:00:23. > :00:27.Welcome to Out Of The Blue. Wur we're live with Graham Little and
:00:27. > :00:30.Joanne Salley. They wowed the crowd at Glastonbury, now they are here,
:00:30. > :00:38.Rams Pocket Radio get the chance to do the same in their very own back
:00:38. > :00:44.yard. He has raised a few eyebrows for
:00:44. > :00:49.mixing religious imagery with Amy Winehouse and Paris Hilton, we have
:00:49. > :00:54.a 60-minute masterpiece for us. We will tell you how you could own
:00:54. > :00:59.a Sparky piece of Starkie later on. Rioting, bigotry, sectarian
:00:59. > :01:02.division, and paramilitaries on steroids. He has laughed at the lot,
:01:02. > :01:12.the funnyist man in Northern Ireland with ginger hair, it is
:01:12. > :01:14.
:01:14. > :01:20.Jake O'Kane. A special thanks, it was supposed to be Larry Lamb, but
:01:20. > :01:27.he as aund doctors orders not to fly, he hopes to join us soon. And
:01:27. > :01:31.Jake has stepped in, and a great stand-up. You are on two with the
:01:31. > :01:36.Teargas Tour, how difficult is it to get a laugh out of something
:01:36. > :01:42.like The Troubles? It is the backdrop of the Trouble, growing up
:01:42. > :01:45.in t it is just talking about how we lived and survived it. You are
:01:45. > :01:49.attracting more than a local audience? The Internet has changed
:01:49. > :01:54.everything. It came out on DVD, I got an e-mail from a student in
:01:54. > :02:02.Brussels, some girl had clicked on Dara O'Brien, clicked on Colin
:02:02. > :02:07.Murphy, and clicked on me, and she bought my DVD. You are going to be
:02:07. > :02:12.a pin-up? Not with this head. power of the internet, we will chat
:02:12. > :02:18.more to Jake later and find out what made him turn to comedy.
:02:18. > :02:23.Jones told the public last week he will perform songs by the Clash for
:02:23. > :02:28.the first time in more than 30 years. It is to raise money for the
:02:28. > :02:31.Hillsborough Justice Campaign, to support families and victims of the
:02:31. > :02:35.Hillsborough football disaster. The Clash were one of the few to
:02:35. > :02:40.play in Belfast in the 170s, as Michael Bradley finds out t nearly
:02:40. > :02:47.didn't happen. Before 1977 there was this...#
:02:47. > :02:52.your hands on your hips. And a lot of this:
:02:52. > :02:57.Then, this happened...# We're so pretty
:02:57. > :03:01.# I'm so pretty The punk revolution had started.
:03:01. > :03:05.Here in Northern Ireland, a very different form of rebellion was
:03:05. > :03:10.happening. The 70s saw some of the worst
:03:10. > :03:19.atrocities of the Troubles. On the 20tf October, 1977, these
:03:19. > :03:26.two worlds collided. In 1977, I was 18 years old, our band, the
:03:26. > :03:31.Undertones, were a punk band. We bought punk rock records, we read
:03:31. > :03:34.about punk rock bands, The Sex Pistols, the Clash, the Dammed. We
:03:34. > :03:39.never saw them live, bands like that, they didn't come here. Then
:03:39. > :03:45.in October, 177, we heard the news, that the Clash were coming to
:03:45. > :03:50.Belfast. Clash, Clash, Clash. # London's calling
:03:50. > :03:56.# The far away town Part of the original punk rock wave,
:03:56. > :04:03.the clash were the only -- Clash were the only band that mattered.
:04:03. > :04:11.They came one a line that summed it up "no Elvis beet Beatles or
:04:11. > :04:14.Rolling Stones in 177 ". The fact they were hoping in the Ulster Hall,
:04:14. > :04:19.was massive news. But punk's rebellious image was to be the
:04:19. > :04:23.big's downfall. On the day of the show, the Clash were having their
:04:23. > :04:28.photos taken. Meanwhile, trouble was brewing down in Bedford Street.
:04:28. > :04:31.As fans gathered outside the Ulster Hall, a few windows got broken.
:04:31. > :04:36.With punk's reputation, the insurers felt the gig had to be
:04:36. > :04:43.cancelled. I was here, October 1977, 5.30. We
:04:44. > :04:47.were all sitting on the front steps waiting for the Clash to turn up.
