:00:07. > :00:12.You join us live in The One Show studio, where the band have finished
:00:13. > :00:16.rehearsing for tonight's performance. For the first time,
:00:17. > :00:20.Damon Albarn joins us and performs live track from
:00:21. > :00:23.Damon Albarn joins us and performs album. Don't call him Damon West
:00:24. > :00:36.Bromwich Albion Albom. He hates that.
:00:37. > :00:45.Hello. Welcome to The One Show with Alex Jones. And Chris Evans. This
:00:46. > :00:48.month saw the 20th anniversary of Britpop being celebrated and our
:00:49. > :00:53.guest tonight is a man who defined this era with songs like this.
:00:54. > :00:59.# All the people # So many people
:01:00. > :01:10.# They all go hand-in-hand # Hand-in-hand through their park
:01:11. > :01:19.life #. Yes, we do. That was Parklife by
:01:20. > :01:25.Blur. We are joined by Damon Albarn. We could not believe it, 20 years
:01:26. > :01:29.since Parklife. It is a long time ago, isn't it? You have done a lot
:01:30. > :01:34.of stuff since then, including your first-ever solo album. I was back in
:01:35. > :01:40.Leytonstone, I played a really small gig in Leytonstone library. I went
:01:41. > :01:46.over for a drink before the show and there were these two guys, who go
:01:47. > :01:54.under the name of the Gents, and they were doing a cockney knees that
:01:55. > :02:00.evening at St George's, and yes, I went back after my gig, went back
:02:01. > :02:05.there and ended up doing a knees up version of Parklife with them, which
:02:06. > :02:09.was really fun. Well, feel free. There is a keyboard over their!
:02:10. > :02:14.There is not a love live music on TV, you know that. It was just a
:02:15. > :02:20.piano and shouting, which is really good for a pub at 11pm. That is
:02:21. > :02:27.within our budget as well, isn't it? It is! It is within everyone's
:02:28. > :02:33.budget. It was a golden age for music, it is 20 years and a couple
:02:34. > :02:37.of kids ago for most of us. We want to see pictures of you from back
:02:38. > :02:44.then, the hairstyles, the gigs you went to, and you have to send in a
:02:45. > :02:48.current picture of yourself. So we can compare the two. We will not
:02:49. > :02:53.take the first without the second. We will look at some later. This
:02:54. > :02:57.weekend, millions of pounds are predicted to be bid at auction for
:02:58. > :03:00.what is the definitive off the wall sale. That is because all the works
:03:01. > :03:08.are by the infamous graffiti artist, Banksy.
:03:09. > :03:15.The Bristol street artist Banksy has risen to the top of the art world by
:03:16. > :03:18.using public spaces like these to illustrate striking, provocative
:03:19. > :03:21.images. He has been back in the public eye after two new works
:03:22. > :03:26.appeared in Cheltenham and Bristol. But what is a piece of street art
:03:27. > :03:31.turns up on your wall? Is it yours? Can you cash in on it, or does it
:03:32. > :03:35.belong to the public? This week is the opening of Stealing Banksy, the
:03:36. > :03:40.most expensive collection of Banksy artworks ever to be assembled under
:03:41. > :03:44.one roof. The artwork for sale includes girl with a balloon, which
:03:45. > :03:49.could make one lucky property owner very rich by going for as much as
:03:50. > :03:56.?500,000. Tony Baxter has organised the exhibition and sale. Why
:03:57. > :04:00.Stealing Banksy? We have been accused of many things, one of them
:04:01. > :04:04.is we go out and steal Banksy. Nothing could be further from the
:04:05. > :04:08.truth, but we thought we would put the show want to explore the moral,
:04:09. > :04:13.social and legal applications of this. Who owns these? They are owned
:04:14. > :04:18.by the building owners. They approach us and ask if we will help
:04:19. > :04:22.remove it, salvage it, restore it and sell it. When people own the
:04:23. > :04:27.building, like the one behind us, they own the concrete. Duvet they
:04:28. > :04:32.own the intellectual property? How -- can they sell this? It is your
