London

:00:08. > :00:11.Welcome to The Culture Show. This week we are at the Wallace

:00:11. > :00:16.Collection in London's West End, home to one of the truly great

:00:16. > :00:21.collections of French 18th century art, as well as masterpieces by the

:00:21. > :00:27.likes of Alaska's, Rubens and Rembrandt. It's also home to one of

:00:27. > :00:37.the world's greatest collections of Renaissance armour. I take a tour

:00:37. > :00:55.

:00:55. > :01:01.of the National Gallery with none Charlie Luxton looks at how great

:01:01. > :01:08.design transcends age and ability? Clemency Burton-Hill finds out

:01:08. > :01:17.about the art of the maestro. Tim Samuels talks to Jonathon Safran

:01:17. > :01:27.Foer about his modern take on an ancient Jewish text. Journalist

:01:27. > :01:28.

:01:28. > :01:31.Hadley Freeman goes street style. We turn to the art world's most

:01:31. > :01:36.enduring double act. Gilbert & George have been working together

:01:36. > :01:40.for over four decades and have openly declared for them, London is

:01:40. > :01:44.the centre of the universe. Their latest show, London Pictures, stays

:01:44. > :01:53.true to that theme. Alastair Sooke went along to meet them as they put

:01:53. > :01:58.the final touches to their latest As far as radical artistic ideas go,

:01:59. > :02:02.painting your face in gold, clambering on to a table and

:02:02. > :02:06.improvising to an old music hall song is pretty out there. But to

:02:06. > :02:10.keep at it for eight hours and call what you're doing a singing

:02:10. > :02:13.sculpture is another level of weirdness altogether. This is

:02:13. > :02:23.exactly how artists Gilbert & George introduced themselves to the

:02:23. > :02:25.

:02:25. > :02:31.The they'd met at St Martin's School of Art in the late 60s and

:02:31. > :02:36.formed a unique artistic and personal relationship. They would

:02:36. > :02:39.be two people but one artist, with the motto art for all, and the

:02:39. > :02:49.desire to put themselves at the centre of their work. They decided

:02:49. > :02:50.

:02:50. > :02:54.to become living sculptures. Over the years, they've out raged,

:02:54. > :02:57.delighted and confounded the art establishment. Always taking a

:02:57. > :03:03.provocative look at their own lives and the life of the city that

:03:03. > :03:07.continues to inspire them. London. Recently, Gilbert & George have

:03:07. > :03:17.been busy stealing posters of newspaper headlines to make art

:03:17. > :03:23.

:03:23. > :03:28.work for their latest collection, Hello. Good morning. Come through.

:03:28. > :03:35.I've brought you a gift. A recent edition of the Evening Standard, it

:03:35. > :03:43.was on the wall around the corner. That could go in our picture called

:03:43. > :03:49.boy or tube. I how many posters did you collect? 3712. Which made, by

:03:49. > :03:53.themselves, 292 pictures. To turn their posters into art, Gilbert &

:03:53. > :04:00.George devised a complex cataloguing system. This is the

:04:00. > :04:04.index to the posters. 28 posters here, but we can also find one for

:04:04. > :04:10.soccer, arrested, old-age pensioners. What was the biggest

:04:10. > :04:15.cluster of work? Sex, money and murder of the biggest subject.

:04:15. > :04:22.Presumably, are these what we can see over here? The these are all

:04:22. > :04:28.the designs. We wanted to use only black and white and red and skin

:04:28. > :04:33.colour. That's it. It feels quite brutal. Do you view this as a

:04:33. > :04:36.composite portrait of London, or is it a portrait of media hysteria?

:04:36. > :04:42.think it is an international response. It doesn't matter where

:04:42. > :04:46.you go, the world is the same. And art has to speak. If you go into a

:04:46. > :04:52.museum and there is a landscape framed with a hill and foreground,

:04:52. > :04:55.some trees and the sky, people will almost just walk past it. But if

:04:55. > :04:59.there's a little policeman on the horizon and a tramp in the corner

:04:59. > :05:07.masturbating, everyone will stop to look at that picture. Because it

:05:07. > :05:10.has a moral dimension. It's different. After Bermondsey.

:05:10. > :05:14.Bermondsey is home to one of three White Cube gallery is in the

:05:14. > :05:20.capital, all of which are showing finished works from his London

:05:20. > :05:24.Pictures series. This is extraordinary for us. This is the

:05:24. > :05:30.first time we actually see the pieces for real. The scale of them

:05:30. > :05:34.is unbelievable. There's a sense of being quite overwhelmed. Relentless.

:05:35. > :05:40.That is absolutely what we wanted. You don't initially read the words.

:05:40. > :05:46.What you see are these screaming, read visual overloads. I'm very

:05:46. > :05:52.proud. And then there's the Queen in each corner. A always a

:05:52. > :05:57.different one. No two queens are like. Of course. And here, this is

:05:57. > :06:00.a piece which has called London. Man beheaded in the street,

:06:00. > :06:05.bloodbath in London McDonald's. This isn't a very happy body of

:06:05. > :06:08.work. It's a celebration of the lives and deaths of the great

:06:08. > :06:13.number of people living in London. Probably more deaths than lives

:06:13. > :06:17.here. But who wants To Be Happy? want to affect. If we just lie on

:06:17. > :06:21.the beach with gin-and-tonic we are not going to change anything.

:06:21. > :06:25.would be quite pleasant but no one would pay any attention. The reason

:06:25. > :06:29.people recognise you is because not least you appear in your work, but

:06:29. > :06:34.some people think it's one enormous work of self-portraiture. Never

:06:34. > :06:39.mention that. The spirit and the person is behind every good artist.

:06:39. > :06:43.If you are in a museum of a friend you might say, come and look at his

:06:43. > :06:47.van Gogh. Come and look at this funny old dead tree with a bit of

:06:47. > :06:52.grass. It's the artist speaking to you. There is an autobiographical

:06:52. > :06:59.element in what we see it is stuff that you have encountered. In every

:06:59. > :07:03.one you are often focused... With the eyes. Only the eyes speak.

:07:03. > :07:10.almost like a floating consciousness around London, all-

:07:10. > :07:16.seeing. Yes. With our pictures we've decided in favour of it or

:07:17. > :07:21.against it, middle ground. This is the idea of being moralists. We are.

