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Hello and welcome to the Culture Show. This week, we're coming from

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the Barbican in London which has just celebrated its 30th birthday.

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Born in the same year as the compact disc, Channel Four and the

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song, Come on Eileen, this landmark arts venue instantly became an

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Eighties poster child for an optimistic, culture packed future.

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The artists that have appeared, performed or exhibited here read

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like a who's who of the arts and the latest addition is the

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brilliant young composer Nico Muhly who will be talking to Clemency

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Burton Hill about his youthful take on classical music. Also tonight:

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The not so young but truly brilliant Anthony Caro talks to

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Alastair Sooke about his new exhibition at Chatsworth House.

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Trainspotting's Irvine Welsh talks politics and punk fiction with

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fellow autor Alan Bissett. Arlene Phillips explores 100 years

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of dancing in Falkirk. Art critic Richard Cork sneaks a

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look at a secret collection of paintings by artist David Bomberg.

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Mark Kermode takes a trip down memory lane with Dexy's Midnight

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Runners frontman Kevin Rowland. While Michael Smith embarks on an

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altogether more cosmic journey with an alternative soundtrack of the

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day. But first to Sheffield, once the

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home of British steel production, an industrial hotbed of furnaces,

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factories. The sculptor Sir Anthony Caro first made his name working in

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steel, Sheffield steel. Just 15 miles from the City Centre is one

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of Britain's most beautiful stately homes, Chatsworth House. Two very

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different locations but forged together by a new exhibition of

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some of Caro's work. Alastair Sooke was given a sneak preview.

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Steel is the backbone of the modern world. Transforming it into modern

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art has been one man's creative obsession for more than five

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decades. Back in the early Sixties, Sir Anthony Caro revolutionised

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sculpture with his lyrical, very colourful metal constructions. He

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forged a new visual language and marriage to induce metal with a

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sense of spontaneity and flair. His outlook has changed but he has

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consistently challenged what sculpture is and what it might

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become. Now approaching 90, he shows no signs of letting up. In a

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landmark outdoors exhibition, 15 of his larger pieces are on display

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here at Chatsworth House. This grand old man of British sculpture

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has agreed to give me a private tour. It seems, initially, that we

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are a strange not to be in a usual gallery setting. Were you ever

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unsure about how that would play? Until I saw Chatsworth, yes,

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because basically, I didn't want them to be like sheep in the

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landscape. I wanted them to be something different and I wanted

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them to be looked at as sculptures, not as part of a garden. Here,

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unfortunately, because of the setting and because of the upkeep

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of the place, you find yourself looking at the sculptures, which I

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am pleased about. Shall we go and look at some of the earlier pieces?

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Yes, let's. Caro studied at the working as an assistant to the

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great Henry Moore. He abandoned his own attempts at figurative art

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because of a much more radical vision. Totally abstract, metal and

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crucially placed directly on the ground and not a plinth. How did

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you actually learn that the practicalities of cutting and

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welding metal? I knew absolutely nothing, I didn't know what to join

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two bits of metal together. I remember asking a friend and he

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said, you will them or put them. I didn't have a drill so I used to

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cut a hole and there was a hole down there that you can see that I

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cut at the cutting torch. I didn't clean things up. Look how rough

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that edge is. I wouldn't leave that now like that! They are the thing

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about it is that it is bright orange? Yes, it is kind of raw and

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I wanted it to be wrong and to stand out. It stood out like a sore

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thumb. His major public breakthrough came in 1963 with a

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solo show at the Whitechapel Gallery in East London. Sculpture

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seven was one of the pieces that grabbed the headlines. Sculpture

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seven was about the seven sculptures I had made in the old

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days of this sort of material. me why you find and presumably

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still find this form a pleasing proposition as a sculpture? What

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form? What we are looking at. Why does this arrangement of the steel

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girders, painted a certain colour, why did that, for you, do it?

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you cannot ask me this, you're asking me how do I know when the

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sculpture is right. I can only tell you that it says yes to me. I

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cannot give you a formula because if I did, I would be able to make

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it each time and I cannot do it. you think all art comes from

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instinct? I cannot say what other people do but I think a lot of art

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comes from instinct, yes. You are allowing bits of your mind full

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play which you don't admit to normally. Like gut feeling. You

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cannot describe why you love somebody, you have to open yourself

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to sculpture. You have to open your mind to what they are saying and

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you don't try and invest what you have seen in front of you with your

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thoughts. By the mid-Seventies, instinct had let Caro away from

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colour and towards rugged new forms with a more muted finish. These

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were also way ahead of their time. They couldn't be shown in England

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when they were made because they were too much in-your-face, took

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flat. Pieces like this? Yes, I made them in a factory in Toronto.

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largest and most recent sculpture on show here is Goodwood Steps.