:04:47. > :04:50.We were the only punk band in Belfast at the time. We were
:04:50. > :04:52.playing gigs in our own I can't remember, in east Belfast. All of a
:04:52. > :04:58.sudden there were hundreds of other people we had never seen before.
:04:58. > :05:03.People were talking about starting bands and fan zeens. People were
:05:03. > :05:07.sitting in the middle of the road and blocking the traffic. They were
:05:07. > :05:11.really annoyed the gig had been pulled, and nobody told anyone what
:05:11. > :05:15.was happening. Once the police arrested people, everyone ran round
:05:15. > :05:19.to the Europe pa Hotel, where the Clash were staying. It was a big
:05:19. > :05:23.thing for the clash to come and play Belfast. At that time we
:05:23. > :05:29.hadn't been getting a lot of bands. It wasn't like the 60s with we got
:05:29. > :05:35.the Beatles and Stones, people weren't coming to Northern Ireland.
:05:35. > :05:43.That was fantastic gig, for it to be cancelled and the kids po
:05:43. > :05:46.geosing in the -- pogoing in the streets. But the story didn't end
:05:46. > :05:52.there, two months later it was announced the Clash would return to
:05:52. > :05:57.Belfast, this time playing in the Queen's Students Union. Five days
:05:57. > :06:03.before Christmas, Belfast's young puanks, who had realised -- punks,
:06:03. > :06:07.who had realised that they were not alone, converged on Queen's
:06:07. > :06:11.Students' Union. I arrived down with my brothers, and other
:06:11. > :06:14.associated outcast members, in a wee gang. We arrived in to a heavy
:06:14. > :06:19.bouncer presence outside, where every single person in that queue
:06:19. > :06:28.had to stand there and be striped of their studded armbands, neck
:06:28. > :06:32.chain, toilet chains, safety pins. From the moment Joe Strumer punched
:06:32. > :06:39.a Christmas balloon over his head, the crowd went wild. References to
:06:39. > :06:44.Northern Ireland pep earth the set. People got on to the stage for the
:06:44. > :06:47.last song, and then out to the police on the avenue. It was mind-
:06:47. > :06:52.blowing. It is the first time you were meeting guys from the Shankill,
:06:52. > :07:01.and the Falls, guys you didn't know were puanks in Belfast. As a band
:07:01. > :07:10.we only played a couple of gigs, and then you realised, punks could
:07:10. > :07:14.give you a chance to be a band. if the police thought the punks
:07:15. > :07:21.were going to cause trouble, they were wrong. With their heads full
:07:21. > :07:26.of it, their future was punk. I have to ask, have you been ever
:07:26. > :07:31.tempted to wear the leather trou serbs the dog colour, the safety
:07:31. > :07:35.pin? I was the sqareest man in Northern Ireland. Tweed and brogues,
:07:35. > :07:40.punk was not for me! If you are so sqare, where did all the comedy
:07:40. > :07:44.come, a lot of laughter in the house growing up, observing and
:07:44. > :07:48.watching it? Just watching the lunacy around you. You didn't think
:07:48. > :07:51.about doing it in those days, no Empire Laughs Back in those days.
:07:51. > :07:56.You fell into it, it was good enough for Graham Norton, good
:07:56. > :08:00.enough for you. You were a barman for a bit s that right? For most of
:08:00. > :08:04.my career. It was very exotic, north Belfast bars are very exotic.
:08:04. > :08:08.Were you entertaining all the customers there? No, actually. I
:08:08. > :08:12.tried to get into the Empire Laughs Back, I couldn't get in, it was
:08:12. > :08:17.packed as usual. Someone said if you do an open spot you will get in,
:08:17. > :08:21.guaranteed, that is why I did it, to get in. Another comedy club
:08:21. > :08:25.opened up after, that I started compereing there. You must have
:08:25. > :08:35.made an impression, it was the following week, you did the open
:08:35. > :08:37.
:08:37. > :08:42.spot and then Compering. It was Paddy, I chanced my arm, I did an
:08:42. > :08:48.open spot, and he asked me if I had done compering before, and I said,
:08:48. > :08:52.loads of it, chancing my arm, and lucky enough got the gig. Who was
:08:52. > :08:56.inspiring you then, who were the comedy heros? Billy Connelly. But
:08:56. > :09:06.there was local guys breaking through then, in the circuit in
:09:06. > :09:07.
