:00:12. > :00:16.I think we will be able to cultivate mushrooms. Glastonbury
:00:16. > :00:21.won't take a year off. Move to Arizona. Make a massive mess of
:00:21. > :00:28.other people's festivals. Glastonbury's year off everybody
:00:28. > :00:36.should have a well deserved rest. Go to Ibiza. Voluntary Services
:00:36. > :00:46.Overseas. It should sleep. around the coast of England and
:00:46. > :00:55.
:00:55. > :00:58.This programme may contain flashing Good afternoon and welcome to a
:00:58. > :01:04.wonderful Sunday afternoon here at the Glastonbury Festival. You can
:01:04. > :01:09.see the scenes of what it is like, where it was grey there was rain
:01:09. > :01:14.lashing down, now is bathed in the sunshine. It is beautiful. It is
:01:14. > :01:20.amazing how quickly it dries out. know. People are in such a great
:01:20. > :01:24.mood. It is like a carnival atmosphere here today. The bands
:01:24. > :01:28.are arriving and they are going to get to play in some sunshine.
:01:28. > :01:31.Really great spirits. It is like a mixture of a carnival and Sunday
:01:31. > :01:40.afternoon in the park, and everybody is waiting, this is
:01:40. > :01:43.building up to The Legends slot. We have had Neil Diamond. Shirley
:01:43. > :01:49.Bassey, Tom Jones. Today it will be Paul Simon. We will bring that to
:01:49. > :01:54.you, so you will get to enjoy the music of Paul Simon. A proper
:01:54. > :02:04.legend. Paul Simon coming very shortly. Let's kick-off with a
:02:04. > :02:35.
:02:35. > :02:37.rocking performance from The # And while the city sleeps
:02:37. > :02:40.# I won't weep because I didn't keep
:02:40. > :02:49.# My boyfriend and the summer's end is here again
:02:49. > :02:51.# And the leaves are golden # Under the grand silver birch tree
:02:51. > :02:55.# While we're thinking about the people we meet
:02:55. > :02:58.# Dancing feet wasters on the cover of a magazine
:02:58. > :03:03.# People you've kissed people you lust
:03:03. > :03:06.# And the one's that you might not # Ever remember what's the use?
:03:06. > :03:09.# I'm not what I was last summer # Not who I was in the spring
:03:09. > :03:13.# Tell me, tell me, tell me when we will learn
:03:13. > :03:16.# We love it and we leave it and we watch it burn
:03:16. > :03:21.# Damn these wild young haars # Damn these wild young hearts
:03:21. > :03:31.# Now that's the city's awake my heartaches
:03:31. > :03:40.
:03:40. > :03:46.# Oh what a silly mistake it seems I've made
:03:46. > :03:52.# You left your keys under my bed # Left a thumping in my head
:03:52. > :03:54.# I would say sorry what's the use? # Cause I'm not what I was last
:03:54. > :03:56.September # And I don't wear the same robes
:03:56. > :04:01.in May # We know we shouldn't do it
:04:01. > :04:04.# But we do it anyway # We know we might regret it but it
:04:04. > :04:11.seemed OK # Damn these wild young hearts
:04:11. > :04:13.# If now is forever then what's to prove
:04:13. > :04:15.# Cause it won't be the same next summer
:04:15. > :04:23.# And I guess I'll see you in the spring
:04:24. > :04:27.# Somebody tell me, tell me, tell me, when will I learn
:04:27. > :04:31.# I love it and I leave it and I watch it burn
:04:31. > :04:33.# Damn this wild young heart # I told you damn this wild young
:04:33. > :04:36.heart # Damn this wild young heart
:04:36. > :04:46.# Tell me, tell me, tell me, when will I learn
:04:46. > :04:52.
:04:52. > :04:55.# Damn this wild young heart. # CHEERING AND APPLAUSE
:04:55. > :05:02.The Noisettes. It is terribly impressive that she can sing like
:05:02. > :05:07.that and play Bass at the same time. Great performer. That was The
:05:07. > :05:11.Noisettes. We are back now in our beautiful garden, hopefully if are
:05:11. > :05:14.watching and you are disappointed because you didn't get tickets, we
:05:14. > :05:19.have given you that experience over the weekend, come rain, come Shane,
:05:19. > :05:22.you have felt like you have been here. You have experienced the
:05:22. > :05:29.headliners. We will do that with Beyonce. This afternoon it is all
:05:29. > :05:35.about chilling out. Also, Mark's feet have been exposed for the
:05:35. > :05:39.first time. We have gone from wellies to boots and I have come
:05:39. > :05:44.prepared. You probably had a pedicure before you came here today.
:05:44. > :05:49.All the time! That person over there? That's him. All right? Right,
:05:49. > :05:55.we have lots of Paul Simon coming your way. We were going to watch
:05:55. > :06:01.Bellowhead. We had a date to watch Bellowhead. We never made it.
:06:01. > :06:11.got busy. Here, for you, we were grafting, but we can have
:06:11. > :06:49.
:06:49. > :06:53.# Some like whisky # Some like beer
:06:53. > :06:57.# I wish I had a barrel here # Whisky old
:06:57. > :07:03.# Rising up from down below # Whisky old
:07:03. > :07:12.# Rising up from down below # Whisky old
:07:12. > :07:19.# Whisky up a loft this yard must go come rising up from down below
:07:19. > :07:28.# Whisky killed my sister Sue # And whisky killed my brother too
:07:28. > :07:31.# Whisky killed my poor old dad # And whisky drove my mother mad
:07:31. > :07:35.# Whisky oh Johnny oh # Rising up from down below
:07:35. > :07:40.# Whisky oh Johnny oh # Rising up from down below
:07:40. > :07:44.# Whisky oh Johnny oh # Rising up from down below
:07:44. > :07:54.# Up a loft this yard must go come rising
:07:54. > :08:12.
:08:12. > :08:15.# If whisky comes too near my nose # It's up she comes and down she
:08:15. > :08:22.goes # A pull and broker every man
:08:22. > :08:26.# And a barrel full for the shan'ty # Whisky oh Johnny oh
:08:26. > :08:30.# Rising up from down below # Whisky oh Johnny oh
:08:30. > :08:35.# Rising up from down below # Whisky oh Johnny oh
:08:35. > :08:45.# Rising up from down below # Up a loft this yard must go
:08:45. > :09:15.
:09:15. > :09:25.Wow, did you see that fiddle and the Tam Breen... Multi-tasking!
:09:25. > :09:25.
:09:25. > :09:33.This place is made for Bellowheads. Whisky Is The Life Of Man or Woman.
:09:33. > :09:38.There was a woop from a certain presenter who shall remain nameless.