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They are like a tower on its side. You can walk in, you can look at,

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you can be among, it is to do with inside and outside and I love very

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much that idea of inside and outside. It is something that has a

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poetry of its own? It's got to be fair otherwise it is just bits of

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material, just bits of steam. you ever start from the point of

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thinking, here is the way I feel it's something and I would like to

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make a piece of art that expresses that feeling? It is not quite so

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much to do with me as you are expressing. It is that two of us

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talking to each other and I got to let it have its say. It being the

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sculpture? Yes, it has to talk to me. All the time we are having

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Interchange. It's sometimes says to you, that is the way I think I

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ought to go. You have to listen. One of the things that I most

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admire about you is the fact that whenever I talk to you, you refuse

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to rest on your own morals. You are now in your late Eighties, do you

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feel as creative as you ever did? Every day ago to the studio and

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make art and that is great, that is fun. I am not lifting as much as I

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used to! But I can still say, let's try that. I went to be there and

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watching it. I don't want to go away, I want to watch it and say,

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stop, let's hold it there. I think that is the most inspirational

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thing about you, you are forever thinking about tomorrow. I shall

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keep doing that for another 10 or 15 or 20 years expert I do, too.

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The exhibition opens on 20th March and runs until 1st July. From the

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undisputed virtuoso of British Shropshire to a young American

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composer, Nico Muhly who has been causing a stir with his

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contemporary note rose approach. He worked for Philip Glass for nine

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years, conducting and editing his own scores and has collaborated

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with musical talents ranging from Rufus Wainwright to Antony and

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Johnson's. Clemency Burton Hill caught up with him before the world

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premier of his new cello concerto. Nico Muhly has found himself in a

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pretty enviable position. Only 30, he is frequently touted as the

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hottest composer on the planet. This is not composing in the old

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mould. Fantastically eclectic, his music jumps from frenetic

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individualism to pop ticking in Ballee and Suva music along the way.

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He is back in London, this time for the premier of his new cello

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concerto at the Barbican. Even better, this kicks off a British

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spree for him as an exciting project with the National Youth

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Orchestra the summer and a new piece for the Royal Ballet later in

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the year. What better time to catch up with him. Welcome back to London.

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You have so many influences and you work across so many John Rhys. How

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important is it to you that you keep collaborating with people like

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Bjork and then writing Cello concerto's? It is a natural

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extension of the way my head works which has to have an obsessive

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collaborative nature. It is so lonely being a composer that it is

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better to reach out and work with your friends if you can. You're

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here for the premiere of your cello concerto? I wrote it for her the

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Britten Sinfonia and it is a very simple structure. Fast music then

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slow music and then very fast music. In a sense, the goal of writing in

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the concerto is to make this a last look great. Show of all the tricks.

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What is your starting point? What I love about the cello is that there

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is this wonderful expressive range. Of all the stringed instruments, it

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has the largest technical range. I was thinking about what would be

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great is to start in the stratosphere and slowly moved

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downwards as a way of slowly unveiling the instrument. I found

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this amazing photographer who does these objects breaking. The idea of

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something called in its own destruction. You have the cello

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concerto at the Barbican and the NY ill? I was working on it this

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morning. It is an enormous orchestra. I have an anxiety about

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youth orchestras because you want to make sure that everyone has a

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great part. Nothing would be sadder than if you have a boring oboe part

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so I am trying to make sure everyone gets to participate. The

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reason of equestrian gates came up. I threw a bunch of things into it.

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I still miss from Tsar bizarre place on the internet but you have

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this idea of the most obvious walking gait but then it gets very

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complicated with these overlaps and so I thought, it would be great to

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invent animals and invent gait patterns for each family of

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instruments of. So all the flutes, it is at seven legged think. You

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can extract the idea of an orchestra being a community affair.

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Like ASDA? -- at the zoo. You have to make chamber-music inside this

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larger context so it is a family unit inside a tan. What else is

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going on at the Barbican? second have is me and my friends

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all play with each other. We are playing music that we all wrote but

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we are all playing each other's It is some folk music, it is some

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songs. It will be deliberately disorganised to offset the

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This looks like random stuff. Used they do founded to on the internet,

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is that way you get your inspiration? You just throw things

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in. But do you throw it into Google? I just throw it into Google,

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obsessively. The minute you get through the top level of it, you

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find yourself in some very strange places. With the advent of the

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internet, for me, the ability to simultaneously know about

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traditional, North Korean food and the gate of horses and historical

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flukes making, and then its work, are all existing in multiple tad

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browser windows, is how my brain The Britten Sinfonia performs the

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premier of Nico Muhly's Concerto at the Barbican tonight.

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Reasons To Dance is a theatre project in Falkirk. Who better than

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Arelen Phillips to hear their memories and perhaps pick up a few

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new moves along the way? I am in Falkirk because for the

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last six months, this town has had dancing on its mind. The National

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Theatre of Scotland have invited residents to share their memories

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and stories of the dancefloor to create a theatre project called

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Reasons To Dance. I can think of lots of Reasons To Dance, I am

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going to find out theirs. It is the buzz you get, you could be dancing

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in your room or on a stage, you still get that amazing feeling.

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Over the years I think your reasons change. When you are a teenager, it

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all was to get the boys. It makes me feel no one is watching. When

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I'm dancing it gives me a buzz. Just running through rehearsals so

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if everybody can keep quiet. How of -- how did all of this begin?

