Browse content similar to Walking with White, Floating with Vail, Sitting with Boorman. Check below for episodes and series from the same categories and more!
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Rave On - on The Arts Show. | 6:52:51 | 6:52:53 | |
Music, poetry, film, flying guitars and | 6:52:53 | 6:52:57 | |
a trip down memory lane with 21st-century troubadour Andy White. | 6:52:57 | 6:53:01 | |
All that and this. | 6:53:01 | 6:53:02 | |
From duelling banjos to books, | 6:53:03 | 6:53:05 | |
director John Boorman on his first novel at the age of 83. | 6:53:05 | 6:53:09 | |
Music producer Ryan Vail finds the Foyle floats his boat | 6:53:09 | 6:53:13 | |
and a century-old piano. | 6:53:13 | 6:53:16 | |
How Monet makes the world go round for classical superstar | 6:53:16 | 6:53:19 | |
Barry Douglas. | 6:53:19 | 6:53:20 | |
And as she swaps Northern Ireland for | 6:53:20 | 6:53:22 | |
Northern England, Sinead Morrissey debuts a new poem. | 6:53:22 | 6:53:25 | |
Since his breakthrough single, Religious Persuasion, in 1985, | 6:53:26 | 6:53:30 | |
songwriter Andy White has worked with icons like Van Morrison | 6:53:30 | 6:53:33 | |
and Peter Gabriel. | 6:53:33 | 6:53:35 | |
Over the course of the show, | 6:53:35 | 6:53:36 | |
he takes us on a dander through his city. | 6:53:36 | 6:53:39 | |
So you would have been aged, what, 16 or so? | 6:53:41 | 6:53:43 | |
Yeah, we were partying on University Street. | 6:53:43 | 6:53:46 | |
-And what came out of that window? -A friend of mine threw an acoustic | 6:53:46 | 6:53:49 | |
guitar out that window and it bounced on the pavement | 6:53:49 | 6:53:54 | |
and broke a big crack in the back. | 6:53:54 | 6:53:57 | |
There was a big hole in the back of it. | 6:53:57 | 6:53:58 | |
And he asked me if I wanted it and I said yes. | 6:53:58 | 6:54:01 | |
"Sure, I'll take that." | 6:54:01 | 6:54:03 | |
And I'd been writing a lot of poetry and playing the bass, mostly, | 6:54:03 | 6:54:07 | |
and electric guitar cos we were Good Vibrations punks, at the time. | 6:54:07 | 6:54:12 | |
And, yeah, I started playing the acoustic guitar | 6:54:12 | 6:54:14 | |
and put the poetry to the four chords that I knew, or maybe three! | 6:54:14 | 6:54:21 | |
And that was the start of everything. | 6:54:21 | 6:54:24 | |
It was music on the road. | 6:54:24 | 6:54:26 | |
You could put it in a case and travel the world with it. | 6:54:26 | 6:54:28 | |
Say what you wanted to say. | 6:54:28 | 6:54:30 | |
It was a big deal for me. | 6:54:30 | 6:54:31 | |
# I had to get back to Belfast city | 6:54:31 | 6:54:33 | |
# Where the Jeeps are green and the girls are pretty... # | 6:54:33 | 6:54:36 | |
Do you feel that you were a political songwriter or | 6:54:36 | 6:54:39 | |
a personal songwriter? | 6:54:39 | 6:54:40 | |
-Can you be pigeonholed? -I think both, Marie Louise. | 6:54:40 | 6:54:44 | |
Everything has been political and personal. | 6:54:44 | 6:54:46 | |
There has always been a very strong sense of where I've come from | 6:54:46 | 6:54:50 | |
in what I've written about. | 6:54:50 | 6:54:51 | |
And I grew up listening to Bob Dylan and John Lennon, | 6:54:51 | 6:54:55 | |
reading Jack Kerouac. | 6:54:55 | 6:54:57 | |
And my songs inhabit that kind of world, | 6:54:57 | 6:55:00 | |
where I've got something to say and I want to say it. | 6:55:00 | 6:55:03 | |
I'd like to dedicate it to Mr Douglas Hurd. | 6:55:03 | 6:55:05 | |
It's called The Guildford Four. | 6:55:05 | 6:55:08 | |
