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Today, I'm on a journey through the remarkable history and landscape | 0:00:30 | 0:00:35 | |
of Northamptonshire, one of north England's least discovered counties. | 0:00:35 | 0:00:39 | |
My journey starts here in Northampton, home of the county's famous shoe industry. | 0:00:39 | 0:00:45 | |
Next I'll travel north to Coton Manor to discover the story | 0:00:45 | 0:00:49 | |
of the gardens and some of its more exotic inhabitants. | 0:00:49 | 0:00:52 | |
You're kidding? 50-years-old?! | 0:00:52 | 0:00:54 | |
Well, yes, not just for Christmas! | 0:00:54 | 0:00:56 | |
At Holdenby, I'll visit what was once the largest private house | 0:00:58 | 0:01:02 | |
in England and find out how it was first a palace and then a prison. | 0:01:02 | 0:01:07 | |
And I'll end my journey just over the border in Bedfordshire | 0:01:07 | 0:01:11 | |
at Santa Pod raceway, the home of European drag car racing. | 0:01:11 | 0:01:15 | |
And along the way I'll be looking back at the best of | 0:01:20 | 0:01:24 | |
the BBC's rural programmes from this part of the world. This is Country Tracks. | 0:01:24 | 0:01:29 | |
Northamptonshire has a largely rural farming landscape. | 0:01:29 | 0:01:33 | |
It is affectionately known as the county of spires and squires, | 0:01:33 | 0:01:37 | |
because of its number of grand stately homes and ancient churches. | 0:01:37 | 0:01:42 | |
In the 18th and 19th century, parts of the county became industrialised, specialising in leather and shoes. | 0:01:42 | 0:01:48 | |
By the end of the 19th century, Northampton was said to be | 0:01:48 | 0:01:52 | |
the shoe and boot-making capital of the world. | 0:01:52 | 0:01:55 | |
The collection of boots and shoes at Northampton museum is the largest in the world. | 0:02:01 | 0:02:06 | |
There are well over 12,000 items, ranging from fine historic shoes | 0:02:06 | 0:02:12 | |
to Elton John's massive platform boots from the film Tommy | 0:02:12 | 0:02:16 | |
and even David Beckham's football boots. | 0:02:16 | 0:02:20 | |
In 1841, there were 1,871 shoe makers in Northampton, | 0:02:20 | 0:02:26 | |
but sadly the 20th century saw a huge decline in shoe manufacturing | 0:02:26 | 0:02:30 | |
as cheaply made imported footwear began to flood the market. | 0:02:30 | 0:02:34 | |
But a handful of British companies are still going strong. | 0:02:36 | 0:02:40 | |
I'm off to one Northamptonshire firm with royal connections. | 0:02:40 | 0:02:45 | |
Trickers was founded in 1829 by master shoemaker, Joseph Tricker. | 0:02:48 | 0:02:54 | |
Five generations later, his family continue to apply | 0:02:54 | 0:02:57 | |
the same traditional skills | 0:02:57 | 0:02:59 | |
in the production of their world-renowned shoes. | 0:02:59 | 0:03:02 | |
I'm meeting fifth generation owner Nick Barltrop | 0:03:06 | 0:03:09 | |
to see how those skills are still alive and kicking today. | 0:03:09 | 0:03:13 | |
So, Nick, what are the steps to making a fine shoe? | 0:03:13 | 0:03:17 | |
-Well, this is where it all starts... -Yeah. | 0:03:17 | 0:03:20 | |
..with the cutting out of all of the little pieces which go into making the upper of the shoe | 0:03:20 | 0:03:26 | |
and Ricky here is doing it by hand, | 0:03:26 | 0:03:29 | |
which is how we do it with all the hand-made shoes. | 0:03:29 | 0:03:32 | |
-Wow! -A lot of detail goes into this. | 0:03:32 | 0:03:36 | |
It is very labour intensive. | 0:03:36 | 0:03:38 | |
Yeah. So Ricky is cutting out for the fine shoes, the bespoke shoes, is that right? | 0:03:38 | 0:03:42 | |
-Yes. -It's great that you are keeping these skills alive. | 0:03:42 | 0:03:45 | |
It's not easy. You do have to do a lot of training in-house, | 0:03:45 | 0:03:48 | |
but the skills are there, but you have to put the time in | 0:03:48 | 0:03:54 | |
and train the youngsters. | 0:03:54 | 0:03:55 | |
Yes. It must feel good, though, being one of the last few companies that make shoes in this way? | 0:03:55 | 0:04:00 | |
Yeah, we're very proud of it. | 0:04:00 | 0:04:01 | |
So what's the next stage, then, Nick? | 0:04:03 | 0:04:06 | |
The next stage is skiving as we say it here. | 0:04:06 | 0:04:09 | |
Skiving, what does that mean? | 0:04:09 | 0:04:11 | |
What you'll see is that what Dawn has done | 0:04:11 | 0:04:14 | |
is reduced the edge from a big thickness here down to a thin edge there | 0:04:14 | 0:04:22 | |
which is going to aid the sewing through the leather. | 0:04:22 | 0:04:27 | |
Another piece of leather will come over the top of this one. You have to reduce the thickness down. | 0:04:27 | 0:04:32 | |
-Otherwise it'll be too thick to get the thread through? -That's right. You'll end up with a bump. | 0:04:32 | 0:04:37 | |
Yes, the difference is amazing. How many will Dawn get through? She's working pretty fast. | 0:04:37 | 0:04:41 | |
-She looks like she's doing it fairly quickly. -Yeah. -200 pairs a day. | 0:04:41 | 0:04:45 | |
200 pairs a day! Dawn, that's pretty speedy work. I love that. | 0:04:45 | 0:04:51 | |
MUSIC: "Kinky Boots" | 0:04:51 | 0:04:55 | |
Well, this looks interesting. What's happening here, then, Nick? | 0:05:08 | 0:05:13 | |
This is the next stage in the process of the hand-made bespoke footwear. | 0:05:13 | 0:05:18 | |
This is Scott, and he's lasting the uppers which you saw being made | 0:05:18 | 0:05:22 | |
in the closing room onto the individual lasts. | 0:05:22 | 0:05:26 | |
The lasts are the wooden foot shape, the mould? | 0:05:26 | 0:05:30 | |
That's right. The last is made according to the measurements taken | 0:05:30 | 0:05:34 | |
of the customer's foot and we then build the shoe around that last. | 0:05:34 | 0:05:40 | |
So each customer who's asked for a bespoke shoe will have their very own last made? | 0:05:40 | 0:05:45 | |
-That's right. Yes. -Do their foot shapes change over time? | 0:05:45 | 0:05:48 | |
Feet can change. Every time that the customers orders a new pair | 0:05:48 | 0:05:53 | |
he will have his foot measured again | 0:05:53 | 0:05:55 | |
to make sure that everything is still as it was originally. | 0:05:55 | 0:05:59 | |
This is very specialised work. | 0:05:59 | 0:06:01 | |
How long did it take you to get to this level of skills? | 0:06:01 | 0:06:05 | |
A few years, but I have been doing it for seven or eight years. | 0:06:05 | 0:06:09 | |
Good gracious. | 0:06:09 | 0:06:10 | |
There are very few of you who can do this? | 0:06:10 | 0:06:12 | |
There's only two other people that I know and they're both retired now. | 0:06:12 | 0:06:16 | |
-Wow! -So it's only me, I can say. | 0:06:16 | 0:06:18 | |
Good gracious! | 0:06:18 | 0:06:19 | |
How long will it take you to do this stage? | 0:06:19 | 0:06:23 | |
One foot takes about an hour to do, to get it to that stage. | 0:06:23 | 0:06:28 | |
Wow! Good gracious. I've heard you can tell a fine shoemaker, because the pins | 0:06:28 | 0:06:33 | |
in his teeth will affect his teeth, but your teeth look all right. | 0:06:33 | 0:06:36 | |
There is good dental work there. | 0:06:36 | 0:06:38 | |
Thank you very much. | 0:06:38 | 0:06:41 | |
That's fantastic. | 0:06:41 | 0:06:42 | |
Some very well-known people have their shoes made here at Tricker's, | 0:06:47 | 0:06:52 | |
but it's not really the done thing to reveal their identities. | 0:06:52 | 0:06:56 | |
It's certainly an investment. | 0:06:58 | 0:07:01 | |
A pair of made-to-order shoes will cost up to £500, | 0:07:01 | 0:07:05 | |
while a pair of fully bespoke hand-made shoes | 0:07:05 | 0:07:09 | |
will cost upwards of £1,000, | 0:07:09 | 0:07:12 | |
but shoes of this quality can last a lifetime. | 0:07:12 | 0:07:16 | |
So this is the very final step? | 0:07:18 | 0:07:21 | |
-That's right. -What happens here? | 0:07:21 | 0:07:23 | |
Well, Donna's putting the finished shoes into the boxes. | 0:07:23 | 0:07:28 | |
It really feels like a luxury product. | 0:07:28 | 0:07:31 | |
It is just beautiful packaging, beautifully presented. | 0:07:31 | 0:07:34 | |
What I love is that these shoes will have all been touched by humans. | 0:07:34 | 0:07:38 | |