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started in August last year, gathering stories from people of

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all ages and backgrounds. And the title of the show, it reasons To

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Dance, what are people's reasons. He had turned these stories into a

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scripted drama? Yes, it has been an experience that you don't realise

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the public were so willing to tell you their personal stories from the

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past, from the present. And for us to breathe life into those with the

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community cast, because if we did not have the community cast

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performing these stories, we wouldn't have a show.

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They always had the same music and the same dances every week. So you

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knew what was coming next. If you dance the last dance, the queue in

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the cloakroom men's you miss the last bus home. So it had to be

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somebody very special who asked you for the last stands because you

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have to weigh up if you're going to walk home afterwards. The rules for

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the ballroom dancing when you started? They were different rules.

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You have to work they tie, no chewing gum. And if you smelt of

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drink, you did not get in. Then there was no moon dancing. There

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was close dancing. To add gentleman would watch, and it you got too

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close for comfort, he would be in there. We met at the dancing, I was

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17 and she was 16. It was a blind date. It wasn't a blind date!

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was a bloody blind date. 56 years together and we have been dancing

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# I wonder should I go or should I stay?

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# The band have only one more song to play.

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There was a moment towards the end of it, why you lost the thinking

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and it you were just dancing together and that it was beautiful.

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Two had become one. That was the most incredible feeling as I was

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watching that. It is lovely for you to say, thank you. Imagine you are

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from the 1950s and somebody has what such -- ask you a question of

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York going out routine? I work the same dress every week but to try to

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make it look like a new one by wearing a scarf around my neck.

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Luckily my mother is a dressmaker so if she comes across some

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material she will run the upper dress to go to the dancing, and

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that is in the afternoons. Is that unusual? It is not unusual for me

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to go out in a dress that has been hanging as curtains in somebody

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else's living room that afternoon. We have had them in a football

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stadium, City nightclub. Around 5 million people in the UK dance for

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funds. And in the last few years, the number of school people's --

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pupils choosing dance as a subject has gone up. But it is less than a

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fortnight when this nightclub become as a stage.

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When the music goes up, I just live it. I would like to see once again,

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or would that music louder. Tell me your Reasons To Dance, when you

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dance. Bringing together the personal and shared dance memories

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of the community is a great idea and his team have got the ambition

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and enthusiasm to do this production proud. I think people

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will watch it and go, I feel like that, maybe I should start dancing.

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But people who feel they cannot act will see people their own age and

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think there will do it. We're not very well known and I think it will

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put us on the map. For reasons to Dan's runs for five

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nights from Tuesday 27th March at Falkirk's City Nightclub.

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The golden age of the space race seems to be long gone but we are

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poised on the brink of a cosmic first. Michael Smith has been on a

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journey into outer space to find out why a record from the 70s and

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might be an enduring legacy. Up there, 11 billion miles from

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Earth, a bit of 70s technology is hurtling into space. Not much

:23:29.:23:34.

bigger than a Ford Capri, any day now and will then volleyed Je space

:23:34.:23:38.

programme be the first man-made object leave our solar system

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headed for deep space. Although it did seem destined for the outer

:23:45.:23:53.

reaches of Patrick Moore's back garden. I was a launched from Earth

:23:53.:24:01.

in September 1977. I was Owen's Way Jupiter will be in 1979. Roy Joe

:24:01.:24:10.

was launched from a very different world in 1977. -- Voyager.

:24:10.:24:20.
:24:20.:24:21.

Computers were still in black and green. Just like its technology,

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the ideology that builds a Voyager looked quaint of its time. An

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ideology that some DUP its most ambitious and bizarre cargo, the

:24:32.:24:38.

Golden Records. It is contained in a box which cover we see here. The

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cover may recognise. It tells where the earth is in space. These are

:24:45.:24:51.

instructions as to what to do with what is in the box. It is a long-

:24:51.:24:56.

playing record, which it played, produces the best music of earth,

:24:56.:25:02.

the sounds of our people and produces 116 detailed pictures of

:25:02.:25:07.

our planet and civilisation. Intended as an introduction to

:25:07.:25:12.

alien life-forms, the golden record was conceived as mankind's greatest

:25:12.:25:22.
:25:22.:25:23.

hits. That is what I call humanity 1977. Compiled by a strong enough

:25:23.:25:32.

and cosmic visionary, Karl saying, it contains images of life on Earth.

:25:32.:25:36.

Some of the pictures of bizarre, but I am sure it made sense at the

:25:36.:25:45.

time. The music is glorious, however. It is incredibly moving

:25:45.:25:49.

that out of all our human inventions we chose music to define

:25:49.:25:59.
:25:59.:26:11.

Personally, I like the thought that Mozart and Chuck Berry are

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careering through the solar system, about to pass into interstellar

:26:15.:26:24.

space. The record contains messages in the 5th D9 most popular

:26:24.:26:34.
:26:34.:26:36.

languages. -- 59. In the first words of a mother to a newborn baby.

