:00:21. > :00:24.This programme has some strong Tonight on the review show, Ridley
:00:24. > :00:30.Scott's first sci-fi movie since Blade Runner, is the director back
:00:30. > :00:36.where he belongs. As Olympic fever rises, a new book from Chris Cleave
:00:36. > :00:41.spins a story of elite athletes. Turner Contemporary celebrates
:00:41. > :00:49.Tracey Emin, the artist who once called herself Mad Tracey from
:00:49. > :00:59.Margate, is she now more mellow than mad. Punk, as charted by its
:00:59. > :01:00.
:01:00. > :01:08.finders, including Souness -- Graeme Souness and lined lined line.
:01:08. > :01:12.An arky might be expect the from Natalie Haynes fresh from judging
:01:12. > :01:18.the Orange price. The presenter of British Masters,
:01:18. > :01:24.journalist and former rock manager, Paul Morley, who wrote for NME in
:01:24. > :01:29.punk's hey day. We would like to hear your comments, so tweet away.
:01:29. > :01:33.It is 30 years since Ridley Scott's last sci-fi movie, there could
:01:33. > :01:40.scarsly be more anticipation for Prometheus. It hits cinemas today
:01:40. > :01:49.like a spaceship blasting into distant galaxies. Blade Runner had
:01:49. > :01:54.the style, Thelma and Louis, the sass. And Alien "that" scene.
:01:54. > :01:58.Ridley Scott's career is as diverse as it is long. Despite the success
:01:58. > :02:05.of the Alien franchise, it has taken three decades, and a script
:02:05. > :02:10.by the co-creator of Lost, to lure him back to the genre.
:02:10. > :02:15.It is 2093 and a team of scientists, recruited by a mysterious
:02:15. > :02:19.corporation, heads off to a distant planet, after an archaeological
:02:19. > :02:23.discovery on earth suggests that the secret of human creation lies
:02:23. > :02:29.in a planet half a billion miles away. As they prepare to meet their
:02:29. > :02:39.makers, the expedition runs into dangerous territory. What the hell
:02:39. > :02:41.
:02:41. > :02:48.is that? Prometheus, come in. Inevitably, when Ridley Scott call,
:02:48. > :02:56.the stars fall into alignment. Noomi Rapace covers her Dragon
:02:56. > :03:02.Tattoo, as a space scientist. Charlize Theron plays the ice Queen
:03:02. > :03:06.chief of the large corporation. And Michael Fassbender plays David, an
:03:06. > :03:10.android, not entirely impressed with his creators. Why do you think
:03:10. > :03:14.kwhrur people made me? Because -- Why do you think your people made
:03:14. > :03:20.me? Because they could. Imagine what it would mean to you to hear
:03:20. > :03:27.the same thing from your creator. Anticipated for light years by sci-
:03:27. > :03:32.fi fans, is the story with all the bells and whistles of cinema
:03:32. > :03:38.production as powerful as the gods themselves.
:03:38. > :03:42.Natalie, this film has supposedly been incubating for 20 years. He
:03:42. > :03:47.wouldn't go to the Alien series, he has gone way back, should he have
:03:47. > :03:51.done it? I think so. It is a good fun action movie. There are lovely
:03:51. > :03:55.nods, if you are an Alien nerd, right at the very beginning, I will
:03:55. > :03:59.not give anything away, or I will get death threats and I will
:03:59. > :04:04.deserve it. Right at the beginning when we see Michael Fassbender's
:04:04. > :04:12.android character, he's a rubbish android, but the time they are an
:04:12. > :04:20.android they are like normal people, he's slightly stiff. It is 2089?
:04:20. > :04:30.are miles back in android. Killing time in stasis, he cycles around
:04:30. > :04:37.and throws hoops in the basketball, what a nod to Alien, where Sig
:04:37. > :04:44.ourney Weaver makes the shot, and there are nerd nods. The ship is
:04:44. > :04:48.called Prometheus, that is supposed to do with the Titus taking it.
:04:48. > :04:53.has nobody told us yet how daft the film is. Utterly daft. And not
:04:53. > :04:58.necessarily in a bad way. But it is just a really daft film. Everything
:04:58. > :05:03.about it is wrong. What was interesting about his great science
:05:03. > :05:07.fiction pieces, Alien and Blade Runner, is there is an be a strax
:05:07. > :05:16.about it, without the actors taking over. In this one they take over a
:05:16. > :05:25.bit, they act like they are in a 1990s police drama, Idris Elba if
:05:25. > :05:29.he had said "God dam" I would have knocked him over. Give it to me.
:05:29. > :05:34.this idea that it continues the myth of Alien, enough it enough.
:05:34. > :05:39.Alien was a horror movie, is this a horror movie? I don't think it is
:05:39. > :05:43.as tense or Spenceful as Alien, the reason is, the really scary parts
:05:43. > :05:46.of Alien were the silent sequences in which nothing happened. There
:05:46. > :05:50.none of that year. Ridley Scott doesn't seem to have the confidence
:05:50. > :05:55.to let the film breathe and ratchet the tension out with silence. The
:05:55. > :05:59.tag line for that original Alien film was "in space no-one can hear
:05:59. > :06:04.you scream". In this film no-one can hear you scream, because the
:06:04. > :06:11.music is too loud. I thought it was nowhere near as scary. That is what
:06:11. > :06:16.everyone's dad says! What about the nod to the Ridly, there is Charlize
:06:16. > :06:23.Theron, that whole kind of female thing going on that he always does?
