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Now, time for the One Show with tonight's guest presenter. Would you | :00:28. | :00:38. | |
come on my show sometime? I was thinking Crimewatch, because you're | :00:39. | :00:46. | |
driving is criminal. Honestly! Hello and welcome to the One Show with | :00:47. | :00:51. | |
Alex Jones. And Jeremy Vine. Tonight is the night every Strictly -- | :00:52. | :00:56. | |
Strictly fan has been waiting for is the couples take to the dance floor | :00:57. | :00:59. | |
for the first time and we remember it all too well. The whole time, I | :01:00. | :01:06. | |
thought, is it my left foot first or not? Every time I asked the | :01:07. | :01:10. | |
question, I couldn't remember. And all you can hear is your own | :01:11. | :01:15. | |
heartbeat. Later on, Carrie will be backstage to see how the celebs are | :01:16. | :01:18. | |
handling the pressure. There she is behind the curtain. I bet everybody | :01:19. | :01:24. | |
is so nervous. Putting on the last layer of fake tan like a sideboard. | :01:25. | :01:28. | |
Putting more and more glitter on. Ed Balls there. Also tonight... | :01:29. | :01:35. | |
AS FEARNE COTTON: Jeremy, I'm sorry, it's Alex and Fearne tonight, not | :01:36. | :01:42. | |
Alex and Jeremy. You were supposed to be here last night. On the sofa | :01:43. | :01:45. | |
tonight, the man behind this... # Only know you love | :01:46. | :01:46. | |
her when you let her go The award-winning Passenger will be | :01:47. | :01:56. | |
here playing in it to stage version of Anywhere. -- an acoustic version. | :01:57. | :02:04. | |
Tonight's guest is a woman of a thousand voices. Who can it be? I'd | :02:05. | :02:16. | |
probably be up with the greatest musicians in the world. If I met my | :02:17. | :02:21. | |
16-year-old self today I wouldn't say anything to her, I'd just give | :02:22. | :02:25. | |
her a list of husbands to avoid. It's Morgana Robinson! That | :02:26. | :02:35. | |
impression of Fearne is amazing! Thank you, it helps because I look a | :02:36. | :02:42. | |
bit like her. It was Fearne who got you started in impressions. Yes, a | :02:43. | :02:46. | |
lot of people said I looked like her so I thought I'd have a stab at it. | :02:47. | :02:53. | |
I fell into it, like cheap suit. You did that prank on Chris Moyles. | :02:54. | :03:02. | |
She'd put on about two stone. We will hear about your amazing | :03:03. | :03:05. | |
repertoire later. You do mail impressions as well. I like to make | :03:06. | :03:12. | |
it hard for myself. In the news, French hitchhiker Cedric | :03:13. | :03:17. | |
Rault-Verpre waited a staggering four days for a lift and nobody even | :03:18. | :03:22. | |
so much as slowed down. That was in New Zealand, recently named the | :03:23. | :03:27. | |
second friendliest country. If you can't get a lift there, where can | :03:28. | :03:31. | |
you must mark the end of hitchhiking as we know it? We let Kevin Duala by | :03:32. | :03:42. | |
the site of the M23. You might have tried hitchhiking but | :03:43. | :03:48. | |
now you ever see -- you never see anybody. Everybody was happy to | :03:49. | :03:51. | |
catch a lift, from an ordinary working man to the Rolling Stones. | :03:52. | :03:56. | |
Even if it was for a publicity stunt. It was a time of fun and | :03:57. | :04:01. | |
freedom that harkens back to a bygone age where the pace of life | :04:02. | :04:05. | |
was slower and cars could really get the speed limit. Sorry, mate, I know | :04:06. | :04:10. | |
you're having your coffee. I wanted to ask you about hitchhikers. Have | :04:11. | :04:17. | |
you seen any lately? Not like you used to. What do you think are the | :04:18. | :04:22. | |
dangers? You don't know who you let in your car. They could have come | :04:23. | :04:27. | |
out of... If you were driving along and you saw a hitchhiker, would you | :04:28. | :04:36. | |
pick them up? No. Why must you mark safety. Where have the hitchhikers | :04:37. | :04:41. | |
gone? People have become more affluent so they can afford train | :04:42. | :04:45. | |
fares and also they have become more susceptible to irrational fear. We | :04:46. | :04:52. | |
