Browse content similar to 23/11/2016. Check below for episodes and series from the same categories and more!
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# Here I am # Running up the seventh floor | :00:21. | :00:31. | |
# Knocking the 11th door # I'm sick of trying | :00:32. | :00:40. | |
# Baby couldn't love it some more... # | :00:41. | :00:45. | |
APPLAUS high pressure Well here he is, it's Matt Baker. There she is, | :00:46. | :00:49. | |
Alex Jones. Just fresh from the office on the seventh floor. It's | :00:50. | :00:55. | |
true. Can't make it up. He is the award-winning singer-songwriter who | :00:56. | :01:01. | |
enthralled Elton and bewitched Billy Joel. The brilliant Tom Odell. We | :01:02. | :01:05. | |
will have a performance from Tom later as well. Thank you. Lovely | :01:06. | :01:10. | |
stuff. Also in true One Show style we will find out when two worlds | :01:11. | :01:15. | |
collide. What do you get when the world of Gyles Brandreth collides | :01:16. | :01:21. | |
with the high-octane world of 007. Or when the world of former Page 3 | :01:22. | :01:25. | |
girl, Samantha Fox, meets the world of fine art. If you ever wondered | :01:26. | :01:35. | |
what the Shake and Vac jingle would sound like when played by a | :01:36. | :01:39. | |
classical string quartet. Tonight could be your lucky night. On the | :01:40. | :01:45. | |
face of it, our two guests tonight are from very different worlds, one | :01:46. | :01:49. | |
is a visionary DY and producer who helped change the face of British | :01:50. | :01:55. | |
music in the 80s with his group Soul II Soul. And the other is the | :01:56. | :02:00. | |
comedian, actor and all-round entertainer who can turn his hand to | :02:01. | :02:05. | |
anything from stand-up to soap o operas, crime dramas and quiz shows. | :02:06. | :02:11. | |
We'll let you which it is. Please welcome Jazzie B and Bradley W. You | :02:12. | :02:16. | |
were the first person to do the one letter for a surname thing. MattiB | :02:17. | :02:23. | |
is on to it now. What does the "B" stand for? It's my first name. OK. I | :02:24. | :02:37. | |
condensed it to the "B." We have had Warren G, Jay Z, Jessie J and X | :02:38. | :02:44. | |
Factor's Honey G. We know Jazzie you weren't familiar with Honey G. We | :02:45. | :02:48. | |
have showed you a few clips. First impressions? Be honest. | :02:49. | :02:54. | |
Entertainment. It's all about entertainment. You have to take the | :02:55. | :03:02. | |
rough with the smooth, ain't you? Music is really interesting because, | :03:03. | :03:08. | |
you know, it's... You take it in different ways. But it's all | :03:09. | :03:12. | |
entertainment. Of course. Very diplomatic. You should be a | :03:13. | :03:18. | |
politician, you really should. She has a good tag line. I say Honey you | :03:19. | :03:28. | |
say... G. It's all about timing! You do have something in common. We will | :03:29. | :03:32. | |
talk about it later on. It's very interesting. | :03:33. | :03:36. | |
Now, with more than two thirds of the UK's Health Trusts | :03:37. | :03:39. | |
already in the red - and no promise of extra funding in | :03:40. | :03:42. | |
the Chancellor's Autumn Statement - you'd think the NHS would welcome | :03:43. | :03:45. | |
any savings that dn't impact on patient care. | :03:46. | :03:47. | |
We think we may just have found one that we can all contribute to. | :03:48. | :03:50. | |
I can feel a One Show campaign coming on! | :03:51. | :03:52. | |
It's 8. 20am. ... Radio Bristol's breakfaster presenter has let me | :03:53. | :04:06. | |
hijack her show. I'm on a mission to save the NHS some money. Every day | :04:07. | :04:13. | |
hospitals across the country send patients home with crutches, zimmers | :04:14. | :04:17. | |
and orbits of medical equipment. What happens to it all when we are | :04:18. | :04:22. | |
up and about again? Chances are they in a cupboard in people's homes, | :04:23. | :04:25. | |
never returned or reused. Such a waste. The costing the NHS millions. | :04:26. | :04:32. | |
Our friends at the One Show are looking into this mountain of wasted | :04:33. | :04:38. | |
medical equipment. Kevin, how big a problem is this It's massive, right | :04:39. | :04:44. | |
across the nation. Let's get some of it back. I'm calling to all the | :04:45. | :04:48. | |
lovely people of Bristol. Have a little think now - do you have | :04:49. | :04:52. | |
anything that might be languishing in the under stairs cupboard, garage | :04:53. | :04:58. | |
loft, in your home or someone else's home. I have the One Show car ready. | :04:59. | :05:02. | |
I will come to your house this morning and collect them myself and | :05:03. | :05:06. | |
take them back. There is an offer you can't refuse. Here's how you do | :05:07. | :05:10. | |
it. Pick up the phone now... Currently, there's no national | :05:11. | :05:14. | |
policy across the UK on returning medical equipment. Some hospitals | :05:15. | :05:20. | |
are great at getting their stuff back, others, not so much. We think | :05:21. | :05:27. | |
that needs to change. Today, I'm at South Mead Hospital in Bristol to | :05:28. | :05:30. | |
get a handle on what they are losing. Their big problem here - | :05:31. | :05:35. | |
crutches. They hand out around 25 pair as day. Maton Hughes says most | :05:36. | :05:40. | |
are never seen again. How many people return them? Tiny numbers. We | :05:41. | :05:43. | |
get less than one pair returned a day. How much money do we lose? They | :05:44. | :05:50. | |
cost about ?10. Obviously if we are giving out 25 a day and one back we | :05:51. | :05:55. | |
are losing ?240 a day worth of crutches. It's big numbers for us. | :05:56. | :05:58. | |
In terms of making sure people bring them back, what incentives can we | :05:59. | :06:05. | |
put out there for them? Assuring the public there is equipment when they | :06:06. | :06:07. | |
need it and get access when they need it. Knowing you are doing the | :06:08. | :06:11. | |
right thing for the NHS and we are all of us responsible for the way | :06:12. | :06:16. | |
that we spend public money. Health Secretary Jeremy Hunt says he is | :06:17. | :06:20. | |
determined to help hospitals clampdown on wasted resources and we | :06:21. | :06:25. | |
thought we'd do our bit, too. Back at BBC Radio Bristol, and my | :06:26. | :06:32. | |
shoutout has had a great reaction. Great response. This is brilliant. | :06:33. | :06:37. | |