:06:23. > :06:28.Ripley is kind of split in two. There is rough and tough Ripley,
:06:28. > :06:32.ass-kicking with Charlize Theron, and then tragic Ridley. Good and
:06:32. > :06:37.evil? They have split her into two halves. I sort of started to mind
:06:37. > :06:40.after a while. I missed the idea you could be vulnerable and ass-
:06:40. > :06:44.kicky. She is by the end, but not with the same gusto. We won't give
:06:45. > :06:48.away the ending at all? Ridley Scott watches a lot of television
:06:48. > :06:54.and films, he has a lot of favourites he likes toest ka, and
:06:54. > :06:58.he has cast them, things he -- to cast, and he has cast them, things
:06:58. > :07:05.he likes to watch. It takes an hour to get going, so it is dreary.
:07:05. > :07:10.There is the best use ever of Stephen Stills, that I believe is
:07:10. > :07:15.impro-advised, and Ridley Scott has no idea what is going on, when
:07:15. > :07:21.suddenly Idris Elba is quoting "love the one you are with", and
:07:21. > :07:26.step vein Stills is holding a squeeze box and playing it. What
:07:26. > :07:30.about the idea that this was the big theme of Darwinism, and
:07:30. > :07:35.religion, you know, they are set up and are they explored? I felt
:07:35. > :07:39.really short-changed. I thought the film would deal with these big
:07:39. > :07:46.issues, Ridley Scott was talking about it delivering on the future
:07:46. > :07:52.of faith and the environment. And viral videos came out and said it
:07:52. > :07:58.would about corporation. It might have been a better film? Those
:07:58. > :08:02.people understood what the audience would like better. Elizabeth Shaw
:08:02. > :08:08.is a Christian woman, she wears a cross around her neck, and it
:08:08. > :08:13.becomes more important as the film goes on, she's liking for
:08:13. > :08:19.Aliens/Gods as she goes on. I'm not religious, but if you believe in a
:08:19. > :08:23.Christian God you don't believe in Aliens/gods. There was the nod to
:08:24. > :08:28.the corporate world, that the big corporate world gets an escape
:08:28. > :08:33.capsule? Let's not overbuild some of the minor themes by the guy who
:08:33. > :08:37.wrote it and used to write for Lost, when I saw it, it looks like it is
:08:37. > :08:42.going backwards, it looks like a bad episode of Thunderbirds. There
:08:43. > :08:46.is no reason why he's doing what he's doing in 3-D. I'm sure there
:08:46. > :08:52.will be lots of reasons why Michael Fassbender agreed to do the film,
:08:52. > :09:02.not least working with Ridley Scott. Do you watch The Big Bang Theory,
:09:02. > :09:04.
:09:04. > :09:07.he's like Sheldon. He may be a droid but he's the only one with
:09:07. > :09:11.character? There is so little humanity, that the great character
:09:11. > :09:14.you cling to is the robot. I felt if you compare it to Alien, the
:09:14. > :09:18.opening sequence when they are having this very domestic breakfast,
:09:18. > :09:22.and you really feel you want these people to get through what is
:09:22. > :09:27.happening to them. With this film I couldn't care less if the crew of
:09:28. > :09:32.Prometheus died or not. With Alien and other sequels, they are ahead
:09:32. > :09:35.of their time and critque of corporate awfulness, this one feels
:09:36. > :09:40.like it is behind the curve. We knew the corporation were a bad
:09:40. > :09:43.thing, because they have pursued Ripley through four films. Suddenly
:09:43. > :09:47.we go through it and say corporations are bad. We were doing
:09:48. > :09:50.it 30 years ago and it was more exciting then. If you look at the
:09:51. > :09:54.canon of Ridley Scott, you have Thelma and Louis, all sorts of
:09:54. > :10:00.films, he is going to maybe return to those, but Blade Runner first,
:10:00. > :10:04.do we need to return to that, what a film? Not if he does anything
:10:04. > :10:10.like that. We do not, I don't think I can face it. He has said he would
:10:10. > :10:16.like to cast Harrison Ford in it, he will have to have old Harrison
:10:16. > :10:20.Ford, to do that I will have to accept that he's a replicate, I
:10:20. > :10:26.won't accept that. This was a little bit like the celebration of
:10:26. > :10:32.the demise of progressive rock, it had that ethic monumental quality
:10:32. > :10:37.of a bad triple album by Genesis. Don't let us put you off,
:10:37. > :10:42.Prometheus is in cinema, go and see it for yourself. Still to mum,
:10:42. > :10:47.Tracey Emin is back home in Margate. And a look at Jubilee fever in 1977.
