:00:09. > :00:12.Hello and welcome to the Culture Show. This week, we're coming from
:00:12. > :00:15.the Barbican in London which has just celebrated its 30th birthday.
:00:15. > :00:18.Born in the same year as the compact disc, Channel Four and the
:00:18. > :00:20.song, Come on Eileen, this landmark arts venue instantly became an
:00:20. > :00:23.Eighties poster child for an optimistic, culture packed future.
:00:23. > :00:26.The artists that have appeared, performed or exhibited here read
:00:26. > :00:29.like a who's who of the arts and the latest addition is the
:00:29. > :00:34.brilliant young composer Nico Muhly who will be talking to Clemency
:00:34. > :00:37.Burton Hill about his youthful take on classical music. Also tonight:
:00:37. > :00:42.The not so young but truly brilliant Anthony Caro talks to
:00:42. > :00:45.Alastair Sooke about his new exhibition at Chatsworth House.
:00:45. > :00:52.Trainspotting's Irvine Welsh talks politics and punk fiction with
:00:52. > :00:59.fellow autor Alan Bissett. Arlene Phillips explores 100 years
:00:59. > :01:05.of dancing in Falkirk. Art critic Richard Cork sneaks a
:01:05. > :01:08.look at a secret collection of paintings by artist David Bomberg.
:01:08. > :01:18.Mark Kermode takes a trip down memory lane with Dexy's Midnight
:01:18. > :01:21.
:01:21. > :01:24.Runners frontman Kevin Rowland. While Michael Smith embarks on an
:01:24. > :01:34.altogether more cosmic journey with an alternative soundtrack of the
:01:34. > :01:37.
:01:37. > :01:42.day. But first to Sheffield, once the
:01:42. > :01:47.home of British steel production, an industrial hotbed of furnaces,
:01:47. > :01:52.factories. The sculptor Sir Anthony Caro first made his name working in
:01:52. > :01:57.steel, Sheffield steel. Just 15 miles from the City Centre is one
:01:57. > :02:00.of Britain's most beautiful stately homes, Chatsworth House. Two very
:02:00. > :02:08.different locations but forged together by a new exhibition of
:02:08. > :02:13.some of Caro's work. Alastair Sooke was given a sneak preview.
:02:13. > :02:16.Steel is the backbone of the modern world. Transforming it into modern
:02:16. > :02:26.art has been one man's creative obsession for more than five
:02:26. > :02:31.decades. Back in the early Sixties, Sir Anthony Caro revolutionised
:02:31. > :02:38.sculpture with his lyrical, very colourful metal constructions. He
:02:39. > :02:46.forged a new visual language and marriage to induce metal with a
:02:46. > :02:48.sense of spontaneity and flair. His outlook has changed but he has
:02:48. > :02:56.consistently challenged what sculpture is and what it might
:02:56. > :03:00.become. Now approaching 90, he shows no signs of letting up. In a
:03:00. > :03:06.landmark outdoors exhibition, 15 of his larger pieces are on display
:03:06. > :03:15.here at Chatsworth House. This grand old man of British sculpture
:03:15. > :03:18.has agreed to give me a private tour. It seems, initially, that we
:03:18. > :03:24.are a strange not to be in a usual gallery setting. Were you ever
:03:24. > :03:30.unsure about how that would play? Until I saw Chatsworth, yes,
:03:30. > :03:33.because basically, I didn't want them to be like sheep in the
:03:33. > :03:40.landscape. I wanted them to be something different and I wanted
:03:40. > :03:43.them to be looked at as sculptures, not as part of a garden. Here,
:03:43. > :03:46.unfortunately, because of the setting and because of the upkeep
:03:46. > :03:51.of the place, you find yourself looking at the sculptures, which I
:03:51. > :04:01.am pleased about. Shall we go and look at some of the earlier pieces?
:04:01. > :04:03.
:04:03. > :04:07.Yes, let's. Caro studied at the working as an assistant to the
:04:07. > :04:13.great Henry Moore. He abandoned his own attempts at figurative art
:04:13. > :04:17.because of a much more radical vision. Totally abstract, metal and
:04:17. > :04:19.crucially placed directly on the ground and not a plinth. How did
:04:19. > :04:24.you actually learn that the practicalities of cutting and
:04:24. > :04:27.welding metal? I knew absolutely nothing, I didn't know what to join
:04:27. > :04:33.two bits of metal together. I remember asking a friend and he
:04:33. > :04:39.said, you will them or put them. I didn't have a drill so I used to
:04:39. > :04:44.cut a hole and there was a hole down there that you can see that I
:04:44. > :04:50.cut at the cutting torch. I didn't clean things up. Look how rough
:04:50. > :04:56.that edge is. I wouldn't leave that now like that! They are the thing
:04:56. > :05:04.about it is that it is bright orange? Yes, it is kind of raw and
:05:04. > :05:11.I wanted it to be wrong and to stand out. It stood out like a sore
:05:11. > :05:18.thumb. His major public breakthrough came in 1963 with a
:05:18. > :05:25.solo show at the Whitechapel Gallery in East London. Sculpture
:05:25. > :05:28.seven was one of the pieces that grabbed the headlines. Sculpture
:05:28. > :05:33.seven was about the seven sculptures I had made in the old
:05:33. > :05:40.days of this sort of material. me why you find and presumably
:05:40. > :05:45.still find this form a pleasing proposition as a sculpture? What
:05:45. > :05:50.form? What we are looking at. Why does this arrangement of the steel
:05:50. > :05:56.girders, painted a certain colour, why did that, for you, do it?
