Browse content similar to 22/04/2014. Check below for episodes and series from the same categories and more!
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Hello, welcome to the One Show. In rehearsal yesterday, we were caught | :00:20. | :00:28. | |
out by very cheeky OAPs, who decided to play a joke, knowing they were on | :00:29. | :00:35. | |
the show tonight. Little rascals. They were from a Sunday night TV | :00:36. | :00:40. | |
show, Off Their Rockers. They will join us later, to gloat. I am very | :00:41. | :00:47. | |
glad they are here. First, a different rocker. Tonight's guest | :00:48. | :00:51. | |
has a musical career spanning five decades, and it is all down to these | :00:52. | :01:06. | |
incredible fingers. Who's are they quelled -- who's are they? Please | :01:07. | :01:14. | |
welcome Rick Wakeman. Hello, how are you? What a start to the show. It | :01:15. | :01:23. | |
was a shortened version. It is nine minutes long. Are your hands | :01:24. | :01:32. | |
insured? Never because I thought if I had to claim, they probably would | :01:33. | :01:42. | |
not pay out. If somebody says do not get your fingers in the door, you | :01:43. | :01:46. | |
are likely to do it, so they are not insured. We heard in rehearsal what | :01:47. | :01:53. | |
you play sounds incredible. We are talking about pranks. Over 40 years | :01:54. | :01:59. | |
on the road, you must have had a fair few. You did a lot of things to | :02:00. | :02:06. | |
keep yourselves amused on the road. First in a band, you never fall | :02:07. | :02:14. | |
asleep on the plane. If you get a cup of warm water and somebody is | :02:15. | :02:18. | |
asleep and you dip to fingers in the warm water... There is nothing you | :02:19. | :02:29. | |
can do about it. And you never hanged your breakfast notice outside | :02:30. | :02:38. | |
the door of the hotel. The order. People in the morning would say what | :02:39. | :02:44. | |
do you want 67 sausages for? And another one be used to do, every | :02:45. | :02:51. | |
hotel door opens inwards. You would get a newspaper and tape up the | :02:52. | :02:55. | |
newspaper on the outside so that when they open the door they just | :02:56. | :02:59. | |
saw newspaper. People would walk through it. You would have suitably | :03:00. | :03:11. | |
placed buckets of stuff. Tonight, we are calling on pranksters who are | :03:12. | :03:16. | |
watching. You might have tied your dad's shoelaces, all, left buckets | :03:17. | :03:22. | |
inside hotels, who knows? We want photographic evidence. Send your | :03:23. | :03:27. | |
pictures and we will show some of them later. Last year, we went to | :03:28. | :03:34. | |
capture the structure in Scotland being created. Six months later | :03:35. | :03:41. | |
Sarah Mack went to see the finished article. | :03:42. | :03:52. | |
The opening day of Off Their Rockers's Kelpies. The sun is | :03:53. | :03:56. | |
shining. Thousands of people have come to see them -- the opening day | :03:57. | :04:06. | |
of Falkirk's sculpture. When I visited in October last year, the | :04:07. | :04:16. | |
two horse heads were taking shape. Ten months later they stand together | :04:17. | :04:21. | |
in their 100 foot, stainless steel glory. Now, they are open and the | :04:22. | :04:28. | |
big question is what does the public think? They are beautiful and it | :04:29. | :04:35. | |
will bring people to the area, spending money. I can see myself | :04:36. | :04:40. | |
coming quite often. It is tremendous, it has regenerated the | :04:41. | :04:45. | |
area. We come to watch from the other side of the canal. It is | :04:46. | :04:51. | |
amazing. It has been fantastic. A great achievement. A perfect place | :04:52. | :04:57. | |
for a family picnic. It has changed a lot. A few years ago it was a | :04:58. | :05:09. | |
building site. It is great. The Kelpies are amazing from the | :05:10. | :05:13. | |
outside and you can go inside, if you take a tour. This man has the | :05:14. | :05:26. | |