:09:38. > :09:42.Paul Simon is still to come. We have got great acoustic music for
:09:42. > :09:47.you and this was - people were misty-eyed when they heard these
:09:47. > :09:51.guys in rehearsal. You are going to enjoy this. It is a blend of
:09:51. > :09:57.contemporary influences and traditional Indian influences. It's
:09:57. > :10:02.Raghu Dixit who comes from Bangalore. I am really looking
:10:02. > :10:12.forward to it. People were saying it is really dream-inducing. They
:10:12. > :10:42.
:10:42. > :10:52.# Neele aakaash mein, # Neele aakaash mein,
:10:52. > :11:18.
:11:18. > :11:28.# Goonjoon, garajoon aur barsoon # No man will ever love you
:11:28. > :11:35.
:11:35. > :11:45.# No man will ever love you # No man will ever love you
:11:45. > :11:45.
:11:45. > :12:57.Apology for the loss of subtitles for 72 seconds
:12:57. > :13:07.# Ohsawariyaan re, # Aaakaash mein goonjen meri aarzoo
:13:07. > :13:13.
:13:13. > :13:23.# No man will ever love you # No man will ever love you
:13:23. > :13:23.
:13:23. > :14:19.Apology for the loss of subtitles for 72 seconds
:14:19. > :14:23.# No man will ever love you APPLAUSE
:14:23. > :14:27.That was Raghu Dixit. Now the next thing you are going to see is a
:14:27. > :14:32.band who were on the Main Stage, Pyramid Stage, at 11.00 this
:14:32. > :14:37.morning. That is where they have novelty acts. It was a band.
:14:38. > :14:47.used to be the Glastonbury Brass Band. There is a village, you go
:14:47. > :14:54.down a steep hill, Port Isaac, it is featured in Doc Marten. I have
:14:54. > :15:03.never seen it. Martin Clunes is in it. You go down the steep hill. A
:15:03. > :15:07.couple of nice pubs there, aquarium, pottery. Nice cream teas! A group
:15:08. > :15:13.of hearty souls gather to do singing and they make an amazing
:15:13. > :15:19.noise. I first saw these guys five years ago, went for a pint and they
:15:19. > :15:29.were there singing. They were called Fisherman's Friends. This is
:15:29. > :15:42.
:15:42. > :15:49.We are a group who formed up in the early '90s, late '80s. We called
:15:49. > :15:54.ourselves the Fisherman's Friends. They all dabbing in their own
:15:54. > :16:04.fishing with their own boats. # We are making money with this
:16:04. > :16:06.
:16:06. > :16:11.sound... # Our singing is based on the Cornish
:16:11. > :16:15.tradition of standing in a semi- circle. Our songs are work songs,
:16:16. > :16:21.they come from the working days of sound and they are basically all
:16:21. > :16:24.sung to create a rhythm. These songs were evolved by ordinary
:16:24. > :16:34.people and so people can still relate to them now, you know, they
:16:34. > :16:34.
:16:34. > :16:39.are the people's songs. We are the people's shan'ty men. We first got
:16:39. > :16:46.picked up, this was the plan, if we get to Glastonbury, that's it,
:16:46. > :16:56.we've made it. It is a huge mega- deal for us. We are hoping someone
:16:56. > :16:58.
:16:58. > :17:03.is prepared to get up that early and come and see us. Got through
:17:03. > :17:11.about ten checkpoints, we had to strip naked. We are finally in!
:17:11. > :17:17.didn't have to, Trev. One or two chose to do that. It is very muddy.
:17:17. > :17:27.It is not so bad. Wake up and smell the bacon! It's the Fisherman's
:17:27. > :17:28.
:17:28. > :17:38.Friends. Cornish flags, very important. Makes us feel as though
:17:38. > :17:43.
:17:43. > :17:53.we are at home. We are up for it. Come on, boys! Here we go, guys.
:17:53. > :17:55.
:17:55. > :18:05.are going to sing you some frolicking songs from the days when
:18:05. > :18:44.
:18:44. > :18:54.Fantastic. You were magnificent. didn't seem like there were many
:18:54. > :19:00.
:19:00. > :19:03.people there. By the time we With some of those artists, they
:19:03. > :19:08.play the Pyramid Stage and you worry about them getting lost. That
:19:08. > :19:12.stage was not big enough for Fisherman's Friend. I love the
:19:12. > :19:18.story of that band and they are so lovely. You couldn't kind of make
:19:18. > :19:23.up a better story. It is like Calendar Girls. They are making a
:19:23. > :19:28.film about that story. They still go to Port Isaac and they will sing
:19:28. > :19:33.to anyone who want to share a pint with them. They are a very
:19:33. > :19:37.expensive round as I found to my cost in a hotel bar! Yeah, in
:19:37. > :19:43.principle... They are worth it. Yeah, yeah. We still have Paul
:19:43. > :19:53.Simon coming up of course. Very shortly. But whilst we are basking
:19:53. > :19:53.
:19:53. > :19:58.in the sunshine here, relaxing on this cow/bonkette... Couch. Gemma
:19:59. > :20:05.is out there. I woke up hanging this morning, guys. Wow, I'm here
:20:05. > :20:13.at the Circus Field with Annabel doing the trapeze. All the blood
:20:13. > :20:19.has rushed to my head. I'm coming up. Put your hands on the bar.
:20:19. > :20:23.Take your feet underneath. I tried to do that gracefully. Hello.
:20:23. > :20:30.You do a lot of trapeze lessons for people who aren't in any fit state
:20:30. > :20:35.like myself. It is fun? It is fun. How was I? You were good. Very
:20:35. > :20:40.confident. You held that... they usually as scared as me?
:20:40. > :20:46.are. You are the big dog around here! What is going on behind us?
:20:46. > :20:53.They are all training at the moment. Felipe is doing a handball lance.
:20:53. > :21:01.We have some spinning ladders. All sorts of different acts. They have
:21:01. > :21:05.to train every day. How do you come up with the name? We are No Fit
:21:05. > :21:11.State Circus. I love it. I'm no no fit state. Annabel, do something
:21:11. > :21:18.cool. Get on that trapeze. I'm going to run away to the circus.
