:00:19. > :00:24.Hello, friends, and welcome to another fine Friday One Show with
:00:24. > :00:28.Alex Jones and Chris Evans. I am sorry, but it is all about the
:00:28. > :00:34.girls tonight. We have two phenomenal women from two of the
:00:34. > :00:38.biggest shows on TV. One of them is a music superstar who has sold
:00:38. > :00:42.almost 3 million albums and 11 million singles. She is also
:00:42. > :00:46.already so good on The Voice, she is even putting Tom Jones in the
:00:46. > :00:51.shade. And the other successful woman is an author who has been
:00:51. > :00:55.voted one of the 100 most powerful women in the world and sits on the
:00:55. > :01:00.right hand of Lord Sugar. One of them is great at making the kitchen
:01:00. > :01:10.MACRO, and the other sings about the "ba-bling, ba-bling". Jessie
:01:10. > :01:27.
:01:27. > :01:33.Please sit down. We have never had so many girls on the show at one
:01:33. > :01:39.time. It is lovely in here. It is very bright. One week into The
:01:39. > :01:42.Voice, what has the reaction been like? It has been amazing. I just
:01:42. > :01:52.wanted to be myself and everyone seems to like it, which is better
:01:52. > :02:00.than people not liking it. And The Apprentice is back. I saw you on TV
:02:00. > :02:05.the other night and it was good. daughter will think I'm very cool.
:02:05. > :02:09.Tonight, we have commissioned a special painting from the man
:02:09. > :02:14.responsible for art like this. at these beautiful images from the
:02:14. > :02:18.world of motor sport past and present. But there is a twist to
:02:19. > :02:23.this very artistic tale. What is amazing about those paintings is
:02:23. > :02:27.that not only are they brilliant, but they are also painted
:02:27. > :02:36.exclusively by using radio- controlled cars. Look at this.
:02:36. > :02:42.Isn't that brilliant? He only does it like this. How many of those do
:02:42. > :02:47.we think he has? The radio- controlled cars? He has about 200
:02:47. > :02:54.outside. His name is Ian Cook and he is hard at it outside working on
:02:54. > :02:59.a one-off cut for the One Show, which might not be car-related. How
:02:59. > :03:05.are you doing? Really good. Have you experienced any nutters out
:03:05. > :03:10.there? There was this strange guy, who used to have ginger-haired...
:03:10. > :03:16.have no idea who he is talking about. Fingers crossed, that will
:03:16. > :03:20.be ready by the end of the show. What happens if you do not have a
:03:20. > :03:25.mentor like these two and you need a lesson in leadership? We sent
:03:25. > :03:35.some familiar candidates who you might recognise to get tips on
:03:35. > :03:40.
:03:40. > :03:45.success from a man who was 10am, outside the boardroom. Carrie,
:03:45. > :03:51.Lucy and six apprentices, all sacked by Lord Sugar, await a
:03:51. > :04:00.special task. Working with Carrie, Stuart Baggs, and Gavin Winstanley.
:04:00. > :04:05.With Lucy, Ralph Djetou, and barely Chris runs a team-building course
:04:05. > :04:14.for city slickers. His company began six months ago. Among his
:04:14. > :04:20.clients have been companies like IKEA. Good morning. Are you a sheep,
:04:20. > :04:25.a shepherd or a dog? This is a very serious point. I can see how well
:04:25. > :04:34.you communicate to each other, how well you can work as a team.
:04:34. > :04:40.reveals the task. I used to look after 6500 sheep, me and two dogs.
:04:40. > :04:44.So your task is simply to get the sheep into the pen. The teams,
:04:45. > :04:49.brimming with confidence, head out into the fields to do battle.
:04:49. > :04:55.Without a shadow of a doubt, I am a dog, and a pit bull dog, I will
:04:55. > :04:58.chase people and coerce them into doing what I want them to do.
:04:58. > :05:03.the shepherd and the dog on the same plateau. Neither is more
:05:03. > :05:10.important. On that basis, either the door go all the shepherd is
:05:10. > :05:14.what I am. But it is not exactly One man And his Dog. I'm quite sure
:05:14. > :05:24.that the four of you, with some help, can work together to get the
:05:24. > :05:25.
:05:25. > :05:31.sheep into the 10th. So there is no dog. I AM the shepherd. So you are
:05:31. > :05:37.project manager, which means if we fail, you take responsibility.
:05:37. > :05:43.Lewsey's team has a leader, while Carrie's team has a boat. We have a
:05:43. > :05:53.big question, which is who is going to take control. I am going to be
:05:53. > :06:10.
:06:10. > :06:15.They can run really fast. Oh, my We will see who wins later. We were
:06:15. > :06:19.chatting. That was shorter than I thought it would be. So, Karren,
:06:19. > :06:24.you became managing director of Birmingham City football club when
:06:24. > :06:29.you were 23. How did you get that job? I saw an advert in the
:06:29. > :06:32.Financial Times which said, football club for sale. I phoned up
:06:32. > :06:37.and got the details. I went to my chairman and I said, there is a
:06:37. > :06:41.football club for sale. Why don't you buy it and let me run it? He
:06:41. > :06:47.said, football, very male dominated. You will have to be twice as good
:06:47. > :06:52.as the men. I said, luckily, that is not difficult. Did you use that
:06:52. > :06:55.voice? Yes. We bought it, and I remember there was a big press
:06:55. > :07:04.conference. The press were interested in this young woman who
:07:04. > :07:14.had turned up. Oh, my God, those photos! You looked fantastic. You
:07:14. > :07:15.
:07:15. > :07:19.had the boy is underneath you from day one. -- the boys. I remember
:07:19. > :07:23.doing my press conference and I stood up and gave a very serious
:07:23. > :07:28.presentation of all of the things I was going to do with the club. I
:07:28. > :07:32.was 23 and desperate to look at least 25. I had shoulder-pads and
:07:32. > :07:37.earrings. When I had finished my very serious presentation and I
:07:37. > :07:41.said, any questions, a hand went up and I said, yes. He said, what are
:07:41. > :07:48.your vital statistics? I thought, this is going to be an interesting
:07:48. > :07:52.career. Your new book, Strong Woman, it charts your career. It is about
:07:52. > :07:55.taking over Birmingham. It is basically tips on how to be
:07:55. > :08:03.independent and strong career women. What are the biggest obstacles that
:08:03. > :08:06.face women? On International Women's Day, Number 10 host a party
:08:06. > :08:10.for women who are doing well. I looked around and I noticed it is
:08:10. > :08:14.the same women every year. Where are the new inventors, scientists,
:08:14. > :08:19.politicians, campaigners? I thought I would write a book to get to the
:08:20. > :08:23.heart of some of these issues and champion women to be successful.
