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Good evening. Towers. | 0:00:15 | 0:00:16 | |
Do you spend all your days dreaming of spires? | 0:00:16 | 0:00:19 | |
Do you like tall stories? | 0:00:19 | 0:00:21 | |
Do you believe that when it comes to high-rise blocks, | 0:00:21 | 0:00:24 | |
the clouds should be merely the mezzanine? | 0:00:24 | 0:00:26 | |
Then welcome to the club, Rapunzel. | 0:00:26 | 0:00:28 | |
Because like you, I understand that when it comes to architecture, | 0:00:28 | 0:00:32 | |
the only good bungalow is a 50-storey bungalow. | 0:00:32 | 0:00:35 | |
Height is right. Size the prize. | 0:00:35 | 0:00:38 | |
All hail the tower of power! | 0:00:38 | 0:00:40 | |
For cometh the penthouse, cometh the hour. | 0:00:40 | 0:00:42 | |
We've eerily combed the BBC's highest archive | 0:00:42 | 0:00:46 | |
for the loftiest footage about this country's most soaring structures. | 0:00:46 | 0:00:50 | |
Bean-pole buildings, so high and mighty | 0:00:50 | 0:00:53 | |
they can look down their nose at the man in the moon. | 0:00:53 | 0:00:55 | |
Move over, Everest! Mankind is coming through. | 0:00:55 | 0:00:58 | |
So come on, get in on the ground floor | 0:00:58 | 0:01:01 | |
because this TV show is going up right now. | 0:01:01 | 0:01:04 | |
Yeah. Mark, sorry, I'll get the show going in a minute. | 0:01:04 | 0:01:07 | |
But that's great, the opening sequence, that big build up. | 0:01:07 | 0:01:11 | |
-But there's one shot, there's all vest and pants in the front. -Really? | 0:01:11 | 0:01:14 | |
Mainly pants. Look. | 0:01:14 | 0:01:16 | |
-There it is. -You're right. We'll lose that in the edit. | 0:01:18 | 0:01:22 | |
All right. Make sure you do. | 0:01:22 | 0:01:23 | |
The passion for building to the heavens | 0:01:25 | 0:01:27 | |
has been deep within the British people for a thousand years. | 0:01:27 | 0:01:30 | |
It would have been longer, but for centuries, man held the plans upside-down | 0:01:30 | 0:01:33 | |
and dug holes instead. | 0:01:33 | 0:01:35 | |
Thus arrived the happy accident of chalk and flint. | 0:01:35 | 0:01:38 | |
Once they got it right, though, | 0:01:38 | 0:01:40 | |
they decided to ring it from the rooftops. | 0:01:40 | 0:01:42 | |
BELLS PEAL | 0:01:42 | 0:01:44 | |
REPORTER: We hear church bells everywhere, | 0:01:56 | 0:01:58 | |
whether we like them or not. | 0:01:58 | 0:02:00 | |
But who rings them? | 0:02:01 | 0:02:03 | |
Treble's going. She's gone. | 0:02:03 | 0:02:04 | |
Ralph Wenman's job as conductor is two-fold. | 0:02:12 | 0:02:15 | |
To teach beginners, and to help a ringer learn his part in the intricacies | 0:02:15 | 0:02:19 | |
of the different methods of change-ringing. | 0:02:19 | 0:02:21 | |
To learn the order in which his bell should strike among the others, | 0:02:21 | 0:02:24 | |
following its own path | 0:02:24 | 0:02:27 | |
whether the method being rung is Grandsire Doubles, | 0:02:27 | 0:02:29 | |
Stedman Triples | 0:02:29 | 0:02:31 | |
Double Norwich Court Bob Major | 0:02:31 | 0:02:32 | |
or any of the other traditionally named methods. | 0:02:32 | 0:02:35 | |
The story of how this bohemian duo joined the clangers is typical. | 0:02:35 | 0:02:39 | |
Clive and Jean Simpson are another husband and wife who ring together. | 0:02:39 | 0:02:42 | |
I learnt when we got married | 0:02:45 | 0:02:47 | |
because I came to live in Yorkshire. | 0:02:47 | 0:02:50 | |
I found that my husband went out ringing so much, | 0:02:50 | 0:02:53 | |
I came to the conclusion that if you can't beat the ringers, you must join them. | 0:02:53 | 0:02:57 | |
It's ringing with good ringers. | 0:02:57 | 0:03:00 | |
It's the rhythm you get when the bells are going really well. | 0:03:00 | 0:03:04 | |
It's the music you get in all the different methods and compositions. | 0:03:04 | 0:03:08 | |
And of course it's the social life as well. | 0:03:08 | 0:03:11 | |
You can go to any part of the country, go up a tower which is ringing | 0:03:11 | 0:03:14 | |
and meet the ringers and you're welcome straight away. It's a great brotherhood. | 0:03:14 | 0:03:18 | |
