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It's the most famous shopping street in the world. | 0:00:02 | 0:00:04 | |
In the heart of Britain's capital city. | 0:00:04 | 0:00:07 | |
A mile and a half long, with 30 million visitors each year. | 0:00:07 | 0:00:12 | |
With some of the world's most famous shops... | 0:00:12 | 0:00:14 | |
..biggest stars... | 0:00:14 | 0:00:16 | |
'Kate Moss.' | 0:00:16 | 0:00:17 | |
..and busiest stations. | 0:00:17 | 0:00:19 | |
Sorry, guys. Stand back for me. | 0:00:19 | 0:00:21 | |
What does it take to keep it running 24 hours a day... | 0:00:21 | 0:00:24 | |
It's the busiest street in the world. It needs constant attention. | 0:00:24 | 0:00:27 | |
-seven days a week? -Oi! Clear off! | 0:00:27 | 0:00:30 | |
Welcome to Oxford Street. Welcome to the pickpocket team. | 0:00:30 | 0:00:33 | |
Are you ready, London?! | 0:00:33 | 0:00:35 | |
A street that never sleeps. | 0:00:35 | 0:00:37 | |
This sort of thing wouldn't happen anywhere else. | 0:00:37 | 0:00:40 | |
Oxford Street. | 0:00:42 | 0:00:43 | |
Coming up... | 0:00:46 | 0:00:47 | |
Police are called when a passenger squabble at | 0:00:47 | 0:00:49 | |
Britain's busiest station threatens to overwhelm the platforms. | 0:00:49 | 0:00:54 | |
..John Lewis have a mountain to climb if they want to unveil | 0:00:59 | 0:01:02 | |
their Christmas lights... | 0:01:02 | 0:01:04 | |
Three, two, one! | 0:01:04 | 0:01:06 | |
Yes! Yes, yes. | 0:01:06 | 0:01:08 | |
..and the buskers of Oxford Street. | 0:01:08 | 0:01:10 | |
They're looking for their big break and has one of them just found it? | 0:01:10 | 0:01:14 | |
Look behind you, it's The Jacksons. Mr Jackson! | 0:01:14 | 0:01:17 | |
Oxford Circus is the busiest station on the Underground network. | 0:01:22 | 0:01:26 | |
With three different Tube lines meeting in one spot, | 0:01:29 | 0:01:31 | |
the smallest delay can easily snowball into major disruption | 0:01:31 | 0:01:36 | |
and affect the three million passengers | 0:01:36 | 0:01:39 | |
that use it every day. | 0:01:39 | 0:01:40 | |
-Yeah, platform number three. -'Yeah, I see it, mate.' | 0:01:40 | 0:01:43 | |
It's rush hour and Michael Kemp the station controller at Oxford Circus | 0:01:43 | 0:01:47 | |
is focused on keeping everything moving. | 0:01:47 | 0:01:50 | |
He has to respond quickly | 0:01:50 | 0:01:51 | |
to any incident that could result in disruption. | 0:01:51 | 0:01:55 | |
And it looks like such an event has occurred. | 0:01:55 | 0:01:58 | |
There's something going on. | 0:01:58 | 0:02:00 | |
There's a PEA been operated on a southbound Victoria line train, | 0:02:00 | 0:02:03 | |
so I need to go and investigate and see what the problem is down there. | 0:02:03 | 0:02:06 | |
A PEA, or passenger emergency alarm, has been activated on a train | 0:02:06 | 0:02:11 | |
in the station, bringing the entire underground line to a halt. | 0:02:11 | 0:02:14 | |
This is the worst possible news for the station during rush hour. | 0:02:14 | 0:02:18 | |
Activating a PEA is a big deal and should only be used as a last resort | 0:02:23 | 0:02:28 | |
in serious situations, because of the disruption it causes. | 0:02:28 | 0:02:31 | |
Despite this, Tube staff deal with around | 0:02:33 | 0:02:35 | |
1,600 PEA incidents a year. | 0:02:35 | 0:02:39 | |
Yeah, whereabouts are you on the platform are you? Over. | 0:02:39 | 0:02:41 | |
There's no information about what's happened in this case. | 0:02:41 | 0:02:44 | |
The alarm means the train can't move off | 0:02:44 | 0:02:47 | |
and passenger numbers are building up to potentially dangerous levels. | 0:02:47 | 0:02:51 | |
-Are you all right? -I don't know. | 0:02:54 | 0:02:56 | |
I do know what's going on with the incident people. | 0:02:56 | 0:02:59 | |
-The one in the black jacket? -Yeah. | 0:02:59 | 0:03:01 | |
It's a confusing situation and the train driver | 0:03:01 | 0:03:04 | |
isn't sure what's happened. | 0:03:04 | 0:03:06 | |
What's going on? | 0:03:06 | 0:03:08 | |
Although the details are hazy, it seems that a heated altercation | 0:03:08 | 0:03:12 | |
broke out between two groups on the train. | 0:03:12 | 0:03:15 | |
The woman Michael's talking to is one of the parties | 0:03:15 | 0:03:18 | |
and she's claiming racist language was used. | 0:03:18 | 0:03:21 | |
The other party is stood nearby. | 0:03:21 | 0:03:24 | |
And if you wish to press charges the police will take a statement | 0:03:24 | 0:03:27 | |
from you and from them. | 0:03:27 | 0:03:28 | |
The seriousness of the situation means the British Transport Police's | 0:03:28 | 0:03:32 | |
Network Incident Response Team have been called to attend. | 0:03:32 | 0:03:36 | |
They've called the place, it takes time to get here. | 0:03:36 | 0:03:39 | |
