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It's hard to pinpoint the moment I fell in love with street furniture. | 0:00:02 | 0:00:04 | |
Actually, I can, it was about 36 hours ago, | 0:00:04 | 0:00:07 | |
when they sent round the clips we're going to see tonight. | 0:00:07 | 0:00:10 | |
But then, I suppose this fascination | 0:00:10 | 0:00:11 | |
must have already been subconsciously present, | 0:00:11 | 0:00:14 | |
an unrealised latent love, awaiting blossom, | 0:00:14 | 0:00:17 | |
in every bin I filled, every trough I passed, | 0:00:17 | 0:00:20 | |
every public toilet I used. | 0:00:20 | 0:00:22 | |
Which, incidentally, were the original lyrics to that Sting song. | 0:00:22 | 0:00:25 | |
Now, I shout it from the highest hill. | 0:00:25 | 0:00:28 | |
Let me welcome you to the fabulous world of outside over there. | 0:00:28 | 0:00:33 | |
The invisible universe of street furniture. | 0:00:33 | 0:00:36 | |
To unearth the beginnings of street furniture, | 0:00:50 | 0:00:53 | |
we have to determine whence arrived the first street. | 0:00:53 | 0:00:56 | |
Imagine. It's 400 BC. | 0:00:56 | 0:00:58 | |
You and some chums build yourselves a row of houses, then...wallop! | 0:00:58 | 0:01:01 | |
Some bloke arrives and puts his house up smack opposite yours. | 0:01:01 | 0:01:05 | |
Why? | 0:01:05 | 0:01:06 | |
There's the whole of Stone Age Britain to build in. | 0:01:06 | 0:01:08 | |
Why spoil my view? | 0:01:08 | 0:01:10 | |
Next his mates all start moving alongside him | 0:01:10 | 0:01:12 | |
and the bit between you all... Well, that's suddenly a street. | 0:01:12 | 0:01:16 | |
Now, where are you going to park your team of oxen? | 0:01:16 | 0:01:18 | |
Jam yesterday, jam today, but please, no jam tomorrow! | 0:01:18 | 0:01:21 | |
This is the plea of London's motorists. | 0:01:21 | 0:01:23 | |
Recently, an all-out purge by police to stop parking in busy streets | 0:01:23 | 0:01:27 | |
has added to the misery of motorists | 0:01:27 | 0:01:29 | |
who look in vain for suitable car-parks. | 0:01:29 | 0:01:31 | |
This blocking of important thoroughfares | 0:01:31 | 0:01:33 | |
is one of the main causes of the daily hold-ups. | 0:01:33 | 0:01:36 | |
Part of the solution may be parking meters. | 0:01:36 | 0:01:39 | |
-Pardon? -You're banging my door? -Pardon? | 0:01:42 | 0:01:44 | |
Don't bang on my door! | 0:01:44 | 0:01:47 | |
Don't bang on your door? I'm not banging on your door! | 0:01:47 | 0:01:49 | |
-Yes, you are. -Do you mind moving off this bank? | 0:01:49 | 0:01:52 | |
You're right across my school crossing. | 0:01:52 | 0:01:54 | |
Listen here, mate, | 0:01:54 | 0:01:55 | |
-you're on top of the traffic lights. -Yeah. I'm only going over the road. | 0:01:55 | 0:01:59 | |
I couldn't give a monkey's what he's doing over the road. | 0:01:59 | 0:02:01 | |
I know you couldn't give a monkey's. | 0:02:01 | 0:02:04 | |
When people start earning a living in this country.... | 0:02:04 | 0:02:07 | |
what do you think I'm doing, then? | 0:02:07 | 0:02:09 | |
Being a shit, that's what you're doing. | 0:02:09 | 0:02:11 | |
You try sleeping at night, love. | 0:02:11 | 0:02:13 | |
Oh, piss off! | 0:02:13 | 0:02:14 | |
Oh! Oh! | 0:02:14 | 0:02:16 | |
-Are you moving? -What do you think I'm doing? -I don't know. | 0:02:16 | 0:02:19 | |
-Of course, I'm moving! -To me, you're stationery. | 0:02:19 | 0:02:21 | |
-Just a minute, I'm moving. -Right, move. | 0:02:21 | 0:02:23 | |
-You wear glasses. -Yeah. -Are they ordinary glasses? | 0:02:23 | 0:02:26 | |
Well, they have plastic lenses, | 0:02:26 | 0:02:29 | |
Obviously, if I'm... | 0:02:29 | 0:02:32 | |
hit in the face, they won't smash. | 0:02:32 | 0:02:34 | |
What about the ties, if anybody... | 0:02:34 | 0:02:36 | |
They're clip-on, so if anyone grabs you, they just come off. | 0:02:36 | 0:02:39 | |
If I was aggressive and I grabbed your tie, | 0:02:39 | 0:02:42 | |
-would it come off easily? -Sure. | 0:02:42 | 0:02:44 | |
-It doesn't come off easily. -It does if you yank it. | 0:02:44 | 0:02:47 | |
-See? -You're right. Oh, crikey! | 0:02:47 | 0:02:50 | |
Mr Carey, what do the meters actually do to you? | 0:02:50 | 0:02:54 | |
Well, they bite back at us, really. | 0:02:54 | 0:02:57 | |
It's a question, as you're rewinding them, | 0:02:57 | 0:02:59 | |
the spring breaks without any warning at all, | 0:02:59 | 0:03:03 | |
and the meter key with which you're winding | 0:03:03 | 0:03:06 | |
tends to fly back and hit one on the wrist or finger or thumb. | 0:03:06 | 0:03:09 | |
Can you show us, I'm not asking for it to happen to you, | 0:03:09 | 0:03:12 | |
but can you show us what you do? | 0:03:12 | 0:03:13 | |
Wind it as one would wind a normal clock | 0:03:13 | 0:03:16 | |
until the tension on the spring | 0:03:16 | 0:03:18 | |
indicates that you're reaching the peak and you stop. | 0:03:18 | 0:03:23 | |
