Browse content similar to 01/06/2012. Check below for episodes and series from the same categories and more!
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This programme has some strong Tonight on the review show, Ridley | :00:21. | :00:24. | |
Scott's first sci-fi movie since Blade Runner, is the director back | :00:24. | :00:30. | |
where he belongs. As Olympic fever rises, a new book from Chris Cleave | :00:30. | :00:36. | |
spins a story of elite athletes. Turner Contemporary celebrates | :00:36. | :00:41. | |
Tracey Emin, the artist who once called herself Mad Tracey from | :00:41. | :00:49. | |
Margate, is she now more mellow than mad. Punk, as charted by its | :00:49. | :00:59. | |
:00:59. | :01:00. | ||
finders, including Souness -- Graeme Souness and lined lined line. | :01:00. | :01:08. | |
An arky might be expect the from Natalie Haynes fresh from judging | :01:08. | :01:12. | |
the Orange price. The presenter of British Masters, | :01:12. | :01:18. | |
journalist and former rock manager, Paul Morley, who wrote for NME in | :01:18. | :01:24. | |
punk's hey day. We would like to hear your comments, so tweet away. | :01:24. | :01:29. | |
It is 30 years since Ridley Scott's last sci-fi movie, there could | :01:29. | :01:33. | |
scarsly be more anticipation for Prometheus. It hits cinemas today | :01:33. | :01:40. | |
like a spaceship blasting into distant galaxies. Blade Runner had | :01:40. | :01:49. | |
the style, Thelma and Louis, the sass. And Alien "that" scene. | :01:49. | :01:54. | |
Ridley Scott's career is as diverse as it is long. Despite the success | :01:54. | :01:58. | |
of the Alien franchise, it has taken three decades, and a script | :01:58. | :02:05. | |
by the co-creator of Lost, to lure him back to the genre. | :02:05. | :02:10. | |
It is 2093 and a team of scientists, recruited by a mysterious | :02:10. | :02:15. | |
corporation, heads off to a distant planet, after an archaeological | :02:15. | :02:19. | |
discovery on earth suggests that the secret of human creation lies | :02:19. | :02:23. | |
in a planet half a billion miles away. As they prepare to meet their | :02:23. | :02:29. | |
makers, the expedition runs into dangerous territory. What the hell | :02:29. | :02:39. | |
:02:39. | :02:41. | ||
is that? Prometheus, come in. Inevitably, when Ridley Scott call, | :02:41. | :02:48. | |
the stars fall into alignment. Noomi Rapace covers her Dragon | :02:48. | :02:56. | |
Tattoo, as a space scientist. Charlize Theron plays the ice Queen | :02:56. | :03:02. | |
chief of the large corporation. And Michael Fassbender plays David, an | :03:02. | :03:06. | |
android, not entirely impressed with his creators. Why do you think | :03:06. | :03:10. | |
kwhrur people made me? Because -- Why do you think your people made | :03:10. | :03:14. | |
me? Because they could. Imagine what it would mean to you to hear | :03:14. | :03:20. | |
the same thing from your creator. Anticipated for light years by sci- | :03:20. | :03:27. | |
fi fans, is the story with all the bells and whistles of cinema | :03:27. | :03:32. | |
production as powerful as the gods themselves. | :03:32. | :03:38. | |
Natalie, this film has supposedly been incubating for 20 years. He | :03:38. | :03:42. | |
wouldn't go to the Alien series, he has gone way back, should he have | :03:42. | :03:47. | |
done it? I think so. It is a good fun action movie. There are lovely | :03:47. | :03:51. | |
nods, if you are an Alien nerd, right at the very beginning, I will | :03:51. | :03:55. | |
not give anything away, or I will get death threats and I will | :03:55. | :03:59. | |
deserve it. Right at the beginning when we see Michael Fassbender's | :03:59. | :04:04. | |
android character, he's a rubbish android, but the time they are an | :04:04. | :04:12. | |
android they are like normal people, he's slightly stiff. It is 2089? | :04:12. | :04:20. | |
are miles back in android. Killing time in stasis, he cycles around | :04:20. | :04:30. | |
and throws hoops in the basketball, what a nod to Alien, where Sig | :04:30. | :04:37. | |
ourney Weaver makes the shot, and there are nerd nods. The ship is | :04:37. | :04:44. | |
called Prometheus, that is supposed to do with the Titus taking it. | :04:44. | :04:48. | |
has nobody told us yet how daft the film is. Utterly daft. And not | :04:48. | :04:53. | |
necessarily in a bad way. But it is just a really daft film. Everything | :04:53. | :04:58. | |
about it is wrong. What was interesting about his great science | :04:58. | :05:03. | |
fiction pieces, Alien and Blade Runner, is there is an be a strax | :05:03. | :05:07. | |
about it, without the actors taking over. In this one they take over a | :05:07. | :05:16. | |
bit, they act like they are in a 1990s police drama, Idris Elba if | :05:16. | :05:25. | |
he had said "God dam" I would have knocked him over. Give it to me. | :05:25. | :05:29. | |
this idea that it continues the myth of Alien, enough it enough. | :05:29. | :05:34. | |
Alien was a horror movie, is this a horror movie? I don't think it is | :05:34. | :05:39. | |
as tense or Spenceful as Alien, the reason is, the really scary parts | :05:39. | :05:43. | |
of Alien were the silent sequences in which nothing happened. There | :05:43. | :05:46. | |
none of that year. Ridley Scott doesn't seem to have the confidence | :05:46. | :05:50. | |
to let the film breathe and ratchet the tension out with silence. The | :05:50. | :05:55. | |
tag line for that original Alien film was "in space no-one can hear | :05:55. | :05:59. | |