:10:47. > :10:51.As the Olympic torch travels the country, the latest novel from
:10:51. > :10:55.best-selling author, Chris Cleave, takes us behind the scenes at the
:10:55. > :10:59.international velodrome and into the heads of top athletes. At first
:10:59. > :11:04.glance the covers of Chris Cleave's previous novels suggests light
:11:04. > :11:08.reading. But his emotional and compelling narratives, and subjects
:11:08. > :11:12.of immigration, have earned the respect of readers keen to go
:11:12. > :11:16.beyond the headlines. As a writer I have always wanted to inhabit this
:11:16. > :11:20.contested space between the point at which newspapers stop having
:11:20. > :11:26.space to cover a story. And the point about five years later at
:11:26. > :11:31.which historians begin to examine it. Gold is in that same tradition.
:11:31. > :11:34.Gold tells the story of Kate and Zoe, best friends and rival
:11:34. > :11:38.competitive cyclists. On the track there is almost nothing to separate
:11:38. > :11:44.them. But their private lives are in turmoil. Zoe is concealing a
:11:44. > :11:49.secret from her past, and Kate's daughter, Sophie, has leukaemia.
:11:49. > :11:54.This intensity, a single second seemed unendureable, and 20,
:11:54. > :12:00.unimaginable. By an effort of will, she called the image of Sophie into
:12:00. > :12:05.our mind. She thought, if I win this race, Sophie will get better.
:12:05. > :12:09.I like to take my characters to these extreme edges of human
:12:09. > :12:14.experience, where we ask them these great questions that we all ask
:12:14. > :12:18.ourselves. Gold is about what do you put first, your ambition or the
:12:18. > :12:21.love you have for your friends and family. If the novel is about
:12:21. > :12:27.personal and professional sacrifices, it is also about the
:12:27. > :12:33.focus and dedication it takes to make an Olympic athlete. How do we
:12:33. > :12:39.get people on to the start line of this extraordinary event, the
:12:39. > :12:43.Olympic ideal, swifter, harder, stronger. It is easy to watch, but
:12:43. > :12:48.very complicated and hard to get there, like everything that is
:12:48. > :12:53.worth something in life. "There was no pain, the air whistled past her
:12:53. > :12:59.ears, she listened intently, that silent music was all there was. It
:12:59. > :13:03.was the sound of the universe showing her mercy. Finally she was
:13:03. > :13:08.no-one". The publishers's blush promises a novel that will make you
:13:08. > :13:16.cry, and make you glad to be alive. But is this Olympic hopeful really
:13:16. > :13:20.publishing gold? James, as Chris said, as the book
:13:20. > :13:28.jacket says, this is the book that takes you into the mind of Olympic
:13:28. > :13:33.athletes, did you feel you were in there with all the traumas, flights
:13:33. > :13:37.and worries? I was a sucker for it, really. I realised it had some flaw,
:13:37. > :13:42.it was slightly mellow dramatic at times. It tried very hard to put
:13:42. > :13:45.you in that scene. Olympic, cancer, promiscuity, everything? That was
:13:46. > :13:50.the one false note. I really did enjoy this book, I thought it was a
:13:50. > :13:53.very well crafted piece of work. It did draw you in, almost against my
:13:53. > :13:59.will. But at the same time, the one thing I felt was just a step too
:13:59. > :14:02.far was the girl with leukaemia. That seems to be a cast iron way to
:14:02. > :14:06.move people. It seemed like a slightly cheap shot to do that.
:14:06. > :14:12.When you look at the hundreds of quotes inside there, and the fact
:14:12. > :14:17.it has won the Somerset Maug hen prize, it is the literary novel,
:14:17. > :14:21.that we are willing to respect this book? I find that quite strange. I
:14:21. > :14:28.thought it was a very well paced book, it didn't feel at all like a
:14:28. > :14:32.literary novel for me. The second page somebody's smile is like a new
:14:32. > :14:37.born foal and its legs buckle underneath it, you think, honestly,
:14:37. > :14:42.and the dialogue says "I'm like a nuclear submarine". Nobody has ever
:14:42. > :14:46.said that, not unless they were mad. So, I kind of felt somebody was
:14:46. > :14:51.pushing me towards something that didn't really exist. I felt bad for
:14:51. > :14:56.not liking it. I think Incendiary is a vastly better written book. I
:14:56. > :15:01.felt this had been rushed out in times for the Olympic. Wish the
:15:01. > :15:07.publishers didn't do 15 pages of telling us he's really stunning and
:15:07. > :15:11.he's a Zola, once you get through the book and you realise he's a
:15:11. > :15:14.minor Nick Hornby, you wouldn't have bothered so much. It is a
:15:14. > :15:20.hybrid of a Mills and Boon book, and a terrible attempt to get a
:15:20. > :15:24.book out for an Olympics. Is it easy or hard to write a book
:15:24. > :15:29.about sport? There was a cultural divide, you talked about loving
:15:29. > :15:33.sport and art. That is not a British thing in novelists, it is
:15:33. > :15:39.more an American thing? To right a piece of fiction about sport is
:15:39. > :15:46.particularly difficult. I'm thinking about the Manchester City
:15:46. > :15:51.game where we made history. It was like Norman Mahler saying when you