With hundreds of people stranded by the shutdown, | 0:03:40 | 0:03:43 | |
tempers are becoming flared. | 0:03:43 | 0:03:45 | |
INDISTINCT SPEECH | 0:03:45 | 0:03:47 | |
OK, let me speak, yeah. Zero through to base, are you receiving? Over. | 0:03:47 | 0:03:50 | |
Later in the programme... | 0:03:50 | 0:03:52 | |
police arrive and try to get to the bottom of things. | 0:03:52 | 0:03:55 | |
At the West End of Oxford Street is the Art Deco, 700-room, | 0:04:06 | 0:04:10 | |
luxury Thistle Hotel. | 0:04:10 | 0:04:12 | |
While it's one of the few hotels directly on Oxford Street, | 0:04:15 | 0:04:19 | |
it's competing with dozens of other top hotels throughout the West End. | 0:04:19 | 0:04:23 | |
One of the ways the hotels compete is on the quality | 0:04:26 | 0:04:29 | |
of their customer service. | 0:04:29 | 0:04:31 | |
If the hotel wants to keep guests coming back year after year, | 0:04:31 | 0:04:34 | |
it has to create the right atmosphere | 0:04:34 | 0:04:36 | |
and make sure their every need is catered for. | 0:04:36 | 0:04:39 | |
Someone who knows this more than most is restaurant host Biram. | 0:04:40 | 0:04:45 | |
Another busy night tonight, but it's fine. | 0:04:45 | 0:04:47 | |
We can do it, I feel you can do it. Yes! Definitely. | 0:04:47 | 0:04:51 | |
Originally from Senegal, it's Biram's job to entice people into | 0:04:51 | 0:04:55 | |
the restaurant and make sure things go smoothly once they're there. | 0:04:55 | 0:04:59 | |
Marmor Grill, yes. This is my house, | 0:04:59 | 0:05:02 | |
that's the Marmor Grill. | 0:05:02 | 0:05:04 | |
Hello, madame. Everything is OK? Yeah, the weather was nice, as well. | 0:05:04 | 0:05:07 | |
-It was beautiful. -Thank you very much. Enjoy. | 0:05:07 | 0:05:09 | |
HE LAUGHS | 0:05:09 | 0:05:11 | |
He might seem to be permanently good humoured, | 0:05:11 | 0:05:13 | |
but Biram takes customer service very seriously. | 0:05:13 | 0:05:17 | |
I try to make people happy | 0:05:17 | 0:05:18 | |
and try to make people comfortable in the restaurant. | 0:05:18 | 0:05:21 | |
The hotel chain runs a badge scheme for its staff, to encourage | 0:05:21 | 0:05:25 | |
the highest levels of customer service. | 0:05:25 | 0:05:27 | |
Can you follow me, please? | 0:05:27 | 0:05:29 | |
Different colour badges represent different levels achieved. | 0:05:29 | 0:05:33 | |
The badge that I have on my jacket is about the customer service | 0:05:33 | 0:05:38 | |
satisfaction. Now, I'm in green. | 0:05:38 | 0:05:40 | |
Two steps to get the black one, yeah. I think I can have it, yes. | 0:05:40 | 0:05:44 | |
With a little bit of effort, yes. Biram, yes - you can do it! | 0:05:44 | 0:05:49 | |
Tonight, he's trying something different | 0:05:49 | 0:05:51 | |
to entice people in to the Marmor Grill. | 0:05:51 | 0:05:53 | |
He's got one of the chefs to cook samples of the restaurant menu | 0:05:53 | 0:05:57 | |
in the foyer. | 0:05:57 | 0:05:58 | |
You do have some food. We're going to give our customers to taste. | 0:05:58 | 0:06:03 | |
It's called live cooking and Biram's hoping it will lure people | 0:06:03 | 0:06:08 | |
to stay and eat at the restaurant. | 0:06:08 | 0:06:10 | |
I just want all my customers to come and taste all these lovely things. | 0:06:10 | 0:06:15 | |
Things are slow to begin with, which is a problem. | 0:06:17 | 0:06:21 | |
Taking a chef out of the kitchen in this way costs money. | 0:06:21 | 0:06:25 | |
Madame, do you want to try the live cooking tonight? | 0:06:25 | 0:06:28 | |
-I'm all right, thank you very much. -Yes, madame? -I'm OK, thank you. -Yes? | 0:06:28 | 0:06:32 | |
You're welcome. He doesn't want it. | 0:06:32 | 0:06:34 | |
But Biram soon finds someone willing to try his live cooking. | 0:06:36 | 0:06:40 | |
-You know, you can try this one of them. -What is this? | 0:06:40 | 0:06:43 | |
This is the pork with the duck, mix it together with the duck terrine. | 0:06:43 | 0:06:46 | |
-Pork? What's the duck? -Duck is...canard. | 0:06:46 | 0:06:48 | |
-Where are you from, sir? -I'm from Norway. | 0:06:48 | 0:06:50 | |
I don't know how they call it in Norway. It is duck, in English. | 0:06:50 | 0:06:53 | |
All right, yeah. | 0:06:53 | 0:06:54 | |
-The bird, the big birds. -HE CLUCKS | 0:06:54 | 0:06:57 | |
-What, is it turkey? -It's kind of turkey, | 0:06:57 | 0:06:59 | |
-but it's not that big. It's like. -HE CLUCKS. | 0:06:59 | 0:07:02 | |
Try it, you're going to like it anyway. | 0:07:02 | 0:07:04 | |
Biram's convinced the man to take a bite | 0:07:04 | 0:07:06 | |
but his translation isn't going so well. | 0:07:06 | 0:07:09 | |
Is this the kind of duck that lives in the trees? | 0:07:10 | 0:07:13 | |
-No, you find it in the lake. -Has it the hair like this? -No? | 0:07:13 | 0:07:17 | |
No, that's chicken, right? The duck is... | 0:07:17 | 0:07:19 | |