# Oh, the bomb blew at night and the soldiers they died, | 6:55:08 | 6:55:11 | |
# We've got to catch the guilty no-one can deny | 6:55:11 | 6:55:17 | |
# We got to round up somebody call them the Guildford Four | 6:55:18 | 6:55:23 | |
# Doesn't matter who, just anybody as long as there are four... # | 6:55:25 | 6:55:30 | |
If you tear your chest open and say what you really feel about stuff, | 6:55:31 | 6:55:34 | |
that's what people really respond to. | 6:55:34 | 6:55:36 | |
And that's what... | 6:55:36 | 6:55:40 | |
That's how I express myself, really. | 6:55:40 | 6:55:43 | |
I put everything into the first album. | 6:55:43 | 6:55:45 | |
Rave On is 30 this year, but when I sing the songs again - | 6:55:45 | 6:55:50 | |
I've been singing a lot of them recently - they're not out of date. | 6:55:50 | 6:55:53 | |
I still feel them as strongly as I did then. | 6:55:53 | 6:55:55 | |
I can sing Things Start To Unwind in Brexit Britain, and | 6:55:55 | 6:55:58 | |
it's a similar experience people are going through, I think. | 6:55:58 | 6:56:03 | |
# If God and the government ignore us, things start to unwind... # | 6:56:03 | 6:56:10 | |
In a strange way, growing up in a terrorist environment is | 6:56:10 | 6:56:15 | |
a strange, strangely appropriate way to face the modern world, I think. | 6:56:15 | 6:56:22 | |
Now, all we need is a blue plaque outside this building, saying... | 6:56:22 | 6:56:25 | |
That would be wonderful! | 6:56:25 | 6:56:26 | |
Saying "Andy White got his first guitar right here." | 6:56:26 | 6:56:28 | |
And also, you went to school around the corner. | 6:56:28 | 6:56:30 | |
Just up the road. | 6:56:30 | 6:56:32 | |
And Barry Douglas was... | 6:56:32 | 6:56:34 | |
-He was a couple of years... -Couple of years ahead of you. -Ahead of me. | 6:56:34 | 6:56:37 | |
Well, from Andy White to Barry Douglas. | 6:56:37 | 6:56:40 | |
Internationally renowned concert pianist. | 6:56:40 | 6:56:42 | |
Here he is, telling us about some of his favourite key artistic moments. | 6:56:42 | 6:56:47 | |
When I first went to London to study, I was 18. | 6:56:53 | 6:56:57 | |
I saw, the very first week in Covent Garden, The Ring Cycle by Wagner. | 6:56:57 | 6:57:02 | |
And it just changed my life for ever. | 6:57:10 | 6:57:12 | |
From that moment on, I became a Wagner nut. | 6:57:12 | 6:57:14 | |
One of the most powerful books I've ever read in my life is | 6:57:20 | 6:57:24 | |
Call My Brother Back by Michael McLaverty. | 6:57:24 | 6:57:27 | |
And it tells us in a very poignant way the upbringing this young | 6:57:28 | 6:57:33 | |
boy had on Rosslyn Island. | 6:57:33 | 6:57:35 | |
Because of terrible hardship and a death in the family, | 6:57:37 | 6:57:41 | |
they moved to Belfast and how, even in such an oppressive and sad | 6:57:41 | 6:57:48 | |
and tragic existence in Belfast, they were able to find humour. | 6:57:48 | 6:57:52 | |
The film that I keep going back to all the time is | 6:57:55 | 6:57:59 | |
Groundhog Day, Bill Murray. | 6:57:59 | 6:58:01 | |
Because have you ever thought, if it was possible to repeat | 6:58:01 | 6:58:05 | |
a day and get it right this time, that would be an amazing thing. | 6:58:05 | 6:58:09 | |
Don't you worry about cholesterol, lung cancer, love handles? | 6:58:09 | 6:58:14 | |
I don't worry about anything, any more. | 6:58:14 | 6:58:17 | |
Bill Murray keeps repeating this one day until he makes | 6:58:17 | 6:58:20 | |
a perfect goal of this one day. | 6:58:20 | 6:58:22 | |
And I think it's an amazing comment about spontaneity and living | 6:58:22 | 6:58:26 | |
in the moment, that every day does count and so it's | 6:58:26 | 6:58:29 | |
a film which is remarkably profound. | 6:58:29 | 6:58:33 | |
To the groundhog! | 6:58:33 | 6:58:34 | |