:15:51. > :15:56.are watching the fight of Muhammed Ali, you have to get all of it into
:15:57. > :16:02.a few pages. You have to be a tremendous writer to do that. I
:16:02. > :16:05.don't think Chris Cleave is. It isth reminds me of the Great
:16:05. > :16:14.British Menu, when they are told to break boundaries,'s trying to do
:16:14. > :16:19.that and not doing it. I think of Neverland, it is not
:16:19. > :16:22.really about that, the whole book? British literature it is very rare
:16:22. > :16:26.to see sport being dealt W I wonder whether that is because in Britain
:16:26. > :16:31.there are sporty people, and arty people, and sporty people don't
:16:31. > :16:37.read novels and sporty people aren't arts fan. In the US there is
:16:37. > :16:41.a huge canon of literature, back to Moby Dick, and the boxing, and bull
:16:41. > :16:47.fights, and Richard Ford, the great opening sequence with the baseball
:16:47. > :16:52.scenes in Underworld. I wonder whether it is maybe because the
:16:52. > :16:58.great American writers and artists, they are thought of in terms of
:16:58. > :17:03.masculinity, these great macho figure, Jackson Pollock, the great
:17:03. > :17:07.frontiers man. It is interesting in this country, some of the better
:17:07. > :17:09.books about sport are biographies, and stories of fans writing about
:17:10. > :17:14.things. They are writing about characters and a different sort of
:17:14. > :17:21.thing. Chris Cleave trying to get inside the head of a cyclist. And
:17:21. > :17:31.it also slightly underwomens you it is a cyclist, suddenly psyche --
:17:31. > :17:33.
:17:33. > :17:37.underwomens you, as it is a cyclist, there are the books by Eamonn
:17:37. > :17:41.Dumphy, great books about sport, but not getting into the head of
:17:41. > :17:44.the person. That kind of concentration and six and seven
:17:44. > :17:54.things firing off at the same time. You don't need to write about sport
:17:54. > :17:54.
:17:54. > :18:01.to do that. Certainly in film and television, in the last couple of
:18:01. > :18:06.years we have had the film Moneyball, which is brilliant. And
:18:06. > :18:10.then five years of Friday Night Lights, an American football team
:18:10. > :18:14.in a high school in the middle of Texas. And it is the most
:18:14. > :18:18.compelling thing. I watched all five seasons, weeping throughout.
:18:18. > :18:21.By the last episode of the last series, still when someone did a
:18:21. > :18:25.thing with an American football, I had to look at the faces in the
:18:25. > :18:32.audience of the characters to see if it was good ored bad. I didn't
:18:32. > :18:36.know. I could have lived without Kyra Knightly playing football.
:18:36. > :18:40.They are invented sports, and they need the great writer to complete
:18:40. > :18:47.them. At the end of it, Paul, the score is different at the beginning.
:18:47. > :18:56.Unlike in football. Where that is there. Gold is out now. Over the
:18:56. > :19:01.past 25 years, Tracey Emin has had an often painful dialogue with her
:19:01. > :19:08.town Margate, scenes of her rape and sexual abuse. Now she has come
:19:08. > :19:13.home with a brand new work, showing a brand new state of mind. I went
:19:13. > :19:17.to meet her. You have called this show, She Lay Down Deep Beneath the
:19:17. > :19:21.Sea. What does that refer to? refers to feeling like an immense
:19:21. > :19:26.amount of weight on top of you. Just before my dad died I was in
:19:26. > :19:32.France, and I have got an olive grove there, I had a gardener that
:19:32. > :19:37.had cut the olive trees back to absolute nubs, I wanted the trees
:19:37. > :19:41.and shade. When I saw what they had done to the olive groves I threw
:19:41. > :19:45.myself on the floor and cried. What I knew I was upset about was the
:19:45. > :19:51.fact that my dad was dying. There is a mattress from Heels, on it
:19:51. > :19:55.just a branch, no leaves, nothing. Is that a repost to the other bed?
:19:55. > :19:59.Definitely, in my old studio, I had this big branch, just hanging
:19:59. > :20:04.around. And I just threw it on the mattress one day, not intentionally,
:20:04. > :20:07.just to get rid of it, put it somewhere, then I thought, wow,
:20:07. > :20:13.that looks brilliant. There is a conversation between the mattress
:20:13. > :20:18.and the dead branch. That is what I felt like. You only used 566, tell
:20:18. > :20:22.me about using the colour 566? was in Italy, and while I was there,
:20:22. > :20:26.I just had this whole energy to make some work, we went to the
:20:26. > :20:30.local art shop, I bought a watercolour pad and one tube of
:20:30. > :20:35.paint. And made these best water colours that I have made in so long,
:20:35. > :20:40.that for me are more like a memory or a picture or something. There is
:20:40. > :20:43.a group of blue paintings, you in bedside by side with somebody,
:20:43. > :20:47.together but separate. And is this about the way that you think about
:20:47. > :20:50.a relationship now? Yeah, definitely. I don't think you have
:20:50. > :20:54.to sleep together every night to have a relationship. What is
:20:54. > :21:04.essentially important is you must love each other. That is what I'm
:21:04. > :21:04.