:07:21. > :07:25.Everybody thinks madness to be a moralist today, but we absolutely

:07:25. > :07:30.believe in good and bad. We always have. We always think it changes

:07:30. > :07:34.all the time. It is not standing still, it changes so much. We want

:07:34. > :07:39.to be a part of changing it. you optimistic or pessimistic about

:07:39. > :07:44.the future? Always optimistic. Despite the evidence of what we see

:07:44. > :07:47.around us? It's very simple. We are only dealing with the thoughts and

:07:47. > :07:54.feelings that are inside any body wherever they live in the world.

:07:54. > :08:02.Death. Hope. Life, fear, sex. Religion. But there's little good

:08:02. > :08:05.news on the walls. I'm not sure that is true. Right. There are very

:08:05. > :08:11.few cities in the world we could have posters like this on the

:08:11. > :08:15.street. What a freedom. Freedom of thought. Non-Western people might

:08:15. > :08:21.come here and say, you know what this says, it talks about the great

:08:21. > :08:30.corruption that comes about from democracy. It's a small price to

:08:30. > :08:35.pay for freedom. This show may be represents a little of that. These

:08:35. > :08:39.overpowering London Pictures force you to think and engaged. And, as

:08:39. > :08:44.for their creators, Gilbert & George, mischief-makers, yes, but

:08:44. > :08:48.also, perhaps surprisingly, moralists with a Dickensian sense

:08:48. > :08:54.of society's ills but the desire to confront and change things with

:08:54. > :09:00.their art. London Pictures continues at all three White Cube

:09:00. > :09:04.galleries into April and May. From the often prefer into the sacred.

:09:04. > :09:09.The Jewish festival of Passover is intimately linked to an ancient

:09:09. > :09:12.text, the Haggadah. Within you version of the book now on the

:09:12. > :09:21.shelves, we sent Tim Samuels to meet the man behind the reworking

:09:21. > :09:28.of one of the most beloved books in all of Jewish history. For 5000

:09:28. > :09:31.years, Judaism has been fuelled by the excesses of food and family.

:09:31. > :09:36.During the festival of Passover, most Jews sit down to the

:09:36. > :09:42.traditional dinner, a ritual of wine and worship to mark the

:09:42. > :09:46.liberation of the Jews from slavery. At the heart of the Passover meal

:09:46. > :09:50.is the Haggadah, the prayer and instruction book which guides you

:09:50. > :09:53.through the evening rituals. Ours used to be pretty tatty, it got

:09:53. > :09:57.fished down from the loft once a year and you didn't pay much

:09:57. > :10:01.attention to it, mainly counting down the pages to see when dinner

:10:01. > :10:04.was going to be served. But in between, the crumbs and wine stains

:10:04. > :10:10.from previous years, the pages themselves tell one of the most

:10:10. > :10:15.epic stories from history. Haggadah means be telling. The handing down

:10:15. > :10:20.of story of exodus to the next generation, recounting the journey

:10:20. > :10:24.of Moses leading the Israelites out of repression in Egypt to freedom.

:10:24. > :10:27.Early manuscripts have been traced to the Middle Ages. But the need to

:10:27. > :10:33.revise and sustain the story has made it the most translated and

:10:33. > :10:37.reprinted Jewish book in history. Judaism straddles both the

:10:37. > :10:42.religious and the more cultural. Some people are very religious,

:10:42. > :10:46.others, not so much. But all are united by a constant urge to

:10:46. > :10:50.question and debate. So it's not surprising that in this latest

:10:50. > :10:55.incarnation of the book it has been given a modern twist, something of

:10:55. > :10:59.a cultural makeover. Having made his name with the novel's

:10:59. > :11:03.everything is eliminated and Extremely Loud And Incredibly Close,

:11:03. > :11:08.Jonathon Safran Foer has overseen an imaginative new version of the

:11:08. > :11:13.Haggadah. He has united a bold translation with commentaries from

:11:13. > :11:17.four leading Jewish thinkers, each bringing a distinct political,

:11:17. > :11:21.literary, philosophical or child friendly perspective. If you look

:11:21. > :11:26.around your Passover table now, you will certainly seek the model and

:11:26. > :11:29.mass of the world. It's likely to stay in some place on the

:11:29. > :11:33.tablecloth or perhaps one of the glasses has based much. Soon,

:11:33. > :11:38.things will be spilt. You might be sitting with people you do not know

:11:38. > :11:48.very well or do not like very much, so your own emotional state is

:11:48. > :11:48.

:11:48. > :11:52.somewhat disordered. Welcome to the oldest synagogue in London. Do you

:11:52. > :12:00.feel a sense of, what have I done taking on one of the oldest books

:12:00. > :12:06.in the religion? No. Haggadah's have been adapted for as long as

:12:06. > :12:12.there has been Jews. Something inside the Haggadah demands that.

:12:12. > :12:17.There's the sent for trial pot of week off supposed to feel as if we

:12:17. > :12:23.ourselves were liberated from Egypt. Not just that we receive a story

:12:23. > :12:29.and care about it, but that we literally re-enact it. It is the

:12:29. > :12:33.most radical act of empathy that any book would ever ask of a reader.

:12:33. > :12:39.For that to happen, the book has to be contemporary in certain ways.

:12:39. > :12:44.The translation has to be somehow in our idiom. I don't mean

:12:44. > :12:48.conversationally, but clear to us. To me, I felt only that I was

:12:48. > :12:52.continuing the tradition, not that I was in any way departing from one.

:12:52. > :12:56.Is it fair to say that you are not the most religious guy in town? Why

:12:56. > :13:02.have you got involved with reinterpreting a very traditional

:13:02. > :13:11.religious text? Because it's important to me. That is the answer.

:13:11. > :13:15.With this have a dark, it is not God centric. -- with this Haggadah.

:13:16. > :13:20.It is asking humans to ask questions of themselves. Questions

:13:20. > :13:26.about justice and mercy. About slavery and freedom. These are the

:13:26. > :13:30.very big themes, they are not exclusively Jewish themes. But Jews

:13:30. > :13:36.have found a very good ways of reminding ourselves of these

:13:36. > :13:42.problems or questions. Why did God Pardon Ferrell's heart against the

:13:42. > :13:46.Jews, even after it seemed Pharaoh was writing to let them go? Did God

:13:46. > :13:49.want to make a point, don't even think of challenging the? Why did

:13:49. > :13:54.America shower death on Abbas Zaki, when it seemed the Japanese were

:13:54. > :13:59.readying themselves to surrender? Was the fire bombing of German

:13:59. > :14:03.cities so necessary as to neutralise all moral qualms. The

:14:03. > :14:07.Civil War ended with the freedom for African-Americans. World War II

:14:07. > :14:14.ended with fascism utterly vanquished and the death camps

:14:14. > :14:19.liberated. Can we say that the ends didn't justify the means? When I

:14:19. > :14:25.heard you were editing it I thought, here we go. I thought it was going

:14:25. > :14:32.to be a more radical, divisive, have more of an attitude. When I

:14:32. > :14:39.first envisaged it I did think this would be a really... A more radical

:14:39. > :14:46.book. I don't mean politically, but visually and more texture really

:14:46. > :14:50.adventurous. Through the process of working on it I became more and

:14:50. > :14:55.more in love with what the book was. The goal was to create something of

:14:55. > :14:58.the kind of invisible authorship as much as possible. Even though the

:14:58. > :15:02.commentaries have very distinct perspectives. If people this year

:15:02. > :15:10.use your book for the dinner, how is it going to feel different?

