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-So this is it, then. -This is it, my friend. | 0:00:21 | 0:00:24 | |
This bad boy is the latest in technology from taking | 0:00:24 | 0:00:28 | |
time out from time travelling, sitting on your backside | 0:00:28 | 0:00:32 | |
and doing precisely... | 0:00:32 | 0:00:34 | |
..nothing. | 0:00:35 | 0:00:37 | |
-Show us what it can do, then! -Let's just say it's the business. | 0:00:37 | 0:00:41 | |
-How? -Well, it does this. | 0:00:41 | 0:00:43 | |
I'd say it's more than a chair. | 0:00:43 | 0:00:46 | |
I'd say it was more like a throne fit for a king, | 0:00:46 | 0:00:49 | |
say like the ones they used in 1256. | 0:00:49 | 0:00:53 | |
-What happened to your eye? -What happened to your clothes?! | 0:01:01 | 0:01:04 | |
I'm a king and you're not, so I'm sat on this throne here. | 0:01:04 | 0:01:07 | |
-Cool. -When you're the ruler of a country, | 0:01:07 | 0:01:10 | |
you need something that makes a statement, | 0:01:10 | 0:01:12 | |
-you need to sit on something that says, "I'm the man". -Sure! | 0:01:12 | 0:01:15 | |
A throne like this, which is larger and more extravagant | 0:01:15 | 0:01:19 | |
than normal chairs, shows everybody how important I am. | 0:01:19 | 0:01:22 | |
OK, I get that, but you're the king, shouldn't it be made out | 0:01:22 | 0:01:25 | |
of something expensive like gold? This is made out of wood! | 0:01:25 | 0:01:29 | |
Not all thrones were made out of lavish materials, in fact, | 0:01:29 | 0:01:32 | |
a lot of thrones were made out of wood. | 0:01:32 | 0:01:34 | |
It's thought that wood added a common touch and symbolised | 0:01:34 | 0:01:38 | |
that the monarch was still the servant of its subjects. | 0:01:38 | 0:01:41 | |
Fair enough. On me 'ead! | 0:01:41 | 0:01:43 | |
Sometimes I think your head's made out of wood. | 0:01:47 | 0:01:49 | |
WATCH BEEPS | 0:01:49 | 0:01:51 | |
What a smell! | 0:01:59 | 0:02:01 | |
-I'm sat on the toilet. -Oh, that's disgusting! | 0:02:01 | 0:02:04 | |
No, it's a commode, taken from the French word for "convenient". | 0:02:04 | 0:02:08 | |
It meant that in Georgian times you could hide your toilet | 0:02:08 | 0:02:11 | |
in a piece of furniture and keep it for your convenience | 0:02:11 | 0:02:14 | |
in your living room. | 0:02:14 | 0:02:15 | |
No more need to go upstairs or outside. It was genius. | 0:02:15 | 0:02:19 | |
-Stinks! -Later, armrests were added | 0:02:21 | 0:02:23 | |
so that elderly or infirm people could have a poo. | 0:02:23 | 0:02:27 | |
-Gross! -We still use them to this day. | 0:02:27 | 0:02:29 | |
Quick, do the finger-clicky thing and let's get out of here. | 0:02:29 | 0:02:32 | |
How about 1963? | 0:02:32 | 0:02:34 | |
1960-anywhere! Come on! | 0:02:34 | 0:02:36 | |
I've got to think. | 0:02:36 | 0:02:38 | |
CHILDREN LAUGH | 0:02:43 | 0:02:47 | |
Thank God for that! | 0:02:47 | 0:02:49 | |
It's good to get out of the early 1700s, dude. | 0:02:49 | 0:02:53 | |
You may not call me "dude". | 0:02:53 | 0:02:55 | |
You may call me "sir". | 0:02:55 | 0:02:57 | |
OK, "sir", what gives with the latest chair design? | 0:02:57 | 0:03:00 | |
You're sat in it. | 0:03:00 | 0:03:02 | |
What, this plastic thing? What's so special about this? | 0:03:03 | 0:03:06 | |
Up until now, most school chairs have been made out of wood, yeah? | 0:03:06 | 0:03:10 | |
-Yeah. -Well, this was a huge deal, because in 1954, | 0:03:10 | 0:03:13 | |
polypropylene plastic was invented. It was really strong | 0:03:13 | 0:03:17 | |
and could be moulded into loads of different shapes, like chairs. | 0:03:17 | 0:03:21 | |
So by 1963, the polyprop chair was all the rage in schools. | 0:03:21 | 0:03:25 | |
It was designed to be easy to clean, tough and mass-produced | 0:03:25 | 0:03:28 | |
