20/07/2012 The Review Show

On the review show tonight, the East End of London. Seen through

the lens of one of its most famous sons, David Bailey. I hate all

those old fart that is want to talk about the 60s. And transformed by

the architecture of the Olympic Park. Four new films commissioned

to mark the Olympics. And reverse. Into our cow.

And other highlights of the London 2012 festival. 10 million

opportunities to see 12,000 events and performances, but to what

extent is there something for everyone.

Lining up on the starting blocks are the writer and critic, Morley

more, author and historian, Bettany Hughes, and Dreda Say Mitchell. The

photographer David Bailey was born and brought up in London's East End,

it is right his exhibition should be in the Royal Docks, as part of

the capital's CREATE festival. David Bailey's east en, encompass -

- East End, encompasses the change in the area. Looking at three

decades in his career. Using unseen images from his vast collection.

How did this exhibition come out, what motivated and prompted it?

have been working on a book about the East End three or four years

before. There will be three volumes, the 60s, the 80 and the present day.

-- the 80 and the present day. Some how, I think somebody contacted

somebody, at Boris's office, they showed me this compresser house,

they said the lighting is pretty awful, but I quite like that

lighting and all the reflections in pictures, it gives it another depth.

What about the pictures from the early 60s, they are very surprising,

I have never seen that body of your work? Visually for me the 60s are

emotional, they are more somebody searching. I'm searching. I love

the loneliness of them. I notice there is always a lonely figure, it

sort of, I remember the East End, especially around Stepney and Brick

Lane, having a lonely feeling. It was always seemingly raining.

the 80s, what is the thing there? Cold, I become very technically

cute, and knew, you know, you kind of take the cubic path. The 80s

ones are my German pictures, they are all on expensive lens and tilts.

And then in the last five years? They are more, then I didn't know

what to do. I only use digital for street or snaps, it is, the digital

cameras don't have attitudes, they take a similar picture. I have

watch my mates use digital and they look at it and say they have got t

you never have got T because it is on digital you see it and think you

have. On film you don't ever think you have it, you go a bit further.

The whole exhibition is your relationship to a particular place,

or an area? Or a person. Do you feel, still, distinctly connected

to that part of London, that is now becoming the Olympic site? First of

all, I don't think it is taking over the whole of the East End,

there is plenty of it left. The East End gets pushed and pushed, it

will end up in France if it is not careful. Or Holland. It keeps going

east. They should have gone west, if they were smart arses, that is

the way it end went. Does it make you nostalgic? No, I hate nostalgia,

it is awful, it is, I can't think, I hate all those old farts that

want to talk about the 60s, and notth's gone, it is done, there is

a few snaps of it left, let's move on. Now it is the most interesting

moment we are ever going to have, isn't it?

I think it probably is, in that philosophical sense, Paul Morley.

There is plenty of new work in this exhibition, were you surprised or

did it reinforce what you expected him to do? I have always known away

from the image of Bailey he's great photographer. It great to see the

sense of the now of the 60s, that was his now, he was in his element,

it is this energy, and a craving of these people he captures, some more

famous than others. It tell us how this is both an exhibition about

Bailey's growth and the East End of London, and the parts are well done.

The tremendous sense of him discovering himself in the 60s. In

the 80s, as he says, there is a coldness about it, he's using it as

a back drop. The East End has gone into stasis, it is dropping off the

edge of the planet. It is almost beyond him when it goes digital.

You realise the great analog period is over in many sorts of ways, and

that energy and depth and life of the 60s has become ghostly he is

not sentimental about t he's still looking and finding things.