But will the brotherhood make room for the sisters? | 0:03:18 | 0:03:21 | |
Pull your hands right down and put your hands behind you. | 0:03:21 | 0:03:25 | |
I'll tell you to put your hands behind you and leave them there. | 0:03:25 | 0:03:28 | |
Down she comes. Don't look up! | 0:03:28 | 0:03:31 | |
She's away. | 0:03:31 | 0:03:32 | |
Stand still. | 0:03:32 | 0:03:34 | |
Good. Try again. | 0:03:35 | 0:03:38 | |
Pull your hands straight down. | 0:03:38 | 0:03:41 | |
-Straight down. -Now? -Yes. | 0:03:41 | 0:03:42 | |
Straight down in front of you. Hands away! | 0:03:42 | 0:03:45 | |
The poor woman! She only wanted to help out on the cake stall! | 0:03:45 | 0:03:48 | |
Watch her terrified reaction again | 0:03:48 | 0:03:51 | |
and this time note her pleading helpless look to the camera crew. | 0:03:51 | 0:03:55 | |
"For the love of God, get me out of here!" | 0:03:55 | 0:03:57 | |
This is a Martello tower, one of 11 along the Essex coast | 0:03:58 | 0:04:03 | |
which were put up in a panic during the Napoleonic Wars. | 0:04:03 | 0:04:05 | |
Put up in a panic? Really? | 0:04:05 | 0:04:07 | |
"Darling, what's that thing you built on the beach?" | 0:04:07 | 0:04:10 | |
"I don't know. I put it up in a panic!" | 0:04:10 | 0:04:12 | |
And today, this particular tower, which is on Beacon Hill, a few miles from Clacton, | 0:04:12 | 0:04:17 | |
is once more an observation post. | 0:04:17 | 0:04:19 | |
Only this time, its attention is not directed across the narrow seas | 0:04:19 | 0:04:23 | |
but towards much wider horizons. | 0:04:23 | 0:04:25 | |
Towards outer space. | 0:04:25 | 0:04:26 | |
Yes, kids, in 1961, this place, along with a dustbin and a giant catapult, | 0:04:26 | 0:04:31 | |
was Britain's space programme. | 0:04:31 | 0:04:33 | |
Others led the way while we listened in. | 0:04:33 | 0:04:36 | |
I suppose my most exciting moment was the first Sputnik. | 0:04:36 | 0:04:39 | |
Every time I play the recording, | 0:04:39 | 0:04:41 | |
I get the same feeling of excitement and achievement. | 0:04:41 | 0:04:45 | |
Wasn't everybody tracking this Sputnik? | 0:04:45 | 0:04:47 | |
Quite a lot of people, but I did it in a particular manner which others didn't do. | 0:04:47 | 0:04:51 | |
Mostly, people are used to the bleep bleep. | 0:04:51 | 0:04:53 | |
But I didn't do that at all. The way I did it was the actual signal | 0:04:53 | 0:04:57 | |
from the Sputnik itself without any frills put on on the ground. | 0:04:57 | 0:05:01 | |
And it sounds like this, if you'd like to hear it. | 0:05:01 | 0:05:04 | |
CRACKLING WITH BLEEPING | 0:05:05 | 0:05:08 | |
I take it you're receiving radio signals from Jupiter. | 0:05:29 | 0:05:32 | |
We're receiving radiations from Jupiter. | 0:05:32 | 0:05:35 | |
Is it possible to hear Jupiter now? | 0:05:35 | 0:05:37 | |
Not at the moment because Jupiter hasn't risen above the horizon yet. | 0:05:37 | 0:05:40 | |
So it's not with the beam of the aerial. | 0:05:40 | 0:05:43 | |
And I have, in fact, got a recording | 0:05:43 | 0:05:45 | |
of this sort of noise | 0:05:45 | 0:05:47 | |
which surges like the sea on the sea shore. | 0:05:47 | 0:05:50 | |
Can we hear Jupiter surging? | 0:05:50 | 0:05:52 | |
CRACKLING | 0:05:54 | 0:05:57 | |
And so on. By the way, all that ambient noise must have impressed the presenter. | 0:06:00 | 0:06:05 | |
Know who he went on to be? Brian Eno! | 0:06:05 | 0:06:08 | |
# There's a new sensation # | 0:06:08 | 0:06:10 | |
How's it for you so far? Getting giddy? | 0:06:11 | 0:06:13 | |
Want more? What do you want to do? Lower? Higher? Higher or lower? | 0:06:13 | 0:06:16 | |
Higher or lower? What are you saying? | 0:06:16 | 0:06:18 | |
Higher! Higher! | 0:06:18 | 0:06:20 | |
REPORTER: The Post Office tower of London | 0:06:22 | 0:06:24 | |
is 620 feet high. | 0:06:24 | 0:06:27 | |
There are 36 floors open to the public. | 0:06:27 | 0:06:30 | |
I'm going up myself to inspect it. | 0:06:30 | 0:06:34 | |
When I get to the top, I'll be able to tell you exactly how many steps there are. | 0:06:34 | 0:06:39 | |
So far, so good. | 0:06:39 | 0:06:41 | |
Mind you, I've lost count of the steps! | 0:06:41 | 0:06:43 | |