couldn't find any statistical evidence that hitchhiking has become | :04:53. | :04:56. | |
more dangerous for either passenger or driver. Let's see if there are | :04:57. | :05:00. | |
some good Samaritans out there. Weatherproof each -- clothing, sign, | :05:01. | :05:07. | |
marker, a good, strong thumb and a lovely smile. | :05:08. | :05:21. | |
It worked! The winning smile. Have you ever hitchhike? When I broke | :05:22. | :05:32. | |
down once. What were you thinking, was there in your mind any fear? I'm | :05:33. | :05:38. | |
not frightened of anyone. Maybe it's not as difficult as I thought. | :05:39. | :05:46. | |
Brilliant. Excellent. James, thank you for picking me up. I appreciate | :05:47. | :05:53. | |
that. Back in the day, did you used to hitchhike? When I was a student | :05:54. | :05:57. | |
it was one of the ways of getting around. Where is the furthest you | :05:58. | :06:02. | |
went? From Dublin to go away a concert. -- to Galway. When did you | :06:03. | :06:11. | |
last pick up a hitchhiker? About five years ago. What are your | :06:12. | :06:19. | |
thoughts on hitchhiking? I did it many moons ago, I hitchhiked to | :06:20. | :06:23. | |
South Africa. I think it's different now. I'm quite trusting. What makes | :06:24. | :06:30. | |
you stop? There was a woman who I let in but I was terrified. But what | :06:31. | :06:34. | |
goes around comes around and I try to be helpful as I can. Two things I | :06:35. | :06:42. | |
noticed today, two sets of drivers, one not interested, just driving | :06:43. | :06:45. | |
past, the others you could see that they were slowing down, shall I, | :06:46. | :06:50. | |
shan't I, unsure, so maybe hitchhiking isn't on its last legs. | :06:51. | :06:53. | |
Speaking of last legs, I've got to get home. In the meeting, you told | :06:54. | :07:00. | |
us you had quite a close shave with a hitchhiker. When I was 21 and left | :07:01. | :07:06. | |
university I was travelling in the States and I was feeling good about | :07:07. | :07:09. | |
the world and I picked up this guy he was running by the road and he | :07:10. | :07:14. | |
got in and said, I haven't stopped running for the last five minutes. | :07:15. | :07:19. | |
Yes, well, he said he'd been swimming in a river. That's a worry. | :07:20. | :07:27. | |
As he surfaced, he was staring into the face of a crocodile. He started | :07:28. | :07:31. | |
running and I picked him up. Then he said, where are we going to get some | :07:32. | :07:37. | |
beer? I realised I was in trouble. How far? 120 miles. There aren't a | :07:38. | :07:44. | |
lot of places to stop in the States. I haven't picked up one since. That | :07:45. | :07:53. | |
was the end of it. Morgana Robinson, your new show, The Agency, starting | :07:54. | :07:58. | |
on Monday. It's based on a celebrity agency. One of the client is | :07:59. | :08:01. | |
Miranda. Let's have a look. AS MIRANDA HART: Well, hello there. | :08:02. | :08:08. | |
What a veritable thrill it is to see you again. Oh! Miranda is just a | :08:09. | :08:17. | |
character I played in that show whose name shall not be mentioned | :08:18. | :08:20. | |
and night I've moved on from playing Miranda in that show, I can unveil | :08:21. | :08:26. | |
the real Miranda. I find, I do not do that any more. Excellent! I love | :08:27. | :08:35. | |
the mechanics of how you build that impression. Do you sit and watch | :08:36. | :08:41. | |
pictures of Miranda for a day? Until my eyes bleed. That's what I do. I | :08:42. | :08:47. | |
watched them a lot. Any teeth in there? The good thing about it, it's | :08:48. | :08:55. | |
not just a sketch show, it was like their stories developing through the | :08:56. | :09:00. | |
series. Give us some examples. Danny Dyer is in there. Oh, yes. He's | :09:01. | :09:06. | |
going into children's literature. Of course, that's the next step, | :09:07. | :09:10. | |
obviously. And we've got Natalie Cassidy, she wants to be an the One | :09:11. | :09:18. | |
Show. She want your job. Does she? In the New Year, she might be able | :09:19. | :09:24. | |
to. I mentioned earlier impressions of men, and I can't remember male | :09:25. | :09:30. | |
