Browse content similar to 27/04/2017. Check below for episodes and series from the same categories and more!
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Hello and welcome to One Show with Matt Baker. And Michelle Ackerley. | :00:19. | :00:25. | |
New York has given us some of the most incredible voices from | :00:26. | :00:29. | |
Frankston Jack Sammy Davis Junior to Bennett. Today we are in the | :00:30. | :00:34. | |
presence of one of the greatest, that this wouldn't be complete | :00:35. | :00:39. | |
without Barry from Brooklyn. # Can't Smile Without You... | :00:40. | :00:46. | |
# Mandy, UK minute gave without taking | :00:47. | :00:54. | |
# At the Copa, that Copacabana # Could It Be Magic, Could It Be | :00:55. | :00:58. | |
Magic... #. CHEERING AND APPLAUSE | :00:59. | :01:13. | |
Look who's in our audience tonight, Barry Manilow! | :01:14. | :01:21. | |
Come on in, Barry. Barry, good to see you. As always. Lovely to see | :01:22. | :01:34. | |
you. What a great crowd. The fans I hear, the fans I hear! Now then, the | :01:35. | :01:38. | |
reason we're talking all about New York is because of your new album. | :01:39. | :01:44. | |
This Is My Town: Songs Of New York. As far as power town is concerned, | :01:45. | :01:51. | |
when you come to the UK, what you like to do? Usually I am working. | :01:52. | :01:55. | |
Very little time to get out. But what we've done over the years, when | :01:56. | :02:01. | |
I go from city to city, we go by car, so I do get to see the | :02:02. | :02:08. | |
outskirts of London. The landscape. When we went to Sheffield years ago, | :02:09. | :02:11. | |
we drove there and then we went through snake pass and we got | :02:12. | :02:17. | |
attacked by sheep! LAUGHTER You will do, very affectionate. Do | :02:18. | :02:26. | |
you know? Of course. It's not common to me. We had to stop the car. We | :02:27. | :02:31. | |
had to stop and generally get them off the road. I think they | :02:32. | :02:33. | |
recognised me! LAUGHTER Fans everywhere. I will give you | :02:34. | :02:40. | |
some shepherding tips. Stick with me and you'll be all right. As you've | :02:41. | :02:48. | |
heard, the fans are in! But of course there's only so much room | :02:49. | :02:52. | |
here in the studio. We would like to get some fans at home the chance, | :02:53. | :02:56. | |
Barry, to speak to you, live in the studio. We have some of your most | :02:57. | :03:03. | |
ardent admirers. They've been given a top secret number that will | :03:04. | :03:06. | |
connect them to us in the studio. But it's not time yet, hold your | :03:07. | :03:11. | |
horses, don't call just yet. Settle down. If you live in Cheltenham and | :03:12. | :03:16. | |
you've received a strange handwritten anonymous note recently, | :03:17. | :03:20. | |
you are not alone. Over the last month these messages have been | :03:21. | :03:25. | |
turning up in all sorts of random locations across town, send unknown, | :03:26. | :03:29. | |
until now. With texting, e-mail and messaging | :03:30. | :03:33. | |
apps these days it seems like we are never out of touch with each other, | :03:34. | :03:38. | |
but when was the last time you received a handwritten letter? Well, | :03:39. | :03:41. | |
here in Cheltenham two enterprising chaps have set up a delivery service | :03:42. | :03:47. | |
with a difference. It's anonymous. All you have to do is type the | :03:48. | :03:51. | |
content of your letter on their website and they will handwrite it | :03:52. | :03:55. | |
and deliver it free of charge. Well, as long as it's within a mile | :03:56. | :04:04. | |
of Cheltenham. This is you George and another George? Hello George. If | :04:05. | :04:07. | |
you are not making money from this, why do you do it? It is goodwill on | :04:08. | :04:14. | |
a very local level and it's nice to actually get something from someone | :04:15. | :04:18. | |
that's actually handwritten. Openly before someone else does. It just | :04:19. | :04:22. | |
says, you are beautiful! Can't believe you'd invite James Corden to | :04:23. | :04:29. | |
a dinner party, not cool dude, not cool. With love completely | :04:30. | :04:32. | |