:04:33. > :04:36.property, whatever is on it, you own it. A lot of people criticise the
:04:37. > :04:42.money involved, they say it is shameless profiteering. What do you
:04:43. > :04:46.say to that? It has been a difficult process for us. We get death
:04:47. > :04:49.threats. We don't go to people and tell them to take pieces off the
:04:50. > :04:54.walls. We make sure the money is given to charity and it is done in
:04:55. > :04:58.the best possible way it can be and in 100 years' time, these pieces
:04:59. > :05:02.will still be in existence. Of art collectors prepared to splash the
:05:03. > :05:08.cash on Banksy As, I have headed to short list to ask street art tour
:05:09. > :05:12.guide Richard if he thinks these urban masterpieces belong under a
:05:13. > :05:16.bridge, or under a hammer. I think it is against the ethos to remove
:05:17. > :05:22.works that are intended for a public space, bring them inside, auction
:05:23. > :05:25.them off under an auspice of charity and then ultimately sell them to a
:05:26. > :05:29.rich elite, who are going to take them out of the public realm forever
:05:30. > :05:33.and put them on display, like trophies. You work with street
:05:34. > :05:39.artists. Does it matter to them that it is in the public domain? Or is it
:05:40. > :05:44.just wherever they campaigned? Every street artist wants their work to be
:05:45. > :05:48.in public. They want it to be seen by the public and engage with them.
:05:49. > :05:54.Once they make a public work, they lose control and give ownership to
:05:55. > :05:59.the community. Yes. So who are the new Banksys? I have got Richard to
:06:00. > :06:05.show me some of the artists creating some of the must see street art.
:06:06. > :06:10.People keep taking photos, who should they be looking out for? This
:06:11. > :06:15.is Run. He does large-scale, figurative work all around the
:06:16. > :06:22.world. This one creates very graphic, bright, bold heads. A guy
:06:23. > :06:27.called Christian does weird mushrooms on rooftops. Another dozen
:06:28. > :06:32.giant black and white animals. It is an exciting movement, a lot to get
:06:33. > :06:36.involved with and see? Yes, a huge art movement. The biggest in the
:06:37. > :06:40.world. It has power because people are interested in it, it is
:06:41. > :06:46.relevant, it is outside. Gallery art has a place, but street art is the
:06:47. > :06:52.current art of the now. Finding street art on your wall may be a
:06:53. > :06:58.winning lottery ticket, but some is easier to remove than others. Good
:06:59. > :07:02.luck shifting this one! What an intriguing sale. Damon, as
:07:03. > :07:06.somebody who has commissioned Banksy to do some artworks, how do you do
:07:07. > :07:14.that? He works at night, maybe with a team, maybe three of him, how do
:07:15. > :07:21.you commission him? Well, I know... Whoever he is. How did you get to
:07:22. > :07:27.know him? Did you meet him at a party? When we did our first
:07:28. > :07:34.Gorillaz video, we filmed the bridge at the top of the Road in west
:07:35. > :07:38.London and it had one of early on there. We did not know who we was,
:07:39. > :07:43.no one knew who he was. We put it in the video and threw someone we
:07:44. > :07:48.knew, he contacted as saying he was a bit annoyed that we haven't asked
:07:49. > :07:54.him, but we did not know who he was. So we met him and became great
:07:55. > :08:01.friends. It is definitely at him? LAUGHTER
:08:02. > :08:07.. He is male. Were you excited about meeting him? Intrigues? When I met
:08:08. > :08:14.him, he was just a graffiti artist. There was a lot of graffiti, we
:08:15. > :08:20.hadn't identified it as being a great piece of work. It was just on
:08:21. > :08:27.the bridge. It was arbour eatery to us. -- arbitrary. I bugging you
:08:28. > :08:34.found a Banksy the other day? When I first got to know him, I
:08:35. > :08:40.subsequently commissioned him to do the last Blur record, Think Tank