Equipment isn't helping him. There is a brittleness about it -- the

equipment isn't helping him, there is a brittleness about it, that is

clear to the times. These are historical documents, is there a

timelessness, does Bailey manage to transcend his time, or is he always

emphatically seeming to produce it? He is of his time, that is why he's

such a brilliant photographer. So interesting to hear him talking

about the 60s, and not being nostalgic about the 60s, he's so

right, I'm sick of hearing about the swinging 60s, for those who

lived in the decade the party was happening somewhere else, and you

were on your own in a street in Stepney or Hackney. Or in Ronnie

Kray's pub, which was firebombed moments after he took those photos

there. If you look at some of the photos from 1961, you would say

they were blilts photos, these are bombed and devastated streets. He

has such tenderness for them. It takes place in the compressor

building that was an old refrigerator. Without being too coy

about it, the warmth out of the exhibition is enormous, he loved

the taking of the photos, he loved the selecting, very few photos, not

man in there at all. I get the sense he's being very involved in

the way they have been mounted. I know he has, we were talking to the

attendant, he said they made them find a tape producer for the labels,

and they had to get one from the 60s. I love that he has said he

doesn't like old farts getting nostalgic about the 60s, what about,

then, the present in Bailey's work, what about the more recent

photographs in particular, you live and work in the East End. Is this

your East End, or does it chime with Bailey's East End? Which

picture really struck me, from the 1960s, and I think what he does is

very complex, it is the one in Spitalfields that we have shown,

with the church in the background, I used to be a brownie at a

neighbouring church down the road. What you have in that picture is

not just a sense in the foreground of the wreckage of an Industrial

Society, but you have that fabulous church that, even the shape of it,

the tallness of it, you have got a real sense of prosperity and grand

do you remember of the industrial age. So you have these two ages,

that he snaps in this one shot. I tell you what I found out about the

80s that was interesting. I lived in Docklands, I lived in Wapping

for years, the pictures of his wife, I tell you what, I think sometimes

what I would have liked is this sense that the Docklands and the

warehouses, now people have stopped working in them, now they are

living in them. I would have liked some pictures of people living in

the warehouses, because I think sometimes we get this impression

that the 80s in the East End was a dead time, it wasn't actually at

all. It is about the idea of dwelling slightly on the 60s, now

we are beorning to work out what was going on -- beginning to work

out what was going on there, we are asking the questions and disregard

them. And the idea that people were trying to piece together a new

world, and sourcing their own sense of freedom, I think Bailey's trying

to find his freedom. In the programme today it is interesting

to see an unmonitored sense of people away from constantly being

caught out and looked at. Bailey is capturing something that was rare

to capture. Now, most images are constant, ever present. You get

something really rare about the past that transcends being just

nostalgic, you are not looking at it to say the good old days, but

you are seeing a real energy, and the complexity of the photographs,

the sense of the overwhelming nature of history, to an extent had

fallen apart. And people with real, boisterous energy, like Bailey,

starting to piece it back together. For me, he really gets into the

whole of the East End, when people go into East London, particularly

now, if you see films, it is gritty, tough, poor and downtrodden, if you

look at the pictures in the club, they are suited and booted, the

people in the club have their cufflinks on. It was a real thing

you had to make yourself look good. Baileyesque almost, it is a big

thing in communities. That is a nice thing to end it on, we are

setting up what the future and the East End is now, not just suited

and boot, but clad in high-tech. For the moment, David Bailey's,

East End runs in the Royal Docks until August, there is a longer

verse of the interslew on the website. Some of Bailey's -- on the

interviews on the website. One of the stated aims of the London 2012

Olympics was to transform and regenerate a neglected area of the

city. The results are visible in the Olympic Park, containing eight

new venues, alongside Britain's tallest work of art, and a 4,000

square metres megastore. Beijing's centre piece was the

bird's nest, it was always going to be hard act to follow. London's bid

for the 2012 Olympics took a different approach, these are the

sustainable games, where function trumps form, and buildings are

lauded for their green credentials. The main stadium fits the bill. A

straight forward structure praised for the use of low-carbon concrete,

and the removal is up a teir, making it more viable. The

velodrome has made an affectionate nickname, the pringle. The exterior

echoing the shape of the track outside, has won many fans. It has

been likened to a Stradivarius. The Aquatic Centre, with the wave-like

roof, with highboards, and has secured approval from architects

and swimmers alike. Other notable new venues are made to the

sustainable brief, a reuseful basketball arena, and the copper

box, set to become a community sports centre. The stand out

structure is the Orbit, it is said to be inspired by the Tower of

Babel, but it is more akin to a giant Helter Skelter. As the

tallest tower in Britain, it comes with impressive views and a high

price tag. Will it become the legacy of London 2012.