right idea. Is it a good view? Awesome. The project director has | :05:27. | :05:34. | |
been overwhelmed by the response. He gave his reaction to the opening | :05:35. | :05:42. | |
day. It has been positive. Everybody I have spoken to, it has met and | :05:43. | :05:47. | |
exceeded their expectations. My children will be brought up here, | :05:48. | :05:55. | |
and so will their children. The majority of local see that. | :05:56. | :06:00. | |
Annually, we would hope to get 350,000 people. If we have weather | :06:01. | :06:03. | |
like this today, I think we will smash that number. It is hoped they | :06:04. | :06:10. | |
will boost tourism spending by ?1.5 million each year. The Kelpies | :06:11. | :06:16. | |
originate from Scottish folklore and with the addition of these stunning | :06:17. | :06:20. | |
sculptures, they look to set their place in Scottish history. | :06:21. | :06:30. | |
They are quite something. It is so lovely to see sculptures that looked | :06:31. | :06:34. | |
like something rather than something from a scrap metal yard. You will be | :06:35. | :06:41. | |
on tour in Scotland. I think the band will want to go and see that. | :06:42. | :06:47. | |
Beautiful. 50 million people bought your album Journey To The Centre Of | :06:48. | :06:53. | |
The Earth. You do not want me to name them?! Initially, I read the | :06:54. | :07:05. | |
book. How old were you? About 14. My father had taken me to see Peter and | :07:06. | :07:10. | |
the Wolf and there was a story told to music and I fell in love with | :07:11. | :07:16. | |
it. I wanted to do that and when the opportunity came at the age of 24, I | :07:17. | :07:21. | |
thought now is the moment. I did not have the money to do it as I wanted | :07:22. | :07:27. | |
to, in a studio, and then do concerts, because it was expensive. | :07:28. | :07:33. | |
I mortgage the house and everything I had. We put it on... It was | :07:34. | :07:39. | |
performed three times, twice at the Royal Festival Hall and also at | :07:40. | :07:43. | |
Crystal Palace, and we recorded it live. That was the only way we could | :07:44. | :07:50. | |
get a recording. It was the London Symphony Orchestra, and my band. | :07:51. | :07:57. | |
David Hemmings narrated it. The major problem was when I rated it | :07:58. | :08:02. | |
was 55 minutes long but because of vinyl records, you could only get 36 | :08:03. | :08:06. | |
minutes on them and I have to reduce it. The musical went missing. We did | :08:07. | :08:17. | |
a world tour. We played three shows in England. The musical went | :08:18. | :08:22. | |
missing. It was before computers. We did not play it for years. It turned | :08:23. | :08:28. | |
up seven years ago. The conductor's score, in terrible condition. But a | :08:29. | :08:35. | |
great friend managed to spend six months taking it apart and putting | :08:36. | :08:38. | |
it onto computer, which meant we could re-record it, put them missing | :08:39. | :08:44. | |
music on and the website went mad with people saying, take it on tour. | :08:45. | :08:50. | |
In a fit of madness I thought it was a good idea. We are doing 14 shows. | :08:51. | :08:57. | |
We will not do it again because it is ridiculous karting symphony | :08:58. | :09:02. | |
orchestras and choirs around. We can go back in time to 1975 and this is | :09:03. | :09:04. | |
you in Australia. I remember that. How much do you get | :09:05. | :09:42. | |
lost in the music? It is a motive to watch you. At my age, I get lost | :09:43. | :09:50. | |
every where! I had a wonderful music teacher who taught me from the age | :09:51. | :09:55. | |
of five. She taught me, you are immersed yourself like in a bubble | :09:56. | :10:00. | |
and you are totally unaware of everything when you do it. I think | :10:01. | :10:06. | |
actors do the same thing on stage. We have to talk about the hair and | :10:07. | :10:13. | |
the Cape. It was extreme. Where did you get the idea? It was not | :10:14. | :10:21. | |