anonymous. But you feel like the recipient of that would know. | :04:33. | :04:38. | |
Exactly. How many notes have you got waiting to drop? About a thousand | :04:39. | :04:42. | |
submissions around Cheltenham. We can't send them all at the moment | :04:43. | :04:45. | |
supply it sounds like you could do with a spare pair of hands. I'm not | :04:46. | :04:49. | |
George but I could be George for a day. This is your moment. Where is | :04:50. | :04:56. | |
it going? To a man running a coffee stand just over there. Hello sir, | :04:57. | :05:01. | |
this is for you. It says location, the man at the Green coffee machine. | :05:02. | :05:05. | |
That is you. Have you ever received an anonymous note before? I haven't. | :05:06. | :05:11. | |
Thank you for providing children with the world's press coffee, we're | :05:12. | :05:15. | |
lucky to have you. What a lovely thing. -- providing Cheltenham. How | :05:16. | :05:19. | |
does it feel to receive something like that out of the blue? Very | :05:20. | :05:23. | |
good, that somebody appreciates what you do. The anonymity obviously has | :05:24. | :05:30. | |
drawbacks as well. Do you think some people could find it a bit creepy? | :05:31. | :05:36. | |
Yes, we've had people e-mailing saying they have had a note and they | :05:37. | :05:41. | |
are a bit freaked out. We explain the situation. Getting to see all of | :05:42. | :05:45. | |
Cheltenham today. If I'm going to become a George, I have to know my | :05:46. | :05:49. | |
way around so we don't waste time. We can't have that! | :05:50. | :05:55. | |
I've got a no name note for somebody here. Let's see what it says. Open | :05:56. | :06:03. | |
me. Did Jason, your dog the Rock has escaped. Your dog has escaped? And | :06:04. | :06:09. | |
whenever there is a giver, there is a receiver. It's not a no name note | :06:10. | :06:15. | |
you have there? I had about a week ago, just try and make head tail of | :06:16. | :06:21. | |
it. I joke, a jacket I owned has been taken and lost by a certain | :06:22. | :06:25. | |
individual. It's a note apologising for taking my jacket and losing its. | :06:26. | :06:28. | |
Is it a nice way for someone to apologise or slightly creepy and | :06:29. | :06:32. | |
weird because you had an recognise the jacket had gone? Quite charming. | :06:33. | :06:39. | |
I could boil it down to two or three people. We will spare their blushes! | :06:40. | :06:44. | |
Thank you. With all this being spread around | :06:45. | :06:48. | |
Cheltenham I couldn't receive resist leaving a note of my own. After all, | :06:49. | :06:53. | |
it is the jazz festival. Laura, there is no one cooler, have a great | :06:54. | :06:55. | |
show. Lovely notes, isn't it? Barry, have | :06:56. | :07:07. | |
you ever received any strange fan mail? Surely, you must have done! | :07:08. | :07:15. | |
You must have over the years. Most of the fan mail is beautiful. A lot | :07:16. | :07:19. | |
of thank you for the music and stuff. Years ago, and I've told this | :07:20. | :07:23. | |
story before so you probably know it, in the mail I got a roll of | :07:24. | :07:32. | |
toilet paper. What? At first I didn't know what that meant. On | :07:33. | :07:38. | |
every sheet, she had written, you are my singer, you are my songs and | :07:39. | :07:42. | |
I love you, on every sheet of the entire role. Every sheet. You know | :07:43. | :07:50. | |
how long this must have taken? Exactly! It definitely got my | :07:51. | :07:57. | |
attention. Barry, she's into night! No, she's not, she's not. But we do | :07:58. | :08:04. | |
know you have to trying keep a bit of a low profile and it must be | :08:05. | :08:07. | |
difficult for you. It is, that profile. You used to check-in to | :08:08. | :08:14. | |
hotels anonymously under a different name. I did. I still do. Who I can | :08:15. | :08:21. | |
tell you about, when I did my first jazz album I went under Bill Bailey. | :08:22. | :08:27. | |
And then there was like a Judge Judy show in America, with a judge named | :08:28. | :08:34. | |
Judge walk,, so I went under that name. My mother called and said let | :08:35. | :08:42. | |
