Ann Oberman. Stepping Out | :29:05. | :29:09. | |
opens up the void of March the 1st. Tomorrow we will be joined by the | :29:10. | :29:13. | |
lucky man himself, James Nesbitt. Will it be lucky for some? It's time | :29:14. | :29:15. | |
to find MUSIC: Another Day Of Sun | :29:16. | :29:23. | |
from La La Land | :29:24. | :29:26. |