When I moved to Paris, I walked into the Musee d'Orsay on the River Seine | 6:58:37 | 6:58:42 | |
and stumbled into Monet's Water Lilies. | 6:58:42 | 6:58:47 | |
This amazing room, | 6:58:47 | 6:58:48 | |
which is a curved room, and you see this incredible depiction of | 6:58:48 | 6:58:54 | |
nature and it's almost a feeling of tranquillity | 6:58:54 | 6:58:58 | |
which comes over you and you feel complete. | 6:58:58 | 6:59:01 | |
One of world literature's most eminent writers, | 6:59:06 | 6:59:09 | |
Cork-born William Trevor, has died. | 6:59:09 | 6:59:12 | |
In tribute, we go to our archives to hear the writer | 6:59:12 | 6:59:15 | |
in his own words. | 6:59:15 | 6:59:17 | |
Raised in provincialism, I'm a provincialist still. | 6:59:17 | 6:59:21 | |
Small towns of Ireland are what I know best | 6:59:21 | 6:59:24 | |
and turn to first to find my bearings. | 6:59:24 | 6:59:27 | |
All memory is grist to the fiction writer's mill. | 6:59:32 | 6:59:34 | |
The pleasure and the pain experienced by any | 6:59:34 | 6:59:38 | |
storyteller's characters, | 6:59:38 | 6:59:40 | |
the euphoria of happiness, the ache of grief, | 6:59:40 | 6:59:44 | |
must of course be the storyteller's own. | 6:59:44 | 6:59:47 | |
It cannot be otherwise and in that sense, | 6:59:49 | 6:59:51 | |
all fiction has its autobiographical roots. | 6:59:51 | 6:59:55 | |
Spreading through, in my case, a provincial world. | 6:59:55 | 6:59:58 | |
Limited and claustrophobic. | 6:59:58 | 7:00:02 | |
The memory lane that winds through the little towns of Ireland | 7:00:10 | 7:00:13 | |
has its bundles of personal riches. | 7:00:13 | 7:00:16 | |
CHURCH BELLS | 7:00:17 | 7:00:20 | |
There is that sound, most evocative of all, | 7:00:21 | 7:00:25 | |
that will accompany you for ever on all your journeys. | 7:00:25 | 7:00:29 | |
John Boorman's films have often looked at the effect of man | 7:00:46 | 7:00:50 | |
on his environment. | 7:00:50 | 7:00:51 | |
From The Emerald Forest to Excalibur and from Zadoz to Deliverance, | 7:00:51 | 7:00:55 | |
he has had a lifelong affinity with nature. | 7:00:55 | 7:00:58 | |
To end among trees, there is a fine thing. | 7:00:58 | 7:01:02 | |
A great oak in its lifetime consumes little more than | 7:01:02 | 7:01:06 | |
a cupful of nutrients. | 7:01:06 | 7:01:09 | |
Everything else it needs to form | 7:01:09 | 7:01:11 | |
its great bulk comes from the air, | 7:01:11 | 7:01:14 | |
and light and water. | 7:01:14 | 7:01:16 | |
Light and water, | 7:01:16 | 7:01:18 | |
light on water, | 7:01:18 | 7:01:19 | |
have been my markers, my working companions. | 7:01:19 | 7:01:23 | |
I am 70, I have lived in this house in the Wicklow hills for 33 years. | 7:01:23 | 7:01:29 | |
I inherited great trees, some of them have died and fallen. | 7:01:29 | 7:01:34 | |
I shall leave many more than I have found. | 7:01:34 | 7:01:37 | |
Some are young oaks, now 25 feet high. | 7:01:37 | 7:01:41 | |
I started planting too late in life. | 7:01:42 | 7:01:45 | |
But some acorns are now sturdy trees and I'm not yet too old to climb them. | 7:01:45 | 7:01:51 | |
I lie in their arms and watch the world recede by one foot each year. | 7:01:51 | 7:01:58 | |
46 years, I've lived in this house. | 7:01:59 | 7:02:02 | |
And from this house I of course ventured out across the world | 7:02:02 | 7:02:06 | |
to make my movies. | 7:02:06 | 7:02:09 | |
I've brought up seven children in this house. | 7:02:09 | 7:02:12 | |
And... | 7:02:13 | 7:02:14 | |
took me two wives to manage seven children, mind you. | 7:02:15 | 7:02:19 | |
Well, you may not be making films any more, you've written a novel, | 7:02:19 | 7:02:23 | |