you scream". In this film no-one can hear you scream, because the | :05:59. | :06:04. | |
music is too loud. I thought it was nowhere near as scary. That is what | :06:04. | :06:11. | |
everyone's dad says! What about the nod to the Ridly, there is Charlize | :06:11. | :06:16. | |
Theron, that whole kind of female thing going on that he always does? | :06:16. | :06:23. | |
Ripley is kind of split in two. There is rough and tough Ripley, | :06:23. | :06:28. | |
ass-kicking with Charlize Theron, and then tragic Ridley. Good and | :06:28. | :06:32. | |
evil? They have split her into two halves. I sort of started to mind | :06:32. | :06:37. | |
after a while. I missed the idea you could be vulnerable and ass- | :06:37. | :06:40. | |
kicky. She is by the end, but not with the same gusto. We won't give | :06:40. | :06:44. | |
away the ending at all? Ridley Scott watches a lot of television | :06:45. | :06:48. | |
and films, he has a lot of favourites he likes toest ka, and | :06:48. | :06:54. | |
he has cast them, things he -- to cast, and he has cast them, things | :06:54. | :06:58. | |
he likes to watch. It takes an hour to get going, so it is dreary. | :06:58. | :07:05. | |
There is the best use ever of Stephen Stills, that I believe is | :07:05. | :07:10. | |
impro-advised, and Ridley Scott has no idea what is going on, when | :07:10. | :07:15. | |
suddenly Idris Elba is quoting "love the one you are with", and | :07:15. | :07:21. | |
step vein Stills is holding a squeeze box and playing it. What | :07:21. | :07:26. | |
about the idea that this was the big theme of Darwinism, and | :07:26. | :07:30. | |
religion, you know, they are set up and are they explored? I felt | :07:30. | :07:35. | |
really short-changed. I thought the film would deal with these big | :07:35. | :07:39. | |
issues, Ridley Scott was talking about it delivering on the future | :07:39. | :07:46. | |
of faith and the environment. And viral videos came out and said it | :07:46. | :07:52. | |
would about corporation. It might have been a better film? Those | :07:52. | :07:58. | |
people understood what the audience would like better. Elizabeth Shaw | :07:58. | :08:02. | |
is a Christian woman, she wears a cross around her neck, and it | :08:02. | :08:08. | |
becomes more important as the film goes on, she's liking for | :08:08. | :08:13. | |
Aliens/Gods as she goes on. I'm not religious, but if you believe in a | :08:13. | :08:19. | |
Christian God you don't believe in Aliens/gods. There was the nod to | :08:19. | :08:23. | |
the corporate world, that the big corporate world gets an escape | :08:24. | :08:28. | |
capsule? Let's not overbuild some of the minor themes by the guy who | :08:28. | :08:33. | |
wrote it and used to write for Lost, when I saw it, it looks like it is | :08:33. | :08:37. | |
going backwards, it looks like a bad episode of Thunderbirds. There | :08:37. | :08:42. | |
is no reason why he's doing what he's doing in 3-D. I'm sure there | :08:43. | :08:46. | |
will be lots of reasons why Michael Fassbender agreed to do the film, | :08:46. | :08:52. | |
not least working with Ridley Scott. Do you watch The Big Bang Theory, | :08:52. | :09:02. | |
:09:02. | :09:04. | ||
he's like Sheldon. He may be a droid but he's the only one with | :09:04. | :09:07. | |
character? There is so little humanity, that the great character | :09:07. | :09:11. | |
you cling to is the robot. I felt if you compare it to Alien, the | :09:11. | :09:14. | |
opening sequence when they are having this very domestic breakfast, | :09:14. | :09:18. | |
and you really feel you want these people to get through what is | :09:18. | :09:22. | |
happening to them. With this film I couldn't care less if the crew of | :09:22. | :09:27. | |
Prometheus died or not. With Alien and other sequels, they are ahead | :09:28. | :09:32. | |
of their time and critque of corporate awfulness, this one feels | :09:32. | :09:35. | |
like it is behind the curve. We knew the corporation were a bad | :09:36. | :09:40. | |
thing, because they have pursued Ripley through four films. Suddenly | :09:40. | :09:43. | |
we go through it and say corporations are bad. We were doing | :09:43. | :09:47. | |
it 30 years ago and it was more exciting then. If you look at the | :09:48. | :09:50. | |
canon of Ridley Scott, you have Thelma and Louis, all sorts of | :09:51. | :09:54. | |
films, he is going to maybe return to those, but Blade Runner first, | :09:54. | :10:00. | |
do we need to return to that, what a film? Not if he does anything | :10:00. | :10:04. | |
like that. We do not, I don't think I can face it. He has said he would | :10:04. | :10:10. | |
like to cast Harrison Ford in it, he will have to have old Harrison | :10:10. | :10:16. | |
Ford, to do that I will have to accept that he's a replicate, I | :10:16. | :10:20. | |
won't accept that. This was a little bit like the celebration of | :10:20. | :10:26. | |
the demise of progressive rock, it had that ethic monumental quality | :10:26. | :10:32. | |
of a bad triple album by Genesis. Don't let us put you off, | :10:32. | :10:37. | |
Prometheus is in cinema, go and see it for yourself. Still to mum, | :10:37. | :10:42. | |
Tracey Emin is back home in Margate. And a look at Jubilee fever in 1977. | :10:42. | :10:47. | |
As the Olympic torch travels the country, the latest novel from | :10:47. | :10:51. | |
best-selling author, Chris Cleave, takes us behind the scenes at the | :10:51. | :10:55. | |
international velodrome and into the heads of top athletes. At first | :10:55. | :10:59. | |
glance the covers of Chris Cleave's previous novels suggests light | :10:59. | :11:04. | |