:21:04. > :21:09.looking for now, is love. You include Turner and Rohdan
:21:09. > :21:14.draurgs, why have you included those? Most of it is incredibly
:21:14. > :21:24.erotic, I wanted it to be more porn know graphic rather than erotic, I
:21:24. > :21:24.
:21:24. > :21:27.wanted people to see that -- porn know graphic rather than --
:21:27. > :21:33.pornographic, rather than erotic, I wanted people to see men have been
:21:33. > :21:38.doing this for many years, and my work isn't that shocking. A royal
:21:38. > :21:48.commendation, does that mean a lot to you, what does it mean to you
:21:48. > :21:52.
:21:52. > :21:57.now? It means I stay alive for a little bit longer. People say I'm
:21:57. > :22:00.becoming part of the establishment, I say no, it is like saying
:22:00. > :22:02.policemen are getting younger. I have been doing this for a long
:22:02. > :22:06.time, but people in the establishment are younger than me,
:22:06. > :22:10.they appreciate what I have done and the effort I have made. I think
:22:10. > :22:15.being a female artist now, at the moment, is a really good, good time.
:22:15. > :22:22.As I always keep saying, men, one big giant ejaculation, but women
:22:22. > :22:27.keep coming and coming, that is how I feel at the moment. Thank you.
:22:27. > :22:31.Paul, just a year after the retrospective, she goes to Margate
:22:31. > :22:36.and creates a brand new show, it is a different sensation? It is very
:22:36. > :22:41.much rooted in the idea of Margate, and what has happened to Margate,
:22:41. > :22:45.the idea it is a very be priefd place, it is falling to bits, it is
:22:45. > :22:49.a terrible -- deprived place, it is falling to bits, and a terrible
:22:49. > :22:56.metaphor for what is happening in Britain. There is this gallery
:22:56. > :23:01.perched on the edge of depravation, and she, from Margate is in there.
:23:01. > :23:07.It wouldn't been there? It is the actor of imagination who can make
:23:07. > :23:11.this happening that is not about Mary Portas coming in and people
:23:12. > :23:14.being involved in it, but a city being revitalised by the
:23:14. > :23:19.imagination. I love this exhibition because it is implanted in this
:23:19. > :23:22.gallery, inside Margate, and it is an act of will. Within it is great
:23:22. > :23:27.compression. I have always thought of Tracey as being a kind of poet
:23:27. > :23:30.in a way. She is giving us a series of image. She compresses them in a
:23:30. > :23:35.different way, a visual way, they are the same sort of thing, how she
:23:35. > :23:39.feels, her memories. In her sense, the loneliness, the fear about the
:23:39. > :23:43.future, she's tipping into 50, what will happen. In that sense it is a
:23:43. > :23:48.really beautiful exhibition, for two reasons. One we get the sense
:23:48. > :23:52.of the poetic impressions of her experience, and very poignantly,
:23:52. > :23:57.within her home town. People have talked about this as being a
:23:57. > :24:02.resolution, as Paul is saying, Tracey is only 48, it is at a stage,
:24:02. > :24:05.but she will go on presumably changing ever more? I disagree with
:24:06. > :24:11.Paul. Because I think the only good thing about the exhibition is it is
:24:11. > :24:14.in Margate. I think Tracey Emin did produce some great work back in the
:24:14. > :24:21.1990s her childhood and her youth and all those kinds of things. It
:24:21. > :24:29.is 20 years later, she is a very wealthy 48-year-old, pillar of the
:24:29. > :24:33.establishment, I don't blie that thing she says, that is teenage
:24:33. > :24:36.stuff. She's not doing teenage stuff now? I think there is,
:24:36. > :24:41.drawings of women clutching their crotches and talking about how much
:24:41. > :24:46.things hurt. I just think that I don't buy it. She talks in your vt
:24:47. > :24:51.section about how this whole idea of an eggs Biggs was spawned from
:24:51. > :24:55.this unpleasant experience she had when her gardener cut her olive
:24:55. > :25:03.grove too aggressively. How are we supposed to have sympathy for this.
:25:03. > :25:09.Is she laying bare the universal truths of the human condition, with
:25:09. > :25:12.her olive grove. It was what happened when this happened to the
:25:12. > :25:15.olive grove, her father was Mediterranean and could have
:25:15. > :25:19.understood what was happening, and could have returned, but didn't, he
:25:19. > :25:23.was dying. It was a story that she couldn't tell? I would have had
:25:23. > :25:27.more sympathy for the exhibition if the work insigned it was better. I
:25:28. > :25:32.liked the embroid rees based on her drawings were beautiful. The
:25:33. > :25:42.drawings that dominate the exhibition are scratchy, formless,
:25:43. > :25:44.
:25:44. > :25:48.repetitive, and covered in these descriptions, they are faux niave
:25:48. > :25:58.inscriptions. She owes us more than? That is a big thing to say,
:25:58. > :26:02.she owes us? She does. When I went to this exhibition, I thought, she
:26:03. > :26:12.embraces sculpture, she embraces embroidery, tapestry, you know,
:26:13. > :26:14.