:15:10. > :15:15.Hopefully the book will facilitate. Just a more engaging and vibrant

:15:15. > :15:18.experience. Hopefully that when we close the book we will say that is

:15:18. > :15:23.what we always wanted it to be. We had the conversations that we had

:15:23. > :15:33.been hoping we would be able to have. And have a good dinner.

:15:33. > :15:33.

:15:33. > :15:37.In years to come, this new Haggadah might become the dusty perennial in

:15:37. > :15:47.the loft, or even be replaced altogether, but that is kind of the

:15:47. > :15:53.And the Haggadah is out now. Next, from a sacred Jewish institution to

:15:53. > :15:57.a sacred Islamic one. This 19th century picture is a romantic

:15:57. > :16:00.fantasy at Arabs travelling through the Russian Desert, but the most

:16:00. > :16:10.important journey a Muslim will ever take is the pilgrimage to

:16:10. > :16:20.Mecca, the Hajj. Sarfraz Manzoor took his family on a lesser

:16:20. > :16:27.

:16:27. > :16:31.pilgrimage, to experience the Hajj The pilgrimage to Mecca, known as

:16:31. > :16:36.the Hajj, is one of the five pillars of Islam, a journey that

:16:36. > :16:46.every Muslim is called upon to make. One of my earliest impressions of

:16:46. > :16:52.

:16:52. > :16:57.This is my mum. She was planning on going to the Hajj with my dad, but

:16:57. > :17:03.he died suddenly in 1995, and now the only way she can go is with a

:17:03. > :17:07.male relative, which means me or my brother. It is the obligation of

:17:07. > :17:11.every Muslim is to perform the Hajj, and for my mum, it has been a

:17:11. > :17:16.lifetime ambition. Unfortunately, when she was healthy, we never got

:17:16. > :17:20.around to going with her, and frankly she is now a bit frail and

:17:20. > :17:24.couldn't stand the trip to Mecca, so I am taking to the British

:17:24. > :17:28.Museum for the next best thing. My mum is just an ordinary working-

:17:28. > :17:34.class Pakistani woman, typical of her generation. I don't know if she

:17:34. > :17:38.has ever been to wait museum in her life. The Hajj is one of the great

:17:38. > :17:43.global gatherings of mankind, but it is something many modern Muslims

:17:43. > :17:46.know next to nothing about. This is my wife Bridget, and as you can

:17:46. > :17:56.tell, she is from a different background. It'll be interesting to

:17:56. > :17:59.

:17:59. > :18:04.see what she makes of the Hajj The Hajj is associated with the

:18:04. > :18:10.Prophet Mohammed, but the ritual of going to Mecca is said to stretch

:18:10. > :18:15.back to the time of Abraham. The old British Museum Reading Room has

:18:15. > :18:19.been made over to make us feel we are on a journey ourselves. The

:18:19. > :18:22.Hajj attracts nearly 3 million pilgrims every year from across the

:18:22. > :18:31.world, and involves a series of rituals which must take in and

:18:31. > :18:37.around Makah over five for six days. -- in and around Mecca. The first

:18:37. > :18:47.of these and the most familiar image of all this walking seven

:18:47. > :18:49.

:18:49. > :18:54.times around the building, the most The Hajj is a time when all Muslims,

:18:54. > :19:03.men and women, rich and poor, black, white and brown, can come to Mecca

:19:03. > :19:07.and be equal. When you come here, you are a Muslim, and there is an

:19:07. > :19:14.equality to that, and so there is something about having a uniform of

:19:14. > :19:20.equality. She says it doesn't matter whether you are rich or poor,

:19:20. > :19:25.you are all the same. The exhibition charts the history and

:19:25. > :19:31.geography of the pilgrims journeys. The perilous routes across the

:19:31. > :19:36.desert in particular caught the imagination of the West. This toy

:19:36. > :19:42.theatre set, the caravan to Mecca, was made in Vienna in the early

:19:42. > :19:48.19th century. In 1853, the explorer Richard Burton, who later

:19:48. > :19:58.translated the Arabian nights, brought back this flask of water

:19:58. > :20:00.

:20:00. > :20:04.from the holy spring. He learned Arabic. I find it exciting to think

:20:04. > :20:08.what it must be like to be there and not know if you're going to be

:20:08. > :20:11.discovered, and feel like you're one of the first non- Muslims to be

:20:11. > :20:16.experiencing this, and to then be able to go out and tell the world

:20:16. > :20:20.about it. This whole exhibition made me think that I do it quite

:20:20. > :20:26.individually, my spirituality, and for people here, it is this huge

:20:26. > :20:35.river, the metaphor that you keep hearing. It feels beautiful, the

:20:35. > :20:43.whole thing of everybody gathering While modern art works explore the

:20:43. > :20:53.meaning of Hajj, this clip from the film Journey to Mecca shows it is

:20:53. > :20:57.

:20:57. > :21:07.She just said that watching this here makes her feel like she is

:21:07. > :21:08.

:21:08. > :21:18.For many pilgrims, this has been a profound spiritual journey that

:21:18. > :21:25.will have changed their lives for At the heart of the exhibition are

:21:25. > :21:29.the textiles traditionally hung. They are decorated with lines from

:21:30. > :21:35.the Koran and other blessings. It is a rare opportunity to see them

:21:35. > :21:40.close. She has never seen this before,

:21:40. > :21:44.because you have got to have been there to see them, so this is quite

:21:44. > :21:51.new for her. As for souvenirs of the Hajj, none is more precious

:21:51. > :21:56.than the Holy is under mortar, set -- -- and the Holy Water, said to

:21:56. > :22:01.come from the time of Abraham. I remember somebody came with a metal

:22:01. > :22:06.plate, like a saucer, which had some holy water on it, and the idea

:22:06. > :22:14.was that this was special holy water from Mecca, and it was there

:22:14. > :22:24.as a way of trying to offer some solace and medicine. Does this make

:22:24. > :22:31.