-Hmm. -But sometimes during the course of that particular operation, | 0:03:23 | 0:03:26 | |
there's no warning, the spring breaks and the key then flies back | 0:03:26 | 0:03:29 | |
and the speed at which it leaves you is like a bullet. | 0:03:29 | 0:03:34 | |
-It could be quite painful? -Indeed. | 0:03:34 | 0:03:36 | |
So, what are you going to do about it? | 0:03:36 | 0:03:38 | |
We're seriously considering withdrawing the meter-winding | 0:03:38 | 0:03:41 | |
part of our duty. | 0:03:41 | 0:03:43 | |
Which would mean the meters would be defunct, they wouldn't work. | 0:03:43 | 0:03:45 | |
-No, they wouldn't. -Mr Carey, thank you very much. | 0:03:45 | 0:03:48 | |
It goes to prove that parking meters are very nasty things. | 0:03:48 | 0:03:50 | |
They are indeed, in more ways than one. | 0:03:50 | 0:03:53 | |
Whew! Poor bloke. | 0:03:59 | 0:04:01 | |
His time had expired and he was just waiting to be towed away. | 0:04:01 | 0:04:04 | |
In TV, we call that sort of prolonged fail "eggy agony". | 0:04:04 | 0:04:09 | |
I reckon the director must have got a ticket the night before. | 0:04:09 | 0:04:12 | |
The parking meter, whose simple mechanics have today, thank heavens, | 0:04:12 | 0:04:16 | |
been replaced by intimidating obelisks | 0:04:16 | 0:04:18 | |
featuring complicated dashboards that require ten minute phone calls | 0:04:18 | 0:04:22 | |
to other remote machines. | 0:04:22 | 0:04:24 | |
They have always been the least-loved of street furniture. | 0:04:24 | 0:04:28 | |
At the other extreme lies the Belisha Beacon. | 0:04:28 | 0:04:30 | |
A jolly striped stick with a bulbous orange bonce flashing away up top. | 0:04:30 | 0:04:34 | |
And kids! They used to have faces! | 0:04:34 | 0:04:37 | |
As this rare footage shows, talking Belisha Beacons | 0:04:37 | 0:04:40 | |
initially were unnecessarily complicated. | 0:04:40 | 0:04:43 | |
"Citizens with surnames beginning in letters A-L | 0:04:43 | 0:04:46 | |
"may now cross South to North, unless this be a second Thursday | 0:04:46 | 0:04:49 | |
"or a first Friday, in which case flow may be reversed before 11am." | 0:04:49 | 0:04:54 | |
By the 1970s, though, the system had really come on. | 0:04:54 | 0:04:58 | |
-Hey, you! -Who, me? | 0:04:58 | 0:05:00 | |
You went onto the crossing without looking! | 0:05:00 | 0:05:04 | |
Oh, I am sorry! | 0:05:04 | 0:05:08 | |
Well, it isn't every day that you can be told | 0:05:08 | 0:05:10 | |
your road drill is sloppy by a talking Belisha Beacon, | 0:05:10 | 0:05:13 | |
but the children of Hemel Hempstead are getting used to | 0:05:13 | 0:05:16 | |
-Billy the Beacon. -Look what I can see! Look at this! | 0:05:16 | 0:05:21 | |
Look, he's grown it, give him a clap, isn't that clever? | 0:05:21 | 0:05:25 | |
He's grown a nose, two eyes, a mouth | 0:05:25 | 0:05:28 | |
and some lovely golden hair. | 0:05:28 | 0:05:30 | |
There's a little girl, in the second row | 0:05:30 | 0:05:35 | |
with a green and brown dress. | 0:05:35 | 0:05:40 | |
Oh, yes, Billy, I can see her. Karen, come along, Karen. | 0:05:40 | 0:05:44 | |
-Good. -Look all around and listen. | 0:05:44 | 0:05:48 | |
-Very good. -And if there is no traffic coming, | 0:05:48 | 0:05:52 | |
walk straight across, looking and listening | 0:05:52 | 0:05:56 | |
whilst you're crossing. Oh, that's good. | 0:05:56 | 0:05:59 | |
Give him a clap, boys and girls. Very good, well done. | 0:05:59 | 0:06:03 | |
The Highway Code tells us that it's safe to cross | 0:06:03 | 0:06:06 | |
when the red man changes to the green man at Pelican crossings. | 0:06:06 | 0:06:10 | |
If you walk as fast as you can when it does change, | 0:06:10 | 0:06:14 | |
the green man starts flashing before you get to the other side. | 0:06:14 | 0:06:18 | |
It's too quick altogether, they're almost on top of us | 0:06:18 | 0:06:21 | |
before you get across. My wife is old and has got arthritic feet. | 0:06:21 | 0:06:25 | |
When the man comes on, the walking man, | 0:06:25 | 0:06:28 | |
we start to walk across and before you're halfway across, it... | 0:06:28 | 0:06:33 | |
the red man comes back on again. | 0:06:33 | 0:06:35 | |
Just a hint at the confusion that ensued | 0:06:35 | 0:06:37 | |
once speaking Belishas were withdrawn. | 0:06:37 | 0:06:40 | |
Actually, another drawback of the old talking Beacons | 0:06:40 | 0:06:42 | |
was that anyone within earshot of them, | 0:06:42 | 0:06:44 | |
whether they were crossing the road or not, | 0:06:44 | 0:06:46 | |
had to freeze like a statue until the message was over. | 0:06:46 | 0:06:49 | |
In fact, you saw some bystanders complying with it just then. | 0:06:49 | 0:06:53 | |
You went onto the crossing without looking! | 0:06:53 | 0:06:57 | |
Oh, I am sorry. | 0:06:57 | 0:07:00 | |
-Well... -The government required such bizarre behaviour, | 0:07:00 | 0:07:03 | |