Oh! | 0:06:50 | 0:06:51 | |
Excuse me... | 0:06:51 | 0:06:53 | |
PANTING | 0:06:53 | 0:06:55 | |
..while I catch my breath. | 0:06:55 | 0:06:57 | |
I think the...young lads | 0:06:57 | 0:06:59 | |
of London and Edinburgh | 0:06:59 | 0:07:02 | |
will do it much quicker. | 0:07:02 | 0:07:03 | |
Go! | 0:07:11 | 0:07:13 | |
Right! | 0:07:21 | 0:07:22 | |
-32. -Well done. | 0:07:22 | 0:07:24 | |
-What was your time? -Five ten, I gather. | 0:07:25 | 0:07:28 | |
-I'd do anything for you. -Good lad. | 0:07:33 | 0:07:35 | |
-OK? -Yeah, fine. | 0:07:38 | 0:07:41 | |
And now, Phil Tufnell reports. | 0:07:41 | 0:07:43 | |
Tuffers on towers. Tuffers on the cause of towers. | 0:07:43 | 0:07:46 | |
-What actually is it? -It's a testing tower for lifts. | 0:07:46 | 0:07:50 | |
It was built by a lift company | 0:07:50 | 0:07:52 | |
because they needed to develop high speed lifts | 0:07:52 | 0:07:56 | |
and there were no shafts in the country that were long enough to start, run and stop. | 0:07:56 | 0:08:01 | |
And we had one very special guest. The Queen of England. | 0:08:01 | 0:08:05 | |
Ooh, the Queen? What a privilege. | 0:08:05 | 0:08:07 | |
It was wonderful. Absolutely fantastic. | 0:08:07 | 0:08:11 | |
Any small talk? | 0:08:11 | 0:08:12 | |
She joked about was the lift automatic | 0:08:12 | 0:08:16 | |
and if so, why did I need to be there and press the button? | 0:08:16 | 0:08:19 | |
No, seriously. Why did you need to be there? | 0:08:21 | 0:08:23 | |
Of course, expert is a slippery term. | 0:08:24 | 0:08:26 | |
For a while, cricketer Phil Tufnell | 0:08:26 | 0:08:28 | |
was the BBC's go to man about towers. | 0:08:28 | 0:08:31 | |
Even if he did appear to be just a page ahead of the rest of us. | 0:08:31 | 0:08:34 | |
Emley Moor mast is now a listed building. | 0:08:35 | 0:08:37 | |
The people who did that said it showed "perfect technical performance | 0:08:37 | 0:08:41 | |
"combined with architectural elegance | 0:08:41 | 0:08:44 | |
"in its supreme slenderness." | 0:08:44 | 0:08:46 | |
How about that? | 0:08:46 | 0:08:47 | |
But at the end of the day, it's just a big concrete pole, mate. | 0:08:48 | 0:08:51 | |
It's much more than a concrete pole. | 0:08:51 | 0:08:54 | |
It's an amazing thing. It's a fantastic engineering feat. A lovely piece of architecture. | 0:08:54 | 0:08:59 | |
Technologically, it really tells us a lot about the past | 0:08:59 | 0:09:02 | |
and what we thought in the late '60s. | 0:09:02 | 0:09:04 | |
The predecessor fell over. | 0:09:04 | 0:09:05 | |
They had to make sure that the next one didn't | 0:09:05 | 0:09:08 | |
or there would have been a lot of embarrassment. | 0:09:08 | 0:09:10 | |
How interested does Phil Tufnell look right now? | 0:09:10 | 0:09:13 | |
..on this exposed spot. | 0:09:13 | 0:09:15 | |
They decided to make it out of concrete. | 0:09:15 | 0:09:17 | |
But particularly to give it the strength | 0:09:17 | 0:09:19 | |
it's made in a concrete process | 0:09:19 | 0:09:22 | |
so they just kept pouring concrete all the time. | 0:09:22 | 0:09:25 | |
They didn't go home on a Friday night and knock off, then come back on Monday. | 0:09:25 | 0:09:28 | |
They kept continuously pouring. | 0:09:28 | 0:09:30 | |
To Blackpool. | 0:09:39 | 0:09:40 | |
REPORTER: In the Tower Bar, the finest methods of interior decoration have been applied. | 0:09:42 | 0:09:46 | |
Following a disastrous fire in 1956, | 0:09:49 | 0:09:52 | |
the Tower Ballroom was restored at a cost of half a million pounds. | 0:09:52 | 0:09:55 | |
The Tower Circus is internationally famous. | 0:10:01 | 0:10:04 | |
This box of chimpanzees | 0:10:04 | 0:10:05 | |
is the "bring the house down" part of the show. | 0:10:05 | 0:10:08 | |
This is just dreadful! | 0:10:08 | 0:10:10 | |
But, you know, the one in the blue hat! | 0:10:10 | 0:10:12 | |
Ladies and gentlemen, Charlie Berserk's Amphetamine Big Top! | 0:10:23 | 0:10:27 | |
That's the tower. | 0:10:29 | 0:10:31 | |
Inside it now are 5,000 people, | 0:10:31 | 0:10:34 | |
2,000 fish, | 0:10:34 | 0:10:35 | |
three lions, four tigers, | 0:10:35 | 0:10:37 | |