Crime Of Passion. | 7:02:23 | 7:02:25 | |
The lead character is a film director called Daniel Shaw. | 7:02:25 | 7:02:31 | |
Doing OK, doing well. | 7:02:31 | 7:02:33 | |
How much of you, John Boorman, is Daniel Shaw? | 7:02:33 | 7:02:38 | |
Well, not very much. | 7:02:38 | 7:02:41 | |
Odd things, but, you know, | 7:02:41 | 7:02:44 | |
I deliberately put myself in the book as a character | 7:02:44 | 7:02:47 | |
because I wanted to disassociate myself from | 7:02:47 | 7:02:50 | |
this Daniel Shaw, who is much more manic and crazed than I ever was. | 7:02:50 | 7:02:57 | |
But he's based on a couple of... | 7:02:57 | 7:03:00 | |
..directors that I've known. | 7:03:01 | 7:03:03 | |
-Can you name them? -No. Not really, they're still alive. | 7:03:03 | 7:03:06 | |
Is there any bit of you in Daniel? | 7:03:08 | 7:03:10 | |
The way he deals with actors, takes something from me. | 7:03:10 | 7:03:14 | |
There's a rather disaffected actor and he gets very upset and | 7:03:14 | 7:03:19 | |
Daniel consoles him by putting his arm around him, because what | 7:03:19 | 7:03:26 | |
actors mostly want is love. | 7:03:26 | 7:03:31 | |
At 83, you felt the need, the burning need to write a novel? | 7:03:31 | 7:03:36 | |
I was invited, asked to write a book about how to make a film, | 7:03:36 | 7:03:41 | |
and I sort of sketched it out and it grew, little by little, | 7:03:41 | 7:03:46 | |
and over several years, I've been just developing it. | 7:03:46 | 7:03:51 | |
It's very personal, because you are an insider, you know this world. | 7:03:51 | 7:03:58 | |
You know the people, you know their strengths, | 7:03:58 | 7:04:01 | |
you know their weaknesses. | 7:04:01 | 7:04:02 | |
Of course, I've been doing it for 50 years, | 7:04:02 | 7:04:05 | |
so I should have learned something about it. | 7:04:05 | 7:04:07 | |
The book also takes you to Hollywood and to the whole Hollywood | 7:04:07 | 7:04:12 | |
system, how the director goes there trying to pitch this idea. | 7:04:12 | 7:04:18 | |
You find out really how Hollywood studios work. | 7:04:18 | 7:04:24 | |
The thing about Hollywood is that they are all whores, | 7:04:24 | 7:04:28 | |
so they never... | 7:04:28 | 7:04:29 | |
I've insulted people in Hollywood for years and years to the point | 7:04:29 | 7:04:36 | |
where they I think they would never speak to me again, | 7:04:36 | 7:04:39 | |
but if you have a project they want, you're forgiven. | 7:04:39 | 7:04:43 | |
Your journey as a director and your life in movies comes out | 7:04:43 | 7:04:49 | |
cos you tell the most delicious stories. | 7:04:49 | 7:04:51 | |
Have there ever been any moments where you thought, what am I doing? | 7:04:51 | 7:04:55 | |
-Why am I doing this? -Yeah, nearly all the time! | 7:04:55 | 7:04:58 | |
I've always had the fear of losing an actor, | 7:04:59 | 7:05:02 | |
which I came close to in Deliverance. | 7:05:02 | 7:05:06 | |
We had Ned Beatty going down the waterfall, cataract and | 7:05:06 | 7:05:12 | |
he disappeared and didn't come up and the diver went in after him | 7:05:12 | 7:05:16 | |
and couldn't find him. | 7:05:16 | 7:05:18 | |
And eventually, he turned up. | 7:05:18 | 7:05:21 | |
He was under water for nearly two minutes. | 7:05:21 | 7:05:24 | |
I said, | 7:05:24 | 7:05:26 | |
"Ned, what did you think about when you thought you were drowning?" | 7:05:26 | 7:05:31 | |
And he said, "My first thought was, | 7:05:31 | 7:05:33 | |
"'How is John going to finish the film without me?' | 7:05:33 | 7:05:36 | |
"And then my second thought was, 'He'll find a way to do it.' | 7:05:36 | 7:05:41 | |
"And that's when I decided, I had to live!" | 7:05:41 | 7:05:44 | |