-and could be stacked one on top of the other. -Nice idea. | 0:03:28 | 0:03:32 | |
SCHOOL BELL RINGS | 0:03:32 | 0:03:33 | |
That's the end of today's lesson. | 0:03:33 | 0:03:35 | |
If you'd like to stack your chair on top of the others? | 0:03:35 | 0:03:38 | |
Obviously, time travelling doesn't always have to span the centuries. | 0:03:38 | 0:03:42 | |
In fact, we can step forward just three years, to 1966. | 0:03:44 | 0:03:51 | |
-Are you all right? -Great! | 0:03:51 | 0:03:54 | |
Now I like that! | 0:04:01 | 0:04:02 | |
-I thought you would. This is the ball chair. -Very futuristic! | 0:04:02 | 0:04:06 | |
This was the decade of the space race, the first man on the moon, | 0:04:06 | 0:04:10 | |
and people were looking towards a future, where by the year 2000 | 0:04:10 | 0:04:14 | |
space travel would be the norm, streets would have moving pavements | 0:04:14 | 0:04:19 | |
-and people would get to work with jet packs on. -So what happened? | 0:04:19 | 0:04:22 | |
-They're still working on it, I guess. -Can you work on | 0:04:22 | 0:04:25 | |
getting me out of this chair, please? I think I'm going to be a bit sick. | 0:04:25 | 0:04:29 | |
So here we are, back in the latest state-of-the-art | 0:04:33 | 0:04:39 | |
best-euros-can-buy chair, complete with built-in heater and massager... | 0:04:39 | 0:04:43 | |
..and best of all, | 0:04:45 | 0:04:46 | |
built-in, its very own fridge. | 0:04:46 | 0:04:49 | |
OK, you just, er, chill, yeah? | 0:04:51 | 0:04:55 | |
I can't wait for this. | 0:05:04 | 0:05:05 | |
I'm so hungry I could eat a horse between two mattresses. | 0:05:05 | 0:05:09 | |
What? | 0:05:11 | 0:05:12 | |
Haven't you "fork-gotten" something? | 0:05:12 | 0:05:15 | |
What? | 0:05:15 | 0:05:17 | |
"Fork-gotten" something! | 0:05:17 | 0:05:20 | |
Oh! | 0:05:20 | 0:05:21 | |
Fork! I'm such an idiot! | 0:05:21 | 0:05:24 | |
Yes, you are. | 0:05:24 | 0:05:26 | |
Er, what are you doing? | 0:05:28 | 0:05:31 | |
I'm eating with my hands! | 0:05:31 | 0:05:32 | |
But I thought you were Eon Straddler, time and space hopper, | 0:05:32 | 0:05:36 | |
-who travelled the centuries in style. -Style and panache. | 0:05:36 | 0:05:39 | |
-But you're eating your food like some crazy caveman. -Yes, I am. | 0:05:39 | 0:05:44 | |
But this isn't some prehistoric cave. | 0:05:44 | 0:05:46 | |
Yeah, but not if I do this. | 0:05:46 | 0:05:49 | |
Sometimes I wish we could just sit down and eat a dinner | 0:05:56 | 0:05:59 | |
instead of going back through time, watch TV, play a computer game, | 0:05:59 | 0:06:02 | |
-like normal people! -Yeah, but as you know, I am not normal. | 0:06:02 | 0:06:06 | |
-You can say that again. -Yeah, but as you know, I am not normal. | 0:06:06 | 0:06:09 | |
OK, so where are we? | 0:06:11 | 0:06:14 | |
-10,000 BC. -We're the furthest away in time from home we can be! | 0:06:14 | 0:06:18 | |
Yeah, but with this time travelling watch, we can also | 0:06:18 | 0:06:21 | |
travel back short distances, like, say, three seconds. | 0:06:21 | 0:06:24 | |
Short distances, like, say, three seconds. | 0:06:24 | 0:06:27 | |
Short distances, like, say, three seconds. | 0:06:27 | 0:06:30 | |
Look, stop it, you time travelling freak! | 0:06:30 | 0:06:32 | |
-Why are we cavemen? -To show you that prehistoric man would use | 0:06:32 | 0:06:35 | |
the same tool he just killed an animal with to cut off pieces | 0:06:35 | 0:06:38 | |
-of meat and then eat it with his bare hands. -So? | 0:06:38 | 0:06:41 | |
So you try. | 0:06:41 | 0:06:44 | |
But be careful, because it is... | 0:06:45 | 0:06:48 | |
..sharp. | 0:06:49 | 0:06:50 | |
-Why are you using that empty snail shell? -It's thought that your clever | 0:06:54 | 0:06:58 | |
cavemen would use empty snail shells to scoop up food like a spoon. | 0:06:58 | 0:07:02 | |