:22:31. > :22:36.So I asked my mum if this made her eager to undertake a hard herself.

:22:36. > :22:41.-- to undertake the Hajj herself. She said it was good to come here,

:22:41. > :22:45.but Mecca is really the place to see them.

:22:45. > :22:53.She is saying that seeing this has made her want to go even more. Her

:22:53. > :23:03.heart is there, but it is really about fate.

:23:03. > :23:03.

:23:03. > :23:08.And Finn: Journey to the heart of Islam continues -- Hajj: A journey

:23:08. > :23:14.to the heart of Islam continues until the end of April.

:23:14. > :23:18.The RCA has seen a work by David Hockney, Tracey Emin and Henry

:23:18. > :23:23.Moore, but the work carried out at the Helen Hamlyn Centre places

:23:23. > :23:27.great emphasis on individual design, making products with consumers end-

:23:27. > :23:37.users rather than just for them. Charlie Luxton went to find out

:23:37. > :23:42.Over the last six years, the Helen Hamlyn Centre for design has been

:23:42. > :23:47.working with medics, patients and engineers to improve ambulance

:23:47. > :23:52.treatment areas for paramedics working in life-or-death situations.

:23:52. > :24:00.And the result is this emergency ambulance prototype. To me, that

:24:00. > :24:04.look like -- This looks like the kind of treatment space you would

:24:04. > :24:14.find in any hi-tech possible, not necessarily in the back of a truck.

:24:14. > :24:17.The Centre reckons that wombs that might take -- wins -- injuries that

:24:17. > :24:20.take five minutes to treat could now take three minutes. Everybody -

:24:20. > :24:25.- everything is right way you wanted, and the design put the

:24:25. > :24:29.patient ride in the middle of the space, so that a paramedic can get

:24:29. > :24:33.all the way around. That is such a revolutionary idea that it has been

:24:33. > :24:39.nominated for a design of the year award, and it is here at the Design

:24:39. > :24:45.Museum in London. Designers face a huge challenge,

:24:45. > :24:50.and today's ageing society needs products and services for older

:24:50. > :24:55.people. There is a disproportionate amount spent on marketing to the

:24:55. > :24:58.young as marketing to people to have actually have the money. Some

:24:58. > :25:05.surprising statistics are that the average age of a new car buyer is

:25:05. > :25:09.45. For his sports car, that is 55. We need to read calibrate a lot of

:25:09. > :25:14.our sensitivities as designers, makers, marketers and creators of

:25:14. > :25:18.the world that we live in. significant do you think that this

:25:18. > :25:22.trend to more inclusive design could be? I don't think there is

:25:22. > :25:26.any alternative. In a world where one in three people are going to be

:25:26. > :25:31.over 60 by 2050, we are going to have to change the way we design

:25:31. > :25:36.things. The other point to make is that it is not just about designing

:25:36. > :25:41.for people. That is going on for 50 or 60 years. It is designing with

:25:41. > :25:45.people. Creating products that can be used by all ages and abilities

:25:45. > :25:51.is central to the inclusive design approach, and listening to consumer

:25:51. > :25:54.groups is vital in that process. Susan Greggs designs -- guides

:25:54. > :26:02.students at the Design Centre through this process. The famous

:26:02. > :26:06.story that everyone tells there is buying are the perfect bread slicer

:26:06. > :26:12.for blind people, and blind people say, I buy sliced bread. Don't

:26:12. > :26:16.waste your time. So isn't it a bit hard, trampling on these great

:26:16. > :26:20.designers? Better that I should do it then when they are actually

:26:20. > :26:25.presented to somebody who might give them my job. So the process is

:26:25. > :26:30.becoming as important as the project -- the product. That is

:26:30. > :26:37.what inclusive design is. It is starting really early on, aiming

:26:37. > :26:42.for your market place. One company that championships -- champions the

:26:42. > :26:48.approach was asked to design a new phone for the silver market. Their

:26:48. > :26:53.research revealed that wasn't the phone that caused the problems, it

:26:53. > :27:03.was unclear instruction manuals. So the designers put the phone right

:27:03. > :27:03.

:27:03. > :27:08.inside the manual. So all these instructions. Way you need to press.

:27:08. > :27:12.And you are using eight traditional language that I am familiar with

:27:12. > :27:22.rather than technological language. Most of the proposals on the market

:27:22. > :27:25.

:27:26. > :27:29.aimed at older people are patronising. We gave them bananas

:27:29. > :27:35.and Marcus to let them express what they really wanted from a mobile

:27:35. > :27:40.phone, and that unlocked a huge amount of feedback and inspiration.

:27:40. > :27:44.They wanted GBS, news reports, weather forecasts, so we were

:27:44. > :27:48.really seeing that they want to access technology, and they wanted

:27:49. > :27:54.their phone to be a powerful tool. So if you said to them, tell me

:27:54. > :27:57.about the phone I want, they would say I want a simple, big buttons,

:27:58. > :28:02.but if you said, show me what a phone can do, they said don't do

:28:02. > :28:09.everything? If we took them away from the frustrated feeling and let

:28:09. > :28:14.them dream and create, they want the full works. This is something

:28:14. > :28:19.quite a lot more mechanical, as you can see. This is the world's first

:28:19. > :28:23.affordable wheelchair wheel. This came from finding out that there is

:28:23. > :28:28.a huge demand for something in wheelchair market which is like a

:28:28. > :28:33.folding bike. You can get a lot of folding chairs, and that is very

:28:34. > :28:39.useful for travelling and storage. But you have always got great big

:28:39. > :28:47.wheels. So why not try to for the wheel up? And that is what this

:28:47. > :28:52.does, like that. The tyre can stay fully inflated. Would you say this

:28:52. > :28:56.is about using design as a force for good rather than a force for

:28:56. > :29:01.being good-looking? Definitely. Something that came back from a

:29:01. > :29:03.wheelchair users I have spoken to is that this is the first new thing

:29:03. > :29:07.that would enable me to do something new with my wheelchair

:29:07. > :29:14.that I have seen for years. Sir by designing some that changes the way

:29:14. > :29:19.you can live with a wheelchair, it is quite empowering. Fantastic.

:29:19. > :29:23.And you can see that ambulance in the designs of the exhibition and

:29:23. > :29:26.tell 4th July. Now, from updated emergency

:29:26. > :29:30.vehicles to a rather more traditional mode of transport - a

:29:30. > :29:33.bicycle. Upon which Bill Cunningham, one of New York's most influential

:29:33. > :29:38.fashion photographers, weaved through traffic in search of the

:29:38. > :29:41.perfect look. Inspired by a new documentary charting Bill

:29:41. > :29:51.Cunningham's life and work, Hadley Freeman hits the streets to explore

:29:51. > :29:52.