Zimmer, frame, wheelchairs, crutches. Here we go. When | :06:38. | :06:46. | |
collecting them I want to know why people haven't taken them back. | :06:47. | :06:53. | |
First person to call is Liz. She was given equipment when she fell. She | :06:54. | :06:58. | |
is up and about get. It's clogging up her hall. You have a zimmer | :06:59. | :07:02. | |
frame? Yes. Did they tell you when to bring it back or what to do with | :07:03. | :07:07. | |
it? Nothing at all. It would have stayed here until I died. We are | :07:08. | :07:10. | |
looking at ways to make them bring the crutches back? Only if they got | :07:11. | :07:14. | |
paid for, it I expect! OK. Are you absolutely sure you don't need it? | :07:15. | :07:18. | |
No, I'll give it to you with my love. I'll take it with your love. | :07:19. | :07:24. | |
That's brilliant. Thank you very much, Liz, I appreciate that. This | :07:25. | :07:28. | |
is brilliant. Across town Gordon has a similar story. You don't know what | :07:29. | :07:33. | |
to do to take them back? No. They don't tell you what department to | :07:34. | :07:38. | |
take them. Some people simply can't return them, like Eric who says his | :07:39. | :07:44. | |
old walking sticks have been in a cupboard for ages. I'm 92. I have no | :07:45. | :07:50. | |
transport. It seems to me people would gladly return stuff if they | :07:51. | :07:57. | |
knew how to go about it. So I'm back at the hospital to meet Juliet, I | :07:58. | :08:01. | |
brought my crutches here, hopefully this is what she wants. Let's go and | :08:02. | :08:06. | |
grab her. Hi. Are you all right? Good, thank you. Is this the kind of | :08:07. | :08:11. | |
thing? This is what we wanted. Thank you so much. We have a car full of | :08:12. | :08:15. | |
recycled stuff. We know you are interested in the crutches. What | :08:16. | :08:18. | |
should people do to help them bring them back? We are open 24-hours a | :08:19. | :08:24. | |
day. Bring them into the Emergency Department, the reception staff will | :08:25. | :08:27. | |
be happiy to take them from you and we will get them reused. In one hour | :08:28. | :08:41. | |
our One Show call-out managed to return a few pieces today. I plan to | :08:42. | :08:45. | |
be back soon and next time I'll be after a lot more than that. Come on, | :08:46. | :08:49. | |
Britain, let's get recycling and help our hospitals. Rallying stuff | :08:50. | :08:56. | |
there. Thank you very much. When you start doing the maths, we were | :08:57. | :09:00. | |
chatting there, ?10 a pair, 24 a day. One hospital. That is one | :09:01. | :09:04. | |
hospital. It could go into millions. This is the issue we have. What is | :09:05. | :09:07. | |
the reason then? Can you reiterate that for us, what is the reason why | :09:08. | :09:10. | |
they are not accepting them? Let us look at it. Jeremy Hunt, our Health | :09:11. | :09:15. | |
Secretary, wants to crackdown on NHS waste, it's brilliant. We found a | :09:16. | :09:19. | |
small solution where we think we can make recoup money for the NHS. The | :09:20. | :09:23. | |
problem, is is that there is no central agency policy. No Government | :09:24. | :09:30. | |
policy that monitors the reusing of medical aids. Some Trusts say | :09:31. | :09:37. | |
recycle, we want them. Other Hospital Trusts Havering they don't | :09:38. | :09:41. | |
want the medical aids for reasons like infection or damaged goods or | :09:42. | :09:45. | |
health and safety. We thought, in a small way if we can try and recoup | :09:46. | :09:50. | |
the money, for example, we talked about figures. Bristol South Mead, | :09:51. | :09:57. | |
if they let out 25 pairs of crutches at ?10 a day, and people brought | :09:58. | :10:01. | |
them back and they recycled and reused them, they would save over | :10:02. | :10:09. | |
?91,000. It's actually ?91,250 in one year, one hospital. Substantial. | :10:10. | :10:15. | |
Amazing. Unbelievable. Who are the Trusts doing this? The NHS Trusts in | :10:16. | :10:21. | |
the north in Scotland have a brilliant idea. They put barcodes on | :10:22. | :10:25. | |
their medical aids so they can scan when people take them. They know | :10:26. | :10:28. | |
where they live and ring them up and say - bring them back. People will | :10:29. | :10:32. | |
bring them back which is great. So easy. Absolutely easy-peasy. | :10:33. | :10:37. | |
Unbelievable. Brilliant news. In Barnsley, there is a service that | :10:38. | :10:42. | |
runs the South West Yorkshire NHS Trust. Last year, 2015-2016, their | :10:43. | :10:52. | |
recycle rate was 93%. In money terms, ?330,000 they saved in one | :10:53. | :10:56. | |
one year. Just at that Trust. That is what we are asking people to do. | :10:57. | :11:01. | |
Unbelievable. Liverpool have been busy in the last four weeks, haven't | :11:02. | :11:06. | |
they Get in. The Liverpool Community Health Trust set up an amnesty. The | :11:07. | :11:10. | |
great thing is that people can drop the stuff off. Nobody looks, no | :11:11. | :11:14. | |
ticking off. They notice there was a decline in people bringing back | :11:15. | :11:19. | |
their medical aids. They set up an amnesty and in four weeks they have | :11:20. | :11:23. | |
seen an increase of 40% of people, patients, bringing back their stuff. | :11:24. | :11:31. | |
Come on, Liverpool! Who wants a compare commode under the stairs? Is | :11:32. | :11:37. | |
the amnesty for everyone? Who ever wants to do it. Liverpool did one. | :11:38. | :11:41. | |
This is our mission. What are you hoping for, what do you want? I have | :11:42. | :11:46. | |
an ambulance I can bring back! Bring your ambulance back we will put The | :11:47. | :11:50. | |
One Show on the side we are good to could. I'm no expert. In a small way | :11:51. | :11:55. | |
there is a situation. We don't know where it will go. We will be really, | :11:56. | :11:59. | |
really excited. It's down to the One Show viewer to help us. Whitehall I | :12:00. | :12:02. | |
will say, we want to contact, we want the NHS staff to contact us as | :12:03. | :12:08. | |
well, give us tips about good practices, bad practices people | :12:09. | :12:12. | |
coming with excuses. We want to hear from you and the One Show viewers. | :12:13. | :12:15. | |
Are you finding it difficult to bring your crutches or your zimmer | :12:16. | :12:19. | |
dprams back to the hospitals? We won't name and shame anybody, but | :12:20. | :12:23. | |
