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Hello. I'm Frank Skinner and welcome to Room 101, | 0:00:32 | 0:00:36 | |
the show where three guests will be vying to have their pet hates | 0:00:36 | 0:00:40 | |
and peeves forever consigned to the dark, desolate wasteland that is Room 101. | 0:00:40 | 0:00:46 | |
Our guests' choices have been sorted into categories, | 0:00:46 | 0:00:49 | |
but there's only enough space in the Room for one of them at a time. In other words, | 0:00:49 | 0:00:53 | |
I have to choose what I think is the worst from every category, | 0:00:53 | 0:00:56 | |
and I've been practising this, looking at categories and trying to decide what is the worst one. | 0:00:56 | 0:01:01 | |
Let's try one for an example. | 0:01:01 | 0:01:03 | |
That's too obvious, isn't it? So let's meet the guests. | 0:01:11 | 0:01:16 | |
Joining me tonight are man of a thousand voices, | 0:01:16 | 0:01:18 | |
Alistair McGowan, from Dragon's Den, Hilary Devey | 0:01:18 | 0:01:21 | |
and American crooner and heartthrob, Josh Groban. | 0:01:21 | 0:01:25 | |
CHEERING AND APPLAUSE | 0:01:25 | 0:01:28 | |
So, would you say that you're negative people? | 0:01:32 | 0:01:36 | |
Do you know, 20 years ago I used to watch One Foot In The Grave | 0:01:36 | 0:01:39 | |
and watch Victor Meldrew and I used to think, I am never going to be like that. | 0:01:39 | 0:01:43 | |
And now, every day I'm looking out of my window going, | 0:01:43 | 0:01:46 | |
"How dare you drop that piece of litter out there, you disgraceful child!" | 0:01:46 | 0:01:51 | |
OK, anyway, let's begin. Let's have our first category. | 0:01:53 | 0:01:56 | |
People. We'll start with a nice broad one, shall we? | 0:02:00 | 0:02:05 | |
So let's find out what kind of people wind up Alistair. | 0:02:05 | 0:02:09 | |
No! | 0:02:16 | 0:02:17 | |
-Children. -What?! | 0:02:17 | 0:02:20 | |
-Children. -What?! | 0:02:20 | 0:02:21 | |
I'm sorry, children used to be seen but not heard, and now they're seen, | 0:02:26 | 0:02:30 | |
they're heard, they're bowed down to, they're pampered, | 0:02:30 | 0:02:33 | |
they're driven to school, they're driven here, | 0:02:33 | 0:02:36 | |
they're driven everywhere. And, you know, | 0:02:36 | 0:02:38 | |
they've just taken all the power. Everybody bows down to them, | 0:02:38 | 0:02:41 | |
they've become like little gods to their parents. | 0:02:41 | 0:02:45 | |
And also, on this planet, we've just heard this year | 0:02:45 | 0:02:47 | |
that we've got seven billion people in our population. | 0:02:47 | 0:02:50 | |
We can't sustain it and I think there should be a moratoria on children. | 0:02:50 | 0:02:55 | |
APPLAUSE | 0:02:55 | 0:02:59 | |
Are you suggesting some sort of cull? | 0:03:02 | 0:03:05 | |
-I wouldn't put it that...yes. -OK. | 0:03:06 | 0:03:09 | |
It's just the way that, you know, children, | 0:03:09 | 0:03:12 | |
they ruin every train journey you're on, there's always a screaming child. | 0:03:12 | 0:03:16 | |
If you go out to a restaurant, chances are there's screaming children running around. | 0:03:16 | 0:03:20 | |
You're sitting in your garden in the sun, three doors down there's children killing each other. | 0:03:20 | 0:03:25 | |
But surely, surely children killing each other is your dream? | 0:03:25 | 0:03:29 | |
-They're only pretending, though, Frank. -Oh, I see. | 0:03:29 | 0:03:33 | |
I don't know, isn't it kind of the parents that's the problem, though, from what you're saying? | 0:03:33 | 0:03:38 | |
To a point, although when parents have children, | 0:03:38 | 0:03:41 | |
I'm sure we all have friends who've done this, they say they want to have children, | 0:03:41 | 0:03:45 | |
they're worried about when to have them. It becomes such a part of the relationship. | 0:03:45 | 0:03:49 | |
When are they going to have it, have they gone too far? Is it too late? | 0:03:49 | 0:03:53 | |
Then the children come and they spend all their time moaning. | 0:03:53 | 0:03:56 | |
The children are keeping them awake at night, or they're teething. | 0:03:56 | 0:03:59 | |
Now they're going to school and he's worried about it, now he's being bullied, now he's bullyING. | 0:03:59 | 0:04:04 | |
Now we're worried about his A-levels, he's not working hard, or he's called a swot. | 0:04:04 | 0:04:08 | |
He's gone to university, he's left us, we miss him. | 0:04:08 | 0:04:11 | |
And you think, when... | 0:04:11 | 0:04:13 | |
APPLAUSE | 0:04:13 | 0:04:15 | |
When is it ever good? I don't see when the good time is. | 0:04:15 | 0:04:19 | |
But children say the funniest things, Alistair. | 0:04:19 | 0:04:23 | |
And I tell you what, I for one can't forgive them for that. | 0:04:23 | 0:04:27 | |
LAUGHTER | 0:04:27 | 0:04:28 | |
They do say the funniest things and what I'm particularly proud of tonight | 0:04:28 | 0:04:32 | |
is we're not going to show any examples of that at all. | 0:04:32 | 0:04:36 | |
Having said all this, | 0:04:36 | 0:04:37 | |
my wife has just told me that we're expecting our third baby. So... APPLAUSE | 0:04:37 | 0:04:43 | |
Thank you very much. | 0:04:43 | 0:04:45 | |
She hasn't, actually. | 0:04:46 | 0:04:48 | |
I just said that to prove another point, which is that when people say | 0:04:48 | 0:04:52 | |
on TV shows they're having a baby, everyone goes mad. You know what it's like, Frank, | 0:04:52 | 0:04:56 | |
you slave away for years writing good material, all you've got to do | 0:04:56 | 0:05:00 | |
is stand on stage, say, "We've just had a baby," and everyone goes nuts. | 0:05:00 | 0:05:03 | |
But you've just made my audience applaud an imaginary baby, Alistair. | 0:05:03 | 0:05:07 | |
-How do you think they feel? They won't trust you again. -They've probably realised that, | 0:05:07 | 0:05:12 | |