deliberate. The head came courtesy of my piano professor at the Royal | :10:22. | :10:25. | |
College of music who complained to the principle that my hair was too | :10:26. | :10:32. | |
long. It was just touching my collar. Being rebellious, I decided | :10:33. | :10:37. | |
not to have it cut again. By the time I left the college. The Cape | :10:38. | :10:43. | |
came about because there was a review in America. It said that Rick | :10:44. | :10:50. | |
Wakeman had played well. But with his arms and legs, he looked like a | :10:51. | :10:57. | |
demented spider. I became aware of this. We played a show in America | :10:58. | :11:02. | |
and there was a DJ introducing the show, he was wearing a cape. He | :11:03. | :11:08. | |
turned round and he was huge, I thought, that covers up everything. | :11:09. | :11:16. | |
We were paid $200 a week. About ?50. I said I want to buy your cape. He | :11:17. | :11:21. | |
said it was not the cell. I said I have $200. And he said no. He looked | :11:22. | :11:29. | |
at the money and took it off and gave it to me. I went on and thought | :11:30. | :11:34. | |
it was the answer. And then I have made. We have some audience members | :11:35. | :11:44. | |
wearing capes. The tour begins this Thursday in Newcastle and goes | :11:45. | :11:47. | |
around the UK. Are you wearing a cape? I have two from the 1970s. It | :11:48. | :11:59. | |
is ending in Wales on the 10th of May. We will get a taster at the end | :12:00. | :12:07. | |
of the show. We have checked and around 40 melodies are mixed | :12:08. | :12:11. | |
together to make up the Journey To The Centre Of The Earth's 80 minutes | :12:12. | :12:16. | |
of music. The art of mixing melodies to create music has been around | :12:17. | :12:23. | |
longer than we think. Music defines a generation with the | :12:24. | :12:29. | |
40s having swing, the 1950s, skiffle, and the 90s gave birth to | :12:30. | :12:36. | |
the mash-up. The blending of more than one melody into something that | :12:37. | :12:41. | |
is more than the sum of its parts. Today a TV show has popularise the | :12:42. | :12:51. | |
form. Glee. But mash-up as a musical history. The German composer Bach | :12:52. | :13:00. | |
was a master of technical composition. What does his music | :13:01. | :13:05. | |
have to do with mash-up? I have one word, counterpoint, two distinct | :13:06. | :13:11. | |
melodies composed so they can be played somewhat tenuously. Before | :13:12. | :13:16. | |
counterpoint, Western music only had one melodic line, no matter how many | :13:17. | :13:21. | |
instruments and voices were used. You cannot play any two melodies and | :13:22. | :13:26. | |
expect them to work, they have to be composed so they blend. This is the | :13:27. | :13:32. | |
essence of counterpoint. The mathematical part of the brain | :13:33. | :13:37. | |
instantly gets counterpoint. There is something pleasing about the way | :13:38. | :13:42. | |
complex tunes fit together. Take the orchestral Suite number two in B | :13:43. | :13:47. | |
minor. First one melody. And then other compliments. Finally, another | :13:48. | :13:58. | |
melody -- accompaniment. And you add them together. Counterpoint's time | :13:59. | :14:06. | |
was almost up as the Barack era came to an end. It fell out of fashion to | :14:07. | :14:12. | |
be replaced by piano led music of the classical era. By the 20th | :14:13. | :14:16. | |
century there was musical theatre and composers looked the new musical | :14:17. | :14:21. | |
devices to express differing emotions of actors and they again | :14:22. | :14:35. | |
turn to counterpoint. Take this. The two characters express different | :14:36. | :14:38. | |
emotions and counterpoint helps to express that. 50 years on, | :14:39. | :14:51. | |
counterpoint is back in fashion in the form on the mash up. This is one | :14:52. | :15:04. | |
of the mash up's biggest exponents. This is Drop The Pressure which | :15:05. | :15:12. | |