:29:52. > :29:58.the vast impact he has had on the Since the 1960s, Bill Cunningham

:29:58. > :30:02.has been scanning the streets of Manhattan. Now in his 80s, he is

:30:02. > :30:05.the subject of a feature-length documentary. Bill Cunningham New

:30:05. > :30:10.York is a captivating and moving portrait of an extraordinary man

:30:10. > :30:13.who's lived his life with an almost fanatical parity of purpose. To

:30:13. > :30:17.discover that friends and document the reality of how people dress.

:30:17. > :30:27.This fashion show is definitely on the street. Always has been and

:30:27. > :30:28.

:30:28. > :30:32.always will be. Bill Cunningham's photos appear in his two weekly

:30:32. > :30:36.columns in the New York Times. Evening Hours records the social

:30:36. > :30:43.scenes. But Bill is better known for the weekly collage of street

:30:43. > :30:48.style photography that records what real people are really wearing.

:30:48. > :30:55.you know what the pages going to be? It's going to beat All on legs

:30:55. > :30:59.and shoes. Cunningham is a true legend. The front rows about with a

:30:59. > :31:03.real sense of style and design. We all dress for Bill, says the US

:31:03. > :31:07.Vogue editor, and a winter. sometimes want to look at his pages

:31:07. > :31:11.in the Times or online and be so amazed that he and I and all my

:31:11. > :31:15.team and all the rest of the world, we are all sitting in the same

:31:15. > :31:19.fashion shows but he sees something on the street or on the runway that

:31:20. > :31:25.completely missed all of us. In six months' time, that will be a trend.

:31:25. > :31:28.More than just a photographer, he is a cultural anthropologist. By

:31:28. > :31:31.photograph in changing street styles, he has built up an archive

:31:31. > :31:37.of thousands of photos that document the real history of

:31:37. > :31:41.fashion. I don't design anything, I'll let the street speak to me. In

:31:41. > :31:47.order for the street to speak to you, you've got to stay out there

:31:47. > :31:51.and see what it is. You don't manufacture in your head skirts to

:31:51. > :31:56.the knee, but you photograph people with skirts on the knee. You've got

:31:56. > :32:01.to stay on the street and let the street tell you what it is. And the

:32:01. > :32:05.streets seemed to be speaking to a lot of people these days. Armed

:32:05. > :32:11.with just a digital camera and a Wi-Fi connection, a new legion of

:32:12. > :32:16.street style photographers are hitting the pavements. A excuse me,

:32:16. > :32:21.sir. Can I have two seconds of your time? I'd like to take a picture of

:32:21. > :32:27.your outfit. Daily updates of fashion as it happens are up Lotah

:32:27. > :32:33.to any number of popular and influential Street Style blogs. --

:32:33. > :32:40.are uploaded. Beautiful. How long do you usually have to spend

:32:40. > :32:45.outside looking for people? Five to six hours. Every day? Every day.

:32:45. > :32:52.you look at style blogs ever? don't. But what I do like to see

:32:52. > :32:59.his Bill Cunningham's... I like when a photograph real people, not

:32:59. > :33:04.fashion editors. Sometimes you take a shot and you get goosebumps. You

:33:04. > :33:08.feel like you've failed it. It doesn't matter where you get your

:33:08. > :33:18.clothes from, it's the way you wear it and the way you look when you

:33:18. > :33:22.

:33:22. > :33:26.And nowhere is there more swagger than at fashion Week. Throngs of

:33:26. > :33:30.bloggers and photographers gather. Not to document the action on the

:33:30. > :33:35.catwalk, but to photograph the fashion show audience and even each

:33:35. > :33:42.other. The whole street style things certainly came out of the

:33:42. > :33:45.blogosphere. We noticed that London Fashion Week was bowl of the most

:33:45. > :33:47.incredible peacock parade of these people who clearly spend hours

:33:47. > :33:52.getting dressed in the hope that they would be photographed, and

:33:52. > :33:56.indeed they were photographed. But as it goes on, it's become much

:33:56. > :34:01.more universal and democratic. And it's not part of the mainstream.

:34:01. > :34:05.Grazia, Britain's biggest-selling weekly fashion magazine, features

:34:05. > :34:09.both fashion shoots and street style reporting. It's like a real-

:34:09. > :34:13.life fashion show and Readers respond to that. Do you think it

:34:13. > :34:18.street style will take over from the traditional fashion magazines?

:34:18. > :34:23.I don't think it will. It's part of the mix. Part of what the appeal of

:34:23. > :34:27.fashion is, it's the fantasy element. There's part of the main

:34:27. > :34:34.fashion story, which is like a film set. We love to indulge in that and

:34:34. > :34:38.get carried away by the fashion dream. But another part of it is

:34:38. > :34:42.that people are hugely inspired by other people. Women have always

:34:42. > :34:46.looked at what other women have warned. To put them in a magazine

:34:46. > :34:52.on a full page of glorious colour is a fabulous fascination for

:34:52. > :34:55.people. How much can be Credit bill Cunningham with the rise of street

:34:55. > :35:01.style photography? Hugely. He started the whole thing. Before the

:35:01. > :35:06.internet, before any of that, he was out there doing it. Suddenly we

:35:06. > :35:10.find and 83-year-old man is bang on trend again - how fantastic! Street

:35:10. > :35:16.style is not only on Trent. It's also on the money. The fashion

:35:17. > :35:26.industry has embraced the aesthetic. Just look at recent campaigns from

:35:26. > :35:29.All of this is a long way from what motivates Bill Cunningham. It took

:35:29. > :35:34.the film-makers 80 years to persuade him to have the camera

:35:34. > :35:41.turned on him. And what emerges is a window into a surprising, spartan

:35:41. > :35:44.life. He lives in a tide - a tiny studio filled with filing cabinets.

:35:44. > :35:49.He say - that he wears the same style of jacket every day. Central

:35:49. > :35:53.to this lifestyle is the pursuit of creative freedom. If you don't take

:35:53. > :35:58.money, they can't tell you what to do, Kid. That's the key to the

:35:58. > :36:02.whole thing. Don't touch money. It's the worst thing you can do.