me speak to judge Walkner and they said, is calling question what she | :08:43. | :08:45. | |
said Judge Walkner's mother! LAUGHTER | :08:46. | :08:50. | |
Let's talk about your new album, This Is My Town: Songs Of New York. | :08:51. | :08:53. | |
It's basically a love letter to your hometown, New York. Interestingly | :08:54. | :08:59. | |
you have been living in California. I I've lived there longer than I did | :09:00. | :09:03. | |
in New York, but I come from New York. When you are born and raised | :09:04. | :09:07. | |
in New York, you are always a New Yorker. What does it mean? I took | :09:08. | :09:14. | |
for us, think fast, walk fast, and energetic. That's what you get in | :09:15. | :09:20. | |
New York. As you grow up there, you go out of New York at 100 miles an | :09:21. | :09:23. | |
hour and you're ready to live your life. You've got such a love affair | :09:24. | :09:30. | |
with the city, that there's actually a road named after in Manhattan. | :09:31. | :09:35. | |
When we played the St James Theatre, they put a street sign... There it | :09:36. | :09:44. | |
is. That was a thrill. I bet. It was a thrill, I can't believe they | :09:45. | :09:48. | |
actually did that. It was so important. Wouldn't you be thrilled, | :09:49. | :09:59. | |
your hometown? Yes! LAUGHTER Song and everything to do with it. | :10:00. | :10:03. | |
You've tried to capture so much with this album. I do. First of all it | :10:04. | :10:09. | |
was different styles. I was first going to make it into one style, a | :10:10. | :10:13. | |
little jazz album, but that didn't work. So I started to play around | :10:14. | :10:17. | |
with different styles. I thought, it's going to be confusing, but New | :10:18. | :10:23. | |
York is different styles, New York is a melting pot of different people | :10:24. | :10:27. | |
and different styles. So I thought, OK, this might work. It is different | :10:28. | :10:31. | |
styles, a little Broadway, a little pop, a little R, a little jazz. So | :10:32. | :10:37. | |
it felt good when I finally finished it. It took me over a year to finish | :10:38. | :10:44. | |
this album. Yeah... I would want these albums to be great. I don't | :10:45. | :10:48. | |
ever want to let go of it and I'm never done with it, but this took | :10:49. | :10:54. | |
longer than usual. There is a medley tribute is in New York classics in | :10:55. | :11:02. | |
fair, isn't there? When I looked up how many standards there are about | :11:03. | :11:09. | |
New York, these went forever. Many of them were great, written by great | :11:10. | :11:14. | |
songwriters. So I did the ones that I wanted to do and then I thought, I | :11:15. | :11:18. | |
want to do the rest of them, how do I do that? I put it in a medley. I | :11:19. | :11:23. | |
did like eight of them in a medley and it turned out to be great. Do | :11:24. | :11:29. | |
you ever stop writing, Barry? You know, I write on demand. I used to | :11:30. | :11:34. | |
do that. I used to just go to the piano and bright, but then they used | :11:35. | :11:38. | |
a end up in the trunk, I never got to use them because I didn't have | :11:39. | :11:42. | |
any place for them. So I stopped doing that. But when I have a | :11:43. | :11:46. | |
project, then I write and then I can't get the project out of my | :11:47. | :11:50. | |
head, can't get the songwriting out of my head, it wakes me up in the | :11:51. | :11:56. | |
middle of the night. I'm not sure if you know about that story... I woke | :11:57. | :11:59. | |
up in the middle of the night one night with a full song in my head, | :12:00. | :12:03. | |
lyrics and music. I tiptoed out of the bedroom, down the hall to the | :12:04. | :12:08. | |
cassette machine, remember cassette machines? I hit the record button | :12:09. | :12:13. | |
and whispered into the cassette machine. The next morning I woke up | :12:14. | :12:16. | |
and hit the play button and there it was. It was called One Voice. | :12:17. | :12:23. | |
Yanuyanutawa is kind of an uplifting song. I don't know how that kind of | :12:24. | :12:29. | |