How did these buildings measure up as landmarks, to previous Olympic

landmarks? I think we are judging them a bit too soon, nothing is

bedded in yet. When you go to the Olympic Park it is like a fun fair

ride, you are arrive on the DLR or the cable car, it feels like an

adventure. It is a really mixed bag. Definitely, the Pringle wins out

over the volume will you vent, and none match up to the bird's nest.

We can develop our new Cockney rhyming slang with all the names we

give them. I have been underwhelmed by the buildings, apart from the

velodrome, which is equisitely beautiful. It looks like what we

are getting right, is it is called an Olympic Park, and for good

reason, there is a goodment amount of green space. I want to see as

the park develops and matures. Space as much as structure? I have

seen quite a lot of this being built, in the car as we drive-by

the Olympic stadium, and the velodrome. I have to say, like

Bettany, I'm underwhelmed by it all. I don't hear people talking about

it, not in the way people are talking about the Shard, you either

like it or you don't, but people are talking about it. I remember

when the Arsenal stadium of being built, did people talk about that.

Only Arsenal fans? No, everyone talked about it. I have to say, in

terms of talking about this new architecture, I'm a believer in why

not use what we had already, like they did in 1948, very localised

games, very successful. The athletes came into accommodation

now that was there. And also that venues that were there. I don't

know why we spent all this money. You want a Poundland Olympics, more

appropriate to the high streets as they are. I want something that

focuses on the Olympics, individuals and their talents and

what they can do. Looking at the building and space, this was billed,

if not the "Austerity Games" of 1948, one of the selling points

that Sebastian Coe made to the Olympic Committee, is he would

leave the Olympics in a more sustainable state, in terms of

structures and buildings. Does that chime with you, have they succeeded

in that? It has redrawn my map of East London, therefore, it might

redraw the map of East London to a large extent. When you see the

street down Bethnal Green, it looks like a distressed rollercoaster,

close it is something else. There is a sense of inside an enclosed

space, what has happened is a Balardic construct, an other place,

the need for the British to present the Olympics in their own way, and

the history of the Olympics has created a sub totalitarian bubble,

where suddenly the Olympic rings have the feeling of a totalitarian

logo. Something sinister has joined in, not the joyfulness of the rings

replaced by that. The rings remind me when you had the hypermarkets at

the edge of down. They are monuments to capitalism, who are

these monuments to? To a few people's egos, within it is a

wonderful thing. One or two architects have responded to the

freedom of the brief to create wonderful things that no-one else

has allowed them to do. temporary is an interesting thing,

funnily enough, sculpture in the public domain has become temporary,

but in the Olympic Park it is permanent. I want to say to you,

Paul, I think you are being a bit harsh on it, I think, actually,

there is an permanence there. There is tempity stuff coming away. But

there is a character of London that you can't beat down. We have too

deep roots to destroy. That the fact you have the beautiful

buildings, but still, muddy old Bow Creek is surging around the corner.