in future, imaginary babies are the best sort of babies. | 0:05:12 | 0:05:15 | |
LAUGHTER AND APPLAUSE | 0:05:15 | 0:05:18 | |
So let's see what kind of people wind Hilary up. | 0:05:18 | 0:05:21 | |
LAUGHTER | 0:05:25 | 0:05:28 | |
-I think you need to explain. -Well, it's football fans, | 0:05:28 | 0:05:31 | |
i.e. scarves hanging out of car windows on motorways, | 0:05:31 | 0:05:37 | |
because I think it provokes car rage. | 0:05:37 | 0:05:40 | |
I think it provokes bad driving and I think it provokes violence. | 0:05:40 | 0:05:45 | |
-Violence? -Yes. | 0:05:45 | 0:05:47 | |
Are you anti scarf? | 0:05:47 | 0:05:48 | |
-No. -You see, I'd say that football is one of the places | 0:05:48 | 0:05:52 | |
where scarves are truly appreciated. | 0:05:52 | 0:05:54 | |
Yeah, and it's a game, not a religion. | 0:05:54 | 0:05:56 | |
It's a very fine line, Hilary. | 0:05:56 | 0:05:59 | |
Are you all right with singing? Singing can be quite confrontational. | 0:05:59 | 0:06:03 | |
I'm OK with singing, I'm just not happy with some of the violence | 0:06:03 | 0:06:07 | |
that's created by the memorabilia of football. | 0:06:07 | 0:06:10 | |
You support Arsenal, don't you? Fool. | 0:06:10 | 0:06:14 | |
LAUGHTER | 0:06:14 | 0:06:16 | |
No. | 0:06:19 | 0:06:22 | |
I support a team called West Bromwich Albion, Hilary. | 0:06:22 | 0:06:25 | |
-Oh, really? -Do you know anything about football in general? | 0:06:25 | 0:06:30 | |
Other than that there's a ball and a green field. | 0:06:30 | 0:06:33 | |
Well, West Brom are one of the top teams in England. | 0:06:33 | 0:06:35 | |
They won the European Cup last year. | 0:06:35 | 0:06:39 | |
-LAUGHTER -I think there's a lot of love and community now in the game. | 0:06:39 | 0:06:44 | |
-Do you? -Yeah. There's a very famous folk singer called Martin Carthy, | 0:06:44 | 0:06:48 | |
and he said to me that football is one of the few places where singing, | 0:06:48 | 0:06:54 | |
like community singing and folk singing, really still exists. | 0:06:54 | 0:06:58 | |
-Well, what about church? -Yeah, but they never make it up at church. | 0:06:58 | 0:07:02 | |
There's very few improvised hymns going on in church. | 0:07:02 | 0:07:06 | |
# Jes-u-us! Jes-u-us! # | 0:07:06 | 0:07:08 | |
I mean they don't, no, they don't like it. | 0:07:08 | 0:07:11 | |
# You're supposed to be in Rome You're supposed... # | 0:07:11 | 0:07:15 | |
LAUGHTER | 0:07:15 | 0:07:17 | |
We have a song at West Brom that goes | 0:07:17 | 0:07:19 | |
# We will follow the Albion over land and sea - and water! # | 0:07:19 | 0:07:23 | |
LAUGHTER | 0:07:23 | 0:07:26 | |
Which I've never really got to the bottom of, to be honest. | 0:07:29 | 0:07:32 | |
Anyway, let's find out what Josh - what kind of people wind Josh up. | 0:07:32 | 0:07:38 | |
LAUGHTER AND APPLAUSE | 0:07:43 | 0:07:45 | |
I have to say, Josh, I'm really hoping it isn't | 0:07:48 | 0:07:52 | |
those hairy kids that you get in South America. | 0:07:52 | 0:07:57 | |
-No, it's not the wolf boys, no, it's not them. -Oh, OK. | 0:07:57 | 0:08:00 | |
I have a real problem with pet owners who dress up and take care | 0:08:00 | 0:08:05 | |
of their pets as if they're little children or little people. | 0:08:05 | 0:08:08 | |
I think that sometimes it gets a little out of control. | 0:08:08 | 0:08:12 | |
Look, I love animals, I love my dog very, very much, | 0:08:12 | 0:08:15 | |
but I think there are times when I think it just makes | 0:08:15 | 0:08:19 | |
the animal really, you know, hate life. And... | 0:08:19 | 0:08:22 | |
And so that's when I think shame on that person, yeah. | 0:08:22 | 0:08:27 | |
-Really? -I think shame on you. -OK, then. | 0:08:27 | 0:08:29 | |
I've got two little baby Yorkies. You know, if I send them out | 0:08:29 | 0:08:33 | |
without their polo neck sweaters on in this winter, | 0:08:33 | 0:08:36 | |
they'd freeze to death, they'd die of pneumonia. | 0:08:36 | 0:08:39 | |
It's not the sweater in the winter I have a problem with. It's the high-heeled shoes you put on them. | 0:08:39 | 0:08:44 | |
It's the costumes, it's the... | 0:08:44 | 0:08:46 | |
You know, I tried to put like a reindeer antler on my dog once | 0:08:46 | 0:08:51 | |
for Christmas and he like, he had, I had a second and a half | 0:08:51 | 0:08:54 | |
of picture-taking opportunity and then he just slapped it off his head | 0:08:54 | 0:08:59 | |
and gave me the stink-eye. | 0:08:59 | 0:09:01 | |
-You're obviously a dog enthusiast, Hilary. -Yeah. | 0:09:01 | 0:09:05 | |
Would you, or indeed any of our panel, be able to identify this? | 0:09:05 | 0:09:11 | |
It's a doggie cupcake that's only part of the story. Any idea? | 0:09:11 | 0:09:15 | |
-Is it like a car freshener for a dog? -It's... | 0:09:15 | 0:09:18 | |
You're along the right lines. These - what you do... | 0:09:18 | 0:09:22 | |
Well, I'll show you one actually fitted. We have a picture, I think. | 0:09:22 | 0:09:26 | |
-Oh, no! -LAUGHTER | 0:09:26 | 0:09:28 | |
What I'm really worried about there is I'm worried about the thumb. | 0:09:32 | 0:09:37 | |
LAUGHTER | 0:09:37 | 0:09:39 | |
-How redundant. -Now, I would not put that on my Yorkies. | 0:09:41 | 0:09:45 | |
Now, this is from a company called Rear Gear. | 0:09:45 | 0:09:49 | |
I don't know if I dare read this out, | 0:09:49 | 0:09:52 | |
but it says underneath - their slogan is "No more Mr Brown Eye." | 0:09:52 | 0:09:57 | |
AUDIENCE GROANS | 0:09:57 | 0:10:00 | |
It's just not right, is it? | 0:10:00 | 0:10:02 | |
And the idea is that people find that part of the animal thing a bit offensive. | 0:10:02 | 0:10:08 | |
Well, I must say, I'm not really with you on this. | 0:10:09 | 0:10:11 | |
I love, I think animals dressed up is a really funny thing. | 0:10:11 | 0:10:17 | |
This bulldog looks to me like he absolutely loves being dressed up. | 0:10:17 | 0:10:21 | |