because it was felt sudden cumbersome obstacles on the pavement | 0:07:03 | 0:07:06 | |
kept pedestrians on their toes. | 0:07:06 | 0:07:08 | |
One minister then had the idea for millions of similar inconveniences | 0:07:08 | 0:07:13 | |
to be installed on our streets nationwide. His name? JG Bollard. | 0:07:13 | 0:07:18 | |
Bollards. | 0:07:18 | 0:07:19 | |
This bollard stands at the heart | 0:07:19 | 0:07:22 | |
of what was once a notorious North London slum. | 0:07:22 | 0:07:24 | |
Rat-infested, bug-ridden, no coals in the bath, | 0:07:24 | 0:07:27 | |
the locals couldn't afford coals. Or baths. | 0:07:27 | 0:07:31 | |
That was only 25 years ago, and yet all that's left is this bollard. | 0:07:31 | 0:07:37 | |
Now, if I could ask you, you live here in Wakefield, | 0:07:37 | 0:07:39 | |
what do you think about the bollards and the railings we see? | 0:07:39 | 0:07:42 | |
I don't know, I sometimes stumble over them | 0:07:42 | 0:07:44 | |
when I've got problems walking and stuff like that. | 0:07:44 | 0:07:46 | |
If there's a Mr Big of bollards, it's Councillor Perry. | 0:07:46 | 0:07:49 | |
Apart from being the former chairman of Islington's planning committee, | 0:07:49 | 0:07:52 | |
he's also a man who likes bollards. | 0:07:52 | 0:07:55 | |
You like bollards? | 0:07:55 | 0:07:57 | |
Yeah, basically. | 0:07:57 | 0:07:59 | |
I mean, if you can design me a nicer one, I'll have it, | 0:07:59 | 0:08:01 | |
but I think these are quite nice. | 0:08:01 | 0:08:03 | |
To every force in one direction, | 0:08:03 | 0:08:05 | |
there's an equal and opposite force in the other direction, | 0:08:05 | 0:08:08 | |
in this case, Charles Wood. | 0:08:08 | 0:08:10 | |
Well, they have no use, they're totally unnecessary. | 0:08:10 | 0:08:12 | |
They're meant to save damage to the cables and the water pipes, | 0:08:12 | 0:08:16 | |
that's the theory. | 0:08:16 | 0:08:18 | |
What's wrong with that theory? | 0:08:18 | 0:08:21 | |
What's wrong with the theory? | 0:08:21 | 0:08:24 | |
Ah! We've got you, haven't we? | 0:08:24 | 0:08:26 | |
Yet another hapless TV reaction. | 0:08:26 | 0:08:28 | |
What IS it about street furniture that so crushes | 0:08:28 | 0:08:31 | |
the vital thrust of debate? | 0:08:31 | 0:08:33 | |
So far, we've seen... | 0:08:33 | 0:08:34 | |
And now... | 0:08:37 | 0:08:39 | |
What's wrong with theory? | 0:08:39 | 0:08:41 | |
Two great minds reduced to mashed potato, | 0:08:41 | 0:08:44 | |
while attempting to communicate the essence of our outdoor fixtures. | 0:08:44 | 0:08:48 | |
Ironically, communication is the sole reason | 0:08:48 | 0:08:51 | |
Britain's most common al fresco architecture exists. | 0:08:51 | 0:08:55 | |
The phone-box. They're everywhere, aren't they? | 0:08:55 | 0:08:58 | |
As recurrent a motif for British life as Wimbledon fortnight, | 0:08:58 | 0:09:01 | |
the British bobby, the great... | 0:09:01 | 0:09:02 | |
PHONE RINGS | 0:09:02 | 0:09:04 | |
Hello? | 0:09:04 | 0:09:06 | |
When? | 0:09:06 | 0:09:08 | |
What, now? | 0:09:08 | 0:09:09 | |
Has this come from upstairs? | 0:09:09 | 0:09:11 | |
Well, OK. | 0:09:11 | 0:09:13 | |
Apparently, it's the 21st century, so I'll start that link again. | 0:09:13 | 0:09:17 | |
At one time in Britain, phones came fixed inside enormous metal boxes! | 0:09:17 | 0:09:22 | |
And they were cemented into the street! | 0:09:22 | 0:09:25 | |
Hello, Vincent, 1234. | 0:09:25 | 0:09:27 | |
I am looking for the man who knows all about | 0:09:27 | 0:09:29 | |
the old-fashioned red phone boxes. | 0:09:29 | 0:09:31 | |
Yep, you've come to the right place. | 0:09:31 | 0:09:34 | |
Certainly the right place, Neil McAllister not only has a phone box | 0:09:34 | 0:09:37 | |
in his back garden, but a house full of 600 photographs of them. | 0:09:37 | 0:09:41 | |
Many are in his first book. | 0:09:41 | 0:09:43 | |
The original phone box was erected in Bristol, 105 years ago. | 0:09:43 | 0:09:48 | |
It underwent a few changes, including the disastrous K3, | 0:09:48 | 0:09:51 | |
which included a stamp machine and letterbox, | 0:09:51 | 0:09:54 | |
like a mini Post Office. There's still one in Warrington. | 0:09:54 | 0:09:58 | |
The problem was, if you tried to use the phone | 0:09:58 | 0:10:00 | |
when somebody was using the stamp machine, you couldn't hear yourself, | 0:10:00 | 0:10:03 | |
because it made a racket, and if you tried to get stamps out, | 0:10:03 | 0:10:05 | |
water got in, stuck the stamps together. Bit of a disaster. | 0:10:05 | 0:10:08 | |
-Hello, Mike? -Hello. -Hi. | 0:10:08 | 0:10:10 | |
You've a real passion for these red telephone boxes, | 0:10:10 | 0:10:13 | |
what's so special about them? | 0:10:13 | 0:10:15 | |
Well, personally I like the design of them, | 0:10:15 | 0:10:18 | |