:36:02. > :36:05.He'd probably never acknowledge it, but in his own way, Bill Cunningham

:36:05. > :36:08.is the pioneer of a fashion phenomenon. Street style

:36:08. > :36:12.photography may have been appropriated by the mainstream

:36:12. > :36:16.fashion industry, but as the documentary that bears his name

:36:17. > :36:20.testified, Bill Cunningham remains a true artistic outsider. One who

:36:20. > :36:26.has used his life to celebrate those who use clothes to be

:36:26. > :36:31.beautiful and different, too. Bill Cunningham New York is out in

:36:31. > :36:36.cinemas on March 16th. Still to come... Mark Kermode's boat trip

:36:36. > :36:42.with cult director Paolo Sorrentino. And my art date with Florence Welch.

:36:43. > :36:46.First, to music. A conductor who has to realise the composers dreams

:36:46. > :36:51.must master not just a single instrument but an entire orchestra.

:36:51. > :36:56.And yet the craft remains shrouded in mystery. Clemency Burton-Hill

:36:56. > :37:06.took to the skies to meet rising star Alexander Shelley, who shed

:37:06. > :37:11.light on the elusive role of the Before the 19th century there was

:37:11. > :37:15.no such thing as a conductor. Once viewed as little more than a

:37:15. > :37:20.glorified timekeeper, the maestro has since become one of the most

:37:20. > :37:24.revered and intriguing figures in classical music. And today's

:37:24. > :37:27.conductors on to just planted on the podium. They are just as likely

:37:27. > :37:32.to be jet-setting around the globe as a DJ or pop star. Which means

:37:32. > :37:42.that even when they are just down the road, you have to catch a

:37:42. > :37:46.

:37:46. > :37:50.Famed for their persistence. And passion. It's got to be like one

:37:50. > :37:55.person singing his heart out. conductor is the beating heart of

:37:55. > :38:00.any orchestra. We need a generation of conductors that are able to

:38:00. > :38:05.communicate meaning. Conductors who can stand up and says something, in

:38:05. > :38:10.this world that's fallen apart in front of our very eyes. One such

:38:10. > :38:15.conductor making waves in Germany and across the globe is the 32-

:38:15. > :38:18.year-old Brit, Alexander Shelley. As principal conductor of the

:38:18. > :38:28.Nuremberg Symphony Orchestra, he is one of the youngest music directors

:38:28. > :38:31.

:38:31. > :38:41.Born into a musical family, Alexander made his name in 2005

:38:41. > :38:41.

:38:41. > :38:45.when he won the prestigious Leeds We often associate conductors with

:38:45. > :38:48.being a lot older than you. You clearly bring a huge amount of

:38:48. > :38:52.freshness and youth to this, but how much does that affect your

:38:52. > :38:57.authority, the fact that you are much younger than quite a few

:38:57. > :39:03.members of your orchestra? Well, music, the great music that we

:39:03. > :39:07.perform, is written by young people. From Mozart to Mendelssohn,

:39:07. > :39:11.Schumann to show band. It is performed by them for young people.

:39:11. > :39:19.Virtually none of the people I mentioned lived beyond 40. It is

:39:19. > :39:24.music of youth, music of dynamism, music of passion and excitement. As

:39:24. > :39:27.long as the intentions are true, you really believe in the thing and

:39:27. > :39:33.you are trying to achieve something exciting, and I personally don't

:39:33. > :39:37.think about my age. But for the first few years, one of the

:39:37. > :39:42.greatest challenges of being a young conductor is the learning

:39:42. > :39:52.curve is huge. You are standing in front of brilliant, experienced

:39:52. > :40:02.

:40:02. > :40:07.professionals. The responsibility How do you define the role of a

:40:07. > :40:12.conductor? What is expected of a conductor is so varied. To start

:40:12. > :40:18.with, a clear, deep and precise technical knowledge, both of how an

:40:18. > :40:22.orchestra functions, how it is to be balanced, how to tune courts.

:40:22. > :40:29.How a composer has technically put the music together. Beyond that,

:40:29. > :40:34.how to turn all of these technical ideas into musical ideas, and

:40:34. > :40:38.transport people from the world of the real to the world of fantasy.

:40:38. > :40:43.Is there something more mundane, more earthbound to conducting that

:40:43. > :40:48.has to do with simply keeping time, keeping the orchestra together?

:40:48. > :40:52.There is. It's a complex business but the most basic nuts and bolts

:40:52. > :40:56.are with the right hand I give him polls. If you reduce it to its

:40:56. > :41:00.beginnings, it's like a metronome without making a noise. So an

:41:00. > :41:06.orchestra has a beat without it disturbing the audience. Nowadays

:41:06. > :41:12.it can express anything you want to. The colour and energy of the music.

:41:12. > :41:16.With the left hand you can show where a phrase is going. Open and

:41:16. > :41:19.close a phrase. You can show specific entries for members of the

:41:19. > :41:23.orchestra who have been waiting for a while. Is one of the things that

:41:23. > :41:26.defines a really great orchestra their ability to read you? Yes.

:41:26. > :41:29.There are some incredible orchestras were you make the

:41:29. > :41:33.movement of your eyebrow and something happens in the sound.

:41:33. > :41:37.They are aware of the physiology of the conductor. The better the

:41:37. > :41:46.orchestra, the higher the stakes for the conductor because there is

:41:46. > :41:52.One of the reasons that classical music often feels scary is because

:41:52. > :41:56.people think, I don't understand it, I'm not quite sure how I'm supposed

:41:56. > :42:00.to react. It's part of your job to open it up to people so they know

:42:00. > :42:05.their response to it is valid. I am conducting in front of an

:42:05. > :42:09.orchestra, I will often have an image in mind, either of an actual

:42:09. > :42:14.story that is being told all of an emotion that is being expressed or

:42:14. > :42:19.philosophy that's being expressed. And I will use my body to move the

:42:19. > :42:24.music in a way that I feel Best tells the story and expresses the

:42:24. > :42:29.demotion. But as we know, everybody feels he motions differently. I

:42:29. > :42:34.think it is wrong to expect of an audience that they all have the

:42:34. > :42:39.same feeling. Indeed, the beauty of great art is that it means many,

:42:39. > :42:49.many things and there are many, many truths. That's why we need to

:42:49. > :42:55.

:42:55. > :42:58.Alexander Shelley will be conducting the Royal Liverpool

:42:58. > :43:04.Philharmonic on March 15th and the 18th. Next, we turned to the road

:43:04. > :43:09.movie. Thankfully not on this! And Paolo Sorrentino's new film, This

:43:09. > :43:13.Must Be The Place. It features no fewer than two Oscar winners, Sean

:43:13. > :43:17.Penn and France's McDormand, and it's his first feature film in the

:43:17. > :43:22.English language. Mark Kermode got behind the wheel to find out more.