:08:23. > :08:27.And I think most of the issues are around having high quality,
:08:27. > :08:31.affordable childcare. I think that is a real barrier. Flexibility.
:08:31. > :08:35.Lots of companies say they are flexible but when it comes to what
:08:35. > :08:40.they are not. Actually, it is really difficult to manage a career
:08:40. > :08:44.and have a family. It is not easy. I do not get it right. I try to get
:08:44. > :08:49.it more right than wrong but it is hard. We saw you at the beginning
:08:49. > :08:59.of your footballing career. Let's have a look at Jessie at the
:08:59. > :09:01.
:09:01. > :09:05.beginning of her singing career. # I want to be baptised and I want
:09:05. > :09:09.to be saved # I want to see my saviour face to
:09:09. > :09:12.face # I want to feel the rapture, feel
:09:12. > :09:22.the fire # I want to be taken to some place
:09:22. > :09:22.
:09:22. > :09:29.I thought that was lovely. I have not seen that before. That was a
:09:29. > :09:35.new one. You were probably about nine. I think I was younger. That
:09:35. > :09:40.was maybe just after I got into whistle Down the wind. All of the
:09:40. > :09:44.kids on that clip were in the show. And now people see you as a really
:09:44. > :09:49.strong woman, but you were bullied and you had confidence issues
:09:50. > :09:54.growing up. I was 24 two days ago and I see myself as someone still
:09:54. > :09:58.finding their feet in a crazy industry. I think everybody has
:09:58. > :10:03.their struggle, everybody has something to push through. It is
:10:03. > :10:07.about realising that you are not the only one. And you have to make
:10:07. > :10:14.sure that you always push for what you want in life, not what other
:10:14. > :10:23.people make you feel you want. come you are so balanced? I have
:10:23. > :10:29.good parents. And there they are. You are the one in the middle.
:10:29. > :10:36.is incredible how much you have changed from that photo. I was
:10:36. > :10:43.about five. Do not show it again! As far as your image, you are quite
:10:43. > :10:46.hands-on. This is all you. Yes, I thought I would turn it down today.
:10:46. > :10:51.I feel like a pink wafer biscuit. Fashion has always been something
:10:51. > :10:56.that I have loved, but I never wanted it to define me. But I am a
:10:56. > :11:00.young girl. I will be in my car, driving around and going, like
:11:00. > :11:07.those trainers. I am the same as everyone else. This is from Top
:11:07. > :11:12.Shop. Just normal. We will be talking to these two all night. We
:11:12. > :11:15.have some special previews of both of their shows on the way.
:11:15. > :11:19.Yesterday we met our viewer Ken Williams, whose life was on hold
:11:19. > :11:24.after being diagnosed with a life- threatening heart condition.
:11:24. > :11:28.left him preparing to have pioneering surgery. Here is how he
:11:28. > :11:32.got on. It is the morning of Ken Williams'
:11:32. > :11:38.operation. He has opted for keyhole surgery to fix a dangerously
:11:38. > :11:44.diseased valve in his heart. I just want to be fit again. I want to be
:11:44. > :11:48.able to have my life back again. As soon as the option came to be well
:11:48. > :11:53.again in three weeks, I had to take it. The key hole repair will be
:11:53. > :12:00.complex. It is only performed by a handful of Surgeons in the UK, but
:12:00. > :12:03.it means his recovery will take just weeks, instead of months. Some
:12:04. > :12:07.of the string the tendons holding the vow of into the main pumping
:12:07. > :12:17.chamber in his heart have broken loose. Left untreated, his heart
:12:17. > :12:22.will fail. This is looking at the valve. We can see here that there
:12:22. > :12:28.is a piece flicking up. That is the string that was meant to be keeping
:12:28. > :12:34.it pulled down into his ventricle. You can see it there, flicking up.
:12:34. > :12:38.In this picture, we have put colour in to look at the blood flow. You
:12:38. > :12:43.can see that the blood is going back to the lungs. It needs to be
:12:43. > :12:46.one way to get around the body, not back towards the lungs. The blood
:12:47. > :12:50.from his heart and lungs is diverted into a bypass machine
:12:50. > :12:55.which will feed his body with oxygen while his heart is shut down
:12:55. > :13:00.for the next three hours. At this stage, the surgeon would normally
:13:00. > :13:05.be cracking the chest open from here to here. Instead, they are
:13:05. > :13:13.making a tiny cup tie. The camera will go through that, direct into
:13:13. > :13:19.the heart. -- they are making a tiny cut. This is the camera, five
:13:19. > :13:23.mm diameter. It makes a tiny hole. It goes through this five mm port.
:13:23. > :13:28.We put that inside the heart. Because it is so narrow, it does
:13:28. > :13:34.not get in the way of the operation, which is what we want. It suits our
:13:34. > :13:41.needs. An injection of potassium brings his heart to a complete
:13:41. > :13:45.standstill. There we go, it has stopped. The surgeon can now stop
:13:45. > :13:55.the repair job through a keyhole incision between the ribs. -- he
:13:55. > :14:02.
:14:03. > :14:12.He is literally restraining the valve, replacing the damaged chords
:14:13. > :14:16.
:14:16. > :14:23.with loops are made of waterproof As an extra precaution, he will
:14:23. > :14:28.also so a synthetic ring right around the mouth of the valve.
:14:28. > :14:33.whole thing is dilated, bigger than it needs to be because of the leak
:14:33. > :14:38.that it has had for such a long time. We need to shrink it down to
:14:38. > :14:46.a normal size, and that is what the ring does. To test his handiwork
:14:46. > :14:53.for leaking, he puts salience solution straight into the vow of.