impressionists doing females ever. There was a guy who did Thatcher but | :09:31. | :09:34. | |
apart from that... It's unusual. I have to strap the girls down. They | :09:35. | :09:38. | |
don't behave. I went to a girls school so I was tall and I was | :09:39. | :09:44. | |
always playing blokes. I was conditioned at a young age. Can we | :09:45. | :09:49. | |
see Danny Dyer? AS DANNY DYER: My greatest | :09:50. | :09:55. | |
achievement is my Magnum Opus, a kids book. I'm not finished, I | :09:56. | :09:59. | |
haven't got an ending, but I'm so close. The main character, Danny the | :10:00. | :10:04. | |
bear, I want to play the geezer when they make a movie out of it. I put | :10:05. | :10:08. | |
my heart and soul into it. I need you to get me a gig on CDB 's | :10:09. | :10:14. | |
bedtime, get this out there. Crack on! -- CBBC bedtime. One of the | :10:15. | :10:26. | |
trickiest pairings in the show is Mel and Sue. Which one was the | :10:27. | :10:32. | |
biggest challenge? Soon, because it came after lunchtime, so after | :10:33. | :10:36. | |
pudding, and I'd start sneezing and I'd get a food coma and forget all | :10:37. | :10:41. | |
of my lines. By the end of the day, I didn't know who I was. The two of | :10:42. | :10:46. | |
them were in the same shot. Yes, I'm greedy. We'd have to make a line on | :10:47. | :10:52. | |
the sofa and I wasn't allowed to cross it. You have to learn it like | :10:53. | :10:56. | |
a song, because the timing has to be right. It was full on. It was all | :10:57. | :11:02. | |
about an agency. Does it reflect your career? The agent is loosely | :11:03. | :11:14. | |
based on my agent. LAUGHTER | :11:15. | :11:18. | |
He's very close to my heart. I love him very much. There is a lot of | :11:19. | :11:26. | |
character in the roles in the agent. Morgana Robinson's The Agency start | :11:27. | :11:31. | |
on Monday at 10pm on BBC Two. Do you let a few seconds on the floor get | :11:32. | :11:36. | |
in the wake of a tasty treat? Surely you've got at least five seconds | :11:37. | :11:38. | |
before a dirty doughnut is dangerous. The so-called five | :11:39. | :11:44. | |
several dozen sound scientific so we sent Alex Riley to put it under the | :11:45. | :11:48. | |
microscope. -- so-called five second rule. Have you ever bought yourself | :11:49. | :11:57. | |
a mount -- mouthwatering snack and dropped it on the floor? I'm not | :11:58. | :12:01. | |
wasting it and it me ?2 80. So you pick up and eat it anyway. It hasn't | :12:02. | :12:07. | |
been there too long. It is known to some as five second rule. The theory | :12:08. | :12:14. | |
is, if food is picked up quickly enough, it's safe to eat. Some | :12:15. | :12:18. | |
people live by the role and others think it's a definite no-no and all | :12:19. | :12:21. | |
food that goes on the floor should go straight in the bin. How many | :12:22. | :12:28. | |
seconds would you leave it? Five seconds. Ten. What's the point when | :12:29. | :12:34. | |
it's on the floor? If you do it quick enough the bacteria doesn't | :12:35. | :12:41. | |
have time. 15 second rule. View full of bravado! We thought we'd put it | :12:42. | :12:46. | |
to the test, so how many actually eat food that's been dropped on the | :12:47. | :12:50. | |
floor? Today I'm working in a cafe in Bristol where I'll be trying to | :12:51. | :12:53. | |
give away some of these delicious chocolate brownies. We rigged the | :12:54. | :13:01. | |
cafe with hidden cameras and hopefully the customers won't | :13:02. | :13:03. | |
recognise this new wobbly waiter. Let's see how they react. Can I | :13:04. | :13:09. | |
interest you in a free chocolate brownie? That's a silly question. | :13:10. | :13:18. | |
Sorry. It was only on the floor for a couple of seconds. Not that one. | :13:19. | :13:27. | |
Only for five second on the floor. Sorry. Sorry. I don't want food | :13:28. | :13:42. | |
poisoning. The five second rule. Don't eat it. I can't let you eat | :13:43. | :13:46. | |
it. At that one instead. It's not been on the floor. So, in our | :13:47. | :13:52. | |
unscientific experiment, a third of the people we filmed were willing to | :13:53. | :13:56. | |