Making it the first spoon ever? | 0:07:02 | 0:07:04 | |
Exactly. This idea travelled through the ages. | 0:07:04 | 0:07:07 | |
In fact, the Latin word for "spoon" is "cochlea", meaning "snail shell". | 0:07:07 | 0:07:12 | |
But you might want to make sure yours is empty before you... | 0:07:14 | 0:07:17 | |
eat with them. | 0:07:17 | 0:07:21 | |
RETCHING | 0:07:21 | 0:07:22 | |
This is more like it! | 0:07:28 | 0:07:30 | |
-Where are we now? -We, my friend, are Ancient Greeks in the year 400 BC. | 0:07:30 | 0:07:35 | |
-Chicken! -And there's no more need to eat with your hands, | 0:07:35 | 0:07:39 | |
because the Greeks gave us the early prototype of the fork. | 0:07:39 | 0:07:42 | |
Right, let's have it, then. | 0:07:43 | 0:07:44 | |
I know what you're going to say, it's only got two prongs. | 0:07:46 | 0:07:49 | |
But this held down your food while you used a knife to slice off | 0:07:49 | 0:07:53 | |
the pieces of meat, just like you do today. You try. | 0:07:53 | 0:07:56 | |
Be careful, because it is really sharp and you could easily... | 0:07:56 | 0:08:00 | |
HE YELLS | 0:08:00 | 0:08:02 | |
..cut yourself. I'm afraid us Brits were well behind the rest | 0:08:05 | 0:08:08 | |
of the world. We didn't pick up our knives and forks until... | 0:08:08 | 0:08:11 | |
..the 1600s. And even then, they were still only two-pronged. | 0:08:17 | 0:08:21 | |
It wasn't until the late 17th century zat ze French developed | 0:08:21 | 0:08:25 | |
ze four-pronged fork, making it easier to get food into ze mouth, | 0:08:25 | 0:08:29 | |
and this is the way we 'ave used to ze present day. Voila. | 0:08:29 | 0:08:34 | |
Here in the late 1800s, | 0:08:38 | 0:08:40 | |
cutlery had become an elaborate and expensive business, | 0:08:40 | 0:08:43 | |
with the rich owning giant, ornate silver cutlery sets | 0:08:43 | 0:08:46 | |
with which to impress their posh guests at dinner parties... | 0:08:46 | 0:08:50 | |
..served up by their incompetent butlers. | 0:08:52 | 0:08:56 | |
Will you stop staring? It's only acting. It's not real! | 0:08:58 | 0:09:01 | |
Stop it, now, you're freaking me out. | 0:09:01 | 0:09:03 | |
There's only 30 seconds left of this sketch. Do your finger-clicky thing, | 0:09:03 | 0:09:07 | |
your watch thing, and let's get back to present day. | 0:09:07 | 0:09:10 | |
WATCH BEEPS | 0:09:10 | 0:09:13 | |
HE YELLS | 0:09:20 | 0:09:21 | |
Did you know, if evolution carries on at this pace, | 0:09:21 | 0:09:25 | |
because man uses cutlery every day of his life, | 0:09:25 | 0:09:28 | |
in one million years he will have developed | 0:09:28 | 0:09:31 | |
one knife-shaped hand and one fork-shaped hand? | 0:09:31 | 0:09:34 | |
-Really? -Of course not! | 0:09:34 | 0:09:37 | |
No. | 0:09:37 | 0:09:38 | |
Not the starey thing again. Stop it now! I mean it. You're weird! | 0:09:38 | 0:09:42 | |
# See, I don't understand | 0:09:45 | 0:09:47 | |
# How you're number one... # | 0:09:47 | 0:09:48 | |
Do you realise how close you just came to mortal peril? | 0:09:52 | 0:09:57 | |
-Do you know I'm trained in martial arts? -No, I didn't know. | 0:09:57 | 0:10:00 | |
Yeah, I'm a black belt World Champion in origami. | 0:10:00 | 0:10:03 | |
-I never saw your World Title fight. -You wouldn't. | 0:10:03 | 0:10:06 | |
Origami is on "paper-view". | 0:10:06 | 0:10:08 | |
Paper-view? | 0:10:08 | 0:10:10 | |
Anyway, what's that thing you're wearing on your head? | 0:10:10 | 0:10:13 | |
The new style, innit? All me crew is wearin' it. | 0:10:13 | 0:10:15 | |
But you're Eon Straddler, time and space hopper, | 0:10:15 | 0:10:20 | |
the one-man history hurdler. You ain't got a crew, mate. | 0:10:20 | 0:10:24 | |
All right, it's just me and you, then, innit? Stick this on. | 0:10:24 | 0:10:28 | |