You were saying that, about the energy and character of the people,

it doesn't represent this kind of London, it is droplets of something

else. If you talk to local people, there is a real disconnect with

those buildings. I think it is what you are saying, Paul, it seems to

be happening over there. That may change when the Olympic Park is

opened? And the long-term. They look like carcasses already.

that edifying and optimistic note, we will end that. We will move.

love sport! We will move into the creative domain. The Olympics may

not have started yet, but we have almost reached the end of the

fourth year of the Cultural Olympiad. According to the

organisers more than 16 million people have taken part in or

attended performance in the largest cultural celebration in the history

of the modern Olympics. If you feel it has passed you buy, don't worry,

the London 2012 festival is in full swing. As the Cultural Olympiad

races towards the finish line, the arts baton is passed to the 2012

festival. An all-encompassing programme, bringing together

artists from all over the world. The festival deserves a gold medal

for the sheer scale of programming. You may have attended an exhibition

Apology for the loss of subtitles for 57 seconds

It's clearly enormous, does that size reflect ambition and

achievement for you? It does, I think if you are going to have a

party, have a big one. I think it does, I think if you're having an

Olympics that is looking at humour, endurance and achievement, why not

have cultural events as well. What I love about what we are doing with

this festival is we are drawing in artists, I believe, from all the

countries taking part in the Olympic. What we are doing is

putting British achievement, cultural achievement, in the

context of world achievement. I just think it is fantastic. We are

also having everything from the Proms, to Tate Modern exhibitions,

to various projects that may have exists any wa, but is the 2012

Festival a good idea, because it gains a momentum and gives a sense

of something much larger? There is an obligation to the shadowy

figures that run the International Olympic Committee that this must be

done. Sorry to be all Albert Steptoe, I love art and sport, I

think there is a cultural obligation. The closer you get to

that, and things squeezed in to being sporty, and inclusive, and in

the long run it is anti-democratic, it gets cold. I get the feeling if

you have been to some things and didn't know you were the Olympiad,

you would have come across fantastic things. As soon as it

gets close to that bloody logo it starts to shiver into the corporate

world that is slightly underwomening. The ambition and

idea of sell -- underwomening, the ambition and the idea of selling it,

it is not all the bleeding obvious. A lot of the mainstream celebration

and cermonial aspect of the Olympics is the bleeding obvious,

it is great to get things around the edge that are not. Does it

matter the Olympiad cultural festival? David Bailey is not part

of the festival, and part of CREATE. The art is great as long as the

audiences are right. There were interesting kids in the David

Bailey, I have been to the events and it is your standard public, it

doesn't seem to be anybody new coming to appreciate the art.

go deeper into the art, in particular, we have seen the

festival is nothing if not diverse, the film strnd is small t includes

-- strand is small, it includes four of our known directors and two

new ones. From the director of the acclaimed documentary, Senna,

coming The Oddyssey. It is a mixture of aerial footage, Olympic

archive, and interviews with unnamed Londoners, recalling the

excitement of the announcement of the games in 2005, and reflecting

the troubles since. It celebrate the inspirational power of sports,

and asks, if London, in spite of recent difficulties, can bounce

back. Lifetimes of stuff has happened, since that joyous

screaming day in Trafalgar Square, but it is still London.

It probably is still the greatest city in the world. Mike Leigh's A

Running Jump, is fast-paced comedy about an all singing and diving car

salesman, desperate to nail a sale. Shimmy on in and take a test flight.

You can drive this with chopsticks and wash it on a Saturday night.

Away you go. Leight's film also reflects the importance of sport in

people's lives. From armchair punditry, to the teaching of

aerobics and yoga. And reverse, into your cow.

Set on a London council estate, What If, by the street dancing

directing duo, draws on Rudyard Kipling's people If, a guardian

angel guides a young boy through his troubles. Your's it is earth

and everything in it. And which is more, there will be --

you will a man, my son. Swimmer is Lynn Ramsey's poetic

interpretation following a swimmer through Britain's waterways, lakes,

rivers and urban canals. Intended as a showcase of Britain's finest

director, these show radically different interpretations of a wide

brief. Do they represent the best of British film making talent?