reading. But his emotional and compelling narratives, and subjects | :11:04. | :11:08. | |
of immigration, have earned the respect of readers keen to go | :11:08. | :11:12. | |
beyond the headlines. As a writer I have always wanted to inhabit this | :11:12. | :11:16. | |
contested space between the point at which newspapers stop having | :11:16. | :11:20. | |
space to cover a story. And the point about five years later at | :11:20. | :11:26. | |
which historians begin to examine it. Gold is in that same tradition. | :11:26. | :11:31. | |
Gold tells the story of Kate and Zoe, best friends and rival | :11:31. | :11:34. | |
competitive cyclists. On the track there is almost nothing to separate | :11:34. | :11:38. | |
them. But their private lives are in turmoil. Zoe is concealing a | :11:38. | :11:44. | |
secret from her past, and Kate's daughter, Sophie, has leukaemia. | :11:44. | :11:49. | |
This intensity, a single second seemed unendureable, and 20, | :11:49. | :11:54. | |
unimaginable. By an effort of will, she called the image of Sophie into | :11:54. | :12:00. | |
our mind. She thought, if I win this race, Sophie will get better. | :12:00. | :12:05. | |
I like to take my characters to these extreme edges of human | :12:05. | :12:09. | |
experience, where we ask them these great questions that we all ask | :12:09. | :12:14. | |
ourselves. Gold is about what do you put first, your ambition or the | :12:14. | :12:18. | |
love you have for your friends and family. If the novel is about | :12:18. | :12:21. | |
personal and professional sacrifices, it is also about the | :12:21. | :12:27. | |
focus and dedication it takes to make an Olympic athlete. How do we | :12:27. | :12:33. | |
get people on to the start line of this extraordinary event, the | :12:33. | :12:39. | |
Olympic ideal, swifter, harder, stronger. It is easy to watch, but | :12:39. | :12:43. | |
very complicated and hard to get there, like everything that is | :12:43. | :12:48. | |
worth something in life. "There was no pain, the air whistled past her | :12:48. | :12:53. | |
ears, she listened intently, that silent music was all there was. It | :12:53. | :12:59. | |
was the sound of the universe showing her mercy. Finally she was | :12:59. | :13:03. | |
no-one". The publishers's blush promises a novel that will make you | :13:03. | :13:08. | |
cry, and make you glad to be alive. But is this Olympic hopeful really | :13:08. | :13:16. | |
publishing gold? James, as Chris said, as the book | :13:16. | :13:20. | |
jacket says, this is the book that takes you into the mind of Olympic | :13:20. | :13:28. | |
athletes, did you feel you were in there with all the traumas, flights | :13:28. | :13:33. | |
and worries? I was a sucker for it, really. I realised it had some flaw, | :13:33. | :13:37. | |
it was slightly mellow dramatic at times. It tried very hard to put | :13:37. | :13:42. | |
you in that scene. Olympic, cancer, promiscuity, everything? That was | :13:42. | :13:45. | |
the one false note. I really did enjoy this book, I thought it was a | :13:46. | :13:50. | |
very well crafted piece of work. It did draw you in, almost against my | :13:50. | :13:53. | |
will. But at the same time, the one thing I felt was just a step too | :13:53. | :13:59. | |
far was the girl with leukaemia. That seems to be a cast iron way to | :13:59. | :14:02. | |
move people. It seemed like a slightly cheap shot to do that. | :14:02. | :14:06. | |
When you look at the hundreds of quotes inside there, and the fact | :14:06. | :14:12. | |
it has won the Somerset Maug hen prize, it is the literary novel, | :14:12. | :14:17. | |
that we are willing to respect this book? I find that quite strange. I | :14:17. | :14:21. | |
thought it was a very well paced book, it didn't feel at all like a | :14:21. | :14:28. | |
literary novel for me. The second page somebody's smile is like a new | :14:28. | :14:32. | |
born foal and its legs buckle underneath it, you think, honestly, | :14:32. | :14:37. | |
and the dialogue says "I'm like a nuclear submarine". Nobody has ever | :14:37. | :14:42. | |
said that, not unless they were mad. So, I kind of felt somebody was | :14:42. | :14:46. | |
pushing me towards something that didn't really exist. I felt bad for | :14:46. | :14:51. | |
not liking it. I think Incendiary is a vastly better written book. I | :14:51. | :14:56. | |
felt this had been rushed out in times for the Olympic. Wish the | :14:56. | :15:01. | |
publishers didn't do 15 pages of telling us he's really stunning and | :15:01. | :15:07. | |
he's a Zola, once you get through the book and you realise he's a | :15:07. | :15:11. | |
minor Nick Hornby, you wouldn't have bothered so much. It is a | :15:11. | :15:14. | |
hybrid of a Mills and Boon book, and a terrible attempt to get a | :15:14. | :15:20. | |
book out for an Olympics. Is it easy or hard to write a book | :15:20. | :15:24. | |
about sport? There was a cultural divide, you talked about loving | :15:24. | :15:29. | |
sport and art. That is not a British thing in novelists, it is | :15:29. | :15:33. | |
more an American thing? To right a piece of fiction about sport is | :15:33. | :15:39. | |
particularly difficult. I'm thinking about the Manchester City | :15:39. | :15:46. | |
game where we made history. It was like Norman Mahler saying when you | :15:46. | :15:51. | |
are watching the fight of Muhammed Ali, you have to get all of it into | :15:51. | :15:56. | |
a few pages. You have to be a tremendous writer to do that. I | :15:57. | :16:02. | |