I have spent hours combing out my 'fro to perfection, and if you think | 0:10:28 | 0:10:33 | |
I'm putting this over my head, you're very much mistaken. | 0:10:33 | 0:10:37 | |
You'd never have said that in 20,000 BC. | 0:10:37 | 0:10:40 | |
In these times, a hat wasn't a fashion accessory. | 0:10:50 | 0:10:53 | |
Your life depended on it. | 0:10:53 | 0:10:54 | |
Like the life of the animal whose skin provided it. | 0:10:54 | 0:10:57 | |
Aside from stopping you from freezing to death, | 0:10:57 | 0:11:00 | |
prehistoric man was a hunter, so he needed something practical, | 0:11:00 | 0:11:03 | |
that wouldn't slow him down or easily fall off. | 0:11:03 | 0:11:06 | |
It looks rubbish. Can we go now? It's miserable and this hat stinks. | 0:11:06 | 0:11:11 | |
How about 106 BC, Ancient Rome? | 0:11:11 | 0:11:13 | |
Anywhere! I just don't like wearing something that's dead on my head. | 0:11:13 | 0:11:18 | |
There's no place like Rome! Do you know the Ancient Romans | 0:11:22 | 0:11:25 | |
-invented loads of things we use today? -Like...? | 0:11:25 | 0:11:29 | |
Like roads, sanitation, the aqueduct, medicine, | 0:11:29 | 0:11:31 | |
the postal service, the protective helmet, central heating. | 0:11:31 | 0:11:35 | |
-They didn't invent central heating! -Actually, they did, | 0:11:35 | 0:11:38 | |
though they didn't technically invent the protective helmet. | 0:11:38 | 0:11:41 | |
-No? -No. That was your Assyrians in 900 BC. | 0:11:41 | 0:11:44 | |
The Ancient Romans just took their idea and modified it into this | 0:11:44 | 0:11:48 | |
protective garment, protecting you from spears, swords and rocks. | 0:11:48 | 0:11:52 | |
So did the Romans invent cricket? | 0:11:55 | 0:11:57 | |
-No. -So why am I dressed like Freddie Flintoff? | 0:11:57 | 0:12:00 | |
To illustrate the point that the protective helmet is still | 0:12:00 | 0:12:03 | |
used in sports today where there's a chance of being hit by a hard ball. | 0:12:03 | 0:12:07 | |
OK. So where's my helmet? | 0:12:07 | 0:12:09 | |
Oh, it's here. | 0:12:09 | 0:12:10 | |
Also, Roman gladiators would use the protective helmet | 0:12:13 | 0:12:17 | |
in a fight to the death with other gladiators. | 0:12:17 | 0:12:19 | |
They would even fight wild animals, like tigers. | 0:12:19 | 0:12:22 | |
-Tigers? -Tigers. | 0:12:22 | 0:12:25 | |
-Tigers?! -Tigers! -Just stop it! | 0:12:25 | 0:12:28 | |
I'm not into my tigers, OK? So do the watch thing, | 0:12:28 | 0:12:30 | |
the finger-clicky thing, and let's get out of here quick-smart. | 0:12:30 | 0:12:34 | |
How does the 1800s grab you? | 0:12:34 | 0:12:36 | |
They grab me just fine, just as long as I'm not grabbed by any tigers. | 0:12:36 | 0:12:39 | |
ROARING | 0:12:39 | 0:12:40 | |
Eek! You better click your fingers right now. | 0:12:44 | 0:12:48 | |
You fancied something a bit different. | 0:12:48 | 0:12:50 | |
I didn't say I wanted to be somebody another bloke might fancy. | 0:12:50 | 0:12:54 | |
Look, before we go, let me tell you about your hat. | 0:12:54 | 0:12:56 | |
So far, hat fashions had mostly been for men, | 0:12:56 | 0:12:59 | |
but now you ladies were starting to catch up. | 0:12:59 | 0:13:02 | |
Anyone who was anyone had one of those. | 0:13:02 | 0:13:05 | |
-Feathers? -Yes, feathers, which meant millions of birds were killed. | 0:13:05 | 0:13:09 | |
Some Victorian women would even wear the whole dead bird on their head. | 0:13:09 | 0:13:13 | |
-Oh, that's gross! Can we go now? -No. This top hat was quite | 0:13:13 | 0:13:16 | |
literally the high point in men's hats' history. | 0:13:16 | 0:13:19 | |
It was worn by Victorian authority figures, | 0:13:19 | 0:13:22 | |
like policemen, doctors and magicians. | 0:13:22 | 0:13:24 | |
Good! Make me disappear, will you? | 0:13:24 | 0:13:26 | |