It's such hard work, | 7:05:44 | 7:05:45 | |
and it's so demanding that every time I finish a film, | 7:05:45 | 7:05:50 | |
I always say, that's my last film, I'm not going to do another one. | 7:05:50 | 7:05:54 | |
It's both very stimulating as an experience... | 7:05:54 | 7:05:59 | |
And of course, the pleasures are in the relationships with your | 7:05:59 | 7:06:04 | |
comrades, with your crew and your cast. | 7:06:04 | 7:06:07 | |
And it's the intensity of those relationships that makes it | 7:06:07 | 7:06:10 | |
really worthwhile. | 7:06:10 | 7:06:12 | |
And all the actors I have made films with have remained very close, | 7:06:12 | 7:06:16 | |
strong friends. | 7:06:16 | 7:06:18 | |
It's like, you know, if you've been in the trenches with someone, | 7:06:18 | 7:06:22 | |
you are bonded for ever. | 7:06:22 | 7:06:23 | |
# It makes me want to get back home | 7:06:32 | 7:06:37 | |
# It makes me want to get back home... # | 7:06:40 | 7:06:45 | |
-You've lived away for how long from here? -From Belfast? -Yeah. | 7:06:47 | 7:06:51 | |
25 years. | 7:06:51 | 7:06:53 | |
I've been really lucky to be able to take whatever I do wherever | 7:06:53 | 7:06:57 | |
I want to, and retaining a sense of coming from here, for sure. | 7:06:57 | 7:07:01 | |
Sort of culturally, politically, socially, | 7:07:01 | 7:07:03 | |
I've got a very firm base in Belfast. | 7:07:03 | 7:07:07 | |
It's somewhere people are interested in, for sure. | 7:07:07 | 7:07:10 | |
And I think in this modern world we live in, | 7:07:10 | 7:07:13 | |
just growing up the way we did is peculiarly... | 7:07:13 | 7:07:17 | |
-relevant, really, to the kind of world we live in now. -Yeah. | 7:07:17 | 7:07:23 | |
# I'm leaning on a bus stop listening to the Lavery's din | 7:07:23 | 7:07:28 | |
# Bradbury Place, spring '93 | 7:07:30 | 7:07:33 | |
# Old sensations rushing in... # | 7:07:33 | 7:07:37 | |
If you look back at the 12 albums, I can see | 7:07:37 | 7:07:39 | |
it's like an autobiography of sorts and each one is a chapter. | 7:07:39 | 7:07:42 | |
So I can see that Rave On is about growing up here. | 7:07:42 | 7:07:46 | |
Kiss The Big Stone is about going away for the first time. | 7:07:46 | 7:07:49 | |
Himself is about coming back and living in the countryside here. | 7:07:49 | 7:07:52 | |
I mean, a lot of the songs I wrote, and albums I wrote, | 7:07:52 | 7:07:55 | |
just because I wasn't really thinking of who was listening | 7:07:55 | 7:07:58 | |
to them, I was just writing the songs because I had to write them. | 7:07:58 | 7:08:01 | |
The fourth album, Out There, | 7:08:01 | 7:08:02 | |
was when we were asked to go to Eastern Europe after the Wall | 7:08:02 | 7:08:06 | |
came down and play in Czechoslovakia and East Germany. | 7:08:06 | 7:08:10 | |
And that was part of the reason that we were asked, was because we | 7:08:10 | 7:08:13 | |
were from a divided city. | 7:08:13 | 7:08:15 | |
And I was saying something about social concerns which chimed | 7:08:15 | 7:08:20 | |
with those people there. | 7:08:20 | 7:08:23 | |
# Walking down the town on this particular day | 7:08:23 | 7:08:26 | |
# I heard a voice from the radio coming my way | 7:08:26 | 7:08:29 | |
# You hear a bright noise out on holiday | 7:08:29 | 7:08:32 | |
# And we are all invited so you tell me what you're gonna say | 7:08:32 | 7:08:35 | |
# Revolution... # | 7:08:35 | 7:08:40 | |
If you're a troubadour, | 7:08:40 | 7:08:41 | |
you've got to go out and take your stories to the world. | 7:08:41 | 7:08:43 | |
-And that's what you see yourself as, is it? A troubadour? -I think so. | 7:08:43 | 7:08:48 | |
