Browse content similar to London. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Welcome to The Culture Show. This week we are at the Wallace | :00:08. | :00:11. | |
Collection in London's West End, home to one of the truly great | :00:11. | :00:16. | |
collections of French 18th century art, as well as masterpieces by the | :00:16. | :00:21. | |
likes of Alaska's, Rubens and Rembrandt. It's also home to one of | :00:21. | :00:27. | |
the world's greatest collections of Renaissance armour. I take a tour | :00:27. | :00:37. | |
:00:37. | :00:55. | ||
of the National Gallery with none Charlie Luxton looks at how great | :00:55. | :01:01. | |
design transcends age and ability? Clemency Burton-Hill finds out | :01:01. | :01:08. | |
about the art of the maestro. Tim Samuels talks to Jonathon Safran | :01:08. | :01:17. | |
Foer about his modern take on an ancient Jewish text. Journalist | :01:17. | :01:27. | |
:01:27. | :01:28. | ||
Hadley Freeman goes street style. We turn to the art world's most | :01:28. | :01:31. | |
enduring double act. Gilbert & George have been working together | :01:31. | :01:36. | |
for over four decades and have openly declared for them, London is | :01:36. | :01:40. | |
the centre of the universe. Their latest show, London Pictures, stays | :01:40. | :01:44. | |
true to that theme. Alastair Sooke went along to meet them as they put | :01:44. | :01:53. | |
the final touches to their latest As far as radical artistic ideas go, | :01:53. | :01:58. | |
painting your face in gold, clambering on to a table and | :01:59. | :02:02. | |
improvising to an old music hall song is pretty out there. But to | :02:02. | :02:06. | |
keep at it for eight hours and call what you're doing a singing | :02:06. | :02:10. | |
sculpture is another level of weirdness altogether. This is | :02:10. | :02:13. | |
exactly how artists Gilbert & George introduced themselves to the | :02:13. | :02:23. | |
:02:23. | :02:25. | ||
The they'd met at St Martin's School of Art in the late 60s and | :02:25. | :02:31. | |
formed a unique artistic and personal relationship. They would | :02:31. | :02:36. | |
be two people but one artist, with the motto art for all, and the | :02:36. | :02:39. | |
desire to put themselves at the centre of their work. They decided | :02:39. | :02:49. | |
:02:49. | :02:50. | ||
to become living sculptures. Over the years, they've out raged, | :02:50. | :02:54. | |
delighted and confounded the art establishment. Always taking a | :02:54. | :02:57. | |
provocative look at their own lives and the life of the city that | :02:57. | :03:03. | |
continues to inspire them. London. Recently, Gilbert & George have | :03:03. | :03:07. | |
been busy stealing posters of newspaper headlines to make art | :03:07. | :03:17. | |
:03:17. | :03:23. | ||
work for their latest collection, Hello. Good morning. Come through. | :03:23. | :03:28. | |
I've brought you a gift. A recent edition of the Evening Standard, it | :03:28. | :03:35. | |
was on the wall around the corner. That could go in our picture called | :03:35. | :03:43. | |
boy or tube. I how many posters did you collect? 3712. Which made, by | :03:43. | :03:49. | |
themselves, 292 pictures. To turn their posters into art, Gilbert & | :03:49. | :03:53. | |
George devised a complex cataloguing system. This is the | :03:53. | :04:00. | |
index to the posters. 28 posters here, but we can also find one for | :04:00. | :04:04. | |
soccer, arrested, old-age pensioners. What was the biggest | :04:04. | :04:10. | |
cluster of work? Sex, money and murder of the biggest subject. | :04:10. | :04:15. | |
Presumably, are these what we can see over here? The these are all | :04:15. | :04:22. | |
the designs. We wanted to use only black and white and red and skin | :04:22. | :04:28. | |
colour. That's it. It feels quite brutal. Do you view this as a | :04:28. | :04:33. | |
composite portrait of London, or is it a portrait of media hysteria? | :04:33. | :04:36. | |
think it is an international response. It doesn't matter where | :04:36. | :04:42. | |
you go, the world is the same. And art has to speak. If you go into a | :04:42. | :04:46. | |
museum and there is a landscape framed with a hill and foreground, | :04:46. | :04:52. | |
some trees and the sky, people will almost just walk past it. But if | :04:52. | :04:55. | |
there's a little policeman on the horizon and a tramp in the corner | :04:55. | :04:59. | |
masturbating, everyone will stop to look at that picture. Because it | :04:59. | :05:07. | |
has a moral dimension. It's different. After Bermondsey. | :05:07. | :05:10. | |
Bermondsey is home to one of three White Cube gallery is in the | :05:10. | :05:14. | |
capital, all of which are showing finished works from his London | :05:14. | :05:20. | |
Pictures series. This is extraordinary for us. This is the | :05:20. | :05:24. | |
first time we actually see the pieces for real. The scale of them | :05:24. | :05:30. | |
is unbelievable. There's a sense of being quite overwhelmed. Relentless. | :05:30. | :05:34. | |
That is absolutely what we wanted. You don't initially read the words. | :05:35. | :05:40. | |
What you see are these screaming, read visual overloads. I'm very | :05:40. | :05:46. | |
proud. And then there's the Queen in each corner. A always a | :05:46. | :05:52. | |
different one. No two queens are like. Of course. And here, this is | :05:52. | :05:57. | |
a piece which has called London. Man beheaded in the street, | :05:57. | :06:00. | |
bloodbath in London McDonald's. This isn't a very happy body of | :06:00. | :06:05. | |
work. It's a celebration of the lives and deaths of the great | :06:05. | :06:08. | |
number of people living in London. Probably more deaths than lives | :06:08. | :06:13. | |
here. But who wants To Be Happy? want to affect. If we just lie on | :06:13. | :06:17. | |
the beach with gin-and-tonic we are not going to change anything. | :06:17. | :06:21. | |
would be quite pleasant but no one would pay any attention. The reason | :06:21. | :06:25. | |
people recognise you is because not least you appear in your work, but | :06:25. | :06:29. | |
some people think it's one enormous work of self-portraiture. Never | :06:29. | :06:34. | |
mention that. The spirit and the person is behind every good artist. | :06:34. | :06:39. | |
If you are in a museum of a friend you might say, come and look at his | :06:39. | :06:43. | |
van Gogh. Come and look at this funny old dead tree with a bit of | :06:43. | :06:47. | |
grass. It's the artist speaking to you. There is an autobiographical | :06:47. | :06:52. | |
element in what we see it is stuff that you have encountered. In every | :06:52. | :06:59. | |
one you are often focused... With the eyes. Only the eyes speak. | :06:59. | :07:03. | |
almost like a floating consciousness around London, all- | :07:03. | :07:10. | |
seeing. Yes. With our pictures we've decided in favour of it or | :07:10. | :07:16. | |
against it, middle ground. This is the idea of being moralists. We are. | :07:17. | :07:21. | |
Everybody thinks madness to be a moralist today, but we absolutely | :07:21. | :07:25. | |