:21:19. > :21:25.Wow! So much more elegant than me. Yeah, just hanging. See you later,
:21:25. > :21:31.guys. Why have they got Gemma to do that and why didn't they send you
:21:31. > :21:36.there? I would have paid good money. With my natural balance, I was a
:21:37. > :21:42.shoe in for that. In live television, they shout at us in our
:21:42. > :21:48.ear, like, "Shut up, that's enough of you!" Do they do that to you
:21:48. > :21:56.often? Quite often. Do you not get that? No. We didn't realise Gemma
:21:56. > :22:01.was poised on her head. She is very high viz. In that outfit,
:22:01. > :22:05.absolutely. She's the style guru of Glastonbury this year. Coming up
:22:05. > :22:10.shortly, we will bring you some more flavours of what is happening
:22:10. > :22:15.here, maybe the odd acoustic, Laura Marling was playing a little while
:22:15. > :22:18.ago. Talking of Fisherman's Friends, Laura was on her own. We will chat
:22:18. > :22:24.about her in a little while. For now, we will bring you some Paul
:22:24. > :22:29.Simon who was in action half an hour ago. First of all, let's find
:22:29. > :22:34.out about the background of Paul Simon.
:22:34. > :22:40.He says you can call him Al, but most of us know him as Paul Simon.
:22:40. > :22:44.Today, Glastonbury welcomes him to the Pyramid Stage. Paul's early
:22:44. > :22:50.career started out with his childhood friend Art Garfunkel.
:22:50. > :22:54.Together as Simon and Garfunkel in the '60s they would find themselves
:22:54. > :23:00.redefining folk music. Simon writing songs that would somehow
:23:00. > :23:05.capture the mood of the changing times.
:23:05. > :23:11.# Please Mrs Robinson... # After 13 years singing together,
:23:11. > :23:18.the smash 1970 album Bridge Over Troubled Water was their last
:23:18. > :23:21.studio recording together. # I'm sailing right behind... #
:23:21. > :23:26.Simon would recommence a solo career that had begun back in 1965
:23:26. > :23:31.when he released the Paul Simon Song book whilst playing the
:23:31. > :23:39.English folk clubs. Everything was an adventure. I was living far away
:23:39. > :23:45.from home in another culture in another country. I would play there
:23:45. > :23:55.maybe once a month and it was always packed. There was a feeling
:23:55. > :24:01.of camaraderie. It was probably the most enjoyable time of my life.
:24:01. > :24:11.was during this period that he discovered the global rhythms that
:24:11. > :24:11.
:24:11. > :24:15.influenced his 1972 hits Mother and Child Reunion. In 1986, his global
:24:15. > :24:19.hit Graceland explored the music of South Africa. It catapulted him
:24:19. > :24:24.back to the top of the charts but created a political storm as he
:24:24. > :24:30.travelled to Johannesburg to incorporate the sounds of the South
:24:30. > :24:40.African township with his songwriting. It featured many South
:24:40. > :24:49.African musicians. Graceland was revolutionary and introduced the
:24:50. > :24:54.music of Soweto to an international audience. His music continues to
:24:54. > :25:03.influence. In recent years, he's won a new generation of fans as
:25:03. > :25:11.acts as Vampire Weekend have covered his songs. When I think of
:25:11. > :25:16.it it's pretty close to Indie thinking. It is rhythmic, it is not
:25:16. > :25:22.mainstream. It's more old music. Now he's back with the new album So
:25:22. > :25:26.Beautiful or So What which went to the upper reaches of the charts.
:25:26. > :25:31.Today he is about to grace the Pyramid Stage with a set of his
:25:31. > :25:34.classic songs old and new, delivered by that iconic voice that
:25:34. > :25:40.could only be Paul Simon. I have never been to Glastonbury. I am
:25:40. > :25:46.curious to see what it is. We will adjust the set to whatever the
:25:46. > :25:56.crowd wants, sort of, however we interpret what the crowd wants.
:25:56. > :26:26.
:26:27. > :26:29.# And the sun was beating on the # There was a bright light
:26:29. > :26:32.# The bomb in the baby carriage was wired to the radio
:26:32. > :26:42.# These are the days of miracle and wonder
:26:42. > :26:54.
:26:54. > :26:55.# It was a dry wind And it swept across the desert
:26:55. > :26:57.# And it curled into the circle of birth
:26:57. > :26:58.# And the dead sand falling on the children
:26:58. > :27:08.# The mothers and the fathers and the automatic earth
:27:08. > :27:16.
:27:16. > :27:19.# These are the days of miracle and wonder
:27:19. > :27:22.# This is the long-distance call
:27:22. > :27:26.# The way the camera follows us in slo-mo
:27:26. > :27:30.# The way we look to us all
:27:30. > :27:33.# The way we look to a distant constellation
:27:33. > :27:36.# That's dying in the corner of the sky
:27:36. > :27:40.# These are the days of miracle and wonder
:27:40. > :27:50.# And don't cry, baby Don't cry, don't cry
:27:50. > :27:50.
:27:50. > :28:34.Apology for the loss of subtitles for 72 seconds
:28:34. > :28:36.# The way the camera follows us in slo-mo
:28:36. > :28:41.# The way we look to us all, oh yeah
:28:41. > :28:44.# The way we look to a distant constellation
:28:44. > :28:47.# That's dying in a corner of the sky
:28:47. > :28:51.# These are the days of miracle and wonder
:28:51. > :29:01.# And don't cry, baby Don't cry, don't cry, don't cry. #
:29:01. > :29:03.# It's a turnaround jump shot It's everybody jumpstart
:29:03. > :29:04.# It's every generation throws a hero up the pop charts
:29:04. > :29:06.# Medicine is magical and magical is art
:29:06. > :29:08.# Thinking of the boy in the bubble and the baby with the baboon heart
:29:08. > :29:11.# And I believe these are the days of lasers in the jungle
:29:11. > :29:15.# Lasers in the jungle somewhere
:29:15. > :29:18.# Staccato signals of constant information
:29:18. > :29:21.# A loose affiliation of millionaires
:29:21. > :29:23.# And billionaires, and baby
:29:23. > :29:27.# These are the days of miracle and wonder
:29:27. > :29:29.# This is the long-distance call
:29:29. > :29:33.# The way the camera follows us in slo-mo
:29:33. > :29:37.# The way we look to us all, oh yeah
:29:37. > :29:40.# The way we look to a distant constellation
:29:40. > :29:43.# That's dying in a corner of the sky
:29:43. > :29:47.# These are the days of miracle and wonder
:29:47. > :29:57.# And don't cry, baby Don't cry, don't cry, don't cry. #
:29:57. > :29:58.
:29:59. > :30:08.# And don't cry, baby Don't cry, don't cry, don't cry. #
:30:09. > :30:14.
:30:14. > :30:24.# And don't cry, baby Don't cry, don't cry, don't cry. #
:30:24. > :30:31.
:30:31. > :30:41.CHEERING AND APPLAUSE
:30:41. > :31:02.