don't think Chris Cleave is. It isth reminds me of the Great | :16:02. | :16:05. | |
British Menu, when they are told to break boundaries,'s trying to do | :16:05. | :16:14. | |
that and not doing it. I think of Neverland, it is not | :16:14. | :16:19. | |
really about that, the whole book? British literature it is very rare | :16:19. | :16:22. | |
to see sport being dealt W I wonder whether that is because in Britain | :16:22. | :16:26. | |
there are sporty people, and arty people, and sporty people don't | :16:26. | :16:31. | |
read novels and sporty people aren't arts fan. In the US there is | :16:31. | :16:37. | |
a huge canon of literature, back to Moby Dick, and the boxing, and bull | :16:37. | :16:41. | |
fights, and Richard Ford, the great opening sequence with the baseball | :16:41. | :16:47. | |
scenes in Underworld. I wonder whether it is maybe because the | :16:47. | :16:52. | |
great American writers and artists, they are thought of in terms of | :16:52. | :16:58. | |
masculinity, these great macho figure, Jackson Pollock, the great | :16:58. | :17:03. | |
frontiers man. It is interesting in this country, some of the better | :17:03. | :17:07. | |
books about sport are biographies, and stories of fans writing about | :17:07. | :17:09. | |
things. They are writing about characters and a different sort of | :17:10. | :17:14. | |
thing. Chris Cleave trying to get inside the head of a cyclist. And | :17:14. | :17:21. | |
it also slightly underwomens you it is a cyclist, suddenly psyche -- | :17:21. | :17:31. | |
:17:31. | :17:33. | ||
underwomens you, as it is a cyclist, there are the books by Eamonn | :17:33. | :17:37. | |
Dumphy, great books about sport, but not getting into the head of | :17:37. | :17:41. | |
the person. That kind of concentration and six and seven | :17:41. | :17:44. | |
things firing off at the same time. You don't need to write about sport | :17:44. | :17:54. | |
:17:54. | :17:54. | ||
to do that. Certainly in film and television, in the last couple of | :17:54. | :18:01. | |
years we have had the film Moneyball, which is brilliant. And | :18:01. | :18:06. | |
then five years of Friday Night Lights, an American football team | :18:06. | :18:10. | |
in a high school in the middle of Texas. And it is the most | :18:10. | :18:14. | |
compelling thing. I watched all five seasons, weeping throughout. | :18:14. | :18:18. | |
By the last episode of the last series, still when someone did a | :18:18. | :18:21. | |
thing with an American football, I had to look at the faces in the | :18:21. | :18:25. | |
audience of the characters to see if it was good ored bad. I didn't | :18:25. | :18:32. | |
know. I could have lived without Kyra Knightly playing football. | :18:32. | :18:36. | |
They are invented sports, and they need the great writer to complete | :18:36. | :18:40. | |
them. At the end of it, Paul, the score is different at the beginning. | :18:40. | :18:47. | |
Unlike in football. Where that is there. Gold is out now. Over the | :18:47. | :18:56. | |
past 25 years, Tracey Emin has had an often painful dialogue with her | :18:56. | :19:01. | |
town Margate, scenes of her rape and sexual abuse. Now she has come | :19:01. | :19:08. | |
home with a brand new work, showing a brand new state of mind. I went | :19:08. | :19:13. | |
to meet her. You have called this show, She Lay Down Deep Beneath the | :19:13. | :19:17. | |
Sea. What does that refer to? refers to feeling like an immense | :19:17. | :19:21. | |
amount of weight on top of you. Just before my dad died I was in | :19:21. | :19:26. | |
France, and I have got an olive grove there, I had a gardener that | :19:26. | :19:32. | |
had cut the olive trees back to absolute nubs, I wanted the trees | :19:32. | :19:37. | |
and shade. When I saw what they had done to the olive groves I threw | :19:37. | :19:41. | |
myself on the floor and cried. What I knew I was upset about was the | :19:41. | :19:45. | |
fact that my dad was dying. There is a mattress from Heels, on it | :19:45. | :19:51. | |
just a branch, no leaves, nothing. Is that a repost to the other bed? | :19:51. | :19:55. | |
Definitely, in my old studio, I had this big branch, just hanging | :19:55. | :19:59. | |
around. And I just threw it on the mattress one day, not intentionally, | :19:59. | :20:04. | |
just to get rid of it, put it somewhere, then I thought, wow, | :20:04. | :20:07. | |
that looks brilliant. There is a conversation between the mattress | :20:07. | :20:13. | |
and the dead branch. That is what I felt like. You only used 566, tell | :20:13. | :20:18. | |
me about using the colour 566? was in Italy, and while I was there, | :20:18. | :20:22. | |
I just had this whole energy to make some work, we went to the | :20:22. | :20:26. | |
local art shop, I bought a watercolour pad and one tube of | :20:26. | :20:30. | |
paint. And made these best water colours that I have made in so long, | :20:30. | :20:35. | |
that for me are more like a memory or a picture or something. There is | :20:35. | :20:40. | |
a group of blue paintings, you in bedside by side with somebody, | :20:40. | :20:43. | |
together but separate. And is this about the way that you think about | :20:43. | :20:47. | |
a relationship now? Yeah, definitely. I don't think you have | :20:47. | :20:50. | |
to sleep together every night to have a relationship. What is | :20:50. | :20:54. | |
essentially important is you must love each other. That is what I'm | :20:54. | :21:04. | |
:21:04. | :21:04. | ||
looking for now, is love. You include Turner and Rohdan | :21:04. | :21:09. | |