What kind of duck is this? | 0:07:19 | 0:07:22 | |
-That's a normal duck. -Just a normal duck, yeah? | 0:07:22 | 0:07:24 | |
Eatable duck, yeah, the eatable duck, yeah, the normal duck. | 0:07:24 | 0:07:27 | |
Eventually, however, the message does get through. | 0:07:27 | 0:07:30 | |
-It has a green head? -Yeah, that's correct. | 0:07:30 | 0:07:33 | |
-Yes. -We call it stokkand. | 0:07:33 | 0:07:35 | |
Stokkand. Oh, that's great. | 0:07:35 | 0:07:37 | |
-So, we know a new word now - stokkand. -Stokkand, yeah. | 0:07:37 | 0:07:40 | |
I will write it down, I have a new word now - stokkand. | 0:07:40 | 0:07:44 | |
The man is one of three Arsenal-supporting Norwegian friends | 0:07:44 | 0:07:48 | |
who have come to London for the FA Cup final. | 0:07:48 | 0:07:50 | |
-You can try it, and... -They're only in the hotel | 0:07:50 | 0:07:53 | |
to pick up their match tickets and weren't planning on eating here, | 0:07:53 | 0:07:56 | |
but Biram's spotted an opportunity. | 0:07:56 | 0:07:59 | |
You know what I'm going to give you? The menu for the Marmor Grill. | 0:07:59 | 0:08:03 | |
After, you can keep it with you. | 0:08:03 | 0:08:05 | |
-Mm-hmm. -Yeah, and you'll stay in the hotel, | 0:08:05 | 0:08:07 | |
you can pop in any time you want for dinner. | 0:08:07 | 0:08:10 | |
Biram continues his rounds, checking on the diners he does have. | 0:08:11 | 0:08:15 | |
If there's anything, just let me know, | 0:08:15 | 0:08:17 | |
I'm the host in this restaurant. | 0:08:17 | 0:08:18 | |
-Enjoy that? -Yeah, it's lovely. | 0:08:18 | 0:08:20 | |
-It is tender... -Yeah. -That's nice, lovely. -Thank you. | 0:08:20 | 0:08:23 | |
And like it, enjoy your food. | 0:08:23 | 0:08:24 | |
Later in the programme, Biram snares his Norwegians, | 0:08:24 | 0:08:28 | |
but will he live to regret it? | 0:08:28 | 0:08:30 | |
Hello, Norwich! | 0:08:30 | 0:08:32 | |
It's triple gin and tonics. | 0:08:33 | 0:08:36 | |
I wasn't aware they are a little bit drunk. | 0:08:36 | 0:08:39 | |
Christmas comes early on Oxford Street - | 0:08:48 | 0:08:50 | |
October, to be exact. | 0:08:50 | 0:08:52 | |
The festive season sees the whole street transform | 0:08:52 | 0:08:55 | |
into a colourful mass of decorations. | 0:08:55 | 0:08:57 | |
Many of the stores compete to have the best display. | 0:08:57 | 0:09:01 | |
Shoppers from across the country will travel down to London | 0:09:03 | 0:09:07 | |
to see the spectacle and inside this van are the lights | 0:09:07 | 0:09:10 | |
that department store John Lewis hope will make them stand out | 0:09:10 | 0:09:13 | |
from the crowd. | 0:09:13 | 0:09:14 | |
The lighting display is a central part of their Christmas promotion. | 0:09:15 | 0:09:19 | |
They hope it will help them generate millions of pounds in sales, | 0:09:19 | 0:09:23 | |
so getting the display right is crucial, | 0:09:23 | 0:09:27 | |
as John Vasey of specialist decorating team Springfield | 0:09:27 | 0:09:30 | |
knows only too well. | 0:09:30 | 0:09:32 | |
The Christmas lights on Oxford Street are huge. | 0:09:34 | 0:09:36 | |
It's the world's busiest, most important shopping street. | 0:09:36 | 0:09:40 | |
This is a job that we have to get right. There's a lot of competition. | 0:09:40 | 0:09:43 | |
All the stores want to look the best on Oxford Street and, this year, | 0:09:43 | 0:09:46 | |
John Lewis have got the switch-on event, which means that | 0:09:46 | 0:09:49 | |
TV, radio, will all be coming here next week to look at their lights. | 0:09:49 | 0:09:54 | |
The 12-strong Springfield team have been hard at work on the lights | 0:09:54 | 0:09:58 | |
for five days already. | 0:09:58 | 0:10:00 | |
Today, they plan on finishing the job. | 0:10:00 | 0:10:02 | |
They'll be mounting and hanging the last of the lights, | 0:10:02 | 0:10:04 | |
and then, at the end of the day, | 0:10:04 | 0:10:06 | |
they'll perform a final test, to check they're all working. | 0:10:06 | 0:10:10 | |
For team member Dean Brandon, hanging Christmas lights is | 0:10:10 | 0:10:13 | |
the culmination of a much longer preparation process. | 0:10:13 | 0:10:17 | |
Pre-rigging everything, checking the wirings... | 0:10:17 | 0:10:20 | |
We've also got to get all the decorations prepared | 0:10:20 | 0:10:22 | |
back at our base in Guildford, so we start a long time before Christmas. | 0:10:22 | 0:10:25 | |
When Christmas comes, it's quite a relief for us. | 0:10:25 | 0:10:27 | |
We, sort of, start doing... thinking about Christmas | 0:10:27 | 0:10:30 | |
about a month before Christmas. | 0:10:30 | 0:10:32 | |
We're putting up the light curtains on the front of the building. | 0:10:34 | 0:10:37 | |
In this section alone, the bit that we haven't done | 0:10:37 | 0:10:39 | |
along the front of Oxford Street, there's 13 bars, | 0:10:39 | 0:10:42 | |