and a vivarium containing crocodiles, turtles, | 0:10:37 | 0:10:40 | |
water lizards and a skink. | 0:10:40 | 0:10:42 | |
A skink?! | 0:10:42 | 0:10:43 | |
Did you know that the famous tower is nearly 600 feet high, | 0:10:43 | 0:10:46 | |
and is visited by almost half a million people every year. | 0:10:46 | 0:10:49 | |
Among that half million are the painters perched like flies above the promenade. | 0:10:49 | 0:10:53 | |
They keep at it every day of the year, | 0:10:53 | 0:10:54 | |
but when they reach the bottom after finishing the job, | 0:10:54 | 0:10:57 | |
it's time to start at the top again. | 0:10:57 | 0:10:58 | |
But the job has its moments. | 0:10:58 | 0:11:00 | |
"I say, George, there's a couple down there worth looking into. | 0:11:00 | 0:11:03 | |
"So bring out the old telewag and let's have an eyeful!" | 0:11:03 | 0:11:05 | |
OK. Look, if we can just park the telewag for a second, | 0:11:06 | 0:11:10 | |
I need to confess something. | 0:11:10 | 0:11:11 | |
Here I am, fronting a programme about towers | 0:11:11 | 0:11:14 | |
and I cannot bear heights. | 0:11:14 | 0:11:16 | |
I have genuine vertigo. | 0:11:16 | 0:11:18 | |
I don't like wasps, lightning and high places. | 0:11:18 | 0:11:20 | |
You know why? Because they can all kill you! | 0:11:20 | 0:11:23 | |
So giving me this next package to introduce | 0:11:23 | 0:11:26 | |
is like giving Morrissey a steak sandwich. | 0:11:26 | 0:11:29 | |
Oh, no. | 0:11:32 | 0:11:34 | |
Oh, sweet mother of mercy! | 0:11:35 | 0:11:37 | |
Oh! | 0:11:40 | 0:11:41 | |
Oh, for the love of God! | 0:11:43 | 0:11:45 | |
Oh, let it end! | 0:11:49 | 0:11:51 | |
For me, no sane person should ever want to climb any higher | 0:11:52 | 0:11:56 | |
than, I don't know, Paloma Faith's hair at the BAFTAs. | 0:11:56 | 0:11:59 | |
Therefore, my psychological Kryptonite in this matter | 0:11:59 | 0:12:02 | |
is Mr Fred Dibnah. | 0:12:02 | 0:12:04 | |
FRED: It's not so pleasant on a Monday morning | 0:12:04 | 0:12:07 | |
when it's cold and the wind's blowing and you look up and think, | 0:12:07 | 0:12:11 | |
"Oh, good God" and so on. | 0:12:11 | 0:12:14 | |
Some days it might be bloody awful on the floor. | 0:12:17 | 0:12:20 | |
And then you set off up the ladder | 0:12:20 | 0:12:22 | |
and go through the fog | 0:12:23 | 0:12:24 | |
and it's like being in an aeroplane. | 0:12:24 | 0:12:26 | |
You can see all the chimney stacks | 0:12:26 | 0:12:28 | |
and towers and church steeples | 0:12:28 | 0:12:31 | |
and hills outside of town | 0:12:31 | 0:12:33 | |
sticking up through all this cloud | 0:12:33 | 0:12:35 | |
and the sun's shining up above. | 0:12:35 | 0:12:37 | |
Beautiful! | 0:12:37 | 0:12:38 | |
There's something strange. | 0:12:40 | 0:12:42 | |
Once you've started, you get like addicted to it. | 0:12:42 | 0:12:45 | |
You just live it. | 0:12:45 | 0:12:47 | |
Day or night, think about it, talk about it. | 0:12:47 | 0:12:51 | |
I've never fell off a big chimney. | 0:12:51 | 0:12:53 | |
You only fall off one of them once! | 0:12:53 | 0:12:55 | |
One day, I fell off a pair of steps in my little girl's bedroom | 0:12:56 | 0:13:00 | |
and landed on her drumming machine | 0:13:00 | 0:13:02 | |
and knocked myself unconscious. | 0:13:02 | 0:13:03 | |
I don't remember much about it | 0:13:03 | 0:13:06 | |
but the morning after, I couldn't get out of bed. | 0:13:06 | 0:13:08 | |
Now, that just doesn't look safe, does it? | 0:13:32 | 0:13:34 | |
It doesn't even look official! | 0:13:34 | 0:13:36 | |
It's like they're building a monument to Boris Johnson's hair! | 0:13:45 | 0:13:48 | |
'You've got to have a stout heart to take it on on your own. | 0:13:48 | 0:13:53 | |
'On the top, like on your own, | 0:13:56 | 0:13:58 | |
'you get a bit lonely, like.' | 0:13:58 | 0:14:00 | |
Is it wise to lob that cigarette down there, Fred? | 0:14:00 | 0:14:03 | |
Probably not! | 0:14:05 | 0:14:07 | |
To make sure everyone knows the tower's about to fall, | 0:14:07 | 0:14:09 | |
Fred sounds the alarm that can be heard across five counties. | 0:14:09 | 0:14:13 | |
Parp-parp! | 0:14:13 | 0:14:15 | |
I don't think he even heard it himself! | 0:14:15 | 0:14:18 | |