it's down to you. One thing is for sure, right, the NHS is short of | :12:24. | :12:27. | |
money. Come on, people, let's do the right thing. Let's get together, get | :12:28. | :12:31. | |
involved, get in touch. I'm on a mission. You had better stop me or I | :12:32. | :12:36. | |
will keep going. The One Show van is ready. Let's make a difference, save | :12:37. | :12:39. | |
money and make it happen. Thank you, Kevin. Inspirational stuff. See you | :12:40. | :12:45. | |
soon. Thank you. Now, we've asked Gyles Brandreth | :12:46. | :12:54. | |
to do some pretty daring things during his time on the One Show, | :12:55. | :12:56. | |
but we're about to Yes, tonight we're really | :12:57. | :12:59. | |
testing his metal, asking him One man has embodied the ideals of | :13:00. | :13:11. | |
the Alf alpha male time and time again. Women adore him, bad men fear | :13:12. | :13:17. | |
him, he always looks immaculate. No, I'm not talking about me, Gyles | :13:18. | :13:23. | |
Brandreth, it is of course... Bond, James Bond. The death deifying | :13:24. | :13:31. | |
escapades of Britain's best-loved spy has captured the imagination of | :13:32. | :13:37. | |
generation after generation. 007 is known for girls, gadgets and of | :13:38. | :13:47. | |
course jaw dropping stunts. Well, anything Bond can do, Brandreth can | :13:48. | :13:53. | |
do better. I'm ready to Jet Set off to whatever glamorous, exotic, | :13:54. | :13:56. | |
far-flung location I'm bound to be filming in. Ah, not quite! Far-flung | :13:57. | :14:07. | |
it may not be, it's here in Peterborough that one daredevil | :14:08. | :14:09. | |
James Bond stunt was filmed more than 30 years ago. Our One Show | :14:10. | :14:21. | |
stunt team will be attempting the nail-biting train sequence from | :14:22. | :14:24. | |
Octopussy. Having been spotted for his work as | :14:25. | :14:34. | |
a milk tray man, Martin Grace was tasked to double as Bond. Beginning | :14:35. | :14:41. | |
in 1967, he took on the mantle seven times and was highly regarded his | :14:42. | :14:51. | |
stunts in team and TV. He was Roger Moore's stunt double, when Sir Roger | :14:52. | :14:56. | |
heard of our film he wanted to pay tribute to the man who made the | :14:57. | :15:01. | |
stunts possible. I loved Martin. He was modest and terribly polite. He | :15:02. | :15:07. | |
was very good-looking. I doubled him for my close-ups. No, also nerves of | :15:08. | :15:15. | |
steel. He worked on Octopussy when he had a terrible accident. He was | :15:16. | :15:20. | |
doubling me hanging over a side of a train, trying to miss being hit. | :15:21. | :15:26. | |
They went on a little too long for Martin because they went past an | :15:27. | :15:30. | |
extension by the side of the railroad that he had not gone past | :15:31. | :15:37. | |
before. It hit him. It was so strong he broke his thigh broke, cracked | :15:38. | :15:41. | |
his pelvis, broken arm. He wases in a most terrible state. I went to see | :15:42. | :15:46. | |
him in hospital and he was determined he with a doing one arm | :15:47. | :15:52. | |
pullups. Within six months was doing his normal 20-mile run. Martin Grace | :15:53. | :16:00. | |
is probably the best stuntman I ever knew, best stuntman I ever had and | :16:01. | :16:05. | |
one of the nicest men. He was a lovely, lovely man. | :16:06. | :16:08. | |
So how will our stunt team pay homage and recreate this famous | :16:09. | :16:19. | |
sequence? Stunt coordinator Jamie is responsible for working out the | :16:20. | :16:23. | |
logistics before our stuntman, Gordon Alexander, can attempt it. | :16:24. | :16:26. | |
This is what stunt work is about, the preparation. Any stunt has an | :16:27. | :16:33. | |
inherent danger but we have covered the bases and rehearsed well and | :16:34. | :16:37. | |
prepared and rigged it. We need to get out today and we will get on the | :16:38. | :16:41. | |
roof and see how we feel. A little bit concerned. But what do the | :16:42. | :16:47. | |
employees of Nene Valley Railway think? The idea of standing on the | :16:48. | :16:51. | |
train going down the track is not something we would recommend! To be | :16:52. | :16:54. | |
able to recreate something like that, especially now with health and | :16:55. | :16:59. | |
safety... You have got to take into account that something could go | :17:00. | :17:05. | |
wrong. You have step hazards, trip hazards, falling off. The fact that | :17:06. | :17:09. | |
some old boy will be jumping between carriages, a braver man than me, | :17:10. | :17:10. | |
much braver! And you can see how Giles and the | :17:11. | :17:26. | |
team got on a bit later. Plenty of martinis coming up before that. I | :17:27. | :17:33. | |
used to love Roger Moore! Genius. We will stick with movie stars. We | :17:34. | :17:36. | |
mentioned that you have someone in common. And that is a certain movie | :17:37. | :17:40. | |
star, we will play the clip. # And up popped an ugly duckling | :17:41. | :17:51. | |
with feathers all fluffy and brown # And the other birds in so many | :17:52. | :17:58. | |
words said, get out of town # Get out, get out, get out of town | :17:59. | :18:05. | |
#. Here's been on the show, lovely | :18:06. | :18:11. | |
gentleman. Jazzie B, how did that man play a part in your past? He was | :18:12. | :18:18. | |
the gaffer. I worked as a tea boy at his studio is back in the early 80s. | :18:19. | :18:27. | |
And was he a builders or did he like a lot of milk? He was in the middle. | :18:28. | :18:33. | |
I make a mean cup of tea back in those days, before Yorkshire Gold | :18:34. | :18:41. | |
came out. It is the brewing time which is important. How long would | :18:42. | :18:47. | |
you leave it in for him? Tommy would usually get three minutes but you | :18:48. | :18:50. | |
have to be careful with the pouring of the milk. That is important. That | :18:51. | :18:57. | |
is always second. And Bradley, your connection? My mum took me to see | :18:58. | :19:06. | |
him in that show at the London Palladium in 1974. She asked if I | :19:07. | :19:09. | |
liked it and if I said that I said, if I don't make playing football for | :19:10. | :19:14. | |
a living, I want to get into showbiz. And the irony is that the | :19:15. | :19:18. | |
lad playing opposite, I loved what he was doing, and I said I want to | :19:19. | :19:26. | |
do what he is doing. And 23 years later I married his sister! | :19:27. | :19:32. | |