How was the balance for you, both of the directors chosen and the

films produced? It was a great balance. You have a very quirky,

fast-moving film with Mike Leigh, A Running Jump, then you have the

documentary, that is great, I loved that. You get such an aerial vision,

The Oddyssey, then you get the Swimmer, which to me was a lot more

abstract. It was the one I didn't connect with. I could see people

connecting with it, it is absolutely beautiful. The favourite

one for me was What If, it made me for the first time like brutalist

architecture, I absolutely ait hate that. But they use it to show sport

really well. And the nod to the Paralympics with the baseball

player in the baseball court in a wheelchair. The basketball player?

None of them feel like films that would have been commissioned by a

tourist board, maybe that was never going to happen. But they give, to

a certain extent, warts and all view of Britain, with the

exceptional of Swimmer, much more poetic? I wouldn't argue with you,

The Oddyssey could be given to the tourist board, beautiful aerial

shots. It has the financial crisis? Then you go back to the wonderful

sunset across the Shard. They are an eclectic mix, I love the Lynn

scam Ramsey, completely abstract and it seems to be the most about -

- Lynn Ramsey, completely abstract and it seems to be the most about

London. It is waters all around us and the swimming is part. As a

historian you must have liked it? There was a Famous Five theme tune

to it, she enjoyed making it, you could see that. I love films, there

was the thing that happens, I hate to come back to it, it is the sense

of obligation. Here it is, we have to dot films now. In that sense,

Mike Leigh's was the most honest because it was so slap dash and

thrown away, it was like a weak sitcom F he was the Woody Allen, it

was the film that would be his worst. The Lynn Ramsey and the What

If, and The Oddyssey, they are interesting, they have a sense of

whistfulness and bleakness, honest in a different sort of way. I like

the idea that The Oddyssey could be a travel log film, it could be

selling London to the rest of the world. There is a thing that Jeremy

Hunter wants us to move up from the legal tables of most visited

countries, from sixth to fifth. I guess that is what it is about, it

is what are these films saying about London at the moment a l they

achieve it. The Ramsey one, looking back to a postoral Britain, a

psycadelic Britain, in black and white, is maybe what will bring

people. To an extent The Oddyssey as well, the sense that London is

an anxious and tough place, and it represents that really well. But

also with a rather British sentimental quality as well. Just

to say, it is a shame, I think, as you said it is the best of British

making film talent, but not the best films they have ever made.

should be, we are going to watch athletes in that. Jo what is the

brief, who is in charge? I found it difficult, it needs that thing that

at the moment that is so out of fashion, which maybe Danny Boyle

will deliver, which is one voice, not this inclusive thing. We don't

live We don't live in a country of one voice. You need one in control.

That is the problem, it was interesting, this year I went to

see John Carlos, one of the Olympiads from 1968, with the Black

Power salute, which he said wasn't Black Power, he was talking about

what we allow to happen to ourselves, is we allow people to

choose our icons, that is kind of almost your modern one voice, that

everyone filters through, I don't think it is like that. I think we

can have many voices and pathway, that is what I liked about the

films, it gave us an eclectic range of forces. Choosing Noel Clarke as

our icon. What is wrong with him? That delivery of "If". It was great.

No, no, no. They felt slightly committeeised. There were still six

executive producers. And the sport was squeezed in. The sport was the

overarching thing, you think that was tokenistic. What is it saying,

an unexpected sporting moment, not planned and not an ad telling us

what will happen, will light up the Olympic Games. At the moment there

is so much ordering and organising of how we should respond, and even

this art is doing that. I think they have enabled art is a terrible

thing. You want the one voice. missing something and focus, its a

committee, the committee is the voice. The wider committee, once

you start to get inclusive is the voice. That won't lead it a good

place, this called Blue Peter inclusiveness. As tkhair of the

committee I will stop this -- as chair of the committee, I will stop

this. Unlike this sofa here, actually BBC Two and Channel 4 have

collaberated on this proebgtj, all films will be shown -- project, all

films will be shown next week. In an attempt to cover as much ground

as possible, we have split the panel up and sent them to report on

different events. Bettany, you first, you went to the Royal Opera

House, to see a collaboration that involved ballet, choreographer,

dancers, artists and a robot? robot who is a goddess. It wasn't

entirely coincidental, there is an ancient historic theme to this,

that is why I leapt at the chance to see it. There is a lot of names,

I went to see Titian 2012, there is also Metamorphosis, at the national

gall hery they are responses to this extraordinary group of peoples,

in particular the story of Diana and Acteon, the cheeky hunter, who

spies on her, turns into a stag, and eaten by his own hounds.