Run that bit backwards | 0:14:26 | 0:14:28 | |
and it's the Olympic opening ceremony! | 0:14:28 | 0:14:30 | |
Done it! | 0:14:30 | 0:14:31 | |
Listen, you can hear the cheers of children, safely watching from about ten feet away! | 0:14:32 | 0:14:37 | |
Did you like that? | 0:14:37 | 0:14:39 | |
Of course we did. | 0:14:39 | 0:14:41 | |
And because nothing could possibly go wrong with such shenanigans, | 0:14:41 | 0:14:44 | |
we demand you do it again! | 0:14:44 | 0:14:46 | |
Anything else we can knock down while we're here? | 0:14:58 | 0:15:01 | |
Sadly, it turned out Fred was now just show-boating | 0:15:05 | 0:15:08 | |
and this building was still occupied. | 0:15:08 | 0:15:10 | |
Still, any concern at seeing the library demolished | 0:15:10 | 0:15:13 | |
was soon forgotten as Fred gave the kids a toot on his klaxon again. | 0:15:13 | 0:15:16 | |
Parp-parp! | 0:15:16 | 0:15:18 | |
I know. Times really have changed at the BBC! | 0:15:21 | 0:15:24 | |
And in the culture. | 0:15:24 | 0:15:26 | |
How much? Watch this. | 0:15:26 | 0:15:27 | |
SIRENS, ALARMS, KLAXONS SOUND | 0:15:27 | 0:15:29 | |
'A rope had been thrown down into the boiling sea. | 0:15:34 | 0:15:37 | |
'The only way to get onto the Bishop Rock lighthouse | 0:15:37 | 0:15:40 | |
'is to be hauled up by a winch.' | 0:15:40 | 0:15:42 | |
OK. All right. | 0:15:42 | 0:15:44 | |
Still, at least Lesley's surrounded by experts | 0:15:44 | 0:15:47 | |
and they're not panicking. | 0:15:47 | 0:15:49 | |
This is one moment I'm glad the experts are in charge! | 0:15:52 | 0:15:56 | |
-Hang on, Lesley! -OK! | 0:15:56 | 0:15:59 | |
I've got Mike at one end, Larry at the other. | 0:15:59 | 0:16:01 | |
I'm not looking down, I can tell you that! | 0:16:01 | 0:16:04 | |
'It wasn't until several seconds later that I realised what everyone else already knew. | 0:16:07 | 0:16:12 | |
'The harness that should have held me had slipped round my feet | 0:16:12 | 0:16:15 | |
'and only the strength of my arms had held me on.' | 0:16:15 | 0:16:17 | |
Christ, she did exactly what we expected... | 0:16:18 | 0:16:20 | |
It's nice to see you, Larry. | 0:16:20 | 0:16:23 | |
I'm all right. | 0:16:23 | 0:16:26 | |
..the headline. | 0:16:26 | 0:16:27 | |
-I don't want to... -Literally above your head. | 0:16:27 | 0:16:30 | |
It's very nice to see you, Larry, believe you me! | 0:16:31 | 0:16:34 | |
Of course, who we're looking at here is the intrepid Lesley Judd | 0:16:34 | 0:16:38 | |
who, for my money, and possibly because she's a woman, | 0:16:38 | 0:16:41 | |
isn't given half the credit she deserves | 0:16:41 | 0:16:43 | |
for actively seeking out dangerous situations. She seemed to have a nose for it, | 0:16:43 | 0:16:47 | |
like a cross between Evel Knievel, a human cannonball and Skippy, the bush kangaroo! | 0:16:47 | 0:16:52 | |
He was doing his housework when I arrived. | 0:16:52 | 0:16:54 | |
Can't see any sign of Mike and the boat, yet. | 0:16:54 | 0:16:57 | |
No, you're looking towards America at the moment, that's why! | 0:16:57 | 0:16:59 | |
Lower! | 0:17:01 | 0:17:02 | |
'I knew I had to get off the lighthouse the same way I'd come on. | 0:17:02 | 0:17:05 | |
'But I wasn't looking forward to the return journey | 0:17:08 | 0:17:11 | |
'because I was worried that if the harness slipped off again, | 0:17:11 | 0:17:14 | |
'this time I wouldn't be able to hold on.' | 0:17:14 | 0:17:16 | |
I want it right up. | 0:17:16 | 0:17:18 | |
-Can you feel your body in the harness? -Yep. | 0:17:18 | 0:17:20 | |
-Right? -Yep. | 0:17:21 | 0:17:23 | |
The rope's feeling pretty wet | 0:17:34 | 0:17:37 | |
and it's all dripping on my face. | 0:17:37 | 0:17:39 | |
'All I had to do was to try and keep calm. | 0:17:40 | 0:17:43 | |
'But ten metres below, the crew were struggling to keep my rope taut | 0:17:43 | 0:17:47 | |
'to stop me crashing back into the lighthouse. | 0:17:47 | 0:17:49 | |
'Mike needed all his skill and nerve | 0:17:49 | 0:17:52 | |
'to keep the heaving boat in position | 0:17:52 | 0:17:54 | |
'only just off the rocks.' | 0:17:54 | 0:17:55 | |