:26:14. > :26:20.wood building. She is a Rennaissance woman? She tell ago
:26:20. > :26:24.story that doesn't show what is happening, losing one kind of
:26:24. > :26:27.fertility and replacing it with another. As Plato says artistic
:26:27. > :26:33.children are better than human children. It is a big moment, she
:26:33. > :26:37.has chosen not to have children, but she has made an exhibition, in
:26:37. > :26:40.essence, about her well running drive. There is a piece called The
:26:40. > :26:45.Vanishing Lake, it is about a lake that vanishs in France in the
:26:45. > :26:49.summer and comes back in the winder. It is also about her fertility, we
:26:49. > :26:54.have had old artists before, they tend to be men, losing their fare
:26:54. > :27:01.till doesn't tend to come up. You can have a child in your 80s. This
:27:01. > :27:08.isn't a story told in an art gallery at all.
:27:08. > :27:12.She places herself with Turner and Rodan and she doesn't disappear, it
:27:12. > :27:15.could be a gimmick and she could end up being drowned. I love the
:27:15. > :27:20.idea that some of her drawings that are quick, have been turned into
:27:20. > :27:23.the patience and stillness of tapestry, given the tension between
:27:23. > :27:28.the speed of thought and the permanence of something else. That
:27:28. > :27:32.works really successfully. About the question of the tapestry,
:27:32. > :27:37.it is a very female way of working. She talks about the idea when the
:27:37. > :27:41.women get together to do the embroidery tapestry, that is art
:27:41. > :27:46.itself. You may make something quite quickly, but you transform it
:27:46. > :27:50.with the endeavour of many artists? It is clearly an exhibition that is
:27:50. > :27:54.aware of its art historical context. I don't think, like Paul, that
:27:54. > :27:58.context flatters her work. I think the rod Dan drawings and water
:27:58. > :28:03.colours are in a different league to her work, the Turner sketch,
:28:03. > :28:07.while more interesting than impressive, at least show he had
:28:07. > :28:12.the modesty to keep his scrawls to himself. Some would say because it
:28:12. > :28:15.is the time in which he lived, meant that people like Ruskin would
:28:15. > :28:20.be down his neck saying you can't have these? It works in the context
:28:20. > :28:29.of the exhibition, the windows open up to the sea, the colours. The
:28:29. > :28:35.framing of it is an imaginative leap. The buelful girl, the idea of
:28:35. > :28:44.Marie Therese Waters, she says she made herpes with pick kas he sow,
:28:44. > :28:47.who was incredibly missoingist, -- Picasso who was incredibly
:28:47. > :28:52.missoingnis, she comes to terms with it. What has always been true
:28:52. > :28:56.throughout her career, is she works like an ois ter, the thing --
:28:56. > :29:01.oyster, the thing that scratches is what she makes beautiful things out
:29:01. > :29:06.of. She is making more beautiful things than before. Make your way
:29:06. > :29:12.to Margate, tracey's exhibition is at the Turner Contemporary in
:29:12. > :29:17.Margate. Emin and her fellow British artists
:29:17. > :29:23.must owe something to the debt of the punk movement. A new three-part
:29:23. > :29:33.series on BBC Four shows the clashes of this culture that shook
:29:33. > :29:39.
:29:39. > :29:46.up a boring Britain. There were two TV channel, no jobs,
:29:46. > :29:54.no future. There was a sense of boredom. What set punk apart was a
:29:54. > :29:58.voice, it was a vision of Britain and how it smelt to the youth.
:29:58. > :30:02.wanted to do something, look at me now, I'm nothing. The situation in
:30:02. > :30:06.Britain sort of produced us, it gave us a place, in a way. Because
:30:06. > :30:12.that lack of things meant that you had to do something for yourself.
:30:12. > :30:17.For me that was music. As well as tracing punk's political
:30:17. > :30:22.and cultural roots, the series features classic moments from the
:30:22. > :30:26.archives, such as the sex pistol's scandalous appearance on the Today
:30:26. > :30:32.Show. You dirty fucker. What a fucking rotter. That's it for
:30:33. > :30:38.tonight. Punk Britannia charts the protest of the punk movement, as it
:30:38. > :30:42.grew apace in the 1970, with candid interviews from its creators.
:30:42. > :30:47.would be no punk without glam. I remember watching Top Of The Pops
:30:47. > :30:53.and Boland was on doing hot love, I never saw anything like it, these
:30:53. > :31:01.girls were like whacking off. I thought, that's what I want to get
:31:02. > :31:06.stuck into. So was there really Anarchy In The UK in the 1970, or
:31:06. > :31:09.is this series nothing more than rose-tinted remembering by some
:31:09. > :31:15.ageing punk rockers? I saw you in the crowd, Paul
:31:15. > :31:18.Morley? My legs were there many times. Do you think there is a fair
:31:18. > :31:21.reflection of both the music, the culture and the politics? It is a
:31:22. > :31:26.good story, it is really well told. Some unusual voices, some
:31:26. > :31:36.unexpected vois in there, that I really liked -- voices in there.
:31:36. > :31:38.