:05:56. > :06:00.you cannot ask me this, you're asking me how do I know when the
:06:00. > :06:06.sculpture is right. I can only tell you that it says yes to me. I
:06:06. > :06:10.cannot give you a formula because if I did, I would be able to make
:06:10. > :06:14.it each time and I cannot do it. you think all art comes from
:06:14. > :06:22.instinct? I cannot say what other people do but I think a lot of art
:06:22. > :06:27.comes from instinct, yes. You are allowing bits of your mind full
:06:27. > :06:33.play which you don't admit to normally. Like gut feeling. You
:06:33. > :06:38.cannot describe why you love somebody, you have to open yourself
:06:38. > :06:41.to sculpture. You have to open your mind to what they are saying and
:06:41. > :06:48.you don't try and invest what you have seen in front of you with your
:06:48. > :06:54.thoughts. By the mid-Seventies, instinct had let Caro away from
:06:54. > :06:58.colour and towards rugged new forms with a more muted finish. These
:06:58. > :07:06.were also way ahead of their time. They couldn't be shown in England
:07:06. > :07:12.when they were made because they were too much in-your-face, took
:07:12. > :07:19.flat. Pieces like this? Yes, I made them in a factory in Toronto.
:07:19. > :07:24.largest and most recent sculpture on show here is Goodwood Steps.
:07:24. > :07:31.They are like a tower on its side. You can walk in, you can look at,
:07:31. > :07:36.you can be among, it is to do with inside and outside and I love very
:07:36. > :07:42.much that idea of inside and outside. It is something that has a
:07:42. > :07:47.poetry of its own? It's got to be fair otherwise it is just bits of
:07:47. > :07:51.material, just bits of steam. you ever start from the point of
:07:51. > :07:56.thinking, here is the way I feel it's something and I would like to
:07:56. > :08:01.make a piece of art that expresses that feeling? It is not quite so
:08:01. > :08:08.much to do with me as you are expressing. It is that two of us
:08:08. > :08:14.talking to each other and I got to let it have its say. It being the
:08:14. > :08:19.sculpture? Yes, it has to talk to me. All the time we are having
:08:19. > :08:24.Interchange. It's sometimes says to you, that is the way I think I
:08:24. > :08:28.ought to go. You have to listen. One of the things that I most
:08:28. > :08:33.admire about you is the fact that whenever I talk to you, you refuse
:08:33. > :08:37.to rest on your own morals. You are now in your late Eighties, do you
:08:37. > :08:42.feel as creative as you ever did? Every day ago to the studio and
:08:42. > :08:49.make art and that is great, that is fun. I am not lifting as much as I
:08:49. > :08:55.used to! But I can still say, let's try that. I went to be there and
:08:55. > :09:00.watching it. I don't want to go away, I want to watch it and say,
:09:00. > :09:04.stop, let's hold it there. I think that is the most inspirational
:09:04. > :09:14.thing about you, you are forever thinking about tomorrow. I shall
:09:14. > :09:15.
:09:16. > :09:21.keep doing that for another 10 or 15 or 20 years expert I do, too.
:09:21. > :09:25.The exhibition opens on 20th March and runs until 1st July. From the
:09:25. > :09:31.undisputed virtuoso of British Shropshire to a young American
:09:31. > :09:34.composer, Nico Muhly who has been causing a stir with his
:09:34. > :09:37.contemporary note rose approach. He worked for Philip Glass for nine
:09:37. > :09:41.years, conducting and editing his own scores and has collaborated
:09:41. > :09:46.with musical talents ranging from Rufus Wainwright to Antony and
:09:46. > :09:55.Johnson's. Clemency Burton Hill caught up with him before the world
:09:55. > :10:00.premier of his new cello concerto. Nico Muhly has found himself in a
:10:00. > :10:05.pretty enviable position. Only 30, he is frequently touted as the
:10:05. > :10:15.hottest composer on the planet. This is not composing in the old
:10:15. > :10:20.
:10:20. > :10:24.mould. Fantastically eclectic, his music jumps from frenetic
:10:24. > :10:28.individualism to pop ticking in Ballee and Suva music along the way.
:10:28. > :10:32.He is back in London, this time for the premier of his new cello
:10:32. > :10:35.concerto at the Barbican. Even better, this kicks off a British
:10:35. > :10:38.spree for him as an exciting project with the National Youth
:10:38. > :10:44.Orchestra the summer and a new piece for the Royal Ballet later in
:10:44. > :10:50.the year. What better time to catch up with him. Welcome back to London.
:10:50. > :10:55.You have so many influences and you work across so many John Rhys. How
:10:55. > :11:00.important is it to you that you keep collaborating with people like
:11:00. > :11:04.Bjork and then writing Cello concerto's? It is a natural
:11:04. > :11:09.extension of the way my head works which has to have an obsessive
:11:09. > :11:13.collaborative nature. It is so lonely being a composer that it is
:11:13. > :11:19.better to reach out and work with your friends if you can. You're
:11:19. > :11:27.here for the premiere of your cello concerto? I wrote it for her the
:11:27. > :11:32.Britten Sinfonia and it is a very simple structure. Fast music then
:11:32. > :11:42.slow music and then very fast music. In a sense, the goal of writing in
:11:42. > :11:43.
:11:43. > :11:49.the concerto is to make this a last look great. Show of all the tricks.
:11:49. > :11:54.What is your starting point? What I love about the cello is that there
:11:54. > :12:01.is this wonderful expressive range. Of all the stringed instruments, it
:12:01. > :12:05.has the largest technical range. I was thinking about what would be
:12:05. > :12:15.great is to start in the stratosphere and slowly moved
:12:15. > :12:21.
:12:21. > :12:26.downwards as a way of slowly unveiling the instrument. I found
:12:26. > :12:36.this amazing photographer who does these objects breaking. The idea of
:12:36. > :12:45.
:12:45. > :12:50.something called in its own destruction. You have the cello
:12:50. > :12:56.concerto at the Barbican and the NY ill? I was working on it this
:12:56. > :13:00.morning. It is an enormous orchestra. I have an anxiety about
:13:00. > :13:08.youth orchestras because you want to make sure that everyone has a
:13:08. > :13:12.great part. Nothing would be sadder than if you have a boring oboe part
:13:12. > :13:19.so I am trying to make sure everyone gets to participate. The
:13:19. > :13:23.reason of equestrian gates came up. I threw a bunch of things into it.
