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This programme contains adult humour. Tonight's Prom looks set to | :00:06. | :00:09. | |
be unlike anything that you've seen or indeed are likely to see this | :00:09. | :00:15. | |
season. Hosted by musician, actor and all round comedy rock God, Tim | :00:15. | :00:19. | |
Minchim, who Jones me now. Tim, how will it go tonight? I don't know. I | :00:19. | :00:24. | |
don't know what's happening. I'm very late. I haven't learnt my | :00:24. | :00:28. | |
liepbts lines. You are wuet beautiful. I love you. I don't know | :00:28. | :00:34. | |
what's going to happen at all. Welcome to the BBC's, first ever, | :00:34. | :00:44. | |
:00:44. | :01:20. | ||
# I sit here as for 20 years I've sat. | :01:20. | :01:25. | |
# Wearing my music critic's hat. # I mean, it's clearly not an act- | :01:26. | :01:28. | |
-ual hat. # It's metaphorical. | :01:29. | :01:34. | |
# And in those 20 years I'm sad. # To say these wondrous promenades. | :01:34. | :01:37. | |
# Have gone from bard to worse to bad. | :01:37. | :01:42. | |
# To even worse to bloody horrible. # I admit, I'm a bit of a classical | :01:42. | :01:47. | |
music boffin. # And although I've said this often. | :01:47. | :01:50. | |
# The final nail in the coffin of the Proms is clearly imminent. | :01:50. | :01:53. | |
# Yes, we survived Nigel effing Kennedy. | :01:53. | :01:54. | |
# But surely there's no earthly remedy. | :01:54. | :02:04. | |
:02:04. | :02:05. | ||
# For a night of so-called comedy. # Hosted by an immigrant. | :02:05. | :02:08. | |
CHEERING AND APPLAUSE # Why they insist on this tosh, | :02:08. | :02:10. | |
it's a mystery. # Laughter and classical music | :02:10. | :02:20. | |
don't mix you see. # 160 years of history. | :02:20. | :02:23. | |
# Tossed away for a cheap gaffaw! # One of our country's greatest | :02:23. | :02:25. | |
traditions. # Some of our nation's finest | :02:25. | :02:26. | |
musicians. # Forced into hu-miliating | :02:26. | :02:28. | |
positions. # Is nothing sacred any more? | :02:28. | :02:30. | |
# Classical music should always be. # Performed, well, you know, | :02:30. | :02:35. | |
classically. # With suitably solemn solemnity, | :02:35. | :02:41. | |
and usually in three quarters. # Now we have this, this "comedy | :02:41. | :02:46. | |
prom". # It's all boom-tish and pom pom | :02:46. | :02:50. | |
pom. # What are these BBC idiots on? | :02:50. | :02:58. | |
# Is nothing sacred any more? # I remember, it seems like | :02:58. | :03:04. | |
yesterday. # Watching the greats who'd come to | :03:04. | :03:14. | |
:03:14. | :03:18. | ||
play. # It was so magical and gay. | :03:18. | :03:20. | |
# Back when gay meant something good. | :03:20. | :03:22. | |
# I wish that I were back there once again. | :03:22. | :03:24. | |
# When this orchestra were made of men. | :03:24. | :03:33. | |
# And some patience and a penny. # Could give you Henry Wood. | :03:33. | :03:36. | |
# (You would get Wood) # Oh, what Henry Wood would think. | :03:36. | :03:39. | |
# If only Henry Wood could think. # Though he's extinct. | :03:39. | :03:41. | |
# He would have died if he had seen this. | :03:41. | :03:44. | |
# Endless rhymes and dirty puns. # People drumming with their | :03:44. | :03:47. | |
tongues. # They think it funny. | :03:47. | :03:57. | |
:03:57. | :03:58. | ||
# Forcing divas to sing "penis". # Penis. | :03:58. | :04:08. | |
:04:08. | :04:09. | ||
# Penis # Get off | :04:10. | :04:13. | |
# Penisboffins for opera # # I remember, it seems like | :04:13. | :04:15. | |
yesterday. # When conductors were bearded and | :04:15. | :04:17. | |
grey. # This little twerp is not yet | :04:17. | :04:20. | |
shaving. # Or even looking at the score. | :04:20. | :04:24. | |
# Is nothing sacred any more? # We used to care about the art. | :04:24. | :04:29. | |
# I mean, honestly. # Look at this violinist's chart,. | :04:29. | :04:39. | |
:04:39. | :04:55. | ||
# It actually says "fart". # Nothing's sacred anymore. | :04:55. | :05:00. | |
# The stories that inspired the greats of yore. | :05:00. | :05:06. | |
# Sin, redemption and the Lord. # Heaven's glory and hell's fires. | :05:06. | :05:08. | |
# The battle of the light against dar. | :05:08. | :05:10. | |
# The timeless narratives of mad Mozart and boring Bach. | :05:10. | :05:20. | |
:05:20. | :05:38. | ||
# These days we just don't give a farch. | :05:38. | :05:41. | |
# We are amoral and uninspired. # I reckon that it's time to start | :05:41. | :05:44. | |
a new tradition. # Especially designed for us comic | :05:44. | :05:46. | |
musicians. # We'll do it every year at the | :05:46. | :05:48. | |
comedy prom. # It'll be our ritual from now on. | :05:48. | :05:51. | |
# At the end of the prom. # Right, get this. | :05:51. | :05:55. | |
# Before the lights come up. # I reckon all the prommers in the | :05:55. | :05:57. | |
cheap seats. # Should take off their clothes and | :05:57. | :06:00. | |
writhe naked on the floor. # While a member of the Royal | :06:00. | :06:03. | |
family plays the theme from Doctor Who on a Keytar #. Yeah, seemed | :06:03. | :06:08. | |
reasonable at the time. Welcome to the planet's first Comedy Prom, go | :06:08. | :06:16. | |
insane. CHEERING AND APPLAUSE | :06:16. | :06:24. | |
That was interesting. Something new. So, as, I'm sure you all know, the | :06:24. | :06:30. | |
word, "Prom" is a shortening of the word Promenade, which is a type of | :06:30. | :06:40. | |
:06:40. | :06:41. | ||
drink. Like, lemonade, but instead of lemons it's made of... Prom... | :06:41. | :06:44. | |
Egranites. Promegranite, as you know, of course, is a fruit, the | :06:45. | :06:49. | |
flesh of which is the same colour as your lifr, because it's named | :06:49. | :06:54. | |
after the -- liver, because it's named after the great myth of | :06:54. | :06:58. | |