their different styles and the fact that you could see them | 0:10:18 | 0:10:22 | |
on the roadside and I think they're British. | 0:10:22 | 0:10:25 | |
Anachronism ahoy! | 0:10:25 | 0:10:27 | |
I know nostalgia is key here, | 0:10:27 | 0:10:29 | |
but for some reason the producers of this desperate item | 0:10:29 | 0:10:32 | |
are making him use apparatus | 0:10:32 | 0:10:34 | |
that was cutting-edge in Charlie Chaplin's heyday. | 0:10:34 | 0:10:36 | |
Were you sad to see BT take them out of service? | 0:10:36 | 0:10:40 | |
Yes, I think it's a crying shame they did. | 0:10:40 | 0:10:42 | |
I think it was a very poor move by BT. | 0:10:42 | 0:10:47 | |
What do you think of these new, modern, vandal-proof, | 0:10:47 | 0:10:50 | |
wipe-clean phones that we have? | 0:10:50 | 0:10:53 | |
I don't think they're anything... they're nothing like the red ones. | 0:10:53 | 0:10:57 | |
What made you do it? | 0:10:57 | 0:10:58 | |
Was it just change for change's sake, really? | 0:10:58 | 0:11:01 | |
No, not at all. | 0:11:01 | 0:11:02 | |
I think you're right in saying that the old red telephone boxes | 0:11:02 | 0:11:05 | |
are part of history. They were designed more than 50 years ago. | 0:11:05 | 0:11:08 | |
These new ones were designed in the last year, | 0:11:08 | 0:11:12 | |
they're much easier to keep clean, there's a gap at the bottom, | 0:11:12 | 0:11:14 | |
which allows some of the most unpleasant things in a telephone box | 0:11:14 | 0:11:18 | |
to actually escape from it, and not collect in the bottom. | 0:11:18 | 0:11:20 | |
And they're much easier and more convenient to use | 0:11:20 | 0:11:23 | |
-and that's what the purpose of a telephone box is. -Now, come on. | 0:11:23 | 0:11:26 | |
You're just been sentimental about these old red things. | 0:11:26 | 0:11:28 | |
There are all the facts there, it's clean, | 0:11:28 | 0:11:30 | |
some people wee-wee on the floor, all that sort of thing | 0:11:30 | 0:11:33 | |
and these old things, well, they tend to smell, don't they? | 0:11:33 | 0:11:36 | |
They don't work and they tend to smell. | 0:11:36 | 0:11:38 | |
Certainly, I am afraid it's true that people with wheelchairs | 0:11:38 | 0:11:40 | |
find it difficult to get into these telephone boxes | 0:11:40 | 0:11:43 | |
and there must be more phones for them, that's the answer. | 0:11:43 | 0:11:45 | |
But, perhaps people who are visually handicapped, | 0:11:45 | 0:11:48 | |
people who want to get inside and shelter from the wind and rain, | 0:11:48 | 0:11:51 | |
would find these rather a boon. | 0:11:51 | 0:11:53 | |
These are British, these ones over here continental. | 0:11:53 | 0:11:57 | |
No, I'm afraid I can't accept that at all. | 0:11:57 | 0:11:59 | |
Well, gentlemen, we'll leave it there, | 0:11:59 | 0:12:01 | |
I am sure this debate will continue. | 0:12:01 | 0:12:04 | |
I think they are very good. | 0:12:04 | 0:12:05 | |
Yeah, I have used them abroad when I was in Germany | 0:12:05 | 0:12:07 | |
and I thought they were very practical. | 0:12:07 | 0:12:09 | |
Using them over here, I think it's a great idea. | 0:12:09 | 0:12:12 | |
How do you find the operating of this machine? | 0:12:12 | 0:12:14 | |
Very easy, very easy indeed. | 0:12:14 | 0:12:16 | |
-Better than the old ones? -Yeah. -In what way? | 0:12:16 | 0:12:19 | |
Well, they're nice and clean, not smelly, | 0:12:19 | 0:12:21 | |
you've got nothing surrounding your feet, like BLEEP! | 0:12:21 | 0:12:24 | |
Ah, good old public phones! | 0:12:24 | 0:12:26 | |
No searching for a signal, no complicated tariffs, | 0:12:26 | 0:12:29 | |
no expensive updates. | 0:12:29 | 0:12:31 | |
Just inconvenient vandal magnets, | 0:12:31 | 0:12:33 | |
drenched in the caustic tang of diseased male urine. | 0:12:33 | 0:12:37 | |
Simpler times. | 0:12:37 | 0:12:39 | |
Of course, official figures show that only 70% of adults in the UK | 0:12:39 | 0:12:43 | |
have ever used a phone box to empty their bladders. | 0:12:43 | 0:12:46 | |
Some, and I hesitate to use the word snobs here, | 0:12:46 | 0:12:49 | |
would rather "spend a penny". | 0:12:49 | 0:12:51 | |
She was lucky, but these days it's getting harder and harder | 0:12:54 | 0:12:57 | |
to find somewhere to spend a penny. | 0:12:57 | 0:12:59 | |
On the lavatory, every step of its cleaning is monitored | 0:12:59 | 0:13:02 | |
and checked by a computer. When you get in there, | 0:13:02 | 0:13:05 | |
it checks your weight. As soon as you get out, | 0:13:05 | 0:13:08 | |
it checks that you're not there. | 0:13:08 | 0:13:09 | |
When it's convinced that the lavatory is clean and empty, | 0:13:09 | 0:13:12 | |
then it starts the cleaning cycle, but not until then. | 0:13:12 | 0:13:15 | |
Prostitutes use them for their business, | 0:13:15 | 0:13:18 | |
they're in there for 15 minutes and then it's all over, | 0:13:18 | 0:13:20 | |