Goodness! We have had some weird stories! And the line operator in | :19:33. | :19:38. | |
the theatre that light, it was not until I had done the lottery show on | :19:39. | :19:44. | |
the BBC, I told that story round the table and he was Richard Valentine | :19:45. | :19:47. | |
who is one of the directors whose dad was Dickie Valentine, and my | :19:48. | :19:56. | |
wife's brother was on the road, and they hadn't seen each other for 30 | :19:57. | :19:59. | |
years. That was extraordinary. But we have another thing in common. We | :20:00. | :20:03. | |
had played football together at Wembley! It was before the Chelsea | :20:04. | :20:09. | |
Middlesbrough game. He scored a great goal. From Wembley we are | :20:10. | :20:14. | |
going back to the Palladium. Obviously you are doing Tonight at | :20:15. | :20:21. | |
the Palladium. And off the back and you singing, you have an album out. | :20:22. | :20:30. | |
I sang a song called Almost Like Being In Love and I came off stage a | :20:31. | :20:33. | |
couple of days later and apparently Sony music were in the audience and | :20:34. | :20:38. | |
they said, we didn't know you could sing. I don't really tell anyone, is | :20:39. | :20:44. | |
to sing with my jazz band. I asked if I wanted to make a swing album. I | :20:45. | :20:50. | |
went into the studio with the producer, Steve Sidwell, who | :20:51. | :20:58. | |
produces Michael Buble, did films with Baz Lerman, and I sang with 854 | :20:59. | :21:02. | |
piece orchestra. Was that overwhelming? The first three or | :21:03. | :21:09. | |
four days, I was in trouble. I was like, this is too much. But | :21:10. | :21:13. | |
everybody was so encouraging, the guys and the band and Steve himself. | :21:14. | :21:20. | |
And my friend was piano as well. They were so encouraging. It was | :21:21. | :21:25. | |
great. You have seen the album cover, is out on Friday. Shall we | :21:26. | :21:27. | |
have a listen? # Fly me to the Moon | :21:28. | :21:45. | |
# Let me play among the stars #. # That's life, that's what all the | :21:46. | :21:51. | |
people say # You're riding high in April, shot | :21:52. | :21:55. | |
down in May #. APPLAUSE | :21:56. | :22:04. | |
You are a one-man rat Pack! It is a stocking filler for the Nannes and | :22:05. | :22:13. | |
mums! There are some great tracks. And every song on the album has a | :22:14. | :22:20. | |
meaning to it. There is one in Spanish, my grandad used to sing it | :22:21. | :22:23. | |
to my mum when she was a little girl. There is an original song on | :22:24. | :22:29. | |
there as well. Chasing Dreams. I love the title. Steve brings me from | :22:30. | :22:39. | |
Mexico, he said, I've written this track, I hope you like it. He said, | :22:40. | :22:44. | |
I got no words, will you write some words? We wrote the words in between | :22:45. | :22:50. | |
the takes. And that's it, Chasing Dreams. It very uplifting song, a | :22:51. | :22:57. | |
big swing number. I'm dues now -- I'm writing dues now! And now I'm | :22:58. | :23:07. | |
going into wrapping! The album is out on Friday. Jazzie B has a new | :23:08. | :23:13. | |
documentary about his rise to fame in the 1980s which we are going to | :23:14. | :23:18. | |
talk about soon, but while he was treating the sound of the decade, | :23:19. | :23:21. | |
the subject about next film was making headlines. | :23:22. | :23:25. | |
Today we're asking Sam Fox to pose for a slightly | :23:26. | :23:28. | |
Throughout history Art and photography have reflected the | :23:29. | :23:39. | |
popular perceptions of beauty at the time. Samantha fox encapsulated a | :23:40. | :23:46. | |
new era in the way a woman's a parent is judged, the glamour model. | :23:47. | :23:51. | |
I had no intention or dream of being a page three girl, it literally | :23:52. | :23:55. | |
happened. She burst into the tablet at just 16 after winning a modelling | :23:56. | :23:59. | |
competition and launched a love affair with the press, becoming one | :24:00. | :24:02. | |
of the most photographed women of the 80s. The pictures appeared on | :24:03. | :24:10. | |
the front page. It said Sam quits A-levels... I did go to a catholic | :24:11. | :24:16. | |
school, I was taught by nuns. I guess it was a bit of a shock. I | :24:17. | :24:22. | |
still dream of being an actress and singer, I never dream about being a | :24:23. | :24:29. | |
Page three girl. Do you ever feel you have been exploited? No, I have | :24:30. | :24:33. | |
always made my own positions, never exploited to do something that I've | :24:34. | :24:37. | |
regretted. I'm not embarrassed about it. I look at them and I think, wow, | :24:38. | :24:42. | |
they were classy, they looked great. It was a fabulous career. You would | :24:43. | :24:48. | |
get people saying, don't you think it's degrading to women? My answer | :24:49. | :24:52. | |
was, had you been to the Tate Gallery lately? It's full of nude | :24:53. | :25:02. | |
paintings are beautiful women! And you go to art college. Make it! And | :25:03. | :25:08. | |
for the first time I had to reconcile that this is art -- naked. | :25:09. | :25:15. | |
There is a thin line with photography, it can be tacky or | :25:16. | :25:18. | |
artistic. I never wanted to be tacky. Does it know you that you are | :25:19. | :25:26. | |
known for modelling rather than your music? It's difficult for me in | :25:27. | :25:30. | |
Britain to cross over. For some people, they got that if guys pinned | :25:31. | :25:37. | |
you up on their wall, that was all you could do but I had to work | :25:38. | :25:40. | |
doubly hard to show that I could sing both my first single went to | :25:41. | :25:45. | |
number one in 17 countries where they never knew Sam Fox as a Page | :25:46. | :25:49. | |
three girl. That made me really proud. Someone's perception of you | :25:50. | :25:55. | |
does not have to be your story. How was it for you to come out publicly, | :25:56. | :26:03. | |
being in a relationship with a woman? With a woman! Love it such a | :26:04. | :26:11. | |
great thing, you can't mess with it. When it hits you, it is like a tonne | :26:12. | :26:15. | |
of bricks. You think maybe you might lose all your fans because all of | :26:16. | :26:20. | |
their fantasies have been squashed. Because they have grown up with me | :26:21. | :26:25. | |
they feel they do know me as a person and a lot of them did want me | :26:26. | :26:32. | |