draurgs, why have you included those? Most of it is incredibly | :21:09. | :21:14. | |
erotic, I wanted it to be more porn know graphic rather than erotic, I | :21:14. | :21:24. | |
:21:24. | :21:24. | ||
wanted people to see that -- porn know graphic rather than -- | :21:24. | :21:27. | |
pornographic, rather than erotic, I wanted people to see men have been | :21:27. | :21:33. | |
doing this for many years, and my work isn't that shocking. A royal | :21:33. | :21:38. | |
commendation, does that mean a lot to you, what does it mean to you | :21:38. | :21:48. | |
:21:48. | :21:52. | ||
now? It means I stay alive for a little bit longer. People say I'm | :21:52. | :21:57. | |
becoming part of the establishment, I say no, it is like saying | :21:57. | :22:00. | |
policemen are getting younger. I have been doing this for a long | :22:00. | :22:02. | |
time, but people in the establishment are younger than me, | :22:02. | :22:06. | |
they appreciate what I have done and the effort I have made. I think | :22:06. | :22:10. | |
being a female artist now, at the moment, is a really good, good time. | :22:10. | :22:15. | |
As I always keep saying, men, one big giant ejaculation, but women | :22:15. | :22:22. | |
keep coming and coming, that is how I feel at the moment. Thank you. | :22:22. | :22:27. | |
Paul, just a year after the retrospective, she goes to Margate | :22:27. | :22:31. | |
and creates a brand new show, it is a different sensation? It is very | :22:31. | :22:36. | |
much rooted in the idea of Margate, and what has happened to Margate, | :22:36. | :22:41. | |
the idea it is a very be priefd place, it is falling to bits, it is | :22:41. | :22:45. | |
a terrible -- deprived place, it is falling to bits, and a terrible | :22:45. | :22:49. | |
metaphor for what is happening in Britain. There is this gallery | :22:49. | :22:56. | |
perched on the edge of depravation, and she, from Margate is in there. | :22:56. | :23:01. | |
It wouldn't been there? It is the actor of imagination who can make | :23:01. | :23:07. | |
this happening that is not about Mary Portas coming in and people | :23:07. | :23:11. | |
being involved in it, but a city being revitalised by the | :23:12. | :23:14. | |
imagination. I love this exhibition because it is implanted in this | :23:14. | :23:19. | |
gallery, inside Margate, and it is an act of will. Within it is great | :23:19. | :23:22. | |
compression. I have always thought of Tracey as being a kind of poet | :23:22. | :23:27. | |
in a way. She is giving us a series of image. She compresses them in a | :23:27. | :23:30. | |
different way, a visual way, they are the same sort of thing, how she | :23:30. | :23:35. | |
feels, her memories. In her sense, the loneliness, the fear about the | :23:35. | :23:39. | |
future, she's tipping into 50, what will happen. In that sense it is a | :23:39. | :23:43. | |
really beautiful exhibition, for two reasons. One we get the sense | :23:43. | :23:48. | |
of the poetic impressions of her experience, and very poignantly, | :23:48. | :23:52. | |
within her home town. People have talked about this as being a | :23:52. | :23:57. | |
resolution, as Paul is saying, Tracey is only 48, it is at a stage, | :23:57. | :24:02. | |
but she will go on presumably changing ever more? I disagree with | :24:02. | :24:05. | |
Paul. Because I think the only good thing about the exhibition is it is | :24:06. | :24:11. | |
in Margate. I think Tracey Emin did produce some great work back in the | :24:11. | :24:14. | |
1990s her childhood and her youth and all those kinds of things. It | :24:14. | :24:21. | |
is 20 years later, she is a very wealthy 48-year-old, pillar of the | :24:21. | :24:29. | |
establishment, I don't blie that thing she says, that is teenage | :24:29. | :24:33. | |
stuff. She's not doing teenage stuff now? I think there is, | :24:33. | :24:36. | |
drawings of women clutching their crotches and talking about how much | :24:36. | :24:41. | |
things hurt. I just think that I don't buy it. She talks in your vt | :24:41. | :24:46. | |
section about how this whole idea of an eggs Biggs was spawned from | :24:47. | :24:51. | |
this unpleasant experience she had when her gardener cut her olive | :24:51. | :24:55. | |
grove too aggressively. How are we supposed to have sympathy for this. | :24:55. | :25:03. | |
Is she laying bare the universal truths of the human condition, with | :25:03. | :25:09. | |
her olive grove. It was what happened when this happened to the | :25:09. | :25:12. | |
olive grove, her father was Mediterranean and could have | :25:12. | :25:15. | |
understood what was happening, and could have returned, but didn't, he | :25:15. | :25:19. | |
was dying. It was a story that she couldn't tell? I would have had | :25:19. | :25:23. | |
more sympathy for the exhibition if the work insigned it was better. I | :25:23. | :25:27. | |
liked the embroid rees based on her drawings were beautiful. The | :25:28. | :25:32. | |
drawings that dominate the exhibition are scratchy, formless, | :25:33. | :25:42. | |
:25:43. | :25:44. | ||
repetitive, and covered in these descriptions, they are faux niave | :25:44. | :25:48. | |
inscriptions. She owes us more than? That is a big thing to say, | :25:48. | :25:58. | |
she owes us? She does. When I went to this exhibition, I thought, she | :25:58. | :26:02. | |
embraces sculpture, she embraces embroidery, tapestry, you know, | :26:03. | :26:12. | |
:26:13. | :26:14. | ||
wood building. She is a Rennaissance woman? She tell ago | :26:14. | :26:20. | |
story that doesn't show what is happening, losing one kind of | :26:20. | :26:24. | |