:14:53. > :14:57.-- saline solution into the valve. It looks like it has been fixed,
:14:57. > :15:03.but nobody can say for sure until his heart stops beating again. It
:15:03. > :15:13.is a critical moment. -- starts beating. As his heart is gently
:15:13. > :15:18.
:15:18. > :15:23.eased back into action, the team You can see the circles there. This
:15:23. > :15:27.thickened tissue is the valve. Remember how we saw lots here....
:15:27. > :15:34.And nothing. Nothing! We cannot see anything at all.
:15:34. > :15:39.Perfect! Ten out of ten. Wow, that I would call a result.
:15:40. > :15:44.So are you pleased with it? Extremely pleased. Not as pleased
:15:44. > :15:51.as Ken will be, though. It's been the most amazing day in theatre
:15:51. > :15:57.here. If it is medical's carpentry, this has got to be surgical
:15:57. > :16:01.embroiderry. And the good news is that Ken is here with the surgeon.
:16:01. > :16:06.How are you both? Fine, thank you. What are the big advantages of
:16:06. > :16:12.doing the surgery, as opposed to opening up? Compared to openening
:16:12. > :16:16.the front of the chest, which is associated with a three-month
:16:16. > :16:23.recovery, keyhole surgery is something patients can recover from
:16:23. > :16:28.in three weeks. The second benefit would be a cosmetic benefit. For
:16:28. > :16:34.ladies you can hide the scar under the right breast. You can never
:16:34. > :16:40.really tell the patient has had open-heart surgery. We have to say,
:16:40. > :16:46.that operation was just 17 days ago. You look very well. How do you
:16:46. > :16:56.feel? Fine. Do you feel fine enough to be back on the golf course?
:16:56. > :16:56.
:16:57. > :17:05.You have been back? I carried on Tuesday. I had an electric trolley.
:17:05. > :17:11.I walked up the 18, 6,500 yards. Brilliant.
:17:11. > :17:17.What are your plans for the tueure? I just want to get become --
:17:17. > :17:25.future? I I just want to get back to my normal life. I would like to
:17:25. > :17:31.thank the Liverpool Heart and Chest Hospital and all the staff. It is
:17:31. > :17:40.so humbling when you meet guys like Paul. And his super team. How is
:17:40. > :17:49.your heart sitting next to these lovely ladies? Boom-boom.
:17:49. > :17:53.realised you had an irregular heart beat? It affected me. I was in and
:17:53. > :17:59.out of Great Ormond Street as a child. I have to adapt my lifestyle.
:17:59. > :18:05.Obviously I would never - that's incredible, like - I'm so inspired
:18:05. > :18:11.by like people like yourselves, just that you can do that. It is
:18:11. > :18:15.fascinating. Did you write poetry about being in hospital? Yes. I
:18:15. > :18:22.wrote about being in Great Ormond Street and a little boy opposite me
:18:22. > :18:28.in the ward. He had heart surgery and did not survive. It was me not
:18:28. > :18:33.understanding, I saw him pray the night before. It is something I
:18:33. > :18:38.wanted to sing about. It's a very humbling experience to kind of go
:18:38. > :18:46.things like that when you're a child. It makes you realise how
:18:46. > :18:50.amazing life is and how precious it is. For once you were out of
:18:50. > :18:54.control - how did that feel? understand when you are faced with
:18:54. > :19:00.something like that how people change their lives radically. You
:19:00. > :19:04.realise life is very precious and very, very short. Also, very
:19:04. > :19:08.similar, I had keyhole surgery. It is where they feeled the aneurysm
:19:08. > :19:14.with coils, as opposed to opening you up and clip it. The recovery
:19:14. > :19:18.time was shorter. The result was fantastic for me. It makes you
:19:18. > :19:23.realise in life, whatever you do, the talent and dedication of
:19:24. > :19:28.medical teams and staff and their live's work is seen in the results
:19:28. > :19:35.you get. No-one like them? And you write about it in the book, don't
:19:35. > :19:39.you? Yes. Earlier on we had some Apprentices in - what about
:19:39. > :19:46.something for Jessie J now and the biggest new talent show on the
:19:46. > :19:52.telly, The Voice. This VT is brilliant. The Voice has lots of
:19:52. > :19:55.spinning chairs. We invited people from her Essex to combine the two.
:19:55. > :20:00.# Seems like everybody's got a price
:20:00. > :20:10.# I wonder how they sleep tonight # When the truth comes second
:20:10. > :20:13.# Stop for a minute and smile # Why is everybody so serious
:20:13. > :20:18.# Heels so high # Have a good time
:20:18. > :20:24.# Everybody look to the left # Everybody look to their left
:20:25. > :20:28.# Can you feel that # It's not about the money
:20:28. > :20:31.# We don't need your money, money, money
:20:32. > :20:39.# We just want to make the world dance
:20:39. > :20:43.# Forget about the price tag # It ain't about the ka-ching, ka-
:20:43. > :20:48.ching # Not about the ba-bling, ba-bling
:20:48. > :20:52.# Forget about the price tag # It's not about the money, money,
:20:52. > :21:02.money # We just want to make the world
:21:02. > :21:07.
:21:07. > :21:15.dance Thanks to all our Essex singers. A
:21:15. > :21:21.brilliant job. Was that better with the -- than the original? We should
:21:21. > :21:24.have him at the end. You should audition next year. The Voice
:21:24. > :21:28.launched successfully last Saturday. Who were your favourite acts? Can
:21:28. > :21:33.you say that? I don't talk about favouritism. It is very early
:21:33. > :21:37.stages. I am not a fan of favouritism. I believe in hard work
:21:37. > :21:41.and that is what pays off. I am a coach on the show to just go, this
:21:41. > :21:48.isn't going to be easy and I am here to give you tough love, let's
:21:48. > :21:53.have tough love at the same time. Do you get the finger out a lot?