:31:02. > :31:06.# The problem is all inside your head, she said to me
:31:06. > :31:11.# The answer is easy if you take it logically
:31:11. > :31:14.# I'd like to help you in your struggle to be free
:31:14. > :31:20.# There must be fifty ways to leave your lover
:31:20. > :31:24.# She said, it's really not my habit to intrude
:31:24. > :31:30.# Furthermore, I hope my meaning won't be lost or misconstrued
:31:30. > :31:34.# But I'll repeat myself at the risk of being crude
:31:34. > :31:39.# There must be fifty ways to leave your lover
:31:39. > :31:43.# Fifty ways to leave your lover
:31:43. > :31:47.# You just slip out the back, Jack Make a new plan, Stan
:31:47. > :31:53.# You don't need to be coy, Roy Just get yourself free
:31:53. > :31:57.# Hop on the bus, Gus You don't need to discuss much
:31:57. > :32:02.# Just drop off the key, Lee And get yourself free
:32:02. > :32:06.# Ooh, slip out the back, Jack Make a new plan, Stan
:32:07. > :32:12.# You don't need to be coy, Roy Just listen to me
:32:12. > :32:16.# Hop on the bus, Gus You don't need to discuss much
:32:16. > :32:25.# Just drop off the key, Lee And get yourself free
:32:25. > :32:28.# She said, it grieves me so to see you in such pain
:32:28. > :32:33.# I wish there was something I could do to make you smile again
:32:33. > :32:38.# I said, I appreciate that And would you please explain
:32:38. > :32:43.# About the fifty ways?
:32:43. > :32:48.# She said, why don't we both just sleep on it tonight?
:32:48. > :32:52.# And I believe in the morning you'll begin to see the light
:32:52. > :32:57.# And then she kissed me and I realised she probably was right
:32:57. > :33:02.# There must be fifty ways to leave your lover
:33:02. > :33:06.# Fifty ways to leave your lover
:33:06. > :33:09.# You just slip out the back, Jack Make a new plan, Stan
:33:09. > :33:15.# You don't need to be coy, Roy Just get yourself free
:33:15. > :33:20.# Hop on the bus, Gus You don't need to discuss much
:33:20. > :33:25.# Just drop off the key, Lee And get yourself free
:33:25. > :33:30.# Slip out the back, Jack Make a new plan, Stan
:33:30. > :33:35.# You don't need to be coy, Roy Just listen to me
:33:35. > :33:39.# Hop on the bus, Gus You don't need to discuss much
:33:40. > :33:49.# Just drop off the key, Lee And get yourself free. #
:33:50. > :33:50.
:33:50. > :34:43.Apology for the loss of subtitles for 72 seconds
:34:43. > :34:43.There
:34:43. > :34:44.There was
:34:44. > :34:50.There was the
:34:50. > :34:58.There was the man in action and here we have him beside us. How are
:34:58. > :35:07.you feeling? Well, I wish I were feeling better. You have a sore
:35:07. > :35:12.throat? I came down with something two days ago and it's just
:35:12. > :35:16.lingering. It's such a beautiful day. I was so looking forward to
:35:16. > :35:21.playing here. I'm happy about - that I done it, but I wish I had
:35:21. > :35:26.done it with my voice, my real voice. Why did it appeal, why did
:35:26. > :35:31.you want to be here? I have always heard - first of all, I have had
:35:31. > :35:38.many friends who have told me about it. Anyone for example that you can
:35:38. > :35:43.tell us? Famous? I don't mind! have friends who aren't famous,
:35:43. > :35:50.whose opinions I think of and... Performers? No, I can't think of
:35:50. > :35:55.any that I spoke to in particular. I always heard it was one of the
:35:55. > :35:58.great festivals and very interesting and had interesting
:35:58. > :36:06.acts and was something that I wanted to do and I had been asked
:36:06. > :36:12.to do it several times and for whatever reason I couldn't fit it
:36:12. > :36:18.in, or I was doing something else. This was something that I really
:36:18. > :36:22.looking forward to and I'm happy that I did it. I'm disappointed I
:36:22. > :36:27.wasn't at my best. You sounded great. I said he's still got a
:36:27. > :36:33.beautiful tone to his voice. literally said that. What a great
:36:33. > :36:39.band. Who is the guy who seems to be your right-hand man with the
:36:39. > :36:49.long pony-tail? Mark Stuart. What a guitar player! He is fabulous. He's
:36:49. > :36:51.
:36:51. > :36:56.been with me for oh let's say 12 or 13 years. Vincent, on my left,
:36:56. > :37:01.Vincent from Cameroon, he played on Rhythm of the Saints. All the
:37:01. > :37:04.percussion, it sounds fantastic. You were talking in the film before,
:37:04. > :37:10.you try and interpret what the audience might like. Is it
:37:10. > :37:20.difficult picking a set list for something like this? Erm, a little
:37:20. > :37:21.
:37:21. > :37:28.bit. I have been playing theatres and clubs so and I have been
:37:28. > :37:34.playing that in order to play the new material from So Beautiful and
:37:34. > :37:43.So What. Yeah. When I play in those venues, everybody there knows, they
:37:43. > :37:46.already know the new record. They know it. So it makes this set list
:37:46. > :37:52.seamless and you don't feel there is one song that is very famous and
:37:52. > :37:56.another that isn't. You can see the connection through the years of how
:37:56. > :38:02.the music has evolved and still has elements from the earliest days.
:38:02. > :38:11.Sure. If I were to reconstruct the set here today, I would say given
:38:11. > :38:18.the reaction to You Can Call Me Al, which we never play... Do you not?
:38:18. > :38:25.Did you enjoy that? Sure I did. With my voice, I probably would
:38:25. > :38:30.take out a ballad and put in a couple more up-tempos. How would
:38:30. > :38:37.you sum up your Glastonbury experience? It's so short, the
:38:37. > :38:43.amount of time that I'm here, you know. It's hardly an experience.
:38:43. > :38:48.But you mean just looking at it from... Yes. A couple of words how
:38:48. > :38:56.it felt to you? It is a large festival. I have played in front of
:38:56. > :38:59.a few people! A few! Large crowds before. Did it feel good? I like
:38:59. > :39:05.playing in the daylight. And you can see that the audience like it,
:39:05. > :39:10.too. I am sure they are much relieved to be standing in a
:39:10. > :39:16.beautiful warm sunshiney day... weather made it all. Thank you for
:39:16. > :39:26.coming back. Thank you for talking to us. This is Diamonds On The
:39:26. > :39:31.
:39:31. > :39:41.# She's a rich girl # He's a poor boy
:39:41. > :39:47.
:39:47. > :39:57.# Empty as a pocket # She got diamonds on the soles
:39:57. > :39:57.
:39:57. > :40:52.Apology for the loss of subtitles for 72 seconds
:40:52. > :41:02.# She got diamonds on the soles of # She's got diamonds on the soles
:41:02. > :41:08.