fertility and replacing it with another. As Plato says artistic | :26:24. | :26:27. | |
children are better than human children. It is a big moment, she | :26:27. | :26:33. | |
has chosen not to have children, but she has made an exhibition, in | :26:33. | :26:37. | |
essence, about her well running drive. There is a piece called The | :26:37. | :26:40. | |
Vanishing Lake, it is about a lake that vanishs in France in the | :26:40. | :26:45. | |
summer and comes back in the winder. It is also about her fertility, we | :26:45. | :26:49. | |
have had old artists before, they tend to be men, losing their fare | :26:49. | :26:54. | |
till doesn't tend to come up. You can have a child in your 80s. This | :26:54. | :27:01. | |
isn't a story told in an art gallery at all. | :27:01. | :27:08. | |
She places herself with Turner and Rodan and she doesn't disappear, it | :27:08. | :27:12. | |
could be a gimmick and she could end up being drowned. I love the | :27:12. | :27:15. | |
idea that some of her drawings that are quick, have been turned into | :27:15. | :27:20. | |
the patience and stillness of tapestry, given the tension between | :27:20. | :27:23. | |
the speed of thought and the permanence of something else. That | :27:23. | :27:28. | |
works really successfully. About the question of the tapestry, | :27:28. | :27:32. | |
it is a very female way of working. She talks about the idea when the | :27:32. | :27:37. | |
women get together to do the embroidery tapestry, that is art | :27:37. | :27:41. | |
itself. You may make something quite quickly, but you transform it | :27:41. | :27:46. | |
with the endeavour of many artists? It is clearly an exhibition that is | :27:46. | :27:50. | |
aware of its art historical context. I don't think, like Paul, that | :27:50. | :27:54. | |
context flatters her work. I think the rod Dan drawings and water | :27:54. | :27:58. | |
colours are in a different league to her work, the Turner sketch, | :27:58. | :28:03. | |
while more interesting than impressive, at least show he had | :28:03. | :28:07. | |
the modesty to keep his scrawls to himself. Some would say because it | :28:07. | :28:12. | |
is the time in which he lived, meant that people like Ruskin would | :28:12. | :28:15. | |
be down his neck saying you can't have these? It works in the context | :28:15. | :28:20. | |
of the exhibition, the windows open up to the sea, the colours. The | :28:20. | :28:29. | |
framing of it is an imaginative leap. The buelful girl, the idea of | :28:29. | :28:35. | |
Marie Therese Waters, she says she made herpes with pick kas he sow, | :28:35. | :28:44. | |
who was incredibly missoingist, -- Picasso who was incredibly | :28:44. | :28:47. | |
missoingnis, she comes to terms with it. What has always been true | :28:47. | :28:52. | |
throughout her career, is she works like an ois ter, the thing -- | :28:52. | :28:56. | |
oyster, the thing that scratches is what she makes beautiful things out | :28:56. | :29:01. | |
of. She is making more beautiful things than before. Make your way | :29:01. | :29:06. | |
to Margate, tracey's exhibition is at the Turner Contemporary in | :29:06. | :29:12. | |
Margate. Emin and her fellow British artists | :29:12. | :29:17. | |
must owe something to the debt of the punk movement. A new three-part | :29:17. | :29:23. | |
series on BBC Four shows the clashes of this culture that shook | :29:23. | :29:33. | |
:29:33. | :29:39. | ||
up a boring Britain. There were two TV channel, no jobs, | :29:39. | :29:46. | |
no future. There was a sense of boredom. What set punk apart was a | :29:46. | :29:54. | |
voice, it was a vision of Britain and how it smelt to the youth. | :29:54. | :29:58. | |
wanted to do something, look at me now, I'm nothing. The situation in | :29:58. | :30:02. | |
Britain sort of produced us, it gave us a place, in a way. Because | :30:02. | :30:06. | |
that lack of things meant that you had to do something for yourself. | :30:06. | :30:12. | |
For me that was music. As well as tracing punk's political | :30:12. | :30:17. | |
and cultural roots, the series features classic moments from the | :30:17. | :30:22. | |
archives, such as the sex pistol's scandalous appearance on the Today | :30:22. | :30:26. | |
Show. You dirty fucker. What a fucking rotter. That's it for | :30:26. | :30:32. | |
tonight. Punk Britannia charts the protest of the punk movement, as it | :30:33. | :30:38. | |
grew apace in the 1970, with candid interviews from its creators. | :30:38. | :30:42. | |
would be no punk without glam. I remember watching Top Of The Pops | :30:42. | :30:47. | |
and Boland was on doing hot love, I never saw anything like it, these | :30:47. | :30:53. | |
girls were like whacking off. I thought, that's what I want to get | :30:53. | :31:01. | |
stuck into. So was there really Anarchy In The UK in the 1970, or | :31:02. | :31:06. | |
is this series nothing more than rose-tinted remembering by some | :31:06. | :31:09. | |
ageing punk rockers? I saw you in the crowd, Paul | :31:09. | :31:15. | |
Morley? My legs were there many times. Do you think there is a fair | :31:15. | :31:18. | |
reflection of both the music, the culture and the politics? It is a | :31:18. | :31:21. | |
good story, it is really well told. Some unusual voices, some | :31:22. | :31:26. | |
unexpected vois in there, that I really liked -- voices in there. | :31:26. | :31:36. | |
:31:36. | :31:38. | ||
You have Mark Stuart, and Wilko Johnson, the Raincoats, Viv out of | :31:38. | :31:43. | |