:08:41. > :08:48.cover, one of our conversations, one of our evenings, he brought round a
:08:49. > :08:52.piece of work. I put it in a cupboard and completely forgot about
:08:53. > :08:58.it. Then we were cleaning up that part of the studio a few months ago
:08:59. > :09:06.and found this very nice... Very nice, very early Banksy. Back to the
:09:07. > :09:13.music scene. We have been talking Britpop, which started in 1994. Lets
:09:14. > :09:18.travel before that to the story behind one of the most famous
:09:19. > :09:22.anthems from the Merseybeat era. The sound of the 60s was all about
:09:23. > :09:26.Liverpool. The Merseybeat was topping the charts in the UK and in
:09:27. > :09:34.the States. But it wasn't just about the Beatles. In 1963, one man was
:09:35. > :09:40.set to make history. Topping the charts with their first three
:09:41. > :09:44.releases, how do you do it, I like it and you'll never walk alone. The
:09:45. > :09:48.band was Gerry and the Pacemakers. The following year, they released a
:09:49. > :09:58.song that would become the arms of Merseyside. # So ferry cross the
:09:59. > :10:07.Mersey. # Cause this land's the place I
:10:08. > :10:11.love. His name was Brian Eckstein. His
:10:12. > :10:19.other band was the Beatles. They just made a hard day's night. Brian
:10:20. > :10:26.said, Gerry, I have a solid view. I said, don't be daft he came up with
:10:27. > :10:31.Ferry Cross The Mersey, written by Tony Warren, who did Coronation
:10:32. > :10:36.Street. He said, have a look at that and see if you can write some songs.
:10:37. > :10:40.There was the day we did not have a video for records, we could not sell
:10:41. > :10:44.it in Australia and the states all in one week, so you could send them
:10:45. > :10:49.out of the film. This is like your ferry, isn't it? Yes, it is, it is
:10:50. > :10:56.so long since I have been here. Three days, actually! The pressure
:10:57. > :10:59.was to try to do the sight of -- the type of song for the film which
:11:00. > :11:06.captured Liverpool, Liverpool people and the ferries. That was the hard
:11:07. > :11:13.part. My girlfriend, I took her out for dinner, I heard in my head...
:11:14. > :11:17.And I thought that is the ferries. So I stopped the car, jumped out,
:11:18. > :11:26.run to a telephone box, rang my mother and said, mum, quick, go and
:11:27. > :11:32.get my tape machine and press play and record. She said, what? I said,
:11:33. > :11:37.come on, I will forget it. I sang it. Down the phone? You were put in
:11:38. > :11:42.your coins in. I put them in, finished it quickly, run to the car
:11:43. > :11:48.and said to my child bride, sorry, I am taking you home, in my head,
:11:49. > :11:58.Ferry Cross The Mersey. I heard this in my head. That is the sound of the
:11:59. > :12:09.ferry. # Life goes on day after day
:12:10. > :12:13.# Heart is torn in every way. #. The thing that most important to
:12:14. > :12:16.me, people around every corner, they seem to smile and say we don't care
:12:17. > :12:21.what your name is, boy, we will never turn you away. That is what
:12:22. > :12:29.Liverpool is, what they are to meet, and that is why I put it in.
:12:30. > :12:35.# We'll never turn you away #. White That is when I feel happy
:12:36. > :12:40.telling people what we do. The song made it to number eight in the
:12:41. > :12:44.charts in 1965. 24 years later it reached the number one slot, but in
:12:45. > :12:53.tragic circumstances. The Hillsborough Disaster Fund. -- the
:12:54. > :12:59.Hillsborough disaster. Gerry rereleased it to help friends. They
:13:00. > :13:02.needed help. The only way I could think of doing it was by putting a
:13:03. > :13:08.record out and all the proceeds going to the fund. Thank God, Paul
:13:09. > :13:14.McCartney helps me, Holly Johnson, God bless him, and the Christians.
:13:15. > :13:19.For Garry Christian, it was a chance to reinterpret childhood classic. Is
:13:20. > :13:25.this a song you had grown up with? Yes, it is an iconic Liverpool song.