and we've also got 13 round the side there, 13 round the other side... | 0:10:42 | 0:10:45 | |
I don't know why it's the unlucky 13 number. | 0:10:45 | 0:10:47 | |
And we've got 18 down at the other end. | 0:10:47 | 0:10:50 | |
This is the section we want to get finished by the end of today. | 0:10:50 | 0:10:53 | |
The lights will hang down from the roof to create a light curtain. | 0:10:53 | 0:10:56 | |
The power cables to make them twinkle | 0:10:56 | 0:10:58 | |
will have to be lifted up the outside of the building. | 0:10:58 | 0:11:01 | |
These'll be lifted up to the roof, but you can see, | 0:11:01 | 0:11:03 | |
the harness gives 15 power outlets, | 0:11:03 | 0:11:05 | |
so, from each one of these bars, we can power 15 sets of lights. | 0:11:05 | 0:11:09 | |
And we build that across the front of the building into a giant panel, | 0:11:09 | 0:11:12 | |
70 metres wide and 16 metres high. | 0:11:12 | 0:11:15 | |
And these are giant strings of Christmas lights. | 0:11:15 | 0:11:18 | |
They, too, will be attached and pulled up the building. | 0:11:18 | 0:11:21 | |
It'll, like, connect to there. When they get up to the top, | 0:11:23 | 0:11:26 | |
they'll be simply screwed into the socket there. | 0:11:26 | 0:11:29 | |
Like everything on Oxford Street, | 0:11:29 | 0:11:31 | |
it's bigger and more complicated than anywhere else in Britain. | 0:11:31 | 0:11:34 | |
This is how we do it here. Pull them up, one string at a time. | 0:11:37 | 0:11:39 | |
Takes a long time to cover the front of the building | 0:11:39 | 0:11:41 | |
in individual strings. Other places, we use cherry pickers, | 0:11:41 | 0:11:44 | |
because we can do about 20 strings at a time. | 0:11:44 | 0:11:46 | |
We can't put a cherry picker down in Oxford Street, it's too busy, | 0:11:46 | 0:11:49 | |
so we pull them up one at a time. | 0:11:49 | 0:11:50 | |
The team have to put up a mind-boggling total | 0:11:52 | 0:11:54 | |
of 120,000 lights on the exterior of the building | 0:11:54 | 0:11:58 | |
with 19km of wiring - all to convince potential customers | 0:11:58 | 0:12:03 | |
to step off Oxford Street and into the store. | 0:12:03 | 0:12:06 | |
It's taken five days to get this far, | 0:12:07 | 0:12:09 | |
but there's a whole other phase to getting the job done. | 0:12:09 | 0:12:13 | |
Bring on the abseilers. | 0:12:13 | 0:12:16 | |
100 feet above Oxford Street, the store is using | 0:12:16 | 0:12:19 | |
specialist climbers, who will lower themselves over the side | 0:12:19 | 0:12:23 | |
and attach the light cables to the building, to stop them moving. | 0:12:23 | 0:12:27 | |
When the winter wind howls down Oxford Street, | 0:12:29 | 0:12:31 | |
John Lewis don't want their lights blowing away. | 0:12:31 | 0:12:34 | |
So, running along the front of the building are a series | 0:12:34 | 0:12:37 | |
of horizontal rigging wires, similar to this one, | 0:12:37 | 0:12:40 | |
and we'll zip-tie the lights back into those, and that keeps the whole | 0:12:40 | 0:12:43 | |
light panel in place, regardless of what the wind and weather do. | 0:12:43 | 0:12:46 | |
There's a lot of lights for them to do, as well, | 0:12:48 | 0:12:51 | |
and we get through a lot of cable-ties tying this lot off. | 0:12:51 | 0:12:53 | |
Some of the John Lewis clients find it strange | 0:12:57 | 0:12:59 | |
to look out the window and suddenly they see an abseiler | 0:12:59 | 0:13:01 | |
hanging around outside their window. | 0:13:01 | 0:13:03 | |
We see some sights looking into the John Lewis stores, as well. | 0:13:03 | 0:13:06 | |
As the abseilers step back inside and the sun begins to go down, | 0:13:07 | 0:13:12 | |
6,000 cable-ties are now holding everything in place, | 0:13:12 | 0:13:16 | |
and it's time for the team to make sure the lights are working. | 0:13:16 | 0:13:19 | |
The test switch-on falls to team member Dean Weston. | 0:13:21 | 0:13:24 | |
Five days' work and hundreds of thousands of pounds of investment | 0:13:24 | 0:13:28 | |
are depending on it. | 0:13:28 | 0:13:29 | |
I've got my fingers crossed. | 0:13:29 | 0:13:31 | |
We're just waiting for them to go on now. Any second, | 0:13:31 | 0:13:33 | |
the whole bank should light up. | 0:13:33 | 0:13:35 | |
Five, four, | 0:13:37 | 0:13:39 | |
three, two, | 0:13:39 | 0:13:40 | |
one, come on! | 0:13:40 | 0:13:42 | |
Yes! Yes, yes, yes, over 100,000 lights all on. | 0:13:44 | 0:13:48 | |
Absolutely fantastic. | 0:13:48 | 0:13:51 | |
With the lights tested and working, it's job done for the team. | 0:13:51 | 0:13:55 | |
Tested the lights a few times. | 0:13:55 | 0:13:57 | |
Now, they'll be turned off until the big, big light-up day. | 0:13:57 | 0:13:59 | |
It's amazing, the light that comes out of them, | 0:13:59 | 0:14:01 | |