Because this is embarrassing. | 0:13:26 | 0:13:28 | |
OK. Happy now? | 0:13:28 | 0:13:30 | |
'Not really. I was being sarcastic. Listen, can we go home now? | 0:13:30 | 0:13:34 | |
'I've had enough of all this.' | 0:13:34 | 0:13:36 | |
All right, all right. | 0:13:36 | 0:13:38 | |
-I'm not keen on disappearing. -You weren't the only thing disappearing. | 0:13:47 | 0:13:51 | |
Hats fell out of fashion over the next 100 years, | 0:13:51 | 0:13:53 | |
because people found them impractical. | 0:13:53 | 0:13:55 | |
Travelling outside was being done less on foot and more | 0:13:55 | 0:13:58 | |
in cars and on public transport, so there was no more need | 0:13:58 | 0:14:01 | |
-to keep your head warm with a hat. -So why are you wearing a hat? | 0:14:01 | 0:14:04 | |
Fashions may change, but style, that's something else. | 0:14:04 | 0:14:09 | |
MUSIC: "Are You Gonna Go My Way" by Lenny Kravitz | 0:14:16 | 0:14:22 | |
What DO you look like? | 0:14:30 | 0:14:31 | |
A solid gold rock god that the girls can't stop screaming at. | 0:14:31 | 0:14:35 | |
Screaming at you, no. | 0:14:35 | 0:14:38 | |
Laughing at you, yes. | 0:14:38 | 0:14:40 | |
All that's very well, but if we were to go back in time right now, | 0:14:44 | 0:14:47 | |
we would see that the guitar has a well-rich history, | 0:14:47 | 0:14:50 | |
as opposed to that piece of plastic. It makes you look a right idiot. | 0:14:50 | 0:14:55 | |
No! No, no! This is my big solo! | 0:14:55 | 0:14:57 | |
It's my solo! My solo! | 0:14:57 | 0:15:01 | |
-So, what time is it, then? -The year is 1520 precisely. | 0:15:06 | 0:15:10 | |
And what's happening here, then? | 0:15:10 | 0:15:12 | |
Here in front of us, playing for our enjoyment, is a mere minstrel. | 0:15:14 | 0:15:18 | |
And what's that freaky guitar-looking stringy weird thingy in his hand? | 0:15:18 | 0:15:23 | |
That, my friend, is a lute. | 0:15:23 | 0:15:26 | |
The first lute came to Europe in the Middle Ages, | 0:15:26 | 0:15:29 | |
and by the Tudor times it became really popular. | 0:15:29 | 0:15:32 | |
This lute has six pairs of strings. Plucked with the fingers, | 0:15:32 | 0:15:36 | |
-it fast became the instrument to sing along and dance to. -Dance? | 0:15:36 | 0:15:40 | |
Yeah, how can you dance to that? | 0:15:46 | 0:15:47 | |
Minstrels who played for the kings and queens became | 0:15:47 | 0:15:50 | |
really sought-after and became the celebrities of their day. | 0:15:50 | 0:15:55 | |
-So this guy's famous? -No. | 0:15:55 | 0:15:57 | |
That's just a bloke. | 0:15:57 | 0:15:59 | |
SCUFFLING | 0:16:05 | 0:16:07 | |
Oi! | 0:16:07 | 0:16:09 | |
I'd better get out of here. | 0:16:12 | 0:16:14 | |
Wait a minute! | 0:16:14 | 0:16:15 | |
Don't leave me here in 1520! | 0:16:15 | 0:16:17 | |
Sorry. | 0:16:19 | 0:16:21 | |
It wasn't until here, in 1850, | 0:16:25 | 0:16:27 | |
-that a Spanish guitar maker called Torres... -Hey. | 0:16:27 | 0:16:31 | |
GLASS BREAKING | 0:16:38 | 0:16:41 | |
Not that one. A Senor Antonio Torres encompassed all the developments | 0:16:41 | 0:16:44 | |
of the guitar throughout history. | 0:16:44 | 0:16:47 | |
GUITAR MUSIC | 0:16:47 | 0:16:49 | |
He made the body of the guitar much bigger than it had been | 0:16:55 | 0:16:58 | |
in previous instruments, meaning the volume and tone got better. | 0:16:58 | 0:17:02 | |
Ole! | 0:17:06 | 0:17:07 | |
GLASS SHATTERING | 0:17:08 | 0:17:11 | |
The next new thing was the electric guitar and amplified sound. | 0:17:17 | 0:17:21 | |
It's here, in the 1930s, that the electric really got switched on. | 0:17:24 | 0:17:29 | |
-Cool! -Cool as ice. | 0:17:29 | 0:17:31 | |
Now this you might recognise. Here, in 1957, we pretty much | 0:17:42 | 0:17:47 | |
-have the guitar as we know and love today. -Go on. | 0:17:47 | 0:17:50 | |