:09:07. > :09:11.London, Eoin O'Neil, and Kevin McElear, over doing the circuit in
:09:11. > :09:16.London at the time. They were the guys you aimed for. You obviously
:09:16. > :09:21.dealt with a few heckler, maybe in London, the comedy might not have
:09:21. > :09:27.sparked their interest? The best hecklers in the world is here. You
:09:27. > :09:35.don't get heckled in London, they all sit, terribly nice, very funny,
:09:35. > :09:40.ginger chapy. In Belfast they will rip your throat out. What is the
:09:40. > :09:47.worst you can tell us about at this time? The generic one in Belfast
:09:47. > :09:52.and it means nothing, "you're ma", you get that from nowhere. Yes, I
:09:52. > :09:58.met her, she was a lovely lady. moments of silence and they will
:09:58. > :10:02.kill you. You are back with The Blame Game, another series, why do
:10:02. > :10:07.people love it? It is local and talking about what is happening the
:10:07. > :10:12.day before or that day, it is current, we try to keep it as
:10:12. > :10:18.current as possible. The original team are back, so it is myself,
:10:18. > :10:26.Colin Murphy, Neil and Tim. It is great fun. It certainly is great
:10:26. > :10:33.money. There is the unmistakable sound of John Coltrane, time for
:10:33. > :10:37.another self-curated exhibition of My Favourite Things. This week it
:10:38. > :10:47.is the turn of one of our best loved actresss to pick the four
:10:48. > :10:52.
:10:52. > :10:56.pieces of art that mean the most to her.
:10:56. > :11:06.I'm looking at one of the most beautiful paintings in the world.
:11:06. > :11:07.
:11:08. > :11:17.It is of a really, really beautiful place. We're talking about Straig
:11:18. > :11:18.
:11:18. > :11:22.htkilly, in Caren Loch, by a very important painter, Sam McLarnon. He
:11:22. > :11:27.has such knowledge of county Antrim and down the Antrim coast. Just
:11:27. > :11:35.where there is a beautiful little sunspot on the painting is where my
:11:35. > :11:39.husband and I had a caravan. It still means as much to me now as it
:11:39. > :11:49.did then. I hope that you all get the same pleasure from this picture,
:11:49. > :12:00.
:12:00. > :12:03.as I have done. A book, oh, it is a wonderful book
:12:03. > :12:10.and a glorious story about a beautiful young girl, who falls in
:12:10. > :12:17.love with a very handsome wonderful boy, and I'm speaking, of course,
:12:17. > :12:24.of Lorna Doone, by RD Black mld more. I read this book whenever I
:12:24. > :12:27.was -- RD Blackmore, I read this book when I was a child, I imagined
:12:27. > :12:32.myself as Lorna, I was beautiful and all those sorts of things. Then
:12:32. > :12:38.again, I read it later on whenever I got the real meaning. Another
:12:38. > :12:45.very interesting thing, it is written through the eyes of the man,
:12:45. > :12:55.and there aren't very many romantic stories written that way. They go
:12:55. > :13:03.
:13:03. > :13:13.through so much, but what's the age-old story, love will overcome.
:13:13. > :13:19.Oh! It's my favourite, oh, I absolutely love this. My life just
:13:19. > :13:27.isn't complete without this. It's a wonderful place, and a wonderful
:13:27. > :13:34.time, and everybody's so romantic. I'm watching Downton Abbey, created
:13:34. > :13:39.by Julian Fellows. What a fabulous show. It really is, and it's based
:13:39. > :13:43.in history, 1914-1918 war, where everything just changed and all
:13:43. > :13:53.these people who were living this very luxurious life, it was very
:13:53. > :13:58.much a two-tiered system, you were either upstairs or downstairs. I'm
:13:58. > :14:03.so envious of Maggie Smith's performance. She's an amazing woman,
:14:03. > :14:13.she can just give a look and you're away. But I love watching T it is
:14:13. > :14:21.
:14:21. > :14:30.just he is -- it is such escape. Just escape into it all and enjoy.