-He's merely a sidekick. I mean, come on. -LAUGHTER | 0:10:26 | 0:10:30 | |
Now, I would say this cat looks less happy. | 0:10:30 | 0:10:33 | |
That's what the dog is thinking. They're just made with smiles. | 0:10:40 | 0:10:44 | |
I think this is a really stylish dog. | 0:10:44 | 0:10:47 | |
This is a dog in a suit and tie, right? | 0:10:47 | 0:10:50 | |
But not a comedy. | 0:10:50 | 0:10:51 | |
He's not funny, he looks great. | 0:10:53 | 0:10:55 | |
-He's downright handsome. -He does. | 0:10:58 | 0:11:00 | |
-I would dine out with that dog. -Yeah. | 0:11:00 | 0:11:03 | |
I like how he's kind of got the relaxed tie a little bit. | 0:11:03 | 0:11:06 | |
-He's ready for a loose evening with a cognac. -He can do informal. | 0:11:06 | 0:11:09 | |
Absolutely. | 0:11:09 | 0:11:11 | |
-I think it might be Michael Buble's dog. -I think he's great. | 0:11:11 | 0:11:15 | |
Speaking of dogs eating, what about this? | 0:11:15 | 0:11:18 | |
This is the best bit of dog dining I've seen. | 0:11:18 | 0:11:22 | |
JOLLY INSTRUMENTAL MUSIC | 0:11:22 | 0:11:24 | |
APPLAUSE | 0:11:42 | 0:11:44 | |
Brilliant. | 0:11:44 | 0:11:47 | |
I don't want to overload you with clips, but can I show you my favourite ever YouTube clip? | 0:11:49 | 0:11:55 | |
This is, well, I'm not even going to say what it is. | 0:11:55 | 0:11:57 | |
-This is just my favourite YouTube clip. -OK. | 0:11:57 | 0:11:59 | |
I love you. | 0:11:59 | 0:12:01 | |
"I love you." | 0:12:01 | 0:12:03 | |
I love you. | 0:12:03 | 0:12:05 | |
-MAKES NOISE -I love YOU. I love you. | 0:12:05 | 0:12:09 | |
"I love you." | 0:12:09 | 0:12:11 | |
Good girl. | 0:12:11 | 0:12:12 | |
HOWLS | 0:12:12 | 0:12:17 | |
APPLAUSE | 0:12:17 | 0:12:19 | |
Finally, a scream of anguish at the end, you know. | 0:12:21 | 0:12:24 | |
I like it when he, when he can't quite do them. | 0:12:24 | 0:12:27 | |
When she's going "I love you" and it goes "Uhhh-ug". | 0:12:27 | 0:12:30 | |
We've all had that. You try and say I love you and you can't get it out. | 0:12:30 | 0:12:35 | |
-You can't get it out. -It sticks in the throat. -That's true. -"I lo-o....uh." | 0:12:35 | 0:12:39 | |
Well, I think the time has come for me to decide | 0:12:39 | 0:12:43 | |
what's going to go into the Room 101 for this category. | 0:12:43 | 0:12:46 | |
Hmm, I have to say that my first port of call | 0:12:46 | 0:12:52 | |
is I can't possibly let dogs treated as humans go in. | 0:12:52 | 0:12:55 | |
-It's one of my favourite things. -It's a joy for you. | 0:12:55 | 0:12:58 | |
Hilary, no, I can't put football fans and all that into Room 101, | 0:12:58 | 0:13:04 | |
I'm sorry about that. | 0:13:04 | 0:13:05 | |
And I can't believe I'm in a position | 0:13:05 | 0:13:08 | |
where I'm going to end up giving in to a man who wants to put children into Room 101, | 0:13:08 | 0:13:13 | |
but Alistair wins this one. | 0:13:13 | 0:13:15 | |
CHEERING AND APPLAUSE | 0:13:15 | 0:13:18 | |
HE MOUTHS | 0:13:18 | 0:13:20 | |
Anyway, let's move on to the next category. | 0:13:28 | 0:13:30 | |
Going Out. So, Hilary, let's find out what you hate about going out. | 0:13:35 | 0:13:41 | |
I'm really hoping it's not Native American communication systems. | 0:13:41 | 0:13:46 | |
Let's see. | 0:13:46 | 0:13:48 | |
-I want to ban the ban. -You want to ban the smoking ban? -Yes. | 0:13:53 | 0:13:57 | |
Well, you go out, you go to a function on Park Lane, | 0:13:57 | 0:13:59 | |
the Grosvenor or whatever, and all of a sudden half the room empties, | 0:13:59 | 0:14:03 | |
and you think where have they all gone? | 0:14:03 | 0:14:05 | |
And they're all on Park Lane in evening gowns and dickie bows and dinner jackets. | 0:14:05 | 0:14:10 | |
So, I just think we look like a nation of rent boys and call girls. | 0:14:10 | 0:14:15 | |
Yes. Well, I've had some terrible confusion with that, I must say. | 0:14:15 | 0:14:20 | |
One thing I really like about the smoking ban, | 0:14:20 | 0:14:24 | |
it's a great way to judge a pub, because you don't have to go in. | 0:14:24 | 0:14:28 | |
And it's usually the dodgiest people are the smokers | 0:14:28 | 0:14:31 | |
and there they are. It's like shops that put their stuff outside, | 0:14:31 | 0:14:34 | |
you know, you're thinking, no, I'm not going in there. | 0:14:34 | 0:14:37 | |
I'll say one thing on you, I'm allergic to cats | 0:14:40 | 0:14:43 | |
and if I have ever asked anyone to put the cat outside, cos I'm there, | 0:14:43 | 0:14:47 | |
they get very, very angry and upset about it and won't do it. | 0:14:47 | 0:14:51 | |
And what I do, I wait till the person's left the room and then I Scotchgard it. | 0:14:51 | 0:14:55 | |
-LAUGHTER -It's so funny, Frank, | 0:14:55 | 0:14:59 | |
I was married to a guy and he told me after we'd got married, | 0:14:59 | 0:15:04 | |
and I love animals, I've got dogs in Marrakesh, where I've got a home, | 0:15:04 | 0:15:08 | |
I've got dogs in Spain, where I've got a home, I've got dogs in the UK where I've got two homes... | 0:15:08 | 0:15:13 | |
What you've got more than anything, Hilary, is homes. | 0:15:13 | 0:15:17 | |
-Yeah, I know. -It's a good job you don't keep pigeons, | 0:15:17 | 0:15:20 | |
they'd be terribly confused. | 0:15:20 | 0:15:22 | |
LAUGHTER AND APPLAUSE | 0:15:22 | 0:15:24 | |
He told me after we got married that he was allergic to animals. | 0:15:28 | 0:15:33 | |
So, what did you do? | 0:15:33 | 0:15:34 | |
Well, we subsequently got divorced. | 0:15:34 | 0:15:38 | |
What, on the strength of that? | 0:15:38 | 0:15:40 | |
Well, that and football, yeah. | 0:15:40 | 0:15:44 | |
LAUGHTER | 0:15:44 | 0:15:45 | |
Are all your choices based on your ex-husband, by any chance? | 0:15:45 | 0:15:50 | |
OK, let's see what Alistair doesn't like about going out. | 0:15:50 | 0:15:54 | |