The Shrilt, it is going beyond a musical story but an important | :31:43. | :31:47. | |
moment in his treatment when you look at the sex pistols and Johnny | :31:47. | :31:56. | |
Rotten, you are still looking into the future. It is something that | :31:57. | :32:00. | |
happened 35 years ago and why the hell isn't it happening now. This | :32:00. | :32:03. | |
programme tells you how that happened in a post-war situation, | :32:03. | :32:07. | |
young people trying to find their voice, finding it in this way, that | :32:07. | :32:12. | |
was about pop music, because it was important, but it was an artistic | :32:12. | :32:14. | |
and political and cultural statement. This series does it | :32:14. | :32:18. | |
really well to explain that. It is actually what is quite shocking | :32:18. | :32:22. | |
about it, you think it was 35 years ago, and why is there nothing like | :32:22. | :32:26. | |
it happening now, or not another counter culture movement happening | :32:26. | :32:29. | |
exactly at the moment in Britain. We will talk about that in a moment. | :32:29. | :32:33. | |
Some of the characters. Natalie, you are too young? What a treat to | :32:33. | :32:39. | |
see John Cooper Clarke, and Johhn Lydon is amazingly good company. He | :32:39. | :32:45. | |
still has John Lydon is still amazingly good company, he still | :32:45. | :32:51. | |
has that impish glint in his eyes. I thought amazing, I watched the | :32:51. | :32:55. | |
first two parts, I would have watched the rest of it if I could. | :32:55. | :32:58. | |
I found it so interesting, I was not alive for the beginning of it, | :32:58. | :33:02. | |
I will be alive for the last programme. I really loved hearing | :33:02. | :33:06. | |
that story. I feel like punk was always the thing we weren't allowed | :33:06. | :33:12. | |
to participate in as kids. There were spitting and things like that. | :33:13. | :33:15. | |
Malcolm McCollateralen is explaining the whole thing about | :33:15. | :33:19. | |
punk, saying there hasn't been a generation gap for five years, | :33:19. | :33:25. | |
there hasn't been one for 25 years, five years! Did it seem like an old | :33:25. | :33:30. | |
movie to you, that you didn't get your head around? I wasn't born | :33:30. | :33:34. | |
when punk started, it was new to me. I found it a fascinating | :33:34. | :33:38. | |
documentary. The contributors I found most interesting. How middle- | :33:38. | :33:43. | |
class they all seemed. Rat Scabies? No? They were in well-appointed | :33:43. | :33:53. | |
:33:53. | :33:54. | ||
homes, they were smart, they were clean, one of them was a royal axe | :33:54. | :33:58. | |
cadacadimician, this is the curse of all avant garde movements, they | :33:58. | :34:04. | |
always become mainstream. Some of them were very damaged, they were | :34:04. | :34:11. | |
being damaged because, Johhn Lydon said earlier on, was how -- John | :34:11. | :34:19. | |
Lydon said early in the programme that how mainstream the country was. | :34:19. | :34:26. | |
A lot of them are very damaged because they didn't get a chance. | :34:26. | :34:31. | |
Didn't John Lydon make a Countrylife Butter advert. Some | :34:31. | :34:38. | |
punks do like butter. John Lydon could do anything he dam well wants, | :34:39. | :34:42. | |
he inspired -- damn well wants, anything that happens in a cultural | :34:42. | :34:48. | |
sense now is because of John Lydon, I don't care what he does, even if | :34:48. | :34:54. | |
he accepts a Knighthood. Is it happening because people are too | :34:54. | :34:58. | |
fragmented, the Internet, though it bliings people together, people | :34:59. | :35:05. | |
don't -- brings people together, doesn't gather people together? | :35:05. | :35:10. | |
Save The Queen was number two in the charts, and now they are all | :35:10. | :35:14. | |
queuing up to play the Jubilee concert. You think what happened, | :35:14. | :35:18. | |
when did musicians become so successful. Because the | :35:18. | :35:21. | |
establishment appropriated popular culture quickly after punk because | :35:22. | :35:24. | |
they realised it was a genuine danger. That is why it is difficult | :35:24. | :35:28. | |
to be maverick in this world. As soon as you are that, it is | :35:28. | :35:31. | |
appropriated by the mainstream. Isn't it also a financial question, | :35:31. | :35:35. | |
that you have to be rich to have a career as a musician because you | :35:35. | :35:39. | |
can't make much money from selling records. The parallels between then | :35:39. | :35:43. | |
and now were one of the most fascinating bit. There were clips | :35:43. | :35:46. | |
of young people on the street saying we have no future and we | :35:46. | :35:50. | |
have no jobs. At least then they could vent their anger and anxiety | :35:50. | :35:54. | |
into this extraordinary exuberant and powerful and political movement. | :35:54. | :35:59. | |
You know the events of last year prove there hasn't been a cultural | :35:59. | :36:04. | |
revolution. What it is is violent shopping. The media has a part to | :36:04. | :36:09. | |
play, it is not enabling an alternative voice. As soon as you | :36:09. | :36:12. | |
have that maverick voice now it is deemed you are spoiling the party. | :36:12. | :36:16. | |
The whole separation between the silver and this Jubilee is | :36:16. | :36:20. | |
extraordinary in that sense. What has got lost is the ability to have | :36:20. | :36:24. | |
a, to use language that is protest without people saying you are | :36:24. | :36:28. | |
whingeing and being grumpy and saying it is not as good as it used | :36:28. | :36:33. | |