lights up the whole street in front. | 0:14:01 | 0:14:03 | |
Gives the building a really good, big presence on Oxford Street. | 0:14:03 | 0:14:06 | |
The lights will sit dormant | 0:14:06 | 0:14:08 | |
until their official turn-on later in the month, | 0:14:08 | 0:14:11 | |
but with 100,000 bulbs raring to go, when they are finally turned on, | 0:14:11 | 0:14:15 | |
everyone will know it's Christmas time on Oxford Street. | 0:14:15 | 0:14:19 | |
At Oxford Circus Tube station, | 0:14:28 | 0:14:30 | |
station controller Michael is dealing with a developing incident. | 0:14:30 | 0:14:33 | |
What's your problem?! | 0:14:33 | 0:14:35 | |
A passenger emergency alarm has been activated after | 0:14:35 | 0:14:38 | |
two groups of people got into an argument on a train. | 0:14:38 | 0:14:41 | |
Both parties are claiming racist language was used. | 0:14:41 | 0:14:45 | |
The police have been called. | 0:14:45 | 0:14:47 | |
Meanwhile, passenger numbers are building up to dangerous levels | 0:14:47 | 0:14:50 | |
on the platforms, while the train is held. | 0:14:50 | 0:14:53 | |
No...zero-three to base, are you receiving, over? | 0:14:53 | 0:14:56 | |
Michael decides to keep both parties on the platform | 0:14:56 | 0:14:59 | |
but he allows the train to move off to help relieve the overcrowding. | 0:14:59 | 0:15:03 | |
-RADIO: -'Please get off the platform now.' | 0:15:06 | 0:15:09 | |
Leave it, folks, nothing to see. | 0:15:09 | 0:15:11 | |
The rapid response team arrive | 0:15:11 | 0:15:13 | |
and start helping to clear the passengers down the platform. | 0:15:13 | 0:15:16 | |
Do you want to talk? You don't want to talk to the police, no? | 0:15:16 | 0:15:20 | |
That way! | 0:15:20 | 0:15:21 | |
Accompanying them are officers from the British Transport Police. | 0:15:21 | 0:15:25 | |
What's going on? Who are the parties involved here? | 0:15:25 | 0:15:27 | |
-This lady here and this family over here. -The lady there. | 0:15:27 | 0:15:30 | |
-And who? -This family over here. | 0:15:30 | 0:15:31 | |
Right, can you bring this lady through to... | 0:15:31 | 0:15:34 | |
off the platform, cos it's a bit dangerous. | 0:15:34 | 0:15:36 | |
Can we get this family who's involved off the platform? | 0:15:36 | 0:15:39 | |
Put them in the middle, cos it's unsafe on the platform. | 0:15:39 | 0:15:42 | |
Inspector Nick Brandon takes control of the situation | 0:15:42 | 0:15:46 | |
and moves the two groups to a quieter location. | 0:15:46 | 0:15:49 | |
You just go over there, | 0:15:49 | 0:15:50 | |
and if you can come over here for me, please. | 0:15:50 | 0:15:54 | |
-The train's been stopped? How? -The train was, by a PEA...yeah. | 0:15:54 | 0:15:57 | |
-Right, and then they've been taken off and then it's moved. -Right, yes. | 0:15:57 | 0:16:00 | |
Yeah, we've just contained the situation. | 0:16:00 | 0:16:02 | |
We've got all the passengers involved off of the platform | 0:16:02 | 0:16:05 | |
into a little bit more of a safer area. | 0:16:05 | 0:16:07 | |
The police are conducting investigations. | 0:16:07 | 0:16:10 | |
An off-duty police officer partially witnessed the incident | 0:16:10 | 0:16:14 | |
and briefs the inspector on what he knows. | 0:16:14 | 0:16:16 | |
-Shouting and swearing? -Yeah. | 0:16:21 | 0:16:23 | |
The officers talk to both parties, to get their side of the story. | 0:16:29 | 0:16:33 | |
Both parties have now calmed down and neither wants to press charges. | 0:16:45 | 0:16:49 | |
It's all probably the usual thing, | 0:16:49 | 0:16:51 | |
people cramped up together in a tight space | 0:16:51 | 0:16:53 | |
and just a bit of an altercation. | 0:16:53 | 0:16:56 | |
It will be recorded. | 0:16:56 | 0:16:58 | |
The activation of a passenger emergency alarm, | 0:16:58 | 0:17:01 | |
effectively paralysing a whole Tube line, is a big deal. | 0:17:01 | 0:17:04 | |
Across the underground, it happens around four times a day, | 0:17:04 | 0:17:08 | |
and the Network Incident Response Team always has to | 0:17:08 | 0:17:10 | |
compile a thorough report. | 0:17:10 | 0:17:13 | |
For the British Transport Police, it's a familiar scenario. | 0:17:13 | 0:17:16 | |
What we do tend to find sometimes, in such a crowded environment, | 0:17:16 | 0:17:20 | |
is that a very small disturbance can get much larger. | 0:17:20 | 0:17:23 | |
Initially, some words being exchanged | 0:17:24 | 0:17:27 | |
can escalate up to a serious assault or even worse. | 0:17:27 | 0:17:29 | |
But words of advice have been given to both parties about how | 0:17:29 | 0:17:32 | |
this incident could have escalated on the train. | 0:17:32 | 0:17:34 | |
At the end of the day, it's a very dangerous environment. | 0:17:34 | 0:17:37 | |
We've got moving trains, we've got 750 volts on the track, | 0:17:37 | 0:17:40 | |