-Children. -Children! | 0:15:54 | 0:15:57 | |
The pint of beer. | 0:15:59 | 0:16:01 | |
Can I say, someone in the crowd actually gasped then. | 0:16:01 | 0:16:05 | |
Did you hear it? | 0:16:05 | 0:16:07 | |
They were OK with children, but now you've gone too far. | 0:16:07 | 0:16:10 | |
LAUGHTER | 0:16:10 | 0:16:12 | |
No, this, you know, it's the ultimate symbol of Britishness. | 0:16:12 | 0:16:15 | |
I'm sure that explains the gasps. It's the ultimate symbol of manhood. | 0:16:15 | 0:16:19 | |
When you're 16, 17, you have your first pint of beer, you're a man. | 0:16:19 | 0:16:23 | |
And then you remain a man for the rest of your life by drinking beer. | 0:16:23 | 0:16:26 | |
And it tastes horrible, it smells horrible, | 0:16:26 | 0:16:30 | |
it makes people who drink it taste and smell horrible. | 0:16:30 | 0:16:32 | |
You know, people say they've got to have a pint to have a good time. | 0:16:32 | 0:16:37 | |
We've all heard those people who come back and say, | 0:16:37 | 0:16:40 | |
STOKE ACCENT: "Oh, we had a great night last night, went to 15 places | 0:16:40 | 0:16:44 | |
"and had ten pints. I got legless. Legless. | 0:16:44 | 0:16:47 | |
"I can't remember a thing about it." You know what Adrian Chiles is like. | 0:16:47 | 0:16:51 | |
And you think, what sort of a night out is that, | 0:16:51 | 0:16:55 | |
-when you can't remember it? -But if you get rid of beer, | 0:16:55 | 0:16:58 | |
how are ugly people going to have sex? | 0:16:58 | 0:17:00 | |
LAUGHTER | 0:17:00 | 0:17:02 | |
I don't know - I used to drink a lot of beer, and then I stopped drinking altogether, | 0:17:05 | 0:17:10 | |
and one of the difficult things I found | 0:17:10 | 0:17:13 | |
is I had to start restricting conversation | 0:17:13 | 0:17:16 | |
to things that I knew something about. | 0:17:16 | 0:17:19 | |
LAUGHTER | 0:17:19 | 0:17:21 | |
And I found that very limiting, I must say. | 0:17:21 | 0:17:25 | |
I remember being in Italy on holiday, and seeing these two blokes, you know, maybe 18, 19, | 0:17:25 | 0:17:30 | |
having ice creams at 11 o'clock at night. Ice creams outdoors, | 0:17:30 | 0:17:33 | |
and they were going on to have another ice cream somewhere else. | 0:17:33 | 0:17:36 | |
You just think, I would quite fancy that sort of bar crawl, | 0:17:36 | 0:17:40 | |
having an ice cream everywhere, but... | 0:17:40 | 0:17:42 | |
I'd love to go down the ice cream pub, that'd be great. | 0:17:42 | 0:17:45 | |
-"What's happening tonight?" "It's the yard of vanilla competition." -LAUGHTER | 0:17:45 | 0:17:50 | |
-Do they still sell mild beer? -They do, yes. | 0:17:53 | 0:17:56 | |
Because, as a kid, it was my job when I was clearing up at night, | 0:17:56 | 0:18:00 | |
helping in the pub when my mum and dad had pulled the shutters down | 0:18:00 | 0:18:03 | |
and finished serving, | 0:18:03 | 0:18:05 | |
"Is there any barley wine there cos I'll pour it in the mild beer?" | 0:18:05 | 0:18:10 | |
And he got a massive fan club for his mild beer | 0:18:10 | 0:18:13 | |
because they thought it was so strong. | 0:18:13 | 0:18:15 | |
Well, no wonder it was so bloody strong. There was all the slops of the wine, the spirits, | 0:18:15 | 0:18:20 | |
everything went in this mild beer. | 0:18:20 | 0:18:21 | |
Yeah, but I'm fine with that. I like to think you pioneered recycling. | 0:18:21 | 0:18:25 | |
What about the drowning your sorrows thing? I remember doing that - | 0:18:25 | 0:18:30 | |
split up with your girlfriend, go to the pub, | 0:18:30 | 0:18:32 | |
you sit at the end and drink about seven or eight pints on your own, staring into your beer glass. | 0:18:32 | 0:18:36 | |
-And feel a lot better? -Well... | 0:18:36 | 0:18:39 | |
-Wake up the next morning and she's still gone. -She is still gone, | 0:18:39 | 0:18:42 | |
but imagine being at the end of the bar on your ninth tub of ice cream. | 0:18:42 | 0:18:47 | |
LAUGHTER | 0:18:47 | 0:18:50 | |
Or, you're in Starbucks, | 0:18:54 | 0:18:55 | |
and you're drowning your sorrows at the end on espresso | 0:18:55 | 0:18:58 | |
and someone says, "I hear your girlfriend left you, Frank." | 0:18:58 | 0:19:01 | |
"Yeah, she did! And, I'm very unhappy about it!" | 0:19:01 | 0:19:06 | |
LAUGHTER | 0:19:06 | 0:19:09 | |
We have a classic beer advert. | 0:19:09 | 0:19:13 | |
See if you can spot any famous faces in this. | 0:19:13 | 0:19:17 | |
Hey, absent friends. | 0:19:17 | 0:19:19 | |
Absent from some other place. | 0:19:19 | 0:19:23 | |
Because this place, it was such a wow. | 0:19:23 | 0:19:25 | |
What a nice place! | 0:19:25 | 0:19:26 | |
DANCE MUSIC | 0:19:26 | 0:19:29 | |
Like they say, what goes around comes around, hey? | 0:19:33 | 0:19:37 | |
APPLAUSE | 0:19:37 | 0:19:38 | |
You! | 0:19:38 | 0:19:41 | |
I had forgotten about that. | 0:19:41 | 0:19:44 | |
-That was Alistair, in case you didn't spot him. -With hair. | 0:19:44 | 0:19:47 | |
-Advertising how great beer is on the television. -We all change. | 0:19:47 | 0:19:52 | |
It's the mark of a man that he can change. | 0:19:52 | 0:19:55 | |
Anyway, let's find out what Josh doesn't like about going out. | 0:19:55 | 0:19:59 | |
You don't like Isambard Kingdom Brunel? | 0:20:05 | 0:20:09 | |
LAUGHTER | 0:20:09 | 0:20:11 | |
Yeah, I'm a little bit turned off by the whole kind of exclusive | 0:20:11 | 0:20:14 | |
ten guys in the front with black gloves, bodyguard, bouncer, | 0:20:14 | 0:20:18 | |
night club experience. | 0:20:18 | 0:20:19 | |
Oh. | 0:20:19 | 0:20:21 | |
I've found it to become annoying for a lot of different reasons. | 0:20:21 | 0:20:25 | |
I don't like how I feel when I'm trying to get in, | 0:20:25 | 0:20:27 | |
I don't like how I feel when I'm inside. | 0:20:27 | 0:20:29 | |