They are not purely machine-made? | 0:07:38 | 0:07:40 | |
That's right. There are 266 different operations that go into a pair of Tricker's shoes. | 0:07:40 | 0:07:45 | |
266! And how many people may have come into contact with them? | 0:07:45 | 0:07:49 | |
We employ 92. So 92 could have come in contact with every pair of shoes. | 0:07:49 | 0:07:54 | |
They are very beautiful. | 0:07:54 | 0:07:56 | |
It is fine craftsmanship, isn't it? | 0:07:56 | 0:07:58 | |
And off they go to some very lucky buyer! | 0:07:58 | 0:08:00 | |
That's right. | 0:08:00 | 0:08:02 | |
I've started my journey in the county town of Northampton, | 0:08:02 | 0:08:06 | |
but when the One Show's Christine Walkden visited, | 0:08:06 | 0:08:10 | |
she headed out in the countryside to explore the county's rolling fields. | 0:08:10 | 0:08:16 | |
To many of us, British agriculture is nothing more than a blur | 0:08:16 | 0:08:21 | |
as we whizz up and down roads and motorways. | 0:08:21 | 0:08:27 | |
From the air, the farmland that blankets the British countryside | 0:08:27 | 0:08:31 | |
reveals itself like paint on a canvas, | 0:08:31 | 0:08:33 | |
and literally defines the colour of our country from the sky. | 0:08:33 | 0:08:37 | |
But how much do we really know about the crops that fill this canvas? | 0:08:37 | 0:08:41 | |
Crops define our ever-changing landscape, | 0:08:41 | 0:08:45 | |
and one crop has changed that more than any other. | 0:08:45 | 0:08:49 | |
Brassica napus. Oilseed rape. | 0:08:49 | 0:08:52 | |
Spreading it on your bread or pouring it in the pan could help you | 0:08:57 | 0:09:01 | |
live longer and using it in the car could one day help save the planet. | 0:09:01 | 0:09:05 | |
Oilseed actually belongs to the cabbage genus, brassica. | 0:09:10 | 0:09:15 | |
Rapeseed has a cluster of flowers on a central stem | 0:09:15 | 0:09:17 | |
known as an inflorescence. | 0:09:17 | 0:09:19 | |
It's that tight arrangement that creates vast splashes of colour, | 0:09:19 | 0:09:23 | |
that paints the countryside yellow. | 0:09:23 | 0:09:26 | |
This dazzling display can be seen from early April all the way through to late July. | 0:09:27 | 0:09:32 | |
The family name for these plants is cruciferae, because of its flowers' four-petal pattern, | 0:09:35 | 0:09:42 | |
also found in its cousins - mustard, cabbage, turnip and broccoli. | 0:09:42 | 0:09:45 | |
Rapeseeds are pollinated by insects, particularly bees, | 0:09:45 | 0:09:49 | |
and it's their vivid colour that attracts the bees to them, | 0:09:49 | 0:09:53 | |
unlike cereals that are pollinated by air. | 0:09:53 | 0:09:55 | |
Once the plant has flowered, pollinated and wilted, | 0:09:55 | 0:10:00 | |
we're left with these, the seed. | 0:10:00 | 0:10:03 | |
And this is where all the money is. | 0:10:03 | 0:10:06 | |
These yellow fields didn't exist when I was growing up, | 0:10:06 | 0:10:08 | |
but today, oil-seed rape is Britain's most easily recognisable crop. | 0:10:08 | 0:10:13 | |
In the last 20 years, the increased demand for margarine and healthy cooking oils | 0:10:13 | 0:10:17 | |
has meant that oil-seed rape now takes up 15% of arable land in the UK, | 0:10:17 | 0:10:22 | |
but it's not all for culinary use. | 0:10:22 | 0:10:24 | |
There's an awful lot of talk about rapeseed being used as bio-fuel. | 0:10:24 | 0:10:28 | |
Most of the biodiesel is coming from reused cooking oil. | 0:10:28 | 0:10:32 | |
So the rape goes into making cooking oils, then when it's been used once | 0:10:32 | 0:10:36 | |
it goes into turning into biodiesel. That strikes me as | 0:10:36 | 0:10:39 | |
a very sensible use for a plant getting at least two uses out of it. | 0:10:39 | 0:10:43 | |
The first people to cultivate oil-seed rape in Britain | 0:10:43 | 0:10:47 | |
were the Romans for lamp oils and soap, | 0:10:47 | 0:10:50 | |
but here in Northamptonshire, Duncan Farrington is purely interested in the taste. | 0:10:50 | 0:10:55 | |
What we do is a very traditional method of extracting the oil. | 0:10:55 | 0:10:58 | |
It's called cold pressing - we don't use high temperatures | 0:10:58 | 0:11:01 | |
We take those little black seeds and literally squeeze the oil out of it. | 0:11:01 | 0:11:05 | |
It's very simple, very old fashioned. | 0:11:05 | 0:11:07 | |
It's like the very best olive oils. We don't refine it | 0:11:07 | 0:11:10 | |
in any way. We just let it settle, filter it and put it in a bottle. | 0:11:10 | 0:11:14 | |
Because of that, it retains all the natural goodness within the seed. | 0:11:14 | 0:11:17 | |
-The next thing to do is get you filling some bottles for us. -Excellent. | 0:11:17 | 0:11:21 | |
So, the thing to do is not to panic. I think there might be | 0:11:21 | 0:11:24 | |
a cup of tea and a piece of cake in it if you do a good job. | 0:11:24 | 0:11:27 | |
-Will you take me on? -Yeah, go on, then. Carry on. | 0:11:30 | 0:11:34 | |
So there we are. | 0:11:37 | 0:11:38 | |
-The finished product. Shall we go and try it? -Absolutely. | 0:11:38 | 0:11:41 | |
OK. So this is my bottle, what's so special about rapeseed oil? | 0:11:41 | 0:11:45 | |
It's got the lowest saturated fat content of any oil. | 0:11:45 | 0:11:48 | |
It's Omega-3 in balance with Omega-6. | 0:11:48 | 0:11:51 | |
It's got vitamin E which is a good antioxidant. | 0:11:51 | 0:11:53 | |
It's a good all-round healthy oil. | 0:11:53 | 0:11:55 | |
That is seriously nice. | 0:11:58 | 0:12:00 | |
These glorious yellow fields boost our bee population, | 0:12:01 | 0:12:05 | |
provides fuel for tomorrow's cars | 0:12:05 | 0:12:08 | |
and even combats cholesterol to keep us fit and healthy. | 0:12:08 | 0:12:11 | |
Not bad for a relative of the cabbage. | 0:12:11 | 0:12:14 | |
Christine Walkden extolling the virtues of oil-seed rape in the heart of Northamptonshire. | 0:12:15 | 0:12:21 | |
My journey has now brought me to an area of the county | 0:12:21 | 0:12:24 | |
to the north-west of Northampton, | 0:12:24 | 0:12:26 | |
littered with beautiful villages and stately homes. | 0:12:26 | 0:12:29 | |
I'm visiting one of the prettiest in the area, Coton Manor. | 0:12:29 | 0:12:33 | |
In 1662, a farmhouse was built on the site of the original house | 0:12:33 | 0:12:37 | |
which had been razed to the ground after the Battle of Naseby. | 0:12:37 | 0:12:41 | |
Some of the mellow Northamptonshire stone came from the royal palace | 0:12:41 | 0:12:44 | |
of Holdenby House, which I'll be visiting later. | 0:12:44 | 0:12:47 | |
From this smaller house, the surrounding land was farmed | 0:12:47 | 0:12:51 | |
for nearly three centuries until the property was bought | 0:12:51 | 0:12:54 | |
by the grandparents of the present owner in 1923. | 0:12:54 | 0:12:58 | |
But it's the gardens and their inhabitants that I've come to Coton to see. | 0:13:01 | 0:13:06 | |
I'm meeting up with the head gardener Richard Greene | 0:13:11 | 0:13:14 | |
for a tour of the floral highlights - | 0:13:14 | 0:13:16 | |
some already showing and some still to come. | 0:13:16 | 0:13:20 | |
Richard, these snowdrops are looking fantastic. | 0:13:20 | 0:13:23 | |
It's obviously early on in the year, but what other flowers are we getting to see around now? | 0:13:23 | 0:13:28 | |
We start off with the snowdrops and the aconites | 0:13:28 | 0:13:31 | |
during the early part of the spring. | 0:13:31 | 0:13:34 | |
We also have a lot of primulas and pulmonaria. | 0:13:34 | 0:13:39 | |
-A few daffs up. -That's right, yes. The hellebores, of course. | 0:13:39 | 0:13:43 | |
We make quite of thing of hellebores. | 0:13:43 | 0:13:45 | |
-They're glorious, aren't they? -Not bad at all, yes. | 0:13:45 | 0:13:48 | |
They've been quite late this year, but they're looking good now. | 0:13:48 | 0:13:51 | |
They're looking really good. | 0:13:51 | 0:13:53 | |
This is just the start of the flowering year, there must be plenty more to come. | 0:13:53 | 0:13:56 | |
Oh, yes, we move on to the main feature, | 0:13:56 | 0:14:01 | |
which, I guess, is the herbaceous borders. | 0:14:01 | 0:14:05 | |
They should be looking good right through to the end of November. | 0:14:05 | 0:14:09 | |