:21:53. > :21:58.You will see as the episode goes along. I am the harcore coach. I am
:21:58. > :22:01.so passionate that I am just like, this is an amazing opportunity, you
:22:01. > :22:05.guys need to embrace it and remember every minute of it. How it
:22:05. > :22:11.works for people who did not see last Saturday, is you as coaches
:22:11. > :22:16.will have ten each, won't you? Is it hard when you sit there and
:22:16. > :22:21.think, I have three. Should I.... What's going through your mind?
:22:21. > :22:26.is tough, because when the audience see it at home, they know what they
:22:26. > :22:30.look like. They know what they do for a living. All we hear is
:22:30. > :22:35.footsteps and hear them sing. Sometimes I think it is a boy and I
:22:35. > :22:39.turn around and it's a female. It is not what we expected. If we like
:22:39. > :22:44.it, we push the buzzer and turn around. If one coach turns around,
:22:44. > :22:49.the artist has to go with that person. If say myself, Will and
:22:49. > :22:55.Daniel turn around, we have to pitch to the artist, and the artist
:22:55. > :22:59.has the control. That is the funniest bit. You have been
:22:59. > :23:02.successful? In the first episode. We have a bit of tomorrow today.
:23:02. > :23:07.This is an exclusive clip. We don't know what it is, but we cannot wait
:23:08. > :23:12.to see it. Here is Graham with a quick result.
:23:12. > :23:22.We have William, who likes walks on the beach. He likes to make beats
:23:22. > :23:26.
:23:26. > :23:34.late at night. In second, we've got Tomothy - Tomio - Tomilicious. He
:23:34. > :23:42.sings about sex bombs. We have Danny.... The light-hearted
:23:42. > :23:52.Irish man who loves to tell the girls "You're gorgeous." We have
:23:52. > :23:55.
:23:55. > :24:00.All that, as you said, you filmed that, that is all prerecorded.
:24:00. > :24:05.Where are you now? You have your ten. Are you mentoring them now?
:24:05. > :24:09.work with them, very, very closely. We have filmed the battle grounds,
:24:09. > :24:13.where the ten get teamed up in pairs. They have to sing a song
:24:13. > :24:16.together. We have to decide who we want to take through. It's not easy.
:24:17. > :24:22.I think I didn't think how emotionally attached I get to them.
:24:22. > :24:27.I understand how they feel. You are reluctant to say the word "judge."
:24:27. > :24:31.But you are picking people and saying to other people, "no." It is
:24:31. > :24:36.judging? There is a difference between saying I don't like that
:24:36. > :24:40.and this was not my cup of tea and this is why. There is a thin line
:24:40. > :24:46.between being rude and constructive. It is not my place to judge someone
:24:46. > :24:50.on how they look and how they sing. There are hundreds of again --
:24:50. > :24:55.genres in the world. There is something I might not buy that Tom
:24:55. > :25:00.would love. Judge is not a word I would associate with what I'm doing.
:25:00. > :25:04.Karren, you watched it with your daughter. What did you think of it?
:25:04. > :25:10.I thought it was lovely when you didn't turn around to somebody
:25:10. > :25:14.because you said "I don't think I could help you, the n the way
:25:14. > :25:21.others can." That is a genuine honesty. It comes through. Where
:25:21. > :25:27.did you watch the first episode? my mum and dad's house, with my dad
:25:27. > :25:37.come men taiting. Did you have a takeaway? We were sitting down. We
:25:37. > :25:37.
:25:37. > :25:43.had a barbecue. My nephew stayed up. He's very little. He was going
:25:44. > :25:47."Jessie." Very confused. Was this while Simon Cowell was getting
:25:47. > :25:54.burgled? I don't know. The Voice will be back on tomorrow at 7pm on
:25:54. > :25:58.BBC One. I cannot wait for that. Ian Cook is working hard, creating
:25:58. > :26:02.a special painting using radio- controlled cars. He's been here
:26:02. > :26:10.since 11am. We have half an hour left on the programme. To you think
:26:10. > :26:14.you will be finished on time? Hopefully. I need help. If the
:26:14. > :26:19.ladies on the sofa want to come down. I can come and help, if you
:26:19. > :26:23.like. It is all right. We had enough earlier. Whatever!
:26:23. > :26:27.We will be with him at the end of the show. With Easter around the
:26:27. > :26:31.corner there can only be one food choice for Jay's feature tonight....
:26:31. > :26:34.Chocolate. Chocolate!
:26:34. > :26:39.Chocolate CHEERING
:26:39. > :26:40.CHEERING And
:26:40. > :26:40.And we
:26:40. > :26:40.And we dare
:26:40. > :26:46.And we dare you
:26:46. > :26:51.And we dare you not to drool during this film!
:26:51. > :26:56.Chocolate, we can't get enough of the stuff.
:26:56. > :27:00.Over Easter, we'll gorge ourselves on more than 100 million chocolate
:27:00. > :27:04.eggs. We all have our favourite bars. We all have memories of
:27:04. > :27:12.chocolate as a kid. Today, I'm meeting a man who thinks we can do
:27:12. > :27:17.so much better. Tame myian is a chocolate maker who
:27:17. > :27:22.believes the taste is lost in conventional bars. Usually it is
:27:22. > :27:27.mixed with dairy fat to produce the chocolate bars we know. He does it
:27:27. > :27:33.differently. So, you don't generally put dairy
:27:33. > :27:39.fats in your chocolate, do you? We have taken them out. Why? So we
:27:39. > :27:43.can taste the chocolate. I think of cream as a heavy blanket on top of
:27:43. > :27:48.flavour. It has its own flavour. It is very rich. If I add that on top
:27:48. > :27:52.of the chocolate it will change whatever the chocolate is. When you
:27:52. > :27:57.get up to fine chocolate, when we get to chocolate which has the
:27:57. > :28:01.complexity of a �50 bottle of wine, that kind of level, we need to use
:28:01. > :28:05.a different liquid because the cream will change its flavour.
:28:05. > :28:09.Unusually there is no milk in his recipe. He mixes his pure chocolate
:28:09. > :28:14.with water and it's from a local spring. The water, it's an
:28:14. > :28:17.important part of the recipe. It needs to be pure. Everything I use
:28:17. > :28:22.is non-flavoured. The only thing with flavour is the chocolate. It's
:28:22. > :28:26.so beautiful, I don't want to mess with it. If I do, we'll use it.