I think everybody else is having a better time than me. | 0:20:29 | 0:20:32 | |
I'm a terrible dancer, it's just altogether anxiety-inducing for me. | 0:20:32 | 0:20:37 | |
-I'm a terrible dancer. -Are you? | 0:20:37 | 0:20:39 | |
I think it's good for terrible dancers. | 0:20:39 | 0:20:41 | |
-Really? -Because it's quite dark and crowded in there. | 0:20:41 | 0:20:44 | |
The top of me dances quite well, the legs are all over the place. | 0:20:44 | 0:20:48 | |
You should go to foam parties, you can dance as badly as you like | 0:20:48 | 0:20:52 | |
-and no-one knows. -Really? Oh. -You just whip up a lather there. | 0:20:52 | 0:20:55 | |
You see, I've got to get in first. I always have trouble getting in. | 0:20:55 | 0:20:58 | |
You see, there is something about my face | 0:20:58 | 0:21:01 | |
that makes bouncers say, "No, thank you." | 0:21:01 | 0:21:03 | |
I'll watch, you know, the latest cast-off from Big Brother | 0:21:03 | 0:21:07 | |
walk in with 20 of his friends, no problem, and I'll show up | 0:21:07 | 0:21:10 | |
and be like, "Hey, I just played the arena down the street, | 0:21:10 | 0:21:13 | |
"it's just me, can I come in and sit by the bar and have a drink? | 0:21:13 | 0:21:16 | |
"A round of drinks for everybody." | 0:21:16 | 0:21:18 | |
And they say, "You should stop touching me now." | 0:21:18 | 0:21:21 | |
I'm like, "Oh, OK. I'm sorry. I'm so sorry." | 0:21:21 | 0:21:24 | |
It just feels like more pain than it's worth. | 0:21:24 | 0:21:26 | |
-Can I ask how old you are, Josh? -I'm 30 years old. | 0:21:26 | 0:21:29 | |
Do you think it's just because you're getting a little old? | 0:21:29 | 0:21:32 | |
This has happened my entire life. This happened when I had a fake ID. | 0:21:32 | 0:21:35 | |
-Yes. -I remember getting to a point | 0:21:35 | 0:21:38 | |
where I thought, "I am getting too old now for night clubs." | 0:21:38 | 0:21:41 | |
I found that I'd started to clap along with the music. | 0:21:41 | 0:21:44 | |
And I thought, no, no, I really have to stop coming. | 0:21:48 | 0:21:52 | |
But when you're in a nightclub and they put a floor-filler on... | 0:21:52 | 0:21:56 | |
-Do you know what a floor-filler is? -A dance song that gets everybody going? | 0:21:56 | 0:21:59 | |
A floor-filler in England is a piece of music. | 0:21:59 | 0:22:03 | |
-In America, it's a person. -Oh. | 0:22:03 | 0:22:05 | |
LAUGHTER | 0:22:05 | 0:22:07 | |
-True. -But it's one that everybody loves and they go out | 0:22:07 | 0:22:11 | |
and the whole place, it really is that community spirit thing. | 0:22:11 | 0:22:14 | |
But the floor-fillers have changed since the classic days. | 0:22:14 | 0:22:18 | |
It used to be like # Everybody dance now. # | 0:22:18 | 0:22:21 | |
Everybody was like, "It's time for me to dance." | 0:22:21 | 0:22:24 | |
Now it's Enrique Iglesias saying, "I'm having sex with you tonight." | 0:22:24 | 0:22:28 | |
You should stop hanging around with Enrique Iglesias. | 0:22:28 | 0:22:32 | |
LAUGHTER | 0:22:32 | 0:22:34 | |
There used to be a TV show on in the UK, late night, called, The Hitman And Her. | 0:22:34 | 0:22:38 | |
And it was Pete Waterman. Do you know who that is? | 0:22:38 | 0:22:41 | |
-He worked a lot with Kylie Minogue. -Yeah, yeah. | 0:22:41 | 0:22:44 | |
And he used to visit nightclubs, do you remember this show? It was all over the country, | 0:22:44 | 0:22:48 | |
and it wasn't a great advert for nightclubs, I must say. | 0:22:48 | 0:22:51 | |
We're in Halifax having a belter of a time! | 0:22:51 | 0:22:55 | |
Hello, I'm Ghostbuster. | 0:23:04 | 0:23:06 | |
I'd like to welcome you to Halifax, to the Coliseum. | 0:23:06 | 0:23:08 | |
It's a very special nightclub to me, because it's the nightclub that | 0:23:08 | 0:23:12 | |
I got noticed on The Hitman and Her on the Showing Out competition. | 0:23:12 | 0:23:15 | |
It's brought me very many happy memories | 0:23:15 | 0:23:17 | |
and I'm enjoying my dancing. So keep dancing and enjoy it. Thank you. | 0:23:17 | 0:23:21 | |
APPLAUSE | 0:23:21 | 0:23:23 | |
I've been sitting here thinking, where's that club? Those are my people! | 0:23:27 | 0:23:31 | |
OK, so let me see. Well, I can't put nightclubs in, Josh, | 0:23:34 | 0:23:37 | |
I mean, I know you've had bad times there, | 0:23:37 | 0:23:40 | |
but so many people have such great, great times there. | 0:23:40 | 0:23:42 | |
Now that you've shown me that nightclub, | 0:23:42 | 0:23:45 | |
I've changed my whole view of them. | 0:23:45 | 0:23:47 | |
I knew that would win you over. | 0:23:47 | 0:23:49 | |
And, Alistair, although you argued your case very, very well, | 0:23:49 | 0:23:53 | |
I have such happy memories of beer | 0:23:53 | 0:23:55 | |
and I still hope that in later life I'll be able to return there. | 0:23:55 | 0:24:00 | |
And I see it as something to fall back on, and indeed forward. | 0:24:00 | 0:24:03 | |
But, Hilary, I have to say, | 0:24:05 | 0:24:06 | |
you argued the smoking ban very well and maybe | 0:24:06 | 0:24:09 | |
it's about time that we did all just lighten up and light up, indeed. | 0:24:09 | 0:24:14 | |
So, yes, so I'm going to put the smoking ban in Room 101. | 0:24:14 | 0:24:19 | |
APPLAUSE WITH SOME BOOING | 0:24:19 | 0:24:21 | |
And now a slight change of mood | 0:24:29 | 0:24:32 | |
as we're going to go to the audience | 0:24:32 | 0:24:34 | |
in a little section we call Audience Choice. | 0:24:34 | 0:24:37 | |
Is there a Nicky Lamb in the audience? Where's Nicky Lamb? | 0:24:43 | 0:24:48 | |
-There you are, Nicky, hello. -Hi. | 0:24:48 | 0:24:50 | |
What would you like to put in Room 101? | 0:24:50 | 0:24:52 | |
I'd like to put in people that call you "mate" | 0:24:52 | 0:24:55 | |
and you'd never met them before ever. | 0:24:55 | 0:24:58 | |
Oh, really? What would you like them to call you? | 0:24:58 | 0:25:00 | |