to be happy. When I first met Myra, in that time many people would ask | :26:33. | :26:35. | |
me if I was in a relationship and I would say no what I was thinking, | :26:36. | :26:41. | |
I'm lying, I can't live lie. Unfortunately I my baby last year, | :26:42. | :26:47. | |
she fought for two years with cancer. I think because she suffered | :26:48. | :26:52. | |
for two years, that is when I lost a lot of might spark because it was | :26:53. | :26:57. | |
awful seeing her suffer so much. I was her carer, so I lived with it | :26:58. | :27:02. | |
24/7. It also made me grow up a hell of a lot. She was strong a very | :27:03. | :27:07. | |
strong. And that strength was given to me in that time and even now. | :27:08. | :27:14. | |
When you look at yourself in the mirror, what do you see? There has | :27:15. | :27:22. | |
been some sadness but, as a whole, I look at myself as a survivor, a | :27:23. | :27:26. | |
strong woman and a person who has lived her dream, you know. Content, | :27:27. | :27:34. | |
I feel very content. Using the time that Sam had spent sitting for me I | :27:35. | :27:39. | |
am painting a portrait of the way I see her. Three weeks later it is | :27:40. | :27:42. | |
complete and she returns to my studio. It's great! I think you are | :27:43. | :27:51. | |
emerging, that's the thing I have captured, the spotlight, the Globe. | :27:52. | :27:59. | |
It's great -- the glow. The timing is right? The timing is perfect! | :28:00. | :28:07. | |
It's great, isn't it? It's a great Strand, it should be a regular | :28:08. | :28:15. | |
thing. We have done quite a few of them. Let's talk about image because | :28:16. | :28:22. | |
back in the 80s, your logo, which we can see here, this is defined what | :28:23. | :28:27. | |
you were all about. You have that Funki Dred hairdo, that come from? | :28:28. | :28:35. | |
You were a trailblazer. That would is easy. Because my mum is a | :28:36. | :28:42. | |
Christian, she wouldn't be having any raster is living in the house so | :28:43. | :28:49. | |
that's why I always wore a hat, to cover the sides. She was oblivious | :28:50. | :28:54. | |
to it until I took my hat off! Perfect. And when it kicked off! | :28:55. | :29:01. | |
There is a picture of you back in the 80s. We thought it was only fair | :29:02. | :29:05. | |
to show a picture of Bradley as well. There he is! Dear oh dear! | :29:06. | :29:17. | |
That is scary, isn't it? I was about four! Where did you find that? The | :29:18. | :29:29. | |
archives! You got this great document the outcome I watched it | :29:30. | :29:32. | |
this afternoon, you have not even seen it yet. It is called from temp | :29:33. | :29:39. | |
to -- it is called From Dole to Soul. For you it started in the late | :29:40. | :29:42. | |
70s with your first gig just outside your house. That's right, the Queen | :29:43. | :29:50. | |
's Silver Jubilee. That was my first shot at being a DJ and getting into | :29:51. | :29:57. | |
the music business, from a sound system point of view. Watching all | :29:58. | :30:03. | |
my older brothers every weekend getting their sound systems ready to | :30:04. | :30:06. | |
play out, it was something I yearned to do. This was a key concept, the | :30:07. | :30:11. | |
sound system. There is a lot of furniture! It is a huge thing. And | :30:12. | :30:18. | |
you were loading this around but you didn't have a fan. -- van. We used | :30:19. | :30:27. | |
the results that were around us, the number 14 bus from Hornsey to Putney | :30:28. | :30:34. | |
was my transport at the time! Alongside a shopping trolley from | :30:35. | :30:42. | |
Safeways over I think it was in Holloway Road. You should have rung | :30:43. | :30:43. | |
me, I would have bought my amulet! I didn't have a spare 2p to ring | :30:44. | :30:53. | |
you. We were at school. It was my school days. Going from Hornsey to | :30:54. | :31:00. | |
the Calle, I spent a lot of time in the Caledonian Road area that is | :31:01. | :31:05. | |
where we would frequent. The Number 14 bus was my easy drive, as it | :31:06. | :31:11. | |
were. The Sound System became notorious and the parties you put on | :31:12. | :31:17. | |
became absolutely huge. This is you in the documentary talking about one | :31:18. | :31:23. | |
of those big underground parties. Imagine an H and the two arches and | :31:24. | :31:27. | |
the tunnel going through the two things. Soul II Soul Sound System | :31:28. | :31:34. | |
and family functions in the other. The queue of people down the street. | :31:35. | :31:38. | |
Looking at the size of the place, we must have had at least 5,000 people | :31:39. | :31:46. | |
partying. It would have been an illegal party. A very illegal party. | :31:47. | :31:53. | |
APPLAUSE. Straightaway, Bradley, as soon as you heard that music, you | :31:54. | :31:57. | |
reacted in a way that was the sound for you? I wasn't a fan of 80s | :31:58. | :32:09. | |
music. No Tiffany. No Soul II Soul my kind of thing. Really great. You | :32:10. | :32:15. | |
chart the fact that Thatcher's Britain split communities, really. | :32:16. | :32:19. | |
You capitalised on this quite a lot. You became very commercial with the | :32:20. | :32:24. | |
sound really, with shops... What it helped us to do was give us the | :32:25. | :32:30. | |
opportunity to, "legitimatise" what we were doing at the time. She was, | :32:31. | :32:36. | |
I guess, we were going through change. Yes. And it was very | :32:37. | :32:43. | |
difficult and this was during the time when we were used to having a | :32:44. | :32:47. | |
class system. It was interesting for people like myself because it felt | :32:48. | :32:51. | |
there wasn't a barrier, no glass wall or glass ceiling, as it were. | :32:52. | :32:56. | |
Her coming along and changing things that really did disrupt the whole | :32:57. | :33:02. | |
country. I guess we just found a void somewhere and filled the void, | :33:03. | :33:06. | |
which is what we did with the music and the fashion and the sound system | :33:07. | :33:14. | |
at the time. You moved from the Sound System into making songs Back | :33:15. | :33:17. | |
to Life, your massive hit. How did ha come about? Making | :33:18. | :33:22. | |
records is something I did from the early days of working for Tommy. I | :33:23. | :33:27. | |
had access to studios and stuff like that. Every sound system cuts their | :33:28. | :33:33. | |