and I think they've all gone away a little bit wiser. | 0:17:40 | 0:17:42 | |
The two parties are put on separate trains and head off. | 0:17:42 | 0:17:46 | |
Although no further action is going to be taken, | 0:17:46 | 0:17:48 | |
it's not the end of the incident for Michael. | 0:17:48 | 0:17:51 | |
Everyone's gone on their way now, so what we need to do now | 0:17:51 | 0:17:53 | |
is I need to go upstairs and do all the paperwork. | 0:17:53 | 0:17:56 | |
With the incident dealt with, | 0:17:56 | 0:17:57 | |
all he's got left to do is run Britain's busiest station. | 0:17:57 | 0:18:00 | |
At the Thistle Hotel, restaurant host Biram | 0:18:10 | 0:18:13 | |
is trying to attract the paying public into the grill, | 0:18:13 | 0:18:17 | |
by enticing them with live cooking in the foyer. | 0:18:17 | 0:18:19 | |
It doesn't work. | 0:18:19 | 0:18:21 | |
-One Norwegian football fan liked Biram's duck... -You like it? | 0:18:21 | 0:18:25 | |
..but wasn't interested in dinner. | 0:18:25 | 0:18:28 | |
Biram continues his rounds | 0:18:28 | 0:18:30 | |
-and concentrates on keeping his other customers happy. -That's right. | 0:18:30 | 0:18:33 | |
Oh... | 0:18:33 | 0:18:35 | |
From Japan, right? Arigato. | 0:18:35 | 0:18:38 | |
-How are you, baby? -Oh, thank you. | 0:18:38 | 0:18:41 | |
Oh, heavenly. | 0:18:42 | 0:18:44 | |
Why not? Kissing him as well, here. | 0:18:44 | 0:18:46 | |
Oh...that's a good thing. | 0:18:48 | 0:18:50 | |
-Very much, thank you. Enjoy your dinner. -Thank you. | 0:18:50 | 0:18:53 | |
Thank you very much. Happiness. | 0:18:53 | 0:18:55 | |
And at the bar, he comes across his old friend. | 0:18:57 | 0:19:01 | |
-Ah, do you remember how do you call the duck, again? -Hello! | 0:19:01 | 0:19:04 | |
-Stokkand. -Stokkand. -Stokkand. | 0:19:04 | 0:19:06 | |
Yes, I'm going to keep the name, now. That's a stokkand, yeah? | 0:19:06 | 0:19:09 | |
-Now, you are here, you know, for the Arsenal game. -Of course. -Yeah. | 0:19:09 | 0:19:12 | |
-Right, that's what he said to us. -Yeah, right. | 0:19:12 | 0:19:14 | |
So, at the meantime, you know, stay, enjoy your stay in our hotel. | 0:19:14 | 0:19:18 | |
Thank you. | 0:19:18 | 0:19:20 | |
-Enjoy your beer, guys. -Yes. -Thank you. -Of course we are. | 0:19:20 | 0:19:23 | |
Biram leaves the Norwegians to their drinks. | 0:19:23 | 0:19:25 | |
Back in the foyer, he's trying to entice more guests. | 0:19:25 | 0:19:28 | |
I can give you a lovely table by the window, if you want it. | 0:19:28 | 0:19:31 | |
When suddenly... | 0:19:31 | 0:19:32 | |
-The nice things, you know, they all just... -OK. | 0:19:32 | 0:19:36 | |
-Oh, that's my friends, you know, yes, from Denmark. -Hello. | 0:19:36 | 0:19:39 | |
-No, Norway. -Norway, yes, guys. | 0:19:39 | 0:19:41 | |
We will go inside and we will eat it now. | 0:19:41 | 0:19:43 | |
Right now, yes. Can you come with me, please? | 0:19:43 | 0:19:45 | |
I will give you the table right now. | 0:19:45 | 0:19:46 | |
-Good, good. -Yes, table for three? | 0:19:46 | 0:19:49 | |
It's a great result. His live cooking has paid off, after all. | 0:19:49 | 0:19:53 | |
-And I'm going to give you, as well, the drink list, right? -Yeah. | 0:19:53 | 0:19:56 | |
Delighted, Biram shows them to their seats. | 0:19:56 | 0:19:58 | |
-Yes. -Just around the corner. -Just around the corner. | 0:19:58 | 0:20:02 | |
-English, mate. -Oh, man. | 0:20:02 | 0:20:05 | |
# And we all cherish the Arsenal | 0:20:05 | 0:20:09 | |
-# And we all cherish the Arsenal. -# | 0:20:11 | 0:20:16 | |
No, Arsenal.... | 0:20:16 | 0:20:18 | |
But Biram's moment of triumph is tinged with concern. | 0:20:18 | 0:20:21 | |
-Thank you, sir. -OK... | 0:20:21 | 0:20:23 | |
The Norwegians have been drinking and are in full voice | 0:20:23 | 0:20:27 | |
and high spirits. | 0:20:27 | 0:20:29 | |
-Hello, Norwich. -Excellent, excellent. | 0:20:29 | 0:20:33 | |
Biram's worried their behaviour might get too much | 0:20:33 | 0:20:35 | |
for the other diners. | 0:20:35 | 0:20:38 | |
So, you know, I wasn't aware they are a little bit drunk, yeah. | 0:20:38 | 0:20:42 | |
-We're not going to sleep, no. -So, so we got these triple gin and tonics. | 0:20:42 | 0:20:47 | |
I think, I think we shouldn't give them any more drinks. | 0:20:47 | 0:20:51 | |
Yeah, yes, we shouldn't give them more drinks, you know, | 0:20:51 | 0:20:54 | |
so, we just, you know, put, you know, oil on the fire. | 0:20:54 | 0:20:57 | |
So we need to keep them on ice, you know, | 0:20:57 | 0:21:00 | |
no more drinks, otherwise, you know, they have to leave the restaurant. | 0:21:00 | 0:21:03 | |
Concerned, he calls in hotel security | 0:21:03 | 0:21:06 | |
to keep a discreet eye on them. | 0:21:06 | 0:21:07 | |
If they get any drunker, he might have an incident on his hands. | 0:21:07 | 0:21:12 | |