believe in good and bad. We always have. We always think it changes | :07:25. | :07:30. | |
all the time. It is not standing still, it changes so much. We want | :07:30. | :07:34. | |
to be a part of changing it. you optimistic or pessimistic about | :07:34. | :07:39. | |
the future? Always optimistic. Despite the evidence of what we see | :07:39. | :07:44. | |
around us? It's very simple. We are only dealing with the thoughts and | :07:44. | :07:47. | |
feelings that are inside any body wherever they live in the world. | :07:47. | :07:54. | |
Death. Hope. Life, fear, sex. Religion. But there's little good | :07:54. | :08:02. | |
news on the walls. I'm not sure that is true. Right. There are very | :08:02. | :08:05. | |
few cities in the world we could have posters like this on the | :08:05. | :08:11. | |
street. What a freedom. Freedom of thought. Non-Western people might | :08:11. | :08:15. | |
come here and say, you know what this says, it talks about the great | :08:15. | :08:21. | |
corruption that comes about from democracy. It's a small price to | :08:21. | :08:30. | |
pay for freedom. This show may be represents a little of that. These | :08:30. | :08:35. | |
overpowering London Pictures force you to think and engaged. And, as | :08:35. | :08:39. | |
for their creators, Gilbert & George, mischief-makers, yes, but | :08:39. | :08:44. | |
also, perhaps surprisingly, moralists with a Dickensian sense | :08:44. | :08:48. | |
of society's ills but the desire to confront and change things with | :08:48. | :08:54. | |
their art. London Pictures continues at all three White Cube | :08:54. | :09:00. | |
galleries into April and May. From the often prefer into the sacred. | :09:00. | :09:04. | |
The Jewish festival of Passover is intimately linked to an ancient | :09:04. | :09:09. | |
text, the Haggadah. Within you version of the book now on the | :09:09. | :09:12. | |
shelves, we sent Tim Samuels to meet the man behind the reworking | :09:12. | :09:21. | |
of one of the most beloved books in all of Jewish history. For 5000 | :09:21. | :09:28. | |
years, Judaism has been fuelled by the excesses of food and family. | :09:28. | :09:31. | |
During the festival of Passover, most Jews sit down to the | :09:31. | :09:36. | |
traditional dinner, a ritual of wine and worship to mark the | :09:36. | :09:42. | |
liberation of the Jews from slavery. At the heart of the Passover meal | :09:42. | :09:46. | |
is the Haggadah, the prayer and instruction book which guides you | :09:46. | :09:50. | |
through the evening rituals. Ours used to be pretty tatty, it got | :09:50. | :09:53. | |
fished down from the loft once a year and you didn't pay much | :09:53. | :09:57. | |
attention to it, mainly counting down the pages to see when dinner | :09:57. | :10:01. | |
was going to be served. But in between, the crumbs and wine stains | :10:01. | :10:04. | |
from previous years, the pages themselves tell one of the most | :10:04. | :10:10. | |
epic stories from history. Haggadah means be telling. The handing down | :10:10. | :10:15. | |
of story of exodus to the next generation, recounting the journey | :10:15. | :10:20. | |
of Moses leading the Israelites out of repression in Egypt to freedom. | :10:20. | :10:24. | |
Early manuscripts have been traced to the Middle Ages. But the need to | :10:24. | :10:27. | |
revise and sustain the story has made it the most translated and | :10:27. | :10:33. | |
reprinted Jewish book in history. Judaism straddles both the | :10:33. | :10:37. | |
religious and the more cultural. Some people are very religious, | :10:37. | :10:42. | |
others, not so much. But all are united by a constant urge to | :10:42. | :10:46. | |
question and debate. So it's not surprising that in this latest | :10:46. | :10:50. | |
incarnation of the book it has been given a modern twist, something of | :10:50. | :10:55. | |
a cultural makeover. Having made his name with the novel's | :10:55. | :10:59. | |
everything is eliminated and Extremely Loud And Incredibly Close, | :10:59. | :11:03. | |
Jonathon Safran Foer has overseen an imaginative new version of the | :11:03. | :11:08. | |
Haggadah. He has united a bold translation with commentaries from | :11:08. | :11:13. | |
four leading Jewish thinkers, each bringing a distinct political, | :11:13. | :11:17. | |
literary, philosophical or child friendly perspective. If you look | :11:17. | :11:21. | |
around your Passover table now, you will certainly seek the model and | :11:21. | :11:26. | |
mass of the world. It's likely to stay in some place on the | :11:26. | :11:29. | |
tablecloth or perhaps one of the glasses has based much. Soon, | :11:29. | :11:33. | |
things will be spilt. You might be sitting with people you do not know | :11:33. | :11:38. | |
very well or do not like very much, so your own emotional state is | :11:38. | :11:48. | |
:11:48. | :11:48. | ||
somewhat disordered. Welcome to the oldest synagogue in London. Do you | :11:48. | :11:52. | |
feel a sense of, what have I done taking on one of the oldest books | :11:52. | :12:00. | |
in the religion? No. Haggadah's have been adapted for as long as | :12:00. | :12:06. | |
there has been Jews. Something inside the Haggadah demands that. | :12:06. | :12:12. | |
There's the sent for trial pot of week off supposed to feel as if we | :12:12. | :12:17. | |
ourselves were liberated from Egypt. Not just that we receive a story | :12:17. | :12:23. | |
and care about it, but that we literally re-enact it. It is the | :12:23. | :12:29. | |
most radical act of empathy that any book would ever ask of a reader. | :12:29. | :12:33. | |
For that to happen, the book has to be contemporary in certain ways. | :12:33. | :12:39. | |
The translation has to be somehow in our idiom. I don't mean | :12:39. | :12:44. | |
conversationally, but clear to us. To me, I felt only that I was | :12:44. | :12:48. | |
continuing the tradition, not that I was in any way departing from one. | :12:48. | :12:52. | |
Is it fair to say that you are not the most religious guy in town? Why | :12:52. | :12:56. | |
have you got involved with reinterpreting a very traditional | :12:56. | :13:02. | |
religious text? Because it's important to me. That is the answer. | :13:02. | :13:11. | |
With this have a dark, it is not God centric. -- with this Haggadah. | :13:11. | :13:15. | |
It is asking humans to ask questions of themselves. Questions | :13:16. | :13:20. | |
about justice and mercy. About slavery and freedom. These are the | :13:20. | :13:26. | |
very big themes, they are not exclusively Jewish themes. But Jews | :13:26. | :13:30. | |
have found a very good ways of reminding ourselves of these | :13:30. | :13:36. | |
problems or questions. Why did God Pardon Ferrell's heart against the | :13:36. | :13:42. | |
Jews, even after it seemed Pharaoh was writing to let them go? Did God | :13:42. | :13:46. | |
want to make a point, don't even think of challenging the? Why did | :13:46. | :13:49. | |
America shower death on Abbas Zaki, when it seemed the Japanese were | :13:49. | :13:54. | |
readying themselves to surrender? Was the fire bombing of German | :13:54. | :13:59. | |