:31:38. > :31:43.You have Mark Stuart, and Wilko Johnson, the Raincoats, Viv out of
:31:43. > :31:47.The Shrilt, it is going beyond a musical story but an important
:31:47. > :31:56.moment in his treatment when you look at the sex pistols and Johnny
:31:57. > :32:00.Rotten, you are still looking into the future. It is something that
:32:00. > :32:03.happened 35 years ago and why the hell isn't it happening now. This
:32:03. > :32:07.programme tells you how that happened in a post-war situation,
:32:07. > :32:12.young people trying to find their voice, finding it in this way, that
:32:12. > :32:14.was about pop music, because it was important, but it was an artistic
:32:14. > :32:18.and political and cultural statement. This series does it
:32:18. > :32:22.really well to explain that. It is actually what is quite shocking
:32:22. > :32:26.about it, you think it was 35 years ago, and why is there nothing like
:32:26. > :32:29.it happening now, or not another counter culture movement happening
:32:29. > :32:33.exactly at the moment in Britain. We will talk about that in a moment.
:32:33. > :32:39.Some of the characters. Natalie, you are too young? What a treat to
:32:39. > :32:45.see John Cooper Clarke, and Johhn Lydon is amazingly good company. He
:32:45. > :32:51.still has John Lydon is still amazingly good company, he still
:32:51. > :32:55.has that impish glint in his eyes. I thought amazing, I watched the
:32:55. > :32:58.first two parts, I would have watched the rest of it if I could.
:32:58. > :33:02.I found it so interesting, I was not alive for the beginning of it,
:33:02. > :33:06.I will be alive for the last programme. I really loved hearing
:33:06. > :33:12.that story. I feel like punk was always the thing we weren't allowed
:33:13. > :33:15.to participate in as kids. There were spitting and things like that.
:33:15. > :33:19.Malcolm McCollateralen is explaining the whole thing about
:33:19. > :33:25.punk, saying there hasn't been a generation gap for five years,
:33:25. > :33:30.there hasn't been one for 25 years, five years! Did it seem like an old
:33:30. > :33:34.movie to you, that you didn't get your head around? I wasn't born
:33:34. > :33:38.when punk started, it was new to me. I found it a fascinating
:33:38. > :33:43.documentary. The contributors I found most interesting. How middle-
:33:43. > :33:53.class they all seemed. Rat Scabies? No? They were in well-appointed
:33:53. > :33:54.
:33:54. > :33:58.homes, they were smart, they were clean, one of them was a royal axe
:33:58. > :34:04.cadacadimician, this is the curse of all avant garde movements, they
:34:04. > :34:11.always become mainstream. Some of them were very damaged, they were
:34:11. > :34:19.being damaged because, Johhn Lydon said earlier on, was how -- John
:34:19. > :34:26.Lydon said early in the programme that how mainstream the country was.
:34:26. > :34:31.A lot of them are very damaged because they didn't get a chance.
:34:31. > :34:38.Didn't John Lydon make a Countrylife Butter advert. Some
:34:39. > :34:42.punks do like butter. John Lydon could do anything he dam well wants,
:34:42. > :34:48.he inspired -- damn well wants, anything that happens in a cultural
:34:48. > :34:54.sense now is because of John Lydon, I don't care what he does, even if
:34:54. > :34:58.he accepts a Knighthood. Is it happening because people are too
:34:59. > :35:05.fragmented, the Internet, though it bliings people together, people
:35:05. > :35:10.don't -- brings people together, doesn't gather people together?
:35:10. > :35:14.Save The Queen was number two in the charts, and now they are all
:35:14. > :35:18.queuing up to play the Jubilee concert. You think what happened,
:35:18. > :35:21.when did musicians become so successful. Because the
:35:22. > :35:24.establishment appropriated popular culture quickly after punk because
:35:24. > :35:28.they realised it was a genuine danger. That is why it is difficult
:35:28. > :35:31.to be maverick in this world. As soon as you are that, it is
:35:31. > :35:35.appropriated by the mainstream. Isn't it also a financial question,
:35:35. > :35:39.that you have to be rich to have a career as a musician because you
:35:39. > :35:43.can't make much money from selling records. The parallels between then
:35:43. > :35:46.and now were one of the most fascinating bit. There were clips
:35:46. > :35:50.of young people on the street saying we have no future and we
:35:50. > :35:54.have no jobs. At least then they could vent their anger and anxiety
:35:54. > :35:59.into this extraordinary exuberant and powerful and political movement.
:35:59. > :36:04.You know the events of last year prove there hasn't been a cultural
:36:04. > :36:09.revolution. What it is is violent shopping. The media has a part to
:36:09. > :36:12.play, it is not enabling an alternative voice. As soon as you
:36:12. > :36:16.have that maverick voice now it is deemed you are spoiling the party.