:41:08. > :41:13.# Well, that's one way to lose # Then she slipped into my pocket
:41:13. > :41:21.# Because I please you wearing these diamonds
:41:21. > :41:28.# And I could say, oo oo oo
:41:28. > :41:32.# As if everybody knows what I'm talking about
:41:32. > :41:35.# As if everybody here would know what I was talking about
:41:35. > :41:41.# Talking about diamonds on the soles of her shoes
:41:41. > :41:51.# Talking about diamonds on the soles of her shoes
:41:51. > :42:28.
:42:28. > :42:29.# He makes the sign of a wave
:42:29. > :42:32.# The poor boy changes clothes and puts on aftershave
:42:32. > :42:39.# To compensate for his ordinary shoes
:42:39. > :42:42.# To compensate for his ordinary shoes
:42:42. > :42:52.# And she said Honey, take me dancing
:42:52. > :42:53.
:42:53. > :42:57.# But they ended up by sleeping in a doorway by the bodegas
:42:57. > :43:00.# And the lights on Upper Broadway
:43:00. > :43:05.# Wearing diamonds on the soles of their shoes
:43:05. > :43:13.# And I could say, oo oo oo
:43:13. > :43:16.# And everybody here would know what I was talking about
:43:16. > :43:20.# I mean, everybody here would know exactly what I was talking about
:43:20. > :43:22.# Talking about diamonds...
:43:22. > :43:26.# Diamonds on the soles of our shoes
:43:26. > :43:36.# Diamonds on the soles of our shoes
:43:36. > :43:57.
:43:57. > :43:58.# People say I'm crazy
:43:58. > :44:01.# I got diamonds on the soles of my shoes
:44:01. > :44:05.# Well, that's one way to lose these walking blues
:44:05. > :44:15.# Diamonds on the soles of your shoes. #
:44:15. > :44:33.
:44:33. > :44:37.# Ta, na, na, na, na
:44:37. > :44:41.# Ta, na, na, na, na
:44:41. > :44:51.# Ta, na, na, na, na
:44:51. > :44:51.
:44:51. > :46:51.Apology for the loss of subtitles for 72 seconds
:46:51. > :46:59.# I was having this discussion # On this friend of mine who had
:46:59. > :47:01.# So what are you going to do about it?
:47:01. > :47:03.# That's what I'd like to know
:47:03. > :47:10.# You don't feel you could love me but I feel you could
:47:10. > :47:16.# It was in the early morning hours when I fell into a phone call
:47:16. > :47:22.# Believing I had supernatural powers I slammed into a brick wall
:47:22. > :47:26.# I said, hey, is this my problem? Is this my fault?
:47:26. > :47:28.# If that's the way it's gonna be
:47:28. > :47:30.# I'm going to call the whole thing to a halt
:47:30. > :47:36.# You don't feel you could love me but I feel you could
:47:36. > :47:46.# You don't feel you could love me But I feel you could
:47:46. > :48:10.
:48:10. > :48:16.# Walking down the street when I thought I heard this voice say
:48:16. > :48:19.# Say, ain't we walking down the same street together
:48:19. > :48:22.# On the very same day?
:48:22. > :48:26.# I said Hey senorita, that's astute
:48:26. > :48:30.# I said, why don't we get together and call ourselves an institute?
:48:30. > :48:36.# You don't feel you could love me but I feel you could
:48:37. > :48:46.# You don't feel you could love me but I feel you could
:48:47. > :48:47.
:48:47. > :49:52.Apology for the loss of subtitles for 72 seconds
:49:52. > :50:02.CHEERING AND APPLAUSE
:50:02. > :50:25.
:50:25. > :50:26.Thank
:50:26. > :50:26.Thank you
:50:26. > :50:36.Thank you so
:50:36. > :50:36.
:50:36. > :52:42.Apology for the loss of subtitles for 72 seconds
:52:42. > :52:52.# They give us those nice # Makes you think all the world's
:52:52. > :52:56.
:52:56. > :53:06.# So Mama, don't take my Kodachrome away
:53:06. > :53:08.
:53:08. > :53:14.# If you took all the girls I knew when I was single
:53:15. > :53:20.# And brought them all together for one night
:53:20. > :53:28.# I know they'd never match my sweet imagination
:53:28. > :53:33.# Everything looks worse in black and white
:53:33. > :53:36.# Kodachrome
:53:36. > :53:39.# They give us those nice bright colours
:53:39. > :53:43.# They give us the greens of summers
:53:43. > :53:50.# Makes you think all the world's a sunny day, oh yeah
:53:50. > :53:57.# I got a Nikon camera I love to a photograph
:53:57. > :54:07.# So Mama, don't take my Kodachrome away. #
:54:07. > :54:11.
:54:11. > :54:21.# So Mama, don't take my Kodachrome away. #
:54:21. > :54:22.
:54:22. > :54:32.# So Mama, don't take my Kodachrome away. #
:54:32. > :54:32.
:54:32. > :55:42.Apology for the loss of subtitles for 72 seconds
:55:42. > :55:44.So Mama, don't take So Mama, don't take
:55:44. > :55:54.# Gone at last, gone at last # Gone at last
:55:54. > :56:03.
:56:03. > :56:09.# I had a long streak of that bad # Oo, oo, oo
:56:09. > :56:13.# She just grabbed my sympathy Sweet little soul
:56:13. > :56:17.# Now, what's your problem? Tell me why you're so downcast
:56:18. > :56:25.# I've had a long streak of bad luck But I pray it's gone at last
:56:25. > :56:31.# Gone at last, gone at last Gone at last, gone at last
:56:31. > :56:41.# I had a long streak of bad luck But I pray it's gone at last
:56:41. > :56:51.
:56:51. > :56:53.# Once in a while from out of nowhere
:56:53. > :56:56.# When you don't expect it and you're unprepared
:56:56. > :57:00.# Somebody will come and lift you higher
:57:00. > :57:03.# And your burdens will be shared
:57:03. > :57:06.Yes, I do believe if I hadn't met you
:57:06. > :57:09.# I might still be sinking fast
:57:09. > :57:13.# I've had a long streak of that bad luck
:57:13. > :57:19.# But I pray it's gone at last Gone at last, gone at last
:57:19. > :57:23.# Gone at last, gone at last
:57:23. > :57:33.# I had a long streak of bad luck But I pray it's gone at last
:57:33. > :57:40.
:57:40. > :57:50.# I had a long streak of bad luck But I pray it's gone at last
:57:50. > :58:18.
:58:18. > :58:28.CHEERING AND APPLAUSE
:58:28. > :58:31.