thing happens. Well, Barry, we could chat to you forever. We will be | :12:30. | :12:33. | |
chatting to you a bit more later and perhaps one of your super fans as | :12:34. | :12:37. | |
well. First, the financial pressures on the NHS are sure to be fiercely | :12:38. | :12:41. | |
debated over the next few weeks, as we move closer to the election. That | :12:42. | :12:45. | |
includes the money spent on medication. Some pharmaceutical | :12:46. | :12:48. | |
companies have been accused of hiking their prices to a level that | :12:49. | :12:51. | |
is unaffordable for the health service. A medical journalist has | :12:52. | :12:55. | |
been to meet one of those patients affected. | :12:56. | :13:02. | |
It's a familiar story, patients denied access to life changing | :13:03. | :13:05. | |
medicine because it is too expensive to be available on prescription. I | :13:06. | :13:10. | |
have a pounding headache at the front of my head all the time. I | :13:11. | :13:14. | |
have ringing in my ears. My memory is really bad. It's like being | :13:15. | :13:19. | |
severely hungover. I've come to Northampton to meet 37-year-old | :13:20. | :13:26. | |
Louise Dunlop. Two years ago she had her thyroid removed, so her body no | :13:27. | :13:30. | |
longer makes hormones are central to the body's metabolism, one of which | :13:31. | :13:35. | |
is T3. They said take one pill a day and you will be fine. But that pill | :13:36. | :13:40. | |
that is designed to replace the hormone T3 has now become expensive. | :13:41. | :13:46. | |
That's partly why some local NHS clinical commissioning groups are | :13:47. | :13:50. | |
refusing to prescribe it. T3 is what's called on branded generic | :13:51. | :13:54. | |
drug and due to a lack of regulation, the pricing of these | :13:55. | :14:03. | |
drugs relies on competition in the market to keep prices down. The | :14:04. | :14:05. | |
problem is, a company called Concordia is the sole UK | :14:06. | :14:08. | |
manufacturer of T3, so they are free to charge what they want. Concordia | :14:09. | :14:13. | |
bought the company who make the drug T3 in October, 2015. Since then the | :14:14. | :14:18. | |
price has gone from around ?200 a month, to more than ?250 per month. | :14:19. | :14:25. | |
That is an increase of 25%. And T3 is currently listed as one of the | :14:26. | :14:30. | |
top ten generic drugs to have had their prices hiked, shooting up from | :14:31. | :14:36. | |
around ?11.60 a month in 2005. Some doctors are now prescribing a | :14:37. | :14:41. | |
cheaper alternative hormone, T4, but up to 15% of patients, including | :14:42. | :14:45. | |
Louise, they doesn't work for them. The higher dose I take, the more I | :14:46. | :14:49. | |
feel ill. Desperate to get back on T3, she went to a private | :14:50. | :14:53. | |
specialist. He gave me a private prescription. We took the | :14:54. | :14:57. | |
prescription to various pharmacies and they quoted me ?290 for a | :14:58. | :15:01. | |
month's supply. We got it if it would help, it did, but at ?200 290 | :15:02. | :15:08. | |
per month, I can't afford to keep doing that. NHS England told us the | :15:09. | :15:12. | |
affordability on prescription as part of an ongoing review, due its | :15:13. | :15:16. | |
high cost and limited limited evidence of its effectiveness and | :15:17. | :15:22. | |
the vast amount of patients symptoms can be treated at a cheaper | :15:23. | :15:25. | |
alternative. Some doctors say there is no evidence T3 helps. The doctors | :15:26. | :15:31. | |
I've seen, my rheumatologist, have seen an improvement in me. Lynn | :15:32. | :15:38. | |
works at the looking into the issue at the rising cost of T3 for some | :15:39. | :15:42. | |
time and they Louise is just one of the growing number of concern | :15:43. | :15:43. | |
patients who have contacted them. In 2015 there were 4 million | :15:44. | :15:53. | |
prescriptions for T3. We think that's affecting about 300,000 | :15:54. | :15:58. | |
patients. And what's even more frustrating for the patients is that | :15:59. | :16:02. | |
T3 is available much more cheaply abroad. In the UK it's now ?9 22 per | :16:03. | :16:11. | |