Prometheus, who was punished by Zeus for stealing fire. His | :06:58. | :07:05. | |
punishment was to be tied to a rock for eternity, that's where the | :07:05. | :07:11. | |
granite comes from in promegranite. The Eagles were sent down to peck | :07:11. | :07:18. | |
out his liver, therefore, Promenade and the drink promenade, which | :07:18. | :07:24. | |
Henry would have loved. Could you ask him, he promenade and thought | :07:24. | :07:30. | |
it was nice and frizzy. Therefore, he named his series of concert, | :07:30. | :07:38. | |
classical concerts after... Tonight, you will see classical pianists, | :07:38. | :07:47. | |
opera singers, puppets, a rapper, a beat-boxer, a mime artist - | :07:47. | :07:48. | |
especially, for the Radio 3 listeners at home. | :07:48. | :07:51. | |
CHEERING AND APPLAUSE And me, Tim Minchim, who has been | :07:52. | :07:56. | |
engadgeed on the promise that I won't -- engadgeed on the promise | :07:56. | :08:01. | |
that I won't - - a few people realised it was me. I have been | :08:01. | :08:06. | |
engaedgeed on the promise that I won't swear or talk about Jesus or | :08:06. | :08:14. | |
mention the riots. Damn. Because, this is a promenade we want to keep | :08:14. | :08:19. | |
it fizzy. Your first guest tonight was a successful rapper. He played | :08:19. | :08:23. | |
with people like Mark Ronson, Lily Allen and the late Amy Winehouse. | :08:23. | :08:28. | |
In 200, he turned his hand to comedy. He now plays with the likes | :08:28. | :08:32. | |
of me. Interesting career move. Please welcome, the absolutely | :08:32. | :08:42. | |
:08:42. | :08:47. | ||
lovely, and funny, Doc Brown. Yeah, OK. This is a special moment | :08:48. | :08:53. | |
for me, man. You know, I always dreamed of being, like, the most | :08:53. | :08:59. | |
famous British rapper since, like, John Barnes. Now, like, with this | :08:59. | :09:05. | |
gig, I felt, it could be tricky, you know, because a lot of people | :09:05. | :09:09. | |
they really, they really, really hate rap. You know. I'm used to a | :09:09. | :09:15. | |
bit of animosity. I've been to Kent. So, you know - I was thinking like, | :09:15. | :09:21. | |
what should I rap about, in this situation? What should I rap about? | :09:21. | :09:26. | |
Politics maybe. I'm way too much of a fence sitter when it comes to | :09:26. | :09:31. | |
politics. I would be like, "for get Nick Clegg, he's a wannabe, however | :09:31. | :09:35. | |
I do agree with some of his policies". That's in good. Street | :09:35. | :09:39. | |
crime. I can't really get into. That I have never been a criminal | :09:39. | :09:45. | |
of any kind. Never been to prison. I never was one of those kids who | :09:45. | :09:50. | |
would forcibly do jail time to beef up my street cred. I don't think I | :09:50. | :09:55. | |
could maintain the hard facade. Even just using words like, | :09:55. | :10:05. | |
:10:05. | :10:06. | ||
"facade" would probably blow my cover.. I figure, it's the Royal | :10:06. | :10:09. | |
Albert Hall. I'm at the Proms. It doesn't get any more British than | :10:09. | :10:15. | |
that. I figured I would rap about a British institution. OK. I figured, | :10:15. | :10:19. | |
look, I'm living my dream right now. That is how I feel, I'm living the | :10:19. | :10:29. | |
dream. I want to share my dreams with you. OK. | :10:29. | :10:31. | |
# Everybody got a fantasy. # A mad scheme. | :10:31. | :10:34. | |
# A crazy plan, a dream that we could make reality. | :10:34. | :10:38. | |
# Maybe my plan's sad. # But since I was a lad, I wished | :10:38. | :10:40. | |
David Attenborough was my granddad. # You look at me like. | :10:40. | :10:43. | |
# "This man's mad! # Get a cat scan! | :10:43. | :10:45. | |
# You're one horn short of a Jazz band!" | :10:45. | :10:47. | |
# Yeah, it may seem strange for a rap fan. | :10:47. | :10:50. | |
# To wish for Attenborough's voice on my sat-nav. | :10:50. | :10:53. | |
# He'd be my guide. # I'd be Robin to his Batman. | :10:53. | :10:55. | |
# I'd help him research wolfcubs in Lapland. | :10:55. | :10:57. | |
# I'd be like "Granddad, I saw another one!" | :10:57. | :11:00. | |
# He'd give me a handclap because that man's a living legend. | :11:00. | :11:03. | |
# The best yet. # He was flipping old when I was | :11:03. | :11:06. | |
little, still isn't dead yet. # And when he pops his clogs, I'll | :11:06. | :11:09. | |
be crestfallen. # He never sat me on his knee for a | :11:09. | :11:12. | |
bed story. # Wish I could just put him on. | :11:12. | :11:14. | |
# As a very special vocal guest on a song. | :11:14. | :11:16. | |
# Have him do a little cameo feature saying. | :11:16. | :11:18. | |
# "Doc Brown's an incredible creature". | :11:18. | :11:20. | |
# Imagine that? # Of all my crew, I wish | :11:20. | :11:23. | |
Attenborough had my back. # We could spend a beautiful future | :11:23. | :11:25. | |
together. # He could dumb it down for me. | :11:25. | :11:29. | |
# I could get clever. # Tell him all about rap and girls. | :11:29. | :11:31. | |
# He could tell me all the facts of the world. | :11:31. | :11:34. | |
# What's the chances he'd be listening to some little rap? | :11:34. | :11:36. | |
# He probably thinks it's all bitches n' stuff. | :11:36. | :11:40. | |
# Dave, it's so much more. # I aspire to have lyrics like | :11:40. | :11:42. | |
yours. # I'd love to rap about panthers | :11:42. | :11:44. | |
that ran fast. # Damn, I wish Attenborough was my | :11:44. | :11:54. | |
:11:54. | :12:11. | ||
# You can but dream # You can but dream... # | :12:11. | :12:20. | |
CHEERING AND APPLAUSE Thank you. Thank you. I know a lot | :12:20. | :12:25. | |
of you think I might have been joking. Some of you may have felt | :12:25. | :12:33. | |
that you just witnessed a man having a mini-break down. But, no, | :12:33. | :12:38. | |
I'm serious. For get rappers, Attenborough, to me, is the | :12:38. | :12:43. | |