Spreading...spreading whatever you do around the world | 7:08:48 | 7:08:51 | |
and getting reaction to it, yeah. | 7:08:51 | 7:08:53 | |
And so you see yourself in the exile of James Joyce and those kind | 7:08:53 | 7:08:57 | |
-of literary guys? -Great literary figures of our time? | 7:08:57 | 7:09:02 | |
Well, in the way they had to get out of here, get off the island, | 7:09:02 | 7:09:06 | |
to feel that they could express themselves... | 7:09:06 | 7:09:09 | |
..in the way that they wanted to. | 7:09:11 | 7:09:12 | |
And I've thought similarly. | 7:09:12 | 7:09:15 | |
We've got you here at the moment, but he is a current exile | 7:09:15 | 7:09:19 | |
and Sinead Morrissey is about to become a future one. | 7:09:19 | 7:09:22 | |
The poet is about to leave our shores for pastures new. | 7:09:22 | 7:09:26 | |
It never looks warm | 7:09:37 | 7:09:38 | |
or properly daytime in black-and-white photographs | 7:09:38 | 7:09:42 | |
The sheer cliff face of the ship still enveloped in its scaffolding | 7:09:42 | 7:09:47 | |
backside against the launching cradle | 7:09:47 | 7:09:50 | |
Ladies lining the quay in their layered drapery, | 7:09:50 | 7:09:52 | |
touching their glass to their lips and just as | 7:09:52 | 7:09:55 | |
They That Go Down To The Sea In Ships | 7:09:55 | 7:09:59 | |
rises from choirboys' mouths | 7:09:59 | 7:10:02 | |
in wisps and snatches | 7:10:02 | 7:10:04 | |
and evil skitters off and looks askance for now | 7:10:04 | 7:10:09 | |
A switch is flicked at a distance | 7:10:09 | 7:10:11 | |
and the moment swollen with catgut, about to snap | 7:10:11 | 7:10:14 | |
with ice picks, hawks' wings, | 7:10:14 | 7:10:16 | |
pine needles, eggshells, bursts and it starts | 7:10:16 | 7:10:20 | |
Grandstand of iron palace, of rivets, starts moving, | 7:10:20 | 7:10:24 | |
starts slippery-sliding down, | 7:10:24 | 7:10:27 | |
slow as a snail at first in its viscous passage | 7:10:27 | 7:10:31 | |
Taking on slither and speed, | 7:10:31 | 7:10:33 | |
gathering in the Atlas-capable weight of its own momentum | 7:10:33 | 7:10:38 | |
Tonnage of grease beneath to get it waterborne | 7:10:38 | 7:10:41 | |
Tallow, soft soap, train oil, a rendered whale | 7:10:41 | 7:10:46 | |
This last, the only Millihelen, | 7:10:46 | 7:10:49 | |
her beauty slathered all over the slipway | 7:10:49 | 7:10:52 | |
Faster than a boy with a ticket in his pocket might run | 7:10:52 | 7:10:55 | |
alongside it, | 7:10:55 | 7:10:56 | |
the bright sheet of the Lough advancing faster than a tram | 7:10:56 | 7:11:00 | |
Heavy chains and anchors kicking in lest it outdoes itself | 7:11:00 | 7:11:05 | |
Straining up to a riot of squeals and sparks | 7:11:05 | 7:11:09 | |
Lest it capsizes before its beginning | 7:11:09 | 7:11:13 | |
Lest it drenches the aldermen | 7:11:13 | 7:11:17 | |
And the ship sits back in the sea as though it were ordinary | 7:11:17 | 7:11:22 | |
And wobbles ever so slightly | 7:11:22 | 7:11:25 | |
And then it and the sun-splashed tilted hills, the railings, | 7:11:25 | 7:11:30 | |
the pin-striped awning, in fact everything, | 7:11:30 | 7:11:34 | |
regains its equilibrium. | 7:11:34 | 7:11:37 | |
PIANO NOTE CHIMES | 7:11:44 | 7:11:47 | |
PIANO MUSIC | 7:12:06 | 7:12:09 | |
This wonderful piano spent its life travelling across the | 7:12:37 | 7:12:41 | |
Irish Sea into the port in Derry where it had one owner before | 7:12:41 | 7:12:46 | |
it went to quite an important figure in the town, | 7:12:46 | 7:12:48 | |
which was Dr Joe Cosgrove, who was my wife's grandfather. | 7:12:48 | 7:12:53 | |
And after he had passed, | 7:12:58 | 7:12:59 | |