cities so necessary as to neutralise all moral qualms. The | :13:59. | :14:03. | |
Civil War ended with the freedom for African-Americans. World War II | :14:03. | :14:07. | |
ended with fascism utterly vanquished and the death camps | :14:07. | :14:14. | |
liberated. Can we say that the ends didn't justify the means? When I | :14:14. | :14:19. | |
heard you were editing it I thought, here we go. I thought it was going | :14:19. | :14:25. | |
to be a more radical, divisive, have more of an attitude. When I | :14:25. | :14:32. | |
first envisaged it I did think this would be a really... A more radical | :14:32. | :14:39. | |
book. I don't mean politically, but visually and more texture really | :14:39. | :14:46. | |
adventurous. Through the process of working on it I became more and | :14:46. | :14:50. | |
more in love with what the book was. The goal was to create something of | :14:50. | :14:55. | |
the kind of invisible authorship as much as possible. Even though the | :14:55. | :14:58. | |
commentaries have very distinct perspectives. If people this year | :14:58. | :15:02. | |
use your book for the dinner, how is it going to feel different? | :15:02. | :15:10. | |
Hopefully the book will facilitate. Just a more engaging and vibrant | :15:10. | :15:15. | |
experience. Hopefully that when we close the book we will say that is | :15:15. | :15:18. | |
what we always wanted it to be. We had the conversations that we had | :15:18. | :15:23. | |
been hoping we would be able to have. And have a good dinner. | :15:23. | :15:33. | |
:15:33. | :15:33. | ||
In years to come, this new Haggadah might become the dusty perennial in | :15:33. | :15:37. | |
the loft, or even be replaced altogether, but that is kind of the | :15:37. | :15:47. | |
And the Haggadah is out now. Next, from a sacred Jewish institution to | :15:47. | :15:53. | |
a sacred Islamic one. This 19th century picture is a romantic | :15:53. | :15:57. | |
fantasy at Arabs travelling through the Russian Desert, but the most | :15:57. | :16:00. | |
important journey a Muslim will ever take is the pilgrimage to | :16:00. | :16:10. | |
Mecca, the Hajj. Sarfraz Manzoor took his family on a lesser | :16:10. | :16:20. | |
:16:20. | :16:27. | ||
pilgrimage, to experience the Hajj The pilgrimage to Mecca, known as | :16:27. | :16:31. | |
the Hajj, is one of the five pillars of Islam, a journey that | :16:31. | :16:36. | |
every Muslim is called upon to make. One of my earliest impressions of | :16:36. | :16:46. | |
:16:46. | :16:52. | ||
This is my mum. She was planning on going to the Hajj with my dad, but | :16:52. | :16:57. | |
he died suddenly in 1995, and now the only way she can go is with a | :16:57. | :17:03. | |
male relative, which means me or my brother. It is the obligation of | :17:03. | :17:07. | |
every Muslim is to perform the Hajj, and for my mum, it has been a | :17:07. | :17:11. | |
lifetime ambition. Unfortunately, when she was healthy, we never got | :17:11. | :17:16. | |
around to going with her, and frankly she is now a bit frail and | :17:16. | :17:20. | |
couldn't stand the trip to Mecca, so I am taking to the British | :17:20. | :17:24. | |
Museum for the next best thing. My mum is just an ordinary working- | :17:24. | :17:28. | |
class Pakistani woman, typical of her generation. I don't know if she | :17:28. | :17:34. | |
has ever been to wait museum in her life. The Hajj is one of the great | :17:34. | :17:38. | |
global gatherings of mankind, but it is something many modern Muslims | :17:38. | :17:43. | |
know next to nothing about. This is my wife Bridget, and as you can | :17:43. | :17:46. | |
tell, she is from a different background. It'll be interesting to | :17:46. | :17:56. | |
:17:56. | :17:59. | ||
see what she makes of the Hajj The Hajj is associated with the | :17:59. | :18:04. | |
Prophet Mohammed, but the ritual of going to Mecca is said to stretch | :18:04. | :18:10. | |
back to the time of Abraham. The old British Museum Reading Room has | :18:10. | :18:15. | |
been made over to make us feel we are on a journey ourselves. The | :18:15. | :18:19. | |
Hajj attracts nearly 3 million pilgrims every year from across the | :18:19. | :18:22. | |
world, and involves a series of rituals which must take in and | :18:22. | :18:31. | |
around Makah over five for six days. -- in and around Mecca. The first | :18:31. | :18:37. | |
of these and the most familiar image of all this walking seven | :18:37. | :18:47. | |
:18:47. | :18:49. | ||
times around the building, the most The Hajj is a time when all Muslims, | :18:49. | :18:54. | |
men and women, rich and poor, black, white and brown, can come to Mecca | :18:54. | :19:03. | |
and be equal. When you come here, you are a Muslim, and there is an | :19:03. | :19:07. | |
equality to that, and so there is something about having a uniform of | :19:07. | :19:14. | |
equality. She says it doesn't matter whether you are rich or poor, | :19:14. | :19:20. | |
you are all the same. The exhibition charts the history and | :19:20. | :19:25. | |
geography of the pilgrims journeys. The perilous routes across the | :19:25. | :19:31. | |
desert in particular caught the imagination of the West. This toy | :19:31. | :19:36. | |
theatre set, the caravan to Mecca, was made in Vienna in the early | :19:36. | :19:42. | |
19th century. In 1853, the explorer Richard Burton, who later | :19:42. | :19:48. | |
translated the Arabian nights, brought back this flask of water | :19:48. | :19:58. | |
:19:58. | :20:00. | ||
from the holy spring. He learned Arabic. I find it exciting to think | :20:00. | :20:04. | |
what it must be like to be there and not know if you're going to be | :20:04. | :20:08. | |
discovered, and feel like you're one of the first non- Muslims to be | :20:08. | :20:11. | |
experiencing this, and to then be able to go out and tell the world | :20:11. | :20:16. | |
about it. This whole exhibition made me think that I do it quite | :20:16. | :20:20. | |
individually, my spirituality, and for people here, it is this huge | :20:20. | :20:26. | |
river, the metaphor that you keep hearing. It feels beautiful, the | :20:26. | :20:35. | |
whole thing of everybody gathering While modern art works explore the | :20:35. | :20:43. | |
meaning of Hajj, this clip from the film Journey to Mecca shows it is | :20:43. | :20:53. | |
:20:53. | :20:57. | ||
She just said that watching this here makes her feel like she is | :20:57. | :21:07. | |
:21:07. | :21:08. | ||
For many pilgrims, this has been a profound spiritual journey that | :21:08. | :21:18. | |
will have changed their lives for At the heart of the exhibition are | :21:18. | :21:25. | |
the textiles traditionally hung. They are decorated with lines from | :21:25. | :21:29. | |
the Koran and other blessings. It is a rare opportunity to see them | :21:30. | :21:35. | |
close. She has never seen this before, | :21:35. | :21:40. | |
because you have got to have been there to see them, so this is quite | :21:40. | :21:44. | |
new for her. As for souvenirs of the Hajj, none is more precious | :21:44. | :21:51. | |