greatest living lir cyst there is. You know why? Anything he in a | :12:43. | :12:48. | |
rates. Anything that he in a rates, for me shall I think I can relate | :12:48. | :12:56. | |
to it. I don't know if you seen any of his shows. You will know what I | :12:56. | :13:06. | |
:13:06. | :13:06. | ||
mean. IN ATTENBOROUGH'S VOICE Alone, the giant Pacific octopus scours | :13:06. | :13:11. | |
the seabed, in search of the perfect den. It must be perfect, | :13:11. | :13:21. | |
for it's going to be her home for the next six months. She's carrying | :13:21. | :13:31. | |
:13:31. | :13:36. | ||
fertilised eggs. And now, happy and settled she lays them, 100,000 of | :13:36. | :13:43. | |
them. Over the next six months she carefully tends to her brood, never | :13:43. | :13:52. | |
leaving the den for a moment. THUS, unable to leave, she's starving. | :13:52. | :13:58. | |
Many of these young will not reach adulthood, but she's giving them | :13:58. | :14:06. | |
the best possible chance. Her final act of devotion, gently blowing | :14:06. | :14:13. | |
warm water over the surface of the eggs to encourage them to hatch. | :14:13. | :14:23. | |
:14:23. | :14:23. | ||
Apology for the loss of subtitles for 44 seconds | :14:23. | :15:08. | |
After her long, and lonely vigil, Then I was sat there looking at | :15:08. | :15:13. | |
that television. Wow! This guy knows exactly how it is for single | :15:13. | :15:23. | |
:15:23. | :15:35. | ||
Ladies and gentlemen, Mr Doc Brown. APPLAUSE. Our guest conductor is no | :15:35. | :15:38. | |
stranger to the Proms, having performed to over 30,000 people in | :15:38. | :15:43. | |
Hyde Park as part of the BBC's Last Night of The Proms coverage in 2008. | :15:43. | :15:45. | |
Ladies and Gentlemen, please welcome Sue Perkins! | :15:45. | :15:51. | |
APPLAUSE. There is an old saying, you play | :15:51. | :15:55. | |
the Royal Albert Hall twice in your career, once on the way up, once on | :15:55. | :15:59. | |
the way down. I always thought when I played this | :15:59. | :16:07. | |
place again, I would be in a breastplate, in horns. And being | :16:07. | :16:17. | |
:16:17. | :16:25. | ||
forced to saying the word, penis. I am being heckled by a woodland | :16:25. | :16:33. | |
creature. I and Nelson the fox. I am an enormous fan. I have seen all | :16:33. | :16:43. | |
:16:43. | :16:45. | ||
of your work. Of course, Maestro, the conducting Competition were you | :16:45. | :16:55. | |
:16:55. | :16:58. | ||
beat Goldie. I did actually meet Goldie the Where do you stand on | :16:58. | :17:08. | |
:17:08. | :17:11. | ||
toxoplasmosis? As far away as possible! We are not so different. | :17:11. | :17:17. | |
We are erudite. We have both paraded in his late at night. Been | :17:17. | :17:22. | |
chased by packs of angry dogs. We have both bitten children now and | :17:22. | :17:27. | |
then. This might seem like a crazy suggestion. But I will say it | :17:27. | :17:35. | |
anyway. We are out the Royal Albert Hall. Would you like to sing a song | :17:35. | :17:45. | |
:17:45. | :17:51. | ||
from The Mongrels? Here's: Middleclass Is Magical, from the | :17:51. | :18:01. | |
:18:01. | :18:13. | ||
multi-award-winning hit BBC Three # A safe world free from strife | :18:13. | :18:17. | |
# Let bad things happen to other folk while you read Country Life. | :18:17. | :18:19. | |
# Buy an Aga. # Wear a Monsoon dress. | :18:19. | :18:23. | |
# Get your food from M&S. # Own an iPhone. | :18:23. | :18:26. | |
# Watch Bear Grylls. # Take anti-depressant pills. | :18:27. | :18:32. | |
# Middle class is magical. # Drive a 4x4 to school. | :18:32. | :18:34. | |
# Keep three sorts of hummus in your fridge. | :18:34. | :18:37. | |
# Makeover your downstairs loo. # Learn to salsa. | :18:37. | :18:41. | |
# Ski in Verbier. # Drink too much Chilean Chardonnay. | :18:41. | :18:44. | |
# Ignore the homeless. # Don't mind burkhas. | :18:44. | :18:54. | |
:18:54. | :18:58. | ||
# When all the world is middle class. | :18:58. | :19:01. | |
# There'll be no poverty or starvation. | :19:01. | :19:03. | |
# Cos we'll all grow our own mange tout. | :19:03. | :19:07. | |
# And Myleene Klass will rule the nation. | :19:07. | :19:12. | |
# Because: middle class is magical. # Join us and you'll see. | :19:13. | :19:17. | |
# You're already half-way there because you're not watching ITV! | :19:17. | :19:22. | |
# Yes, middle class is magical. # What matters is what we wear. | :19:22. | :19:25. | |
# Let's pay someone else to do the difficult jobs. | :19:25. | :19:31. | |
# While we work on our hair! # Middle class is magical Yeah! | :19:31. | :19:41. | |
:19:41. | :20:00. | ||
APPLAUSE. 8. TIM INTRO TO LULLABY. This is a lullaby. I wrote it for | :20:01. | :20:10. | |
:20:11. | :20:18. | ||
# Sleep little baby, sleep now my love. | :20:18. | :20:23. | |
# The Milky Way's shining high up above. | :20:23. | :20:27. | |
# When you grow up, you will learn all that stuff. | :20:27. | :20:35. | |
# But for now, close your eyes. # Close your eyes. | :20:35. | :20:42. | |
# Sleep little baby, try not to squawk. | :20:42. | :20:46. | |
# Tomorrow and tomorrow you'll learn how to walk. | :20:46. | :20:50. | |
# To love and laugh, to eat toast and talk. | :20:50. | :20:57. | |
# But for now, beddy-byes. # Your blanket's hand-knitted with | :20:57. | :21:03. | |
pure angora wool. # Your nappy is dry and your tummy | :21:03. | :21:08. | |
is full. # Of enough antihistamine to | :21:08. | :21:15. | |
placate a bull. # Yet still all this gringeing. | :21:15. | :21:20. | |
# What more could you want for? I just cannot guess. | :21:20. | :21:25. | |
# You constantly complain to me, when you should feel blessed. | :21:25. | :21:28. | |
# There are children in Africa, starving to death. | :21:28. | :21:38. | |
:21:38. | :21:40. | ||