-Good long flowering year. -Weather permitting! -Yes. | 0:14:09 | 0:14:11 | |
-Good for your pollinators. -Yes, that's right. | 0:14:11 | 0:14:14 | |
Well, this is lovely. | 0:14:17 | 0:14:20 | |
-This is one of my favourite areas of the garden. -Is it? | 0:14:20 | 0:14:23 | |
It comes into its own in a few weeks' time, | 0:14:23 | 0:14:26 | |
but already there are nice things coming through. | 0:14:26 | 0:14:28 | |
Particularly like this pulmonaria here, this Munstead blue. | 0:14:28 | 0:14:31 | |
-That is amazingly vivid, isn't it? -It's a wonderful colour. | 0:14:31 | 0:14:34 | |
-What else is here? -We also have some dicentra poking through | 0:14:34 | 0:14:39 | |
and some corydalis that are already in flower. | 0:14:39 | 0:14:42 | |
-Actually, once you get your eye in, there's plenty in flower at the moment. -It is coming along. | 0:14:42 | 0:14:47 | |
One of my favourite views is from down in the summer house down there, | 0:14:47 | 0:14:52 | |
looking back up this way. | 0:14:52 | 0:14:54 | |
I can see why, I really can. There's lots of water features as well. | 0:14:54 | 0:14:58 | |
That's right. | 0:14:58 | 0:14:59 | |
We have a spring that comes up from the main pond behind us there. | 0:14:59 | 0:15:02 | |
That diverges through the garden and feeds the rest of the ponds below. | 0:15:02 | 0:15:07 | |
That's really peaceful. Let's keep exploring. | 0:15:07 | 0:15:10 | |
So, Richard, these are the herbaceous borders? | 0:15:10 | 0:15:14 | |
-That's right, yes. -What sort of thing will we get here? | 0:15:14 | 0:15:17 | |
We have a range of herbaceous plants that come on around about May time | 0:15:17 | 0:15:23 | |
and build up into a crescendo, late July, August. | 0:15:23 | 0:15:26 | |
But the trick is continuity. | 0:15:28 | 0:15:30 | |
So there's always something replacing a plant that's already flowered and gone over. | 0:15:30 | 0:15:35 | |
We do a bit with annuals, replacing here and there, | 0:15:35 | 0:15:38 | |
filling holes and gaps and so on, but we have to keep | 0:15:38 | 0:15:42 | |
a careful eye on the colours to make sure that nothing clashes, | 0:15:42 | 0:15:45 | |
so everything carries on in a subtle colour scheme that we like. | 0:15:45 | 0:15:51 | |
So what other new developments have been going on here? | 0:15:51 | 0:15:54 | |
Over here on the right, we have the old orchard | 0:15:54 | 0:15:58 | |
that we now planted up underneath with spring bubs and so on. | 0:15:58 | 0:16:01 | |
That comes into its own in a few weeks. | 0:16:01 | 0:16:03 | |
We recently made a wild flower meadow. | 0:16:03 | 0:16:07 | |
That works on so many different levels. | 0:16:07 | 0:16:09 | |
in that it's aesthetic in its own right for the beauty of the flowers, | 0:16:09 | 0:16:14 | |
but then you've got the attraction of the butterflies and the bees and all the other insects, | 0:16:14 | 0:16:20 | |
and of course it's practical, in that | 0:16:20 | 0:16:23 | |
we get a crop of hay off it and we can feed it to our longhorn cattle. | 0:16:23 | 0:16:27 | |
Fantastic. There is a lot of work here, you must be very, very busy. | 0:16:27 | 0:16:30 | |
Oh, there is always something. Yes. | 0:16:30 | 0:16:33 | |
As lovely as the gardens are, I'll be honest, | 0:16:33 | 0:16:36 | |
there's another reason I really wanted to visit Coton. | 0:16:36 | 0:16:40 | |
Flamingos were introduced to the garden in the 1960s | 0:16:43 | 0:16:46 | |
when the pioneering conservationist Sir Peter Scott | 0:16:46 | 0:16:49 | |
brought a small collection to Slimbridge Wetland centre. | 0:16:49 | 0:16:52 | |
Being a good friend of the family at Coton, a few ended up here. | 0:16:52 | 0:16:56 | |
Peter Scott was the son of the famous Scott of the Antarctic | 0:16:56 | 0:17:00 | |
and became the most influential conservationist of the 20th century, | 0:17:00 | 0:17:04 | |
the first to be knighted in 1973. | 0:17:04 | 0:17:07 | |
He's photographed here with a young Sir David Attenborough. | 0:17:07 | 0:17:11 | |
So, all the years that you've been working here, you've had flamingos around you? | 0:17:11 | 0:17:16 | |
That's right, yes. | 0:17:16 | 0:17:18 | |
The two here, darker ones they're Caribbean, | 0:17:18 | 0:17:21 | |
but the paler ones behind, they are greater flamingos. | 0:17:21 | 0:17:24 | |
I believe they are the original ones that came over all that time ago. | 0:17:24 | 0:17:28 | |
-You're kidding?! What 50-years-old? -Yes, not just for Christmas! | 0:17:28 | 0:17:32 | |
That's impressive, in the wild they would be 30 years alive, maximum, really. | 0:17:32 | 0:17:37 | |
I guess so, but then, they're rather pampered here. | 0:17:37 | 0:17:39 | |
They're rather mollycoddled, look at all this daily food they're getting. | 0:17:39 | 0:17:43 | |
Also, flamingos that aren't in their natural environment tend to go paler without their usual food. | 0:17:43 | 0:17:49 | |
Do you have to supplement that to keep them pink? | 0:17:49 | 0:17:52 | |
Yes, this stuff here that we give them. | 0:17:52 | 0:17:54 | |
This is sort of cereal-based. It has a bit of fish food in there, | 0:17:54 | 0:17:58 | |
but it has the carotene that helps to keep them that colour. | 0:17:58 | 0:18:01 | |
The proteins that give them the lovely pink. Are they hard to keep? | 0:18:01 | 0:18:06 | |
-Do they give you any trouble? -Not really. | 0:18:06 | 0:18:08 | |
They basically look after themselves. | 0:18:08 | 0:18:10 | |
They're quite hardy and stay out all year round. | 0:18:10 | 0:18:13 | |
We have to take them in during the very cold weather in the winter. | 0:18:13 | 0:18:17 | |
Just because they get frozen into the water. | 0:18:17 | 0:18:19 | |
They roost in the water at night, and they could find themselves stuck in the morning. | 0:18:19 | 0:18:23 | |
So one of your jobs has been to icepick out a flamingo? | 0:18:23 | 0:18:27 | |
-It has been, once or twice, yes. -That's bizarre. | 0:18:27 | 0:18:30 | |
Are they useful from a gardening perspective? | 0:18:30 | 0:18:33 | |
Are they eating your slugs? | 0:18:33 | 0:18:35 | |
I don't know about slugs, but we see them often, | 0:18:35 | 0:18:38 | |
especially after rain, they poddle around with their feet | 0:18:38 | 0:18:42 | |
and try to raise the worms out the grass. | 0:18:42 | 0:18:43 | |
You see them scooping backwards and forwards with their beak. | 0:18:43 | 0:18:47 | |
So they must be finding something. | 0:18:47 | 0:18:49 | |
They've got that fantastically unusual way of feeding where their beaks are completely upside down | 0:18:49 | 0:18:54 | |
They scoop up all the mud, push it out again and eat what's left in their mouths. | 0:18:54 | 0:18:58 | |
There's a bit of squabbling going on here. It's so funny! | 0:18:58 | 0:19:02 | |
So elegant, too! | 0:19:04 | 0:19:05 | |
In the wild, flamingos live in enormous colonies | 0:19:05 | 0:19:08 | |
and won't nest unless there are lots of other flamingos around. | 0:19:08 | 0:19:12 | |
So small groups in captivity rarely breed | 0:19:12 | 0:19:15 | |
and opposite sexes view each other as friends. | 0:19:15 | 0:19:19 | |
Too civilised for their own good. | 0:19:19 | 0:19:21 | |
The reason flamingos famously stand on one leg has long puzzled naturalists. | 0:19:21 | 0:19:26 | |
The latest thinking is that it's to regulate their body temperature. | 0:19:26 | 0:19:31 | |
There's something incredibly charming about | 0:19:31 | 0:19:33 | |
non-native, purely ornamental birds in an English country garden. | 0:19:33 | 0:19:37 | |
I think that it plays to our sense of eccentricity. | 0:19:37 | 0:19:41 | |
You can almost imagine the Queen of Hearts coming out to flip one over and using it as a croquet mallet. | 0:19:41 | 0:19:47 | |
I think they're great fun. | 0:19:47 | 0:19:50 | |
The flamingos aren't the only surreal sight in these parts. | 0:19:55 | 0:19:59 | |
When Ben Fogle visited Northamptonshire, he came to rekindle his passion for conkers. | 0:19:59 | 0:20:05 | |
Now this is what childhood's all about - | 0:20:05 | 0:20:08 | |
crisp autumn mornings, crunching through leaves | 0:20:08 | 0:20:11 | |
and the joy of finding one of these spiky fruits, | 0:20:11 | 0:20:15 | |