:13:26. > :13:32.The way the kids sing it, Ferry Cross The Mersey... When I was doing
:13:33. > :13:39.my bit of the song, I'd have tried to put a bit of soul into it. It is
:13:40. > :13:43.exactly 50 years since Gerry wrote the song and along with the ferry
:13:44. > :13:47.there is little songs there is little sign that either is going out
:13:48. > :13:57.of fashion. A lovely film. Well done, Gerry. And
:13:58. > :14:03.from the Christians as well. Yes. She has no idea! I think you were
:14:04. > :14:07.fog or five years old. I know what you are talking about. We saw Gerry
:14:08. > :14:12.ringing his mum and singing down the phone so she could record it. What
:14:13. > :14:17.did she record it on? A cassette recorder. Did you do anything
:14:18. > :14:26.similar with your new album? Well, it is a good idea when you get an
:14:27. > :14:30.idea to record it. What do you use? Mostly my iPad, these days. The
:14:31. > :14:36.great thing about an iPad, you can prop it up on a window and you can
:14:37. > :14:40.sing and it will film what is going on outside the window while you are
:14:41. > :14:47.writing the tune and very nice, great. It is like a diary of when
:14:48. > :14:52.you wrote the song. Exactly, I like doing that. We have been trying to
:14:53. > :14:57.figure out what Everyday Robots is about, about technology, and
:14:58. > :15:06.elephants and parakeets. That is not a song... An interlude. Ambient. For
:15:07. > :15:14.you and technology, you have a 14-year-old daughter. 14 and a half.
:15:15. > :15:18.Very important. Very useful. How has your album passed the 14 and a half
:15:19. > :15:23.-year-old daughter test? Initially, she said it was a bit slow and
:15:24. > :15:29.boring, dad. I think she has warmed to it. She has always been listening
:15:30. > :15:35.to what I am doing and learns the lyrics. She's good at learning
:15:36. > :15:41.stuff, as kids of that age Dann-macro They have enough time.
:15:42. > :15:47.They the brain capacity. It is terrifying, watching that generation
:15:48. > :15:55.grow up, because so much of their life is focused on this rectangle
:15:56. > :16:00.that they carry around, almost like it is the world itself. It is
:16:01. > :16:08.unclear whether you are for or against technology. Well, I think
:16:09. > :16:13.that's good. I think if you are a songwriter, you should not be
:16:14. > :16:18.judgemental. You've got to have that ambiguity. Otherwise when people
:16:19. > :16:22.listen to a song, they are not able to make their own mind that if it is
:16:23. > :16:31.too clearly one way or the other. OK, Ferry Cross the
:16:32. > :16:37.-- Everyday Robots, let's look at the title track.
:16:38. > :16:42.# We are everyday robots on our phones
:16:43. > :16:48.# In the process of getting home # Looking like standing stones
:16:49. > :17:04.# Out there on our own. # You love a good visual, don't you?
:17:05. > :17:10.That is my skull, reconstructed. It is a computer programme that they
:17:11. > :17:15.use in crime scenes, as well. It's quite a morbid thing, actually.
:17:16. > :17:21.Well, it is Friday, let's pick it up a little! Sorry about that! As we
:17:22. > :17:27.mentioned earlier, there is a parakeet interlude. We have a film
:17:28. > :17:34.all about parrot 's, so that's pretty convenient.