:36:16. > :36:20.The whole separation between the silver and this Jubilee is
:36:20. > :36:24.extraordinary in that sense. What has got lost is the ability to have
:36:24. > :36:28.a, to use language that is protest without people saying you are
:36:28. > :36:33.whingeing and being grumpy and saying it is not as good as it used
:36:33. > :36:38.to be. Let's go back to 1977, it does seem a long time ago. This is
:36:38. > :36:42.what it all looked like then. Away from the cermonial streets
:36:43. > :36:50.throughout the land, those who stayed at home were making ready to
:36:50. > :36:55.celebrate their way. During the day at countless parties,
:36:55. > :37:00.there has been much drinking of orange squash, much eating of jelly,
:37:00. > :37:04.and at Cricklewood, much cutting of Jubilee lake. Releasing balloons on
:37:04. > :37:07.a blustery afternoon was a difficult operation, and quite a
:37:07. > :37:11.few balloons found their ways into parties and neighbouring streets.
:37:11. > :37:14.It was all watched over by older and wiser subjects, who,
:37:14. > :37:18.nevertheless, hoped that party tradition will be maintained when
:37:18. > :37:23.the children of today grow up. There is, afterall, something
:37:23. > :37:27.happily British about it all. Three cheers for the Queen! That
:37:27. > :37:31.was then, and this is now. And so how are you going to commemorate a
:37:31. > :37:38.Jubilee weekend? I have to work. I have to work tomorrow and Sunday.
:37:38. > :37:42.So, yeah, on Radio Two, is the answer on Sunday. But is there a
:37:42. > :37:48.sense this is some incredibly momentous weekend? Not remotely.
:37:48. > :37:53.I'm not even a tiny bit hurray the Queen, even on my best day. If
:37:53. > :37:58.there is anything that will make me like that, the fact that the entire
:37:58. > :38:02.vicinity of London looks like V for Vendetta, and any suggestion thaw
:38:02. > :38:09.don't agree with hurray the Queen and the Olympics, you are sort of
:38:09. > :38:12.on a par with the most kill joy earn, you might as well be
:38:12. > :38:17.guillotineed. Is that a pervading attitude if you don't take part in
:38:17. > :38:20.it? There is a lot of going along with it, and not having an outside
:38:21. > :38:25.point of view because it is not allowed. It has come down to
:38:25. > :38:29.bunting, baking and boat tox. There is no opposition. When d Botox,
:38:29. > :38:33.there is no opposition. People saying they are just having fun and
:38:33. > :38:36.having a street part, what about those who want to create an
:38:36. > :38:39.opposition, without it Britain would be where it is. Not what you
:38:39. > :38:42.are celebrating, but the psycadelic radical spirit of the country that
:38:42. > :38:48.really creates the opportunity for you to think this is a great
:38:48. > :38:54.country. It has all turned on its head slightly. I'm distressed about
:38:54. > :38:58.the meekness and obedience. Come round to mine and we will have
:38:58. > :39:01.subversive money. I will be marking exam scripts. Live the dream.
:39:01. > :39:05.don't have a particular interest in the Royal Family. I remember the
:39:05. > :39:09.royal wedding last year, I went to the library, and the only person
:39:09. > :39:16.working away. I went to the circumstance cuss. When I came out
:39:16. > :39:26.people said I was a Circumstance cuss. When I came out people said I
:39:26. > :39:28.
:39:28. > :39:33.was a scrooge. I will be marking exam papers. Thank you to my guests,
:39:33. > :39:36.James, Natalie and Paul. Everything we have been discussing is on the
:39:36. > :39:41.website. We are braced for your tweets as we head towards the Green
:39:41. > :39:48.Room. Matter that is here with the book review special, locking at
:39:48. > :39:53.four literary giants. Dk looking at four literary giants.
:39:53. > :40:00.A new incarnation of Dexys, striped down just for us, from their first
:40:00. > :40:04.album in 20 years, this is I'm Thinking Of You. Good night.
:40:04. > :40:12.# From the darkest part # Of the loneliness
:40:13. > :40:19.# Of a torn and troubled man # Comes a desperate need to owe you
:40:19. > :40:26.# In every way that I can # For while you were gently growing
:40:26. > :40:29.# In this green and pleasant land # I'd already
:40:29. > :40:36.# By then # Forsaken myself
:40:36. > :40:44.# I was setting up my sham # I describe myself as a wander
:40:44. > :40:48.# We both know that's not what I am # And if you stand beside me
:40:48. > :40:58.# We'll go lower # Than I planned
:40:58. > :41:01.
:41:01. > :41:11.# Because all night long # I'm thinking of you
:41:11. > :41:13.
:41:14. > :41:23.# All the time # I'm thinking of you
:41:23. > :41:32.# When I go out # I'm thinking of you
:41:32. > :41:41.# When I'm home I'm thinking of you # Without your clothes
:41:41. > :41:50.# I'm thinking of you # When you're dressed up
:41:50. > :41:58.# I'm thinking of you # With your legs crossed
:41:58. > :42:06.# I'm thinking of you # And with them lots
:42:06. > :42:16.# I think of you too # I'm thinking of you
:42:16. > :42:16.
:42:16. > :42:24.# Always thinking of you # Woo
:42:24. > :42:31.# Oh M # Woo
:42:31. > :42:40.# Oh # So open your heart
:42:40. > :42:48.# Let me come through # With all of my life
:42:48. > :42:55.# I'll be thinking of you # So open your heart
:42:55. > :43:05.# Just let me come through # If all of my life
:43:05. > :43:07.