:43:22. > :43:27.The road movie is part of the DNA of American cinema. Taking on what

:43:27. > :43:31.has become the US' signature John there can be a bumpy ride,

:43:31. > :43:36.especially if you are an outsider for whom English isn't your first

:43:36. > :43:39.language. In that This Must Be The Place, Italian film director Paolo

:43:39. > :43:43.Sorrentino puts Sean Penn behind the wheel. He plays an ageing rock

:43:43. > :43:49.star who tries to track down his father's Nazi persecutor from World

:43:49. > :43:53.War II. They are both rather pedantic. My instinct tells me that

:43:53. > :43:59.pedantry is an essential characteristic for capturing Nazis.

:43:59. > :44:03.True. But solitary is the playground of resentment. It seemed

:44:03. > :44:09.like the perfect time to hit the road and track down the director,

:44:09. > :44:19.whose work I have long admired. My journey didn't take me to Hollywood.

:44:19. > :44:20.

:44:20. > :44:27.Welcome to The Culture Show. Can you tell me about the Goth rock

:44:27. > :44:33.star character who in his look is a bit Robert Smith from the Cure, a

:44:33. > :44:38.bit Edwards is a hands. Tell me about him. This movie is about

:44:38. > :44:43.things that I loved in my adolescence, the cure and the

:44:43. > :44:53.lifestyle of Robert Smith. So I took some parts of that biography

:44:53. > :45:03.for the main character. Did you dress as a Goth? A little bit, but

:45:03. > :45:13.I was always afraid to become... How did Sean Penn become involved

:45:13. > :45:15.

:45:15. > :45:20.in the film? I met him at the Cannes Film Festival. He said

:45:20. > :45:26.something like it would be interesting to work together, and

:45:26. > :45:32.in that precise moment, I decided - - I decided to work on a movie for

:45:32. > :45:38.him. Sean Penn has a reputation of being very serious. Is he fun to

:45:38. > :45:46.work with? Sean Penn is very serious in the work, but he is a

:45:46. > :45:53.very funny guy. So for me it was surprising to have a kind of

:45:53. > :46:03.relationship about the funny things. He is very ironic, and it was

:46:03. > :46:07.

:46:07. > :46:17.perfect for that character. What do you want me to play? Hajj by arcade

:46:17. > :46:19.

:46:19. > :46:29.-- This Must Be The Place. Where were you going? I was just seeing

:46:29. > :46:33.

:46:33. > :46:37.Sorrentino is clearly a hard man to say no to. David Byrne also co-

:46:37. > :46:45.stars in the movie. In fact, This Must Be The Place takes its title

:46:45. > :46:53.from a talking Heads song. I asked him to do the soundtrack. He was

:46:53. > :47:03.afraid of playing himself, but then we convinced him to play himself,

:47:03. > :47:08.

:47:08. > :47:12.The cast list goes on to include bona's daughter as a Ukhov groupie,

:47:12. > :47:22.and Frances McDormand play is the star's long-suffering but adoring

:47:22. > :47:29.

:47:29. > :47:33.Did you do the bike? Did you do it? I have read that if you couldn't

:47:33. > :47:39.get Frances McDormand to play his wife, you would have made him a

:47:39. > :47:46.widow? Yes. I wrote her a letter, and they said, if you don't play

:47:46. > :47:56.the wife, I would change the script. For me, she is the only actress

:47:56. > :47:58.

:47:58. > :48:04.Sorrentino's films are known for their exploration of the darker

:48:04. > :48:12.side of Italian life - corruption, obsession and the Mafia. His film

:48:12. > :48:22.LDV no one international acclaim in 2008. It is an irreverent by Opec -

:48:22. > :48:24.

:48:24. > :48:32.- biopic. He comes across as a vampire. Yes, because the first

:48:32. > :48:38.time I met the real Andreotti, it was a sunny day in the morning, but

:48:38. > :48:44.he had all the shutters closed. So I decided to do that character in

:48:44. > :48:48.that way. In all his movies, Sorrentino uses bold and grandee is

:48:48. > :48:52.visuals with or elaborate, audacious camera moves. It has

:48:52. > :48:57.become his hallmark. How do you keep a balance between directing

:48:57. > :49:06.the performances and the complicated choreography of the

:49:06. > :49:13.visuals? I do their homework before shooting. I work a lot out before.

:49:13. > :49:22.Ridley Scott once said that for him, the camera moves were his

:49:22. > :49:29.performance. I completely agree. is the same for you? In 90% of the

:49:29. > :49:38.cases, the actors can do it without the help of the director. But that

:49:38. > :49:42.10% is important. Paolo, think you very much.

:49:42. > :49:45.And This Must Be The Place opens in cinemas on 6th April. I am standing

:49:45. > :49:49.in the 16th century gallery of the Wallace Collection, a treasure

:49:49. > :49:53.trove stuffed with master works of the baroque and Renaissance period.

:49:53. > :49:57.Pop musicians have and often drawn inspiration from the world of high

:49:57. > :50:02.art, but there is one notable exception to that, as I found out

:50:02. > :50:06.when I met up with Florence Welch of Florence and the machine at the

:50:06. > :50:11.National Gallery. They are not many pop stars to be

:50:12. > :50:15.found walking there corridors of the National Gallery in the dead of

:50:15. > :50:21.night, but Florence Welch is the kind of pop star we haven't seen

:50:21. > :50:28.for a while. Her music brings the great themes of the Renaissance

:50:29. > :50:38.into the 21st century - love, death, sex and, of course, God. It is high

:50:38. > :50:42.church indie rock, with organs blasting and a big dose of drama.

:50:42. > :50:45.Given her Italian its name, it is apt that I meet her in the

:50:45. > :50:55.Renaissance gallery to find out a bit more about the art that

:50:55. > :50:57.

:50:57. > :51:02.Is going to galleries something you do? A respite from the madness of

:51:02. > :51:07.being on tour? It is, actually. It is something we try to do in every

:51:07. > :51:12.city we go to. Just the sense of being outside yourself. I also like

:51:12. > :51:15.the atmosphere of galleries. Some people might think it is an unusual

:51:15. > :51:20.preoccupation for somebody in the modern music business to be

:51:20. > :51:25.interested in Renaissance art, but in this gallery, all these pictures

:51:25. > :51:29.about emotion, hopeless love, compassion, a desire to fly. Some

:51:30. > :51:37.of your songs are about these sorts of things. There is a lot of drama

:51:37. > :51:42.going on in this room, and amazing wallpaper, as well. You have come

:51:42. > :51:46.dressed as National Gallery wallpaper! What you look for in a

:51:46. > :51:53.wall -- in a painting? Are I am always attracted to drama and

:51:53. > :52:00.passion. I like this one a lot. She looks very serene, which are think

:52:00. > :52:04.a lot of the Renaissance paintings of martyrs, they do, it is about to

:52:05. > :52:10.that sense of transcendence, the spirit going somewhere better. I

:52:10. > :52:20.like the physicality of this one. I have definitely pulled that pose in

:52:20. > :52:25.