tablet. Whereas in 2015 in Turkey you could get it for 1p a tablet. | :16:12. | :16:16. | |
So, some patients are turning to the Internet to source the drugs. Look | :16:17. | :16:23. | |
at this, this is from Greece. Just over ?35 for one month's supply but | :16:24. | :16:28. | |
you don't know what you're getting. Louise has been getting a friend to | :16:29. | :16:33. | |
bring back supplies from Greece. This is the box of tablets, it is in | :16:34. | :16:38. | |
Greek. You take a risk. We contacted the company that makes T3. Concordia | :16:39. | :16:45. | |
said it hasn't been approached by the Department of Health with any | :16:46. | :16:49. | |
pricing concerns and through its product range it offers the NHS | :16:50. | :16:52. | |
significant savings on generic medicines. It says the drug is | :16:53. | :16:58. | |
difficult to make to conform with UK standards and it is continuing to | :16:59. | :17:02. | |
invest in T3 so that patients can access it. There is some hope on the | :17:03. | :17:08. | |
horizon, the Competition and Markets Authority is investigating the price | :17:09. | :17:12. | |
of generic drugs and a parliamentary bill is expected to pass this week | :17:13. | :17:15. | |
that will enable the government to intervene if the price of a number | :17:16. | :17:20. | |
of a generic drugs like T3 goes too high. But in the meantime, where | :17:21. | :17:26. | |
does this leave you? Trapped in a living hell with no hope of getting | :17:27. | :17:31. | |
better, desperate for something to change and for something to be done | :17:32. | :17:35. | |
to get the costs down and get people the drug they need to get their | :17:36. | :17:39. | |
lives back. Nick is here to talk about this. We heard about T3 but | :17:40. | :17:44. | |
this is a much wider problem, isn't it? Yeah, when a drug hits the | :17:45. | :17:52. | |
market it is known as a branded drug, made by one manufacturer and | :17:53. | :17:56. | |
if the NHS decides it would like to prescribe it it goes into a deal | :17:57. | :18:00. | |
with the manufacturer and there are strict price controls with the | :18:01. | :18:04. | |
pharmaceutical company to ensure that there isn't overcharging. When | :18:05. | :18:09. | |
a drug is 20 years old it becomes a generic drug like T3, paracetamol, | :18:10. | :18:15. | |
aspirin, and there are no controls because anyone can make them. The | :18:16. | :18:18. | |
idea is that the free market competition will bring down the | :18:19. | :18:23. | |
price. The problem is when a company purchases the manufacturing process | :18:24. | :18:26. | |
for a drug which gives it a monopoly on the process and it can increase | :18:27. | :18:32. | |
prices because no one else is making it, which can be profiteering. | :18:33. | :18:39. | |
Incredible examples in recent years. There is one called Doxipin which | :18:40. | :18:47. | |
once called to pound 36 a perception but now it is over ?200. ?200! | :18:48. | :18:53. | |
Hydrocortisone, a drug that we are all aware of which can treat skin | :18:54. | :18:58. | |
conditions has gone up by 12,500%. That's crazy. But there has been | :18:59. | :19:06. | |
some good news but at yes, this week the final legal process went through | :19:07. | :19:11. | |
Parliament to make law the government's ability to go to a | :19:12. | :19:16. | |
pharmaceutical company demand detailed information about the | :19:17. | :19:19. | |
manufacturing process of each drug they make and if they suspect that | :19:20. | :19:24. | |
price gouging, profiteering is taking place they can demand a | :19:25. | :19:30. | |
discount or rebate so the NHS doesn't lose out. Barry got a | :19:31. | :19:42. | |
piano... Mooy your back on! Probably all of the Fanilows know that Barry | :19:43. | :19:46. | |
got his first piano at 13 years old. I thought you were going to ask me | :19:47. | :19:51. | |
about bills! You can talk about it! -- about pills. He went on to write | :19:52. | :20:00. | |
songs that the whole world sings. Alistair McGowan is a fan of a | :20:01. | :20:04. | |
composer who wrote a song for 24 hours. | :20:05. | :20:13. | |