:28:26. > :28:31.talk about them as if they are supermodels? People would think of
:28:31. > :28:37.dark chocolate as bitter, intense, strong, heavy, rich, whereas when
:28:37. > :28:44.you taste these chocolates, I think you will think of light, refreshing,
:28:44. > :28:48.clean and beautiful. Oh, how I love my job. Time for a
:28:48. > :28:51.chocolate tasting lesson. It is serious stuff. He believes you
:28:51. > :28:56.should appreciate good chocolate like a fine wine. These pieces are
:28:56. > :29:02.sourced from the Congo in Africa. The first thing I look for is
:29:02. > :29:08.acidity. Is your mouth watering? little bit. That is from the
:29:08. > :29:15.fermentation stage. Now you should taste fruit. I am. Blackberry -
:29:15. > :29:21.kind of violet. And then there's a longer end to it - a dark note.
:29:21. > :29:26.I'm having a moment. A really good chocolate moment.
:29:26. > :29:33.I think his water-based chocolates are fabulous. The British pallet is
:29:33. > :29:40.used to something else. The biggest selling chocolate bar is Dairy Milk.
:29:40. > :29:46.20 minimum solids, co-co-and milk. Time to 236 the people of Tunbridge
:29:46. > :29:50.Wells a treat. Which will they go for? Would you like to try one of
:29:50. > :29:55.our higher end chocolates, made with water instead of cream. It is
:29:55. > :30:01.nice. It is bitter. It is serious, isn't it? Proper chocolate. Do you
:30:01. > :30:07.think you would give up maltesers for those or would it be a case of
:30:07. > :30:13.both? I am afraid it would always be a case of both. Kit Kat and twix,
:30:13. > :30:21.I would spend my pocket money on that.
:30:21. > :30:31.Do you want to give it a go? See if it brings back memories.
:30:31. > :30:32.
:30:32. > :30:36.My grandparents used to work for Cadbury's. I remember opening their
:30:36. > :30:40.sideboard and getting covered in an avalanche of Cadbury's cream eggs
:30:40. > :30:47.and the stuff they used to bring home from the factory. Have one of
:30:47. > :30:54.these, a memory of childhood. have not had one for 15 years.
:30:54. > :30:59.Lovely, strong. Maltesers are like comfort food. This is sophisticated.
:30:59. > :31:06.Not everyone can be persuaded to swap their traditional bars for
:31:06. > :31:12.Damien's chocolate. The Mars Bar. Was that to full-on? I have tasted
:31:12. > :31:22.and looked at loads of chocolate, and I have loads left. What could
:31:22. > :31:22.
:31:22. > :31:32.be wrong with a day that ends in that way? Would you give us your
:31:32. > :31:34.
:31:34. > :31:39.last one? No. I have to be honest. Are you fans of chocolate?, yes!
:31:39. > :31:44.But you did tweet yesterday that you need to stop eating chocolate.
:31:44. > :31:53.Dairy is not good for your throat, so why do not eat any six hours
:31:53. > :31:57.before singing. Yesterday, I went in. You went off on one. She has a
:31:57. > :32:03.chocolate draw in make-up, packed with chocolate. We have moved it
:32:03. > :32:10.because people were eating them. was wondering where it had gone. I
:32:10. > :32:17.went ferreting in your chocolate draw. We have these chocolates that
:32:17. > :32:20.you have tasted, without milk, just water. No, these are different
:32:20. > :32:26.chocolates, made at the chocolate festival on the South Bank this
:32:26. > :32:32.weekend in London. There is a chocolate festival? Why am I not
:32:32. > :32:39.singing there? We want you to work out what flavour they are. Tell us
:32:39. > :32:43.about the big one. This is made by a brilliant man called William
:32:43. > :32:50.Curley. It is enormous, weighs 50 kilos and was sold at an auction
:32:50. > :33:00.for charity for �7,000. You are in love with that. I cannot believe
:33:00. > :33:10.how big it is. That was �7,000. Imagine if somebody pushed it off.
:33:10. > :33:11.
:33:11. > :33:21.We could melt it and make a little one. How heavy are you? About 56-57.
:33:21. > :33:21.
:33:21. > :33:27.No way! The good news is that chocolate is slimming, apparently.
:33:27. > :33:31.Don't get too excited. There has been a scientific study in America
:33:31. > :33:34.which seems to show that if people eat a lot of chocolate, they are
:33:34. > :33:39.thinner than those who do not. But there could be lots of reasons
:33:39. > :33:42.behind it. I would say that the chocolate diet is not necessarily
:33:42. > :33:50.here to stay. The report is not backed by chocolate manufacturers,
:33:50. > :34:00.but it seems to show a thrilling things. We have been tricked! That
:34:00. > :34:06.one is mustered. And is that prawns? It smells like it.
:34:06. > :34:14.It might be the tomato flavour of baked beans that you're getting.
:34:14. > :34:18.you want it? I did not realise. some of them are an acquired taste.
:34:18. > :34:22.We have all of these lovely things but we do not have time to talk
:34:22. > :34:26.about them. They came from the brand Museum and these are a
:34:26. > :34:30.reminder of the fabulous different types of the history of chocolate
:34:30. > :34:33.brands in this country, from the KitKat that started in the 1930s,
:34:34. > :34:40.through the Mars bar, not named after the planet but after Forrest
:34:40. > :34:44.Mars, the family. Flake, nobody has managed to make one just like that.
:34:44. > :34:49.It is not just chocolate that can evoke memories. Sometimes the
:34:49. > :34:54.adverts are just as memorable. We have some stars from great
:34:54. > :35:04.chocolate adverts, but Jessie, can you tell us who they are? What is
:35:04. > :35:15.
:35:15. > :35:23.in the box? We love Milky Bar. It's the Milky Bar Kid. The Milky
:35:23. > :35:30.Bars are on me. So, that was the advert, but who is the Milky Bar
:35:30. > :35:37.Kid? My name is Tom and I am from Essex. My name is dead, from
:35:37. > :35:47.Watford. My name is Simon, from Bromley. Who is the original Milky
:35:47. > :35:57.Bar Kid? I think it is number three because of his cheeky smile. I will
:35:57. > :36:02.