:17:35. > :17:42.They swarm in their thousands. Yet piercing screeches fill the air,
:17:43. > :17:50.ominous green flashes cover the skies. Whatever it was that brought
:17:51. > :17:54.ringnecked parakeet is to the UK, they have more than made it their
:17:55. > :17:57.home. Until recently, it seemed they were little more than a colourful
:17:58. > :18:03.addition to British wildlife. Now there is mounting evidence this is
:18:04. > :18:08.not a benign invasion. It seems we are under attack! These natives from
:18:09. > :18:12.India mysteriously appeared in the wild here in the late 60s. It is not
:18:13. > :18:18.known how they got here, but the most exotic explanation is that they
:18:19. > :18:28.escaped from the African Queen film in West London. Sir Humphrey Bogart
:18:29. > :18:34.is persuaded by missionary Katharine Hepburn to attack a war set. The
:18:35. > :18:38.producers brought some of the African jungle back to the filmset,
:18:39. > :18:46.according, so the story goes, a mating pair of parakeets. It is
:18:47. > :18:52.thought that pet owners, sick of their piercing call, released them
:18:53. > :18:57.into the wild. It's now exploded into a population of more than
:18:58. > :19:04.32,000 birds. Now they are starting to spread across the UK. So, will
:19:05. > :19:10.these parakeet hotspots form colonies of thousands of birds as
:19:11. > :19:15.well? Manchester is the first chilly furthest north that a colony appears
:19:16. > :19:17.to have been established. Steve Atkins has been observing the
:19:18. > :19:25.population. The numbers are really going up. If we go back five years,
:19:26. > :19:28.we were encountering them in single figures. In the last few weeks we
:19:29. > :19:33.have a record count of 44, the highest number seen in the area. How
:19:34. > :19:41.do you think they got here? That's an interesting question. There are a
:19:42. > :19:45.number of theories. There were incidents of vandalism in the 70s,
:19:46. > :19:50.cages were broken and birds escaped. I would imagine that is the likely
:19:51. > :19:53.source of the local birds. They are clearly breeding in Manchester. But
:19:54. > :19:59.sightings of single birds have even been reported as far north as St
:20:00. > :20:02.Andrews in Scotland. So, is this spread a problem? They have been
:20:03. > :20:07.called secateurs with wings for the way they desiccate fruit crops.
:20:08. > :20:12.Grace corals of the skies for devouring bird table offerings. It
:20:13. > :20:17.is this really true? New research just published in the journal
:20:18. > :20:23.Behavioural Ecology says there is cause for concern. Parakeets appear
:20:24. > :20:27.to be affecting the way native birds behave. Doctor Alex Lauder is one of
:20:28. > :20:34.the scientists is that conducted the study. How did you conduct the
:20:35. > :20:37.research? We had 41 members of the public that volunteered their
:20:38. > :20:41.gardens. We would go to the gardens and set up a bird feeder. We looked
:20:42. > :20:48.at the behaviour of native birds. When you put a parakeet near a bird
:20:49. > :20:55.feeder, compared to one of the native birds. They were placed next
:20:56. > :21:00.to big bird feeders. Half of them have a parakeet placed in the cage,
:21:01. > :21:05.the other half had a similarly sized native woodpecker. When the parakeet
:21:06. > :21:09.was next to the feeder, fewer birds were visiting and they were less
:21:10. > :21:12.likely to eat any food. In the presence of the woodpecker, native
:21:13. > :21:18.birds were more likely to visit the nearby feeder. Were they bullying
:21:19. > :21:21.the other birds? They are not particularly aggressive and we did
:21:22. > :21:26.not see any aggressive behaviour. So it is probably more of a fear of the
:21:27. > :21:31.unknown. As numbers in Manchester are expected to rise, native birds
:21:32. > :21:36.might have to go further afield to find food. Or get used to their new,
:21:37. > :21:43.noisy neighbours. But how big are the Manchester population get? In
:21:44. > :21:46.the Manchester area we are probably talking low hundreds. That is what
:21:47. > :21:51.it would have been in London 20 or 30 years ago. So, what we are
:21:52. > :21:56.expecting is that the population will gradually grow and eventually
:21:57. > :22:00.gets to much higher numbers. With parakeets firmly established in
:22:01. > :22:04.London, spreading their wings to Manchester, who knows where they
:22:05. > :22:11.will turn up next? Maybe to a park near you!
:22:12. > :22:19.Mike is here with a couple of parakeets that really blend with our
:22:20. > :22:25.sofa. Why do you think they have been so successful in breeding? Most
:22:26. > :22:28.people associate them with the tropics and steamy jungles, but this
:22:29. > :22:32.is a bird from the subtropics, the Himalayas. We are talking about the
:22:33. > :22:37.foothills, where they get incredibly cold winters. The British climate is
:22:38. > :22:42.no problem for them. They can cope with the worst climate we can throw
:22:43. > :22:48.at them. They also nest very early, in big trees, huge oak trees, lots
:22:49. > :22:53.of holes and cavities. So early in the year that they often get in
:22:54. > :22:59.there before native birds like woodpeckers and jackdaws. Possession
:23:00. > :23:04.is nine tenths of the law. They are omnivorous, they eat anything, and
:23:05. > :23:09.they are opportunistic. Anybody who has a bird table in East London...