# And you don't hear them whingeing. # What more can I do to put a stop | :21:40. | :21:46. | |
to this mind numbing noise you are making? | :21:46. | :21:51. | |
# Where is the line between patting and hitting? | :21:52. | :21:59. | |
# When is rocking "rocking" and when is it "shaking"? | :21:59. | :22:03. | |
# I don't know what else I can try to try to hush you. | :22:03. | :22:08. | |
# My heart knows I love you but my brain's saying (BLEEP) you. | :22:08. | :22:11. | |
# And hoping a child trafficker will abduct you. | :22:11. | :22:16. | |
# At least then I'd get a few hours in bed. | :22:16. | :22:20. | |
# I've shooshed and I've cooed and I've even try to sing: | :22:20. | :22:25. | |
# Obladi, oblada, in the exact voice of Ringo. | :22:25. | :22:30. | |
# Now all I have left is to hope that a dingo will sneak in and rip | :22:30. | :22:40. | |
:22:40. | :23:11. | ||
# Hush little baby, don't say a word. | :23:11. | :23:14. | |
# Papa's gonna buy you a mocking bird. | :23:14. | :23:20. | |
# In the hope you get avian flu. # The nice folk in A&E will take | :23:20. | :23:30. | |
:23:30. | :24:07. | ||
# That's it, close you're eyes, sshhh, not a sound. | :24:07. | :24:13. | |
# I can barely see your tiny chest move up and down. | :24:13. | :24:18. | |
# One thing they don't mention in parenting books. | :24:18. | :24:22. | |
# Your love for them grows, the closer to dead they look. APPLAUSE. | :24:22. | :24:32. | |
:24:32. | :24:47. | ||
Ladies and gentlemen, please maintain and enhance your applause | :24:47. | :24:50. | |
for the indescribable phenomenon that is: The Boy With Tape On His | :24:50. | :25:00. | |
:25:00. | :25:01. | ||
Apology for the loss of subtitles for 44 seconds | :25:01. | :30:54. | |
Sorry, I don't suppose I'll get many more opportunities to do that. | :30:54. | :31:01. | |
APPLAUSE That is Light My Fire on the Royal | :31:01. | :31:05. | |
Albert Hall organ, I think I can particular tick that off my bucket | :31:05. | :31:12. | |
list. This next duo have been compared in the press to a modern- | :31:12. | :31:17. | |
day Flanders and Swann. They have been all over the country. Really, | :31:17. | :31:20. | |
the kind of act that represent everything a a Comedy Prom should | :31:20. | :31:26. | |
be and would have been if my agent hadn't of slept with the Head of | :31:26. | :31:36. | |
:31:36. | :31:46. | ||
Radio 3. Please welcome the beautiful kit and the Widow. | :31:46. | :31:50. | |
Lavatory seats, I know the vandals are at the gates, but, Henry Wood | :31:51. | :31:55. | |
must be spinning in his grave. Listen to that, we can hear him. | :31:55. | :31:59. | |
Are we in the right place? There should be a found fountain. | :31:59. | :32:08. | |
Somewhere here there should be a fountain. Did it get lost in the | :32:08. | :32:13. | |
looting. First down market. No fountain we could help by trying to | :32:13. | :32:20. | |
raise the tone. Raise the musical bar this is the Albert Hall and the | :32:20. | :32:24. | |
Proms. We should include some music by the man who, is without question, | :32:24. | :32:29. | |
the it greatest composer alive in this country. In this country and | :32:29. | :32:36. | |
Europe and the world. His brother was playing his cello? There was a | :32:36. | :32:44. | |
little bit of Holts. I refer, of course, to Sir Andrew Lloyd Webber, | :32:44. | :32:54. | |
:32:54. | :32:55. | ||
may his tribe increase. He name is Lord Webber. I am not worthy. | :32:55. | :33:00. | |
I am not worthy. These things are important. Since we seem to be | :33:00. | :33:06. | |
chasing the Saturday night ratings what better to place - If you could | :33:06. | :33:15. | |
remember that his name is Lord, Lord Lloyd Webber, baron of | :33:15. | :33:19. | |
Sydmonton. He's styled Baron. Nothing to do with his musical | :33:19. | :33:25. | |
imagination. He's styled Barren. His place is rightfully here. We | :33:25. | :33:34. | |
will share with you tonight # You too can write a great West | :33:34. | :33:41. | |
End score # Steal it from somebody else | :33:41. | :33:45. | |
# The public will clamour, the public will roar | :33:45. | :33:50. | |
# He they won't know the best tunes were written before | :33:50. | :33:56. | |
# Prod their memories # With some musical aero | :33:56. | :34:02. | |
# That sounds quite like bolero # And sits back as it sells | :34:02. | :34:05. | |
# You too can write a great West End score | :34:06. | :34:15. | |
:34:16. | :34:17. | ||
# Steal it from somebody else # Young Mendelssohn wrote this | :34:17. | :34:24. | |
# Lovely violin tune # I don't know, but I love it | :34:24. | :34:34. | |
:34:34. | :34:37. | ||
# I don't see why it moves me # Goldener Tro pft | :34:37. | :34:43. | |
# Blattund Blatt # I bet Richard Strauss couldn't | :34:43. | :34:47. | |
think of that # Open up your mind | :34:47. | :34:57. | |
# Let your fantasies unwind # And if Puccini's Fanciulla sounds | :34:57. | :35:04. | |
the same # Better that than rip-off La | :35:04. | :35:08. | |
Boheme # You too can write a great West | :35:08. | :35:10. | |
End score # Steal it from somebody else | :35:10. | :35:12. | |
# It's very easy # Don't think it's strange | :35:12. | :35:18. | |
# All you need is a piece from Bach # And no-one will know once you've | :35:18. | :35:21. | |
made the odd change # It's an illusion | :35:21. | :35:24. | |
# It's not as original as they all claim | :35:24. | :35:31. | |
# It's the prelude in C all the time | :35:31. | :35:37. | |
# But the royalties still stay stay the same | :35:37. | :35:44. | |
# Wolltempierte Klavier # Fugue In E Major | :35:44. | :35:54. | |
:35:54. | :35:56. | ||
# Sung high by Michael Ball # Love changes bugger all # | :35:56. | :36:00. | |
Excuse me. Trouble. There is a disturbance. Security, we have | :36:00. | :36:05. | |
trouble. Excuse me much I need to have a word with you. Do you know | :36:05. | :36:14. | |