And to think these days we make all that fuss | 0:17:57 | 0:17:59 | |
about Richard Hammond! | 0:17:59 | 0:18:01 | |
I've no idea whether I'm near the boat yet. | 0:18:01 | 0:18:03 | |
I'm not going to look and see, either! | 0:18:03 | 0:18:06 | |
I can feel myself lowering down now. | 0:18:06 | 0:18:08 | |
I seem to be getting lower. | 0:18:08 | 0:18:10 | |
I don't know where I am. | 0:18:10 | 0:18:12 | |
But I'm looking forward to some human hands grabbing my feet, I can tell you! | 0:18:12 | 0:18:18 | |
Seems to take longer going down than going up. | 0:18:22 | 0:18:24 | |
Much longer. | 0:18:27 | 0:18:29 | |
'Mike just couldn't get the boat any closer in. | 0:18:29 | 0:18:31 | |
'Although the crew struggled to haul me across the last few feet, | 0:18:31 | 0:18:34 | |
'the rope didn't seem to be long enough. | 0:18:34 | 0:18:36 | |
'If I fell in here, I'd be smashed on the rocks beneath the surf. | 0:18:36 | 0:18:40 | |
'Suddenly, I felt myself drop. | 0:18:40 | 0:18:42 | |
'I was more frightened than I've ever been in my life. | 0:18:42 | 0:18:46 | |
'I was glad I'd visited the Bishop Rock. | 0:18:56 | 0:18:59 | |
'It was an experience I'll never forget. | 0:18:59 | 0:19:02 | |
'But I was deliriously happy to be waving them goodbye | 0:19:02 | 0:19:05 | |
'from the safety of the boat.' | 0:19:05 | 0:19:06 | |
Oddly enough, some women still find lighthouses attractive. | 0:19:06 | 0:19:11 | |
You know that song, "I Want To Marry a Lighthouse Keeper"? | 0:19:11 | 0:19:13 | |
Careful what you wish for! | 0:19:13 | 0:19:15 | |
REPORTER: Larry and Brian are two of the keepers | 0:19:15 | 0:19:17 | |
of the Longships Lighthouse. | 0:19:17 | 0:19:19 | |
These are resourceful men. | 0:19:19 | 0:19:21 | |
It will take more than a mile and a half of water | 0:19:21 | 0:19:23 | |
to silence the love that Larry and Brian have for their wives. | 0:19:23 | 0:19:26 | |
At two o'clock precisely, they're going to bridge that gap. | 0:19:27 | 0:19:30 | |
Yes, kids, even before mobiles, | 0:19:41 | 0:19:43 | |
the only place you could get a good signal was hanging out the window. | 0:19:43 | 0:19:46 | |
"Buy... | 0:19:50 | 0:19:51 | |
"..me... | 0:19:52 | 0:19:53 | |
"..an... | 0:19:54 | 0:19:55 | |
"..iPhone." | 0:19:56 | 0:19:57 | |
Few people know semaphore nowadays | 0:19:59 | 0:20:00 | |
but Sally has polished up what she once learnt in the Girl Guides | 0:20:00 | 0:20:04 | |
so now she and Brian can flag their own form of two-way Family Favourites. | 0:20:04 | 0:20:08 | |
Flag? | 0:20:08 | 0:20:09 | |
"Can't get to flag right now. | 0:20:09 | 0:20:12 | |
"Please leave message after the flare." | 0:20:12 | 0:20:15 | |
"Stop texting while you talk to me! | 0:20:18 | 0:20:20 | |
"Damn!" | 0:20:20 | 0:20:22 | |
It's Mimi's turn. | 0:20:22 | 0:20:24 | |
She doesn't know semaphore, so she and Larry have learned another system. | 0:20:24 | 0:20:27 | |
Mimi has no signal lamp, so she can't send words across the water, | 0:20:30 | 0:20:34 | |
only receive them. | 0:20:34 | 0:20:36 | |
"Is...everything | 0:20:38 | 0:20:42 | |
"..all right?" | 0:20:43 | 0:20:46 | |
"Do you like... | 0:20:55 | 0:20:56 | |
"..my hat?" | 0:20:56 | 0:20:58 | |
"See... | 0:21:07 | 0:21:08 | |
"..you..." | 0:21:08 | 0:21:10 | |
Yes, I think we'll leave it there. | 0:21:10 | 0:21:12 | |
We seem to have drifted from our promised narrative, | 0:21:12 | 0:21:14 | |
the history of British towers. | 0:21:14 | 0:21:16 | |
And as far as historic towers go, | 0:21:16 | 0:21:18 | |
there's one structure that ticks all the boxes | 0:21:18 | 0:21:21 | |
like Eric Pickles ordering a room service breakfast. | 0:21:21 | 0:21:24 | |
The Tower of London. | 0:21:24 | 0:21:25 | |
And when you want to know about that baby, you go to its number one source. | 0:21:25 | 0:21:29 | |
The woman who works in the ladies' bogs! | 0:21:29 | 0:21:32 | |
REPORTER: In her own little room in the tower sits Sandy O'Cunliffe, | 0:21:32 | 0:21:36 | |
doing the same job her mother did for 20 years before her. | 0:21:36 | 0:21:39 | |
Knitting beards for Beefeaters! | 0:21:39 | 0:21:41 | |