:13:23. > :13:32.I still miss from Tsar bizarre place on the internet but you have
:13:32. > :13:38.this idea of the most obvious walking gait but then it gets very
:13:38. > :13:43.complicated with these overlaps and so I thought, it would be great to
:13:43. > :13:49.invent animals and invent gait patterns for each family of
:13:49. > :13:55.instruments of. So all the flutes, it is at seven legged think. You
:13:55. > :14:05.can extract the idea of an orchestra being a community affair.
:14:05. > :14:08.
:14:08. > :14:15.Like ASDA? -- at the zoo. You have to make chamber-music inside this
:14:15. > :14:20.larger context so it is a family unit inside a tan. What else is
:14:20. > :14:25.going on at the Barbican? second have is me and my friends
:14:25. > :14:35.all play with each other. We are playing music that we all wrote but
:14:35. > :14:36.
:14:36. > :14:43.we are all playing each other's It is some folk music, it is some
:14:43. > :14:53.songs. It will be deliberately disorganised to offset the
:14:53. > :15:29.
:15:29. > :15:33.This looks like random stuff. Used they do founded to on the internet,
:15:33. > :15:41.is that way you get your inspiration? You just throw things
:15:41. > :15:45.in. But do you throw it into Google? I just throw it into Google,
:15:45. > :15:52.obsessively. The minute you get through the top level of it, you
:15:52. > :15:57.find yourself in some very strange places. With the advent of the
:15:57. > :16:04.internet, for me, the ability to simultaneously know about
:16:04. > :16:11.traditional, North Korean food and the gate of horses and historical
:16:11. > :16:21.flukes making, and then its work, are all existing in multiple tad
:16:21. > :17:00.
:17:00. > :17:08.browser windows, is how my brain The Britten Sinfonia performs the
:17:08. > :17:13.premier of Nico Muhly's Concerto at the Barbican tonight.
:17:13. > :17:17.Reasons To Dance is a theatre project in Falkirk. Who better than
:17:17. > :17:23.Arelen Phillips to hear their memories and perhaps pick up a few
:17:23. > :17:29.new moves along the way? I am in Falkirk because for the
:17:29. > :17:32.last six months, this town has had dancing on its mind. The National
:17:32. > :17:37.Theatre of Scotland have invited residents to share their memories
:17:37. > :17:41.and stories of the dancefloor to create a theatre project called
:17:41. > :17:51.Reasons To Dance. I can think of lots of Reasons To Dance, I am
:17:51. > :17:51.
:17:51. > :17:57.going to find out theirs. It is the buzz you get, you could be dancing
:17:57. > :18:02.in your room or on a stage, you still get that amazing feeling.
:18:02. > :18:08.Over the years I think your reasons change. When you are a teenager, it
:18:08. > :18:14.all was to get the boys. It makes me feel no one is watching. When
:18:14. > :18:22.I'm dancing it gives me a buzz. Just running through rehearsals so
:18:22. > :18:25.if everybody can keep quiet. How of -- how did all of this begin?
:18:25. > :18:31.started in August last year, gathering stories from people of
:18:31. > :18:38.all ages and backgrounds. And the title of the show, it reasons To
:18:38. > :18:44.Dance, what are people's reasons. He had turned these stories into a
:18:44. > :18:48.scripted drama? Yes, it has been an experience that you don't realise
:18:48. > :18:54.the public were so willing to tell you their personal stories from the
:18:54. > :18:58.past, from the present. And for us to breathe life into those with the
:18:58. > :19:08.community cast, because if we did not have the community cast
:19:08. > :19:09.
:19:09. > :19:14.performing these stories, we wouldn't have a show.
:19:14. > :19:21.They always had the same music and the same dances every week. So you
:19:21. > :19:26.knew what was coming next. If you dance the last dance, the queue in
:19:26. > :19:30.the cloakroom men's you miss the last bus home. So it had to be
:19:30. > :19:35.somebody very special who asked you for the last stands because you
:19:35. > :19:38.have to weigh up if you're going to walk home afterwards. The rules for
:19:38. > :19:45.the ballroom dancing when you started? They were different rules.
:19:45. > :19:51.You have to work they tie, no chewing gum. And if you smelt of
:19:51. > :19:57.drink, you did not get in. Then there was no moon dancing. There
:19:57. > :20:03.was close dancing. To add gentleman would watch, and it you got too
:20:03. > :20:10.close for comfort, he would be in there. We met at the dancing, I was
:20:10. > :20:15.17 and she was 16. It was a blind date. It wasn't a blind date!
:20:15. > :20:25.was a bloody blind date. 56 years together and we have been dancing
:20:25. > :20:30.
:20:30. > :20:34.# I wonder should I go or should I stay?
:20:34. > :20:40.# The band have only one more song to play.
:20:40. > :20:46.There was a moment towards the end of it, why you lost the thinking
:20:46. > :20:51.and it you were just dancing together and that it was beautiful.
:20:51. > :21:00.Two had become one. That was the most incredible feeling as I was
:21:00. > :21:06.watching that. It is lovely for you to say, thank you. Imagine you are
:21:06. > :21:11.from the 1950s and somebody has what such -- ask you a question of
:21:11. > :21:17.York going out routine? I work the same dress every week but to try to
:21:17. > :21:20.make it look like a new one by wearing a scarf around my neck.