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Come on now. And even a whale gets to say hello. Regardless of the

:26:45.:26:50.

record's flower-power trimmings, America in the 70s was still at the

:26:50.:26:54.

high noon of its ascendancy and bold enough to imagine it spoke for

:26:54.:27:00.

all humanity. But, with the benefit of hindsight, the golden record

:27:00.:27:04.

looks like an artefact which embodies the specific hopes and

:27:04.:27:09.

presumptions of the place and time that produced it. Nowadays it is

:27:09.:27:13.

easy to imagine it might be China that goes out into the cosmos and

:27:13.:27:22.

less easy to imagine a reactionary of America doing so. Voyager was

:27:22.:27:29.

born of the utopianism and we can only Miss -- wistfully admired. The

:27:29.:27:34.

future was a better place, not a scary question or a slow, steady

:27:34.:27:40.

decline. Now we are here and the future has arrived. But it is a

:27:40.:27:50.

very different future to the one we might have hoped for back then.

:27:50.:27:54.

Looking back, the whole project seems hopelessly optimistic,

:27:54.:28:00.

especially considering Voyager is still nearly 40,000 years away from

:28:00.:28:09.

the nearest dark. So, was the golden record a folly of its age? A

:28:09.:28:14.

vanity project, a pompous monuments that said a we were here with bells

:28:15.:28:21.

on? Maybe, but maybe that is why it is so moving, why it has meaning.

:28:21.:28:27.

Maybe it was more important for us for a sense of ourselves for any

:28:27.:28:34.

aliens that might be out there. And who knows, and the last human

:28:34.:28:41.

artefact after the Earth has burnt to a Kosmix Inda, might be a gold L

:28:41.:28:49.

P from the 70s. Next, the painter, David Barnburgh,

:28:49.:28:55.

a brilliant painter of portraits and landscapes, and one of the

:28:55.:28:59.

great chroniclers of London during the Blitz. He was one of the

:28:59.:29:03.

outstanding British artists of the 20th century, but has remained

:29:03.:29:09.

neglected. Except by one important but unassuming fan who spent her

:29:09.:29:14.

whole life gathering together a vast body of his work. Richard Cork

:29:14.:29:19.

went to meet her, just as she was about to hand over the collection

:29:19.:29:29.
:29:29.:29:29.

They say a profit is never honoured in his own land and it never was a

:29:29.:29:34.

truer word spoken in the case of David Bomberg. I am perhaps the

:29:34.:29:39.

most unpopular artist in England, he wrote in the late 1950s towards

:29:39.:29:44.

the end of his life. He was not wrong. The shift from his early

:29:44.:29:48.

abstract work towards federation had seen him cast out into the

:29:48.:29:51.

wilderness. While his contemporaries were courted by the

:29:52.:29:57.

art establishment, he was shunned, branded a troublemaker. He had no

:29:57.:30:02.

dealer and was desperately poor. But though during his lifetime he

:30:02.:30:06.

was never able to enjoy the status he now has as one of the great

:30:06.:30:09.

twentieth-century Modern the British Masters, there was a small

:30:09.:30:13.

group of disciples who did recognise the genius of this

:30:13.:30:18.

talented and visionary man as he worked announce them. They were the

:30:18.:30:23.

Borough Group, a collection of live young artists who had been told by

:30:23.:30:30.

him in London in the late 1940s. Bomberg's and conventional teaching

:30:30.:30:36.

methods, his insistence that students concentrate on feeling,

:30:36.:30:41.

afforded him a great following among his students. Now more than

:30:41.:30:44.

50 years after his death, another passionate believer in the

:30:44.:30:54.
:30:54.:30:55.

Bomberg's work has come to light. His debts there? Yes, come in.

:30:55.:31:00.

year-old Sarah Rose has made it her life's mission to collect the work

:31:00.:31:06.

of Bomberg and a prayer group, amassing over 150 works. It is

:31:06.:31:10.

wonderful to be here in this magic room, surrounded by extraordinary

:31:10.:31:18.

pictures. When did it all begin? came to London from Australia in

:31:18.:31:23.

1951 and by chance, we met Cliff Holden who had worked with David

:31:23.:31:28.

Bomberg. His master, as he always called him. The baby came close,

:31:28.:31:33.

didn't they? Yes. Cliff Holden used to say that Bomberg was like a

:31:33.:31:41.

father. He would tell me when there was anything showing in London. At

:31:41.:31:45.

the time, and still, they were scattered in twos and threes around

:31:45.:31:50.

the country so I realised there was a need for a permanent collection

:31:50.:31:57.

of Bomberg works. Also, the painters who worked with him, they

:31:57.:32:01.

were hardly represented at all. As you can see, they are wonderful

:32:01.:32:11.
:32:11.:32:12.

works. Absolutely, yes. This is a drawing of bed and by a Bomberg.

:32:12.:32:17.