and then the excitement of opening it up to find a fresh new conker. | 0:20:15 | 0:20:22 | |
But who would have thought you could go from this... | 0:20:23 | 0:20:26 | |
to this!? What was just a childhood pastime for me | 0:20:26 | 0:20:30 | |
was another man's dream of a world where conkering never ends. | 0:20:30 | 0:20:34 | |
The International Conker Championships in Ashton! | 0:20:34 | 0:20:37 | |
# I want to love you | 0:20:43 | 0:20:46 | |
# I want to be a better man... # | 0:20:46 | 0:20:49 | |
Well, this started in 1965, I think, | 0:20:51 | 0:20:54 | |
when there was a group of regulars at the pub. | 0:20:54 | 0:20:57 | |
There they were sitting, looking, gazing into their beer, | 0:20:57 | 0:21:01 | |
wondering what to do and somebody saw conkers falling | 0:21:01 | 0:21:04 | |
and challenged a friend to a game | 0:21:04 | 0:21:09 | |
and they were all looking out of the window at it, | 0:21:09 | 0:21:11 | |
and the following week, that's when it all started. | 0:21:11 | 0:21:14 | |
They'd bought a cup. There were, I think, about 20 of them. | 0:21:14 | 0:21:17 | |
We've been doing it ever since, | 0:21:17 | 0:21:19 | |
but it's grown from 20 competitors to nearly 400. | 0:21:19 | 0:21:25 | |
Half a dozen spectators to between 4,000 and 5,000. | 0:21:25 | 0:21:30 | |
Once you've got your conkers, as every child knows, | 0:21:30 | 0:21:33 | |
there are ways that you can improve them. | 0:21:33 | 0:21:35 | |
You can varnish them, soak them in vinegar. | 0:21:35 | 0:21:37 | |
I even had a friend who chopped his in half and filled it with Polyfilla, | 0:21:37 | 0:21:41 | |
but to true conkerers, there's no conker tampering allowed. | 0:21:41 | 0:21:45 | |
There's only one way to play the sport, | 0:21:45 | 0:21:48 | |
and that is with a pure, unsullied conker! | 0:21:48 | 0:21:51 | |
Now, how on earth do you find this many conkers? | 0:21:51 | 0:21:56 | |
Well, people who are involved in the conker championships, | 0:21:56 | 0:21:59 | |
they leave huge carrier bags full of them outside of our front door. | 0:21:59 | 0:22:02 | |
So we then take them all in. | 0:22:02 | 0:22:05 | |
We have to grade them. We'll say, | 0:22:05 | 0:22:08 | |
right, what's the best size? Probably something like that. | 0:22:08 | 0:22:11 | |
If we say golf ball and a bit smaller, | 0:22:11 | 0:22:13 | |
that's what we're really looking for. | 0:22:13 | 0:22:15 | |
-What about flat ones? Do they make good conkers? -No, they don't. | 0:22:15 | 0:22:19 | |
I always remember calling those cheese cutters. | 0:22:19 | 0:22:22 | |
I thought that was quite good cos it would start a crack in it, no? | 0:22:22 | 0:22:27 | |
-No. -That's why I always lost as a child! | 0:22:27 | 0:22:29 | |
Now the first records of conkering date back to the Isle of Wight in 1858. | 0:22:29 | 0:22:34 | |
Although a lot of people think of this as a British tradition, | 0:22:34 | 0:22:38 | |
there are some conkering aficionados who have taken it further afield. | 0:22:38 | 0:22:43 | |
Stuart, I understand that you're actually from France now? | 0:22:43 | 0:22:45 | |
Yes, I live in France. I've lived there for 14 years, | 0:22:45 | 0:22:48 | |
where I am the president of the Federation Francaise des Conkers! | 0:22:48 | 0:22:52 | |
I got involved when we first went to the Dordogne in France. | 0:22:55 | 0:22:58 | |
Conkers lay on the ground, nobody touches them. | 0:22:58 | 0:23:01 | |
So we decided to have a impromptu conker competition in front of a bar in our little village. | 0:23:01 | 0:23:06 | |
A few local Brits turned up to play. | 0:23:06 | 0:23:08 | |
That continued for two or three years, until one year, in 1995, | 0:23:08 | 0:23:12 | |
a young Frenchman, Stefan Jally, won the French conker championships. | 0:23:12 | 0:23:16 | |
That suddenly gave it immense credibility to all the local French people. | 0:23:16 | 0:23:20 | |
Am I right in thinking that you take it so seriously that you even | 0:23:20 | 0:23:23 | |
practise through the summer months? | 0:23:23 | 0:23:25 | |
We have training conkers made by our manufacturer | 0:23:25 | 0:23:28 | |
who actually produces these so that during the summer | 0:23:28 | 0:23:32 | |
we can train throughout the year with unbreakable conkers. | 0:23:32 | 0:23:35 | |
That's one the reasons that the French team is so strong, | 0:23:35 | 0:23:38 | |
they continue playing throughout the year and not just in autumn. | 0:23:38 | 0:23:42 | |
Now, Stefan, I understand that you were the French champion? | 0:23:52 | 0:23:56 | |
-Yes, I was. -What do they call you? | 0:23:56 | 0:23:59 | |
The Cantona Of Conkers. | 0:23:59 | 0:24:01 | |
Cantona Of Conkers! | 0:24:01 | 0:24:03 | |
These are your training conkers? | 0:24:03 | 0:24:05 | |
Yes, conkers are normally in October. | 0:24:05 | 0:24:08 | |
The rest of the year we practise with that. | 0:24:08 | 0:24:12 | |
First of all, where should I be aiming for? | 0:24:12 | 0:24:14 | |
The best is here. | 0:24:14 | 0:24:16 | |
Right, on the top. | 0:24:16 | 0:24:18 | |
-What sort of length? About that? -That's right. | 0:24:18 | 0:24:22 | |
-So just hold it down? -Yep. | 0:24:22 | 0:24:24 | |
-Brilliant. -Perfect. | 0:24:24 | 0:24:28 | |
I don't need any more tips. | 0:24:28 | 0:24:29 | |
I was a bit of an expert as a schoolboy, actually. | 0:24:29 | 0:24:32 | |
Well, I'm kitted out with my conker. | 0:24:34 | 0:24:36 | |
I've got the top tips from the Cantona Of Conkers. | 0:24:36 | 0:24:39 | |
Now here I am to rescue British pride from the French! | 0:24:39 | 0:24:44 | |
My conker's smashed to bits. | 0:24:51 | 0:24:53 | |
I'm beaten. | 0:24:53 | 0:24:55 | |
Ben Fogle at the International Conker Championships in Ashton. | 0:25:01 | 0:25:06 | |
I've now travelled a few miles south from Coton | 0:25:06 | 0:25:08 | |
to another of Northamptonshire's grand country houses, | 0:25:08 | 0:25:11 | |
just outside of the village of Holdenby. | 0:25:11 | 0:25:13 | |
Holdenby House, or Holnby as it is known locally, | 0:25:13 | 0:25:17 | |
is the surviving wing of a huge Tudor palace, | 0:25:17 | 0:25:20 | |
built by Sir Christopher Hatton. | 0:25:20 | 0:25:22 | |
Hatton was the Lord Chancellor to Queen Elizabeth I | 0:25:22 | 0:25:26 | |
and one of the most powerful men in England. | 0:25:26 | 0:25:29 | |
The palace reflected his exalted status. | 0:25:29 | 0:25:31 | |
When it was finished in 1983, | 0:25:31 | 0:25:34 | |
it was the largest and most glittering house in all of England. | 0:25:34 | 0:25:39 | |
It's also thought that Hatton built the palace to impress his Queen, | 0:25:42 | 0:25:47 | |
who allegedly visited only once, before he died nine years later | 0:25:47 | 0:25:51 | |
with vast debts of £42,000. | 0:25:51 | 0:25:54 | |
Sadly, his heir could not afford to run the house | 0:26:00 | 0:26:03 | |
and sold it to King James I in 1605. | 0:26:03 | 0:26:07 | |
Over the following years, King James I was a frequent visitor to Holdenby. | 0:26:08 | 0:26:13 | |
At a time of history when a great rebellion was gathering momentum, | 0:26:13 | 0:26:17 | |
one that would change the future of the English monarchy forever. | 0:26:17 | 0:26:21 | |
Charles I succeeded his father King James in 1625. | 0:26:23 | 0:26:28 | |
He hoped to unite the kingdoms of England, Scotland and Ireland | 0:26:28 | 0:26:31 | |
into a new single kingdom fulfilling the dreams of his father. | 0:26:31 | 0:26:36 | |
But trouble loomed. | 0:26:39 | 0:26:42 | |
Like his father, Charles believed in the divine power of the crown, | 0:26:42 | 0:26:46 | |
but this concept was radically opposed by the Parliamentarians or Roundheads. | 0:26:46 | 0:26:52 | |
Eventually this fundamental difference on opinion | 0:26:54 | 0:26:57 | |
on the power of the monarchy led to the English Civil War | 0:26:57 | 0:27:01 | |
which raged on and off between the Parliamentarians and the Royalists for nearly ten years. | 0:27:01 | 0:27:06 | |
Just a few miles north of Holdenby, one of the most significant battles of this war took place. | 0:27:07 | 0:27:14 | |