Chris Ofili, responding to Titian, and in turn they have worked with

Apology for the loss of subtitles for 57 seconds

the Royal Ballet. Let's see the Plenty of Metamorphosis there, did

it do justice to its origins? I loved the ambition of the project,

I loved the fact it could have gone so spectacularly wrong, you have so

many people involved, it short circuited you back to the

brilliance, and beyond that to the primal, prehistoric roots of the

games themselves, like the sanctuary of Artimis, a spiritual,

dark, dangerous place, Trespass, gets you straight there. It

succeeds on every level. It is at the Royal Ballet, but there is an

exhibition at the national gallery and there is a book. Something more

temporary, you were in Stratford at the royal theatre in Stratford, you

weren't inside, what were you doing? This is a collaboration

between the theatre Royal, strat -- Theatre Royal, and an Australian

company, it is an award-winning production, called On Route, you

turn up in a designated space outside, someone sends you to

someone else, you get a set of headphones and an MP3 player, and

lots of interactive instructions, envelopes on walls, messages own

walls, tracks telling you where to go. You start wandering in spaces

you wouldn't usually wander. It is a fantastic example of psycho-

geography. The idea is people in urban dwellings are meant to send

off their beaten track. I ended up in spot and spaces. I know

Stratford well, that I would never end up in. Let's see where you did

end up. If I told you a loved and hated the city. Loved and hated the

way it surprises me, the way it changes, transforms. If I told you

I loved this city. Loved and hated the way it takes me with it,

absorbs me. Love the way it surprises me. Would you believe me?

Take a photo, now, take a photo. Licensed graffiti there. I loved it.

Did you feel vulnerable, did you feel you were being taken to place

you didn't necessarily want to go? Definitely, for example, there were

a couple of stairwells, if I had been on my own, I had somebody with

me, I wouldn't have actually gone up. I know the theatre company they

were monitoring and making sure you were safe. But as a woman, every

now and then, I thought, if I was doing this on my own, he wouldn't

go to certain spaces. But, you knew somebody was looking after you. So

it was great in that sense, because you were then able to enter spaces

you wouldn't go to. Theatre tends to be, obviously we're isolated

individuals, but we experience it communally, this seemed to be a

more isolated experience, of that strong? What they wanted to do was

to make it a solitary experience, for somebody to do on their own of

the I'm not that kind of person, I want somebody with me, I had

somebody with me, every now and then I could flip the ear phones of

and ask what you think and what will you write on the wall.

Something very nice happens to you at the end, which I won't tell

anybody about. People can experience it for themselves. Paul,

had you the monumental job of experiencing as many of the 20,

2012 commissions for music, 12- minute slots each. They have been

played in various place all over the country. For the first time

they were all performed over the same weekend at the Southbank

# Can you not stop running # Stop running

So how was it for you? Just wandering into spaces you never

usually wander, that is the function of this kind of music,

contemporary music. I love music, what is interesting about that is

the idea that some of this contemporary music will be some of

the most marginalised alleyways of modern culture, to an extent. It is

often the distance is down ununusual alleyways, it is an

opportunity for them to get some attention. Within that you kind of

think, there has to be 20, and they have to be 12 minutes each, they

didn't have to have a sporting theme, but everybody did do them.