eat food off the floor, but we certainly didn't recommend it. So | :13:57. | :14:00. | |
what we've learned so far is that everyone has an opinion on whether | :14:01. | :14:04. | |
the five second rule is valid but what does a science say? Doctor Ron | :14:05. | :14:10. | |
Cutler is a senior lecturer at Queen Mary 's university of London and has | :14:11. | :14:15. | |
actually studied the five second rule in the laboratory, but he's | :14:16. | :14:19. | |
done an experiment for us in a family kitchen to see what actually | :14:20. | :14:24. | |
lurking the floor. We've got four pieces of toast. We had them | :14:25. | :14:28. | |
battered on one side, we dropped them on the floor on the buttered | :14:29. | :14:35. | |
side and picked them up after one seconds, three seconds, five seconds | :14:36. | :14:39. | |
and ten seconds and we saw with the toast was affected by how long it | :14:40. | :14:43. | |
was lying on the floor. ... You took samples from each piece and cultured | :14:44. | :14:50. | |
them in the laboratory. Can you show us the amount of bacteria on each | :14:51. | :14:57. | |
piece of toast? At one seconds, it's heavily contaminated. That's one | :14:58. | :15:04. | |
second! If you extend that to three seconds and then five seconds and | :15:05. | :15:07. | |
ten seconds, equally badly contaminated. So what is on the | :15:08. | :15:14. | |
floor in the kitchen? A mixture of organisms from outside, bugs from | :15:15. | :15:20. | |
faeces from the dogs or cats, anything you brought in on your | :15:21. | :15:26. | |
feet, it is endless. Under the microscope, B samples from the toast | :15:27. | :15:32. | |
are in bacteria. You can see different types of dots, | :15:33. | :15:35. | |
representing bacteria. Some of these are little round blobs. They could | :15:36. | :15:42. | |
be streptococci. Could make of it all? It could give you a sore tummy. | :15:43. | :15:51. | |
To be clear, how valid is the five second rule? It doesn't work. After | :15:52. | :15:56. | |
one second, you get as many bacteria after five or ten seconds. According | :15:57. | :16:02. | |
to this scientist if you drop it on the floor you shouldn't eat it but | :16:03. | :16:06. | |
ultimately the choice is yours. So, armed with this knowledge, the | :16:07. | :16:10. | |
family the family that live here have given me an important job to | :16:11. | :16:11. | |
do. That has put me right off. Five | :16:12. | :16:23. | |
second rule? If it is your own dirt. If it is your kitchen and you know | :16:24. | :16:28. | |
what is on the floor. And if you know the last time you hoovered. | :16:29. | :16:32. | |
That was an unusually dirty kitchen floor. | :16:33. | :16:34. | |
MUSIC: Theme from Strictly Come Dancing | :16:35. | :16:42. | |
Hang on, that was the Strictly klaxon, which means it is time to go | :16:43. | :16:50. | |
to Elstree as Carrie takes us behind the curtain. Less than two hours to | :16:51. | :16:57. | |
go, what is happening in Elstree? I have got gossip for you! I saw two | :16:58. | :17:01. | |
performances in rehearsal this afternoon, one for a dancer with a | :17:02. | :17:05. | |
celebrity and I could not tell who was the dancer. Then there will be a | :17:06. | :17:12. | |
top also coming off tonight. We have got Pasha and Naga here. You have | :17:13. | :17:18. | |
been teaching Naga with metaphors, so do a couple of those for me. What | :17:19. | :17:22. | |
does the head on the pillow look like? And what happens when you go | :17:23. | :17:30. | |
from that too is if you are stalking me? You guys are going to go far! | :17:31. | :17:37. | |
All the best for the next couple of days, guys. We are really going | :17:38. | :17:43. | |
behind the scenes to the bowels of Strictly Come Dancing. And who | :17:44. | :17:48. | |
better to meet Dan Ed Balls and Katya? I hear you have been taking | :17:49. | :17:52. | |
advice from Jeremy Vine. Is this advisable, considering that he was | :17:53. | :17:57. | |
described as a stork being struck by lightning by the judges? Jeremy told | :17:58. | :18:02. | |
me he had the most fabulous time. He said, you just have to commit to it. | :18:03. | :18:07. | |
He said, have the spray tan. He said, I went completely naked and it | :18:08. | :18:10. | |