:52:26. > :52:29.I imagine this might be a picture that I would have thought might

:52:29. > :52:34.appeal to you, because it is doing a lot of things in a way that your

:52:34. > :52:43.music does. At first, it is very beautiful, because the more you

:52:43. > :52:53.look, the more disturbing it is. I saw it as a canvas for a laugh, and

:52:53. > :52:54.

:52:54. > :53:00.they think, is that syphilis? Technically, it is jealousy. But we

:53:00. > :53:05.think that might be syphilis, as well, because the has the symptoms

:53:05. > :53:12.such as the rotting teeth. And we have got this strange half the

:53:12. > :53:19.Sphinx, who seems to be holding a cake? She is pleasure. She looks

:53:19. > :53:24.like an innocent, sweet little girl, but she has a sting in the tail. So

:53:24. > :53:29.if you go the route of pleasure, as Cupid and his mother are somewhat

:53:29. > :53:34.incestuously doing, syphilis might be the consequence. This was given

:53:34. > :53:41.to the King of France by the McGeachie, who was a famously

:53:41. > :53:48.lubricious monarch, and syphilis was known as the French disease.

:53:48. > :53:53.Some people think it was a sort of gift with a sting in the tile. I

:53:53. > :54:00.don't know if that is true. I am always attracted to the big

:54:00. > :54:05.things, because I feel like they last. Sex, time, death, violence.

:54:05. > :54:11.There is never going to be an updated version of Death, is there?

:54:11. > :54:15.Or the new updated version of Love or pain. They are eternal. I think

:54:15. > :54:22.we are always trying to find ways of not feeling, but they keep

:54:23. > :54:32.cropping up. So we have done transcendence and sex. Do think we

:54:33. > :54:38.

:54:38. > :54:45.should go and find some other great What are profoundly more big

:54:46. > :54:51.picture we have decided to end on. There is a bit of last involved as

:54:51. > :54:56.well, because the Hunter surprised Diana when she was paving, and she

:54:56. > :55:06.took revenge by turning him into a stack, and he is killed by his own

:55:06. > :55:06.

:55:06. > :55:13.hands. -- turning him into a stand. She is rebuffing his advances in

:55:13. > :55:15.the most extreme way by turning the emblems of his masculinity against

:55:15. > :55:21.him. It seems like a very personal

:55:21. > :55:26.picture. Do you think he was rebuffed? I think it is partly a

:55:26. > :55:31.Titian painting, a fading memory of every beautiful woman he has ever

:55:31. > :55:36.seen. He knows he is not up to it any more, knows he is on the way

:55:36. > :55:42.out. It is a picture about encroaching death. It is a picture

:55:42. > :55:50.that almost feels like autumn. There is no glowing marbled flesh,

:55:50. > :55:57.and the colours are all rusty and autumnal. There are no bright blues,

:55:57. > :56:03.even the fault of the fabrics seem to be merging together. It is

:56:03. > :56:12.fantastically ambiguous. He still wants her, even though she is

:56:12. > :56:20.killing him. Maybe you should write a song about it. I'd definitely, I

:56:20. > :56:28.think I have got one with hunting. I love you so much, I am going to

:56:28. > :56:38.let you kill me. I have got it as a line in a song. But that is the

:56:38. > :56:44.

:56:44. > :56:46.line from a power Mysore, but the That's it for tonight. Next week,

:56:47. > :56:49.Dexy's Midnight Runners, sculptor Anthony Caro and author Irvine

:56:49. > :56:59.Welsh. But to play us out, performance poet Elvis McGonagall's

:56:59. > :57:01.

:57:01. > :57:04.sometimes edgy take on our beloved Change, Optimism, Hope.

:57:04. > :57:10.Progress, Energy, Vigour. Modest, Moderate, Modern. Brighter, Better,

:57:10. > :57:17.Bigger. Conservative, Compassionate, Communal. Black, Muslim, Gay. Young,

:57:17. > :57:21.Green, Martian. Work, Rest, Play. Responsible, Tangible, Real.

:57:21. > :57:29.Motivation, Dedication, Aspiration. Empower, Enhance, Improve.

:57:29. > :57:32.Location, Location, Location. Vision, Ambition, Intuition.

:57:32. > :57:37.Courage, Resolve, Expertise. Beliefs, Values, Dreams. Eats,

:57:37. > :57:42.Shoots, Leaves. On, My, Bike.

:57:42. > :57:49.Eco, Friendly, Guy. Recycle, Renew, Relax.

:57:49. > :57:54.Look, No, Tie. Liberty, Equality, Paternity. Women, Babies, Men. Co-

:57:54. > :58:04.operation, Cohesion, Cocaine? Never, Ever, Again. Trusting, Caring,

:58:04. > :58:07.

:58:07. > :58:09.Sharing. Rebecca, Rupert, Andy. Emerson, Lake, Palmer. Yankee,

:58:09. > :58:12.Doodle, Dandy. Beanz, Meanz, Heinz. Ready, Steady, Go. Leg, Before,

:58:12. > :58:16.Wicket. Edgar, Allen, Poe. Mary, Mungo, Midge. Beverly, Hills, Cop.

:58:16. > :58:22.Yabba, Dabba, Doo. Snap, Crackle, Pop. Keep, It, Real. Watch, Me,

:58:22. > :58:26.Blog. Pimp, My, Ride. Snoop, Doggie, Dogg. Boo, Ya, Shaka. In, Da, Hood.

:58:26. > :58:30.Super, Smashing, Great. Finger, Lickin', Good. Suit, You, Sir. Are,

:58:30. > :58:40.Friends, Electric? Want, That, One. Vorsprung, Durch, Technik. Ganja,

:58:40. > :58:41.

:58:41. > :58:44.Skunk, Weed. Bloody, Nice, Bloke. Sun, Shiney, Day. Blobby, Blobby,

:58:44. > :58:46.Blobby. Gabba, Gabba, Hey. Drivel, Piffle, Bilge. Yackety, Yack, Yack.