than the Holy is under mortar, set -- -- and the Holy Water, said to | :21:51. | :21:56. | |
come from the time of Abraham. I remember somebody came with a metal | :21:56. | :22:01. | |
plate, like a saucer, which had some holy water on it, and the idea | :22:01. | :22:06. | |
was that this was special holy water from Mecca, and it was there | :22:06. | :22:14. | |
as a way of trying to offer some solace and medicine. Does this make | :22:14. | :22:24. | |
:22:24. | :22:31. | ||
So I asked my mum if this made her eager to undertake a hard herself. | :22:31. | :22:36. | |
-- to undertake the Hajj herself. She said it was good to come here, | :22:36. | :22:41. | |
but Mecca is really the place to see them. | :22:41. | :22:45. | |
She is saying that seeing this has made her want to go even more. Her | :22:45. | :22:53. | |
heart is there, but it is really about fate. | :22:53. | :23:03. | |
:23:03. | :23:03. | ||
And Finn: Journey to the heart of Islam continues -- Hajj: A journey | :23:03. | :23:08. | |
to the heart of Islam continues until the end of April. | :23:08. | :23:14. | |
The RCA has seen a work by David Hockney, Tracey Emin and Henry | :23:14. | :23:18. | |
Moore, but the work carried out at the Helen Hamlyn Centre places | :23:18. | :23:23. | |
great emphasis on individual design, making products with consumers end- | :23:23. | :23:27. | |
users rather than just for them. Charlie Luxton went to find out | :23:27. | :23:37. | |
Over the last six years, the Helen Hamlyn Centre for design has been | :23:37. | :23:42. | |
working with medics, patients and engineers to improve ambulance | :23:42. | :23:47. | |
treatment areas for paramedics working in life-or-death situations. | :23:47. | :23:52. | |
And the result is this emergency ambulance prototype. To me, that | :23:52. | :24:00. | |
look like -- This looks like the kind of treatment space you would | :24:00. | :24:04. | |
find in any hi-tech possible, not necessarily in the back of a truck. | :24:04. | :24:14. | |
The Centre reckons that wombs that might take -- wins -- injuries that | :24:14. | :24:17. | |
take five minutes to treat could now take three minutes. Everybody - | :24:17. | :24:20. | |
- everything is right way you wanted, and the design put the | :24:20. | :24:25. | |
patient ride in the middle of the space, so that a paramedic can get | :24:25. | :24:29. | |
all the way around. That is such a revolutionary idea that it has been | :24:29. | :24:33. | |
nominated for a design of the year award, and it is here at the Design | :24:33. | :24:39. | |
Museum in London. Designers face a huge challenge, | :24:39. | :24:45. | |
and today's ageing society needs products and services for older | :24:45. | :24:50. | |
people. There is a disproportionate amount spent on marketing to the | :24:50. | :24:55. | |
young as marketing to people to have actually have the money. Some | :24:55. | :24:58. | |
surprising statistics are that the average age of a new car buyer is | :24:58. | :25:05. | |
45. For his sports car, that is 55. We need to read calibrate a lot of | :25:05. | :25:09. | |
our sensitivities as designers, makers, marketers and creators of | :25:09. | :25:14. | |
the world that we live in. significant do you think that this | :25:14. | :25:18. | |
trend to more inclusive design could be? I don't think there is | :25:18. | :25:22. | |
any alternative. In a world where one in three people are going to be | :25:22. | :25:26. | |
over 60 by 2050, we are going to have to change the way we design | :25:26. | :25:31. | |
things. The other point to make is that it is not just about designing | :25:31. | :25:36. | |
for people. That is going on for 50 or 60 years. It is designing with | :25:36. | :25:41. | |
people. Creating products that can be used by all ages and abilities | :25:41. | :25:45. | |
is central to the inclusive design approach, and listening to consumer | :25:45. | :25:51. | |
groups is vital in that process. Susan Greggs designs -- guides | :25:51. | :25:54. | |
students at the Design Centre through this process. The famous | :25:54. | :26:02. | |
story that everyone tells there is buying are the perfect bread slicer | :26:02. | :26:06. | |
for blind people, and blind people say, I buy sliced bread. Don't | :26:06. | :26:12. | |
waste your time. So isn't it a bit hard, trampling on these great | :26:12. | :26:16. | |
designers? Better that I should do it then when they are actually | :26:16. | :26:20. | |
presented to somebody who might give them my job. So the process is | :26:20. | :26:25. | |
becoming as important as the project -- the product. That is | :26:25. | :26:30. | |
what inclusive design is. It is starting really early on, aiming | :26:30. | :26:37. | |
for your market place. One company that championships -- champions the | :26:37. | :26:42. | |
approach was asked to design a new phone for the silver market. Their | :26:42. | :26:48. | |
research revealed that wasn't the phone that caused the problems, it | :26:48. | :26:53. | |
was unclear instruction manuals. So the designers put the phone right | :26:53. | :27:03. | |
:27:03. | :27:03. | ||
inside the manual. So all these instructions. Way you need to press. | :27:03. | :27:08. | |
And you are using eight traditional language that I am familiar with | :27:08. | :27:12. | |
rather than technological language. Most of the proposals on the market | :27:12. | :27:22. | |
:27:22. | :27:25. | ||
aimed at older people are patronising. We gave them bananas | :27:26. | :27:29. | |
and Marcus to let them express what they really wanted from a mobile | :27:29. | :27:35. | |
phone, and that unlocked a huge amount of feedback and inspiration. | :27:35. | :27:40. | |
They wanted GBS, news reports, weather forecasts, so we were | :27:40. | :27:44. | |
really seeing that they want to access technology, and they wanted | :27:44. | :27:48. | |
their phone to be a powerful tool. So if you said to them, tell me | :27:49. | :27:54. | |
about the phone I want, they would say I want a simple, big buttons, | :27:54. | :27:57. | |
but if you said, show me what a phone can do, they said don't do | :27:58. | :28:02. | |
everything? If we took them away from the frustrated feeling and let | :28:02. | :28:09. | |
them dream and create, they want the full works. This is something | :28:09. | :28:14. | |
quite a lot more mechanical, as you can see. This is the world's first | :28:14. | :28:19. | |
affordable wheelchair wheel. This came from finding out that there is | :28:19. | :28:23. | |
a huge demand for something in wheelchair market which is like a | :28:23. | :28:28. | |
folding bike. You can get a lot of folding chairs, and that is very | :28:28. | :28:33. | |
useful for travelling and storage. But you have always got great big | :28:34. | :28:39. | |
wheels. So why not try to for the wheel up? And that is what this | :28:39. | :28:47. | |
does, like that. The tyre can stay fully inflated. Would you say this | :28:47. | :28:52. | |
is about using design as a force for good rather than a force for | :28:52. | :28:56. | |
being good-looking? Definitely. Something that came back from a | :28:56. | :29:01. | |