:21:20. > :21:24.Luckily my mother is a dressmaker so if she comes across some
:21:24. > :21:31.material she will run the upper dress to go to the dancing, and
:21:31. > :21:35.that is in the afternoons. Is that unusual? It is not unusual for me
:21:35. > :21:43.to go out in a dress that has been hanging as curtains in somebody
:21:43. > :21:50.else's living room that afternoon. We have had them in a football
:21:50. > :21:57.stadium, City nightclub. Around 5 million people in the UK dance for
:21:57. > :22:04.funds. And in the last few years, the number of school people's --
:22:04. > :22:07.pupils choosing dance as a subject has gone up. But it is less than a
:22:07. > :22:15.fortnight when this nightclub become as a stage.
:22:15. > :22:20.When the music goes up, I just live it. I would like to see once again,
:22:20. > :22:24.or would that music louder. Tell me your Reasons To Dance, when you
:22:24. > :22:30.dance. Bringing together the personal and shared dance memories
:22:30. > :22:35.of the community is a great idea and his team have got the ambition
:22:35. > :22:41.and enthusiasm to do this production proud. I think people
:22:41. > :22:47.will watch it and go, I feel like that, maybe I should start dancing.
:22:47. > :22:51.But people who feel they cannot act will see people their own age and
:22:51. > :22:56.think there will do it. We're not very well known and I think it will
:22:56. > :23:02.put us on the map. For reasons to Dan's runs for five
:23:02. > :23:05.nights from Tuesday 27th March at Falkirk's City Nightclub.
:23:05. > :23:10.The golden age of the space race seems to be long gone but we are
:23:10. > :23:16.poised on the brink of a cosmic first. Michael Smith has been on a
:23:16. > :23:23.journey into outer space to find out why a record from the 70s and
:23:23. > :23:29.might be an enduring legacy. Up there, 11 billion miles from
:23:29. > :23:34.Earth, a bit of 70s technology is hurtling into space. Not much
:23:34. > :23:38.bigger than a Ford Capri, any day now and will then volleyed Je space
:23:38. > :23:45.programme be the first man-made object leave our solar system
:23:45. > :23:53.headed for deep space. Although it did seem destined for the outer
:23:53. > :24:01.reaches of Patrick Moore's back garden. I was a launched from Earth
:24:01. > :24:10.in September 1977. I was Owen's Way Jupiter will be in 1979. Roy Joe
:24:10. > :24:20.was launched from a very different world in 1977. -- Voyager.
:24:20. > :24:21.
:24:22. > :24:27.Computers were still in black and green. Just like its technology,
:24:27. > :24:32.the ideology that builds a Voyager looked quaint of its time. An
:24:32. > :24:38.ideology that some DUP its most ambitious and bizarre cargo, the
:24:38. > :24:45.Golden Records. It is contained in a box which cover we see here. The
:24:45. > :24:51.cover may recognise. It tells where the earth is in space. These are
:24:51. > :24:56.instructions as to what to do with what is in the box. It is a long-
:24:56. > :25:02.playing record, which it played, produces the best music of earth,
:25:02. > :25:07.the sounds of our people and produces 116 detailed pictures of
:25:07. > :25:12.our planet and civilisation. Intended as an introduction to
:25:12. > :25:22.alien life-forms, the golden record was conceived as mankind's greatest
:25:22. > :25:23.
:25:23. > :25:32.hits. That is what I call humanity 1977. Compiled by a strong enough
:25:32. > :25:36.and cosmic visionary, Karl saying, it contains images of life on Earth.
:25:36. > :25:45.Some of the pictures of bizarre, but I am sure it made sense at the
:25:45. > :25:49.time. The music is glorious, however. It is incredibly moving
:25:49. > :25:59.that out of all our human inventions we chose music to define
:25:59. > :26:11.
:26:11. > :26:15.Personally, I like the thought that Mozart and Chuck Berry are
:26:15. > :26:24.careering through the solar system, about to pass into interstellar
:26:24. > :26:34.space. The record contains messages in the 5th D9 most popular
:26:34. > :26:36.
:26:36. > :26:45.languages. -- 59. In the first words of a mother to a newborn baby.
:26:45. > :26:50.Come on now. And even a whale gets to say hello. Regardless of the
:26:50. > :26:54.record's flower-power trimmings, America in the 70s was still at the
:26:54. > :27:00.high noon of its ascendancy and bold enough to imagine it spoke for
:27:00. > :27:04.all humanity. But, with the benefit of hindsight, the golden record
:27:04. > :27:09.looks like an artefact which embodies the specific hopes and
:27:09. > :27:13.presumptions of the place and time that produced it. Nowadays it is
:27:13. > :27:22.easy to imagine it might be China that goes out into the cosmos and
:27:22. > :27:29.less easy to imagine a reactionary of America doing so. Voyager was
:27:29. > :27:34.born of the utopianism and we can only Miss -- wistfully admired. The
:27:34. > :27:40.future was a better place, not a scary question or a slow, steady
:27:40. > :27:50.decline. Now we are here and the future has arrived. But it is a
:27:50. > :27:54.very different future to the one we might have hoped for back then.
:27:54. > :28:00.Looking back, the whole project seems hopelessly optimistic,
:28:00. > :28:09.especially considering Voyager is still nearly 40,000 years away from
:28:09. > :28:14.the nearest dark. So, was the golden record a folly of its age? A
:28:15. > :28:21.vanity project, a pompous monuments that said a we were here with bells
:28:21. > :28:27.on? Maybe, but maybe that is why it is so moving, why it has meaning.
:28:27. > :28:34.Maybe it was more important for us for a sense of ourselves for any
:28:34. > :28:41.aliens that might be out there. And who knows, and the last human
:28:41. > :28:49.artefact after the Earth has burnt to a Kosmix Inda, might be a gold L
:28:49. > :28:55.P from the 70s. Next, the painter, David Barnburgh,
:28:55. > :28:59.a brilliant painter of portraits and landscapes, and one of the
:28:59. > :29:03.great chroniclers of London during the Blitz. He was one of the
:29:03. > :29:09.outstanding British artists of the 20th century, but has remained
:29:09. > :29:14.neglected. Except by one important but unassuming fan who spent her
:29:14. > :29:19.whole life gathering together a vast body of his work. Richard Cork
:29:19. > :29:29.went to meet her, just as she was about to hand over the collection
:29:29. > :29:29.