sounds like this in its normal form. Nice baseline. Exactly, and it | :15:13. | :15:16. | |
leaves some space to go over the top of it, like this song by Gloria | :15:17. | :15:32. | |
Estefan. I can hear the similarity! Mash ups are made of two parts but | :15:33. | :15:37. | |
let's see what they sound like together. They are fighting with | :15:38. | :15:42. | |
each other but the result is really lovely to listen to. It is like a | :15:43. | :15:47. | |
live DJ mix but more sophisticated in the way it is put together, | :15:48. | :15:53. | |
seamlessly in the computer. My challenge is to see whether I can | :15:54. | :16:00. | |
get some Bach into a modern mash up so I have taken some Daft Punk riffs | :16:01. | :16:08. | |
and mashed them with Bach. What do you think to my track? | :16:09. | :16:37. | |
Wicked. Did you dance to it? Of course I danced to it. Even stuff | :16:38. | :16:45. | |
100 years ago, we can mash it up? Definitely, as long as it has a good | :16:46. | :16:54. | |
beat to it. I'm sure Bach would be pleased the principles of | :16:55. | :16:56. | |
counterpoint are still relevant today. | :16:57. | :17:05. | |
In saying wicked, it is slightly wrong. As we mentioned earlier on, | :17:06. | :17:13. | |
those folk over there, they cranked us during the rehearsals, can you | :17:14. | :17:17. | |
believe it? They got us hook line and sinker, | :17:18. | :17:22. | |
but that's because they do it for a living. I just got through to the | :17:23. | :17:27. | |
final round and by tomorrow I could be crowned the UK's top male pole | :17:28. | :17:34. | |
dancer. How do you spell pole dancer? Is it one L or two? Keep | :17:35. | :17:48. | |
looking at the top of the building. You have a great profile. Would you | :17:49. | :17:53. | |
like to see it? Put your glasses on. How about that? I think it | :17:54. | :17:59. | |
really captures the raw essence of you. Thank you, I am glad you are | :18:00. | :18:09. | |
happy with that. Seb and Rosie are here now. Lovely to see you. That | :18:10. | :18:18. | |
was last week, so you are huge fan. I love Charlie under the car, | :18:19. | :18:23. | |
brilliant! The whole concept of the programme is to prank people who are | :18:24. | :18:35. | |
younger than you. You have grandchildren as well. Yes, they | :18:36. | :18:40. | |
will take anything you throw at them. They throw more things at us | :18:41. | :18:46. | |
but they are such lovely people. If you need help, they really do want | :18:47. | :18:51. | |
to help you. You should know better! Rosemary and Seb, you came | :18:52. | :19:01. | |
in yesterday, didn't you, and this is what happened. They got us. | :19:02. | :19:10. | |
Perfect! Lovely! is what happened. They got us. | :19:11. | :19:32. | |
to say, rosemary, please make me the happiest man of my life. You are so | :19:33. | :19:41. | |
sweet. You know I don't want to get married. You have a jolly good thing | :19:42. | :19:51. | |
going physically anyway, we don't want any more. Tell you what, let's | :19:52. | :19:52. | |
go home and I will cook you want any more. Tell you what, let's | :19:53. | :20:01. | |
favourite fish pie and then we will have an early night. That would be | :20:02. | :20:05. | |
nice. That is not serious, is it? Did that actually happen? It | :20:06. | :20:10. | |
nice. That is not serious, is it? actually happen. Anyway, let's crack | :20:11. | :20:13. | |
on with rehearsals. We aren't from Off Their Rockers and we have got | :20:14. | :20:16. | |
you! It was very strange, wasn't it? Yes, | :20:17. | :20:26. | |
we thought, gosh they were so convincing! What is your background | :20:27. | :20:38. | |
then? Are you actors? Yes, we are. Three clowns! Rosemary, you were | :20:39. | :20:46. | |
telling us about a brilliant clip on the show next Sunday. I have | :20:47. | :20:53. | |
supposedly taken a dog for the walk in the woods but I mustn't | :20:54. | :20:57. | |