Anything but that. | 0:25:00 | 0:25:02 | |
-Really? -LAUGHTER | 0:25:02 | 0:25:06 | |
Seems to me, Nicky, you're immensely broadminded. | 0:25:06 | 0:25:10 | |
-"Darling" and "sweetheart" doesn't do it, either. -Oh. | 0:25:10 | 0:25:13 | |
So, who has called you "mate" in your past? | 0:25:13 | 0:25:17 | |
Well, we work in a bar in Essex, which is the one place... | 0:25:17 | 0:25:20 | |
-When you say "we", who do you mean? -My husband and me. | 0:25:20 | 0:25:24 | |
I love it that you automatically speak "we" like that, even though we'd never even met your husband. | 0:25:24 | 0:25:29 | |
-What's your name, mate? -Peter. -LAUGHTER | 0:25:29 | 0:25:33 | |
APPLAUSE | 0:25:33 | 0:25:35 | |
-You see, Peter's absolutely fine with it. -LAUGHTER | 0:25:37 | 0:25:41 | |
What kind of terms of endearment do you favour, um, Nicky? | 0:25:41 | 0:25:45 | |
You see, that's the great advantage of "mate" - you forget someone's name, you're straight in there. | 0:25:45 | 0:25:50 | |
Not everyone has a list with people's names on. | 0:25:50 | 0:25:53 | |
What would you call people as a term of endearment? | 0:25:53 | 0:25:56 | |
-That's just it, your name. That's nice. -But you don't always know people's names. | 0:25:56 | 0:26:00 | |
That's true, yeah. You've caught me now. | 0:26:00 | 0:26:04 | |
-I feel Nicky slightly folded. -LAUGHTER | 0:26:04 | 0:26:06 | |
Well, I don't think people should be calling a glamorous woman like yourself "mate", | 0:26:08 | 0:26:12 | |
so I'm going to say that | 0:26:12 | 0:26:14 | |
Nicky gets people who call you "mate" into Room 101. | 0:26:14 | 0:26:18 | |
Thank you. APPLAUSE | 0:26:18 | 0:26:20 | |
OK, we come now to that which we call... | 0:26:26 | 0:26:29 | |
The Wildcard Round, because we don't want to keep | 0:26:34 | 0:26:37 | |
narrowing your hatred and the things that you don't like. | 0:26:37 | 0:26:40 | |
We want to give you a completely wide open field. | 0:26:40 | 0:26:42 | |
You can pick the thing that really gets your goat. | 0:26:42 | 0:26:45 | |
Hilary has chosen this. | 0:26:45 | 0:26:48 | |
-It's Valentine's Day. -Valentine's Day. | 0:26:54 | 0:26:57 | |
-I hate Valentine's Day. -Really? -Hmm. | 0:26:57 | 0:27:01 | |
Well, we don't even know if there was a Saint Valentine, do we? | 0:27:01 | 0:27:04 | |
No, but does it matter now? Just, it's a lovely way, isn't it? | 0:27:04 | 0:27:08 | |
Well, yes, it does, because why should you have to wait for that day | 0:27:08 | 0:27:11 | |
to receive a card or a bouquet of flowers? Why? | 0:27:11 | 0:27:15 | |
You don't have to, but I find when you're in a long-term relationship, | 0:27:15 | 0:27:18 | |
it's good to have... It's like mistletoe, | 0:27:18 | 0:27:21 | |
at least once a year you want to kind of touch base. | 0:27:21 | 0:27:23 | |
LAUGHTER | 0:27:23 | 0:27:25 | |
Otherwise, it can go three, four, five years | 0:27:25 | 0:27:28 | |
and you realise there's been no contact at all. | 0:27:28 | 0:27:31 | |
It could have something to do with the fact | 0:27:31 | 0:27:33 | |
that I've never sent or received a Valentine's card. | 0:27:33 | 0:27:36 | |
-You have never received... I don't believe that! -Oh, Hilary. -No. | 0:27:36 | 0:27:40 | |
Well, I see, so it's based | 0:27:40 | 0:27:42 | |
not so much on dislike as profound bitterness. | 0:27:42 | 0:27:45 | |
LAUGHTER | 0:27:45 | 0:27:47 | |
I have this thing if I write a card, | 0:27:47 | 0:27:50 | |
I suppose because I'm a professional comic, | 0:27:50 | 0:27:53 | |
if I write a card or I sign someone's plaster-cast, | 0:27:53 | 0:27:56 | |
or I write in a visitor's book, | 0:27:56 | 0:27:59 | |
I always feel incredible pressure | 0:27:59 | 0:28:01 | |
to write something absolutely brilliant and hilarious, | 0:28:01 | 0:28:04 | |
and I just can't do it. | 0:28:04 | 0:28:06 | |
And I end up... In a visitor's book I once wrote, | 0:28:06 | 0:28:09 | |
"I can't think of anything funny." | 0:28:09 | 0:28:11 | |
I actually wrote that, and signed it "Ricky Gervais." | 0:28:11 | 0:28:14 | |
LAUGHTER AND APPLAUSE | 0:28:14 | 0:28:18 | |
We've got some | 0:28:21 | 0:28:23 | |
beautiful things here for Valentine's Day gifts. | 0:28:23 | 0:28:27 | |
I like this - you can get a Be My Valentine dishcloth. | 0:28:27 | 0:28:33 | |
LAUGHTER | 0:28:33 | 0:28:35 | |
Isn't that one of the most romantic things you've ever seen? | 0:28:35 | 0:28:38 | |
-And I think my own personal favourite... -Do you know, I'd have been quite happy with that! | 0:28:38 | 0:28:43 | |
What about this, Hilary? | 0:28:43 | 0:28:45 | |
How about that, the love iron? | 0:28:48 | 0:28:50 | |
-I'd have loved it. -Yeah. -I'd have loved it. | 0:28:50 | 0:28:53 | |
It's great for getting in the corners. | 0:28:53 | 0:28:55 | |
LAUGHTER | 0:28:55 | 0:28:56 | |
Here's a gift - this is one of the most intimate, | 0:28:56 | 0:28:59 | |
loving gifts, I think you could ever have. | 0:28:59 | 0:29:03 | |
This is what they call The Lovers' Toilet. | 0:29:03 | 0:29:06 | |
Oh, no! | 0:29:06 | 0:29:08 | |
LAUGHTER | 0:29:08 | 0:29:11 | |
Now, there is a kind of a modesty wall between, | 0:29:11 | 0:29:13 | |
but the fact that you can sit and chat... | 0:29:13 | 0:29:17 | |
I mean, I would like that to be a bit wider in the middle, | 0:29:17 | 0:29:21 | |
maybe room for a cribbage board. | 0:29:21 | 0:29:23 | |
Let's find out what Alistair has chosen as a wildcard. | 0:29:26 | 0:29:29 | |
The tattoo. | 0:29:35 | 0:29:37 | |
When I was a kid growing up in the Vale of Evesham in the 1970s, | 0:29:37 | 0:29:40 | |
nobody really had tattoos except people who worked on fairgrounds, | 0:29:40 | 0:29:44 | |
Popeye and this bloke from Redditch that everyone kept away from. | 0:29:44 | 0:29:48 | |
Now, thanks to one man, they've become really fashionable, | 0:29:48 | 0:29:53 | |