was the most exciting thing I have ever done. I can't quite join him in | :18:11. | :18:15. | |
that yet, but I am thinking about it. We need to see that! All the | :18:16. | :18:20. | |
best for the next couple of days. We are in the honeymoon period at the | :18:21. | :18:23. | |
moment, because no one has gone out yet. So there are no tears or | :18:24. | :18:29. | |
tantrums, it is all lovey-dovey. Oh, a Marilyn moment. We are going | :18:30. | :18:39. | |
through to the Clauditorium with Anastasia and Brandon. Brendan has | :18:40. | :18:44. | |
done every series. Does that put pressure on you? No. I like to be | :18:45. | :18:53. | |
taken care of by the master. She is doing great. But we need to do more | :18:54. | :18:59. | |
work, because we are having too much fun. I have donned my sequins, only | :19:00. | :19:06. | |
to find all the girls in dressing gowns. Vicky, you are the costume | :19:07. | :19:11. | |
designer. You have worked on 14 series. What does it entail? A lot. | :19:12. | :19:23. | |
How many rhinestones? Too many to mention, but maybe 10,000 on each | :19:24. | :19:28. | |
dress. I have got Laura's dress here. She is very small. She is, and | :19:29. | :19:35. | |
we use lots of colour and loads of these. I am loving this. It is on at | :19:36. | :19:42. | |
nine o'clock tonight, 6:30pm tomorrow night on BBC One. Back to | :19:43. | :19:51. | |
Jeremy and Alex in the studio! And the fake tan story was slightly | :19:52. | :19:55. | |
embarrassing. That was a joke played on me by Aljaz. He said everybody | :19:56. | :20:03. | |
does the fake tan naked. When I walked in wearing nothing, I could | :20:04. | :20:07. | |
see the lady thinking, this has never happened before. But at least | :20:08. | :20:12. | |
you had no unsightly lines. That is true. Behind the scenes at Strictly, | :20:13. | :20:16. | |
everything is manic. Behind the scenes in The One Show office, | :20:17. | :20:25. | |
things have been a little unusual. AS JOANNA LUMLEY: it is Joanna | :20:26. | :20:29. | |
Lumley. I am stuck in the car park, can you help? Yes, are you at | :20:30. | :20:35. | |
Broadcasting House? I am in the BBC car park, darling. The lady who said | :20:36. | :20:40. | |
she would be here is not here. I called the switchboard and they put | :20:41. | :20:46. | |
me through to you. It is Joanna Lumley! I have just had a fab lunch, | :20:47. | :20:50. | |
mainly liquid, with Jennifer Saunders. But I need to get my sweet | :20:51. | :21:02. | |
cheeks down to the BBC. You sent the office into a frenzy this afternoon. | :21:03. | :21:07. | |
Who else did you do? Bit of Natalie Cassidy. | :21:08. | :21:09. | |
AS NATALIE CASSIDY: as some would say, I can't remember now what I | :21:10. | :21:16. | |
said. Something about, I didn't pick the phone up because I was hanging | :21:17. | :21:25. | |
washing out. It was lovely. Amazing. More of the pranks you pulled are on | :21:26. | :21:31. | |
Facebook if you want to see them. One of the big events in the fashion | :21:32. | :21:35. | |
calendar, London Fashion Week, has now drawn to a close. But if not for | :21:36. | :21:40. | |
one unsung British hero, the world of fashion could have been very | :21:41. | :21:44. | |
different indeed. Who better to tell the story than a model who has seen | :21:45. | :21:47. | |
fashions come and go, the very beautiful Daphne Selfe? | :21:48. | :21:52. | |
The fashion industry has been my home for the last 65 years. In that | :21:53. | :22:01. | |
time, I have seen it all. In 1949, at the age of 20, I posed for the | :22:02. | :22:08. | |
cover of a local magazine and began a modelling career that has | :22:09. | :22:13. | |
stretched well into my 80s. Nowadays, people call me the world's | :22:14. | :22:18. | |
oldest working supermodel. But I prefer not to focus on the old. Even | :22:19. | :22:22. | |
though my whole life has been shaped by fashion, I didn't realise that | :22:23. | :22:28. | |
the man who invented life modelling was born only a few hours away from | :22:29. | :22:34. | |
my village. That village was in Lincolnshire, and that man was | :22:35. | :22:39. | |