The Royalists were led by Charles I and Prince Rupert, | 0:27:14 | 0:27:17 | |
the Parliamentarians by Oliver Cromwell and Sir Thomas Fairfax. | 0:27:17 | 0:27:22 | |
In 2004, Peter Snow told the story. | 0:27:22 | 0:27:25 | |
Charles, Rupert and the Royalist army | 0:27:27 | 0:27:30 | |
arrived here in the town of Market Harborough in June 1645. | 0:27:30 | 0:27:35 | |
At this stage, they had no clear idea where the New Model Army was. | 0:27:35 | 0:27:39 | |
In fact, Fairfax and his Roundheads were hard on their heels. | 0:27:39 | 0:27:43 | |
They were just 15 miles away and in very good cheer. | 0:27:43 | 0:27:48 | |
The New Model Army was spoiling for a fight. | 0:27:52 | 0:27:55 | |
Soon word reached the Royalists that the enemy was close by. | 0:27:55 | 0:27:59 | |
The moment he received the news, | 0:27:59 | 0:28:01 | |
Charles called a council of war here in Market Harborough. | 0:28:01 | 0:28:05 | |
The outcome - rather than march on north, | 0:28:05 | 0:28:07 | |
they would turn around and confront the Parliamentarians. | 0:28:07 | 0:28:12 | |
In the next 24 hours, the most decisive battle | 0:28:12 | 0:28:15 | |
of this protracted Civil War would be played out. | 0:28:15 | 0:28:18 | |
And the battlefield? A hilly area between Market Harborough | 0:28:18 | 0:28:22 | |
and the village of Naseby six miles to the south-west. | 0:28:22 | 0:28:26 | |
Early on the morning of Saturday 14th June, 1645, at 6:00am, | 0:28:31 | 0:28:36 | |
the Royalists moved south, out of Market Harborough | 0:28:36 | 0:28:41 | |
and formed a battle line along that high ground about three miles away over there. | 0:28:41 | 0:28:47 | |
This is that ridge just here. | 0:28:47 | 0:28:49 | |
The King and Prince Rupert positioned their forces all the way along that ridge. | 0:28:49 | 0:28:55 | |
This piece of high ground here, where I'm standing now, is where | 0:28:55 | 0:28:59 | |
Cromwell and Fairfax rode up to, to look at the lie of the land. | 0:28:59 | 0:29:03 | |
They'd moved their New Model Army up here, | 0:29:03 | 0:29:05 | |
just slightly north from the village of Naseby, | 0:29:05 | 0:29:08 | |
which is just off down there. | 0:29:08 | 0:29:09 | |
They could clearly see the Royalists fanning out on that other ridge over there, | 0:29:09 | 0:29:14 | |
so they were in no doubt the King and his men wanted to do battle. | 0:29:14 | 0:29:18 | |
But there was one snag. | 0:29:18 | 0:29:20 | |
The trouble was, the New Model Army's position was too good, | 0:29:20 | 0:29:25 | |
and actually made a battle less likely. | 0:29:25 | 0:29:28 | |
The slope in front of them was so steep, | 0:29:28 | 0:29:30 | |
it would be suicide for enemy cavalry to charge up it - | 0:29:30 | 0:29:34 | |
fine for defence, but not if you wanted to provoke an attack, | 0:29:34 | 0:29:38 | |
and that was exactly what Cromwell wanted to do. | 0:29:38 | 0:29:41 | |
So, he said to Fairfax, "I beseech you, | 0:29:41 | 0:29:45 | |
"draw back to yonder hill, which will encourage the enemy to charge us." | 0:29:45 | 0:29:49 | |
And so they agreed to shunt their entire battle line sideways | 0:29:49 | 0:29:54 | |
to some more gentle ground to the west. | 0:29:54 | 0:29:57 | |
The Royalists followed the lead - | 0:29:58 | 0:30:00 | |
also eager to bring the conflict to a head. | 0:30:00 | 0:30:03 | |
Both sides now began to assemble on either side of a valley | 0:30:20 | 0:30:24 | |
that was to become the battlefield of Naseby. | 0:30:24 | 0:30:28 | |
By 10.00am, the two armies had moved to their new positions, | 0:30:34 | 0:30:38 | |
the Royalists along that slope over there, | 0:30:38 | 0:30:40 | |
the Parliamentarians up there. | 0:30:40 | 0:30:43 | |
That Royalist ridge over there is just here. | 0:30:45 | 0:30:49 | |
The two sides were on opposite slopes, | 0:30:49 | 0:30:52 | |
facing each other with 800 metres of flat ground between them. | 0:30:52 | 0:30:55 | |
The two battle lines were about a mile wide from end to end. | 0:30:55 | 0:31:00 | |
Estimates vary, but the King had roughly 4,500 infantry | 0:31:00 | 0:31:04 | |
in three lines in the centre. | 0:31:04 | 0:31:07 | |
The King himself, dressed in full plate armour, | 0:31:07 | 0:31:11 | |
was back with his reserves in the third line. | 0:31:11 | 0:31:14 | |
On the flanks, the Royalist cavalry - | 0:31:14 | 0:31:17 | |
around 10,000 Royalists all together. | 0:31:17 | 0:31:20 | |
Against them, around 13,500 men of the New Model Army. | 0:31:20 | 0:31:26 | |
Their cavalry were also split into two wings. | 0:31:26 | 0:31:29 | |
Their right wing was commanded by Oliver Cromwell. | 0:31:29 | 0:31:32 | |
In the centre here, were the infantry. | 0:31:32 | 0:31:36 | |
Neither side had a great battle plan. | 0:31:36 | 0:31:39 | |
Both thought they would win in a straight contest, a head-on clash. | 0:31:39 | 0:31:43 | |
It was not strategy, | 0:31:43 | 0:31:45 | |
but strength, courage and discipline that would decide the battle. | 0:31:45 | 0:31:49 | |
Fire! | 0:31:49 | 0:31:50 | |
They're firing from the hedges! | 0:31:52 | 0:31:54 | |
Right... | 0:31:54 | 0:31:56 | |
GUNFIRE | 0:31:56 | 0:31:59 | |
Aagh! | 0:31:59 | 0:32:01 | |
Aaagh! | 0:32:03 | 0:32:04 | |
The battle ebbed and flowed with terrible violence. | 0:32:08 | 0:32:11 | |
At first, the Royalists had the upper hand, | 0:32:13 | 0:32:16 | |
with the Parliamentarian New Model Army fleeing and coming close to collapse. | 0:32:16 | 0:32:20 | |
But at a crucial moment, | 0:32:20 | 0:32:22 | |
Cromwell made the key decision to split his cavalry in half. | 0:32:22 | 0:32:26 | |
One half pursued the royalist cavalry, | 0:32:26 | 0:32:28 | |
the other swung left to support his flailing infantry. | 0:32:28 | 0:32:32 | |
This daring decision worked, | 0:32:32 | 0:32:34 | |
turning the battle in favour of Cromwell and Fairfax's New Model Army. | 0:32:34 | 0:32:38 | |
Here on the fields of Northamptonshire, | 0:32:38 | 0:32:41 | |
the Parliamentarians had won one of the most significant battles in British history. | 0:32:41 | 0:32:46 | |
At the end of the Civil War, with the Royalists defeated, | 0:32:49 | 0:32:53 | |
Holdenby House turned from palace to prison. | 0:32:53 | 0:32:56 | |
The King, Charles I, was held here for five months in 1647. | 0:32:56 | 0:33:01 | |
However, it wasn't prison as you and I might know it, | 0:33:01 | 0:33:05 | |
as the King was allowed to live in comfort, | 0:33:05 | 0:33:08 | |
with just 120 of his own servants to look after him. | 0:33:08 | 0:33:12 | |
The library was part of the original Elizabethan palace, | 0:33:14 | 0:33:18 | |
and has strong associations with Charles I. | 0:33:18 | 0:33:21 | |
Whilst Charles was here, he wrote a pamphlet which, when it was published, was entitled | 0:33:23 | 0:33:28 | |
The Portraiture Of His Sacred Majesty In His Solitudes and Sufferings. | 0:33:28 | 0:33:34 | |
"If thou will turn the hearts of my people to thyself in pity to me in loyalty | 0:33:34 | 0:33:38 | |
"and to one another in charity, if that will quench the flames | 0:33:38 | 0:33:43 | |
"and withdraw the fuel of these civil wars..." | 0:33:43 | 0:33:46 | |
His words really give a sense that he felt he was chosen by God | 0:33:46 | 0:33:50 | |
and only answerable to God. | 0:33:50 | 0:33:51 | |
Around the time that Charles was writing his pamphlet, | 0:34:01 | 0:34:04 | |
this picture was painted, called His Clouded Majesty, | 0:34:04 | 0:34:07 | |
and in it, you can see Charles with a backdrop all dark and moody, | 0:34:07 | 0:34:11 | |
with rumbling clouds and dark rock, next to his son James. | 0:34:11 | 0:34:16 | |
It clearly reflected his mood on the Civil War at the time. | 0:34:16 | 0:34:20 | |
Charles was taken from Holdenby in June 1657 and eventually tried for, | 0:34:20 | 0:34:24 | |
"Subverting the fundamental laws and liberties | 0:34:24 | 0:34:28 | |
"of the nation and maliciously making war on the Parliament and people of England." | 0:34:28 | 0:34:33 | |
In 1649 he became the first British monarch to be executed. | 0:34:33 | 0:34:39 | |
After this, Holdenby fell into decay, | 0:34:40 | 0:34:43 | |