:14:30. > :14:36.Oh. This is my very, very favourite and personal piece of music. I just
:14:36. > :14:43.love it, because it is My Bill is the title of the piece. My late
:14:43. > :14:50.husband was called Bill, it obviously has very personal, just
:14:50. > :14:59.feelings for me. It's from the show Show Boat. It takes place on a
:14:59. > :15:03.river boat. Down the Mississippi, and it is just a lovely, very
:15:03. > :15:07.cloufl show, lots of marvellous dancing -- colourful show,
:15:07. > :15:17.marvellous dancing, it goes through every emotion, heart break, love. A
:15:17. > :15:22.
:15:22. > :15:29.lovely escape. Thank you very much. This has been such a wonderful
:15:29. > :15:36.experience of walking through my life. I have loved it.
:15:36. > :15:41.Back in the studio, meanwhile, done national -- Domnall is still hard
:15:41. > :15:46.at work on his masterpiece. Jake, if money was no object, what work
:15:46. > :15:52.of art would you like on your wall? A wee Van Gogh, I would survive
:15:52. > :15:57.with that, a guy called Marky Robinson, he lived and painted here
:15:57. > :16:01.all his life. I imagined to save up and buy one of his, a lot cheaper
:16:02. > :16:07.than a Van Gogh. Could you even buy one? Could you steal one, but I
:16:08. > :16:17.know a guy who will get you one, a few quid. Is the Tear gas Tour,
:16:18. > :16:18.
:16:18. > :16:23.autobiograical. The backdrop is growing up here, wee anecdotes and
:16:23. > :16:27.stories weaved into it. I'm sure you played a variety of venues
:16:27. > :16:31.throughout your career a small show or big show do you prefer? Big is
:16:31. > :16:35.easier, more people may laugh! So the smaller show you have less
:16:35. > :16:40.opportunity, you know, if they don't like it they don't like it.
:16:40. > :16:47.There is so many venues now in the north, there is beautiful wee
:16:47. > :16:57.theatre, the Courthouse in Antrim, small and intimate, perfect for
:16:57. > :16:58.
:16:58. > :17:02.stand-up. Next March St pad trick's day, the Opera House, big, big,
:17:02. > :17:07.venue. You have played all the big name clubs, do you find audiences
:17:07. > :17:12.away from home difficult to play to? What surprised me, the heckling,
:17:12. > :17:16.the first time I played London, I was shouting. They were all sort of
:17:16. > :17:21.sitting three nice, and why is he shouting at us, I say Daphne, why
:17:21. > :17:26.is he shouting. They are very respectful and they listen. You had
:17:27. > :17:31.to tone it down, I remember Jackie Hamilton gave me the best piece of
:17:31. > :17:34.advice I have ever had, when I was starting off, speak slower. Once
:17:34. > :17:39.you get outside Northern Ireland, you realise we speak at a different
:17:39. > :17:44.speed. You can see them looking at you, it is English, but I don't
:17:44. > :17:49.understand what he's saying. Have you made anyone cry? No, I have
:17:49. > :17:53.tried hard. It is badge of honour for you guys, any tips for
:17:53. > :17:57.comedians watching? Get up there, give it a Government the Empire
:17:57. > :18:05.Comedy Club has an open spot, that is why I came through. I have two
:18:05. > :18:09.guys on my tour with me, kicking off their careers, Rory Ward and
:18:09. > :18:14.Nicky Bartlett. Two cracking blokes, you have a whole new slot culling
:18:14. > :18:18.through. That is what it should be. Don't -- lot coming through. That
:18:18. > :18:23.is what it should be. Not too fast, but coming through!
:18:23. > :18:26.We have always had a thing here about animals in these islands, for
:18:26. > :18:36.generations they have turned up in our literature, from the Jungle
:18:36. > :18:42.Book, the Fantastic Mr Fox, and the Lion, The Witch and the Ward Robe,
:18:42. > :18:52.conceived down the road here by CS Lewis. Carrie Neely has found that
:18:52. > :18:53.