wheelchair users I have spoken to is that this is the first new thing | :29:01. | :29:03. | |
that would enable me to do something new with my wheelchair | :29:03. | :29:07. | |
that I have seen for years. Sir by designing some that changes the way | :29:07. | :29:14. | |
you can live with a wheelchair, it is quite empowering. Fantastic. | :29:14. | :29:19. | |
And you can see that ambulance in the designs of the exhibition and | :29:19. | :29:23. | |
tell 4th July. Now, from updated emergency | :29:23. | :29:26. | |
vehicles to a rather more traditional mode of transport - a | :29:26. | :29:30. | |
bicycle. Upon which Bill Cunningham, one of New York's most influential | :29:30. | :29:33. | |
fashion photographers, weaved through traffic in search of the | :29:33. | :29:38. | |
perfect look. Inspired by a new documentary charting Bill | :29:38. | :29:41. | |
Cunningham's life and work, Hadley Freeman hits the streets to explore | :29:41. | :29:51. | |
:29:51. | :29:52. | ||
the vast impact he has had on the Since the 1960s, Bill Cunningham | :29:52. | :29:58. | |
has been scanning the streets of Manhattan. Now in his 80s, he is | :29:58. | :30:02. | |
the subject of a feature-length documentary. Bill Cunningham New | :30:02. | :30:05. | |
York is a captivating and moving portrait of an extraordinary man | :30:05. | :30:10. | |
who's lived his life with an almost fanatical parity of purpose. To | :30:10. | :30:13. | |
discover that friends and document the reality of how people dress. | :30:13. | :30:17. | |
This fashion show is definitely on the street. Always has been and | :30:17. | :30:27. | |
:30:27. | :30:28. | ||
always will be. Bill Cunningham's photos appear in his two weekly | :30:28. | :30:32. | |
columns in the New York Times. Evening Hours records the social | :30:32. | :30:36. | |
scenes. But Bill is better known for the weekly collage of street | :30:36. | :30:43. | |
style photography that records what real people are really wearing. | :30:43. | :30:48. | |
you know what the pages going to be? It's going to beat All on legs | :30:48. | :30:55. | |
and shoes. Cunningham is a true legend. The front rows about with a | :30:55. | :30:59. | |
real sense of style and design. We all dress for Bill, says the US | :30:59. | :31:03. | |
Vogue editor, and a winter. sometimes want to look at his pages | :31:03. | :31:07. | |
in the Times or online and be so amazed that he and I and all my | :31:07. | :31:11. | |
team and all the rest of the world, we are all sitting in the same | :31:11. | :31:15. | |
fashion shows but he sees something on the street or on the runway that | :31:15. | :31:19. | |
completely missed all of us. In six months' time, that will be a trend. | :31:20. | :31:25. | |
More than just a photographer, he is a cultural anthropologist. By | :31:25. | :31:28. | |
photograph in changing street styles, he has built up an archive | :31:28. | :31:31. | |
of thousands of photos that document the real history of | :31:31. | :31:37. | |
fashion. I don't design anything, I'll let the street speak to me. In | :31:37. | :31:41. | |
order for the street to speak to you, you've got to stay out there | :31:41. | :31:47. | |
and see what it is. You don't manufacture in your head skirts to | :31:47. | :31:51. | |
the knee, but you photograph people with skirts on the knee. You've got | :31:51. | :31:56. | |
to stay on the street and let the street tell you what it is. And the | :31:56. | :32:01. | |
streets seemed to be speaking to a lot of people these days. Armed | :32:01. | :32:05. | |
with just a digital camera and a Wi-Fi connection, a new legion of | :32:05. | :32:11. | |
street style photographers are hitting the pavements. A excuse me, | :32:12. | :32:16. | |
sir. Can I have two seconds of your time? I'd like to take a picture of | :32:16. | :32:21. | |
your outfit. Daily updates of fashion as it happens are up Lotah | :32:21. | :32:27. | |
to any number of popular and influential Street Style blogs. -- | :32:27. | :32:33. | |
are uploaded. Beautiful. How long do you usually have to spend | :32:33. | :32:40. | |
outside looking for people? Five to six hours. Every day? Every day. | :32:40. | :32:45. | |
you look at style blogs ever? don't. But what I do like to see | :32:45. | :32:52. | |
his Bill Cunningham's... I like when a photograph real people, not | :32:52. | :32:59. | |
fashion editors. Sometimes you take a shot and you get goosebumps. You | :32:59. | :33:04. | |
feel like you've failed it. It doesn't matter where you get your | :33:04. | :33:08. | |
clothes from, it's the way you wear it and the way you look when you | :33:08. | :33:18. | |
:33:18. | :33:22. | ||
And nowhere is there more swagger than at fashion Week. Throngs of | :33:22. | :33:26. | |
bloggers and photographers gather. Not to document the action on the | :33:26. | :33:30. | |
catwalk, but to photograph the fashion show audience and even each | :33:30. | :33:35. | |
other. The whole street style things certainly came out of the | :33:35. | :33:42. | |
blogosphere. We noticed that London Fashion Week was bowl of the most | :33:42. | :33:45. | |
incredible peacock parade of these people who clearly spend hours | :33:45. | :33:47. | |
getting dressed in the hope that they would be photographed, and | :33:47. | :33:52. | |
indeed they were photographed. But as it goes on, it's become much | :33:52. | :33:56. | |
more universal and democratic. And it's not part of the mainstream. | :33:56. | :34:01. | |
Grazia, Britain's biggest-selling weekly fashion magazine, features | :34:01. | :34:05. | |
both fashion shoots and street style reporting. It's like a real- | :34:05. | :34:09. | |
life fashion show and Readers respond to that. Do you think it | :34:09. | :34:13. | |
street style will take over from the traditional fashion magazines? | :34:13. | :34:18. | |
I don't think it will. It's part of the mix. Part of what the appeal of | :34:18. | :34:23. | |
fashion is, it's the fantasy element. There's part of the main | :34:23. | :34:27. | |
fashion story, which is like a film set. We love to indulge in that and | :34:27. | :34:34. | |
get carried away by the fashion dream. But another part of it is | :34:34. | :34:38. | |
that people are hugely inspired by other people. Women have always | :34:38. | :34:42. | |
looked at what other women have warned. To put them in a magazine | :34:42. | :34:46. | |
on a full page of glorious colour is a fabulous fascination for | :34:46. | :34:52. | |
people. How much can be Credit bill Cunningham with the rise of street | :34:52. | :34:55. | |
style photography? Hugely. He started the whole thing. Before the | :34:55. | :35:01. | |
internet, before any of that, he was out there doing it. Suddenly we | :35:01. | :35:06. | |
find and 83-year-old man is bang on trend again - how fantastic! Street | :35:06. | :35:10. | |
style is not only on Trent. It's also on the money. The fashion | :35:10. | :35:16. | |
industry has embraced the aesthetic. Just look at recent campaigns from | :35:17. | :35:26. | |
All of this is a long way from what motivates Bill Cunningham. It took | :35:26. | :35:29. | |