This is Gynopidie number one by the composer Satie who was ahead of his | :20:14. | :20:25. | |
time. He stunned and revolutionised the musical world in the late 19th | :20:26. | :20:33. | |
century life been fascinated by his character since I was a boy. I was | :20:34. | :20:42. | |
watching a BBC school's drama when I had my Satie awakening. I turned to | :20:43. | :20:47. | |
my brother and said, what is that music? I was nine years old and I | :20:48. | :20:52. | |
had heard nothing like it. It was the start of a 40 year love affair | :20:53. | :20:58. | |
with Satie's work and a tune that is very familiar. Over the years it has | :20:59. | :21:02. | |
been used in countless films, TV programmes and adverts. Anyone | :21:03. | :21:09. | |
remember this? Not bad, not bad at all, Mark Arit. They wanted to | :21:10. | :21:13. | |
create the finest plain chocolate of their age and they called it... | :21:14. | :21:22. | |
Bournville. It wasn't just his music that makes Satie stand outcome it is | :21:23. | :21:26. | |
fair to say he was a very unusual man. In order to become Satie I have | :21:27. | :21:37. | |
grown a beard and I'm going to dress up as him. Satie had seven identical | :21:38. | :21:41. | |
suits for each day of the week so he never had to worry about deciding | :21:42. | :21:45. | |
what to wear. At one stage he only eight white food in the hope that | :21:46. | :21:50. | |
their simplicity and purity would translate into his music. And I | :21:51. | :21:55. | |
think he happens to look like a certain someone. Gymnopedie number | :21:56. | :22:06. | |
one may be Satie's best-known work but he also wrote more unusual and | :22:07. | :22:12. | |
less easy on the ear music. I've come to Cheltenham where one of his | :22:13. | :22:16. | |
most challenging pieces called Vexations is being performed as part | :22:17. | :22:22. | |
of the annual music festival. This deceptively tricky piece consists of | :22:23. | :22:26. | |
just one page of music is repeated 840 times. Yes, it's a bizarre and | :22:27. | :22:33. | |
unique exercise in repetition that can drive even the most experienced | :22:34. | :22:39. | |
pianist mad. Although I only officially reached grade two on | :22:40. | :22:45. | |
piano I've been asked to play. The piece can last a full 24 hours and | :22:46. | :22:51. | |
is being performed by a relay of 60 pianists and it is a challenge for | :22:52. | :22:54. | |
us performers, spare a thought for the audience. I don't know if I | :22:55. | :23:00. | |
could cope with being present for the whole number of hours it is. | :23:01. | :23:06. | |
Would it do your head in totally? To help me prepare for this musical | :23:07. | :23:09. | |
marathon live then listed the help of world renowned pianist and love | :23:10. | :23:22. | |
it -- Anne Lovett. Why did he write Vexations? He was going through a | :23:23. | :23:26. | |
lot, his girlfriend left him. What are the challenges of the piece? | :23:27. | :23:34. | |
This section... The right-hand is playing the same thing but it is | :23:35. | :23:39. | |
completely different come and he uses double flats and double sharps. | :23:40. | :23:47. | |
Very rare. It makes it extra difficult and painful for the | :23:48. | :23:52. | |
performer. And I'm about to find out how painful it can be as high | :23:53. | :23:55. | |
channel the great man himself and deliver my own version of this most | :23:56. | :24:03. | |
unusual piece. OK, it's not the biggest gig of my career, the | :24:04. | :24:11. | |
audience may be half asleep but it is one of the most challenging, | :24:12. | :24:17. | |
rewarding and memorable. As a Satie fan, it's fantastic to see a new | :24:18. | :24:20. | |
generation of people discovering this timeless genius and I think and | :24:21. | :24:25. | |
hope and believe, I know that we'll be listening to his music for a long | :24:26. | :24:32. | |
time to come. Well, certainly until about 11am tomorrow morning. Barry, | :24:33. | :24:38. | |
you love that and you said you wish that happened in America. They don't | :24:39. | :24:43. | |