The English are nice people. | 0:21:43 | 0:21:45 | |
They're nice as people, but as tourists, they're useless! | 0:21:45 | 0:21:48 | |
They want all the attention, and they're arrogant. | 0:21:48 | 0:21:50 | |
They push up the front. They just want to be noticed in general. | 0:21:50 | 0:21:55 | |
-The English? -Yep. | 0:21:55 | 0:21:57 | |
-Us? -Yes, us! | 0:21:57 | 0:21:59 | |
Us. | 0:21:59 | 0:22:01 | |
Then you've got the French. They run in, do what they've got to do and run out. | 0:22:03 | 0:22:07 | |
Then you've got to go and clean up behind them! | 0:22:07 | 0:22:09 | |
Then the Japanese. They're very quiet. They come in and bow. | 0:22:12 | 0:22:16 | |
Do whatever they want to do. | 0:22:17 | 0:22:19 | |
The last political prisoner to be held in the Tower of London | 0:22:21 | 0:22:24 | |
was in May of 1941. | 0:22:24 | 0:22:26 | |
Herr Rudolf Hess, the Deputy Fuhrer of Nazi Germany. | 0:22:26 | 0:22:30 | |
100%. | 0:22:30 | 0:22:32 | |
But you upset one of the Yeomen Warders | 0:22:32 | 0:22:34 | |
then we stand back to back and fire outwards. | 0:22:34 | 0:22:37 | |
In other words, I've got 38 mates if I'm in trouble | 0:22:37 | 0:22:40 | |
at the Tower of London, and I mean mates. | 0:22:40 | 0:22:42 | |
We laugh together and we cry together. It's as simple as that. | 0:22:42 | 0:22:47 | |
-That's your bus pass, is it? -You've got to be 65. | 0:22:48 | 0:22:51 | |
To be one of the Yeoman Warders of the Tower of London... | 0:22:51 | 0:22:54 | |
Excuse me, I don't think you're part of this group. | 0:22:54 | 0:22:58 | |
Where's the keys? | 0:22:58 | 0:23:00 | |
Have they gone? The keys to the Bloody Tower? | 0:23:00 | 0:23:02 | |
When I was at school, saying "The Bloody Tower" gratuitously | 0:23:04 | 0:23:07 | |
was a big thrill. Risky word, bloody, back then. | 0:23:07 | 0:23:10 | |
And the teachers couldn't touch you for it | 0:23:10 | 0:23:12 | |
because it was its name, like Ed Balls! | 0:23:12 | 0:23:15 | |
NEWSREEL: The BBC's 700-foot television tower | 0:23:18 | 0:23:20 | |
at Crystal Palace has been given an unusual stability test. | 0:23:20 | 0:23:24 | |
Rockets, each exerting a thrust of half a tonne, | 0:23:25 | 0:23:29 | |
are being used to simulate strong wind pressure. | 0:23:29 | 0:23:31 | |
They're fitted 625 feet up, | 0:23:33 | 0:23:35 | |
three times as high as Nelson's Column. | 0:23:35 | 0:23:37 | |
Light blue paper and retire! | 0:23:41 | 0:23:43 | |
These pictures from 1955, | 0:23:46 | 0:23:48 | |
show the BBC declaring war on ITV. | 0:23:48 | 0:23:51 | |
ITV hit back by attacking the BBC's weather centre at Tring, | 0:23:53 | 0:23:56 | |
as part of Cilla Black's Surprise, Surprise! | 0:23:56 | 0:23:59 | |
Like the show, it was only partly successful. | 0:23:59 | 0:24:02 | |
The controlled explosion left 12 of the 21 storeys still standing. | 0:24:02 | 0:24:06 | |
The tower with a ten-degree tilt. | 0:24:06 | 0:24:08 | |
And the demolition contractor himself, | 0:24:08 | 0:24:10 | |
embarrassed perhaps? | 0:24:10 | 0:24:12 | |
Not at all. | 0:24:12 | 0:24:13 | |
One has to take into account the local environment here. | 0:24:13 | 0:24:16 | |
There's a canal just behind us. | 0:24:16 | 0:24:18 | |
It's 29 feet from the building. | 0:24:18 | 0:24:20 | |
There was a main road with a bridge over the canal. | 0:24:20 | 0:24:23 | |
Elevated flyover over a motorway. | 0:24:23 | 0:24:25 | |
Services going through the building such as electric cables, | 0:24:25 | 0:24:29 | |
a main sewer, a brick-built sewer, at that. | 0:24:29 | 0:24:32 | |
There were residential units very close by. | 0:24:32 | 0:24:35 | |
No damage whatsoever was caused to any of those structures, services or units. | 0:24:36 | 0:24:39 | |
I'm very proud of that. | 0:24:39 | 0:24:41 | |
A ceasefire was eventually declared | 0:24:46 | 0:24:47 | |
after the BBC targeted a secret factory making nerve gas | 0:24:47 | 0:24:51 | |
based on the failed X Factor fragrance | 0:24:51 | 0:24:53 | |
Simon Cowell's Hubris. | 0:24:53 | 0:24:55 | |
In turn, ITV retaliated by bringing down Bruce Forsyth's joke warehouse. | 0:24:58 | 0:25:03 | |