That there is a Stratocaster. Like other guitars, it had a solid body | 0:17:50 | 0:17:55 | |
and the sound of the strings could be heard through an amplifier. | 0:17:55 | 0:18:00 | |
This meant the electric guitar could be heard in noisy clubs | 0:18:00 | 0:18:04 | |
with loads of people or in giant stadiums with thousands of people. | 0:18:04 | 0:18:07 | |
And so from here on in, | 0:18:11 | 0:18:12 | |
the future of the electric guitar was set to stay. | 0:18:12 | 0:18:15 | |
Rockin'! | 0:18:17 | 0:18:19 | |
Stage dive! | 0:18:19 | 0:18:22 | |
SCREAMING | 0:18:22 | 0:18:25 | |
# Are you gonna go my way? # | 0:18:32 | 0:18:36 | |
'The trumpet has a long and rich history | 0:18:45 | 0:18:47 | |
'and has gone through centuries of evolution.' | 0:18:47 | 0:18:50 | |
'More than any other musical instrument, it can be traced... ' | 0:18:54 | 0:18:57 | |
FARTING SOUND | 0:18:57 | 0:18:59 | |
FARTING SOUND | 0:19:00 | 0:19:01 | |
-Do you know what you're doing? -Yes. I'm making a hilarious farting sound | 0:19:01 | 0:19:07 | |
with my mouth against the back of my hand. | 0:19:07 | 0:19:11 | |
No. Technically, what you're actually doing is creating sound | 0:19:12 | 0:19:16 | |
with the power of air in a confined space. | 0:19:16 | 0:19:18 | |
-If you say so. -I do say so. What you've got there | 0:19:18 | 0:19:21 | |
-is a replica of a brass instrument in action. -Really(?) -Yes, really. | 0:19:21 | 0:19:25 | |
And if we go back in time, we can see how the trumpet has evolved. | 0:19:25 | 0:19:29 | |
No! Not again! I'm watching this! Can't we just sit down and... | 0:19:29 | 0:19:32 | |
-Chill out! -If we're tracking the rich history of the trumpet, | 0:19:39 | 0:19:43 | |
we need to go back to when prehistoric man first | 0:19:43 | 0:19:46 | |
started blowing into large shells. | 0:19:46 | 0:19:48 | |
MAKES FARTING SOUND | 0:19:54 | 0:19:55 | |
MAKES PERFECT NOTES | 0:19:56 | 0:19:59 | |
It was used as an early form of communication. | 0:19:59 | 0:20:02 | |
HORNS IN DISTANCE | 0:20:02 | 0:20:04 | |
-What does that mean? -Oh, that just means there's a giant killer tiger | 0:20:04 | 0:20:07 | |
that's really hungry and in a really bad mood on its way here, | 0:20:07 | 0:20:11 | |
and if we don't leave right now, it's going to eat us alive. | 0:20:11 | 0:20:14 | |
Do the finger-clicky thing and let's clear off! | 0:20:14 | 0:20:16 | |
ROARING | 0:20:16 | 0:20:17 | |
-Now! -Right now? -Now! | 0:20:17 | 0:20:21 | |
TRUMPET FANFARE | 0:20:27 | 0:20:31 | |
As I always say, there's no place like Rome. | 0:20:32 | 0:20:35 | |
So did the Romans invent the metal trumpet as we know it today? | 0:20:35 | 0:20:39 | |
-Not exactly. -Oh. -Trumpets from the year 3000 BC were found | 0:20:39 | 0:20:43 | |
in the tomb of Tutankhamun, and the Ancient Greeks and Chinese | 0:20:43 | 0:20:46 | |
-had their very own versions of the trumpet. -How do you know all that? | 0:20:46 | 0:20:50 | |
I don't just go time travelling with you, y'know. | 0:20:50 | 0:20:53 | |
-You never said. -You never asked. | 0:20:54 | 0:20:57 | |
Trumpets like these were used to send troops into battle | 0:20:57 | 0:21:00 | |
and also at the start of a fanfare of a gladiator contest. | 0:21:00 | 0:21:03 | |
They were long and straight, actually a bit like you. | 0:21:03 | 0:21:07 | |
These kind of trumpets could only be played in one key | 0:21:07 | 0:21:11 | |
and so were a bit limited, also a bit like you. | 0:21:11 | 0:21:15 | |
-Why have you got it in for me in this sketch? -I don't know. | 0:21:15 | 0:21:18 | |
I think it's because our scriptwriter is using this point | 0:21:18 | 0:21:21 | |
in the sketch to illustrate the fact that I'm the time travelling genius | 0:21:21 | 0:21:25 | |