the door opens automatically after 15 minutes. | 0:13:20 | 0:13:23 | |
Homosexuals use them, people use them as rubbish bins, | 0:13:23 | 0:13:28 | |
if they've bought a new pair of trousers and want to get changed, | 0:13:28 | 0:13:30 | |
they leave the old trousers behind and walk out looking neat and tidy. | 0:13:30 | 0:13:34 | |
Anything at all, anything you think of carrying with you on the day, | 0:13:34 | 0:13:38 | |
you'll usually find in the lavatory sooner or later. | 0:13:38 | 0:13:40 | |
This lavatory in Star Yard is also typically Victorian. | 0:13:40 | 0:13:44 | |
Which reminds me of another story - | 0:13:46 | 0:13:49 | |
of the goldfish a former attendant kept in one of these tanks | 0:13:49 | 0:13:52 | |
in the Holburn gents. | 0:13:52 | 0:13:54 | |
A fish that went down in the world when the water level dropped. | 0:13:54 | 0:13:58 | |
These fish don't live here, of course, we just popped them in. | 0:13:58 | 0:14:01 | |
It's quite clear that a Victorian loo was quite a work of art. | 0:14:01 | 0:14:05 | |
Here, one might say, one finds the only true democracy, | 0:14:05 | 0:14:09 | |
because all men are equal in the eyes of... | 0:14:09 | 0:14:13 | |
CLEARS HIS THROAT | 0:14:13 | 0:14:14 | |
A survey in this magazine, Municipal Engineering, | 0:14:14 | 0:14:17 | |
shows that in the last 11 years, | 0:14:17 | 0:14:19 | |
almost one public lavatory in every four in London has closed. | 0:14:19 | 0:14:23 | |
The survey was commissioned by the magazine's editor, Chris Birch. | 0:14:23 | 0:14:27 | |
I like Soho and I do quite a lot of drinking in Soho | 0:14:27 | 0:14:31 | |
and every time I have three or four pints after work in the evening, | 0:14:31 | 0:14:34 | |
I have got a problem. | 0:14:34 | 0:14:36 | |
I religiously empty my bladder before I leave the pub. | 0:14:36 | 0:14:39 | |
I will walk five minutes to Piccadilly Circus Tube station | 0:14:39 | 0:14:42 | |
and go to the gents there and empty my bladder a second time | 0:14:42 | 0:14:45 | |
and by the time I get home to Fulham Broadway, I am bursting! | 0:14:45 | 0:14:49 | |
And there's no loo there? | 0:14:49 | 0:14:50 | |
No, there used to be two, one on each platform | 0:14:50 | 0:14:53 | |
at the underground station. They were both closed in, I think, 1966. | 0:14:53 | 0:14:57 | |
Yes, I can sympathise with our bibulous chum there, | 0:14:57 | 0:15:00 | |
but I think the problem he raises is not so much | 0:15:00 | 0:15:02 | |
an abdication of council responsibility as the fact | 0:15:02 | 0:15:05 | |
he appears to have a bladder the size of a dry-roasted peanut! | 0:15:05 | 0:15:09 | |
You'll have noted, too, there were further bollards visible | 0:15:09 | 0:15:12 | |
in that package and, indeed, | 0:15:12 | 0:15:13 | |
they are in many ways the ORIGINAL reality stars. | 0:15:13 | 0:15:17 | |
Annoying, seemingly pointless and no TV show can guarantee their absence. | 0:15:17 | 0:15:21 | |
There's really no avoiding them. | 0:15:21 | 0:15:23 | |
Right, Bruce, let's have a look at the damage you've done, then. | 0:15:38 | 0:15:41 | |
Pretty severe, by the looks of it. | 0:15:41 | 0:15:42 | |
It looks severe, but compared to what would happen to metal bollards, | 0:15:42 | 0:15:46 | |
it's nothing to get alarmed about. | 0:15:46 | 0:15:48 | |
There are no lamps or anything inside the bollard at all, | 0:15:48 | 0:15:51 | |
so there's no damage to that. | 0:15:51 | 0:15:53 | |
All that's going to be needed in this case is a new body shell. | 0:15:53 | 0:15:57 | |
Because you wouldn't be able to use this again. | 0:15:57 | 0:15:59 | |
That one you wouldn't, because it's been damaged. | 0:15:59 | 0:16:01 | |
Now, apart from the obvious safety factors, | 0:16:01 | 0:16:03 | |
-it's also vandal-proof, isn't it? -It is very vandal resistant | 0:16:03 | 0:16:06 | |
and it's been used in a lot of places where the vandals operate. | 0:16:06 | 0:16:10 | |
The boot, the knee, the elbow, the fist, doesn't do it any harm. | 0:16:10 | 0:16:15 | |
The sort of heavy test you gave it in your testing operation, I gather. | 0:16:15 | 0:16:19 | |
We've got one very large lad in our works | 0:16:19 | 0:16:22 | |
and we had this thing set up, much as we have here, | 0:16:22 | 0:16:27 | |
and he had a go at it. | 0:16:27 | 0:16:29 | |
He finally took a flying leap and landed with both feet | 0:16:29 | 0:16:31 | |
near the top where he got the most leverage | 0:16:31 | 0:16:33 | |
and there was no damage done. | 0:16:33 | 0:16:35 | |
Monty Python once did a sketch about vicious gangs | 0:16:35 | 0:16:38 | |
of keep-left bollards attacking teenagers. | 0:16:38 | 0:16:41 | |
Until I just saw that clip, I had no idea it was, | 0:16:41 | 0:16:44 | |
albeit in reverse, based on an actual phenomenon. | 0:16:44 | 0:16:47 | |
Attacking inanimate public objects? | 0:16:47 | 0:16:49 | |