who this is? There is a rogue Bullock. Do we have a Matador in | :36:14. | :36:23. | |
the house. What are you doing down there? I neat need a strict word | :36:23. | :36:26. | |
with you. I can't concentrate when you are dressed like. That excuse | :36:26. | :36:35. | |
me. What is this? Trousers. Trousers at the Albert Hall. You | :36:36. | :36:41. | |
are a soprano. And? You are dressed like a mezzo. Excuse me. Do I look | :36:41. | :36:48. | |
like the sort of girl who is about to break into a dark opera aria. | :36:48. | :36:53. | |
Let's only hope not. Aren't you four weeks early? Into I'm getting | :36:53. | :36:57. | |
practice. She is doing the last night, ladies and gentlemen. This | :36:57. | :37:05. | |
is it. Meanwhile. I have the most marvellous song time song here. | :37:05. | :37:13. | |
do now? Absolutely. I can't wait. Which one? This one. Ladies and | :37:13. | :37:23. | |
:37:23. | :37:38. | ||
gentlemen, # Tall and slender like an apolo he | :37:38. | :37:48. | |
:37:48. | :37:48. | ||
goes walking by # I have to follow him | :37:48. | :37:54. | |
# The boy from Sondheim # When I meet I feel we are on fire | :37:54. | :38:04. | |
:38:04. | :38:07. | ||
# I'm breathless every time I enquire | :38:07. | :38:17. | |
:38:17. | :38:19. | ||
# Why when I speak does he vanish # Why is he acting so clanish | :38:19. | :38:27. | |
# I wish I understoon stood Spanish # When I tell hem I think he's the | :38:27. | :38:34. | |
# He giggles a lot with his friend # Tall and slender moves like a | :38:34. | :38:37. | |
dancer # But I never to get any answer | :38:37. | :38:47. | |
:38:47. | :38:55. | ||
# Why are his trousers vermillion? # His trousers are vermillion. | :38:55. | :39:00. | |
# Why does he claim he's Castilian? # He thayth that he'th Cathtilian. | :39:00. | :39:05. | |
# Why do his friends call him Lillian? | :39:05. | :39:12. | |
# And I hear at the end of the week he's leaving to start a boutique. | :39:12. | :39:15. | |
# Though I smile, I'm only pretending. | :39:15. | :39:19. | |
# Cos I know today's the last I'll be spending with the boy from | :39:19. | :39:22. | |
Tacarembo La Tumbe Del Fuego Santa Malipas Zatatecas La Junta Del Sol | :39:22. | :39:31. | |
Y Cruz. # Tomorrow he sails. | :39:31. | :39:40. | |
# He's moving to Wales. # To live in: | :39:40. | :39:42. | |
Llanfairpwllgwyngyllgogerychwyr ndrobullllandysiliogogogoch! | :39:42. | :39:52. | |
:39:52. | :40:32. | ||
# Fairy liquid sq ueeges and dismembered brollies | :40:32. | :40:36. | |
# Coco cola cans and rusting shopping trolleys | :40:36. | :40:40. | |
# Several discarded single black dock martens | :40:40. | :40:45. | |
# Hoards and hoards of old MacDonalds cart ins | :40:45. | :40:55. | |
:40:55. | :40:56. | ||
# Half a Fiat126 to claim the # Bottles labelled Cherryade and | :40:56. | :40:58. | |
Rocket Thunder. # Empty packs of cigarettes and | :40:58. | :41:02. | |
Golden Wonder. # Toys that you get given free at | :41:02. | :41:09. | |
# Plastic fobs from Henley members' reservations. | :41:09. | :41:11. | |
# Orange peel and Castrol Superlube containers. | :41:11. | :41:14. | |
# Bacofoil and Adidas athletic trainers. | :41:14. | :41:21. | |
# Double blade disposable blue razorblades. And look, there are: | :41:21. | :41:30. | |
# Part disintegrating bit of perch and tench. | :41:30. | :41:32. | |
# And floating recent life that won't bear close attention. | :41:32. | :41:34. | |
# Shiny pools of manganese and benzochloride. | :41:34. | :41:38. | |
# Sulphurous waves of petrofluoride. # Sewage treated and untreated in | :41:38. | :41:42. | |
profusion. # Drainings from an engine sump in | :41:42. | :41:45. | |
part solution. # Old car batteries sitting on the | :41:45. | :41:52. | |
glorious placid shoreline leaking acid. | :41:52. | :41:55. | |
# And washed down from lovely shimmering Derwentwater: | :41:55. | :41:59. | |
# One whole sheep marked "radioactive, do not slaughter". | :41:59. | :42:03. | |
# Canisters with skull and crossbones part revealed. | :42:03. | :42:08. | |
# Canisters unmarked just saying, "Sellafield". | :42:08. | :42:12. | |
# Banks of vegetation standing rotting sweetly. | :42:12. | :42:17. | |
# Banks where vegetation's given up completely. | :42:17. | :42:27. | |
:42:27. | :42:30. | ||
# There I sat down and I saw a swan of purest whiteness gently lying. | :42:30. | :42:35. | |
# Saw a swan of purest whiteness, slowly dying. | :42:35. | :42:39. | |
# Saw a swan enmeshed in bits of anglers' twine. | :42:39. | :42:43. | |
# Poisoned by the lead weights on a fishing line. | :42:43. | :42:47. | |
# And many people rushing forward who cried to see it. | :42:47. | :42:51. | |
# Many people rushing forward who tried to free it. | :42:51. | :42:55. | |
# Saw the swan, who lifted up her failing head. | :42:55. | :43:01. | |
# Saw them gasp to hear her as she quietly said: | :43:01. | :43:04. | |
# "You'll no doubt have heard how swans refrain from crying, up until | :43:04. | :43:12. | |
the moment that we find we're dying. # Charming, but as you can see, by | :43:12. | :43:19. | |
then it's not much use. # Quite apart from which, swans | :43:19. | :43:27. | |
aren't responsible, you know. # So, what's your excuse?" | :43:27. | :43:37. | |
:43:37. | :43:37. | ||
Apology for the loss of subtitles for 44 seconds | :43:37. | :44:42. | |
The pianist Danny Driver and the conductor Andrew Litton are world | :44:42. | :44:47. | |
reknowned artists working at the top of their field. It says in my | :44:47. | :44:57. | |
:44:57. | :45:02. | ||
notes that Danny was to play Grieg's poo concerto, but I met the | :45:02. | :45:08. | |
conductor in the loo and he was waving his baton around wildly, | :45:08. | :45:16. | |
insisting he was con ducking Tchaikovsky. Either way, please | :45:16. | :45:26. | |
:45:26. | :45:26. | ||
Apology for the loss of subtitles for 44 seconds | :45:26. | :55:34. | |