Yes, and this is about the situation, you know, | 0:21:12 | 0:21:14 | |
I give you the updates, you know, about the Danish people, you know, | 0:21:14 | 0:21:17 | |
there are three people drunk, you know, in a restaurant. | 0:21:17 | 0:21:19 | |
Just as he thinks he might have to take action... | 0:21:19 | 0:21:23 | |
-Hello, Chef, 77 is coming. -Yeah. -Think you very much, Chef. | 0:21:23 | 0:21:26 | |
Salvation arrives in the shape of some bavette steaks. | 0:21:26 | 0:21:30 | |
When the food is on the table, I think drunk, not drunk, | 0:21:30 | 0:21:33 | |
everything should be perfect. | 0:21:33 | 0:21:35 | |
The food arrives and the boys tuck in. | 0:21:35 | 0:21:38 | |
We just want something... | 0:21:38 | 0:21:39 | |
Enjoying the steak, of course, in Marmor Grill. | 0:21:39 | 0:21:42 | |
The food seems to have done its job and brought | 0:21:42 | 0:21:44 | |
the noise of the Norwegians' table down to manageable levels. | 0:21:44 | 0:21:48 | |
-Yes. -I keeped an eye on them. | 0:21:48 | 0:21:50 | |
-Yeah. -Observed, they are quiet now. | 0:21:50 | 0:21:53 | |
I'll keep my eye on them, but, yeah, OK. | 0:21:53 | 0:21:56 | |
And it seems Biram's customer service has won him | 0:21:56 | 0:21:59 | |
more than just happy diners. | 0:21:59 | 0:22:01 | |
How is it going? How was the food, guys? | 0:22:01 | 0:22:03 | |
-It was good, right? -Yeah, very good, even. | 0:22:03 | 0:22:05 | |
How was your service, have you had good service today? | 0:22:05 | 0:22:07 | |
More than excellent. | 0:22:07 | 0:22:08 | |
Thank you very much. Thank you very much. | 0:22:08 | 0:22:11 | |
Whatever this guy is telling you, you should... | 0:22:11 | 0:22:14 | |
you should try this one. | 0:22:14 | 0:22:15 | |
Meal eaten, the Norwegians had out to enjoy | 0:22:15 | 0:22:18 | |
the rest of their evening, with a belly full of steak and stokkand. | 0:22:18 | 0:22:21 | |
I think they've behaved themselves, they're cool, yeah. | 0:22:23 | 0:22:27 | |
Biram can enjoy the rest of his evening, | 0:22:27 | 0:22:29 | |
inching ever closer to that black customer service badge. | 0:22:29 | 0:22:33 | |
I'm very happy to meet people, to make people feel happy. | 0:22:33 | 0:22:37 | |
Yeah, it's OK. | 0:22:37 | 0:22:39 | |
The shops and stores aren't the only ones trying to | 0:22:46 | 0:22:49 | |
make a bit of money on Oxford Street. | 0:22:49 | 0:22:51 | |
With over half a million visitors a week, | 0:22:53 | 0:22:55 | |
it's become an irresistible draw for street performers, who | 0:22:55 | 0:22:59 | |
view it as a mile-and-a-half-long stage for their performances. | 0:22:59 | 0:23:03 | |
But they're not just doing it for love - | 0:23:03 | 0:23:05 | |
they're primarily here to earn a living. | 0:23:05 | 0:23:08 | |
Oliver from Guadeloupe has been busking on Oxford Street | 0:23:12 | 0:23:15 | |
for four years. | 0:23:15 | 0:23:16 | |
Classically trained, he turned to busking | 0:23:18 | 0:23:21 | |
because it's not easy to make a living in the music industry. | 0:23:21 | 0:23:24 | |
It's very difficult to be in the music industry professionally. | 0:23:26 | 0:23:30 | |
Sometimes you don't get pay or people promise you the pay, | 0:23:30 | 0:23:32 | |
they don't pay you. | 0:23:32 | 0:23:34 | |
I've been in this situation for long, so I've got to do something. | 0:23:34 | 0:23:38 | |
As well as earning him money, | 0:23:39 | 0:23:41 | |
Oliver says busking on Oxford Street gives him priceless exposure. | 0:23:41 | 0:23:45 | |
This street is the best advert ever. | 0:23:47 | 0:23:49 | |
You can have three million people watching you, in four or five months. | 0:23:49 | 0:23:53 | |
When you are busking on Oxford Street, you become famous. | 0:23:53 | 0:23:56 | |
The power of public exposure Oxford Street provides | 0:24:00 | 0:24:03 | |
is something break dancers Kevin and Reece have also experienced. | 0:24:03 | 0:24:08 | |
We did Fashion Week last week, didn't we? | 0:24:08 | 0:24:10 | |
We got a clothing line that saw us dancing, they said, | 0:24:10 | 0:24:13 | |
"Look, we want you guys. | 0:24:13 | 0:24:14 | |
"Wear the clothes, go there, dance." | 0:24:14 | 0:24:17 | |
And loads of photographers took pictures of us, it was amazing. | 0:24:17 | 0:24:20 | |
And the exposure is also the draw for saxophonist Rodney Rock. | 0:24:28 | 0:24:33 | |
He gave up a solid profession for the love of live performance. | 0:24:33 | 0:24:37 | |
I was a London cab driver, a licensed London taxi driver. | 0:24:37 | 0:24:41 | |
I learnt to play the saxophone in the back of my taxi during breaks, | 0:24:41 | 0:24:44 | |
and sometimes I would park up and go busking, | 0:24:44 | 0:24:47 | |
because I really wanted to just be a musician. | 0:24:47 | 0:24:49 | |
You're doing something worthwhile, you're bringing joy to people. | 0:24:54 | 0:24:57 | |