the film-makers 80 years to persuade him to have the camera | :35:29. | :35:34. | |
turned on him. And what emerges is a window into a surprising, spartan | :35:34. | :35:41. | |
life. He lives in a tide - a tiny studio filled with filing cabinets. | :35:41. | :35:44. | |
He say - that he wears the same style of jacket every day. Central | :35:44. | :35:49. | |
to this lifestyle is the pursuit of creative freedom. If you don't take | :35:49. | :35:53. | |
money, they can't tell you what to do, Kid. That's the key to the | :35:53. | :35:58. | |
whole thing. Don't touch money. It's the worst thing you can do. | :35:58. | :36:02. | |
He'd probably never acknowledge it, but in his own way, Bill Cunningham | :36:02. | :36:05. | |
is the pioneer of a fashion phenomenon. Street style | :36:05. | :36:08. | |
photography may have been appropriated by the mainstream | :36:08. | :36:12. | |
fashion industry, but as the documentary that bears his name | :36:12. | :36:16. | |
testified, Bill Cunningham remains a true artistic outsider. One who | :36:17. | :36:20. | |
has used his life to celebrate those who use clothes to be | :36:20. | :36:26. | |
beautiful and different, too. Bill Cunningham New York is out in | :36:26. | :36:31. | |
cinemas on March 16th. Still to come... Mark Kermode's boat trip | :36:31. | :36:36. | |
with cult director Paolo Sorrentino. And my art date with Florence Welch. | :36:36. | :36:42. | |
First, to music. A conductor who has to realise the composers dreams | :36:43. | :36:46. | |
must master not just a single instrument but an entire orchestra. | :36:46. | :36:51. | |
And yet the craft remains shrouded in mystery. Clemency Burton-Hill | :36:51. | :36:56. | |
took to the skies to meet rising star Alexander Shelley, who shed | :36:56. | :37:06. | |
light on the elusive role of the Before the 19th century there was | :37:06. | :37:11. | |
no such thing as a conductor. Once viewed as little more than a | :37:11. | :37:15. | |
glorified timekeeper, the maestro has since become one of the most | :37:15. | :37:20. | |
revered and intriguing figures in classical music. And today's | :37:20. | :37:24. | |
conductors on to just planted on the podium. They are just as likely | :37:24. | :37:27. | |
to be jet-setting around the globe as a DJ or pop star. Which means | :37:27. | :37:32. | |
that even when they are just down the road, you have to catch a | :37:32. | :37:42. | |
:37:42. | :37:46. | ||
Famed for their persistence. And passion. It's got to be like one | :37:46. | :37:50. | |
person singing his heart out. conductor is the beating heart of | :37:50. | :37:55. | |
any orchestra. We need a generation of conductors that are able to | :37:55. | :38:00. | |
communicate meaning. Conductors who can stand up and says something, in | :38:00. | :38:05. | |
this world that's fallen apart in front of our very eyes. One such | :38:05. | :38:10. | |
conductor making waves in Germany and across the globe is the 32- | :38:10. | :38:15. | |
year-old Brit, Alexander Shelley. As principal conductor of the | :38:15. | :38:18. | |
Nuremberg Symphony Orchestra, he is one of the youngest music directors | :38:18. | :38:28. | |
:38:28. | :38:31. | ||
Born into a musical family, Alexander made his name in 2005 | :38:31. | :38:41. | |
:38:41. | :38:41. | ||
when he won the prestigious Leeds We often associate conductors with | :38:41. | :38:45. | |
being a lot older than you. You clearly bring a huge amount of | :38:45. | :38:48. | |
freshness and youth to this, but how much does that affect your | :38:48. | :38:52. | |
authority, the fact that you are much younger than quite a few | :38:52. | :38:57. | |
members of your orchestra? Well, music, the great music that we | :38:57. | :39:03. | |
perform, is written by young people. From Mozart to Mendelssohn, | :39:03. | :39:07. | |
Schumann to show band. It is performed by them for young people. | :39:07. | :39:11. | |
Virtually none of the people I mentioned lived beyond 40. It is | :39:11. | :39:19. | |
music of youth, music of dynamism, music of passion and excitement. As | :39:19. | :39:24. | |
long as the intentions are true, you really believe in the thing and | :39:24. | :39:27. | |
you are trying to achieve something exciting, and I personally don't | :39:27. | :39:33. | |
think about my age. But for the first few years, one of the | :39:33. | :39:37. | |
greatest challenges of being a young conductor is the learning | :39:37. | :39:42. | |
curve is huge. You are standing in front of brilliant, experienced | :39:42. | :39:52. | |
:39:52. | :40:02. | ||
professionals. The responsibility How do you define the role of a | :40:02. | :40:07. | |
conductor? What is expected of a conductor is so varied. To start | :40:07. | :40:12. | |
with, a clear, deep and precise technical knowledge, both of how an | :40:12. | :40:18. | |
orchestra functions, how it is to be balanced, how to tune courts. | :40:18. | :40:22. | |
How a composer has technically put the music together. Beyond that, | :40:22. | :40:29. | |
how to turn all of these technical ideas into musical ideas, and | :40:29. | :40:34. | |
transport people from the world of the real to the world of fantasy. | :40:34. | :40:38. | |
Is there something more mundane, more earthbound to conducting that | :40:38. | :40:43. | |
has to do with simply keeping time, keeping the orchestra together? | :40:43. | :40:48. | |
There is. It's a complex business but the most basic nuts and bolts | :40:48. | :40:52. | |
are with the right hand I give him polls. If you reduce it to its | :40:52. | :40:56. | |
beginnings, it's like a metronome without making a noise. So an | :40:56. | :41:00. | |
orchestra has a beat without it disturbing the audience. Nowadays | :41:00. | :41:06. | |
it can express anything you want to. The colour and energy of the music. | :41:06. | :41:12. | |
With the left hand you can show where a phrase is going. Open and | :41:12. | :41:16. | |
close a phrase. You can show specific entries for members of the | :41:16. | :41:19. | |
orchestra who have been waiting for a while. Is one of the things that | :41:19. | :41:23. | |
defines a really great orchestra their ability to read you? Yes. | :41:23. | :41:26. | |
There are some incredible orchestras were you make the | :41:26. | :41:29. | |
movement of your eyebrow and something happens in the sound. | :41:29. | :41:33. | |
They are aware of the physiology of the conductor. The better the | :41:33. | :41:37. | |
orchestra, the higher the stakes for the conductor because there is | :41:37. | :41:46. | |
One of the reasons that classical music often feels scary is because | :41:46. | :41:52. | |
people think, I don't understand it, I'm not quite sure how I'm supposed | :41:52. | :41:56. | |
to react. It's part of your job to open it up to people so they know | :41:56. | :42:00. | |
their response to it is valid. I am conducting in front of an | :42:00. | :42:05. | |
orchestra, I will often have an image in mind, either of an actual | :42:05. | :42:09. | |
story that is being told all of an emotion that is being expressed or | :42:09. | :42:14. | |