and much of the palace's original stone was used | 0:34:43 | 0:34:46 | |
to build other houses in the county. | 0:34:46 | 0:34:48 | |
Then, towards the end of the 19th century, the great, great grandparents | 0:34:48 | 0:34:53 | |
of the current owner took the one remaining wing | 0:34:53 | 0:34:56 | |
and adapted it into the house that you see today. | 0:34:56 | 0:34:59 | |
There may only be an eighth of the original palace left, | 0:35:01 | 0:35:05 | |
but as grand country houses go, it's still pretty impressive. | 0:35:05 | 0:35:10 | |
But in amongst all the history, my favourite room houses | 0:35:14 | 0:35:18 | |
a collection of unusual pianos from the British Musical Museum. | 0:35:18 | 0:35:22 | |
They're a passion of Holdenby's current owner, James Lowther. | 0:35:22 | 0:35:26 | |
Wow! What an amazing room! | 0:35:28 | 0:35:31 | |
-Full of pianos! -Yep, full of pianos. | 0:35:31 | 0:35:33 | |
Shall we have a little tour around? What about this one? | 0:35:33 | 0:35:36 | |
This is probably the best piano in the room, | 0:35:36 | 0:35:39 | |
but not necessarily in the best condition at the moment. | 0:35:39 | 0:35:42 | |
This is a Broadwood from about 1780, | 0:35:42 | 0:35:45 | |
and this is the exact make of piano | 0:35:45 | 0:35:48 | |
which Beethoven would have been playing when he died. | 0:35:48 | 0:35:50 | |
In fact, after he died, there was a picture of his piano. | 0:35:50 | 0:35:53 | |
Because he was deaf by that time, | 0:35:53 | 0:35:55 | |
and he couldn't hear, so he actually sawed the legs off and put it | 0:35:55 | 0:35:59 | |
on the ground and he could listen to it through the vibrations through the ground. | 0:35:59 | 0:36:03 | |
-It doesn't really... -Does it play? | 0:36:03 | 0:36:06 | |
Well, it's missing a few notes. | 0:36:06 | 0:36:08 | |
Beethoven would actually WANT to die if he heard this but... | 0:36:10 | 0:36:13 | |
-I'm sure he wouldn't! -HE PLAYS BEETHOVEN'S "Moonlight Sonata" | 0:36:13 | 0:36:16 | |
It's like he's in the room! | 0:36:16 | 0:36:18 | |
It has got quite a tinny sound. | 0:36:21 | 0:36:24 | |
It has, but the vibrations are very apparent. | 0:36:24 | 0:36:28 | |
Great! Not a huge range either. | 0:36:28 | 0:36:31 | |
It didn't have the power, and that's what used to frustrate him. | 0:36:31 | 0:36:34 | |
Because it hasn't got a metal frame. | 0:36:34 | 0:36:36 | |
So, he wanted to make a lot of noise, | 0:36:36 | 0:36:38 | |
and he was deaf, so he couldn't really hear what he was playing. | 0:36:38 | 0:36:43 | |
This one is quite fun. This is quite a lot later. | 0:36:45 | 0:36:48 | |
Funnily enough, it's made by the same maker, | 0:36:48 | 0:36:50 | |
but that was this century, Broadwood. | 0:36:50 | 0:36:53 | |
But the great thing about this piano, it's what they call a transposing piano. | 0:36:53 | 0:36:57 | |
If you're like me and really bad at the piano and you like to play in C, so... | 0:36:57 | 0:37:01 | |
-HE PLAYS CHORDS -No sharps or flats. | 0:37:01 | 0:37:04 | |
No sharps or flats. | 0:37:04 | 0:37:06 | |
So if you want to then make the same sound, | 0:37:07 | 0:37:10 | |
but in a different key, but play the same notes, | 0:37:10 | 0:37:13 | |
-you just move the keyboard. -What a cheat! | 0:37:13 | 0:37:16 | |
That's brilliant. | 0:37:16 | 0:37:18 | |
Fantastic! | 0:37:21 | 0:37:23 | |
Still no sharps or flats! | 0:37:23 | 0:37:25 | |
And the composer Berlin used to use this a lot when he was | 0:37:25 | 0:37:29 | |
doing his musicals, because he liked to play in C as well. | 0:37:29 | 0:37:32 | |
-But obviously, you can't play everything in C. -No, true enough. | 0:37:32 | 0:37:35 | |
This is a strange-looking piano. | 0:37:35 | 0:37:37 | |
This is actually probably, | 0:37:37 | 0:37:39 | |
you'd probably call this the Les Dawson piano. | 0:37:39 | 0:37:42 | |
It's actually an upright... grand piano but it's upright. | 0:37:42 | 0:37:45 | |
So it's got all the length of a grand piano... | 0:37:45 | 0:37:48 | |
All the length of a grand piano, but it's an upright piano. And the sound is very honky tonk. | 0:37:48 | 0:37:52 | |
HE PLAYS "The Entertainer" | 0:37:52 | 0:37:54 | |
And also massively out of tune! | 0:37:54 | 0:37:57 | |
So even if I'm not trying to play like Les Dawson, | 0:37:57 | 0:38:00 | |
it actually sounds like Les Dawson. It actually needs tuning - it would sound better. | 0:38:00 | 0:38:04 | |
-I love that! -That's rather splendid. | 0:38:04 | 0:38:07 | |
This one looks rather modern, over here. | 0:38:07 | 0:38:09 | |
This one is actually very modern. | 0:38:09 | 0:38:12 | |
This was made for the exhibition in 1939, in the States. | 0:38:12 | 0:38:18 | |
And actually, the two great things about the piano - | 0:38:18 | 0:38:21 | |
as you can see, it says, "As used by TRH Princess Elizabeth and Princess Margaret Rose," | 0:38:21 | 0:38:28 | |
which is the Queen and Princess Margaret. | 0:38:28 | 0:38:30 | |
-Royal fingers! -Royal fingers have touched this keyboard. | 0:38:30 | 0:38:35 | |
But the fun thing about it is... | 0:38:35 | 0:38:37 | |
it doesn't all work now, but the idea was, you turned on the radio here | 0:38:37 | 0:38:42 | |
and tuned into your favourite... The Home Service or whatever it was, or The Light Programme, | 0:38:42 | 0:38:48 | |
and then you would play along with it, and twiddle the dials here. | 0:38:48 | 0:38:52 | |
And play along! That's genius. | 0:38:52 | 0:38:55 | |
And then if there was nothing very good on the radio, | 0:38:55 | 0:39:00 | |
you could play along, you'd put your vinyl disc on | 0:39:00 | 0:39:05 | |
and then you would play along to that. | 0:39:05 | 0:39:08 | |
-Kind of karaoke for the piano. -It's sort of karaoke, yes. Modern karaoke. | 0:39:08 | 0:39:12 | |
I've really enjoyed discovering the incredible history of Holdenby | 0:39:14 | 0:39:18 | |
and its quirky collection of pianos, | 0:39:18 | 0:39:21 | |
but it's time for me to head off and continue my journey through the county. | 0:39:21 | 0:39:24 | |
The Northamptonshire countryside is a patchwork landscape | 0:39:35 | 0:39:39 | |
of arable fields, ancient churches and pretty villages. | 0:39:39 | 0:39:43 | |
Like anywhere else, it has undergone changes, but walking through it | 0:39:47 | 0:39:51 | |
remains a simple way to connect with the past, and with nature. | 0:39:51 | 0:39:56 | |
Back in the early 19th century, one of Northamptonshire's most famous sons | 0:40:01 | 0:40:06 | |
celebrated the beauty of such scenery and traditional rural life in his poetry. | 0:40:06 | 0:40:12 | |
"The landscape laughs in spring and stretches on | 0:40:13 | 0:40:16 | |
"Its growing distance of refreshing dyes | 0:40:16 | 0:40:19 | |
"From pewit-haunted flats, the floods are gone | 0:40:19 | 0:40:21 | |
"And, like a carpet, the green meadow lies | 0:40:21 | 0:40:24 | |
"In merry hues and edged wi' yellow flowers | 0:40:24 | 0:40:27 | |
"The trickling brook veins sparkling to the sun | 0:40:27 | 0:40:30 | |
"Like to young may-flies dancing wi' the hours..." | 0:40:30 | 0:40:33 | |
That was The Landscape Laughs In Spring by John Clare, | 0:40:39 | 0:40:43 | |
and what I like about Clare's poetry is that he used words | 0:40:43 | 0:40:47 | |
that were only spoken locally, in Northamptonshire dialect. | 0:40:47 | 0:40:50 | |
Words like pooty for snail and pewit for lapwing, | 0:40:50 | 0:40:53 | |
and this one, which is brilliant, sounds like something Roald Dahl would have written, | 0:40:53 | 0:40:58 | |
which is, moldiwarp for mole. | 0:40:58 | 0:41:00 | |
Today, Clare is recognised by scholars as one of our greatest nature poets. | 0:41:01 | 0:41:06 | |
But his life was dogged by troubles | 0:41:06 | 0:41:08 | |
and he has remained comparatively unknown. | 0:41:08 | 0:41:11 | |
In 2004, his biographer, Jonathan Bate, told his story. | 0:41:11 | 0:41:15 | |
John Clare was born in the little Northamptonshire village of Helpston | 0:41:15 | 0:41:20 | |
in the year 1793. | 0:41:20 | 0:41:23 | |
It was a time of great agricultural hardship. | 0:41:23 | 0:41:26 | |
It was also during the early years of the French Revolution, | 0:41:26 | 0:41:29 | |