welcome Andrew Litton and Danny Andrew Litton and Danny Driver. | :55:34. | :55:44. | |
:55:44. | :55:46. | ||
Performing the famous Concerto Popolare by Franz Reizenstein. | :55:46. | :55:51. | |
Probably not a good idea to get an actual musician to do an actual | :55:51. | :55:58. | |
piece of music. I am feeling insecure, threatened. I am going to | :55:58. | :56:04. | |
do what I have always done in my life. It has served me well. When I | :56:04. | :56:14. | |
:56:14. | :56:18. | ||
feel threatened. I do something I have a box full of stupid people | :56:18. | :56:28. | |
:56:28. | :56:31. | ||
to support me! This is a piece I wrote a long time ago. # I've been | :56:31. | :56:34. | |
having a little a problem recently. # Which is quite disturbing | :56:34. | :56:36. | |
musical-ically. # Involving a semi-tonal | :56:36. | :56:37. | |
discrepancy. # Vocally and instrumentally. | :56:37. | :56:40. | |
# You see, musicians of different varieties prefer playing in | :56:40. | :56:45. | |
particular keys. # And singers, too, treat | :56:45. | :56:53. | |
preferentially those notes they tackle more proficiently. | :56:53. | :56:57. | |
# Now, you don't have to be a member of Mensa to understand the | :56:57. | :57:01. | |
depths of my dilemma. # The two elements of me favour two | :57:02. | :57:05. | |
different keys. # Thus the rift betwixt my fingers | :57:05. | :57:08. | |
and my tenor. # I love nothing more than playing | :57:08. | :57:11. | |
instruments in F. # It warms the very cockles of my | :57:11. | :57:16. | |
heart. # The trouble is that F can leave | :57:16. | :57:20. | |
me vocally bereft, you see. # I like playing in F major. But I | :57:20. | :57:30. | |
:57:30. | :57:34. | ||
like singing in F sharp. # F sharp. F sharp. | :57:34. | :57:37. | |
# I refuse to be beholden to my hands. | :57:37. | :57:41. | |
# I don't see why my larynx should give in to their demands. | :57:41. | :57:44. | |
# I will not be forced to compromise my art. | :57:44. | :57:50. | |
# And so I just keep playing in F major and singing in F sharp. | :57:50. | :58:00. | |
# F sharp. F sharp. # I'll keep playing in F major, and | :58:00. | :58:10. | |
:58:10. | :58:35. | ||
You have to use what skills you have got. Ladies and gentleman, | :58:35. | :58:39. | |
please welcome back to the stage: Kit And The Widow. And the two Sues, | :58:39. | :58:49. | |
:58:49. | :59:08. | ||
So do whatever is necessary, get your friends, adjust. On this | :59:08. | :59:11. | |
Comedy Prom has a programme we could not possibly not have the | :59:11. | :59:17. | |
greatest comedy song ever. The greatest comedy song of all time, | :59:17. | :59:27. | |
which needs no introduction. Do you know this song? Can you look like a | :59:27. | :59:34. | |
hippopotamus? Can we sing together? It will be very encouraging to me. | :59:34. | :59:44. | |
:59:44. | :00:01. | ||
# A bold hippopotamus was standing one day. | :00:01. | :00:09. | |
# On the banks of the cool Shalimar. # He gazed at the bottom as it | :00:09. | :00:15. | |
peacefully lay. # By the light of the evening star. | :00:15. | :00:17. | |
# Away on a hilltop sat combing her hair. | :00:17. | :00:25. | |
# His fair hippopotamine maid. # The hippo-pot-amus was no | :00:25. | :00:34. | |
ignoramus. # And sang her this sweet serenade. | :00:34. | :00:39. | |
# Mud, mud, glorious mud. # Nothing quite like it for cooling | :00:39. | :00:45. | |
the blood. # So follow me, follow down to the | :00:45. | :00:49. | |
hollow. # And there let us wallow in | :00:49. | :00:59. | |
:00:59. | :01:02. | ||
glorious mud. What a chest. # The fair hippopotama he aimed to | :01:02. | :01:05. | |
entice. # From here seen on the hilltop | :01:05. | :01:10. | |
above. # As she had not got a ma to give | :01:10. | :01:17. | |
her advice. # Came tip-toeing down to her love. | :01:17. | :01:20. | |
# Like thunder the forest re-echoed the sound of the song that they | :01:20. | :01:28. | |
sang as they met. # His enamorata adjusted her garter | :01:28. | :01:37. | |
and lifted her voice in duet. # Mud, mud, glorious mud | :01:38. | :01:43. | |
# Nothing quite like it for cooling the blood. | :01:43. | :01:51. | |
# So follow me, follow down to the hollow. | :01:51. | :02:01. | |
:02:01. | :02:22. | ||
# And there let us wallow in glorious mud. The Boy With Tape On | :02:22. | :02:28. | |
His Face and Tim Minchim. Do you want to do a duet? Why not. That | :02:28. | :02:37. | |
would be really fantastic. Oh, yes. It's not safe any more. It's called | :02:37. | :02:47. | |
:02:47. | :02:47. | ||
Apology for the loss of subtitles for 44 seconds | :02:47. | :05:44. | |
I hit a Bottrill tomorrow A. Most musicians spend years and years | :05:44. | :05:51. | |
trainges their fingers to do more and more intricate tasks. The guest | :05:51. | :05:56. | |
guest spent years and years sitting in his bedroom with a moibg | :05:56. | :06:02. | |
microphone figuring out ways to make us all look pretty boring. He | :06:02. | :06:12. | |
:06:12. | :06:12. | ||
is an or al wizard labial-magician and lingual-wizard, please put your | :06:12. | :06:22. | |
:06:22. | :06:22. | ||
Apology for the loss of subtitles for 44 seconds | :06:22. | :08:46. | |
hands together for the not very Improvisation of Pachelbel's | :08:46. | :08:56. | |
:08:56. | :09:14. | ||
APPLAUSE Ladies and gentlemen, I do | :09:14. | :09:19. | |
apologise if you were actually enjoying that, ladies and gentlemen, | :09:19. | :09:23. | |
but I wasn't. It was doing my nut. All right. I tell you what. Here is | :09:23. | :09:33. | |
:09:33. | :09:50. | ||
a little something for you. How Nah, it's a bit much, really, isn't | :09:50. | :10:00. | |
it? It's the Proms. You can't do that at the Proms, no. Saint's | :10:00. | :10:07. | |
preserve us. Grill my cockels or whatever it is. It should be more | :10:07. | :10:10. | |