and that man, sadly, is my old mate, David Beckham, | 0:29:53 | 0:29:55 | |
who had so many tattoos and then everyone said, "Oh, you know, | 0:29:55 | 0:29:58 | |
"we want to be like David. As we can't play football very well | 0:29:58 | 0:30:01 | |
"and can't marry a beautiful lady, we'll have tattoos all over us." | 0:30:01 | 0:30:05 | |
And, I think they're utterly, utterly hideous. | 0:30:05 | 0:30:08 | |
Well, we should have a look at David Beckham, since you've mentioned it. | 0:30:08 | 0:30:11 | |
You see, I think they are beautiful. | 0:30:11 | 0:30:15 | |
But Beckham is a beautiful man with a fabulous body. | 0:30:15 | 0:30:18 | |
Why does he need to spoil it by putting all that stuff on it? | 0:30:18 | 0:30:21 | |
Well, is he spoiling or is he enhancing? | 0:30:21 | 0:30:25 | |
There are practical purposes, I should say, for tattoos. | 0:30:25 | 0:30:28 | |
One of my favourites - have you seen the mock stockings? | 0:30:28 | 0:30:32 | |
Mockings, I think they call them, where they tattoo, | 0:30:32 | 0:30:35 | |
I think we have a picture of a lady with tattooed legs. | 0:30:35 | 0:30:38 | |
No, but doesn't that - I think that looks brilliant. | 0:30:39 | 0:30:42 | |
I've actually had some swimming trunks tattooed on. | 0:30:42 | 0:30:46 | |
And I've been to the baths four or five times | 0:30:46 | 0:30:48 | |
and no-one's picked up on it yet. | 0:30:48 | 0:30:51 | |
I've had a couple of sideways looks from a lifeguard, | 0:30:53 | 0:30:56 | |
-and sideways looks are the ones that are going to spot it eventually. -LAUGHTER | 0:30:56 | 0:31:01 | |
I'm going to show you a few tattoos which I think are a defence. | 0:31:01 | 0:31:06 | |
Really classy. | 0:31:06 | 0:31:08 | |
This is an EastEnders fan, | 0:31:08 | 0:31:10 | |
and I think this is a really good piece of art. | 0:31:10 | 0:31:12 | |
That's Pam St Clement, but that is a very good likeness, you... | 0:31:15 | 0:31:19 | |
He just looks like he's been Butchered, to me. | 0:31:19 | 0:31:21 | |
Butchered?! | 0:31:21 | 0:31:22 | |
LAUGHTER AND GROANS | 0:31:22 | 0:31:25 | |
Yeah, that is the forearm of this lady, | 0:31:25 | 0:31:28 | |
who brilliantly also has a Pam St Clement face. | 0:31:28 | 0:31:31 | |
LAUGHTER | 0:31:31 | 0:31:33 | |
-I have a fan who has one of those of me on her arm. -Of you? | 0:31:33 | 0:31:36 | |
Yeah. I saw it backstage at a TV show, she showed, rolled up her arm | 0:31:36 | 0:31:39 | |
and showed me, like a pencil sketching of my face on her arm. | 0:31:39 | 0:31:42 | |
All I could think of, because you've got to say something nice, | 0:31:42 | 0:31:46 | |
because it's permanent, | 0:31:46 | 0:31:47 | |
all I could think of was, if I decide to stop singing or retire, | 0:31:47 | 0:31:50 | |
what facial hair could she put on it to make it someone else. | 0:31:50 | 0:31:53 | |
Like a moustache or something. | 0:31:53 | 0:31:55 | |
But then she made me sign it and she tattooed the signature too. | 0:31:55 | 0:31:59 | |
And that tattoo is the constant whiplash | 0:31:59 | 0:32:02 | |
of continuing to have a career, so that her tattoo in America | 0:32:02 | 0:32:05 | |
-can continue to be relevant. -Right. | 0:32:05 | 0:32:07 | |
-It's like a modern Dorian Gray. -Yeah, pretty much. | 0:32:07 | 0:32:10 | |
That's a beautiful motivation. | 0:32:10 | 0:32:12 | |
If I dated her, I would have to look lovingly into my own eyes. | 0:32:12 | 0:32:15 | |
It would be terrifying. | 0:32:17 | 0:32:19 | |
That is my IDEAL woman. | 0:32:19 | 0:32:21 | |
Right, yeah, right. | 0:32:21 | 0:32:22 | |
Here's something, Alistair McGowan, | 0:32:22 | 0:32:25 | |
that I think might just change your mind. | 0:32:25 | 0:32:28 | |
This is Danny Walker. | 0:32:28 | 0:32:30 | |
APPLAUSE | 0:32:30 | 0:32:32 | |
-Danny. -How do you do? -You're looking great. -Thank you very much. | 0:32:42 | 0:32:46 | |
Now, I'm just examining your face - | 0:32:46 | 0:32:50 | |
-I hope you don't mind me staring. -No. Everyone does. | 0:32:50 | 0:32:53 | |
-And you've got a car on your forehead. -Yeah. | 0:32:53 | 0:32:56 | |
And I think I can see a spider-web. | 0:32:56 | 0:32:58 | |
Spider-web there and cars all round the back, lorries all the way round. | 0:32:58 | 0:33:03 | |
-Can you come a bit closer? -Yeah. | 0:33:03 | 0:33:06 | |
-Have a look at the one on the top. -God, why have you done that? | 0:33:06 | 0:33:11 | |
LAUGHTER | 0:33:11 | 0:33:13 | |
The most amazing thing about Danny is, lift your shirt up. | 0:33:13 | 0:33:17 | |
Yeah, Danny didn't bother with the torso. | 0:33:20 | 0:33:22 | |
He went straight for the head. | 0:33:22 | 0:33:25 | |
But I think it looks really impressive. | 0:33:25 | 0:33:28 | |
Alistair, have I won you over? | 0:33:28 | 0:33:30 | |
-No. I'm sorry, Danny. -I'm sorry. I thought | 0:33:30 | 0:33:33 | |
you'd win him over, Danny, but obviously you can talk till you're blue in the... Well, anyway. | 0:33:33 | 0:33:40 | |
-Thanks a lot for coming on, though. You look great. What about a big hand for Danny? -Thanks very much. | 0:33:40 | 0:33:45 | |
APPLAUSE | 0:33:45 | 0:33:48 | |
Let's find out what Josh has chosen as his wildcard. | 0:33:48 | 0:33:52 | |
Ah... | 0:33:58 | 0:33:59 | |
Um, I, er... | 0:33:59 | 0:34:02 | |
-Auto-tune. -Auto-tune! | 0:34:02 | 0:34:05 | |
-Yeah. -I get you. | 0:34:05 | 0:34:07 | |
So, now in case people here don't know what auto-tuning is, | 0:34:07 | 0:34:11 | |
can you just briefly explain what it is? | 0:34:11 | 0:34:14 | |
It's kind of an engineering term for when somebody can't sing, | 0:34:14 | 0:34:17 | |
either live or in the studio, they're able to put | 0:34:17 | 0:34:19 | |
their voice through a computer and basically with one push of a button, | 0:34:19 | 0:34:23 | |