Really? That said, we all have our breaking point. | 0:16:49 | 0:16:53 | |
BELL RINGS | 0:16:53 | 0:16:55 | |
What happened exactly? | 0:16:59 | 0:17:01 | |
Well, it was ringing... on Saturday morning, | 0:17:01 | 0:17:04 | |
it was ringing at 3.15, twenty to four and five to four, | 0:17:04 | 0:17:07 | |
so about five to four, | 0:17:07 | 0:17:09 | |
I jumped out of bed and I said, "I'm going to fix that bloody bell", | 0:17:09 | 0:17:12 | |
got a hammer, put my dressing gown on, went down to the kiosk, | 0:17:12 | 0:17:15 | |
smashed in the kiosk window, reached through | 0:17:15 | 0:17:18 | |
and smashed the switch from the wall. | 0:17:18 | 0:17:20 | |
I thought there were regulations to stop that bell ringing | 0:17:20 | 0:17:23 | |
-after 10 o'clock at night? -There's a notice inside the kiosk, | 0:17:23 | 0:17:26 | |
for all the taxi drivers to see that it should be off at 10.30. | 0:17:26 | 0:17:30 | |
It just doesn't happen? | 0:17:30 | 0:17:31 | |
No. Some switch it off, others will come and switch it back on again. | 0:17:31 | 0:17:34 | |
I wonder, is there any other reasonable way | 0:17:34 | 0:17:36 | |
in which you could have stopped that bell? | 0:17:36 | 0:17:38 | |
Well, I need not have been so drastic, I admit, | 0:17:38 | 0:17:41 | |
but I have been complaining about the bell for 18 months | 0:17:41 | 0:17:43 | |
and nobody has done a damn thing about it and I thought, | 0:17:43 | 0:17:45 | |
"Well, this will probably get something done at least." | 0:17:45 | 0:17:48 | |
The first thing about it is, he shouldn't go around | 0:17:48 | 0:17:50 | |
smashing private property, which it is private property. | 0:17:50 | 0:17:55 | |
If a person doesn't have a key, | 0:17:55 | 0:17:57 | |
is there any alternative to smashing the bell in order to silence it? | 0:17:57 | 0:18:02 | |
Well, the bell is on the outside, a bit of cardboard, | 0:18:02 | 0:18:05 | |
anything with a little backing on it, | 0:18:05 | 0:18:08 | |
would quite easily stop the bell if pushed into the actual bell itself. | 0:18:08 | 0:18:13 | |
Shocking stuff. | 0:18:13 | 0:18:14 | |
Perhaps some of the women watching this | 0:18:14 | 0:18:16 | |
might take a look at their partners just now. | 0:18:16 | 0:18:19 | |
Are they blushing? | 0:18:19 | 0:18:20 | |
If so, they could have once been the kind of youth, | 0:18:20 | 0:18:23 | |
who kicked a traffic bollard just for kicks. | 0:18:23 | 0:18:26 | |
Or ran screaming "Banzai!" toward the local church bells at Evensong? | 0:18:26 | 0:18:31 | |
We're better than that, aren't we? | 0:18:31 | 0:18:33 | |
Instead of incomprehensible violence toward street furniture, | 0:18:33 | 0:18:36 | |
shouldn't we be singing its praises? | 0:18:36 | 0:18:38 | |
Incomprehensibly. | 0:18:38 | 0:18:40 | |
# Daylight comes And the lamps go out | 0:18:40 | 0:18:43 | |
# All over the town | 0:18:43 | 0:18:46 | |
# One's been hit | 0:18:48 | 0:18:50 | |
# A lorry did that! But it didn't fall down | 0:18:50 | 0:18:56 | |
# See them by the side Of the motorway | 0:18:56 | 0:19:00 | |
# All in a line They stand silent and tall | 0:19:00 | 0:19:04 | |
# Short ones, too | 0:19:04 | 0:19:06 | |
# We need them all Our streetlamps... # | 0:19:06 | 0:19:11 | |
-Hello, Dave. -Hello, Auntie Mabel. | 0:19:17 | 0:19:20 | |
It was me who reported the lamp. It wasn't working last night | 0:19:20 | 0:19:24 | |
-and I nearly fell over in the dark. -We'll soon get it going again. | 0:19:24 | 0:19:29 | |
That's all working, so I will go up and check the lamp. | 0:19:30 | 0:19:34 | |
-Can I go with you? -Yes, of course. | 0:19:34 | 0:19:36 | |
Blimey! I thought they'd have been outside Earth's atmosphere by then! | 0:20:06 | 0:20:10 | |
That thing must have been moving slower | 0:20:10 | 0:20:12 | |
than the song-writers' creative juices on that rotten tune! | 0:20:12 | 0:20:15 | |
In fact, on much of the footage we looked at, | 0:20:15 | 0:20:18 | |
the outside amenities seemed to be playing tricks of mind and memory. | 0:20:18 | 0:20:22 | |
I mean, didn't telegraph poles use to be bigger than this? | 0:20:22 | 0:20:25 | |
Do you have some problems, Mr Talbot? | 0:20:37 | 0:20:39 | |
Yes, I think I've cut my binding wire too short | 0:20:39 | 0:20:41 | |
-and I wondered what to do about it. -You have, I see. | 0:20:41 | 0:20:43 | |
How many turns have you got round there now? | 0:20:43 | 0:20:45 | |
I have got 18, so far. | 0:20:45 | 0:20:47 | |
-18, and you know how many you should have? -Yes, there should be 30. | 0:20:47 | 0:20:51 | |
30, yeah. | 0:20:51 | 0:20:53 | |
Yeah, it's definitely too short, the only thing to do | 0:20:53 | 0:20:56 | |
is to loosen this one right off. | 0:20:56 | 0:20:58 | |
It'll still hold the tension on this ratchet and tongs, | 0:20:58 | 0:21:02 | |