:29:29. > :29:34.They say a profit is never honoured in his own land and it never was a
:29:34. > :29:39.truer word spoken in the case of David Bomberg. I am perhaps the
:29:39. > :29:44.most unpopular artist in England, he wrote in the late 1950s towards
:29:44. > :29:48.the end of his life. He was not wrong. The shift from his early
:29:48. > :29:51.abstract work towards federation had seen him cast out into the
:29:52. > :29:57.wilderness. While his contemporaries were courted by the
:29:57. > :30:02.art establishment, he was shunned, branded a troublemaker. He had no
:30:02. > :30:06.dealer and was desperately poor. But though during his lifetime he
:30:06. > :30:09.was never able to enjoy the status he now has as one of the great
:30:09. > :30:13.twentieth-century Modern the British Masters, there was a small
:30:13. > :30:18.group of disciples who did recognise the genius of this
:30:18. > :30:23.talented and visionary man as he worked announce them. They were the
:30:23. > :30:30.Borough Group, a collection of live young artists who had been told by
:30:30. > :30:36.him in London in the late 1940s. Bomberg's and conventional teaching
:30:36. > :30:41.methods, his insistence that students concentrate on feeling,
:30:41. > :30:44.afforded him a great following among his students. Now more than
:30:44. > :30:54.50 years after his death, another passionate believer in the
:30:54. > :30:55.
:30:55. > :31:00.Bomberg's work has come to light. His debts there? Yes, come in.
:31:00. > :31:06.year-old Sarah Rose has made it her life's mission to collect the work
:31:06. > :31:10.of Bomberg and a prayer group, amassing over 150 works. It is
:31:10. > :31:18.wonderful to be here in this magic room, surrounded by extraordinary
:31:18. > :31:23.pictures. When did it all begin? came to London from Australia in
:31:23. > :31:28.1951 and by chance, we met Cliff Holden who had worked with David
:31:28. > :31:33.Bomberg. His master, as he always called him. The baby came close,
:31:33. > :31:41.didn't they? Yes. Cliff Holden used to say that Bomberg was like a
:31:41. > :31:45.father. He would tell me when there was anything showing in London. At
:31:45. > :31:50.the time, and still, they were scattered in twos and threes around
:31:50. > :31:57.the country so I realised there was a need for a permanent collection
:31:57. > :32:01.of Bomberg works. Also, the painters who worked with him, they
:32:01. > :32:11.were hardly represented at all. As you can see, they are wonderful
:32:11. > :32:12.
:32:12. > :32:17.works. Absolutely, yes. This is a drawing of bed and by a Bomberg.
:32:17. > :32:21.That is very powerful, isn't it? Very beautiful. It next, a much
:32:21. > :32:27.earlier drawing which shows what he was doing when he was quite a young
:32:27. > :32:33.artist. That small David Bomberg was painted in Palestine, wasn't
:32:33. > :32:39.it? That was a transition between the abstract earlier period and the
:32:39. > :32:46.later work. The one above his by Dorothy Meade. That is very full of
:32:46. > :32:50.life. A you can see how much she was inspired by Bomberg. That self
:32:50. > :32:58.portrait by Bomberg is most beautiful. Did you ever meet him
:32:58. > :33:03.yourself? No, I didn't. Do you do you feel sorry about that? No, I
:33:03. > :33:08.have his work and that is the most important thing. I asked if he had
:33:08. > :33:12.a sense of humour. I was told, not a great sense of humour, he was
:33:12. > :33:20.more serious and very passionate and intense. There is something
:33:20. > :33:25.very engaging about him there. This big painting? This painting, I got
:33:25. > :33:28.from David Bomberg's widow. I was really excited when I saw that.
:33:28. > :33:33.must be terribly exciting to purchase something that maybe you
:33:33. > :33:40.thought you would never be able to buy? It was. I just wanted as much
:33:40. > :33:50.as I could find. I was just very lucky. The collection as a whole is
:33:50. > :33:51.
:33:51. > :33:55.now worth �500,000. But I couldn't afford to buy them now! Sarah, it
:33:55. > :34:01.turns out, had a pretty unconventional way of funding her
:34:01. > :34:08.art had it. I had some financial resources but it wasn't enough so I
:34:08. > :34:13.did two jobs. I had a nine-to-five job in the week and I drove a Mini
:34:13. > :34:19.cab three nights. You were a cab driver? Oh my goodness. How long
:34:19. > :34:24.did you do that for? About two years. It enabled me to buy it more
:34:24. > :34:32.works than it otherwise could have done. One major give up? One night,
:34:32. > :34:39.I would have two cars, lamp-posts and a metal protected shop window.
:34:39. > :34:43.So I really went out with a bang! I haven't driven since. Despite these
:34:44. > :34:50.mishaps, Sarah continued to come as her remarkable collection that she
:34:50. > :34:57.has now donated to the London's South Bank University where Bomberg
:34:57. > :35:02.told his pioneering classes in the late 1940s. This is it. Is this the
:35:02. > :35:07.space? Fantastic! In return for her generous gift, the university, with
:35:07. > :35:10.the help of the Heritage Lottery grant, has built this brand new
:35:10. > :35:17.exhibition space to display Sarah's collection to the public. You must
:35:17. > :35:22.be really excited about it? A I am very excited, yes. For a long time
:35:22. > :35:26.while I was collecting, I didn't know where the works would go. It
:35:26. > :35:30.is one thing collecting, it is another thing to have a permanently
:35:30. > :35:36.staffed gallery. I thought I might have to sell it and then I had the
:35:36. > :35:39.idea of bringing it here. Because I knew the history of the work being
:35:39. > :35:44.done here by Bomberg and the other artists and it just seemed
:35:44. > :35:48.absolutely the right place for it to be. Absolutely. The works are
:35:48. > :35:53.not on the walls yet but there is one painting here by miles Richmond
:35:53. > :36:00.who was a member of the Borough Group. That will be lovely up on
:36:00. > :36:08.the wall. I cannot wait! I think Bomberg would be pleased. His
:36:08. > :36:12.spread and must be hanging over the place. I think so.