own dub plays. It was something that we always did. What was different | :33:34. | :33:37. | |
was when the record company came along and said - this is | :33:38. | :33:40. | |
interesting, how about us distributing your music? At the time | :33:41. | :33:46. | |
all I wanted to do was be the biggest sound system in the world. | :33:47. | :33:50. | |
This is what gave me the opportunity to do what we did, and here we are | :33:51. | :33:55. | |
on the One Show today. Still a massive song today, isn't it? It's | :33:56. | :34:00. | |
not bad! It is great. You haven't seen it. You can see Jazzie B's from | :34:01. | :34:08. | |
Dole To Soul on BBC Two on Saturday night at 10.30pm or 11.00pm in Wales | :34:09. | :34:11. | |
or Northern Ireland. Now, it's time to find out | :34:12. | :34:15. | |
if you believe the hype over the most overrated day of the year - | :34:16. | :34:18. | |
Black Friday. It is like panto. Do you believe | :34:19. | :34:23. | |
the? This lot don't. Yes, if you believe the headlines, | :34:24. | :34:29. | |
there are bargains galore to be had, but we're more than a little | :34:30. | :34:32. | |
sceptical and surely you guys are way too savvy to get duped | :34:33. | :34:35. | |
by a few dubious discounts?! Just two-days left until Black | :34:36. | :34:40. | |
Friday. Are you excited? I'm so excited. Look at all the money we | :34:41. | :34:44. | |
can save. There are deals to be had. I'm not convinced. 49% of these | :34:45. | :34:48. | |
deals are cheaper on different days in the year a survey has shown. You | :34:49. | :34:54. | |
are not shopping smart. You can save money on toys, gadgets, I'm looking | :34:55. | :34:59. | |
for a shed. We can put you in that. Let's see what the public think. | :35:00. | :35:06. | |
Black Friday, are you excited? If I get a bargain, yes. Will you go | :35:07. | :35:12. | |
online or hit the shops. Both. Hardcore, you double up. I'm | :35:13. | :35:17. | |
retired. Auto have the I hate it time. . Nothing fun about going | :35:18. | :35:21. | |
around the shops on Black Friday you buy stuff you don't want. I checked | :35:22. | :35:27. | |
my emails and I was like - what are the emails for? Email after email? | :35:28. | :35:31. | |
Yeah. Stereo Always the stuff that no-one wants. The stuff they are | :35:32. | :35:34. | |
usually not selling is the stuff they put on for offers. Do you think | :35:35. | :35:39. | |
it's a good thing? Depends what you are buying. If it's not what you | :35:40. | :35:43. | |
need and if you are just going because it's Black Friday... If it's | :35:44. | :35:48. | |
reduced you can find a need for it. Yeah. Why are you shopping today, | :35:49. | :35:52. | |
save it for Black Friday? No. The the whole idea is appalling. Why? | :35:53. | :35:59. | |
It's just hype. Did I hear the word "hype" there? I was hoping you | :36:00. | :36:03. | |
didn't. You get advantages buying on Black Friday. I looked online and | :36:04. | :36:08. | |
compare when I go in the the shop. Amazing. You are ready for Black | :36:09. | :36:13. | |
Friday. Are you from the States. A few days after the price is the | :36:14. | :36:20. | |
same. Black Friday, are you going to get a bargain. Online. Online. He is | :36:21. | :36:25. | |
going online. That guy is smart. We think we have a bargain and we | :36:26. | :36:28. | |
haven't really. I reckon they put the price up and then the price will | :36:29. | :36:33. | |
come down a fraction. You are are probably playing more. The shops do | :36:34. | :36:37. | |
good out of it. It's not good for us. The public have seen through | :36:38. | :36:41. | |
Black Friday. The people that are here are shopping naively because | :36:42. | :36:44. | |
all the smart ones are at home, poise and ready to hit, buy, | :36:45. | :36:48. | |
purchase, on Friday. Hopefully, those people will be watching this | :36:49. | :36:52. | |
and know it may not be the deal they thought they were going to get. If | :36:53. | :36:55. | |
you are comparing prices and come across a good shed, let me know. | :36:56. | :37:01. | |
Look me up, please! You can't knock a bargain, can you? Jazzie said - | :37:02. | :37:07. | |
it's a con, it is's a con as soon as the film started. It's tempting. | :37:08. | :37:11. | |
Look who joined us on the sofa, it's Tom Odell. Lovely start, really | :37:12. | :37:18. | |
nice. It's not the first time you and Jazzie B have met? No. My first | :37:19. | :37:25. | |
TV show Jools Holland. There is the footage to prove it. You must have | :37:26. | :37:30. | |
been nervous with your first aperance? More terrifying than | :37:31. | :37:36. | |
anything. I downed a pint -- appearance. How old were you there? | :37:37. | :37:43. | |
22. Great. Do you always have a whisky on the piano? I did form a | :37:44. | :37:47. | |
habit. I had to cut back the other day. It was getting more and more. | :37:48. | :37:52. | |
Is OK. Is a little one. It's the only thing I can drink because | :37:53. | :37:56. | |
anything fizzy is weird to sing with. Sure. It's going so well for | :37:57. | :38:02. | |
you since then. Just incredible success all over the world. Thanks. | :38:03. | :38:06. | |
What is remarkable, I read that actually back in the day you didn't | :38:07. | :38:09. | |
start out as a singer. You didn't want... It was about songwriting for | :38:10. | :38:15. | |
you Yeah. It was only really started singing because I couldn't find | :38:16. | :38:20. | |
anyone to sing the songs and... I still don't think of myself as a | :38:21. | :38:24. | |
singer. Oh, you should. Your' excellent. Really? You were my | :38:25. | :38:30. | |
wedding song. Really the Penguin song. It was lovely. You told me it | :38:31. | :38:41. | |
was me. Next wedding! You are back with a second album. You roped in | :38:42. | :38:46. | |
top names for the videos. Have a look at this. Kevin Spacey you have | :38:47. | :38:55. | |
here. How did this come about? One of those weirdly sort of things | :38:56. | :38:58. | |
where I was looking for an actor to be in the video. We were staying in | :38:59. | :39:02. | |
a hotel in New York and he happened to be staying there. We... He was a | :39:03. | :39:09. | |
fan of mine. I was a massive, massive fan of his. I was obsessed | :39:10. | :39:13. | |
can With house of Cards. Wow. A few | :39:14. | :39:24. | |
weeks I e-mailed him and asked him if he wanted to be in the video. I | :39:25. | :39:27. | |