when there were serious concerns about war and social unrest. | 0:41:29 | 0:41:33 | |
So he was a war baby, | 0:41:33 | 0:41:35 | |
born in a time of poverty, in a community of great poverty. | 0:41:35 | 0:41:40 | |
Clare had a fantastic eye and a fantastic memory. | 0:41:42 | 0:41:45 | |
So he always remembered his childhood days, | 0:41:45 | 0:41:48 | |
in particular walking to the next village, | 0:41:48 | 0:41:52 | |
a village called Glinton, where he went to school. | 0:41:52 | 0:41:55 | |
And as he walked through the fields to school, | 0:41:55 | 0:41:58 | |
he just took in every impression around him. | 0:41:58 | 0:42:00 | |
There's a lot of noise in Clare's poetry. | 0:42:00 | 0:42:03 | |
You can hear the sounds of childhood, the sounds of boys shouting to each other. | 0:42:03 | 0:42:08 | |
And he seems to have been able to write about childhood | 0:42:08 | 0:42:11 | |
with an absolute freshness and a complete lack of sentimentality. | 0:42:11 | 0:42:15 | |
"Harken that happy shout | 0:42:17 | 0:42:19 | |
"The schoolhouse door is open thrown and out the younkers teem! | 0:42:19 | 0:42:25 | |
"Ah, happy boys! | 0:42:25 | 0:42:26 | |
"Well may ye turn and smile | 0:42:26 | 0:42:29 | |
"When joys are yours that never cost a sigh | 0:42:29 | 0:42:32 | |
"Might I have my choice of joy below, | 0:42:32 | 0:42:36 | |
"I'd only ask to be a boy again." | 0:42:36 | 0:42:39 | |
Once he left school, Clare got a variety of casual jobs, | 0:42:43 | 0:42:47 | |
maybe looking after horses in the field, ploughing. | 0:42:47 | 0:42:50 | |
He got a rather more permanent job at the pub next door to his cottage, called the Blue Bell, | 0:42:50 | 0:42:55 | |
where he was a pot boy, which basically meant cleaning all the pots in the kitchen. | 0:42:55 | 0:42:59 | |
He spent a lot of time in that pub, though, as did his father, Parker Clare - | 0:42:59 | 0:43:05 | |
loved to go to the pub and sing ballads and folksongs there. | 0:43:05 | 0:43:09 | |
But of course, spending all the time in the pub did mean | 0:43:09 | 0:43:12 | |
that from a fairly early age, Clare got quite keen on the beer. | 0:43:12 | 0:43:16 | |
Clare's whole mental landscape was shaped by the life of his village. | 0:43:18 | 0:43:23 | |
There's a wonderful passage in his autobiography | 0:43:23 | 0:43:26 | |
where he says he sets out one morning to walk towards the horizon. | 0:43:26 | 0:43:29 | |
And when he does get away from his village, he says, "I've gone out of my knowledge." | 0:43:29 | 0:43:34 | |
There's a real sense his whole identity is bound up with his place, | 0:43:34 | 0:43:38 | |
and that's one of the things which makes him our great poet of place. | 0:43:38 | 0:43:42 | |
For Clare, the open fields leading to the commons and the heath | 0:43:42 | 0:43:46 | |
symbolise an extraordinary sense of freedom, | 0:43:46 | 0:43:49 | |
whereas once the enclosure came, | 0:43:49 | 0:43:51 | |
there was a real sense of restriction. | 0:43:51 | 0:43:54 | |
At that point, fences would go up, no trespassing signs would go up, | 0:43:54 | 0:43:58 | |
ditches would be erected, hedgerows, | 0:43:58 | 0:44:01 | |
and you would even have streams being redirected in their course to mark out boundaries. | 0:44:01 | 0:44:07 | |
"Enclosure came and trampled on the grave of labour's rights | 0:44:12 | 0:44:16 | |
"and left the poor a slave. | 0:44:16 | 0:44:18 | |
"Fence now meets fence in owner's little bounds of fields and meadows large as garden grounds..." | 0:44:18 | 0:44:26 | |
Clair finally found his way into print in the year 1820. | 0:44:29 | 0:44:32 | |
His publisher was a very interesting man called John Taylor, who had been publishing Keats | 0:44:32 | 0:44:38 | |
without much success, but was on the lookout for a kind of rural equivalent of Keats, | 0:44:38 | 0:44:43 | |
a brilliant young poet with a new voice, | 0:44:43 | 0:44:46 | |
and he found such a poet in Clare. | 0:44:46 | 0:44:49 | |
It was very difficult for Clare that at precisely the time | 0:44:49 | 0:44:53 | |
that he was being taken up in the London literary world | 0:44:53 | 0:44:56 | |
was also the time that he was having a family. | 0:44:56 | 0:44:58 | |
And he felt deeply torn between his family and the need | 0:44:58 | 0:45:03 | |
to earn money for his family back home in his little village | 0:45:03 | 0:45:06 | |
and the London literary life, which in some ways he found incredibly exciting, | 0:45:06 | 0:45:11 | |
because he was among other poets, | 0:45:11 | 0:45:13 | |
but in other ways he always felt alienated from. | 0:45:13 | 0:45:16 | |
He began to have delusions, to see what he called blue devils. | 0:45:19 | 0:45:23 | |
His friends in London persuaded him to see | 0:45:25 | 0:45:27 | |
a famous doctor called Dr Darling, who was actually Keats's doctor. | 0:45:27 | 0:45:32 | |
But in many ways the trip to London made matters worse. | 0:45:32 | 0:45:36 | |
There was this profound sense of alienation, | 0:45:36 | 0:45:39 | |
and the more time went on, the more Clare seemed unable | 0:45:39 | 0:45:44 | |
to maintain any kind of mental stability. | 0:45:44 | 0:45:47 | |
He was deeply depressed and he may even have been violent. | 0:45:49 | 0:45:53 | |
He certainly had very violent mood swings | 0:45:53 | 0:45:56 | |
and his language could suddenly become very obscene. | 0:45:56 | 0:46:00 | |
His wife just couldn't cope with this, having a young family as well. | 0:46:00 | 0:46:03 | |
So he was committed to a lunatic asylum. | 0:46:03 | 0:46:06 | |
I think Clare was unfortunate in living for so long. | 0:46:07 | 0:46:10 | |
The thing about Keats and Shelley and Byron | 0:46:10 | 0:46:12 | |
is they had very glamorous early deaths so they were rapidly immortalised. | 0:46:12 | 0:46:16 | |
Clare carried on living in the asylum for over 20 years. | 0:46:16 | 0:46:20 | |
The last ten years or so of his life he was declining into senile dementia, | 0:46:20 | 0:46:25 | |
writing just occasionally but not in any way in the prolific way he did before. | 0:46:25 | 0:46:30 | |
Then he had a series of strokes. | 0:46:30 | 0:46:32 | |
His life was really rather a slow fade out. | 0:46:32 | 0:46:35 | |
After many troubled years, John Clare died in Northampton on 20th May 1864 in his 71st year. | 0:46:45 | 0:46:54 | |
It was during his final years at the asylum that he was in the habit of walking down here | 0:47:03 | 0:47:08 | |
to All Saints Church in the centre of Northampton | 0:47:08 | 0:47:11 | |
to sit under the portico and compose. | 0:47:11 | 0:47:13 | |
It's thought that while he was here | 0:47:13 | 0:47:16 | |
he penned his most famous poem of all, I Am. | 0:47:16 | 0:47:19 | |
"I am, yet what I am none cares or knows, | 0:47:19 | 0:47:23 | |
"My friends forsake me like a memory lost | 0:47:23 | 0:47:26 | |
"I am the self-consumer of my woes..." | 0:47:26 | 0:47:30 | |
"I long for scenes where man has never trod | 0:47:30 | 0:47:32 | |
"A place where woman never smiled or wept | 0:47:32 | 0:47:36 | |
"There to abide with my creator, God | 0:47:36 | 0:47:39 | |
"And sleep as I in childhood sweetly slept | 0:47:39 | 0:47:42 | |
"Untroubling and untroubled where I lie | 0:47:42 | 0:47:45 | |
"The grass below, Above, the vaulted sky..." | 0:47:45 | 0:47:49 | |
Poor old soul, he clearly had the terrible blues | 0:47:49 | 0:47:52 | |
and found a great deal of comfort in his memories of the countryside. | 0:47:52 | 0:47:56 | |
Despite the sad end to his life, | 0:47:56 | 0:47:59 | |
John Clare is now placed in the company of Romantic poets | 0:47:59 | 0:48:03 | |
like Keats, Byron and Shelley - | 0:48:03 | 0:48:06 | |
an equal among some of England's greatest poets. | 0:48:06 | 0:48:09 | |
My Country Tracks journey through Northamptonshire | 0:48:09 | 0:48:12 | |
is now taking me just over the county border into Bedfordshire, | 0:48:12 | 0:48:16 | |
to a former US Air Force base near the village of Podington. | 0:48:16 | 0:48:20 | |
I'm at the most famous drag car racing track outside of America. | 0:48:34 | 0:48:40 | |
But before I get to grips with drag racing, | 0:48:40 | 0:48:42 | |