That is very powerful, isn't it? Very beautiful. It next, a much

:32:17.:32:21.

earlier drawing which shows what he was doing when he was quite a young

:32:21.:32:27.

artist. That small David Bomberg was painted in Palestine, wasn't

:32:27.:32:33.

it? That was a transition between the abstract earlier period and the

:32:33.:32:39.

later work. The one above his by Dorothy Meade. That is very full of

:32:39.:32:46.

life. A you can see how much she was inspired by Bomberg. That self

:32:46.:32:50.

portrait by Bomberg is most beautiful. Did you ever meet him

:32:50.:32:58.

yourself? No, I didn't. Do you do you feel sorry about that? No, I

:32:58.:33:03.

have his work and that is the most important thing. I asked if he had

:33:03.:33:08.

a sense of humour. I was told, not a great sense of humour, he was

:33:08.:33:12.

more serious and very passionate and intense. There is something

:33:12.:33:20.

very engaging about him there. This big painting? This painting, I got

:33:20.:33:25.

from David Bomberg's widow. I was really excited when I saw that.

:33:25.:33:28.

must be terribly exciting to purchase something that maybe you

:33:28.:33:33.

thought you would never be able to buy? It was. I just wanted as much

:33:33.:33:40.

as I could find. I was just very lucky. The collection as a whole is

:33:40.:33:50.
:33:50.:33:51.

now worth �500,000. But I couldn't afford to buy them now! Sarah, it

:33:51.:33:55.

turns out, had a pretty unconventional way of funding her

:33:55.:34:01.

art had it. I had some financial resources but it wasn't enough so I

:34:01.:34:08.

did two jobs. I had a nine-to-five job in the week and I drove a Mini

:34:08.:34:13.

cab three nights. You were a cab driver? Oh my goodness. How long

:34:13.:34:19.

did you do that for? About two years. It enabled me to buy it more

:34:19.:34:24.

works than it otherwise could have done. One major give up? One night,

:34:24.:34:32.

I would have two cars, lamp-posts and a metal protected shop window.

:34:32.:34:39.

So I really went out with a bang! I haven't driven since. Despite these

:34:39.:34:43.

mishaps, Sarah continued to come as her remarkable collection that she

:34:44.:34:50.

has now donated to the London's South Bank University where Bomberg

:34:50.:34:57.

told his pioneering classes in the late 1940s. This is it. Is this the

:34:57.:35:02.

space? Fantastic! In return for her generous gift, the university, with

:35:02.:35:07.

the help of the Heritage Lottery grant, has built this brand new

:35:07.:35:10.

exhibition space to display Sarah's collection to the public. You must

:35:10.:35:17.

be really excited about it? A I am very excited, yes. For a long time

:35:17.:35:22.

while I was collecting, I didn't know where the works would go. It

:35:22.:35:26.

is one thing collecting, it is another thing to have a permanently

:35:26.:35:30.

staffed gallery. I thought I might have to sell it and then I had the

:35:30.:35:36.

idea of bringing it here. Because I knew the history of the work being

:35:36.:35:39.

done here by Bomberg and the other artists and it just seemed

:35:39.:35:44.

absolutely the right place for it to be. Absolutely. The works are

:35:44.:35:48.

not on the walls yet but there is one painting here by miles Richmond

:35:48.:35:53.

who was a member of the Borough Group. That will be lovely up on

:35:53.:36:00.

the wall. I cannot wait! I think Bomberg would be pleased. His

:36:00.:36:08.

spread and must be hanging over the place. I think so.

:36:08.:36:12.

Sarah Rose's collection goes on display at London's South Bank

:36:12.:36:16.

University in June. Still to come tonight: Irvine Welsh discusses his

:36:16.:36:21.

latest novel, Skagboys, and Mark Kermode discovers the all-new

:36:21.:36:25.

Dexy's. First, Glasgow's International Festival of Visual

:36:25.:36:29.

Arts will include amending scheme that will allow members of the

:36:29.:36:33.

public to borrow works of art by up to 50 established artists and enjoy

:36:33.:36:41.

them in the comfort of their own homes.

:36:41.:36:45.

The art lending library is a library which loans pieces of art.

:36:45.:36:51.

The idea behind it is to celebrate libraries, it is free of charge so

:36:51.:36:57.

anyone can join. You can borrow three pieces of work for three days.

:36:57.:37:01.

When someone enters a library, a video how to function so having it

:37:01.:37:04.

in the library seemed like a perfect place. We think they could

:37:04.:37:11.

be up to 60 pieces of work which is amazing. It would cover any kind of

:37:11.:37:17.

practice within a contemporary art. Everything from a performance to a

:37:17.:37:21.

2D work that you could take away and hang on your wall. The idea

:37:21.:37:25.

behind the project was that we would seek out high-quality works,

:37:25.:37:29.

artists that have an international reputation as well as artists from

:37:29.:37:39.

Glasgow. My name is Oliver and this is my studio. I am an artist living

:37:39.:37:47.

in Glasgow. This is going to be the first time, if someone takes it out,

:37:47.:37:54.

this is the first time my work will be going into a home setting. I was

:37:54.:37:57.

thinking that pass the parcel is a beautiful way of articulating that

:37:57.:38:01.

and it also gives me a chance to mix and beautiful designs for the

:38:01.:38:04.

wrapping paper, put some nice things in for people to touch and

:38:04.:38:10.

play with and I think it is a great chance for me to test whether I am

:38:10.:38:19.

as brave as I think I am with the way that people treat objects.