:58:31. > :58:31.Thank
:58:31. > :58:41.Thank you.
:58:41. > :59:20.
:59:20. > :59:20.# A man
:59:20. > :59:20.# A man walks
:59:20. > :59:24.# A man walks down
:59:24. > :59:26.# A man walks down the street # He says why am I soft in the
:59:26. > :59:28.middle now # Why am I soft in the middle
:59:28. > :59:33.# The rest of my life is so hard # I need a photo-opportunity
:59:33. > :59:41.# I want a shot at redemption # Don't want to end up a cartoon
:59:41. > :59:48.# In a cartoon graveyard # Bonedigger
:59:48. > :59:53.# Dogs in the moonlight # Far away my well-lit door
:59:53. > :59:57.# Mr Beerbelly # Get these mutts away from me
:59:57. > :00:02.# You know I don't find this stuff amusing any more
:00:02. > :00:06.# If you'll be my bodyguard # I can be your long-lost pal
:00:06. > :00:09.# I can call you Betty # And Betty when you call me
:00:09. > :00:12.# You can call me Al # A man walks down the street
:00:12. > :00:15.# He says why am I short of attention
:00:15. > :00:24.# Got a short little span of attention
:00:24. > :00:30.# And my nights are so long # Where's my wife and family
:00:30. > :00:33.# What if I die here # Who'll be my role model
:00:33. > :00:40.# Now that my role model is gone, gone
:00:40. > :00:43.# He ducked back down the alley # With some roly-poly little bat-
:00:43. > :00:44.faced girl # All along along
:00:44. > :00:49.# There were incidents and accidents
:00:49. > :00:53.# There were hints and allegations # If you'll be my bodyguard
:00:53. > :00:56.# I can be your long-lost pal # I can call you Betty
:00:56. > :01:01.# And Betty when you call me # You can call me Al
:01:01. > :01:05.# Call me Al # A man walked down the street
:01:05. > :01:09.# It's a street in a strange world # Maybe it's the Third World
:01:09. > :01:19.# Maybe it's the first time around # He doesn't speak the language
:01:19. > :01:20.
:01:20. > :01:29.# He holds no currency, he's a foreign man
:01:29. > :01:34.# He is surrounded by the sound # The sound
:01:35. > :01:40.# Cattle in the market place # Scatterlings and orphanages
:01:40. > :01:43.# He looks around, around # He sees angels in the
:01:43. > :01:53.architecture # Spinning in infinity
:01:53. > :01:57.# He says amen and Hallelujah! # If you'll be my bodyguard
:01:57. > :02:05.# I can call you Betty # And bet ten when you call me
:02:05. > :02:15.# You can call me Al # Call me Al
:02:15. > :02:23.
:02:24. > :02:33.# Na-na-na # Oh, yeah
:02:34. > :02:51.
:02:51. > :02:57.# Oh, oh, yeah # If you'll be my bodyguard
:02:57. > :03:02.# I can be your long-lost pal # I can call you Betty
:03:02. > :03:12.# And Betty when you call me # You can call me Al
:03:12. > :03:43.
:03:43. > :03:48.An enormous crowd out the front of Pyramid Stage enjoying the sunshine.
:03:48. > :03:52.A whole bunch of hits courtesy of Mr Paul Simon. I love him for many
:03:52. > :03:58.reasons. A great songwriter. When ever he performs live, he couldn't
:03:58. > :04:02.look less interested. Do you think? He plays the most amazing songs.
:04:02. > :04:07.He's already been Paul Simon for his whole life. He doesn't have to
:04:07. > :04:12.do anything else. Brilliant scenes. Hello there, it is us, Zane and
:04:12. > :04:22.Lauren. Thank you for sticking with us. We have some lovely stuff on
:04:22. > :04:22.
:04:22. > :04:32.Glastonbury 2011 for you, including next a film about ancient
:04:32. > :04:33.
:04:33. > :04:36.For the past 40 years, festival- goers have been building their own
:04:36. > :04:42.mythology here on the Glastonbury site. This part of the country has
:04:42. > :04:45.been a destination of pilgrims of all kinds for over 5,000 years.
:04:45. > :04:50.Thousands of festival-goers will stream down these hillsides to
:04:50. > :04:54.watch U2 make history on that stage. How many of them will appreciate
:04:54. > :05:02.just how much truly ancient history surrounds them here? The very first
:05:02. > :05:05.Pyramid Stage was constructed on this spot in 1971. Its appearance
:05:05. > :05:13.was very difference to the Great Pyramids of Egypt, but the idea
:05:13. > :05:20.behind it was much the same. Festival organiser Andrew Care
:05:20. > :05:24.wanted to create a free festival that was more than a gig in a field.
:05:24. > :05:28.The Pyramid Stage was to be a spiritual satellite dish able to
:05:28. > :05:32.pick up and channel the vibrations of the cosmos. Whether or not you
:05:32. > :05:37.agree with Andrew's approach to stage-building, it is an undeniable
:05:37. > :05:43.fact that this landscape is littered with ancient sites. It's
:05:43. > :05:47.also full of myth and legend. Andrew moved the Festival from
:05:47. > :05:53.September to the Summer Solstice in June continuing the tradition of
:05:53. > :05:59.the equinox pilgrimage. He also insisted on erecting the Pyramid
:05:59. > :06:08.Stage on what he believed was a line connected this site to
:06:08. > :06:16.Stonehenge. The site is overlooked by this geological outcrop,
:06:16. > :06:21.Glastonbury Tower. The Celts called this place The Isle of Glass. Apart
:06:21. > :06:31.from the famous muddy Glastonburys, there is precious little sign of
:06:31. > :06:34.
:06:34. > :06:39.the sea around here. On a dry day, you can see the Glastonbury
:06:39. > :06:43.Festival site from here, somewhere over there. Today is not a dry day.
:06:43. > :06:50.In keeping with another Glastonbury Festival tradition, the weather has
:06:50. > :06:55.gone bad. In ancient times, these levels were a shallow marshy sea
:06:55. > :07:00.with small islands connected by wooden causeways so maybe there is
:07:00. > :07:10.some truth in the legend of Avalon after all. The connections with
:07:10. > :07:18.