appropriate for the environment. Here it goes. Could somebody give | :10:10. | :10:17. | |
me a concert A, please. #Me,me,me... # | :10:17. | :10:27. | |
:10:27. | :10:27. | ||
Apology for the loss of subtitles for 44 seconds | :10:27. | :13:27. | |
JAZZ (sound slows down) (sound JAZZ INSTRUMENTAL. | :13:27. | :13:35. | |
CHEERING AND APPLAUSE 1, 2, 3, 4. | :13:35. | :13:38. | |
# We're going to do another little thing | :13:38. | :13:45. | |
# You know that I'm going to the future yet yes | :13:45. | :13:48. | |
# I know you are will be impressed if you can hear the words I want to | :13:48. | :13:51. | |
get off my chest # Can you hear what I'm saying to | :13:51. | :13:55. | |
# All I want to do right now # Is tell you all I don't know how | :13:55. | :13:59. | |
# All I'm doing this with my mind # You will find, | :13:59. | :14:03. | |
# I didn't write any of this # It's coming off the top of my | :14:03. | :14:07. | |
head this # That's why the next line won't | :14:07. | :14:10. | |
rhythm at all # 1, 2, 3, 4 | :14:10. | :14:13. | |
# Yeah # I want to tell you it's been nice | :14:13. | :14:16. | |
playing for you # I've got to go | :14:16. | :14:20. | |
# I adore you # Now, it's time for me to say | :14:20. | :14:26. | |
goodbye # Stop, stop, stop, stop maybe, 1, | :14:26. | :14:36. | |
:14:36. | :14:36. | ||
Apology for the loss of subtitles for 44 seconds | :14:36. | :15:38. | |
maybe 2, maybe 3 maybe 4 This is a song about prejudice, and | :15:38. | :15:48. | |
:15:48. | :16:01. | ||
the language of prejudice. And the power of the language of prejudice. | :16:01. | :16:11. | |
:16:11. | :16:16. | ||
# In our modern free-spoken society, # There is a word that we still | :16:16. | :16:23. | |
hold taboo. # A word with a terrible history of | :16:23. | :16:26. | |
being used to abuse, oppress and subdue. | :16:26. | :16:31. | |
# Just six seemingly harmless letters. | :16:31. | :16:36. | |
# Arranged in a way that will form a word with more power than the | :16:36. | :16:46. | |
:16:46. | :16:46. | ||
pieces of metal that are forged to make swords. | :16:46. | :16:51. | |
# A couple of Gs. # An R and an E. | :16:51. | :17:00. | |
# An I and an N. # Just six little letters, all | :17:00. | :17:06. | |
jumbled together, have caused damage that we may never mend. | :17:06. | :17:09. | |
# And it's important that we all respect that, if these people | :17:09. | :17:16. | |
should happen to choose # To reclaim the word as their own. | :17:16. | :17:23. | |
# It doesn't mean the rest of you have the right to its use. | :17:24. | :17:27. | |
# So never underestimate the power that language imparts. | :17:27. | :17:30. | |
# Sticks and stones may break your bones. | :17:30. | :17:34. | |
# But words can break hearts. # A couple of Gs. | :17:34. | :17:36. | |
# (Geez unless you've had to live it). | :17:36. | :17:40. | |
# An R and an E. # (Even I am careful with it). | :17:40. | :17:44. | |
# An I and an N. # In the end it will only offend. | :17:44. | :17:54. | |
:17:54. | :18:09. | ||
# Don't wanna have to spell it out # Only a ginger can call another | :18:09. | :18:14. | |
ginger "ginger". # Only a ginger can call another | :18:14. | :18:20. | |
ginger "ginger". # So listen to me, if you care for | :18:20. | :18:22. | |
your health. # You don't call me ginger unless | :18:22. | :18:25. | |
your ginger yourself. # Only a ginger can call another | :18:25. | :18:31. | |
ginger "ginger". # When you are a ginger, life is | :18:31. | :18:34. | |
pretty hard. # The years of ritual bullying in | :18:34. | :18:37. | |
the school yard. # Kids callin' you "ranga" and | :18:37. | :18:39. | |
"Fanta pants". # No invitations to the high school | :18:39. | :18:43. | |
dance. # But ya get up and learn to hold | :18:43. | :18:46. | |
our head up. # Ya try to keep ya cool and not | :18:46. | :18:50. | |
get het up. # But until the feeling of ill has | :18:50. | :18:53. | |
truly let up. # Then the word is ours and ours | :18:53. | :18:56. | |
alone, don't ya know. # Only a ginger can call another | :18:56. | :18:59. | |
ginger "ginger". # Only a ginger can call another | :18:59. | :19:05. | |
ginger "ginger". # So if you call us "ginge", we | :19:05. | :19:09. | |
just might come unhinged. # If you don't got a fringe with at | :19:09. | :19:13. | |
least a tinge of the ginge in it. # Only a ginger can call another | :19:13. | :19:16. | |
ginger "ginger". # Now listen to me, we're not | :19:16. | :19:18. | |
looking for sympathy. # Just because we're sensitive to | :19:18. | :19:26. | |
# Just because we're pathetically pale. | :19:26. | :19:30. | |
# We do all right with the females. # Yeah, I like to ask the ladies | :19:30. | :19:34. | |
round for ginger beer. # And soon they're running their | :19:34. | :19:38. | |
fingers through my ginger beard. # And dunkin' my ginger nuts into | :19:38. | :19:41. | |
their ginger tea, yeah. # And asking can they call me | :19:41. | :19:43. | |
"Ginge". # And I say, I don't think that's | :19:43. | :19:45. | |
appropriate. # Cos only a ginger can call | :19:46. | :19:48. | |
another ginger "ginger". # Only a ginger can call another | :19:48. | :19:52. | |
ginger "ginger". # All the ladies, they agree, it's | :19:52. | :19:56. | |
a fact: # Once you gone ginge, you can't go | :19:56. | :19:58. | |
back. # Only a ginger can call another | :19:58. | :20:08. | |
:20:08. | :20:26. | ||