:36:02. > :36:08.say No. 1. Police reveal yourself. -- please. Yes! You do not look old
:36:08. > :36:16.enough. I am probably not. Well, you can win a little bit of this
:36:16. > :36:26.for being here. I will take the whole thing. No. Two, please.
:36:26. > :36:32.
:36:32. > :36:42.# Only the crumbly us, fully cueist chocolate tastes like chocolate
:36:42. > :36:47.
:36:47. > :36:57.never tasted before. # Who was the original flake lady?
:36:57. > :37:01.
:37:01. > :37:08.am Janis, from Utopia. I am Chantelle. I am from west London.
:37:08. > :37:18.Who was the original Flake woman? Definitely number one. I will let
:37:18. > :37:22.
:37:22. > :37:28.them decide. Please reveal yourself. The original Flake girl. What have
:37:28. > :37:31.you done since that famous advert? That got me a TV show with Pierce
:37:31. > :37:35.Brosnan which led to a contract with NBC and they lived in
:37:35. > :37:44.Hollywood for many years working in film and TV. And now I have a hair
:37:44. > :37:54.replacement company and a gorgeous daughter in the audience. Let's go
:37:54. > :38:12.
:38:12. > :38:22.to adverts number three. What is in Have a break, have a KitKat. Isn't
:38:22. > :38:24.
:38:24. > :38:34.this great? The KitKat man is one of these. Brian Stanley, Hanwell.
:38:34. > :38:34.
:38:34. > :38:42.am thinking Crimewatch. Robert, from Hove. Tim, from London.
:38:42. > :38:52.sounded like you were going to say something else. Who was the KitKat
:38:52. > :38:58.
:38:58. > :39:06.man? I just loved number two. you please reveal yourself? It is
:39:06. > :39:12.the KitKat man. You were brilliant in that advert. And you never got
:39:12. > :39:16.to see the panda. We were shot separately. Do you get money and
:39:16. > :39:21.chocolate forever? I have not had any sense, because I ate so many.
:39:21. > :39:26.They had someone with a bucket so that I could spit it out, but I
:39:26. > :39:33.just ate all of them. Thank you for being here tonight, the KitKat man,
:39:33. > :39:41.the Milky Bar Kid and the Flake girl. Well, it is the end of
:39:41. > :39:46.Balloon Week, everybody. It is a very sad day. Don't be too deflated,
:39:46. > :39:50.for the last film, Marty Jopson has been flying high over a modern
:39:50. > :40:00.engineering miracle, the Len Goodman bridge. Why do we call it
:40:00. > :40:02.
:40:02. > :40:06.that? Because it crosses the River Crossing vast natural obstacles as
:40:06. > :40:09.always tested human ingenuity, but it was the arrival of the railways
:40:09. > :40:12.in the 1800s that presented engineers with challenge after
:40:12. > :40:17.challenge, as they attempted to connect the country with a railway
:40:17. > :40:22.lines. As a result, over the past two centuries we have become rather
:40:22. > :40:26.good at the art of bridge-building. And the greatest of its time was
:40:26. > :40:31.the first Severn Bridge, which to this day is still an international
:40:31. > :40:37.engineering icon. What is it that makes the Severn Bridge unique?
:40:37. > :40:44.Well, the span between the pillars measures 987 metres. The steel in
:40:44. > :40:50.the cabling weighs 4600 tons. These figures might sound fast, but for
:40:50. > :40:54.its size, this bridge is remarkably light. It is a trait true of all of
:40:54. > :40:59.the bridges that followed this ingeniously efficient design. But
:40:59. > :41:03.the pinnacle of bridge design, in my opinion, is the suspension
:41:03. > :41:09.bridge. The way it works is that the DEC is suspended and the weight
:41:09. > :41:14.on the deck is suspect -- is transferred to this cable and then
:41:14. > :41:21.to the towers. And that means that you can make a really long bridge
:41:21. > :41:26.that is incredibly light. Like this one. But what is so special about
:41:26. > :41:32.the Severn Bridge? Well, it is not the tallest. That would be a bridge
:41:32. > :41:37.in Mexico. It is not even the longest in Britain. Yet it is an
:41:37. > :41:41.engineering icon and it marks the first of its kind. The difference
:41:41. > :41:46.may be subtle to the untrained eye, but this bridge is the result of a
:41:46. > :41:50.total rethink in the way suspension bridges should be constructed. But
:41:50. > :42:00.why did they follow that route when tried and tested heavier designs
:42:00. > :42:00.
:42:00. > :42:04.would have worked? It goes back to 1940, a disaster. The bridge in the
:42:04. > :42:08.state of Washington had been open less than one year when, despite
:42:08. > :42:12.its strength, it was ripped apart by the wind. This was to prove a
:42:12. > :42:16.problem particular to suspension bridges, but it was not the
:42:16. > :42:22.severity of the storm that led to the collapse, but the specific wind
:42:22. > :42:27.conditions which hit the resonant frequency and created a phenomenon
:42:27. > :42:32.known as aero elastic flutter. First observed in aircraft wings,
:42:32. > :42:37.aero elastic flutter is vibration caused by the wind. If I warble
:42:37. > :42:44.this piece of wood at the right frequency, like this, I hit the
:42:44. > :42:47.resonant frequency of the red blob. If I slow it down a little bit, I
:42:47. > :42:53.hit the resonant frequency of the green one. If the Vibration is
:42:53. > :42:56.allowed to escalate, it can have disastrous consequences. And so the
:42:56. > :43:01.designers of the Severn Bridge had to come up with a revolutionary
:43:01. > :43:05.design, aerodynamic enough to avoid flutter. From the ground, the
:43:06. > :43:09.Severn Bridge just looks big, but from the air, in our balloon, you
:43:09. > :43:14.can truly appreciate its lightweight design and structural
:43:14. > :43:18.efficiency. Who better to join me than John Evans, Bridge Engineer,
:43:18. > :43:25.involved in the construction of the Severn Bridge. What stops the
:43:25. > :43:30.Severn Bridge from moving? The deck is extremely modern and it is very
:43:30. > :43:37.stiff, so it acts like an aeroplane wing. But it also offers very
:43:37. > :43:41.little aerodynamic resistance. super thin design, compared to the
:43:41. > :43:51.wings of an aircraft, is upside down, so rather than creating lift,
:43:51. > :43:53.