:18:53. > :18:59.getting stuffed is hot stuff in the art world! It is an age since
:18:59. > :19:04.taxidermy was all the raiblg. The Victorians loved it -- rage. The
:19:04. > :19:11.Victorians loved it. What they thought as elegant and respectful,
:19:11. > :19:16.they thought as nailed on vulgar. But fashions change, and the full
:19:16. > :19:23.mounted is back in vogue. Celebrities like Courtney Love and
:19:23. > :19:29.Kate Moss are new fans of this art. And artists are shamelessly
:19:29. > :19:32.showcaseing road kill, taxidermy is back from the dead. Most of us will
:19:32. > :19:37.admit to having a morbid fascination of observing something
:19:37. > :19:41.that once had light. That is not enough to make, is it? David Irwin
:19:41. > :19:45.thinks it is less about art form than life form. He has given
:19:45. > :19:53.immortality to everything from stags to pheasants, crocodiles to
:19:53. > :19:56.foxes. So, this all looks pretty morbid and gruesome, is it really
:19:56. > :20:01.art? Yeah, absolutely. It would be more gruesome from an outsider's
:20:02. > :20:07.point of view, but saying that, it is an art farm. Obviously you are
:20:07. > :20:17.taking a dead bird or animal, and make it looks a it was when it was
:20:17. > :20:21.
:20:21. > :20:26.alive. It is like sculpt theing. Once the -- sculpting. The animal
:20:26. > :20:30.is stuffed and wired up to give it form. Get the wings into shape.
:20:30. > :20:35.is coming to life now. It is something to be proud of when you
:20:35. > :20:42.put something back the way it was when it was alive. This Lord of the
:20:42. > :20:51.skies with cost �150 to be put back on a perch. It could set you back
:20:51. > :20:56.�3,500 to stuff one of these "deer" friends. What about a two-foot
:20:56. > :21:00.crocodile. One that died in a pet shop. I have never done one before,
:21:00. > :21:07.I'm looking forward to see how it turns out.
:21:07. > :21:11.European taxidermy goes back to the 1600s, two centuries later, our
:21:11. > :21:16.greatest naturalist, Charles Darwin, was a fan of extending the shelf
:21:16. > :21:21.life of his creatures. Now, modern day artist, such as Polly Morgan,
:21:21. > :21:25.are breathing new life into this dead art form. Is using dead
:21:25. > :21:30.animals really art? It depends what you do with your material. I think
:21:30. > :21:35.that dead animals can be art just as much as a lump of play clai can
:21:35. > :21:39.be art, once fashioned by the artist using it. People make the
:21:39. > :21:44.mistake of thinking my work is morbid and I'm dwelling shrol
:21:44. > :21:48.solely on death. My work is about triumph over death, and something
:21:48. > :21:52.dies and something else is born. Your animals are normally road kill
:21:52. > :21:58.or have been found dead. Is it true you have eaten some of your work?
:21:58. > :22:02.tried some once, I tried a bit of fox once. How did the fox taste?
:22:02. > :22:12.Kind of like a very greasey, chewy steak w a not particularly pleasant
:22:12. > :22:14.
:22:14. > :22:23.aftertaste. Courtney skaf love and Kate Moss
:22:23. > :22:28.love your work, why has it made the leap to cool? Before you used to
:22:28. > :22:32.mimic the habitat, I put them in less conventional settings, to line
:22:32. > :22:35.them with contemporary art. That awakens an interest in people that
:22:36. > :22:40.wasn't there before. Polyraised more than a few eyebrows in
:22:40. > :22:43.Northern Ireland, when she brought her tour of dead birds to the Boyd
:22:43. > :22:49.Gallery in Londonderry. reaction was generally pretty good,
:22:49. > :22:56.most people liked t not everyone did. Really? It does divide opinion.
:22:56. > :23:01.People either love or hate taxi determiney, I think. If you mis--
:23:01. > :23:07.Taxidermy, I think. If you missed the tour, take a look around the
:23:07. > :23:12.4,000 plus specimens at the Ulster Museum. It's not really my cup of
:23:12. > :23:15.tea, but from one artist to the next, Domnall Starkie has been
:23:15. > :23:23.under pressure to create a work of art in just 60 minutes. What on
:23:23. > :23:30.earth is this all about? Basically the painting is auld, I Would Have
:23:30. > :23:33.Died If I didn't Get That Bag. It is play on the way people say ne
:23:33. > :23:36.would die if they don't get this, and they don't understand how
:23:36. > :23:41.flipant it is, it is about the consumer-driven society, and the
:23:41. > :23:47.stark contrast, people with nothing. So the bag is the real key piece in
:23:47. > :23:50.this? Why would a starving child have a designer bag or want one. It
:23:50. > :23:55.is making fun of the obsession with designer goods or the top of the
:23:55. > :23:58.range stuff. It means nothing, really. It is really great. You
:23:58. > :24:02.were a graphic designer for ten years, I can see the influence why
:24:02. > :24:07.your work, has that helped you? don't know if it has helped me. It
:24:07. > :24:13.is kind of like, I think it is just naturally happened, that I would
:24:13. > :24:18.paint in that way. I suppose it has affected the way I paint. It is
:24:18. > :24:23.lending itself to clothes. What this old thing! Me and my partner
:24:23. > :24:27.are starting up a business called Smart Swag, we paint on anything.