do this kind of thing. Satie, I'm crazy about him, every musician is. | :24:44. | :24:48. | |
He was known for three pieces of music, all the things he did and we | :24:49. | :24:53. | |
remember him for the three Gymnopedie pieces. He considered | :24:54. | :25:01. | |
himself a Gymnopedist. One of your biggest pieces was inspired by it | :25:02. | :25:11. | |
show Pan -- by Chopin. I don't consider myself a Chopinist! I based | :25:12. | :25:21. | |
could have been magic on a Chopin piece which I loved and I wrote a | :25:22. | :25:29. | |
melody and went from there. It may feel like most of you UK fan club is | :25:30. | :25:34. | |
in the studio but for those who missed out on coming to the show we | :25:35. | :25:38. | |
would like to give them a chance to speak to you live. We are calling | :25:39. | :25:47. | |
this Buzz Barry. We have six die-hard fans watching and we had | :25:48. | :25:51. | |
given them a secret number to the hotline and the first one to ring in | :25:52. | :25:56. | |
with a correct answer to a simple question will be serenaded with a | :25:57. | :26:00. | |
song from the man himself. Yes, standing by to call in, we have | :26:01. | :26:07. | |
got... We have Chris from Leicestershire who has been to every | :26:08. | :26:11. | |
single one of your London concerts. Sherry from Kent who fell in love | :26:12. | :26:16. | |
and married her very own Barry. Mark Arit from Cheshire joined Barry on | :26:17. | :26:21. | |
stage at the Royal Albert Hall in 1993 -- Margaret. Theresa has a | :26:22. | :26:29. | |
tattoo on her back. My God! Jamie Foster and just ran a ten kilometre | :26:30. | :26:37. | |
race and went straight to one of your concerts. Maxine from | :26:38. | :26:42. | |
Bournemouth celebrating her birthday today, she has been to see Barry in | :26:43. | :26:47. | |
Las Vegas three times. So, you have a question Matton on this card. I | :26:48. | :26:54. | |
do. -- you have a question written on this card. You are going to get | :26:55. | :26:58. | |
dialling as fast as you can come at the first one to give us the right | :26:59. | :27:03. | |
answer will speak to Barry. OK, in your own time. OK, ready? Mandy was | :27:04. | :27:12. | |
my first number one single but what was the original name of the song? | :27:13. | :27:17. | |
The audience knows! Don't give it away. This is a song, you change the | :27:18. | :27:24. | |
tempo and all sorts. It was a rock and roll song, it came from here by | :27:25. | :27:30. | |
two writers, a very nice song but it didn't fit me, so I slowed it down | :27:31. | :27:35. | |
and changed the courts and put a different ending in and it turned | :27:36. | :27:38. | |
out to be the first punk rock ballad ever. And it was called | :27:39. | :27:49. | |
originally...? PHONE RINGS WWE hello, I'm Maxine? If you get the | :27:50. | :27:51. | |
answer right, I will put you through? It is Brandy. | :27:52. | :28:06. | |
# Oh, Maxine # You came and you gave without | :28:07. | :28:12. | |
taking # CHEERING | :28:13. | :28:19. | |
How's that, Maxine? What would you like to say to Barry? I'd love to | :28:20. | :28:23. | |
say, thank you for your music and the great times we've all had and | :28:24. | :28:27. | |
for the friendships I've made through you. Thank you so much. Aww! | :28:28. | :28:37. | |
Gone to Vegas three times. Dedication. Oh, there you go! | :28:38. | :28:43. | |
Absolutely superb. All the very best. Wasn't that wonderful? Barry, | :28:44. | :28:50. | |
you are looking so fantastic. The energy you are feeding off, you | :28:51. | :28:53. | |
obviously in a very happy chapter. I am, yeah. You're talking about the | :28:54. | :28:59. | |
people magazine article? No, I'm just saying. You're going to be over | :29:00. | :29:07. | |
here. Yes, I am coming over here. I'm coming over here next year and | :29:08. | :29:11. | |
I'm told we are going to come in over -- come over next September. On | :29:12. | :29:16. | |
that note we'll say thank you and good night from all of us. Thank | :29:17. | :29:20. | |
you, Barry Manilow! Our crack team of experts | :29:21. | :29:32. | |
use pioneering research | :29:33. | :29:41. |