his lovely wife gave Katie and I the piano and I thought it would | 7:12:59 | 7:13:03 | |
be a really interesting story to tell, | 7:13:03 | 7:13:06 | |
the story of this piano's 90 years on earth. | 7:13:06 | 7:13:10 | |
Surrounded by humans and this kind of connection between the piano | 7:13:10 | 7:13:14 | |
and the owner. | 7:13:14 | 7:13:16 | |
Its voyage to its home was from the Irish Sea up the River Foyle | 7:13:16 | 7:13:20 | |
to the Lisahally docks. | 7:13:20 | 7:13:22 | |
The piano now is in quite a rough state. | 7:15:13 | 7:15:16 | |
We tried to salvage it as much as we | 7:15:17 | 7:15:19 | |
could, so this is almost like its final voyage. | 7:15:19 | 7:15:23 | |
It's on the river that it arrived on and so, you know, | 7:15:25 | 7:15:29 | |
it's pretty special. | 7:15:29 | 7:15:30 | |
It's 30 years since you stood on a roof in Belfast to launch the | 7:16:20 | 7:16:25 | |
songs that kicked off your career. | 7:16:25 | 7:16:26 | |
Yeah, the Whistle Test filmed us playing | 7:16:26 | 7:16:29 | |
Religious Persuasion up there. | 7:16:29 | 7:16:31 | |
-That building there? -Yeah. | 7:16:31 | 7:16:33 | |
One Saturday morning, 1985. | 7:16:33 | 7:16:35 | |
# Should have packed my bags headed off for the coast | 7:16:35 | 7:16:38 | |
# Had my time already come to meet the heavenly host... # | 7:16:38 | 7:16:42 | |
So, talk to me about this career that you have had over 30 years. | 7:16:43 | 7:16:47 | |
You've got a very unique relationship with your fans, don't you? | 7:16:47 | 7:16:50 | |
Well, I was always very independent. | 7:16:50 | 7:16:53 | |
I always... I grew up with the spirit of the Good Vibrations | 7:16:53 | 7:16:57 | |
punk thing from Belfast that you could do it yourself. | 7:16:57 | 7:17:00 | |
I was just arrogant and young and believed that I had | 7:17:00 | 7:17:04 | |
something to say which nobody else was saying. | 7:17:04 | 7:17:06 | |
# The mothers do the rain dance | 7:17:06 | 7:17:09 | |
# The daughters file for rape | 7:17:09 | 7:17:11 | |
# While the lawyers behind closed curtains | 7:17:11 | 7:17:14 | |
# Adjust their red tape... # | 7:17:14 | 7:17:17 | |
From the very start, I controlled what I did, | 7:17:17 | 7:17:21 | |
the master recordings and the writing. | 7:17:21 | 7:17:24 | |
We always recorded in Northern Ireland. | 7:17:24 | 7:17:27 | |
And just kept it very independent. | 7:17:27 | 7:17:29 | |
# I said, someone gotta stand up or nothing is gonna change | 7:17:29 | 7:17:32 | |
# Till religion is rearranged... # | 7:17:32 | 7:17:36 | |
Like, who wants to release a single with as many words on it as | 7:17:36 | 7:17:38 | |
Religious Persuasion? | 7:17:38 | 7:17:40 | |
Or as Speechless, another song I did on Out There, | 7:17:40 | 7:17:43 | |
which is eight minutes long? | 7:17:43 | 7:17:45 | |
I mean, I believe that you should be able to do those sorts of things, | 7:17:45 | 7:17:47 | |
and if you do, then you've got to control your output yourself. | 7:17:47 | 7:17:53 | |
In fact, the whole social media and independent record company thing | 7:17:53 | 7:17:57 | |
is just a development of that, really. | 7:17:57 | 7:17:59 | |
So you're very close to your fans. And you love that? | 7:17:59 | 7:18:02 | |
I still meet people at concerts now, on the tour I'm just | 7:18:02 | 7:18:05 | |
doing of the UK, who saw that very first performance up there. | 7:18:05 | 7:18:11 | |
And say to you, "I saw that. | 7:18:11 | 7:18:14 | |
"The first album really meant something to me." | 7:18:14 | 7:18:16 | |
And I think it's a very precious thing. | 7:18:16 | 7:18:18 | |
That was the start of, my whole thing, and I didn't ever know | 7:18:18 | 7:18:21 | |