:36:12. > :36:16.Sarah Rose's collection goes on display at London's South Bank
:36:16. > :36:21.University in June. Still to come tonight: Irvine Welsh discusses his
:36:21. > :36:25.latest novel, Skagboys, and Mark Kermode discovers the all-new
:36:25. > :36:29.Dexy's. First, Glasgow's International Festival of Visual
:36:29. > :36:33.Arts will include amending scheme that will allow members of the
:36:33. > :36:41.public to borrow works of art by up to 50 established artists and enjoy
:36:41. > :36:45.them in the comfort of their own homes.
:36:45. > :36:51.The art lending library is a library which loans pieces of art.
:36:51. > :36:57.The idea behind it is to celebrate libraries, it is free of charge so
:36:57. > :37:01.anyone can join. You can borrow three pieces of work for three days.
:37:01. > :37:04.When someone enters a library, a video how to function so having it
:37:04. > :37:11.in the library seemed like a perfect place. We think they could
:37:11. > :37:17.be up to 60 pieces of work which is amazing. It would cover any kind of
:37:17. > :37:21.practice within a contemporary art. Everything from a performance to a
:37:21. > :37:25.2D work that you could take away and hang on your wall. The idea
:37:25. > :37:29.behind the project was that we would seek out high-quality works,
:37:29. > :37:39.artists that have an international reputation as well as artists from
:37:39. > :37:47.Glasgow. My name is Oliver and this is my studio. I am an artist living
:37:47. > :37:54.in Glasgow. This is going to be the first time, if someone takes it out,
:37:54. > :37:57.this is the first time my work will be going into a home setting. I was
:37:57. > :38:01.thinking that pass the parcel is a beautiful way of articulating that
:38:01. > :38:04.and it also gives me a chance to mix and beautiful designs for the
:38:04. > :38:10.wrapping paper, put some nice things in for people to touch and
:38:10. > :38:19.play with and I think it is a great chance for me to test whether I am
:38:19. > :38:25.as brave as I think I am with the way that people treat objects.
:38:25. > :38:35.have just had a quick look at this video which is a play on issues to
:38:35. > :38:38.
:38:38. > :38:42.do with Scotland which is very intriguing. I think that the deal
:38:42. > :38:46.would be had quite fun to have sitting around. It is quite
:38:46. > :38:51.disturbing, not so pleasant to look around but maybe something more
:38:52. > :38:55.would come out if I had sitting around in my window. It is just a
:38:55. > :39:04.new way of looking at art. It is the first time I have seen it in
:39:04. > :39:08.Glasgow and it and it is really exciting. They described the
:39:08. > :39:13.sculpture as a revolving social sculpture so that the sculpture
:39:13. > :39:17.changes as works are loaned out. All recruits slot into this and
:39:17. > :39:23.they act as protection for the work and they are in transport, display
:39:23. > :39:28.while there in the library and also as a plinth with than the home.
:39:28. > :39:31.People can't just take the work, we have art handlers that will create
:39:32. > :39:36.the work at and deliver it to their house so we know where they live,
:39:36. > :39:45.we will deliver it and collect it. We think the chances of things
:39:45. > :39:52.being stolen or damaged will be minimal. I think the artwork will
:39:52. > :39:56.have a different impact in my own kitchen rather than it being in an
:39:56. > :40:06.art gallery. That said, I think maybe I would switch down the
:40:06. > :40:08.
:40:08. > :40:12.volume about it was to play all day long. Maybe having its it in the
:40:12. > :40:19.background. I think it is quite positive, a really bright colours
:40:19. > :40:21.and it is really eye-catching. I'll wake up in the morning and sit with
:40:21. > :40:27.my tea and look at it again and may be something different will come
:40:27. > :40:31.through. I think it is a lot of fun, just to get people to experience
:40:31. > :40:37.art at close and hopefully if they come here and see that this is a
:40:37. > :40:43.lot of fun, they might go to other galleries and seek out more art
:40:44. > :40:50.work. The market galleries lending scheme
:40:50. > :40:53.runs from 20th April and will 7th May. This time 20 years ago in the
:40:53. > :40:56.University Library in Edinburgh, a masters student was secretly
:40:56. > :41:01.writing what would become a cult novel of the Nineties.
:41:01. > :41:05.Trainspotting. And the process, firing up a generation of young
:41:05. > :41:09.writers like Alan Bissett. On the eve of the publication of Irvine
:41:09. > :41:13.Welsh's new novel, Skagboys, Allen met up with him at to find out if
:41:13. > :41:17.he still is giving a fire in Scottish writing. Due to the strong
:41:17. > :41:27.nature of the language and his work, Irvine Welsh has agreed we could
:41:27. > :41:32.adapt some of his rude words. I grew up in a housing scheme in
:41:32. > :41:35.Falkirk, 20 miles from Edinburgh. The classics of Scottish literature
:41:35. > :41:40.didn't really speak to me. When I was 18, I read a book that changed
:41:41. > :41:45.everything. To me, Trainspotting was electrifying, brittle, funny,
:41:45. > :41:53.sad, almost it gave a voice to people that have never been
:41:53. > :41:59.represented in literature before, the under class. A generation
:41:59. > :42:04.before me had the sex Pistols. This, to me, was punched her literature.