:38:19.:38:25.

have just had a quick look at this video which is a play on issues to

:38:25.:38:35.
:38:35.:38:38.

do with Scotland which is very intriguing. I think that the deal

:38:38.:38:42.

would be had quite fun to have sitting around. It is quite

:38:42.:38:46.

disturbing, not so pleasant to look around but maybe something more

:38:46.:38:51.

would come out if I had sitting around in my window. It is just a

:38:52.:38:55.

new way of looking at art. It is the first time I have seen it in

:38:55.:39:04.

Glasgow and it and it is really exciting. They described the

:39:04.:39:08.

sculpture as a revolving social sculpture so that the sculpture

:39:08.:39:13.

changes as works are loaned out. All recruits slot into this and

:39:13.:39:17.

they act as protection for the work and they are in transport, display

:39:17.:39:23.

while there in the library and also as a plinth with than the home.

:39:23.:39:28.

People can't just take the work, we have art handlers that will create

:39:28.:39:31.

the work at and deliver it to their house so we know where they live,

:39:32.:39:36.

we will deliver it and collect it. We think the chances of things

:39:36.:39:45.

being stolen or damaged will be minimal. I think the artwork will

:39:45.:39:52.

have a different impact in my own kitchen rather than it being in an

:39:52.:39:56.

art gallery. That said, I think maybe I would switch down the

:39:56.:40:06.
:40:06.:40:08.

volume about it was to play all day long. Maybe having its it in the

:40:08.:40:12.

background. I think it is quite positive, a really bright colours

:40:12.:40:19.

and it is really eye-catching. I'll wake up in the morning and sit with

:40:19.:40:21.

my tea and look at it again and may be something different will come

:40:21.:40:27.

through. I think it is a lot of fun, just to get people to experience

:40:27.:40:31.

art at close and hopefully if they come here and see that this is a

:40:31.:40:37.

lot of fun, they might go to other galleries and seek out more art

:40:37.:40:43.

work. The market galleries lending scheme

:40:44.:40:50.

runs from 20th April and will 7th May. This time 20 years ago in the

:40:50.:40:53.

University Library in Edinburgh, a masters student was secretly

:40:53.:40:56.

writing what would become a cult novel of the Nineties.

:40:56.:41:01.

Trainspotting. And the process, firing up a generation of young

:41:01.:41:05.

writers like Alan Bissett. On the eve of the publication of Irvine

:41:05.:41:09.

Welsh's new novel, Skagboys, Allen met up with him at to find out if

:41:09.:41:13.

he still is giving a fire in Scottish writing. Due to the strong

:41:13.:41:17.

nature of the language and his work, Irvine Welsh has agreed we could

:41:17.:41:27.

adapt some of his rude words. I grew up in a housing scheme in

:41:27.:41:32.

Falkirk, 20 miles from Edinburgh. The classics of Scottish literature

:41:32.:41:35.

didn't really speak to me. When I was 18, I read a book that changed

:41:35.:41:40.

everything. To me, Trainspotting was electrifying, brittle, funny,

:41:41.:41:45.

sad, almost it gave a voice to people that have never been

:41:45.:41:53.

represented in literature before, the under class. A generation

:41:53.:41:59.

before me had the sex Pistols. This, to me, was punched her literature.

:41:59.:42:04.

Danny Boyle's film made Irvine Welsh and global superstar. A Jew's

:42:04.:42:09.

life, choose a career. His work goes far beyond it. For the last 20

:42:09.:42:15.

years, his writing has voiced a troubled relationship between a

:42:15.:42:19.

Scottish identity and British politics. He burst onto the scene

:42:19.:42:23.

forcing us to ask questions about what to do to be Scottish. Today we

:42:23.:42:27.

are interrogating a Scottish identity again so it is just as

:42:27.:42:33.

relevant. Irvine Welsh is now one of the important writers of the

:42:33.:42:36.

last 20 years. Reading Trainspotting was at the moment

:42:36.:42:39.

because the characters you wrote about had never been really

:42:39.:42:43.

represented in British literature and that was quite shocking and

:42:43.:42:50.

empowering. Was that a motivation? Yes, one of the first writers that

:42:50.:42:59.

I really loved was there. Not what I was expecting at all. He was a

:42:59.:43:07.

massive influence and I loved his sense of character. Yeah idea that

:43:07.:43:12.

friends can actually despise each other. When I started writing the

:43:12.:43:15.

characters, I rode in standard English and didn't make any sense

:43:16.:43:23.

to me. It took away the a sense of culture and the richness. I am down

:43:23.:43:29.

cast when I reached the library, thinking to myself, how is Murphy

:43:29.:43:34.

ever going to write about? Walking into the place was weird, weird,

:43:34.:43:41.

weird. I walked through the big wooden doors and suddenly, my heart

:43:41.:43:49.

went, bang, bang, bang. Can I help you? The boy asked. I could tell

:43:49.:43:59.
:43:59.:44:02.

that he was thinking, tea leaf, ghetto child. It is possible to

:44:02.:44:07.

feel a social outcast in your own town. I love these regional voices.

:44:07.:44:13.