:43:53. > :43:57.it is forced downwards on to its All modern suspension bridges
:43:57. > :44:01.follow this trend now, but it is still the most beautiful and most
:44:01. > :44:04.perfectly proportioned of all suspension bridges. Even compared
:44:04. > :44:09.to the much more modern second crossing, built 30 years after the
:44:09. > :44:16.first one, the difference is clear. This is the bridge that broke the
:44:16. > :44:20.mould. What a good bridge. It might be
:44:20. > :44:25.nearly six miles to cross it, but it is good. They are better rides,
:44:25. > :44:30.but not as necessary. Apprentice is back for its eighth
:44:30. > :44:35.series. Not a good start for the women. They lost the first task and
:44:35. > :44:39.the second task, so we are a bit disappointed about that. Last week
:44:39. > :44:43.they had to come up with a gadget to be useful in the home. The girls
:44:43. > :44:48.design something to stick in the bath as a screen. What did you
:44:48. > :44:54.think about it? I did not think it was very good. They did not have
:44:54. > :44:58.many ideas. It was more of a toy than a gadget. I kept thinking - I
:44:58. > :45:01.have two kids - if you put it between yourself and the baby and
:45:01. > :45:06.something happened, you would not be able to get quickly enough, if
:45:06. > :45:13.there was a problem in the bath. It was badly thought out. Do you think
:45:13. > :45:18.it is because they do not have kids? They did. Do you think Lord
:45:18. > :45:25.Sugar is making the right decisions so far? Of course. You have to say
:45:25. > :45:35.that, don't you? Of course. Next week, they have to come up with a
:45:35. > :45:43.
:45:43. > :45:49.Presumably it is going for the Italian feel? It translates as
:45:49. > :45:53.beautiful. There is a spelling mistake - it should have two Ls.
:45:53. > :45:58.They have made the sauce. They had the sample. The deal was in their
:45:58. > :46:06.sights. What has let them down is the spelling. I am not impressed.
:46:06. > :46:11.If you ask a stockist to but your good in their store, you've got to
:46:11. > :46:18.get it right. It must be frustrating. Sometimes you see you
:46:18. > :46:26.in a shot and your face says it all. Is it to not step in and say - look
:46:26. > :46:30.this is what you need to do? They might say I disagree. So we are
:46:30. > :46:34.taking notes all of the time. It's interesting, because there are so
:46:34. > :46:41.many cameras around that you never know if you are on screen or not.
:46:41. > :46:47.What you see from us is our genuine reactions. I think our emotions are
:46:47. > :46:52.sometimes very often written on our faces. We can see you nodding there.
:46:52. > :46:55.In agreement. I am so honest with my face. Let's stop you there
:46:55. > :47:00.because we have film here. It is both about your expressions a lot
:47:00. > :47:05.of the time on the programmes and pictures speak louder than words so
:47:05. > :47:11.often in life. We have compared both your different styles of
:47:11. > :47:21.frustration and excitement. Mine's going to be worse. Please enjoy
:47:21. > :47:39.
:47:39. > :47:44.each other! Both as powerful, but different in
:47:45. > :47:50.style. Mine are a little more childish. Mine are a bit more
:47:50. > :48:00.severe. I suspect you can raise your left eyebrow? Interesting when
:48:00. > :48:04.I watch it I think I scare myself. Give me the death stair. -- stare.
:48:04. > :48:11.Earlier we left Carrie, Lucy and Apprentice candidates in the middle
:48:11. > :48:17.of a field in Wiltshire about to round up some sheep, or to learn
:48:17. > :48:21.some team work skills. Time to see who turned out to be a Shepherd's
:48:21. > :48:26.Delight. And to see who turned out to be a rock between a hard place.
:48:26. > :48:33.The first team to get their flock into the team wins. They don't have
:48:33. > :48:38.a sheepdog. Success will depend on planning, excellent team work and a
:48:38. > :48:43.cool, calm approach. Difficult when Baggs is on your team.
:48:43. > :48:53.He has run off on his own. So, now we have three Apprentice people and
:48:53. > :48:58.
:48:58. > :49:03.Let's walk really slowly. Gavin's technique gets the sheep on the
:49:03. > :49:07.move.... Again. You've got no strategy. You have not discussed
:49:07. > :49:11.what you'll do. Stuart you went running off. We have strategy.
:49:11. > :49:18.have an opinion. You don't have a strategy. So long as we box off
:49:18. > :49:24.this area we are fine. In the field next door Lucy is
:49:24. > :49:27.trying out her animal psychology skills. Why don't you get down like
:49:28. > :49:35.a dog? Ellie would rather be a sheep.
:49:35. > :49:40.They can run really fast. Oh, my God!
:49:40. > :49:48.He's driving them further away. You need to make eye contact. You need
:49:49. > :49:56.to take your glasses off. As for the sheep they find it impossible
:49:56. > :50:03.to see eye-to-eye. They've escaped! Over in Carrie's field, Baggs is
:50:03. > :50:07.determined to get the sheep into the field alone. I will push them
:50:07. > :50:17.that way. I see some technique evolving. I'll jump the other side
:50:17. > :50:24.
:50:24. > :50:29.Most of Lucy's flock have gone AWOL. What of the remaining five?
:50:29. > :50:34.Look at that! All but that one.... We've got four
:50:34. > :50:41.of them in there, which is a huge victory. I think that means we win,
:50:41. > :50:49.by the way. Over in Carrie's field - all hope of a victory is slipping
:50:49. > :50:59.away. We hoped we might win this, but I cannot see it will happen.
:50:59. > :50:59.