don't think he has already done a music video. I'm in touch with the | :39:28. | :39:32. | |
Queen. Tom, as a songwriter, the production side of things, that is | :39:33. | :39:36. | |
adding more layers to what you create? All the videos on this | :39:37. | :39:43. | |
album, we have done four, and they have sort of told a story. We are | :39:44. | :39:47. | |
about to put another one out on Friday, which sort of fine allis the | :39:48. | :39:51. | |
story. Is this the one you brought with you tonight? This is the one. | :39:52. | :39:55. | |
We have an exclusive. Let's see it. This is Silhouette. It's just a | :39:56. | :40:02. | |
silhouette # It's a mind trick | :40:03. | :40:06. | |
# I don't know why # But it reminds me | :40:07. | :40:10. | |
# Of someone that I used to know... # | :40:11. | :40:14. | |
APPLAUSE. Thank you for bringing that. The Kevin Spacey, Elaine Paige | :40:15. | :40:27. | |
and the story about Cats, that was another example. The John Lewis | :40:28. | :40:33. | |
advert. That came about by pure chance, didn't it? That was even | :40:34. | :40:38. | |
weirder because I lived near Victoria Park in London and I was on | :40:39. | :40:45. | |
a jog around in the summer and they were filming the advert. I asked, | :40:46. | :40:50. | |
what are you filming this for. They were like, the John Lewis advert. It | :40:51. | :40:54. | |
looks like a great advert. Four months later they asked me to do it. | :40:55. | :40:59. | |
I was like... I know the story. I have seen it being filmed. Sceptical | :41:00. | :41:09. | |
Bradley. That's unbelievable. My sister Kerry works at John Lewis in | :41:10. | :41:18. | |
Watford! Well! Have you been in John Lewis. It's coincidence al, I can't | :41:19. | :41:22. | |
believe it. This show is unbelievable! Other stores are | :41:23. | :41:27. | |
available to work in and sing about. Really? Tom will be perform | :41:28. | :41:33. | |
Magnetised from his later album Wrong Crowd at the end of the show. | :41:34. | :41:37. | |
Tom recorded a special live performance for Radio 2 in Concert | :41:38. | :41:40. | |
which you can find on the BBC iPlayer. What a great show we are | :41:41. | :41:46. | |
having tonight. Tom, from adverts we don't need you to to tell us how | :41:47. | :41:52. | |
important it is to have a catchy song to sell a product. | :41:53. | :41:58. | |
This is where we apologise to all those viewers who've tuned | :41:59. | :42:00. | |
in thinking that we never show adverts on the BBC. | :42:01. | :42:03. | |
The next four and a half minutes are going to make up for that. | :42:04. | :42:06. | |
# If you like a lot of chocolate on your biscuit joint our club... # | :42:07. | :42:11. | |
They are catchy. # Fairy liquid... # | :42:12. | :42:15. | |
They can lodge in our brains for decades | :42:16. | :42:20. | |
# Do the shake and vac and put the freshness back... # | :42:21. | :42:24. | |
Jingles simply make us smile. Armed with a violin on the streets of | :42:25. | :42:28. | |
Cardiff I'm hoping to see how much affection we have for advertising | :42:29. | :42:29. | |
classics. How about this one. # I'm loving it... # | :42:30. | :42:44. | |
Which is? McDonalds. # Shake and vac and put the | :42:45. | :42:51. | |
freshness back... # # With mild green, Fairy Liquid... # | :42:52. | :42:56. | |
People clear clearly have a soft spot for them. They can recall them | :42:57. | :43:01. | |
instantly. Even the old tunes stick in their mind. It's given me an | :43:02. | :43:06. | |
idea. Can I turn these little songs into something greater than the sum | :43:07. | :43:11. | |
of their parts? Is the jingle started on American radio in the 192 | :43:12. | :43:19. | |
20s. In the 1950s they sold products to useses Brits. I'm meeting Rod | :43:20. | :43:27. | |
goer Greenway who has written the most well-knownle ginning 8, | :43:28. | :43:31. | |
including this one for Coca-Cola are. | :43:32. | :43:35. | |
# And keep it company... # | :43:36. | :43:38. | |
For people to remember something and be able to sing-a-long it has to be | :43:39. | :43:46. | |
short, sweet, succinct, memorable very quickly. Something like the | :43:47. | :43:59. | |
Asda commercial. 30 seconds. It was only supposed to be on air for a | :44:00. | :44:03. | |
short while. It was on air for 25 years. One of your famous | :44:04. | :44:10. | |
commercials was the Jacobs Club. # If you like a lot of chocolate on | :44:11. | :44:17. | |
your biscuit, join our club... # It's child like, that is | :44:18. | :44:21. | |
sophisticated? Absolutely. Keep the chords simple and let the melody run | :44:22. | :44:25. | |
through the chords. That is what I did. It's so short. That That is | :44:26. | :44:29. | |
brilliant. As soon as you hear, it you know what it is. Most people | :44:30. | :44:33. | |
would say - I could write that. But they didn't! After my masterclass | :44:34. | :44:39. | |
I'm feeling inspired to compose my own medley of 19 different jingles. | :44:40. | :44:44. | |
I soon realise so many of the classics are made up just a few | :44:45. | :44:48. | |
chords. # For mash get Smash... # | :44:49. | :44:54. | |
Then something clicks. It's complete. Will an audience expecting | :44:55. | :45:02. | |
a classical performance recognise these well-known jingles? Ladies and | :45:03. | :45:06. | |
gentlemen, thank you very much for coming. We have a treat for you. A | :45:07. | :45:10. | |
One Show especially arranged piece of music. See how much of it you | :45:11. | :45:16. | |
recognise. If you want to play along at home, look away now. | :45:17. | :46:05. | |
APPLAUSE Did you recognise what was contained | :46:06. | :46:13. | |
in the music? TV jingles. McDonald's. T-Mobile. It was | :46:14. | :46:23. | |
different but recognisable. I think it becomes more classical because | :46:24. | :46:26. | |
you lose the context of the melodies make them memorable. I hope we have | :46:27. | :46:30. | |
showed that those classic deserve a place not only in our hearts but | :46:31. | :46:34. | |
also as a stand-alone John Wright of music in its own right. We were | :46:35. | :46:42. | |
trying to guess but it did not go too well! | :46:43. | :46:43. | |
Well, in Bradley's honour, we've given Richard's jingle | :46:44. | :46:45. | |
Join us as we play, What's The Name of the Game Show? | :46:46. | :46:54. | |
Where we are! Richard has composed a piece of music with ten theme tunes | :46:55. | :47:07. | |