and you're my long suffering foolish friend who has to endure my insults, | 0:21:25 | 0:21:29 | |
have accidents and draw the short straw for comic effect. | 0:21:29 | 0:21:32 | |
That's all right, then. | 0:21:32 | 0:21:34 | |
So... | 0:21:40 | 0:21:43 | |
So, this is 1436, the Middle Ages. | 0:21:43 | 0:21:48 | |
So what's this got to do with trumpets? | 0:21:48 | 0:21:50 | |
Because this was the era of technical improvements in metalwork. | 0:21:50 | 0:21:53 | |
Basically, you could bend it, | 0:21:53 | 0:21:55 | |
meaning that trumpets no longer had to be long pieces of pipe. | 0:21:55 | 0:21:59 | |
They could be shaped and moulded into this bugle. | 0:21:59 | 0:22:02 | |
PLAYS BADLY | 0:22:02 | 0:22:04 | |
By tightening your lips, you could change the pitch, | 0:22:04 | 0:22:07 | |
and now you could play a whole eight notes of an octave. | 0:22:07 | 0:22:10 | |
PLAYS PERFECTLY | 0:22:10 | 0:22:13 | |
-Now, in the Victorian era... -Where we are now? | 0:22:23 | 0:22:26 | |
..where we are now, things really started to take off | 0:22:26 | 0:22:30 | |
as valves were added to the trumpet around 1814. | 0:22:30 | 0:22:34 | |
They could change the flow of air and now play a lot more notes. | 0:22:34 | 0:22:37 | |
From being a minor role in the orchestra, say, a fullback, | 0:22:50 | 0:22:54 | |
the trumpeter stepped up to become the orchestra's star striker. | 0:22:54 | 0:22:58 | |
WATCH BEEPS | 0:22:58 | 0:23:00 | |
-How did you do that? -I'm not Eon Straddler, | 0:23:08 | 0:23:11 | |
time and space hopper, for nothing. I can travel through time, | 0:23:11 | 0:23:14 | |
so moving a jazz trumpeter off a table is an absolute doddle. | 0:23:14 | 0:23:19 | |
With valves on the trumpet, you can get close to the human voice, | 0:23:19 | 0:23:23 | |
-which we can demonstrate through the medium of jazz. -Go on. | 0:23:23 | 0:23:28 | |
Skidley-bap-bap-a-do-da-bap! | 0:23:28 | 0:23:30 | |
TRUMPET PLAYS SAME | 0:23:30 | 0:23:32 | |
Nice. | 0:23:32 | 0:23:33 | |
Bap-bap-a-do-da-bap! Bap-bap-a-do-da-bap! | 0:23:38 | 0:23:42 | |
MAKES FARTING SOUND | 0:23:42 | 0:23:44 | |
Don't give up your day job. | 0:23:44 | 0:23:46 | |
EON FARTS | 0:23:47 | 0:23:49 | |
Can you stop that? | 0:23:56 | 0:23:58 | |
-Stop what? -That drumming. It's doing my head in, and I can't concentrate. | 0:23:58 | 0:24:02 | |
And I'm trying to get my quickest time ever. | 0:24:02 | 0:24:05 | |
You can't stop people drumming. It's a basic human instinct. | 0:24:05 | 0:24:08 | |
People have been drumming since civilised man walked the planet. | 0:24:08 | 0:24:12 | |
That may be, but what about my basic human right to peace and quiet? | 0:24:12 | 0:24:16 | |
Look what you've done! You've scuppered my chances of beating | 0:24:26 | 0:24:30 | |
my quickest time ever on Formula Racing! | 0:24:30 | 0:24:33 | |
Where are we now? This isn't our flat! | 0:24:35 | 0:24:39 | |
-Ghana, 790 AD. -Why are we in Ghana?! -To show that the drum was not always | 0:24:39 | 0:24:44 | |
-used as a musical instrument but also to send messages. -How? | 0:24:44 | 0:24:48 | |
By using patterns and rhythms instead of words. | 0:24:48 | 0:24:51 | |
This is a talking drum called a dongo. | 0:24:51 | 0:24:54 | |
-Well, I suppose a talking drum is pretty cool. -It's very cool. | 0:24:54 | 0:24:58 | |
It was used to send signals such as announcing a religious ceremony, | 0:24:58 | 0:25:02 | |
a wedding, or to warn the next village of an approaching danger. | 0:25:02 | 0:25:05 | |
-Very clever. -Even the latest Premier League football scores. | 0:25:05 | 0:25:09 | |
Manchester United... | 0:25:09 | 0:25:10 | |
Manchester City... | 0:25:12 | 0:25:13 | |
-That's amazing! -Yeah, especially as City were down to nine men. -Really? | 0:25:15 | 0:25:19 | |
You really do spend too much time playing computer games. | 0:25:19 | 0:25:23 | |