it puts all of the notes they were trying to hit out of the speakers, | 0:34:23 | 0:34:26 | |
and they can essentially sing even if they can't sing. | 0:34:26 | 0:34:29 | |
And it's cheating, it's cheating. | 0:34:29 | 0:34:31 | |
I've got good eyesight, I don't see why you should wear glasses. | 0:34:31 | 0:34:34 | |
LAUGHTER | 0:34:34 | 0:34:36 | |
I think it's a bit like asking a painter to paint by numbers. | 0:34:36 | 0:34:40 | |
And it used to be that people knew what auto-tunes sounded like, | 0:34:40 | 0:34:44 | |
they would hear, you know, T-Pain or they would hear, | 0:34:44 | 0:34:47 | |
Cher - Cher was trying to sound auto-tune, that's part of the track. | 0:34:47 | 0:34:52 | |
Well, let's listen. This is the first example I'd heard of auto-tune | 0:34:52 | 0:34:55 | |
when it goes... | 0:34:55 | 0:34:57 | |
# Do you believe in life after love? VOCALS ECHO | 0:34:57 | 0:35:03 | |
# I can feel something inside me say... # | 0:35:03 | 0:35:07 | |
I love that - it's a sort of Lady Gargle. | 0:35:07 | 0:35:10 | |
LAUGHTER | 0:35:10 | 0:35:11 | |
I really like it too. When you're doing it on purpose for an effect - | 0:35:11 | 0:35:15 | |
I'm not a prude, I love electronic music | 0:35:15 | 0:35:17 | |
and when you do it like that it's really cool-sounding. | 0:35:17 | 0:35:19 | |
It's when people are doing it sneakily, | 0:35:19 | 0:35:21 | |
when you think they're singing well and they actually aren't. | 0:35:21 | 0:35:25 | |
Isn't it democracy though, Josh? It's all right for you, God has gifted you with a good voice. | 0:35:25 | 0:35:30 | |
What about someone like me? | 0:35:30 | 0:35:32 | |
It doesn't work for classical singing, | 0:35:32 | 0:35:34 | |
which is probably for my benefit | 0:35:34 | 0:35:35 | |
-because I've got a big vibrato... -I've heard that! -Yeah! | 0:35:35 | 0:35:38 | |
-LAUGHTER -It's huge. | 0:35:38 | 0:35:41 | |
And it kind of just sounds too weird when I do it, it kind of... | 0:35:41 | 0:35:45 | |
-HE WARBLES -It's like that. | 0:35:45 | 0:35:46 | |
Do you know who Katie Price is? | 0:35:46 | 0:35:48 | |
Yes I do, as a matter of fact, yes. | 0:35:48 | 0:35:51 | |
Yes, she is probably our most beautiful lady. | 0:35:51 | 0:35:54 | |
-Formerly... -LAUGHTER | 0:35:54 | 0:35:56 | |
-Oh, I meant that. -Didn't she have another name? | 0:35:56 | 0:35:59 | |
-She did, but we don't mention that any more. -Oh, OK. | 0:35:59 | 0:36:02 | |
-That's when she was a bit common. -Got you! | 0:36:02 | 0:36:05 | |
And she has been accused of using auto-tune, | 0:36:05 | 0:36:08 | |
not in that sort of electric way, like T-Pain, | 0:36:08 | 0:36:11 | |
but just to make her sound like she can sing. | 0:36:11 | 0:36:14 | |
I'm not saying it's true, but this is a little bit | 0:36:14 | 0:36:17 | |
-of Katie Price maybe singing, maybe being helped a little bit. -All right. | 0:36:17 | 0:36:21 | |
# I'm not just anybody | 0:36:21 | 0:36:24 | |
# Cos anybody couldn't love you like this | 0:36:24 | 0:36:28 | |
# I know that everybody that feels it like me | 0:36:28 | 0:36:32 | |
# Would love you like this... # | 0:36:32 | 0:36:34 | |
OK, now it sounds beautiful, it could be her, | 0:36:34 | 0:36:37 | |
but there is one bit of this video | 0:36:37 | 0:36:39 | |
which I don't think it does sound like it is her, see what you think. | 0:36:39 | 0:36:44 | |
DOG SAYS "I LOVE YOU" | 0:36:44 | 0:36:48 | |
LAUGHTER AND APPLAUSE | 0:36:48 | 0:36:51 | |
I agree that auto-tune can make untalented people sound talented, which seems wrong. | 0:36:59 | 0:37:05 | |
But then, if you auto-tune people who are quite talented, | 0:37:05 | 0:37:08 | |
you can really get something pretty amazing. | 0:37:08 | 0:37:11 | |
God gave you one of these and two of these - use them wisely. | 0:37:11 | 0:37:15 | |
-AUTO-TUNED: -Years and years and years - too many years to mention that I used to make them. | 0:37:15 | 0:37:20 | |
25 years ago, I did it. | 0:37:20 | 0:37:23 | |
I know the scams they get up to to earn that commission. | 0:37:23 | 0:37:26 | |
The beast doesn't change. When that beast is hungry, it wants feeding. | 0:37:26 | 0:37:32 | |
I'm out! | 0:37:32 | 0:37:34 | |
APPLAUSE | 0:37:34 | 0:37:35 | |
Excellent. | 0:37:40 | 0:37:42 | |
OK, well, we've come to the end of that category | 0:37:43 | 0:37:47 | |
and I was very unsure - | 0:37:47 | 0:37:48 | |
I thought Valentine's Day was argued very well, | 0:37:48 | 0:37:52 | |
as was tattoos, but I have to put auto-tune into Room 101. | 0:37:52 | 0:37:55 | |
All right. | 0:37:55 | 0:37:58 | |
APPLAUSE | 0:37:58 | 0:38:00 | |
That brings us to the end of the show | 0:38:07 | 0:38:08 | |
and although you've all done brilliantly well, | 0:38:08 | 0:38:11 | |
I must say, Alistair, you were tonight's most persuasive guest | 0:38:11 | 0:38:14 | |
and thus this week's winner. | 0:38:14 | 0:38:16 | |
APPLAUSE | 0:38:16 | 0:38:19 | |
So, as tonight's winner, you get to choose | 0:38:23 | 0:38:26 | |
one completely unchallenged thing to go into Room 101. | 0:38:26 | 0:38:29 | |
OK. It is then, these. | 0:38:29 | 0:38:32 | |
In a world where you can have 10,000 songs on an iPod | 0:38:33 | 0:38:36 | |
and someone can invent that, why can't they invent some ear phones | 0:38:36 | 0:38:40 | |
that people can put in so the person who wants to hear the music can | 0:38:40 | 0:38:43 | |
and those that don't, don't? | 0:38:43 | 0:38:46 | |
Well, yes. | 0:38:46 | 0:38:47 | |
APPLAUSE | 0:38:47 | 0:38:49 | |
Well, congratulations, Alistair, | 0:38:50 | 0:38:53 | |
and of course those little ear phones | 0:38:53 | 0:38:55 | |
go straight into Room 101. | 0:38:55 | 0:38:57 | |
APPLAUSE | 0:38:57 | 0:38:58 | |
Well, thank you very much, Alistair, Josh and Hilary, and goodnight. | 0:39:01 | 0:39:05 | |
Subtitles by Red Bee Media Ltd | 0:39:29 | 0:39:31 |