I think that richness is fantastic. At that is what should be

:44:13.:44:23.

Trainspotting is set in the 80s it when this feeling of alienation was

:44:23.:44:30.

endemic. When Margaret Thatcher came to power, the nation was

:44:30.:44:36.

seething. There was a sense that British politics at Westminster had

:44:36.:44:43.

failed Scotland. It alienated the Scots from the Tory party. People

:44:43.:44:47.

did feel frustrated and had no means of expressing their own

:44:47.:44:55.

identity. The culture became the political opposition? I think that

:44:55.:45:03.

is what happened. In the 80s and 90s, writers like Alastair Gray,

:45:03.:45:08.

and Janice Galloway voiced fury and resentment of the Scots. But it was

:45:08.:45:13.

Irvine Welsh that marked the peak of Scottish fiction. Writing seemed

:45:13.:45:22.

dangerous. Edinburgh to meet representatives serfdom. It was the

:45:22.:45:32.
:45:32.:45:34.

same situation as Johannesburg. Hassled by the police if we hung

:45:34.:45:38.

about at night in groups. Edinburgh had the same politics as

:45:39.:45:44.

Johannesburg. It had the same politics as any city, only we were

:45:44.:45:54.
:45:54.:46:01.

By 1997, Scotland's confidence had surged, transforming the political

:46:01.:46:05.

climate. The nation voted Yes to devolution and got its own

:46:05.:46:11.

Parliament. But the role of Irvine Welsh has been neglected. He has

:46:12.:46:16.

stumbled around the scene. As the quality of his work decline, his

:46:16.:46:24.

earlier achievements were forgotten. His new book, Skagboys, his sequel

:46:24.:46:33.

to Trainspotting. He is back on form. It is not only how they

:46:33.:46:37.

became heroin addicts, but how society itself was affected by the

:46:37.:46:44.

political climate? I think because of the folks income I am more

:46:44.:46:49.

interested in it now I am Olga. Having got to the point, it became

:46:49.:46:56.

more interesting. Everyone needs compelling drama in their life and

:46:56.:47:00.

most of us get that through relationships and work. It just

:47:00.:47:05.

hasn't been there for people for a few generations now. Of course,

:47:06.:47:11.

drugs will fill the void, because what else is there? At least I know

:47:11.:47:21.

I am still here and a light. As long as there is an opportunity, I

:47:21.:47:27.

will do it. Given we have a Conservative Government in

:47:27.:47:32.

Westminster again, youth unemployment is rising, the

:47:32.:47:37.

economic situation seems similar to the 80s, is this one on the reasons

:47:37.:47:41.

you have brought this material back? It is not a Tory thing, it is

:47:41.:47:46.

a right wing, kind of pro-business, political consensus that has

:47:46.:47:52.

emerged in Britain. It is under a lot of stresses. The interesting

:47:52.:47:59.

thing about Scotland, the two political cultures of Scotland and

:47:59.:48:03.

England have grown apart. Scottish independence, is it something you

:48:03.:48:10.

are in favour of? You have to think, what is holding the union together?

:48:10.:48:18.

Things that's appealed to Scotland, the NHS, education, free education,

:48:18.:48:25.

it has gone. Politics changed in the 80s and has not changed back.

:48:26.:48:30.

Skagboys is published by Random House on 19th April. Is there

:48:30.:48:35.

anyone who has not leapt to their feet to the irresistible opening

:48:35.:48:41.

bars of come on Eileen? It topped the charts in 1982. Can it be that

:48:41.:48:51.
:48:51.:48:52.

long ago? Dexia's Midnight runners have reformed as Dexia's. We met

:48:52.:48:58.

the frontman, Kevin Rowland. # Come On Eileen.

:48:58.:49:07.

# At this moment, you mean everything.

:49:07.:49:13.

# Come On Eileen. Dexia Midnight runners are one of

:49:13.:49:22.

my favourite bands. Everyone knows come on Eileen, but the breadth and

:49:22.:49:30.

influence of their music is extraordinary. Each of their albums

:49:30.:49:33.

have a distinct sound, but they have attitude. At the height of

:49:33.:49:39.

their success they refuse to speak to the press, fought with their

:49:39.:49:43.

record company and stole the master tapes of their first album. The

:49:44.:49:48.

riskiest thing about them is from man, and masterminded, Kevin

:49:48.:49:53.

Rowland. They were an idea spearheaded and managed by this

:49:53.:50:02.

charismatic, notorious and inspiring artist. He ruled them

:50:02.:50:07.

with an intensity, choreographing each phase of their existence,

:50:07.:50:11.

managing the sound and the style of the band. Looks are everything,

:50:11.:50:17.

whether it was their denim dungarees, although later look, Ivy

:50:17.:50:22.

League suits. If thing about the band was, it was the band that even

:50:22.:50:27.

if you thought you outside fashion, you thought it was OK to like

:50:27.:50:30.

because you loved the way they looked. I remember thinking I don't

:50:30.:50:35.

want to dress like that, but they look like they had thought about it

:50:36.:50:40.

and look like a group as a result? It was important, we were obsessed

:50:40.:50:48.

with it. Always looking. The first look was a kind of On the

:50:48.:50:54.