But this was later revealed to be empty. | 0:25:03 | 0:25:06 | |
Posing for photographers, Sally James and one of the Teletubbies | 0:25:08 | 0:25:11 | |
signed the armistice. | 0:25:11 | 0:25:13 | |
All nonsense, you say? Claptrap? Poppycock? | 0:25:13 | 0:25:15 | |
Well, if it is, it's of a piece with these absurd gangly edifices. | 0:25:15 | 0:25:20 | |
I'm no Freud, but I think I know why men throughout history | 0:25:20 | 0:25:23 | |
have insisted on erecting ever more thrusting shafts onto the landscape. | 0:25:23 | 0:25:28 | |
They're compensating for something. | 0:25:28 | 0:25:30 | |
Dreaming of a skyscraper while being in possession of a bungalow, | 0:25:30 | 0:25:33 | |
if you know what I mean! | 0:25:33 | 0:25:35 | |
And typically, having talked themselves up, | 0:25:35 | 0:25:37 | |
the can't deliver when the time comes. | 0:25:37 | 0:25:40 | |
REPORTER: Slushy fields and grass farms. | 0:25:40 | 0:25:43 | |
Then, out of the mist, arose Sir Edward Watkin's dream. | 0:25:43 | 0:25:49 | |
An Eiffel Tower for London. | 0:25:49 | 0:25:52 | |
Sir Edward Watkin, chairman of the line. | 0:25:52 | 0:25:56 | |
Thousands, he thought, would pay to climb the tower | 0:25:56 | 0:26:00 | |
which would be higher than the one in Paris. | 0:26:00 | 0:26:03 | |
He announced a competition - | 0:26:03 | 0:26:05 | |
500 guineas for the best design. | 0:26:05 | 0:26:09 | |
Never were such flights of Victorian fancy seen. | 0:26:09 | 0:26:13 | |
Civil engineers from Sweden and Thornton Heath, | 0:26:13 | 0:26:18 | |
Rochdale and Constantinople, | 0:26:18 | 0:26:21 | |
entered designs. | 0:26:21 | 0:26:23 | |
In 1890, the lucky winner was announced. | 0:26:23 | 0:26:26 | |
It had Turkish baths, arcades of shops | 0:26:26 | 0:26:30 | |
and winter gardens. | 0:26:30 | 0:26:32 | |
Designed by a firm of Scots with a London office, | 0:26:32 | 0:26:36 | |
Stewart, McLaren and Dunne. | 0:26:36 | 0:26:39 | |
It was to be 150 feet higher than the Eiffel Tower. | 0:26:39 | 0:26:44 | |
But when at last it reached above the trees, | 0:26:44 | 0:26:48 | |
and the first stage was opened to the crowds, | 0:26:48 | 0:26:51 | |
the crowds weren't there. | 0:26:51 | 0:26:54 | |
They didn't want to come. | 0:26:54 | 0:26:56 | |
Money ran out. | 0:26:57 | 0:26:58 | |
The tower lingered on, | 0:26:58 | 0:27:01 | |
resting and rusting, | 0:27:01 | 0:27:03 | |
until it was dismembered | 0:27:03 | 0:27:06 | |
in 1907. | 0:27:06 | 0:27:08 | |
This is where London's failed Eiffel Tower stood. | 0:27:09 | 0:27:13 | |
Watkin's Folly, as it was called. | 0:27:13 | 0:27:16 | |
Here, on this Middlesex turf. | 0:27:16 | 0:27:19 | |
And since then, the site has become quite well known! | 0:27:20 | 0:27:24 | |
ROAR OF CROWD | 0:27:24 | 0:27:26 | |
So, great big buildings, | 0:27:35 | 0:27:37 | |
like men themselves, ridiculous, competitive, dangerous, | 0:27:37 | 0:27:40 | |
often vacant and sometimes utterly magnificent. | 0:27:40 | 0:27:43 | |
These days, of course, you're just as likely to find women architects | 0:27:43 | 0:27:47 | |
insisting upon size above all. | 0:27:47 | 0:27:49 | |
That doesn't surprise me. | 0:27:49 | 0:27:51 | |
Sometimes, a gal has only got one thing on her mind. | 0:27:51 | 0:27:54 | |
As you can see, it's a model of the Post Office Tower, | 0:27:54 | 0:27:57 | |
complete with restaurant at the top | 0:27:57 | 0:27:59 | |
and windows all the way down. | 0:27:59 | 0:28:01 | |
What's it like to wear, Val? | 0:28:01 | 0:28:02 | |
It's a bit unsteady, actually, John! | 0:28:02 | 0:28:05 | |
It's been made for an Easter Bonnet competition, | 0:28:05 | 0:28:07 | |
made by Janet Whiteside of Highgate. | 0:28:07 | 0:28:10 | |
It's fabulous, isn't it? | 0:28:10 | 0:28:12 | |
-Marvellous. -Take it off gently. -It's safer if I don't wear it. | 0:28:12 | 0:28:15 | |
I've got some other strange headgear here. I'll just pop it on. | 0:28:15 | 0:28:20 | |
It's a hand-knitted sort of snow helmet! | 0:28:21 | 0:28:25 | |
It's the latest thing for skiing. | 0:28:25 | 0:28:28 | |
Good night! | 0:28:28 | 0:28:29 | |
Subtitles by Red Bee Media Ltd | 0:28:48 | 0:28:51 |