here's the Country Tracks weather for the week ahead. | 0:48:42 | 0:48:45 | |
. | 0:50:50 | 0:50:57 | |
I've been on a journey through Northamptonshire. | 0:51:06 | 0:51:09 | |
I started by exploring the county's tradition | 0:51:09 | 0:51:11 | |
for shoe making in Northampton | 0:51:11 | 0:51:13 | |
and then went north to Coton Manor Gardens | 0:51:13 | 0:51:16 | |
to meet some exotic feathered friends. | 0:51:16 | 0:51:18 | |
From there, I travelled south to Holdenby Palace, | 0:51:18 | 0:51:21 | |
to unearth the story of Charles I and the battle of Naseby. | 0:51:21 | 0:51:25 | |
The Northamptonshire countryside and the poetry of John Clare | 0:51:25 | 0:51:28 | |
then brought me just over the county border with Bedfordshire | 0:51:28 | 0:51:32 | |
to the Santa Pod Raceway. | 0:51:32 | 0:51:33 | |
Santa Pod has earned the reputation as being the home of European drag car racing. | 0:51:38 | 0:51:42 | |
It hosts a number of events and races throughout the year, | 0:51:42 | 0:51:46 | |
featuring some of the largest car and bike engines in the world. | 0:51:46 | 0:51:51 | |
And yet relatively little is known about this motorsport, | 0:51:51 | 0:51:54 | |
which has a following all across the world. | 0:51:54 | 0:51:57 | |
Drag racing took off in the UK during the 1960s, when many old, | 0:51:58 | 0:52:02 | |
disused air bases around the country were converted to racing tracks. | 0:52:02 | 0:52:06 | |
I'm meeting up with former chief starter Stuart Bradbury, | 0:52:06 | 0:52:10 | |
known back in the '60s for his outfit and signature starting dance. | 0:52:10 | 0:52:14 | |
So you're going to have to forgive me, | 0:52:20 | 0:52:22 | |
I'm completely new to drag car racing - what's the basics? | 0:52:22 | 0:52:25 | |
Well, the basics is basically two cars starting from | 0:52:25 | 0:52:29 | |
a standing start, a full quarter-mile strip. | 0:52:29 | 0:52:32 | |
The first one to the end is the winner. | 0:52:32 | 0:52:35 | |
-They've just got a quarter-of-a-mile? -Yes. | 0:52:35 | 0:52:38 | |
-That's not that long, actually. -It's not that long, but in that period of time, | 0:52:38 | 0:52:42 | |
these guys will reach well over 300mph, from a standing start. | 0:52:42 | 0:52:47 | |
-300mph?! -Yeah. We need another quarter-of-a-mile to stop. | 0:52:47 | 0:52:51 | |
-So it's a longer track than the finishing line says. -It is, yes. -That must have G forces involved? | 0:52:51 | 0:52:56 | |
Yeah, you probably pull four or five Gs off a start line, with one of these big cars. | 0:52:56 | 0:53:03 | |
-So what's this strange-looking vehicle here? -This is what we call a top fuel dragster. | 0:53:03 | 0:53:07 | |
This is the top end of the sport. | 0:53:07 | 0:53:09 | |
This car would produce something like 8,000 horsepower at the rear wheels. | 0:53:09 | 0:53:15 | |
So it's pretty powerful. | 0:53:15 | 0:53:18 | |
What about this one, it looks a touch more normal, though not completely...? | 0:53:18 | 0:53:22 | |
It's more like a conventional-bodied car, it's what we called a funny car. | 0:53:22 | 0:53:27 | |
-I can see why! -Similar type of engine, | 0:53:27 | 0:53:29 | |
but the engine is in front of the driver, | 0:53:29 | 0:53:31 | |
which is a little bit more of a problem to control and drive. | 0:53:31 | 0:53:36 | |
-Oh, is it? -Because the weight characteristics are different. | 0:53:36 | 0:53:41 | |
Also, you've got the engine in front of you, and if it does have a problem or explode | 0:53:41 | 0:53:45 | |
or blow up, then it's not very nice in there. | 0:53:45 | 0:53:48 | |
What sort of fuel do these cars use? | 0:53:48 | 0:53:51 | |
I'm assuming it's not just your standard down-the-garage stuff? | 0:53:51 | 0:53:55 | |
No, a mixture of nitromethane and methanol. | 0:53:55 | 0:53:58 | |
The big cars use probably around about 85% nitromethane | 0:53:58 | 0:54:02 | |
and the rest methanol fuel. | 0:54:02 | 0:54:06 | |
That sounds expensive apart from anything else. | 0:54:06 | 0:54:09 | |
It can be quite expensive. | 0:54:09 | 0:54:11 | |
You're probably looking at about £40 per gallon, | 0:54:11 | 0:54:13 | |
something like that, and they use about 15 gallons a run, so that gives you some idea. | 0:54:13 | 0:54:19 | |
-It can be quite... -It's not a cheap sport. -Er, no. | 0:54:19 | 0:54:22 | |
But that gives you the horsepower as well. | 0:54:22 | 0:54:26 | |
Absolutely. Have there been any records broken on this very track? | 0:54:26 | 0:54:29 | |
The record now for a top fuel dragster here | 0:54:29 | 0:54:34 | |
is 4.57 seconds at 320mph, | 0:54:34 | 0:54:38 | |
which is the Lucas Oils top fuel dragster. | 0:54:38 | 0:54:42 | |
Andy Carter, who's a British guy. | 0:54:42 | 0:54:45 | |
And that's comparable with what they do in America. | 0:54:45 | 0:54:50 | |
One driver at the start of an already-impressive career is Paige Wheeler, | 0:54:50 | 0:54:56 | |
a local junior dragster who's only 12-years-old, | 0:54:56 | 0:55:00 | |
but already the winner of the FIA European finals. | 0:55:00 | 0:55:03 | |
-How are you doing, Paige, are you all right? -I'm all right, thank you. | 0:55:07 | 0:55:10 | |
Fantastic. So how on earth did you get into this? | 0:55:10 | 0:55:13 | |
Well, when we moved up here, we saw that there was a racetrack, | 0:55:13 | 0:55:16 | |
and my dad wanted to show me what racing was all about, really. | 0:55:16 | 0:55:19 | |
So, Dad had the interest to begin with, | 0:55:19 | 0:55:22 | |
-but then you really decided you wanted to do it. -Yes. | 0:55:22 | 0:55:25 | |
Did you have to persuade him quite hard? | 0:55:25 | 0:55:27 | |
I think it was about a year I had to persuade him, yeah. | 0:55:27 | 0:55:31 | |
What was it made you think you wanted to have a go? Didn't you think it was dangerous or...? | 0:55:31 | 0:55:36 | |
I did think it was a bit dangerous, but it just looked so fun to be able to go down there, | 0:55:36 | 0:55:41 | |
cos all of the big cars go down there, I wanted to do it as well. | 0:55:41 | 0:55:45 | |
My goodness. So what was it like the first time you got in and had a go? | 0:55:45 | 0:55:48 | |
Well, my dad told me to take it easy and slightly press the pedal, | 0:55:48 | 0:55:53 | |
but I pushed it right the way down and it felt amazing. | 0:55:53 | 0:55:57 | |
And this must be quite weird going to school as well, | 0:56:00 | 0:56:03 | |
having this other side to your life? | 0:56:03 | 0:56:05 | |
Yeah. At school I'm actually really quiet to everyone else. | 0:56:05 | 0:56:09 | |
And then here I'm just going down the track at 76mph! | 0:56:09 | 0:56:13 | |
So, what's your ultimate ambition? | 0:56:13 | 0:56:16 | |
When I'm 18 I want to be able to go into pro mod, | 0:56:16 | 0:56:20 | |
which is quite fast for an 18-year-old. | 0:56:20 | 0:56:25 | |
And then I would like to be a professional top fuel driver. | 0:56:25 | 0:56:29 | |
But I doubt I'll be able to do it, | 0:56:29 | 0:56:33 | |
cos my dad doesn't like me doing this already. | 0:56:33 | 0:56:36 | |
And I doubt he'll let me go into pro mod. | 0:56:36 | 0:56:38 | |
A protective dad, that's understandable, really. | 0:56:38 | 0:56:41 | |
-You've clearly got lots of ambition. -Yeah. | 0:56:41 | 0:56:44 | |
Now, you're going to have a little race today and show me how it's done, aren't you? | 0:56:44 | 0:56:48 | |
-Yeah. -Well, good luck. -Thank you. | 0:56:48 | 0:56:51 | |
My journey has come to an end just over the Northamptonshire border, | 0:56:51 | 0:56:56 | |
but I've plotted a fascinating course through this county. | 0:56:56 | 0:56:59 | |
Grand stately homes and gardens, | 0:56:59 | 0:57:02 | |
fabulous flamingos, | 0:57:02 | 0:57:04 | |
a tragic lost poet and a great traditional craft | 0:57:04 | 0:57:09 | |
have led me to a drag racing track built on a wartime airfield. | 0:57:09 | 0:57:14 | |
Look at the speed of that! She's disappeared! | 0:57:24 | 0:57:27 | |
What a way to end my journey! | 0:57:27 | 0:57:30 | |
SHE LAUGHS | 0:57:30 | 0:57:31 | |
Subtitles by Red Bee Media Ltd | 0:57:40 | 0:57:44 | |
E-mail [email protected] | 0:57:44 | 0:57:47 |