supposedly taken a dog for the walk anybody it is a dog so I say I | :20:58. | :21:01. | |
supposedly taken a dog for the walk taken my pet for a walk. My pet has | :21:02. | :21:04. | |
supposedly taken a dog for the walk run into the bushes, and I say that | :21:05. | :21:12. | |
I am so tired, and can you help me? This is what happens next. Good | :21:13. | :21:22. | |
boy! At last! William! This is William. Amazing. What about that, | :21:23. | :21:33. | |
Rick? Absolutely brilliant, and you can see Off Their Rockers on ITV at | :21:34. | :21:39. | |
7:30pm on Sunday. Technology is everywhere these days. | :21:40. | :21:46. | |
You can control your central heating with a smartphone, you can even buy | :21:47. | :21:52. | |
cars that parked themselves. I need one of those. But there is one place | :21:53. | :22:04. | |
you don't expect to see it, that is until now. This is one of England's | :22:05. | :22:04. | |
oldest municipal graveyards, a until now. This is one of England's | :22:05. | :22:11. | |
be told. It is all here. Wars, epidemics and catastrophes, the | :22:12. | :22:15. | |
lives of ordinary people. The information on the gravestones is | :22:16. | :22:19. | |
tantalising but the me it is never enough. But now we can learn more | :22:20. | :22:23. | |
because here, smartphone technology enough. But now we can learn more | :22:24. | :22:26. | |
is being used to bring history back enough. But now we can learn more | :22:27. | :22:30. | |
to life. This is ordinarily found in magazines and adverts. You scan them | :22:31. | :22:36. | |
with your smartphone, usually to take advantage of an irresistible | :22:37. | :22:38. | |
offer, but in this instance it is take advantage of an irresistible | :22:39. | :22:46. | |
for something far more meaningful. A special app can tell you all you | :22:47. | :22:58. | |
need to know about the late Henry Whit. He was a fireman on the | :22:59. | :23:05. | |
Titanic. Suddenly, Henry becomes more than just a name on a | :23:06. | :23:09. | |
Titanic. Suddenly, Henry becomes You get a sense of the living man | :23:10. | :23:18. | |
and what he did. Just a single click can give you information, and it | :23:19. | :23:26. | |
will let future generations know who their ancestors were. Mr Davies has | :23:27. | :23:35. | |
secured one of these on this grave. Scanning it takes people to a | :23:36. | :23:40. | |
website filled with material about his father's exploits during the | :23:41. | :23:45. | |
war, much of it recounted by the man himself. My father achieved such a | :23:46. | :23:53. | |
lot and experienced such a lot in life that using this website and the | :23:54. | :23:56. | |
code, I can basically share life that using this website and the | :23:57. | :24:00. | |
story with many other people. Dorset life that using this website and the | :24:01. | :24:05. | |
-based funeral director Stephen was one of the first in the UK to offer | :24:06. | :24:11. | |
one of these codes. His firm has made around 100 in the past 18 | :24:12. | :24:18. | |
months, but with it costing up to ?275 for technology that | :24:19. | :24:23. | |
months, but with it costing up to be outdated, and they anything more | :24:24. | :24:23. | |
than a high-tech gimmick? In be outdated, and they anything more | :24:24. | :24:31. | |
years' time, these things might be outdated, and they anything more | :24:32. | :24:31. | |
redundant and we will have gravestones dotted with | :24:32. | :24:35. | |
redundant and we will have default codes. This is the | :24:36. | :24:35. | |
technology at the moment. Equally, we will keep up with the technology | :24:36. | :24:41. | |
and if necessary these are removable and we can replace them. For Niki | :24:42. | :24:47. | |
Hastings, the idea of creating a living memorial has a particular | :24:48. | :24:51. | |
Hastings, the idea of creating a resonance. You are thinking of | :24:52. | :24:51. | |
putting together one resonance. You are thinking of | :24:52. | :24:55. | |