to be. Let's go back to 1977, it does seem a long time ago. This is | :36:33. | :36:38. | |
what it all looked like then. Away from the cermonial streets | :36:38. | :36:42. | |
throughout the land, those who stayed at home were making ready to | :36:43. | :36:50. | |
celebrate their way. During the day at countless parties, | :36:50. | :36:55. | |
there has been much drinking of orange squash, much eating of jelly, | :36:55. | :37:00. | |
and at Cricklewood, much cutting of Jubilee lake. Releasing balloons on | :37:00. | :37:04. | |
a blustery afternoon was a difficult operation, and quite a | :37:04. | :37:07. | |
few balloons found their ways into parties and neighbouring streets. | :37:07. | :37:11. | |
It was all watched over by older and wiser subjects, who, | :37:11. | :37:14. | |
nevertheless, hoped that party tradition will be maintained when | :37:14. | :37:18. | |
the children of today grow up. There is, afterall, something | :37:18. | :37:23. | |
happily British about it all. Three cheers for the Queen! That | :37:23. | :37:27. | |
was then, and this is now. And so how are you going to commemorate a | :37:27. | :37:31. | |
Jubilee weekend? I have to work. I have to work tomorrow and Sunday. | :37:31. | :37:38. | |
So, yeah, on Radio Two, is the answer on Sunday. But is there a | :37:38. | :37:42. | |
sense this is some incredibly momentous weekend? Not remotely. | :37:42. | :37:48. | |
I'm not even a tiny bit hurray the Queen, even on my best day. If | :37:48. | :37:53. | |
there is anything that will make me like that, the fact that the entire | :37:53. | :37:58. | |
vicinity of London looks like V for Vendetta, and any suggestion thaw | :37:58. | :38:02. | |
don't agree with hurray the Queen and the Olympics, you are sort of | :38:02. | :38:09. | |
on a par with the most kill joy earn, you might as well be | :38:09. | :38:12. | |
guillotineed. Is that a pervading attitude if you don't take part in | :38:12. | :38:17. | |
it? There is a lot of going along with it, and not having an outside | :38:17. | :38:20. | |
point of view because it is not allowed. It has come down to | :38:21. | :38:25. | |
bunting, baking and boat tox. There is no opposition. When d Botox, | :38:25. | :38:29. | |
there is no opposition. People saying they are just having fun and | :38:29. | :38:33. | |
having a street part, what about those who want to create an | :38:33. | :38:36. | |
opposition, without it Britain would be where it is. Not what you | :38:36. | :38:39. | |
are celebrating, but the psycadelic radical spirit of the country that | :38:39. | :38:42. | |
really creates the opportunity for you to think this is a great | :38:42. | :38:48. | |
country. It has all turned on its head slightly. I'm distressed about | :38:48. | :38:54. | |
the meekness and obedience. Come round to mine and we will have | :38:54. | :38:58. | |
subversive money. I will be marking exam scripts. Live the dream. | :38:58. | :39:01. | |
don't have a particular interest in the Royal Family. I remember the | :39:01. | :39:05. | |
royal wedding last year, I went to the library, and the only person | :39:05. | :39:09. | |
working away. I went to the circumstance cuss. When I came out | :39:09. | :39:16. | |
people said I was a Circumstance cuss. When I came out people said I | :39:16. | :39:26. | |
:39:26. | :39:28. | ||
was a scrooge. I will be marking exam papers. Thank you to my guests, | :39:28. | :39:33. | |
James, Natalie and Paul. Everything we have been discussing is on the | :39:33. | :39:36. | |
website. We are braced for your tweets as we head towards the Green | :39:36. | :39:41. | |
Room. Matter that is here with the book review special, locking at | :39:41. | :39:48. | |
four literary giants. Dk looking at four literary giants. | :39:48. | :39:53. | |
A new incarnation of Dexys, striped down just for us, from their first | :39:53. | :40:00. | |
album in 20 years, this is I'm Thinking Of You. Good night. | :40:00. | :40:04. | |
# From the darkest part # Of the loneliness | :40:04. | :40:12. | |
# Of a torn and troubled man # Comes a desperate need to owe you | :40:13. | :40:19. | |
# In every way that I can # For while you were gently growing | :40:19. | :40:26. | |
# In this green and pleasant land # I'd already | :40:26. | :40:29. | |
# By then # Forsaken myself | :40:29. | :40:36. | |
# I was setting up my sham # I describe myself as a wander | :40:36. | :40:44. | |
# We both know that's not what I am # And if you stand beside me | :40:44. | :40:48. | |
# We'll go lower # Than I planned | :40:48. | :40:58. | |
:40:58. | :41:01. | ||
# Because all night long # I'm thinking of you | :41:01. | :41:11. | |
:41:11. | :41:13. | ||
# All the time # I'm thinking of you | :41:14. | :41:23. | |
# When I go out # I'm thinking of you | :41:23. | :41:32. | |
# When I'm home I'm thinking of you # Without your clothes | :41:32. | :41:41. | |
# I'm thinking of you # When you're dressed up | :41:41. | :41:50. | |
# I'm thinking of you # With your legs crossed | :41:50. | :41:58. | |
# I'm thinking of you # And with them lots | :41:58. | :42:06. | |
# I think of you too # I'm thinking of you | :42:06. | :42:16. | |
:42:16. | :42:16. | ||
# Always thinking of you # Woo | :42:16. | :42:24. | |
# Oh M # Woo | :42:24. | :42:31. | |
# Oh # So open your heart | :42:31. | :42:40. | |
# Let me come through # With all of my life | :42:40. | :42:48. | |
# I'll be thinking of you # So open your heart | :42:48. | :42:55. | |
# Just let me come through # If all of my life | :42:55. | :43:05. | |
:43:05. | :43:07. |