philosophy that's being expressed. And I will use my body to move the | :42:14. | :42:19. | |
music in a way that I feel Best tells the story and expresses the | :42:19. | :42:24. | |
demotion. But as we know, everybody feels he motions differently. I | :42:24. | :42:29. | |
think it is wrong to expect of an audience that they all have the | :42:29. | :42:34. | |
same feeling. Indeed, the beauty of great art is that it means many, | :42:34. | :42:39. | |
many things and there are many, many truths. That's why we need to | :42:39. | :42:49. | |
:42:49. | :42:55. | ||
Alexander Shelley will be conducting the Royal Liverpool | :42:55. | :42:58. | |
Philharmonic on March 15th and the 18th. Next, we turned to the road | :42:58. | :43:04. | |
movie. Thankfully not on this! And Paolo Sorrentino's new film, This | :43:04. | :43:09. | |
Must Be The Place. It features no fewer than two Oscar winners, Sean | :43:09. | :43:13. | |
Penn and France's McDormand, and it's his first feature film in the | :43:13. | :43:17. | |
English language. Mark Kermode got behind the wheel to find out more. | :43:17. | :43:22. | |
The road movie is part of the DNA of American cinema. Taking on what | :43:22. | :43:27. | |
has become the US' signature John there can be a bumpy ride, | :43:27. | :43:31. | |
especially if you are an outsider for whom English isn't your first | :43:31. | :43:36. | |
language. In that This Must Be The Place, Italian film director Paolo | :43:36. | :43:39. | |
Sorrentino puts Sean Penn behind the wheel. He plays an ageing rock | :43:39. | :43:43. | |
star who tries to track down his father's Nazi persecutor from World | :43:43. | :43:49. | |
War II. They are both rather pedantic. My instinct tells me that | :43:49. | :43:53. | |
pedantry is an essential characteristic for capturing Nazis. | :43:53. | :43:59. | |
True. But solitary is the playground of resentment. It seemed | :43:59. | :44:03. | |
like the perfect time to hit the road and track down the director, | :44:03. | :44:09. | |
whose work I have long admired. My journey didn't take me to Hollywood. | :44:09. | :44:19. | |
:44:19. | :44:20. | ||
Welcome to The Culture Show. Can you tell me about the Goth rock | :44:20. | :44:27. | |
star character who in his look is a bit Robert Smith from the Cure, a | :44:27. | :44:33. | |
bit Edwards is a hands. Tell me about him. This movie is about | :44:33. | :44:38. | |
things that I loved in my adolescence, the cure and the | :44:38. | :44:43. | |
lifestyle of Robert Smith. So I took some parts of that biography | :44:43. | :44:53. | |
for the main character. Did you dress as a Goth? A little bit, but | :44:53. | :45:03. | |
I was always afraid to become... How did Sean Penn become involved | :45:03. | :45:13. | |
:45:13. | :45:15. | ||
in the film? I met him at the Cannes Film Festival. He said | :45:15. | :45:20. | |
something like it would be interesting to work together, and | :45:20. | :45:26. | |
in that precise moment, I decided - - I decided to work on a movie for | :45:26. | :45:32. | |
him. Sean Penn has a reputation of being very serious. Is he fun to | :45:32. | :45:38. | |
work with? Sean Penn is very serious in the work, but he is a | :45:38. | :45:46. | |
very funny guy. So for me it was surprising to have a kind of | :45:46. | :45:53. | |
relationship about the funny things. He is very ironic, and it was | :45:53. | :46:03. | |
:46:03. | :46:07. | ||
perfect for that character. What do you want me to play? Hajj by arcade | :46:07. | :46:17. | |
:46:17. | :46:19. | ||
-- This Must Be The Place. Where were you going? I was just seeing | :46:19. | :46:29. | |
:46:29. | :46:33. | ||
Sorrentino is clearly a hard man to say no to. David Byrne also co- | :46:33. | :46:37. | |
stars in the movie. In fact, This Must Be The Place takes its title | :46:37. | :46:45. | |
from a talking Heads song. I asked him to do the soundtrack. He was | :46:45. | :46:53. | |
afraid of playing himself, but then we convinced him to play himself, | :46:53. | :47:03. | |
:47:03. | :47:08. | ||
The cast list goes on to include bona's daughter as a Ukhov groupie, | :47:08. | :47:12. | |
and Frances McDormand play is the star's long-suffering but adoring | :47:12. | :47:22. | |
:47:22. | :47:29. | ||
Did you do the bike? Did you do it? I have read that if you couldn't | :47:29. | :47:33. | |
get Frances McDormand to play his wife, you would have made him a | :47:33. | :47:39. | |
widow? Yes. I wrote her a letter, and they said, if you don't play | :47:39. | :47:46. | |
the wife, I would change the script. For me, she is the only actress | :47:46. | :47:56. | |
:47:56. | :47:58. | ||
Sorrentino's films are known for their exploration of the darker | :47:58. | :48:04. | |
side of Italian life - corruption, obsession and the Mafia. His film | :48:04. | :48:12. | |
LDV no one international acclaim in 2008. It is an irreverent by Opec - | :48:12. | :48:22. | |
:48:22. | :48:24. | ||
- biopic. He comes across as a vampire. Yes, because the first | :48:24. | :48:32. | |
time I met the real Andreotti, it was a sunny day in the morning, but | :48:32. | :48:38. | |
he had all the shutters closed. So I decided to do that character in | :48:38. | :48:44. | |
that way. In all his movies, Sorrentino uses bold and grandee is | :48:44. | :48:48. | |
visuals with or elaborate, audacious camera moves. It has | :48:48. | :48:52. | |
become his hallmark. How do you keep a balance between directing | :48:52. | :48:57. | |
the performances and the complicated choreography of the | :48:57. | :49:06. | |
visuals? I do their homework before shooting. I work a lot out before. | :49:06. | :49:13. | |
Ridley Scott once said that for him, the camera moves were his | :49:13. | :49:22. | |
performance. I completely agree. is the same for you? In 90% of the | :49:22. | :49:29. | |
cases, the actors can do it without the help of the director. But that | :49:29. | :49:38. | |
10% is important. Paolo, think you very much. | :49:38. | :49:42. | |
And This Must Be The Place opens in cinemas on 6th April. I am standing | :49:42. | :49:45. | |
in the 16th century gallery of the Wallace Collection, a treasure | :49:45. | :49:49. | |
trove stuffed with master works of the baroque and Renaissance period. | :49:49. | :49:53. | |
Pop musicians have and often drawn inspiration from the world of high | :49:53. | :49:57. | |
art, but there is one notable exception to that, as I found out | :49:57. | :50:02. | |
when I met up with Florence Welch of Florence and the machine at the | :50:02. | :50:06. | |
National Gallery. They are not many pop stars to be | :50:06. | :50:11. | |
found walking there corridors of the National Gallery in the dead of | :50:12. | :50:15. | |
night, but Florence Welch is the kind of pop star we haven't seen | :50:15. | :50:21. | |
for a while. Her music brings the great themes of the Renaissance | :50:21. | :50:28. | |
into the 21st century - love, death, sex and, of course, God. It is high | :50:29. | :50:38. | |
church indie rock, with organs blasting and a big dose of drama. | :50:38. | :50:42. | |
Given her Italian its name, it is apt that I meet her in the | :50:42. | :50:45. | |