:50:59. > :51:08.Even the blaeting doesn't help. We have failed more abizally than
:51:08. > :51:12.We have both teams here. Very quickly, Stuart, how did this task
:51:12. > :51:19.compare to the ones Lord Sugar set you? I think we were keen to prove
:51:19. > :51:23.we were not rejects. We did a great job to show we are useless at
:51:23. > :51:27.business and useless at rounding up sheep. I did not want to be
:51:27. > :51:35.sheepish. If anyone wants to give me a job as a shepherd, please give
:51:35. > :51:40.it to Raef, not me. They were good. They took direction well. We had a
:51:40. > :51:45.bit of an advantage - Stuart was on the other team!
:51:45. > :51:49.You're fired. Get out! You can't do that bit. How did your
:51:49. > :51:54.team perform? Were you happy? they worked together, they would
:51:54. > :51:59.have been fine. Stuart wouldn't have that. There is a common theme
:51:59. > :52:03.as to why it failed. I got to week 11. Everybody else got to week,
:52:03. > :52:06.three, four - I don't know. I forget. Time to find out who is
:52:06. > :52:16.winning. We have champagne for the winners and nothing much for the
:52:16. > :52:20.
:52:20. > :52:25.losers. Chris, over to you - who How are you feeling? I feel proud
:52:25. > :52:35.and privileged to be part of this team. You're a good leader. Harry,
:52:35. > :52:36.
:52:36. > :52:46.I am so sorry. Where's the wheely case? Not the wheely case!? Chris,
:52:46. > :52:47.
:52:47. > :52:54.you need to fire somebody. With regret, Felicity.
:52:54. > :52:59.You can still bring in the wheely case. We're sorry. Off you go.
:52:59. > :53:05.thought you'd be used to it. There will be a black taxi downstairs for
:53:05. > :53:11.you. You have to pay for it though. Goodbye.
:53:11. > :53:17.Loser! Soon, we'll be revealing the masterpiece created by radio-
:53:17. > :53:22.controlled car artist. Phil Tufnell has unearthed a hugely important
:53:22. > :53:25.piece of impressionalism hanging on a wall in Birmingham.
:53:25. > :53:31.Painting has been evolving for thousands of years. The 19th
:53:31. > :53:34.century saw the emerge gapbs of one of the most significant and well
:53:34. > :53:39.loved styles - impressionalism. You can find them all over the country.
:53:39. > :53:47.Today, we're going to be looking at one of the most important. It's not
:53:47. > :53:52.where you might think you'll find it. The Barber Institute is on the
:53:52. > :54:01.University of Birmingham. It is a concert and activity centre. It has
:54:01. > :54:07.a remarkable art collection. It was set up in memory of Sir Barber, a
:54:07. > :54:13.property developer from the 1930's. It is a world-class gallery. You
:54:13. > :54:19.will find works by Van Gogh and Turner. It is this painting by
:54:19. > :54:27.Degar which pulls the crowds and splits opinion. It is all because
:54:27. > :54:33.of a pole. Professor Sumner is the director of the Barber Institute.
:54:33. > :54:40.It looks unfinished. The first thing that strikes you is this
:54:40. > :54:48.starting pole. This is the starting poment. It looks fleeting as if it
:54:48. > :54:51.is a moment in time. It is careful. He used wooden models of horses in
:54:51. > :54:55.his studio. People come to see it from all over the world because it
:54:55. > :55:01.is so unusual. Look at the wonderful colour in the sky, the
:55:01. > :55:08.way it is reflected in the jackets and this fantastic red splash.
:55:08. > :55:15.would have done the pole a bit smaller. This is a remarkable
:55:15. > :55:18.example of Degas and his craft. It has been called one of the most
:55:19. > :55:25.important paintings in Britain. I am not sure about it! It is that
:55:25. > :55:35.pole 789 I need to find out why he painted it like that. One import
:55:35. > :55:40.fascinated him was a print from Japan. This is a print. His prints
:55:40. > :55:47.would have come over to Paris in the 1860s. They would have been
:55:47. > :55:54.ground-breaking. He liked the way they come easyed poir prints.
:55:54. > :55:59.are remarkable -- he composed the prints. There are remarkable
:55:59. > :56:04.similarities. The horse is obscured here, just as this target obscures
:56:04. > :56:07.that background. There is more than eastern influence. There was a new
:56:07. > :56:10.invention in the 19th century which would transform the art world. It
:56:10. > :56:16.was an art form in itself - that was photography.
:56:16. > :56:26.Smile, boys! Robert Gibb is an expert on how
:56:26. > :56:27.
:56:27. > :56:33.photography influences artists. It looks like a snapshot from a camera.
:56:33. > :56:36.It looks like real because of that amateurness about his construction.
:56:36. > :56:41.It is really carefully controlled and breaking the conventions of the
:56:41. > :56:46.time. When people look at that and some of the other materials around
:56:46. > :56:50.here in terms of come position, you think carefully composed and here
:56:50. > :56:54.is somebody breaking that. It looks like a frozen moment in time. You
:56:54. > :56:58.can imagine five seconds later the horse is gone, and everything has
:56:58. > :57:01.moved. The pole would still be there but everything else would be
:57:01. > :57:06.different. This is radical because people are not used to seeing
:57:06. > :57:10.images constructed like this. seems love it or loath it, this
:57:10. > :57:14.painting tells us a lot about the way art in the 19th century was
:57:14. > :57:19.evolving. It's not the job of art to be safe or cosy. This particular
:57:19. > :57:24.painting is a very challenging one. It is one of the most popular in
:57:24. > :57:29.the gallery, but also one of the most disliked. I think he would
:57:29. > :57:36.have liked that. I personally don't like the pole. That painting is
:57:36. > :57:40.setting people up the pole. Thank you Phil, and thank you
:57:40. > :57:46.Birmingham. Ian Cook paints all his paintings with radio-controlled
:57:46. > :57:52.cars. Hundreds of them. Tyre worked involved. He has been working on a
:57:52. > :58:02.secret project. He has created this today. Are we ready to see what he
:58:02. > :58:06.
:58:06. > :58:14.has created. Three, two, one... Have you got a wall big enough?
:58:14. > :58:20.am going to put it on my fridge! A round of applause for the artist.
:58:20. > :58:24.How did you get into radio- controlled painting? I was an
:58:24. > :58:28.enthusiast. I was given a remote controlled car for Christmas and
:58:28. > :58:33.told not to get paint on it. took nine hours to do. In a moment