Waterfront, New York dock. That was the idea. That was from the

:50:54.:51:01.

fugitive. I was about 12, watching it and the always had a holdall.

:51:01.:51:07.

When the time was right, I thought we could have that. I looked in a

:51:07.:51:11.

magazine and it was full of romantic band, and then there was a

:51:11.:51:17.

picture of you stood in a park with the wearing dungarees and nothing

:51:17.:51:20.

else with your black hair. It stood out a mile because it was the

:51:20.:51:27.

opposite of what everyone was doing? We were trying to do things

:51:27.:51:31.

that were the opposite of what everyone was doing. Everyone was

:51:31.:51:36.

dressing up and wearing gold suits, so we wanted to be different.

:51:36.:51:42.

every album came a new image. By the time of Don't Stand Me Down,

:51:42.:51:47.

they neglected masterpiece, the critics turn. His bold new look was

:51:47.:51:52.

dismissed as being that of a double glazing salesmen and people forgot

:51:52.:51:57.

about the music. Did it bother you? It did, I felt it was a very good

:51:57.:52:02.

album and the look was great. I still do. All I was doing was

:52:02.:52:07.

following my intuition, which is what I always do. Someone said to

:52:07.:52:11.

me the other day, did you think you would get that reaction? I never

:52:12.:52:16.

think about that. I think it will be a positive reaction and I was

:52:16.:52:24.

genuinely shocked. As I was in 199 with the dress thing. They split up

:52:24.:52:31.

in 1986 and Kevin launched a solo career with the Wanderer.

:52:31.:52:36.

Then in the late 90s he astonished everyone by releasing an album of

:52:36.:52:41.

covers calls, my beauty. It or was what Kevin was wearing rather than

:52:41.:52:45.

what he was singing, but grab people's attention. Were you

:52:45.:52:51.

surprised people went, he is in drag? I was, I thought they would

:52:51.:53:01.

just say a man in a dress. What I wasn't prepared for was a people

:53:01.:53:08.

being freaked. People were actually crossed. They work. Part of the

:53:08.:53:12.

genius of what you have done is being able to annoy people by what

:53:12.:53:19.

you were. Isn't that what every teenager wants to do? When you

:53:19.:53:25.

dress up it is this is who I am, take it or leave it? I loved it. I

:53:25.:53:30.

have never done anything I don't believe in. Kevin adopted a

:53:30.:53:34.

disciplined approach to the hard work of making music. But without

:53:34.:53:39.

the focus of the band around him, he became disenchanted with his

:53:39.:53:44.

superstar past and fell into drug experimentation and addiction. What

:53:44.:53:52.

happened, Kevin? You had a difficult period? I was so

:53:52.:53:56.

disillusioned after the album, Stand Me Down. By the way it was

:53:56.:54:03.

received? It's was a factor, I was broke, and my manager was gone. I

:54:03.:54:11.

had been pretty much drugs three through the band. You had the big

:54:11.:54:17.

don't drink thing I remember that. I think the band was my drugs. I

:54:17.:54:21.

had put as much as I had into everything I did and that the end

:54:21.:54:26.

of it I was wiped out. I know of the stories you would go out and

:54:26.:54:36.
:54:36.:54:38.

running, come in to rehearsals and I loved the work ethos. You could

:54:38.:54:41.

hear it in the records and it seems odd that you would fall into

:54:41.:54:46.

something so opposite what the band was about? When you are so again

:54:46.:54:52.

something like that, it is trouble, really.

:54:52.:54:57.

In 2003, they briefly reformed, but it has taken until now for them and

:54:57.:55:05.

to release their long awaited 4th album, one day I am going to soar.

:55:05.:55:15.
:55:15.:55:33.

We went for a performance. And the way that Ali did it, my manager,

:55:33.:55:38.

everybody said it won't work. A few of the musicians said he will

:55:38.:55:42.

definitely not be able to do it like that. We did a couple of songs

:55:42.:55:52.

at a time from start to finish. Recorded live? We did, yes. I can

:55:52.:55:58.

imagine listening to that driving late and night, it has the 70s funk

:55:58.:56:03.

thing going on with it. We slaved over the tempo and I feel we have

:56:03.:56:07.

got it right. Your voice has changed and matured over the years

:56:07.:56:12.

in a way which is interesting. It does now sound like the voice of

:56:12.:56:21.

experience, as opposed to the voice of angry youth? Thanks. I know

:56:21.:56:26.

loads of people have been waiting for it, it is a really big deal.

:56:26.:56:32.

How do feel about it? I bet you thought it would never happen?

:56:32.:56:38.

feel completely blessed and lucky. So the first album in 27 years and

:56:38.:56:48.
:56:48.:56:49.

the first No 1 in 30. Well done. it No 1? Yes, the first No 1 was

:56:49.:56:56.

come on Eileen. One day I am going to soar is

:56:56.:57:00.

released on 4th June. Bass just about it, the last in our current

:57:00.:57:05.

series. We will be back in tune with cultural highlights from the

:57:05.:57:10.

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