# You can call us "bozo" or "fire truck". | :20:26. | :20:30. | |
# You can even call us "carrot top" or "bloodnut" | :20:30. | :20:36. | |
# Yeah, you can call us "matchstick" or "tampon". | :20:36. | :20:39. | |
# But muckin' with the G-word is just not on. | :20:39. | :20:42. | |
# If you're a gingerphobe and you don't like us. | :20:42. | :20:45. | |
# We'll stand up to the fight if you wanna fight us. | :20:45. | :20:48. | |
# But if you cut yourself, you might catch gingervitis. | :20:48. | :20:51. | |
# So maybe you should shut your funky mouth. | :20:51. | :20:55. | |
# Only a ginger can call another ginger "ginger". | :20:55. | :21:00. | |
# Only a ginger can call another ginger "ginger". | :21:00. | :21:04. | |
# So if you call us ginge, you can't whinge if you're injured. | :21:04. | :21:08. | |
# If you don't have a tinge of the ginge in your minge. | :21:08. | :21:12. | |
# Only a ginger can call another ginger "ginger". | :21:12. | :21:16. | |
# And I know my kids will always be clothed and fed. | :21:16. | :21:18. | |
# Cos daddy's gonna bringin' home the ginger bread. | :21:18. | :21:25. | |
# And they'll be pretty smart because they will be well-read. | :21:25. | :21:29. | |
# And by read, I mean read, and the other kind of red. | :21:29. | :21:32. | |
# Only a ginger can call another ginger "ginger". | :21:32. | :21:34. | |
# Only a ginger can call another ginger "ginger". | :21:34. | :21:40. | |
# Just like only a ninja can sneak up on another ninja. | :21:40. | :21:45. | |
# Only a ginger, only a ginger, only a ginger, yeah. | :21:45. | :21:48. | |
# Are you listening-a? # I'm not pointing the finger. | :21:48. | :21:56. | |
# I'm just having a sing-a. # I am just reminding ya. | :21:56. | :21:59. | |
# That only a ginger can call another ginger "ginger". | :21:59. | :22:09. | |
:22:09. | :22:27. | ||
And learned that, my friends, is Then I hope you have had a | :22:27. | :22:31. | |
wonderful night here at the Proms. I hadn't thought what I would say | :22:32. | :22:41. | |
:22:42. | :23:16. | ||
here. Do Go nuts! Deed cello is Please thank Doc Brown! Thank you | :23:16. | :23:20. | |
for not stereotyping may, if you do, I will do so you drugs and kill | :23:20. | :23:30. | |
:23:30. | :23:30. | ||
Apology for the loss of subtitles for 44 seconds | :23:30. | :24:45. | |
you! Jules Buckley. And the BBC Concert | :24:45. | :24:55. | |
:24:55. | :24:55. | ||
Apology for the loss of subtitles for 44 seconds | :24:55. | :27:51. | |
And this has been your Comedy Prom I basically saw this concert as an | :27:51. | :27:54. | |
opportunity to force incredible musicians to do what I wanted them | :27:54. | :28:01. | |
to do. And, this is probably the most self indulgent of these four | :28:01. | :28:11. | |
:28:11. | :28:40. | ||
things. This is my private # This is my Earth and I live in it. | :28:40. | :28:45. | |
# It's one third dirt and two thirds water. | :28:45. | :28:49. | |
# And it rotates and revolves through space at rather an | :28:49. | :28:59. | |
:28:59. | :28:59. | ||
impressive pace. # And never even messes up my hair. | :28:59. | :29:02. | |
# And here's the really weird thing: | :29:02. | :29:06. | |
# The force created by its spin is the force that stops the chaos | :29:06. | :29:16. | |
flooding in. # This is my Earth and it's fine. | :29:16. | :29:25. | |
# It's where I spend the vast majority of my time. | :29:26. | :29:35. | |
:29:36. | :29:44. | ||
# It's not perfect but it's mine. # It's not perfect. | :29:44. | :29:53. | |
# This is my house and I live in it. # It's made of cracks and | :29:53. | :30:00. | |
photographs. # We bought it from a guy who | :30:01. | :30:05. | |
bought it from a guy. # Who bought it from a guy whose | :30:05. | :30:14. | |
granddad left it to him. # And the weirdest thing is that | :30:14. | :30:18. | |
this house has locks to keep the baddies out. | :30:18. | :30:25. | |
# But they're mostly used to lock ourselves in. | :30:25. | :30:34. | |
# This is my house and it's fine. # It's where I spend the vast | :30:34. | :30:44. | |
:30:44. | :30:46. | ||
majority of my time. # It's not perfect but it's mine. | :30:46. | :30:56. | |
:30:56. | :31:17. | ||
# This is my body and I live in it. # It's 35 and 10 months old. | :31:17. | :31:20. | |
# It's changed a lot since it was new. | :31:20. | :31:24. | |
# It's done stuff it wasn't built to do. | :31:24. | :31:30. | |
# I often try to fill it up with wine. | :31:30. | :31:37. | |
# And the weirdest thing about it is I spend so much time hating it. | :31:37. | :31:44. | |
# But it never says a bad word about me. | :31:44. | :31:52. | |
# This is my body and it's fine. # It's where I spend the vast | :31:52. | :32:02. | |
:32:02. | :32:03. | ||
majority of my time. # It's not perfect but it's mine. | :32:03. | :32:13. | |
:32:13. | :32:26. | ||
# This is my brain and I live in it. # It's made of love and bad song | :32:27. | :32:35. | |
lyrics. # It's tucked away behind my eyes | :32:35. | :32:39. | |
where all my screwed up thoughts can hide. | :32:39. | :32:49. | |
:32:49. | :32:49. | ||
# Cos, God forbid I hurt somebody. # And the weirdest thing about a | :32:49. | :32:53. | |
mind is that every answer that you find is the basis of a brand new | :32:53. | :33:03. | |
:33:03. | :33:05. | ||
cliche. # This is my brain and it's fine. | :33:05. | :33:12. | |
# It's where I spend the vast majority of my time. | :33:12. | :33:22. | |
:33:22. | :33:31. | ||
# It's not perfect but it's mine. # It's not perfect. | :33:31. | :33:40. | |
# I'm not quite sure I've worked out how to work it. | :33:40. | :33:50. | |
:33:50. | :33:50. | ||
Apology for the loss of subtitles for 44 seconds | :33:50. | :34:32. | |
My new friends. Thank you Jules, thank you BBC Concert Orchestra. | :34:32. | :34:42. | |
:34:42. | :34:50. | ||
Thank you so much for coming. Enjoy The BBC's first ever Comedy Prom. | :34:50. | :34:55. | |
We didn't know what to expect, but the audience here have loved this | :34:55. | :35:03. | |
evening. Of course, hosted by the fabulously talented, Tim Minchim. | :35:03. | :35:13. | |
:35:13. | :35:17. | ||
Tomorrow evening, on BBC Four there is another chance to see in Marl's | :35:17. | :35:21. | |
Second symphony. I will be back next Saturday for an evening of | :35:21. | :35:26. | |
glitz and glamour when John Wilson and his ok orchestra return to the | :35:26. | :35:35. |