Renaissance gallery to find out a bit more about the art that | :50:45. | :50:55. | |
:50:55. | :50:57. | ||
Is going to galleries something you do? A respite from the madness of | :50:57. | :51:02. | |
being on tour? It is, actually. It is something we try to do in every | :51:02. | :51:07. | |
city we go to. Just the sense of being outside yourself. I also like | :51:07. | :51:12. | |
the atmosphere of galleries. Some people might think it is an unusual | :51:12. | :51:15. | |
preoccupation for somebody in the modern music business to be | :51:15. | :51:20. | |
interested in Renaissance art, but in this gallery, all these pictures | :51:20. | :51:25. | |
about emotion, hopeless love, compassion, a desire to fly. Some | :51:25. | :51:29. | |
of your songs are about these sorts of things. There is a lot of drama | :51:30. | :51:37. | |
going on in this room, and amazing wallpaper, as well. You have come | :51:37. | :51:42. | |
dressed as National Gallery wallpaper! What you look for in a | :51:42. | :51:46. | |
wall -- in a painting? Are I am always attracted to drama and | :51:46. | :51:53. | |
passion. I like this one a lot. She looks very serene, which are think | :51:53. | :52:00. | |
a lot of the Renaissance paintings of martyrs, they do, it is about to | :52:00. | :52:04. | |
that sense of transcendence, the spirit going somewhere better. I | :52:05. | :52:10. | |
like the physicality of this one. I have definitely pulled that pose in | :52:10. | :52:20. | |
:52:20. | :52:25. | ||
I imagine this might be a picture that I would have thought might | :52:26. | :52:29. | |
appeal to you, because it is doing a lot of things in a way that your | :52:29. | :52:34. | |
music does. At first, it is very beautiful, because the more you | :52:34. | :52:43. | |
look, the more disturbing it is. I saw it as a canvas for a laugh, and | :52:43. | :52:53. | |
:52:53. | :52:54. | ||
they think, is that syphilis? Technically, it is jealousy. But we | :52:54. | :53:00. | |
think that might be syphilis, as well, because the has the symptoms | :53:00. | :53:05. | |
such as the rotting teeth. And we have got this strange half the | :53:05. | :53:12. | |
Sphinx, who seems to be holding a cake? She is pleasure. She looks | :53:12. | :53:19. | |
like an innocent, sweet little girl, but she has a sting in the tail. So | :53:19. | :53:24. | |
if you go the route of pleasure, as Cupid and his mother are somewhat | :53:24. | :53:29. | |
incestuously doing, syphilis might be the consequence. This was given | :53:29. | :53:34. | |
to the King of France by the McGeachie, who was a famously | :53:34. | :53:41. | |
lubricious monarch, and syphilis was known as the French disease. | :53:41. | :53:48. | |
Some people think it was a sort of gift with a sting in the tile. I | :53:48. | :53:53. | |
don't know if that is true. I am always attracted to the big | :53:53. | :54:00. | |
things, because I feel like they last. Sex, time, death, violence. | :54:00. | :54:05. | |
There is never going to be an updated version of Death, is there? | :54:05. | :54:11. | |
Or the new updated version of Love or pain. They are eternal. I think | :54:11. | :54:15. | |
we are always trying to find ways of not feeling, but they keep | :54:15. | :54:22. | |
cropping up. So we have done transcendence and sex. Do think we | :54:23. | :54:32. | |
:54:33. | :54:38. | ||
should go and find some other great What are profoundly more big | :54:38. | :54:45. | |
picture we have decided to end on. There is a bit of last involved as | :54:46. | :54:51. | |
well, because the Hunter surprised Diana when she was paving, and she | :54:51. | :54:56. | |
took revenge by turning him into a stack, and he is killed by his own | :54:56. | :55:06. | |
:55:06. | :55:06. | ||
hands. -- turning him into a stand. She is rebuffing his advances in | :55:06. | :55:13. | |
the most extreme way by turning the emblems of his masculinity against | :55:13. | :55:15. | |
him. It seems like a very personal | :55:15. | :55:21. | |
picture. Do you think he was rebuffed? I think it is partly a | :55:21. | :55:26. | |
Titian painting, a fading memory of every beautiful woman he has ever | :55:26. | :55:31. | |
seen. He knows he is not up to it any more, knows he is on the way | :55:31. | :55:36. | |
out. It is a picture about encroaching death. It is a picture | :55:36. | :55:42. | |
that almost feels like autumn. There is no glowing marbled flesh, | :55:42. | :55:50. | |
and the colours are all rusty and autumnal. There are no bright blues, | :55:50. | :55:57. | |
even the fault of the fabrics seem to be merging together. It is | :55:57. | :56:03. | |
fantastically ambiguous. He still wants her, even though she is | :56:03. | :56:12. | |
killing him. Maybe you should write a song about it. I'd definitely, I | :56:12. | :56:20. | |
think I have got one with hunting. I love you so much, I am going to | :56:20. | :56:28. | |
let you kill me. I have got it as a line in a song. But that is the | :56:28. | :56:38. | |
:56:38. | :56:44. | ||
line from a power Mysore, but the That's it for tonight. Next week, | :56:44. | :56:46. | |
Dexy's Midnight Runners, sculptor Anthony Caro and author Irvine | :56:47. | :56:49. | |
Welsh. But to play us out, performance poet Elvis McGonagall's | :56:49. | :56:59. | |
:56:59. | :57:01. | ||
sometimes edgy take on our beloved Change, Optimism, Hope. | :57:01. | :57:04. | |
Progress, Energy, Vigour. Modest, Moderate, Modern. Brighter, Better, | :57:04. | :57:10. | |
Bigger. Conservative, Compassionate, Communal. Black, Muslim, Gay. Young, | :57:10. | :57:17. | |
Green, Martian. Work, Rest, Play. Responsible, Tangible, Real. | :57:17. | :57:21. | |
Motivation, Dedication, Aspiration. Empower, Enhance, Improve. | :57:21. | :57:29. | |
Location, Location, Location. Vision, Ambition, Intuition. | :57:29. | :57:32. | |
Courage, Resolve, Expertise. Beliefs, Values, Dreams. Eats, | :57:32. | :57:37. | |
Shoots, Leaves. On, My, Bike. | :57:37. | :57:42. | |
Eco, Friendly, Guy. Recycle, Renew, Relax. | :57:42. | :57:49. | |
Look, No, Tie. Liberty, Equality, Paternity. Women, Babies, Men. Co- | :57:49. | :57:54. | |
operation, Cohesion, Cocaine? Never, Ever, Again. Trusting, Caring, | :57:54. | :58:04. | |
:58:04. | :58:07. | ||
Sharing. Rebecca, Rupert, Andy. Emerson, Lake, Palmer. Yankee, | :58:07. | :58:09. | |
Doodle, Dandy. Beanz, Meanz, Heinz. Ready, Steady, Go. Leg, Before, | :58:09. | :58:12. | |
Wicket. Edgar, Allen, Poe. Mary, Mungo, Midge. Beverly, Hills, Cop. | :58:12. | :58:16. | |
Yabba, Dabba, Doo. Snap, Crackle, Pop. Keep, It, Real. Watch, Me, | :58:16. | :58:22. | |
Blog. Pimp, My, Ride. Snoop, Doggie, Dogg. Boo, Ya, Shaka. In, Da, Hood. | :58:22. | :58:26. | |
Super, Smashing, Great. Finger, Lickin', Good. Suit, You, Sir. Are, | :58:26. | :58:30. | |
Friends, Electric? Want, That, One. Vorsprung, Durch, Technik. Ganja, | :58:30. | :58:40. | |
:58:40. | :58:41. | ||
Skunk, Weed. Bloody, Nice, Bloke. Sun, Shiney, Day. Blobby, Blobby, | :58:41. | :58:44. | |
Blobby. Gabba, Gabba, Hey. Drivel, Piffle, Bilge. Yackety, Yack, Yack. | :58:44. | :58:46. |