of game shows. Thomas Dekker men to play this. -- tom has come. We are | :47:08. | :47:15. | |
going to play and were going to see how many we get. Whenever you're | :47:16. | :47:17. | |
ready. I've lost it! CHEERING | :47:18. | :48:36. | |
It was going all right! You were dancing! The first one? Blankety | :48:37. | :48:51. | |
Blank! The second one, mastermind. Blockbusters. Question Of Sport. | :48:52. | :49:15. | |
This is my favourite. Bullseye! Millionaire! Countdown. | :49:16. | :49:23. | |
That is a modern one. Pointless. I know that but I don't know what it | :49:24. | :49:45. | |
is! Say what you see. Catchphrase! And the last one, I haven't seen it, | :49:46. | :49:50. | |
apparently it's got Bradley Wiggins! The Chase! I didn't even know it! | :49:51. | :49:58. | |
Alex Scott it. We put the krypton factor! We got five. Five each! | :49:59. | :50:09. | |
Thank you very much. Thank you both. Now, it's the moment | :50:10. | :50:18. | |
we've been waiting for, can Gyles and the One Show stunt | :50:19. | :50:21. | |
team recreate one of OO7's In 1983 this bearing Bond stunt | :50:22. | :50:38. | |
sequence enthralled audiences. Yes, Moneypenny, the question is, 30 | :50:39. | :50:42. | |
years on, can the One Show stunt team retreat this incredible James | :50:43. | :50:45. | |
Bond stunt without breaking any bones? Nearly three miles of railway | :50:46. | :50:52. | |
track has been cleared and safety check for dangerous obstructions and | :50:53. | :50:55. | |
our One Show stunt man Gordon Alexander has been fitted into his | :50:56. | :50:59. | |
harness ready for the first shot. In the 80s, the stuntman might have | :51:00. | :51:06. | |
been harnessed but it would have been by a very thin cable that you | :51:07. | :51:10. | |
couldn't see while filming. For us we can use a thick rope. It goes up | :51:11. | :51:17. | |
and over the carriage and Gordon is connected to the other side. With | :51:18. | :51:24. | |
today's modern technology we will be able to digitally erase the | :51:25. | :51:29. | |
harnesses. When he is on the roof of the train he will actually be free, | :51:30. | :51:34. | |
he will be running up and down the carriage with no safety line. You | :51:35. | :51:41. | |
want me to do another one? One more. For the finale, he will duck | :51:42. | :51:45. | |
underneath the bridge, the timing will be essential to avoid a | :51:46. | :51:50. | |
dangerous collision. And to capture the aerial shots, and that the | :51:51. | :51:53. | |
helicopter we will be using a drone. The real risk the performer is the | :51:54. | :52:00. | |
risk of falling off the roof. He is 15 foot high on a moving platform, | :52:01. | :52:05. | |
you would not want to fall off a train at speed. Rehearsals are over, | :52:06. | :52:12. | |
the time has come. This seems to be a lot of fuss over nothing. That | :52:13. | :52:17. | |
after this, Moneypenny, I have got to go and change -- look after this. | :52:18. | :52:31. | |
They broke the double as mould long ago, maybe it is time for an old | :52:32. | :52:38. | |
hand to show these new boys how it's done -- 007 Mould. That is our | :52:39. | :52:46. | |
tribute. Everything you see now has been especially shot for The One | :52:47. | :52:47. | |
Show. Well, I think the next Bond is a | :52:48. | :53:58. | |
racing cert. Where were we? I thought you were extremely brave and | :53:59. | :54:05. | |
you can double me any time. Brilliant! Super job. It goes | :54:06. | :54:13. | |
without saying, please do not play with railway carriages or recreate | :54:14. | :54:19. | |
any James Bond stunts. Especially at home because the likelihood of | :54:20. | :54:21. | |
having a full-size train at home is a moat. On a train on the roof, but | :54:22. | :54:29. | |
he said, on the roof of a drink and be careful, you might fall off. | :54:30. | :54:36. | |
Hello! Exactly! Now had he ever imagined yourself as James Bond? | :54:37. | :54:43. | |
Yes. -- have you. We have treated ourselves to a little picture. This | :54:44. | :54:49. | |
is another one. Look at the budgie smugglers! They are all right! We | :54:50. | :54:56. | |
found quite an impressive stunt of yours on a game show. Look at this | :54:57. | :55:05. | |
for an entrance. Your host, Mr Bradley Walsh! | :55:06. | :55:17. | |
Total wipe-out! Did it ever work? We never made the series, the director | :55:18. | :55:27. | |
was a guy could Rupert from Hollywood. He got in some of | :55:28. | :55:34. | |
Hollywood and he said, you got to come down there and we'll catch you | :55:35. | :55:38. | |
at the bottom and nobody caught me and I went straight through! | :55:39. | :55:43. | |
Frightening! Just as well you didn't need crutches. Kevin was on earlier, | :55:44. | :55:49. | |
we have had 450 e-mails about people who tried to take their crutches | :55:50. | :55:53. | |
back to hospital but the hospital did not want them. He's trying to | :55:54. | :55:57. | |
start a campaign to see if we can save the NHS some money. Thank you | :55:58. | :56:00. | |
for your feedback and keep it coming to the usual addresses. | :56:01. | :56:02. | |
Thanks to our guests, Bradley Walsh and Jazzie B! | :56:03. | :56:09. | |
Bradley's album is out on Friday and you can see Jazzie B's | :56:10. | :56:12. | |
documentary on the 80s on Saturday night. | :56:13. | :56:17. | |
Coming up next on Watchdog, could you be paying for takeaways | :56:18. | :56:20. | |
And a fly tipper and some puppy farmers get their just desserts. | :56:21. | :56:27. | |
But now, playing us out with Magnetised from his latest | :56:28. | :56:30. | |
# See those birds going across the sky | :56:31. | :56:42. | |
# They say there's mother nature in everything we see | :56:43. | :57:00. | |
# Wish I had a little mother nature in me | :57:01. | :57:08. | |
# I'm magnetised to somebody that don't feel it | :57:09. | :57:22. | |
# But as sure as the world keeps the moon in the sky | :57:23. | :57:38. | |
# I wish I had a chance to let them know | :57:39. | :58:11. | |
# Their love is like a flower in the snow | :58:12. | :58:17. | |
# If it's just pheromones then that may be | :58:18. | :58:21. | |
# I wish you had a little pheromones for me | :58:22. | :58:27. | |
# I'm magnetised to somebody that don't feel it | :58:28. | :58:42. | |
# As sure as the world keeps the moon in the sky | :58:43. | :59:32. | |
Hello, I'm Elaine Dunkley, with your 90 second update. | :59:33. | :59:35. |