you can then come down, cut yourself another length of binding wire | 0:21:02 | 0:21:05 | |
-and start again, that's the best way. OK? -Yeah. -OK. | 0:21:05 | 0:21:10 | |
When they leave here, these apprentices | 0:21:10 | 0:21:12 | |
will have sufficient knowledge of equipment and techniques | 0:21:12 | 0:21:15 | |
to be able to cope with the next stage. | 0:21:15 | 0:21:18 | |
I'm not sure I'm entirely at ease with those images. | 0:21:21 | 0:21:24 | |
It was like a GPO vision of Golgotha. | 0:21:24 | 0:21:27 | |
Also, how do they know those same men won't crack under pressure | 0:21:27 | 0:21:31 | |
when they have to start working at altitude? | 0:21:31 | 0:21:33 | |
Speaking of which, back at the kids' TV version of Gravity... | 0:21:33 | 0:21:38 | |
It could be that the lamp's worn out, just like my Bob at home! | 0:21:38 | 0:21:43 | |
So, Dave is putting a new one in, cover it up. | 0:21:43 | 0:21:47 | |
It'll think it's gone dark and turn the lamp on. | 0:21:47 | 0:21:51 | |
Look, it's working! | 0:21:52 | 0:21:56 | |
Streetlamps have not always worked like this, oh no. | 0:21:56 | 0:21:59 | |
What makes this so special is that it's a sewer-ventilating lamp. | 0:21:59 | 0:22:04 | |
The heat of the lamp at the top draws up the vapours | 0:22:04 | 0:22:07 | |
through this hollow stem. | 0:22:07 | 0:22:11 | |
We don't want to lose this, it's not only beautiful, but unique. | 0:22:11 | 0:22:14 | |
As unique almost as this gentleman, | 0:22:16 | 0:22:19 | |
who's among the last of the old-fashioned lamplighters. | 0:22:19 | 0:22:22 | |
The irreplaceable James Mason there. | 0:22:22 | 0:22:25 | |
Do you know how much more respect you'd have for this programme | 0:22:25 | 0:22:28 | |
if James Mason was in charge? | 0:22:28 | 0:22:30 | |
Let me give you an idea. Wisbey! | 0:22:30 | 0:22:33 | |
Ladies and gentlemen, Wisbey IS James Mason. | 0:22:33 | 0:22:37 | |
Up till now, we've pretty much concentrated | 0:22:37 | 0:22:39 | |
on the cold and the lifeless. | 0:22:39 | 0:22:42 | |
But whither the human street furniture? | 0:22:42 | 0:22:44 | |
These artisans and their props who we pass each day, | 0:22:44 | 0:22:48 | |
yet barely acknowledge. What about them? | 0:22:48 | 0:22:52 | |
And, by the way, if you are still looking for something | 0:22:52 | 0:22:54 | |
cold and lifeless, I'm your man these days. | 0:22:54 | 0:22:59 | |
48-year-old Stuart Redmond is spearheading | 0:23:00 | 0:23:02 | |
one of Britain's growth industries. | 0:23:02 | 0:23:04 | |
The next few weeks should see a staggering 66% increase | 0:23:04 | 0:23:08 | |
in the number of small businesses like Stuart's. | 0:23:08 | 0:23:10 | |
Not that you'll notice any breathtaking shortening | 0:23:10 | 0:23:12 | |
in the dole queues, it's just that the number of shoe-blacks | 0:23:12 | 0:23:15 | |
on the streets of London is about to leap from three to five. | 0:23:15 | 0:23:20 | |
Only 50 yards from Stuart's licensed patch of Piccadilly pavement, | 0:23:20 | 0:23:25 | |
Sailor Davis, his deadly rival, | 0:23:25 | 0:23:28 | |
wields his brushes for the opposition. | 0:23:28 | 0:23:30 | |
I first knew Stuart, he was a paper-seller | 0:23:30 | 0:23:33 | |
and there was another one-legged shoe-black, | 0:23:33 | 0:23:36 | |
who'd been dead many years, | 0:23:36 | 0:23:38 | |
he used to work alongside him | 0:23:38 | 0:23:40 | |
and when the bottom fell out of the paper-selling, | 0:23:40 | 0:23:43 | |
he asked him to come along with this. | 0:23:43 | 0:23:45 | |
The two rivals have been watching each other even more closely | 0:23:45 | 0:23:49 | |
ever since Sailor left Cherry Blossom in 1958 | 0:23:49 | 0:23:53 | |
and signed up for Kiwi, taking all his brushes with him. | 0:23:53 | 0:23:56 | |
The transfer fee has never been disclosed. | 0:23:56 | 0:24:00 | |
Do you think that the change of polish, | 0:24:00 | 0:24:02 | |
you've changed to the other side now, | 0:24:02 | 0:24:04 | |
are you polishing better or worse than you used to? | 0:24:04 | 0:24:07 | |
This is difficult to answer, but I can put it this way, | 0:24:07 | 0:24:11 | |
when I was Cherry, people used to say, "I don't know how you do it, | 0:24:11 | 0:24:14 | |
"I will never use Kiwi again," now I use Kiwi, | 0:24:14 | 0:24:17 | |
they tell me they never use Cherry! | 0:24:17 | 0:24:20 | |
First three months, it was a bit dodgy, | 0:24:20 | 0:24:23 | |
you start hitting people's socks, things like that! | 0:24:23 | 0:24:27 | |
You have to be very careful. Slow. | 0:24:27 | 0:24:29 | |
After six months or so, you gradually get faster with it. | 0:24:29 | 0:24:33 | |
Up until now, I have never had a pair I can't improve on. | 0:24:33 | 0:24:36 | |
When that day comes, I suppose that's the time to pack up. | 0:24:36 | 0:24:39 | |
The shoeshine men of old London. | 0:24:39 | 0:24:41 | |
An art form ruthlessly vanquished by the rise of the trainer. | 0:24:41 | 0:24:45 | |