There is lots of lines on the stage. That was a frame for people to kick

against? It is interesting, it workeded in a number of ways. The

opera, in 12 minutes it is a tremendous opera. It gave us an

opportunity to come across someone like Graham Phikin, one of the

great composers in the country, no- one will know his name. Even though

he's squashed into being one of the 20, you get a sighting of someone

who needs more exposure. That was a real success. People wandering off

the streets too, because they were free. People sit down and coming

across different forms of music, way outside the Gary Barlow end of

things. And being excited, seeing different levels of fantasy, noise,

ways of expressing themselves. Even though the thing had that thing

that I love music, but the relay, it is a marathon, I think this was

a tremendous example of how a focus over things released over a year or

two suddenly came into one place, and really gave a meaning about

other places to listen to, that are usually covered up. Instead of the

idea about Olympics and the Cultural Olympiad being about

legacy in terms of monument or works of art that will last, I get

the impression from you all that the strongest things are

experimental, and are only with now, and what happens in the future are

not a concern of the those creating them? It is interesting that it

needs something like this to give access and space to the tremendous

nature of what is at the heart of this, one of the most central parts

of our soul, which is experimentation. But the corporate

world, of course, continue, and tries to undermine it, because it

is ideolgical, they want to control that, because it leads to the sort

of freedom they wouldn't like, and we would all be complaining about

the totalitarian logo. The legacy is the moment when your mind is

open to something new. That is the thing. And we share it. I think it

is the connections people make, dare I use the word "inclusive"

connections people make. We may have agreement breaking out. We

will end with historical precedence, the arts and Olympics have a long

shared history, a long time ago, artists were up for medals

alongside the athletes. The revival of the Olympics came down it a

Frenchman. Art was just as important to his vision as sport.

He wanted the event to unite the muscles and the mind.

Beginning with the stock Millennium Dome games of 1912, art med --

Stockholm games in 1912, art medals were given out in 12 catagories,

sculpture, music, literature and art. They had to relate to sport in

some way. Works have been submitted from all over the world. This group

in plaster from Sweden has won a first prize. He himself won the

literature measure, with his Ode to Even athletes got in on the act,

several wins medals for sports and art.

Bartok, Ravel and Stravinsky sat on the music board, but were so

unimpressed they didn't award a single medal. Few Olympic artists

are remembered today. After 1948 art medals were dropped in favour

of exhibitions and festivals. If art medals had survived, who would

be on the podium this year? Bettany, is this an hissoral idea

to be resurrected in further -- an historic idea to be r resurrected?

It was Mark Wenlock who reinvented the Olympic Games, and had medals

for embroidery. I think we should have medals for the unsung heros. I

would like to see a medal for a group that have revived

synchronised swimming in Worthing. Who would get your medal for

cultural achievement in the Cultural Olympiad? Dr D, Rufus N

Norris, a beautiful collaboration with David Albarn. The great and

the good getting your medals? a man of the street. I don't agree

they should be brought back. Because I think it is the Olympics,

and it should be a focus on sports, I used to do sports when I was

younger, I would love it see that continue. In the spirit of my crass

question, who would win the medal for you. I wouldn't choose anyone,

I have an issue with the question, my issue is, I often think awards

are done by a small select group of people, and the majority of people

don't get to vote, really, we would be choosing the great and the good.

If you asked me, I want people who do cake-making, corb chet, and

those kind of people. There was an excellent piece I

didn't mention called Spinal Chords. I love this, I would give all sorts

of people it. The gold medal should go to the cast of 2012 they are our

enduring legacy I'm hoping Danny Boyle will be energetic and

romantic and eccentric enough to win a medal as well. That is almost

all from us, review show medals and Jim Will Fix It to Paul and Bettany,

they will fight it out in the Green Room. Tell us what you think via

Twitter, and check out the website. We are taking a break for the

Olympics, but the review show will be back looking at the best of the

Edinburgh Festival in August. We leave you with one of the fiech

official songs composed for Rock the Games. It is Survival by Muse.

# I'm gonna win # Yes I'm gonna win

# I will make the fuse # I'll never lose

# I choose to survive # Whatever it takes