:24:27. > :24:36.Literally anything that we can paint on, we do clothes and
:24:36. > :24:39.repurpose furniture and turn it into pieces of art, one-offs that
:24:39. > :24:45.people can wear. We will look out for those. All you have to do is
:24:45. > :24:49.sign it. If you would like Domnall's work, all the work is
:24:49. > :24:54.being auctioned off with the proceeds going to Children in Need.
:24:54. > :24:57.Log on to the website. Go to the Northern Ireland section for more
:24:57. > :25:01.information. From art to music now, performing
:25:01. > :25:06.live for us tonight are Rams Pocket Radio, described recently on BBC 6
:25:06. > :25:11.music no less as a positive threat to every other piano-based band
:25:12. > :25:16.around. That is a big thing to live up. Peter McCauley is here to talk
:25:16. > :25:19.to us. A great accolade, pressure now? It is great to hearing things
:25:19. > :25:24.like, that but there is pressure. You can see why people are saying,
:25:24. > :25:29.that you have had a brilliant time of late? Lots happening, touring
:25:29. > :25:38.about, had a busy summer doing a few different festivals. We got to
:25:38. > :25:44.play Glastonbury, and supported Snow Patrol. And he get drgd up on
:25:44. > :25:50.stage on the EM As. They are trying to steal her, they are not getting
:25:50. > :25:56.her. You are an architect, or you have studied architecture before
:25:56. > :26:01.coming back to music. You went to Worthing, hardly the rock and roll
:26:01. > :26:07.capital? I was trying to pursue the rock and roll dream before I went
:26:07. > :26:13.to uni. We thought let's go to London? Brighton? Too expensive,
:26:13. > :26:19.let's go to the place near Brighton that is cheaper. The name has
:26:19. > :26:25.nothing to do with lisence Bonn, where does Rams Pocket Radio come
:26:25. > :26:31.from? It is named after a designer called Dieter Rams, it was stuff in
:26:31. > :26:39.the 50s, it was influential in stuff like the iPod and apple. I
:26:39. > :26:43.aspire to make music that has the same longevity. We are back, 7.30
:26:43. > :26:50.next Monday, with a story of the intense rivalry between two men
:26:50. > :26:57.determined to leave their stamp forever on the Belfast skyline. And
:26:57. > :27:05.Niamh Perry learns how choirs are changing their tune. And music from
:27:05. > :27:07.The Wonder Villains. Now we have Rams Pocket Radio and Dogs Running
:27:08. > :27:15.In Packs. # Let me tell you about this
:27:15. > :27:19.# Two reasons to # Word could say
:27:20. > :27:24.# Let me tell you about # Distance
:27:24. > :27:27.# Why you gotta go # It's in your head
:27:27. > :27:32.# That things are said # Burning so
:27:32. > :27:40.# Now you were told # They got you with the backhand
:27:40. > :27:44.# Know what you're thinking # Stab you in the back
:27:44. > :27:50.# Got me in the back # Making tracks
:27:50. > :28:00.# Feeling it a little # Like I'm in a vice
:28:00. > :28:04.
:28:04. > :28:14.# Dogs run in packs # So tell me about your FA see,
:28:14. > :28:16.
:28:16. > :28:19.# You need to change # Doesn't make it price
:28:19. > :28:22.# If you try from the fact # You're stuck in that crowd
:28:22. > :28:27.# I tell you now # Got you in the back
:28:27. > :28:36.# Running with the pack # What your athinking
:28:36. > :28:42.# Stab you in the back # Got you in the back