:42:04. > :42:09.Danny Boyle's film made Irvine Welsh and global superstar. A Jew's
:42:09. > :42:15.life, choose a career. His work goes far beyond it. For the last 20
:42:15. > :42:19.years, his writing has voiced a troubled relationship between a
:42:19. > :42:23.Scottish identity and British politics. He burst onto the scene
:42:23. > :42:27.forcing us to ask questions about what to do to be Scottish. Today we
:42:27. > :42:33.are interrogating a Scottish identity again so it is just as
:42:33. > :42:36.relevant. Irvine Welsh is now one of the important writers of the
:42:36. > :42:39.last 20 years. Reading Trainspotting was at the moment
:42:39. > :42:43.because the characters you wrote about had never been really
:42:43. > :42:50.represented in British literature and that was quite shocking and
:42:50. > :42:59.empowering. Was that a motivation? Yes, one of the first writers that
:42:59. > :43:07.I really loved was there. Not what I was expecting at all. He was a
:43:07. > :43:12.massive influence and I loved his sense of character. Yeah idea that
:43:12. > :43:15.friends can actually despise each other. When I started writing the
:43:16. > :43:23.characters, I rode in standard English and didn't make any sense
:43:23. > :43:29.to me. It took away the a sense of culture and the richness. I am down
:43:29. > :43:34.cast when I reached the library, thinking to myself, how is Murphy
:43:34. > :43:41.ever going to write about? Walking into the place was weird, weird,
:43:41. > :43:49.weird. I walked through the big wooden doors and suddenly, my heart
:43:49. > :43:59.went, bang, bang, bang. Can I help you? The boy asked. I could tell
:43:59. > :44:02.
:44:02. > :44:07.that he was thinking, tea leaf, ghetto child. It is possible to
:44:07. > :44:13.feel a social outcast in your own town. I love these regional voices.
:44:13. > :44:23.I think that richness is fantastic. At that is what should be
:44:23. > :44:30.Trainspotting is set in the 80s it when this feeling of alienation was
:44:30. > :44:36.endemic. When Margaret Thatcher came to power, the nation was
:44:36. > :44:43.seething. There was a sense that British politics at Westminster had
:44:43. > :44:47.failed Scotland. It alienated the Scots from the Tory party. People
:44:47. > :44:55.did feel frustrated and had no means of expressing their own
:44:55. > :45:03.identity. The culture became the political opposition? I think that
:45:03. > :45:08.is what happened. In the 80s and 90s, writers like Alastair Gray,
:45:08. > :45:13.and Janice Galloway voiced fury and resentment of the Scots. But it was
:45:13. > :45:22.Irvine Welsh that marked the peak of Scottish fiction. Writing seemed
:45:22. > :45:32.dangerous. Edinburgh to meet representatives serfdom. It was the
:45:32. > :45:34.
:45:34. > :45:38.same situation as Johannesburg. Hassled by the police if we hung
:45:39. > :45:44.about at night in groups. Edinburgh had the same politics as
:45:44. > :45:54.Johannesburg. It had the same politics as any city, only we were
:45:54. > :46:01.
:46:01. > :46:05.By 1997, Scotland's confidence had surged, transforming the political
:46:05. > :46:11.climate. The nation voted Yes to devolution and got its own
:46:12. > :46:16.Parliament. But the role of Irvine Welsh has been neglected. He has
:46:16. > :46:24.stumbled around the scene. As the quality of his work decline, his
:46:24. > :46:33.earlier achievements were forgotten. His new book, Skagboys, his sequel
:46:33. > :46:37.to Trainspotting. He is back on form. It is not only how they
:46:37. > :46:44.became heroin addicts, but how society itself was affected by the
:46:44. > :46:49.political climate? I think because of the folks income I am more
:46:49. > :46:56.interested in it now I am Olga. Having got to the point, it became
:46:56. > :47:00.more interesting. Everyone needs compelling drama in their life and
:47:00. > :47:05.most of us get that through relationships and work. It just
:47:06. > :47:11.hasn't been there for people for a few generations now. Of course,
:47:11. > :47:21.drugs will fill the void, because what else is there? At least I know
:47:21. > :47:27.I am still here and a light. As long as there is an opportunity, I
:47:27. > :47:32.will do it. Given we have a Conservative Government in
:47:32. > :47:37.Westminster again, youth unemployment is rising, the
:47:37. > :47:41.economic situation seems similar to the 80s, is this one on the reasons
:47:41. > :47:46.you have brought this material back? It is not a Tory thing, it is
:47:46. > :47:52.a right wing, kind of pro-business, political consensus that has
:47:52. > :47:59.emerged in Britain. It is under a lot of stresses. The interesting
:47:59. > :48:03.thing about Scotland, the two political cultures of Scotland and
:48:03. > :48:10.England have grown apart. Scottish independence, is it something you
:48:10. > :48:18.are in favour of? You have to think, what is holding the union together?
:48:18. > :48:25.Things that's appealed to Scotland, the NHS, education, free education,
:48:26. > :48:30.it has gone. Politics changed in the 80s and has not changed back.
:48:30. > :48:35.Skagboys is published by Random House on 19th April. Is there
:48:35. > :48:41.anyone who has not leapt to their feet to the irresistible opening
:48:41. > :48:51.bars of come on Eileen? It topped the charts in 1982. Can it be that
:48:51. > :48:52.
:48:52. > :48:58.long ago? Dexia's Midnight runners have reformed as Dexia's. We met
:48:58. > :49:07.the frontman, Kevin Rowland. # Come On Eileen.
:49:07. > :49:13.# At this moment, you mean everything.