:07:18. > :07:24.Hi. Hello, Neil. Great to see you. How are you? Well. How long has
:07:24. > :07:32.this place been the focus of legend? This place has been
:07:32. > :07:35.Arthurian for about 900 years, going back to 12th Century. What
:07:36. > :07:42.trigger Arthurian legend here? is the myth that when King Arthur
:07:42. > :07:46.was killed he was brought to the Isle of Avalon. No-one knew where
:07:46. > :07:52.that was until the monks of Glastonbury started digging up the
:07:52. > :07:57.place and what they found here was the coffin of King Arthur. Why do
:07:57. > :08:02.you think the Arthurian legend is the one that so endures in this
:08:02. > :08:08.part of the world? Well, all nations want a great figurehead and
:08:09. > :08:13.if we look back into the Dark Ages, what we find in reality are petty
:08:13. > :08:17.chieftains. If a country wants to be great, it needs something a bit
:08:17. > :08:21.larger-than-life and King Arthur filled that role. The other
:08:21. > :08:25.important thing about King ar thundershower is the notion that he
:08:26. > :08:31.never really died -- King Arthur is the notion that he never really
:08:31. > :08:34.died. Perhaps he lives on. For many people, this landscape is charged
:08:35. > :08:39.with the energy of all those who have passed through it before them.
:08:39. > :08:43.From the ancient architects of Stonehenge, to those seeking Avalon
:08:43. > :08:48.itself, so perhaps it is fitting that Glastonbury should inhabit
:08:48. > :08:54.this landscape now, drawing yet more people together and creating
:08:54. > :09:00.new legends that are all its own. There we are, we are in a place
:09:00. > :09:05.rich in history. I was chatting to Kool and the Gang and they were at
:09:05. > :09:09.Stonehenge drinking it in. There is going to be more history made this
:09:09. > :09:12.evening in its own small way, Beyonce will be the first female
:09:12. > :09:17.headliner on the Pyramid Stage. That is brilliant. Incredible. It
:09:17. > :09:21.is hers for the stealing. There's people out there already camping
:09:21. > :09:24.outside waiting for Beyonce to take to the stage. There is a lot of
:09:24. > :09:31.curiosity amongst the superfans. Really nice to get to grips with
:09:31. > :09:35.the tradition of the Festival. You don't get that at Reading!
:09:35. > :09:44.Speaking of traditions, do you like I have gone for the Festival straw
:09:44. > :09:50.hat? I'm very proud of you. It was time. Five! Over here, is a couple
:09:50. > :10:00.of ladies who have made a brand-new album. We are going to hear them
:10:00. > :10:23.
:10:23. > :10:33.# God bless the world, # God bless the world,
:10:33. > :10:36.
:10:36. > :10:40.# If I found the boy, the one with golden eyes
:10:40. > :10:44.# You know I think I'd haunt you
:10:44. > :10:48.# And if I found the rhyme then I would take the time
:10:48. > :10:52.# And sing you one more line and it would go like
:10:52. > :10:55.# God bless the world, it's so glorious
:10:55. > :10:58.# God bless the ones we've loved
:10:58. > :11:00.# God bless the ones we've lost
:11:00. > :11:04.# God bless the world, it's so glorious
:11:04. > :11:14.# I will never die, never die like you
:11:14. > :11:17.
:11:17. > :11:22.# I felt his hand today, across my shoulder
:11:22. > :11:25.# I'll kneel down to pray
:11:25. > :11:28.# Say afterlife's OK
:11:28. > :11:38.# But it got so lonely when you turned away
:11:38. > :11:49.
:11:49. > :11:53.# God bless the world, it's so glorious
:11:53. > :11:55.# God bless the ones we've loved
:11:55. > :11:57.# God bless the ones we've lost
:11:57. > :12:01.# God bless the world, it's so glorious
:12:01. > :12:10.# I will never die, never die like you
:12:10. > :12:15.# I felt his hand today, across my shoulder
:12:15. > :12:17.# I'll kneel down to pray
:12:18. > :12:22.# Say afterlife's OK
:12:22. > :12:26.# But it got so lonely when you turned away
:12:26. > :12:31.# I saw his lie today, across my shoulder
:12:31. > :12:34.# I'll kneel down to pray
:12:34. > :12:38.# I feel like hell today
:12:38. > :12:43.# But it got so lonely when you turned away
:12:43. > :12:48.# I felt his hand today, across my shoulder
:12:48. > :12:51.# I'll kneel down to pray
:12:51. > :12:54.# Say afterlife's OK
:12:55. > :13:04.# But it got so lonely when you turned away
:13:04. > :13:11.# It got so lonely when you turned away
:13:11. > :13:21.# It got so lonely when you turned away. #
:13:21. > :13:29.
:13:29. > :13:31.APPLAUSE
:13:31. > :13:31.APPLAUSE Thank
:13:31. > :13:32.Thank you
:13:32. > :13:32.Thank you very
:13:32. > :13:36.Thank you very much.
:13:36. > :13:43.Thank you very much. That was The Pierces. Did you see the Coldplay
:13:43. > :13:49.set? Did Guy do well? We did not see it. I am sure he did great.
:13:49. > :13:57.didn't watch it! You can check it out and watch it on the website.
:13:57. > :14:02.Brilliant. Thank you very much. Beautiful. Still to come: We have
:14:02. > :14:12.The Vaccines performing on the John Peel Stage. Right now we are going
:14:12. > :14:15.
:14:15. > :14:22.to the permid stage -- the Pyramid Stage to see Laura Marling. She
:14:22. > :14:32.plays music that is suited for an intimate audience. She was good on
:14:32. > :14:32.
:14:32. > :15:13.Apology for the loss of subtitles for 72 seconds
:15:13. > :15:23.# Hold your devil by his spoke # But someone brought you
:15:23. > :15:23.
:15:23. > :15:33.# Brought you to me # What of which you wish to speak
:15:33. > :15:50.
:15:50. > :16:00.# Hold your devil by his spoke # But the love of your life lives
:16:00. > :16:01.
:16:01. > :16:11.# The arms are fed # And the backs have bled
:16:11. > :16:46.
:16:46. > :16:56.# And I hold your face # Ripping off each other's clothes
:16:56. > :17:26.
:17:26. > :17:32.# Ripping off each other's clothes The very brilliant Laura Marling on
:17:32. > :17:40.the Pyramid Stage earlier today with Devil's Spoke. She has been
:17:40. > :17:46.working with Ethan Jones again. It's a stronger build from softer
:17:46. > :17:48.to boombastic at the end. We have excited about that concept.
:17:48. > :17:53.Vaccines have had a wonderful weekend and it has been an
:17:53. > :17:57.incredible six to eight months for this band. You could tell instantly
:17:57. > :18:03.when you heard them they were going to be a force to be reckoned with.
:18:03. > :18:07.They have gone on to play some big shows. They have done some touring
:18:07. > :18:17.with Arctic Monkeys. Their Glastonbury consisted of two shows,
:18:17. > :18:31.