:23:10. > :23:14.You are familiar with them? And he loves them. The ones I have seen, I
:23:15. > :23:20.don't know, they might be that larger? These are young birds, they
:23:21. > :23:27.don't have the full ring around the neck. They get bigger than that? The
:23:28. > :23:31.ones I have seen are like that. When they are flying, they look big,
:23:32. > :23:34.beautiful, long tails. In a year's time they will look like the ones
:23:35. > :23:42.you are familiar with. What are they like as pets? They are tricky. They
:23:43. > :23:51.can live to 30 years old, macaws can live to 70. They are almost
:23:52. > :23:54.teenagers in arrested development. If you are not home, they love
:23:55. > :23:58.company, they get stressed and nervous and pluck their feathers.
:23:59. > :24:03.Big investment in time and money. They need a lot of interaction and
:24:04. > :24:09.they can be quite noisy. If you take on a parrot, a baby parrot, you are
:24:10. > :24:15.an adult, you have to think of them outliving you? They'll easily
:24:16. > :24:21.outlive you, Chris! Maybe not me or diamond. Well, back to the Britpop
:24:22. > :24:24.years! Take the parrots out, please. Just because we have the music
:24:25. > :24:30.coming, not because of what you said! We asked for your pictures
:24:31. > :24:43.from the heyday of Britpop. This is Stacey, aged 18, 1994. Here she is
:24:44. > :24:52.now, still looking happy. This is Heather at an Oasis gig, sorry. This
:24:53. > :24:57.is Heather today. Jamie Bowman, look at him, 1994. What a cool dude.
:24:58. > :25:05.Doesn't get any cooler than having a kid, there he is today. He looks a
:25:06. > :25:08.bit like Jamie Cullum. Another famous Jamie. Go and get yourself
:25:09. > :25:13.ready for your song. Thanks for being here.
:25:14. > :25:19.You got his name right the whole time! Didn't have a chance to get it
:25:20. > :25:23.wrong. I'm going to kill you! Just to remind everybody there is just
:25:24. > :25:26.over one week to go to enter The One Show summer art come petition, for a
:25:27. > :25:33.chance to see your work hanging on the walls of the Royal Academy in
:25:34. > :25:39.London. We are after your best paintings and drawings. For the
:25:40. > :25:43.first time, 13-17 year olds are a category. All the terms and
:25:44. > :25:47.conditions on the website. Playing is out with the song Hostiles from
:25:48. > :25:54.his debut solo album, Everyday Robots, half an Monday, it is...
:25:55. > :26:09.Damon Albarn. Have a great weekend, goodbye.
:26:10. > :26:22.# When the service is done # And the parish for some
:26:23. > :26:30.# And the midfrequencies come # To keep you away
:26:31. > :26:40.# When your body aches # From the dreams you keep
:26:41. > :26:48.# And the hours pass by # Just left on repeat
:26:49. > :27:01.# It'll be a silent day # I share with you
:27:02. > :27:22.# Fighting off the hostiles # With who we collude
:27:23. > :27:29.# Hoping to find the key # In this play of communications
:27:30. > :27:33.# Between you and me # When the LCDs
:27:34. > :27:38.# Are all the Player Ones you can be # Put your foot down in the right
:27:39. > :27:48.hand lane # If you are with me
:27:49. > :27:57.# Till the trains re-route # And the rush-hour as come
:27:58. > :28:10.# And the midfrequencies, some # Have sent you to sleep
:28:11. > :28:18.# It'll be a silent day # I share with you
:28:19. > :28:24.# Fighting off the hostiles # With who we collude
:28:25. > :28:32.# Hoping to to find the key # In this play of communications
:28:33. > :28:51.# Between you and me. BBC Radio 5 live
:28:52. > :29:03.is where news comes to life. And next week on 5 live Breakfast,
:29:04. > :29:06.we're travelling across the UK to explore the stories
:29:07. > :29:09.that matter to you...