interactive memorials but it is not for a friend or relative, is it? | :24:56. | :25:01. | |
No, it is for myself. I was diagnosed with breast cancer years | :25:02. | :25:04. | |
ago, and at the time they said I had diagnosed with breast cancer years | :25:05. | :25:15. | |
only months to live but I am diagnosed with breast cancer years | :25:16. | :25:15. | |
really well. Eventually what do you think your | :25:16. | :25:20. | |
really well. Eventually what do you this thing? I think it is a | :25:21. | :25:20. | |
permanent memorial written down all about my life and | :25:21. | :25:26. | |
my memories so that they know about written down all about my life and | :25:27. | :25:31. | |
mummy if I am not around to tell them those things, and | :25:32. | :25:35. | |
mummy if I am not around to tell are just an extension of that. It is | :25:36. | :25:39. | |
mummy if I am not around to tell a piece of social history really, | :25:40. | :25:39. | |
isn't it? Her children are now just a piece of social history really, | :25:40. | :25:50. | |
seven and nine, she hopes they and future generations will be able to | :25:51. | :25:50. | |
seven and nine, she hopes they and scan the code while | :25:51. | :25:58. | |
seven and nine, she hopes they and the special videos on her memorial | :25:59. | :25:58. | |
website. I think it is a nice way of the special videos on her memorial | :25:59. | :26:02. | |
future generations being able the special videos on her memorial | :26:03. | :26:10. | |
what great grandma looked like, to hear my voice and see my mannerisms. | :26:11. | :26:14. | |
And just to be able to remember you. It is this idea of a virtual | :26:15. | :26:18. | |
And just to be able to remember you. that could make these codes more | :26:19. | :26:23. | |
And just to be able to remember you. than just | :26:24. | :26:23. | |
And just to be able to remember you. link not just to a website but a | :26:24. | :26:28. | |
connection between one and another. Initially I was sceptical about that | :26:29. | :26:33. | |
but having seen that... Oh, the first time that has gone to | :26:34. | :26:39. | |
technology! You were saying you remember your father with an old | :26:40. | :26:45. | |
piano? Yes, he was a great piano player and when he died I inherited | :26:46. | :26:51. | |
his piano, which is an 1899 upright piano which I love to bits. I have | :26:52. | :26:58. | |
had a restored. I play it every day, I have a picture of my | :26:59. | :27:03. | |
had a restored. I play it every day, top. I remember him playing it | :27:04. | :27:06. | |
vividly, and my mum singing. I remember him playing it more than | :27:07. | :27:09. | |
vividly, and my mum singing. I mum singing! It was a great | :27:10. | :27:13. | |
encouragement to me. What a lovely tribute. Earlier on we asked for | :27:14. | :27:19. | |
pictures of you pranking your friends and family. We have got a | :27:20. | :27:26. | |
lot as you can imagine. Daniel covered his friend's car in cling | :27:27. | :27:33. | |
film! Five-year-old Trent did this to his big sister who fell asleep | :27:34. | :27:37. | |
film! Five-year-old Trent did this after a glass of wine. These people | :27:38. | :27:44. | |
used their jet-lagged father's head as a table. We are in for a treat, I | :27:45. | :27:52. | |
have been looking forward to this as a table. We are in for a treat, I | :27:53. | :27:59. | |
all afternoon. We heard you tickling the ivories as you came in this | :28:00. | :28:04. | |
all afternoon. We heard you tickling afternoon and now you are going to | :28:05. | :28:09. | |
play us out, aren't you? From his Journey To The Centre Of The Earth | :28:10. | :28:09. | |
tour, which continues Journey To The Centre Of The Earth | :28:10. | :28:16. | |
UK until the 10th of May, it is Rick Wakeman with his version of the | :28:17. | :28:20. | |
Beatles track Eleanor Rigby. You've become an Eeyore. | :28:21. | :29:05. | |
And you've got to be a Tigger. | :29:06. | :29:11. |