:18:31. > :18:38.# Everyone needs a helping hand, who # Someone up the social scale for
:18:38. > :18:44.# Have post break-up sex that helps you forget your ex
:18:44. > :18:50.# What did you expect from post break-up sex
:18:50. > :18:56.# Leave it till the guilt consumes I found you in the nearest room
:18:56. > :19:02.# All our friends were unaware, most had just passed out downstairs
:19:02. > :19:08.# To think I'd hoped you'd be OK No, I can't think of what to say
:19:08. > :19:14.# Maybe I misunderstood but I can't believe you're feeling good
:19:14. > :19:21.# From post break-up sex that helps you forget your ex
:19:21. > :19:31.# What did you expect from post break-up sex
:19:31. > :19:39.
:19:39. > :19:45.# Post break-up sex that helps you forget your ex
:19:45. > :19:51.# What did you expect from post break-up sex
:19:51. > :19:57.# When you love somebody but you find someone
:19:57. > :20:07.# And it all unravels and it comes undone
:20:07. > :20:15.
:20:15. > :20:21.# Post break-up sex that helps you forget your ex
:20:21. > :20:31.# What did you expect from post break-up sex post break-up sex
:20:31. > :20:34.# Post break-up sex that helps you forget your ex
:20:34. > :20:42.# What did you expect from post break-up sex post break-up sex
:20:42. > :20:50.CHEERING AND APPLAUSE
:20:50. > :20:51.That
:20:51. > :20:52.That was
:20:52. > :20:56.That was part
:20:56. > :20:59.That was part of The Vaccines from the John Peel Stage. It is all
:20:59. > :21:03.about the headliner tonight, Beyonce. Everybody has been talking
:21:03. > :21:07.about it. There are rumours flying around the site. People are saying
:21:07. > :21:11.Nelson Mandela will make a speech in the middle of her set -
:21:11. > :21:17.unlikely! People are talking about Kanye West appearing. That is not
:21:17. > :21:22.going to happen. Other members of Destiny's Child. That may happen.
:21:22. > :21:28.Jay-Z appearing. That is going to happen! The supportive husband
:21:28. > :21:36.thing. He will do Crazy Love. They will do three or four - bonny and
:21:36. > :21:41.Clyde. They will do a few. I don't care as long as she does
:21:41. > :21:50.Bootilicious and Crazy Love. Let's hear from the woman herself. This
:21:50. > :21:57.is what Beyonce had to say about appearing at Glastonbury 2011.
:21:57. > :22:02.the first woman to ever headline the Pyramid Stage at Glastonbury.
:22:02. > :22:07.Unbelievable! I didn't know that. I was just told that two days ago.
:22:07. > :22:10.What is Beyonce's take on the Festival? My first impression of
:22:10. > :22:20.Glastonbury was actually in pictures and it was it is a Nateing
:22:20. > :22:25.to me to see everyone in their wellies in the mud, all -- it was
:22:25. > :22:28.fascinating to me to see everyone in their wellys in the mid all
:22:28. > :22:32.united. One day I thought I would like to do a festival and I never
:22:33. > :22:37.ever thought I would be able to headline Glastonbury. What does she
:22:37. > :22:40.make of the Glastonbury crowd? Everyone is so free. Everyone is
:22:40. > :22:44.diverse. They love great art and great music. It doesn't matter
:22:44. > :22:49.where you come from and what type of music you sing. I have seen the
:22:49. > :22:54.response to Stevie Wonder, I have seen the response to Coldplay, to
:22:54. > :23:03.Jay-Z and it just feels so good to know that it is music-lovers and
:23:03. > :23:08.they want to enjoy good music. does the bootilicious Queen of Pop
:23:08. > :23:11.feel about taking on the Festival? I am the biggest fan of U2 and
:23:11. > :23:16.Coldplay. I have spoken to both of them about my set because I'm like
:23:16. > :23:21.OK, you guys are a little bit more familiar with the Festivals and I
:23:21. > :23:28.needed to make sure they gave me their approval and they are, I mean
:23:28. > :23:32.they are genius and I am so excited to share the stage with them and
:23:32. > :23:37.for Glastonbury to recognise a woman and feel like we have the
:23:37. > :23:44.strength and power to headline. I am so honoured that I am the chosen
:23:44. > :23:47.woman! I promise, ladies, I'm going to rock! She is going to rock! You
:23:47. > :23:52.can do the dance and everything. Will you teach me it? You can do
:23:52. > :23:55.the dance! I can. All the ladies can do the dance. When I started to
:23:55. > :24:05.talk about doing Glastonbury coverage this year, on Yeonpyeong
:24:05. > :24:08.
:24:08. > :24:17.day, it is going to be for -- on Yeonpyeong day, it is going to be
:24:17. > :24:24.about the ladies. -- Beyonce day, it is going to be for the ladies.
:24:24. > :24:28.We will be back with Beyonce on BBC Two later tonight at 10.00pm. If
:24:28. > :24:34.you want to relive yesterday's action from the Pyramid Stage, you
:24:34. > :24:40.can check out Coldplay on BBC Four. On BBC Three tonight, at 7.45, tune
:24:40. > :24:46.in for more highlights including Plan B. He is tearing it up! He was
:24:46. > :24:52.very nervous. There's all sorts of other stuff online. I am quite
:24:52. > :25:00.excited about Kool and the Gang. Yeah. That is going to be awesome.
:25:00. > :25:08.He is going to stay put and get down, get down. I know, they have
:25:08. > :25:15.the... Morrisy had the gong and the double ba -- Morrissey had the gong
:25:15. > :25:21.and the double bass. Beyonce will need a gong. Nelson Mandela - I
:25:21. > :25:27.will be astounded if he showed up for a quick chat. It will be good.
:25:27. > :25:32.Whatever happens, it will be fantastic. What is your favourite
:25:32. > :25:37.Beyonce song? Crazy Love. If she does bring out the Destiny's Child
:25:37. > :25:42.girls that will be phenomenal. There's so many songs that would be
:25:42. > :25:48.the moment. We will find out later. Join us tonight at 10.00pm. Turn
:25:48. > :25:58.over to Four for Coldplay. Plan B on Three later. We will see you
:25:58. > :26:16.
:26:16. > :26:26.later for Beyonce. Take care. # But look at how times
:26:26. > :26:52.
:26:52. > :27:02.# Sweep your feet # I've got that real love
:27:02. > :27:02.
:27:02. > :27:57.Apology for the loss of subtitles for 72 seconds
:27:57. > :28:07.# I've got that real love # Sweep your feet
:28:07. > :28:07.
:28:07. > :28:17.# I've got that real love # I've got that real love
:28:17. > :28:52.
:28:52. > :28:57.# Sweep your feet # I've got that real love
:28:57. > :29:02.# Yeah, baby, know I've got that real love for you know
:29:02. > :29:08.# Yeahhh, ooh... #