Charles Frederick Worth. Born in 1825, he paved the way for the | :22:40. | :22:44. | |
fashion industry as we know it. But I am willing to bet that today's | :22:45. | :22:48. | |
fashionistas have never heard of him. Do you know who this gentleman | :22:49. | :22:56. | |
is? No idea. Not a clue. Very dashing, but I'm not sure who he is. | :22:57. | :23:02. | |
Though little recognised today, Worth began his career working here | :23:03. | :23:06. | |
in the capital, before moving to Paris to set up a fashion house that | :23:07. | :23:13. | |
would become legendary. Dress historian Amy has closely studied | :23:14. | :23:18. | |
his designs. Worth was above all famous for the absolute luxury of | :23:19. | :23:24. | |
his garments. In layers and layers of exquisite, luxurious fabrics. | :23:25. | :23:28. | |
These are evening wraps that women would wear to make an incredible | :23:29. | :23:32. | |
entrance from her carriage to the ball and then take off and show her | :23:33. | :23:36. | |
ball gown. That was like having a passion Meena, wasn't it? But with's | :23:37. | :23:42. | |
biggest impact was on the very business of fashion itself. Before | :23:43. | :23:48. | |
Worth, when a wealthy woman went to order a dress, she would buy all her | :23:49. | :23:51. | |
fabrics first. She would then take them to the dressmaker, whereas | :23:52. | :23:57. | |
worth, in an unprecedented way, dictated to his clients what he | :23:58. | :24:00. | |
thought they should wear. He was also the first designer to put his | :24:01. | :24:04. | |
name on a garment. He put his name on the label that went on the inside | :24:05. | :24:10. | |
of the waistband. He was also the first person to develop seasonal | :24:11. | :24:14. | |
collections. Wasn't he the first person to have live models? Yes, | :24:15. | :24:19. | |
when he had been working in the fabric shop in Paris, he met his | :24:20. | :24:23. | |
future wife, Marie. He started dressing her and people came in and | :24:24. | :24:27. | |
admired the clothes she was wearing. Thereafter, she continued to model | :24:28. | :24:32. | |
his clothes, but he also employed women to wear the clothes. That was | :24:33. | :24:37. | |
an innovation at the time. Worth almost single-handedly created the | :24:38. | :24:40. | |
global industry to which I owe my career. So, in his honour, The One | :24:41. | :24:47. | |
Show has arranged a unique photo shoot, and I have invited a rather | :24:48. | :24:54. | |
special guest. Portrait photographer Rankin is an icon in the fashion | :24:55. | :24:59. | |
world. He has taken snaps of everyone who is anyone, from a list | :25:00. | :25:02. | |
celebrities to Her Majesty herself. He will be shooting me in a Charles | :25:03. | :25:07. | |
Worth inspired outfits, and it is a first for both of us. It is very | :25:08. | :25:15. | |
big. You could knock people out with it. I thought we might do our shoot | :25:16. | :25:23. | |
in the window. Can we get you in there? We might, just. That is | :25:24. | :25:29. | |
great. Surrounded by luxury designer brands in one of London's top ashen | :25:30. | :25:36. | |
boutiques, I am replacing mannequins with life modelling, just as Charles | :25:37. | :25:42. | |
did. Gorgeous. We have a lot to choose from. But I want a fun image | :25:43. | :25:52. | |
that captures Rankin's style as well -- a final image. An eye-catching | :25:53. | :25:56. | |
picture to celebrate a true British trailblazer. Perfect. A very | :25:57. | :26:05. | |
eye-catching picture. That was a stunning photo. We are here with | :26:06. | :26:10. | |
Passenger, because his new album Young As The Morning, Old As The Sea | :26:11. | :26:13. | |
is out today. He will be playing for us shortly. First, just time to | :26:14. | :26:19. | |
thank Morgana. Morgana Robinson's The Agency starts on Monday at ten | :26:20. | :26:24. | |
o'clock BBC Two. Matt and Alex will be back next week with Lord Alan | :26:25. | :26:29. | |
Sugar, Dara O Briain and Barry Gibb. Here is Passenger with his new | :26:30. | :26:31. | |
single, Anywhere. # Darling, that's when I'm | :26:32. | :26:57. | |
# Oh, darling I swear I'll go anywhere with you | :26:58. | :28:39. |