Welcome to 1520 and Renaissance Europe. | 0:25:30 | 0:25:34 | |
What's that? | 0:25:34 | 0:25:36 | |
This, my soon-to-be-beheaded buddy, is a tabor. | 0:25:36 | 0:25:39 | |
An ancient drum. | 0:25:41 | 0:25:42 | |
I'll ask again. What's that?! | 0:25:42 | 0:25:45 | |
Oh, that. That's an axe. | 0:25:45 | 0:25:47 | |
Very sharp. | 0:25:49 | 0:25:50 | |
In the 1500s, drums were used to announce a joust | 0:25:50 | 0:25:53 | |
or the build-up to a beheading. | 0:25:53 | 0:25:55 | |
So when the drums stopped... | 0:25:55 | 0:25:56 | |
Can we just stop right now and get us out of here? | 0:25:59 | 0:26:01 | |
But I need to show you that the tabor was a double-headed drum. | 0:26:01 | 0:26:05 | |
The only head I'm concerned about right now is my own! | 0:26:05 | 0:26:08 | |
Typical. Always thinking about yourself. | 0:26:08 | 0:26:11 | |
TAPS WATCH | 0:26:11 | 0:26:12 | |
Don't you ever, ever do that to me ever again. | 0:26:21 | 0:26:24 | |
For centuries, the drum had been used mainly in ceremonies, | 0:26:24 | 0:26:27 | |
but by Victorian times, composers were writing | 0:26:27 | 0:26:30 | |
orchestral and classical parts to add colour and drama to the piece. | 0:26:30 | 0:26:34 | |
I've had enough drama for today, thank you very much. | 0:26:34 | 0:26:37 | |
Seeing as the drum kit hasn't been invented yet, | 0:26:37 | 0:26:40 | |
all the parts are played separately, so it means we both get to play. | 0:26:40 | 0:26:43 | |
OK, here we go. | 0:26:43 | 0:26:44 | |
OK, are we ready to go? | 0:26:51 | 0:26:54 | |
TAPS WATCH | 0:26:54 | 0:26:55 | |
'Eh? | 0:26:55 | 0:26:56 | |
1910 is when all the percussion instruments were brought together | 0:27:00 | 0:27:04 | |
with the introduction of the bass pedal. | 0:27:04 | 0:27:07 | |
So now all the instruments can be played by one person. | 0:27:07 | 0:27:10 | |
-Pardon? -And this was the beginning of the drum kit as we know it today, | 0:27:10 | 0:27:13 | |
with a crash cymbal... | 0:27:13 | 0:27:15 | |
..floor tom... | 0:27:16 | 0:27:18 | |
..bass drum... | 0:27:18 | 0:27:20 | |
..snare... | 0:27:20 | 0:27:22 | |
..and the high hats. | 0:27:22 | 0:27:24 | |
The drummer set the tempo and became the timekeeper | 0:27:24 | 0:27:26 | |
that took us through jazz... | 0:27:26 | 0:27:28 | |
..swing... | 0:27:32 | 0:27:35 | |
..and rock 'n' roll. | 0:27:37 | 0:27:38 | |
-Sorry, can you say that again? -No, I can't. We've only got | 0:27:42 | 0:27:46 | |
one minute left of this sketch and I need to get us to the year 2000. | 0:27:46 | 0:27:49 | |
Get to what? | 0:27:49 | 0:27:51 | |
-That's better. I can hear again. -Good, because by the year 2000, | 0:27:56 | 0:28:00 | |
it was not uncommon for drummers to be replaced by equipment, | 0:28:00 | 0:28:03 | |
computers with programs that could activate loops, | 0:28:03 | 0:28:06 | |
sample sequencers, metronomes and tempo meters, timing sequencers, | 0:28:06 | 0:28:10 | |
recording devices and sound reinforcement such as | 0:28:10 | 0:28:13 | |
a small PA system to amplify electronic drums. | 0:28:13 | 0:28:15 | |
Now I can hear you, I don't understand anything you just said. | 0:28:15 | 0:28:19 | |
Basically, this lot can create hundreds of different sounds | 0:28:19 | 0:28:22 | |
-that weren't available to standard drum kits. -Ah. | 0:28:22 | 0:28:26 | |
Just press that button. | 0:28:26 | 0:28:27 | |
-Nothing. -Sorry. | 0:28:28 | 0:28:31 | |
DRUM MACHINE | 0:28:31 | 0:28:34 | |
Which meant that sometimes a drummer wasn't even needed. | 0:28:34 | 0:28:38 | |
-You feelin' it? -I'm feelin' it! | 0:28:43 | 0:28:44 | |
CRASHING | 0:28:46 | 0:28:48 | |
Can we get the drummer back in here, please? | 0:28:48 | 0:28:50 | |
Subtitles by Red Bee Media Ltd | 0:28:59 | 0:29:02 |