:49:13. > :49:22.# Come On Eileen. Dexia Midnight runners are one of
:49:22. > :49:30.my favourite bands. Everyone knows come on Eileen, but the breadth and
:49:30. > :49:33.influence of their music is extraordinary. Each of their albums
:49:33. > :49:39.have a distinct sound, but they have attitude. At the height of
:49:39. > :49:43.their success they refuse to speak to the press, fought with their
:49:44. > :49:48.record company and stole the master tapes of their first album. The
:49:48. > :49:53.riskiest thing about them is from man, and masterminded, Kevin
:49:53. > :50:02.Rowland. They were an idea spearheaded and managed by this
:50:02. > :50:07.charismatic, notorious and inspiring artist. He ruled them
:50:07. > :50:11.with an intensity, choreographing each phase of their existence,
:50:11. > :50:17.managing the sound and the style of the band. Looks are everything,
:50:17. > :50:22.whether it was their denim dungarees, although later look, Ivy
:50:22. > :50:27.League suits. If thing about the band was, it was the band that even
:50:27. > :50:30.if you thought you outside fashion, you thought it was OK to like
:50:30. > :50:35.because you loved the way they looked. I remember thinking I don't
:50:36. > :50:40.want to dress like that, but they look like they had thought about it
:50:40. > :50:48.and look like a group as a result? It was important, we were obsessed
:50:48. > :50:54.with it. Always looking. The first look was a kind of On the
:50:54. > :51:01.Waterfront, New York dock. That was the idea. That was from the
:51:01. > :51:07.fugitive. I was about 12, watching it and the always had a holdall.
:51:07. > :51:11.When the time was right, I thought we could have that. I looked in a
:51:11. > :51:17.magazine and it was full of romantic band, and then there was a
:51:17. > :51:20.picture of you stood in a park with the wearing dungarees and nothing
:51:20. > :51:27.else with your black hair. It stood out a mile because it was the
:51:27. > :51:31.opposite of what everyone was doing? We were trying to do things
:51:31. > :51:36.that were the opposite of what everyone was doing. Everyone was
:51:36. > :51:42.dressing up and wearing gold suits, so we wanted to be different.
:51:42. > :51:47.every album came a new image. By the time of Don't Stand Me Down,
:51:47. > :51:52.they neglected masterpiece, the critics turn. His bold new look was
:51:52. > :51:57.dismissed as being that of a double glazing salesmen and people forgot
:51:57. > :52:02.about the music. Did it bother you? It did, I felt it was a very good
:52:02. > :52:07.album and the look was great. I still do. All I was doing was
:52:07. > :52:11.following my intuition, which is what I always do. Someone said to
:52:12. > :52:16.me the other day, did you think you would get that reaction? I never
:52:16. > :52:24.think about that. I think it will be a positive reaction and I was
:52:24. > :52:31.genuinely shocked. As I was in 199 with the dress thing. They split up
:52:31. > :52:36.in 1986 and Kevin launched a solo career with the Wanderer.
:52:36. > :52:41.Then in the late 90s he astonished everyone by releasing an album of
:52:41. > :52:45.covers calls, my beauty. It or was what Kevin was wearing rather than
:52:45. > :52:51.what he was singing, but grab people's attention. Were you
:52:51. > :53:01.surprised people went, he is in drag? I was, I thought they would
:53:01. > :53:08.just say a man in a dress. What I wasn't prepared for was a people
:53:08. > :53:12.being freaked. People were actually crossed. They work. Part of the
:53:12. > :53:19.genius of what you have done is being able to annoy people by what
:53:19. > :53:25.you were. Isn't that what every teenager wants to do? When you
:53:25. > :53:30.dress up it is this is who I am, take it or leave it? I loved it. I
:53:30. > :53:34.have never done anything I don't believe in. Kevin adopted a
:53:34. > :53:39.disciplined approach to the hard work of making music. But without
:53:39. > :53:44.the focus of the band around him, he became disenchanted with his
:53:44. > :53:52.superstar past and fell into drug experimentation and addiction. What
:53:52. > :53:56.happened, Kevin? You had a difficult period? I was so
:53:56. > :54:03.disillusioned after the album, Stand Me Down. By the way it was
:54:03. > :54:11.received? It's was a factor, I was broke, and my manager was gone. I
:54:11. > :54:17.had been pretty much drugs three through the band. You had the big
:54:17. > :54:21.don't drink thing I remember that. I think the band was my drugs. I
:54:21. > :54:26.had put as much as I had into everything I did and that the end
:54:26. > :54:36.of it I was wiped out. I know of the stories you would go out and
:54:36. > :54:38.
:54:38. > :54:41.running, come in to rehearsals and I loved the work ethos. You could
:54:41. > :54:46.hear it in the records and it seems odd that you would fall into
:54:46. > :54:52.something so opposite what the band was about? When you are so again
:54:52. > :54:57.something like that, it is trouble, really.
:54:57. > :55:05.In 2003, they briefly reformed, but it has taken until now for them and
:55:05. > :55:15.to release their long awaited 4th album, one day I am going to soar.
:55:15. > :55:33.
:55:33. > :55:38.We went for a performance. And the way that Ali did it, my manager,
:55:38. > :55:42.everybody said it won't work. A few of the musicians said he will
:55:42. > :55:52.definitely not be able to do it like that. We did a couple of songs
:55:52. > :55:58.at a time from start to finish. Recorded live? We did, yes. I can
:55:58. > :56:03.imagine listening to that driving late and night, it has the 70s funk
:56:03. > :56:07.thing going on with it. We slaved over the tempo and I feel we have
:56:07. > :56:12.got it right. Your voice has changed and matured over the years
:56:12. > :56:21.in a way which is interesting. It does now sound like the voice of
:56:21. > :56:26.experience, as opposed to the voice of angry youth? Thanks. I know
:56:26. > :56:32.loads of people have been waiting for it, it is a really big deal.
:56:32. > :56:38.How do feel about it? I bet you thought it would never happen?
:56:38. > :56:48.feel completely blessed and lucky. So the first album in 27 years and
:56:48. > :56:49.
:56:49. > :56:56.the first No 1 in 30. Well done. it No 1? Yes, the first No 1 was
:56:56. > :57:00.come on Eileen. One day I am going to soar is
:57:00. > :57:05.released on 4th June. Bass just about it, the last in our current
:57:05. > :57:10.series. We will be back in tune with cultural highlights from the