that I would end up on another rooftop in Belfast! | 7:18:21 | 7:18:25 | |
With you being Rod McVeigh. | 7:18:25 | 7:18:26 | |
To recreate that video, we're going to do it now. | 7:18:26 | 7:18:29 | |
I'm going to hold the lyric cards. | 7:18:29 | 7:18:31 | |
-Thanks, Marie. -And that's where we will leave the show for tonight. | 7:18:31 | 7:18:34 | |
With a little bit of 30-year-old persuasion of the religious kind. | 7:18:34 | 7:18:39 | |
One, two, three, four! | 7:18:40 | 7:18:42 | |
# Protestant or Catholic cried the boys from the crowd | 7:18:47 | 7:18:50 | |
# Not you again, St Peter I was thinking aloud | 7:18:50 | 7:18:52 | |
# I should have packed my bags headed off for the coast | 7:18:52 | 7:18:55 | |
# Had my time already come to meet the heavenly host? | 7:18:55 | 7:18:59 | |
# They switched on their halos adjusted their harps | 7:19:02 | 7:19:05 | |
# Checked that the blades on the pearly gates were sharp | 7:19:05 | 7:19:08 | |
# I asked them what they meant about religious bent | 7:19:08 | 7:19:10 | |
# They said, that's the test I said, that's the test I meant | 7:19:10 | 7:19:14 | |
# They were giving holy orders I think you'll find | 7:19:17 | 7:19:19 | |
# I was up against persuasion of the religious kind | 7:19:19 | 7:19:23 | |
# It was hailing Marys at the drop of a tract | 7:19:28 | 7:19:31 | |
# I said the seven deadly sins were staying round at my flat | 7:19:31 | 7:19:34 | |
# I pondered on the churches of England and Rome | 7:19:34 | 7:19:37 | |
# I hadn't paid the rent for my spiritual home | 7:19:37 | 7:19:40 | |
# Needed guidance from the leaders whose names I knew | 7:19:40 | 7:19:44 | |
# Archbishop whatever he's called now | 7:19:44 | 7:19:46 | |
# And John Player No 2 | 7:19:46 | 7:19:47 | |
# I quaked in my sackcloth threw away my joss-stick | 7:19:49 | 7:19:53 | |
# Burned my Koran and said I was agnostic | 7:19:53 | 7:19:55 | |
# I mean an atheist, I cried as they moved in for the kill | 7:19:55 | 7:19:59 | |
# The walls tumbled down as they handed me the bill | 7:19:59 | 7:20:02 | |
# They weren't impressed with my distinctions, I think you'll find | 7:20:04 | 7:20:08 | |
# I was up against persuasion of the religious kind | 7:20:08 | 7:20:12 | |
# You'll find | 7:20:13 | 7:20:15 | |
# A lamb to the slaughter a human sacrifice | 7:20:17 | 7:20:20 | |
# I told their spiritual leader his sceptre looked nice | 7:20:20 | 7:20:23 | |
# A hymn book skimmed my ear but I was only grazed | 7:20:23 | 7:20:26 | |
# And I dived for cover as the sawn-off bibles blazed | 7:20:26 | 7:20:32 | |
# In the gore I gasped was it something I said? | 7:20:32 | 7:20:35 | |
# Then a solid granite altar hit me on the head | 7:20:35 | 7:20:38 | |
# A collection plate plunged deep into my groin | 7:20:38 | 7:20:41 | |
# They marched off discussing the Battle of the Boyne | 7:20:41 | 7:20:47 | |
# As I expired I was thinking they'd been rather unkind | 7:20:47 | 7:20:50 | |
# I was up against persuasion of the religious kind | 7:20:50 | 7:20:54 | |
# Bleeding and naked I was somewhat at a loss | 7:21:00 | 7:21:02 | |
# The Good Samaritan was drinking at the sign of the cross | 7:21:02 | 7:21:06 | |
# Recalling their question I felt totally alone | 7:21:06 | 7:21:09 | |
# As I peered out from underneath the tablets of stone | 7:21:09 | 7:21:13 | |
# In the gutter lay the crushed remains of a Bible | 7:21:15 | 7:21:18 | |
# It proclaimed their grievances were purely tribal | 7:21:18 | 7:21:21 | |
# They made me see the light | 7:21:21 | 7:21:22 | |
# For that I offer my thanks... # | 7:21:22 | 7:21:24 |