I've been invited to play at people's weddings, they've seen me, | 0:24:57 | 0:25:00 | |
they've said, "We loved your music." | 0:25:00 | 0:25:03 | |
It's really nice, it's really touching. | 0:25:03 | 0:25:05 | |
BAGPIPES PLAY | 0:25:08 | 0:25:10 | |
And Rodney's not the only one whose performances on Oxford Street | 0:25:10 | 0:25:13 | |
have won him wedding gigs. | 0:25:13 | 0:25:15 | |
-Do you do wedding venues? -Of course I do. -Yeah? OK. | 0:25:17 | 0:25:20 | |
If you need me, just give me a ring, I'll give you my number. | 0:25:20 | 0:25:22 | |
The whole day will be about 100 quid, | 0:25:22 | 0:25:24 | |
that would cover the whole day for me, | 0:25:24 | 0:25:27 | |
and that'd be the cheapest piper you'll get. | 0:25:27 | 0:25:30 | |
Finbar Hagan is the self-styled bagpiper of Oxford Street | 0:25:30 | 0:25:34 | |
and it's not just weddings his street performances have won him. | 0:25:34 | 0:25:37 | |
I've just done a film with Sean Penn, called The Gunman. | 0:25:38 | 0:25:42 | |
I'm the piper at the end of it. | 0:25:42 | 0:25:45 | |
Someone else attracted to the large audiences Oxford Street provides | 0:25:45 | 0:25:49 | |
is Danny Shine... | 0:25:49 | 0:25:51 | |
Hello, people. | 0:25:51 | 0:25:53 | |
..better known to shoppers and the local authorities | 0:25:53 | 0:25:55 | |
as the "megaphone man". | 0:25:55 | 0:25:57 | |
People, what's wrong? | 0:25:57 | 0:26:00 | |
Who did this to you? | 0:26:00 | 0:26:03 | |
The difference is, he's trying to encourage people | 0:26:03 | 0:26:05 | |
not to part with their money. | 0:26:05 | 0:26:07 | |
I'm here to help you not spend anything here today, | 0:26:07 | 0:26:10 | |
and don't worry, if you've already made the mistake of buying something, | 0:26:10 | 0:26:14 | |
I can help you get the money back. | 0:26:14 | 0:26:16 | |
Part performance artist and part anti-consumerist protester, | 0:26:16 | 0:26:20 | |
Danny's brand of in-your-face performance amuses many people. | 0:26:20 | 0:26:24 | |
-Good for you. -For plenty of others, | 0:26:24 | 0:26:26 | |
his brand of protest street theatre is just a nuisance. | 0:26:26 | 0:26:30 | |
And, go! Fantastic, | 0:26:30 | 0:26:31 | |
well done to all those people who waited till the man was green. | 0:26:31 | 0:26:35 | |
-Why don't you shut up? -Oh, we've got a bloke, | 0:26:35 | 0:26:37 | |
"Why don't you shut up?" And he actually hit me. | 0:26:37 | 0:26:40 | |
That's a bit of an extreme response to a bloke on a megaphone. | 0:26:40 | 0:26:44 | |
Danny's uncompromising promoting approach has made him | 0:26:44 | 0:26:46 | |
the bete noire of the authorities. | 0:26:46 | 0:26:49 | |
Uh-oh, could be my ride home. | 0:26:49 | 0:26:51 | |
Danny has previously been prosecuted by Westminster Council | 0:26:51 | 0:26:55 | |
for breaking a bylaw at Oxford Circus, for the prevention | 0:26:55 | 0:26:58 | |
and suppression of nuisances. The case was later dropped. | 0:26:58 | 0:27:01 | |
Do you like the purple? Nice, isn't it? | 0:27:01 | 0:27:03 | |
I'm the only person in this street | 0:27:03 | 0:27:05 | |
that's trying to stop you buying things. | 0:27:05 | 0:27:08 | |
The problem for many people is they don't have a choice | 0:27:08 | 0:27:11 | |
whether to listen to Danny or not and, today, | 0:27:11 | 0:27:13 | |
he's started to rub people up the wrong way again. | 0:27:13 | 0:27:16 | |
Coming today and there's a bloke with a megaphone outside. | 0:27:16 | 0:27:19 | |
-Please, be quiet. -Ah... -A lot of people don't want to hear you. | 0:27:19 | 0:27:23 | |
-You don't want to hear? -It's far too loud. -Did you want me | 0:27:23 | 0:27:25 | |
-to turn it down a little bit? -I just don't want you to talk, at all. | 0:27:25 | 0:27:28 | |
Madam, please come back. | 0:27:28 | 0:27:29 | |
I think we can work it out together. I apologise. | 0:27:29 | 0:27:32 | |
BAGPIPES PLAY | 0:27:32 | 0:27:34 | |
But while Danny seeks to raise awareness, | 0:27:34 | 0:27:36 | |
the other buskers are there to raise money, | 0:27:36 | 0:27:39 | |
and even with half one million spectators a week, | 0:27:39 | 0:27:41 | |
it's not always easy. | 0:27:41 | 0:27:42 | |
1p - it's like a dream come true(!) | 0:27:45 | 0:27:47 | |
Thankfully, for all the performers, | 0:27:50 | 0:27:52 | |
there are plenty of people that do appreciate their efforts. | 0:27:52 | 0:27:55 | |
But some things no amount of money can buy. | 0:28:03 | 0:28:05 | |
Look behind you, it's the Jacksons. | 0:28:09 | 0:28:12 | |
Mr Jackson... | 0:28:12 | 0:28:13 | |
It really is the Jacksons, who are themselves performing in London. | 0:28:13 | 0:28:17 | |
This is what I mean about Oxford Street. | 0:28:17 | 0:28:20 | |
This sort of thing wouldn't happen anywhere else. | 0:28:20 | 0:28:22 |