I think it tells its own story that on the exact same area | 0:24:45 | 0:24:48 | |
once occupied by Alf's flat cap, | 0:24:48 | 0:24:50 | |
now stands the biggest Nike store in Europe. | 0:24:50 | 0:24:54 | |
It's fair to say that whereas once street furniture was there | 0:24:54 | 0:24:57 | |
to assist people in their daily lives, | 0:24:57 | 0:24:59 | |
today, it exists chiefly to order them about. | 0:24:59 | 0:25:02 | |
Gone are the milk machines, the horse troughs, | 0:25:02 | 0:25:04 | |
the water fountains, the phone boxes | 0:25:04 | 0:25:07 | |
and here are the myriad garish tin signs | 0:25:07 | 0:25:10 | |
telling you what you can and can't do and where you can and can't go. | 0:25:10 | 0:25:14 | |
Even the pillar box, that sturdy old begetter of the internet, | 0:25:14 | 0:25:18 | |
is on borrowed time. | 0:25:18 | 0:25:20 | |
Here some children, yesterday, look at the last one in Britain. | 0:25:20 | 0:25:23 | |
And laugh at it. | 0:25:23 | 0:25:24 | |
LAUGHTER | 0:25:24 | 0:25:26 | |
This is George Corner, he's 71 years old, and a Boy Scout. | 0:25:26 | 0:25:30 | |
He owns a shoe shop in Batley, Yorkshire | 0:25:30 | 0:25:32 | |
and he's come down to London | 0:25:32 | 0:25:34 | |
to demonstrate his one, all-consuming passion in life. | 0:25:34 | 0:25:37 | |
Well, I think, at 71, you need something to keep you fit | 0:25:42 | 0:25:45 | |
and I think it certainly does that. | 0:25:45 | 0:25:47 | |
Once you've jumped the pillar boxes in London, | 0:25:47 | 0:25:49 | |
what's your next ambition? | 0:25:49 | 0:25:51 | |
I shall jump the pillar boxes abroad, probably. | 0:25:51 | 0:25:56 | |
I have already done Scotland and London, | 0:25:56 | 0:26:00 | |
London has been one of my great ambitions. | 0:26:00 | 0:26:04 | |
And then, of course, I shall do Ireland, probably, and Wales | 0:26:04 | 0:26:09 | |
and, who knows? There's no limit to this. | 0:26:09 | 0:26:14 | |
But there was. There was a limit to it. | 0:26:14 | 0:26:17 | |
In the 1980s, as global warming increased the size | 0:26:17 | 0:26:21 | |
of all street furniture, George Corner found his unique gift | 0:26:21 | 0:26:25 | |
could not keep pace with events. | 0:26:25 | 0:26:27 | |
The last item George attempted there was, of course, | 0:26:37 | 0:26:40 | |
a gaily painted World War II maritime mine, | 0:26:40 | 0:26:43 | |
a terrific piece of street furniture | 0:26:43 | 0:26:45 | |
and a fixture of any seaside town Worthing of the name. | 0:26:45 | 0:26:49 | |
-OFF-CAMERA: Worthy. -What? | 0:26:49 | 0:26:51 | |
-Worthy, you said Worthing. -Ha! Freudian slip! | 0:26:51 | 0:26:55 | |
Bollards! | 0:26:55 | 0:26:56 | |
This is the spring-back bollard, which was commonly first produced | 0:26:56 | 0:27:00 | |
25 years ago. | 0:27:00 | 0:27:01 | |
You can see why it's called the spring-back bollard. | 0:27:01 | 0:27:05 | |
It has a springing mechanism... | 0:27:05 | 0:27:07 | |
SPRING SOUND | 0:27:07 | 0:27:11 | |
We've got to be careful that we don't just jump on the bandwagon, | 0:27:11 | 0:27:15 | |
so to speak, and go for the latest design of bollards. | 0:27:15 | 0:27:18 | |
When a bus approaches, the bollards are lowered automatically, | 0:27:18 | 0:27:22 | |
buses, mail delivery vans and emergency vehicles | 0:27:22 | 0:27:25 | |
carry remote sensors. | 0:27:25 | 0:27:27 | |
A car tries to nip through behind the bus. You can imagine the damage. | 0:27:27 | 0:27:31 | |
The hero of the highway, Robo-Bollard, the bollard with bite. | 0:27:35 | 0:27:40 | |
What do the locals think of the latest guardian of the High Street? | 0:27:43 | 0:27:47 | |
Oh, I think it's terrible. | 0:27:47 | 0:27:49 | |
The whole issue is rubbish. | 0:27:49 | 0:27:53 | |
That's the ones which shoot up. | 0:27:53 | 0:27:55 | |
-Yeah. -No. | 0:27:55 | 0:27:56 | |
-But on the other hand? -Yeah. -No. | 0:27:56 | 0:27:58 | |
And we are done. Yeah. | 0:27:58 | 0:28:01 | |
Everything, I think. Phone boxes, parking meters. | 0:28:01 | 0:28:05 | |
Telegraph poles, pillar boxes, bollards... | 0:28:05 | 0:28:08 | |
Yeah. That's it. | 0:28:08 | 0:28:10 | |
# So, when you come To the end | 0:28:13 | 0:28:19 | |
# Of a packet of fags | 0:28:19 | 0:28:24 | |
# A bar of chocolate | 0:28:24 | 0:28:26 | |
# Or a bottle of gin... # | 0:28:26 | 0:28:32 | |
Hic! | 0:28:32 | 0:28:34 | |
# Don't be an untidy so and so | 0:28:34 | 0:28:38 | |
# Just stick them in the litter bin | 0:28:38 | 0:28:43 | |
# Stick it in the litter Stick it in the litter | 0:28:43 | 0:28:46 | |
# Stick it in the litter Stick it in the litter bin! Oi! # | 0:28:46 | 0:28:51 | |
Goodnight! | 0:28:51 | 0:28:55 | |
# Let the time go by | 0:28:55 | 0:28:57 | |
# I won't care if I | 0:28:57 | 0:29:01 | |
# Can be here on the street where you live... # | 0:29:01 | 0:29:08 |